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Using Beaumont’s classic story as a touchstone, this work shows how “Beauty and the Beast” takes on different meanings as it is analyzed by psychologists, illustrated in picture books, adapted to the screen, and rewritten by contemporary writers. The Meanings of “Beauty and the Beast” provides expert commentary on the tale and on representative critical approaches and contemporary adaptations. This book also includes a variety of original source materials and twenty-three colour illustrations. The Meanings of “Beauty and the Beast” is for any reader who wishes to explore this classic, endlessly rich fairy tale.
Beauty in the Beast is a brand-new way of looking at some aspects of our history-written from a new and different perspective. Roy Westfall has changed and added some new points of view-a way of exploring how one might interpret those things that have happened both in reality and in fiction. After reading Beauty in the Beast, one might realize that it is both exciting and fun to consider new perspectives on old stories. Westfall does not change the facts of history, but his poems do present an alternate understanding of our historical and literary past. Anyone who appreciates the gentle flow of words and a poetic look at the different stories we share ought to enjoy Beauty in the Beast.
1994 marked the centenary of the deaths of Walter Pater, Christina Rossetti and Robert Louis Stevenson, andBeauty and the Beast is largely devoted to an exploration of aspects of their lives and their writings, and the role they played in the development of British literature. Both individually and as a group, these writers offer interesting opportunities to investigate a distinctive ambivalence in the literature of the last three decades of the nineteenth century. Thus we may observe how Pater as the founder of Aestheticism in British literature addressed the Victorian dilemma how to live inMarius the Epicurean; how Rossetti's poetry expresses both spiritual and erotic tendencies, while Stevenson'sThe Strange Case of Dr Jekyll and Mr Hyde is perhaps the epitome of the fin-de-siècle tension between good and evil, beauty and beast. Yet the scope of this book also includes an examination of the relationships between these three authors and their contemporaries, and of their setting, on the British Isles as well as on the Continent. Thus George Moore makes his appearance, next to Anton Chekhov, Arthur Schnitzler, Oscar Wilde, Alain Fournier and Louis Couperus. The various discussions of these French, German, Russian, Italian, Irish and Dutch connections in this book reflect the international setting of the European fin-de-siècle as a background against which the theme of Beauty and the Beast is discussed.Contributors are: Wim Tigges, C.C. Barfoot, Jan Marsh, Valeria Tinkler-Villani, Amanda Gilroy, Peter van de Kamp, Billie Andrew Inman, Laurel Brake, Peter Costello, Ans Kabel, Douglas S. Mack, Tim Youngs, Neil Cornwell, Sjef Houppermans, Jacques B.H. Alblas, John Stokes, Susan de Sola Rodstein.
"Unexpected and hilarious twists make this version of the classic an entirely different romp for the whole family. Underlying the hilarity is a solid message about true beauty."--Publisher.
"Kete uses relatively obscure material as a prism to refract important changes in sensibility. Her book offers a brilliant new way of understanding the traumas of modernity."--Thomas W. Laqueur, author of Making Sex
When he died in 2004, Jacques Derrida left behind a vast legacy of unpublished material, much of it in the form of written lectures. With The Beast and the Sovereign, Volume 1, the University of Chicago Press inaugurates an ambitious series, edited by Geoffrey Bennington and Peggy Kamuf, translating these important works into English. The Beast and the Sovereign, Volume 1 launches the series with Derrida’s exploration of the persistent association of bestiality or animality with sovereignty. In this seminar from 2001–2002, Derrida continues his deconstruction of the traditional determinations of the human. The beast and the sovereign are connected, he contends, because neither animals nor kings are subject to the law—the sovereign stands above it, while the beast falls outside the law from below. He then traces this association through an astonishing array of texts, including La Fontaine’s fable “The Wolf and the Lamb,” Hobbes’s biblical sea monster in Leviathan, D. H. Lawrence’s poem “Snake,” Machiavelli’s Prince with its elaborate comparison of princes and foxes, a historical account of Louis XIV attending an elephant autopsy, and Rousseau’s evocation of werewolves in The Social Contract. Deleuze, Lacan, and Agamben also come into critical play as Derrida focuses in on questions of force, right, justice, and philosophical interpretations of the limits between man and animal.
"Beauty is enamoured with a handsome prince whom she saw in an apparition. Her love draws her to the castle of the unspeakable Beast, which she enters unafraid. A magic mirror and many other gifts are given her by the Beast. But it is her final, fearless expression of affection for the Beast that breaks the spell and returns him to the form of the handsome Prince. A very picturesque and moving version of the famous tale"--Back cover.
THE STORY: While closely following the traditional fable so beloved by all, this imaginative adaptation cleverly compresses the salient points of the story to make them more theatrically effective and easily staged. The main line of the action deal