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“Cinderella” and “Bluebeard”
Please select one of the following prompts and respond to it in a paragraph of 300+ words. Spell and grammar check your work before you put it in dropbox. Identify the prompt you are responding to by number. Remember to restate the prompt in a thesis that forecasts your supports. Use college level grammar, diction, and sentence structure, as well as MLA format for in-text citation of direct quotes and paraphrases. Don’t forget to give the author’s name and page number for your citations (both paraphrases and direct quotations).
1) Tatar recognizes two variants of the Cinderella story. In one Cinderella suffers “social persecution” and in another she suffers “erotic persecution” (141). She cites Warner’s comment that “It is when fairy tales coincide with experience that they begin to suffer from censoring, rather than the other way around” (Warner qtd in Tatar 143).
2) Explore the “transfer of filial love” (father to husband) that occurs in any variant of “Cinderella.” Does the Cinderella figure have to fight for this or does it come to her easily?
3) Explore mothers/stepmothers as villains in any two of the variants of “Cinderella.”
4) Discuss Basile’s articulation of the moral to “Catskin.” How does this make the story problematic in contemporary Western Culture?
5) How do Gaiman and/or Carter use specific elements of the fairy tale/folktale “Cinderella” story in either of their adaptations/stories?
6) “Bluebeard” might be read as a narrative about sexual fidelity OR it might be read as a story about allegiance to family. Select any one story and discuss how it could be read both ways. Cite Tatar’s Introduction to “Bluebeard” to help you work through whichever story you select.
7) Identify and discuss what Tatar calls “the three distinctive features of the Bluebeard narrative” in Gaiman’s version of the story (183).
8) How does Atwood revise/replot the idea of the hidden chamber from a physical to a metaphysical (psychological) space?
9) Contrast Perrault’s commentary on the heroine who is “a resourceful agent of her own salvation” with Delarue’s collections of the oral folktale or contemporary versions such as those by Carter, Jamician, Pueblo, or South Carolinian storytellers (186).