This study offers a theory for feminist intertextuality based on strategies at work in rewritings of the Bluebeard fairy tale. The book asserts that feminist intertextuality revises one coercive intertext in particular: that of intertextuality theory itself. Rewritings of the fairy tale accordingly can be seen to privilege either the embedded narrative or the escape from it, subscribing either to monologic or dialogic intertextuality. The work examines the original Bluebeard tale group (Perrault, Grimm, variants); historical and modern Bluebeards; and other writers, including Jane Austen, William Godwin, Margaret Atwood, John Fowles, Peter Ackroyd, Kurt Vonnegut, Angela Carter, Gloria Naylor, Emma Cave, Max Frisch, Stephen King, Meira Cook and Donald Barthelme.

Bluebeard is the main character in one of the grisliest and most enduring fairy tales. A serial wife murderer, he keeps a horror chamber in which remains of all his previous matrimonial victims are secreted from his latest bride. She is given all the keys but forbidden to open one door of the castle. This is a major study of the tale and its many variants in English: from the 18th and 19th century chapbooks, children's toybooks, pantomimes, melodramas, and circus spectaculars, to the 20th century in music, literature, art, film, and theatre.

Maria Tatar analyses the many forms the tale of Bluebeard's wife has taken over time, showing how artists have taken the Bluebeard theme and revived it with their own signature twists.

Bluebeard is the main character in one of the grisliest and most enduring fairy tales of all time. A serial wife murderer, he keeps a horror chamber in which remains of all his previous matrimonial victims are secreted from his latest bride. She is given all the keys but forbidden to open one door of the castle. Astonishingly, this fairy tale was a nursery room staple, one of the tales translated into English from Charles Perrault's French Mother Goose Tales. Bluebeard: A Reader's Guide to the English Tradition is the first major study of the tale and its many variants (some, like “Mr. Fox,” native to England and America) in English: from the eighteenth- and nineteenth-century chapbooks, children's toybooks, pantomimes, melodramas, and circus spectaculars, through the twentieth century in music, literature, art, film, and theater. Chronicling the story's permutations, the book presents examples of English true-crime figures, male and female, called Bluebeards, from King Henry VIII to present-day examples. Bluebeard explores rare chapbooks and their illustrations and the English transformation of Bluebeard into a scimitar-wielding Turkish tyrant in a massively influential melodramatic spectacle in 1798. Following the killer's trail over the years, Casie E. Hermansson looks at the impact of nineteenth-century translations into English of the German fairy tales of the Brothers Grimm, and the particularly English story of how Bluebeard came to be known as a pirate. This book will provide readers and scholars an invaluable and thorough grasp on the many strands of this tale over centuries of telling.

This project provides an in-depth study of narratives about Bluebeard and his wives, or narratives with identifiable Bluebeard motifs, and the intertextual and extratextual personal, political, literary, and sociocultural factors that have made the tale a particularly fertile ground for an author’s adaptation of the story. Whereas Charles Dickens, for example, expresses a sympathetic identification with Bluebeard, and a discernable strain of misogyny emerges in his recreation of the tale and recurrent allusions to it, his contemporary, William Makepeace Thackeray, uses the tale as a springboard for his critique of avarice, hypocrisy, pretension, and the subjugation of women in Victorian society.

The first dedicated exploration of the short fiction of Shirley Jackson for three decades, this volume takes an in-depth look at the themes and legacies of her 200-plus short stories. Recognized as the mother of contemporary horror, scholars from across the globe, and from a range of different disciplinary backgrounds, dig into the lasting impact of her work in light of its increasing relevance to contemporary critical preoccupations and the re-release of Jackson's work in 2016. Offering new methodologies to study her work, this volume calls upon ideas of intertextuality, ecocriticism and psychoanalysis to examine a broad range of themes from national identity, race, gender and class to domesticity, the occult, selfhood and mental illness. With consideration of her blockbuster works alongside later works that received much less critical attention, Shirley Jackson's Dark Tales promises a rich and dynamic expansion on previous scholarship of Jackson's oeuvre, both bringing her writing into the contemporary conversation, and ensuring her place in the canon of Horror fiction.

'Bluebeard,' the tale of a sadistic husband who murders his wives and locks away their bodies, has inspired hundreds of adaptations since it first appeared in 1697. In Bluebeard Gothic, Heta Pyrhönen argues that Charlotte Brontë's 1847 classic Jane Eyre can be seen as one such adaptation, and that although critics have been slow to realize the connection, authors rewriting Brontë's novel have either intuitively or intentionally seized on it. Pyrhönen begins by establishing that the story of Jane Eyre is intermingled with the 'Bluebeard' tale, as young Jane moves between households, each dominated by its own Bluebeard figure. She then considers rewritings of Jane Eyre, such as Jean Rhys' Wide Sargasso Sea (1966) and Diane Setterfield's The Thirteenth Tale (2006), to examine how novelists have interpreted the status and meaning of 'Bluebeard' in Brontë's novel. Using psychoanalysis as the primary model of textual analysis, Bluebeard Gothic focuses on the conjunction of religion, sacrifice, and scapegoating to provide an original interpretation of a canonical and frequently-studied text.

Why is Shrek one of the greatest selling DVDs of all time? Why are shampoo advertisements based on Sleeping Beauty? Why is it that the same simple stories keep being told? This study attempts to explain why fairy tales keep popping up in the most unexpected places and why the best storytellers begin their tales with 'once upon a time'.

Responding to thirty years of feminist fairy-tale scholarship, this book breaks new ground by rethinking important questions, advocating innovative approaches, and introducing woman-centered texts and traditions that have been ignored for too long.

Postmodern revisions of fairy tales have influenced several discourses and disciplines especially during the second half of the twentieth century. In particular, during the course of postmodernism, the rewriting of classic fairy tales has contributed to the subversion of their stereotypical structures, thus advancing alternative re-readings. This work offers an investigation into gender discourse in two postmodern re-writings of Bluebeard, namely Margaret Atwood’s “Bluebeard’s Egg” and Shirley Hazzard’s The Transit of Venus, especially focusing on male/queer perspectives that have not yet been taken into consideration. Starting from an overview on the diverse conceptualisations of the terms “gender” and “sexuality” in modern and contemporary times, this book analyses the birth and evolution of male studies and, subsequently, explores the ways in which they have influenced the interpretation of classical tales. By means of an intertwined and shifting process, which enables the characters of these contemporary revisions to “disguise” their identities within the pages and beyond their texts, the figure of Bluebeard reveals himself as the “in-between” pattern for contemporary gender conceptualisations.