Open Graves, Open Minds

The Open Graves, Open Minds Project began by unearthing depictions of the vampire and the undead in literature, art, and other media, then embraced werewolves (and representations of wolves and wild children), fairies, and other supernatural beings and their worlds. The Project extends to all narratives of the fantastic, the folkloric, and the magical, emphasising that sense of Gothic as enchantment rather than simply horror. Through this, OGOM is articulating an ethical Gothic, cultivating moral agency and creating empathy for the marginalised, monstrous or othered, including the disenchanted natural world.

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← M.O. Grenby, ‘Fantasy and fairytale in children’s literature ‘

Greg Buzwell, ‘Bram Stoker’s stage adaptation of Dracula’ →

Marina Warner, ‘How fairytales grew up’

Posted on 15th December 2014 by William the Bloody

More from the always-insightful Marina Warner on the fairy tale and its transformations and adaptations. Here, the essay revolves around Disney’s Frozen to encompass the many variations, dilutions, and intensifications of the original folk motifs through the ages.

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About William the Bloody

Cat lover. 18C scholar on the dialogue and novel. Co-convenor OGOM Project

View all posts by William the Bloody →

This entry was posted in Critical thoughts and tagged adaptation, Angela Carter, Disney, Fairy tales, Feminism, Folklore, Genre, Gothic, Grimm brothers, Hans Christian Anderson, Intertextuality, Jung, Marina Warner, sexuality, Walter Benjamin. Bookmark the permalink.

← M.O. Grenby, ‘Fantasy and fairytale in children’s literature ‘

Greg Buzwell, ‘Bram Stoker’s stage adaptation of Dracula’ →

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