110:â one focused on mocking the fairy tale genre and individual tales themselves, and the other, reformatting tales to include more serious morals and social messages - literary scholars and critics tend to focus on the tales that reflect the evolving sociocultural conditions of the 21st century. The fluid nature of the fairy tale and the evolution of technology has allowed fairy tales to permeate a wide range of media, providing these parodied tales with means to be presented in more creative and advanced forms, and providing the creators with an ability to alter the audienceâs reception of the stories being told. This fluidity of the genre has allowed Fairy tale parodies to mutate over time, and to be portrayed in a plethora of forms - not only literary parodies but live-action and animated film and television, poetry, comics, and music, that have provided audiences with ubiquitous access to these complex narratives.
134:. The parodies are radical and significantly deviate from the trajectory of the traditional tale, modernising the previously explored ideologies to resonate with a contemporary audience and allow readers to question the principles of existing narratives. Fairy tale parodies will resonate with an audience if the configuration of the tale is adapted, and meaning is transformed to fit the relevant social and cultural context. If a parody of a tale does not alter the text to fit the contemporary social context and instead recycles content of traditional narratives, they are to be considered imitating existing stories to affirm traditional ideologies and prolong a conservative message.
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definitions of parody, the most transformative tales are grounded more deeply in feminism than mockery. Fairy tales are meant to evoke wonder, and therefore if a parodied tale still wants to be considered a 'fairy tale', it needs to maintain that sense of awe and wonder that traditional tales hold. A feminist parody will not ridicule past depictions but instead focus on "what women can be and are, not about how women have been constructed in the past" (Altmann, 2008), empowering modern women, rather than mocking those preceding.
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feminists debating the "value of fairy tales in shaping of gendered attitudes about self, romance, marriage, family and social power". Traditional fairy tales have been criticised for their one-dimensional gendered character types that reinforce the societal oppression of women. It has been suggested that "the fairy tale characterisations are more powerful than the acts committed by the character" with their characterisations essentially trapping characters into their one-dimensional roles. Female protagonists, often
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readers to identify and sympathise with the character, as the distance between reader and character is diminished. The narration humanises the villain and allows the audience to understand the context and motivation behind her actions, provoking the audience to question whether her actions render names such as 'wicked' or 'evil', and reducing the ability of audiences to categorise characters into their traditionally recognised stereotypes.
130:, 1985), thus when crafting a parody of traditional fairy tales, writers borrow, both consciously and unconsciously from other cultures in an âendeavour to imbue their symbolical stories with very specific commentaries on the mores and manners of their timesâ. Writers of fairy tale parodies decide what is relevant in society and communicate this crucial information through their tales, utilising memorable motifs, stereotype subversions and
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122:, relevant to religions of the time and as storytellers discarded religious connotations, the fairy tales became much more secular. As society progressed, and authors began writing fairy tale parodies, pertinent social and political matters became the key focus of the tales, and the question of âwhat, if any, is the role and function of such tales in the evolution of human civilisationâ (
143:
When parodying a fairy tale for children, in the form of a fictional picture book, authors often preserve the âhappy endingâ convention, as a practise governed by a motivation âto enculturate children in societal codesâ. For adults, the parodied tale acts as a means for carrying social and political dialogue regarding issues of the time â often with a heavy focus on
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variable desire machines" and are able to "project possible futures". It is the morphic ability of the tales that allows authors to portray a world or character apt for their time with tales informed by "a human disposition to action â to transform the world and make it more adaptable to human needs" (Zipes, 2002).
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To parody a fairy tale for children has some differences than in doing so for adults. For children, tales are retold to make them more comprehensive, to teach simple moral lessons suitable for the contemporary audience or to rouse greater senses of wonder and imagination through alternative endings.
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Fairy tales offer a way of both "explaining the world around us and offering a method of imagining a world possible". Traditional fairy tales often featured a transformation or reveal - Cinderella's infamous fairy god-mother makeover, Ariel gaining human legs, and so on - where the character, often
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is a lesser explored topic in fairy-tale parodies, however it is a significant topic needing to be explored in further depth. Critics understand that envisioning a fairy tale retelling where a protagonist is not able-bodied, and yet the world is not hostile, or expecting them to adjust to fit into
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Those traditional tales typically depicted female characters through a patriarchal lens, with a happy ending and fulfilment being closely related to "domestic satisfaction" through a heterosexual marriage. The female protagonist receives a happy ending, albeit within the patriarchal constraints of
180:â The chronotope of a fairy tale parodyâ which refers to âhow configurations of time and space are represented in language and discourseâ (Bakhtin, 1937) â shifts the fairy tale to a more contemporary setting relevant for a modern audience, making it acceptable for diffusion into the public sphere.
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When parodying a fairy tale for a feminist audience, or through a feminist lens, authors have subverted the stereotypical depictions through role reversal, liberation of characters or mockery/ridicule of past texts. However, literary critics have found that despite ridicule being included in the
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Fairy tale parodies are an adaption of their original text, and adaptions "keep their pre-text in play but also reaccentuate or destabilise them, and some relocate them". Since the 1970's, contemporary understandings and social uses of the fairy tale genre have undergone significant change, with
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Whilst female characters have been provided with more agency in modern fairy tale parodies, the representation of the male protagonist often remains the same - a 2-dimensional, handsome, idyllic husband that in some way, saves the day or a unexpected, dopey outsider who happens to get the girl.
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viewpoint, with feminist retellings being used as agents to elicit social change or provide critical commentary. Feminist authors that have taken to writing their fairy tale parodies through a "woman-centric lens", give voices to heroines and allow the female character to narrate her own story.
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During times of war and economic hardship, adaptations of fairy tales were crafted to provide society with hope that life would soon improve. In modern society, fairy tale parodies are written to reflect and suit the cultural and societal shifts of the contemporary world, therefore many topical
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The fluid nature of the fairy tale has allowed stories to be adapted over numerous generations and reshaped by different cultures to become more compatible with the sociocultural conditions of the modern day. Fairy tales have the ability to affect the world we are in as "tales are ideologically
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writes "The future of postmodern feminist fairy tales lies in stories that can rewrite the genre without totally unmaking" and thus when parodying fairy tales, Coover subverted the stereotyped negative ramifications of 'The
Stepmother', through the use of first-person narration that encourages
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In a modern society where fairy tale parodies have grown prominent and have expanded the representation many ill-represented groups in the past, particularly females, the next step for representation regards expanding representation of topics such as masculinity and disability.
221:â. Through refabricating, rather than removing a character, authors encourage the audience to make a comparison between the traditional and contemporary story and highlight the possibilities of empowering characters that have previously been disparaged or misrepresented.
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brought great popularity to the genre, and parodies soon eclipsed traditional fairy tales. The genre garnered significant praise for representing relevant societal views in the contemporary world but has also been criticised for supplanting the traditional stories.
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female, transforms themselves to fit with societal expectations of beauty, femininity and marital appeal. It is always the character conforming to society, rather than society expanding its definitions of classifications such as 'normal' and 'beautiful'.
68:
189:â Authors of fairy tale parodies often ârenegotiate the boundary between magic and realismâ to coincide with a modern, secular society. When magic is utilised in these retellings, it is often described through the perspective of an
101:
were presented with altered storylines for a modern audience. Since then, fairy tale adaptions have pervaded contemporary popular culture - subverting, shattering, and altering understandings of classic fairy tales, with the
315:', however with the definition expanding in the contemporary world, there is a greater focus on gender subverting fairy tale parodies that allow for a broader depiction and characterisation of male characters.
209:â When parodying a traditional fairy tale, authors will retain markers of their intertextual relationship with the original text such as numeric symbolism that favoured a patriarchal narrative focus â â
193:, leaving the audience to question whether magic really occurs, or materialises only through the mind of the protagonist â fitting for a modern society with a greater focus on psychological health.
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255:, the witch, the evil step mother - is often portrayed as "evil from within, ugly and scheming", reiterating the traditional association between beauty and goodness, and ugly and evil.
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societal norms should be a crucial focus point for future parodies, to assist society in shaping and informing the true ideas of disability, not the stereotyped and negative versions.
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171:- to form their own. Fairy tale parodies further this hybridity, disrupting and defying the traditional form of the tale through the following distinctive characteristics:
203:, however, writers of parodies with an adult audience, often unmask this illusion, providing a pessimistic ending much more consistent with the harsh realities of society.
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Through providing female characters with agency, authors are creating three-dimensional beings, fully realised as their own character rather extensions of men.
251:, are characterised by their beauty, innocence and female passivity, all of which are depicted as valued womanly attributes, whilst the female antagonist - the
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their world and female antagonists who dared to exercise their power and thus place themselves on par with men, where outcast and condemned.
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A good fairy tale parody will maintain recognisable traits of the traditional fairy tale, whilst reimagining certain traits of the genre.
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cartoons of the 1930s and 1940s featured a number of fairy tales in one form or another, often more than once. These often used were
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Critical and creative perspectives on fairy tales: an intertextual dialogue between fairy-tale scholarship and postmodern retellings
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147:- a widely acknowledge and important approach to modern tales that allows authors to alter oppressive social representations.
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significantly contributing to the dissemination of these new tales in the 21st century. There are two types of fairy tale
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There are, of course, influential feminist fairy tale parodies that are written through satire and exaggeration, such as
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Fairy tales have always been hybrid in their nature, borrowing from multiple simple genres â with a key focus on,
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199:â as previously stated, many authors of fairy tale parodies for children conform to providing a traditional
286:, however modern tales do not tend to focus on satirisation or sarcasm as their main technique for parody.
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adaptions have been framed through a feminist lens or with a focus on greater diversity in representation.
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1277:"Picture-Book Retellings of "The Three Little Pigs": Postmodern Parody, Intertextuality, and Metafiction"
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126:, 1979), was fundamental to the development of these parodies. Parody is âgoverned by intentionalityâ (
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have been called "Adult fractured fairy tales ... still humorous but the humor is for adults".
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Otter's Coat: The Real Reason Turtle Raced Rabbit A Cherokee + Appalachian
Tortoise and the Hare
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Traditional tales have been constrained by the necessity to conform to the definitions of '
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1347:"The Cultural Evolution of Storytelling and Fairy Tales: Human Communication and Memetics"
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131:
1805:"Fractured Thoughts Workshop: Fractured folk tales including fairy tales, fables, myths"
952:"The Fairy Tale and Its Uses in Contemporary New Media and Popular Culture Introduction"
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specifically focused on re-interpreting fairy tales in usually non-traditional settings.
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36:. The parodies are often created as new literary stories, movies, or television shows.
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Fairy Tales
Transformed: Twenty-First-Century Adaptations & the Politics of Wonder
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Fairy tales transformed?: twenty-first-century adaptations and the politics of wonder
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2019:
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1090:"Ice, Glass, Snow: Fairy Tale as Art and Metafiction in the Writing of A. S. Byatt"
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1439:. Detroit, Michigan, United States: Wayne State University Press. pp. 3â49.
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1506:"Twice Upon a Time: The Retellings of Fairy Tales for Contemporary Audiences"
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The
Irresistible Fairy Tale : the Cultural and Social History of a Genre
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723:, a series of direct-to-video animated films poking fun at fairy tales (2008)
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691:, an animated film poking fun at "Cinderella" and other fairy tales (2006)
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1225:"Review of Why Fairy Tales Stick: The Evolution and Relevance of a Genre"
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Politically
Correct Bedtime Stories: Modern Tales for Our Life and Times
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Kawoni's
Journey Across the Mountain: A Cherokee Little Red Riding Hood
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In a modern world, many fairy tales have been parodied in favour of a
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2009:
2004:
1639:"Feminist Fairy-Tale Scholarship: A Critical Survey and Bibliography"
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Children's books that have been classified as fairy tale parodies:
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The genre of fairy tale parody grew in popularity following the â
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119:
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1140:"Why Fairy Tales Stick: The Evolution and Relevance of a Genre"
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1692:
Disfigured : on fairy tales, disability, and making space
597:, a live-action film poking fun at fairy tale clichés (1987)
589:, a live-action film poking fun of fairy tale clichés (1985)
1390:"A Comment on Fertility Control and the Fairy-Tale Heroine"
1043:"The Meaning of Fairy Tale within the Evolution of Culture"
605:, an animated film poking fun at fairy tale clichés (2001)
1541:"Who's Wicked Now? The Stepmother as Fairy-Tale Heroine"
118:
Traditional fairy tales are believed to be derived from
1813:
1807:. Taleypo the Storyteller. Retrieved April 16, 2014.
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775:, an animated film starring the cartoon characters
374:
The Stinky Cheese Man and Other Fairly Stupid Tales
1138:Reynolds, Kimberley; Zipes, Jack (April 1, 2008).
407:Jim Henson Presents Goldilocks, Miss Piggy's Dream
1602:Considering children's literature : a reader
703:film poking fun at Disney fairy tale films (2007)
1599:Rosenberg, Teya; Schwenke Wyile, Andrea (2008).
613:, a live-action fairy tale spoof poking fun at "
39:The genre was popularized on television by the "
1751:"Reinventing Masculinity in Fairy Tales by Men"
1133:
1131:
655:, an animated high school, sci-fi take on the
2284:The Magazine of Fantasy & Science Fiction
1851:
1475:. Detroit, MI: Wayne State University Press.
8:
945:
943:
941:
1281:Children's Literature Association Quarterly
476:The Three Little Wolves and the Big Bad Pig
2522:
2443:
2121:
1858:
1844:
1836:
1729:: CS1 maint: location missing publisher (
731:, the fourth and final installment in the
1359:10.23943/princeton/9780691153384.003.0001
996:"The Changing Function of the Fairy Tale"
967:
83:, an early example of the genre from 1942
667:, an animated mystery-thriller take on "
1820:
950:Schwabe, Claudia (September 27, 2016).
878:
1722:
1464:
1462:
1460:
1458:
1456:
1435:Bacchilega, Cristina (November 2013).
2212:Internet Speculative Fiction Database
1744:
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32:of fiction that parodies traditional
7:
989:
987:
368:The True Story of the 3 Little Pigs!
114:Development of the fairy tale parody
1275:Athanasiou-Krikelis, Lissi (2019).
138:Development for different audiences
3173:LGBT themes in speculative fiction
2499:Works inspired by J. R. R. Tolkien
791:, a live-action adaptation of the
679:, an animated fairy tale take on "
14:
1504:Howard, Morgan (April 18, 2018).
625:, an animated film poking fun at
443:Cinderella with Benjy and Bubbles
3238:
3237:
3227:
1823:
560:Saturday morning animated series
434:Cinderella and the Glass Flipper
3228:
2183:Ballantine Adult Fantasy series
1783:10.13110/marvelstales.32.2.0314
1767:10.13110/marvelstales.32.2.0314
772:Tom and Jerry's Giant Adventure
711:, the third installment in the
487:Politically Correct Fairy Tales
1388:Van de Walle, Etienne (2001).
1353:, Princeton University Press,
1191:. Princeton University Press.
1185:Zipes, Jack (March 19, 2012).
783:" and other fairy tales (2013)
577:, a live-action film mocking "
537:Goldilocks and the Three Bears
451:The Adventures of Simple Simon
1:
1469:Bacchilega, Cristina (2013).
1345:Zipes, Jack (April 8, 2012),
740:Hoodwinked Too! Hood vs. Evil
548:The Rocky and Bullwinkle Show
94:The Rocky and Bullwinkle Show
46:The Rocky and Bullwinkle Show
1223:Reynolds, Kimberley (2008).
844:Puss in Boots: The Last Wish
639:, the second installment in
151:Characteristics of the genre
2201:The Encyclopedia of Fantasy
1351:The Irresistible Fairy Tale
823:, an animated spy take on "
820:Secret Magic Control Agency
803:, an animated film mocking
759:series about the character
628:The Adventures of Pinocchio
457:The Velveteen Killer Rabbit
3305:
3274:Works based on fairy tales
1539:Williams, Christy (2010).
1229:The Modern Language Review
1144:The Modern Language Review
380:The Frog Prince, Continued
97:in 1959, where well known
3223:
2446:
2239:List of story collections
2080:Occult detective fictionâ
1873:
890:. Taleypo the Storyteller
812:A Midsummer Night's Dream
699:, a live-action/animated
676:The Ugly Duckling and Me!
525:The Tortoise and the Hare
2504:World Fantasy Convention
1749:Attebery, Brian (2018).
1557:10.1353/mat.2010.a402475
1088:Tiffin, Jessica (2006).
1059:10.1353/mat.2011.a462732
1000:The Lion and the Unicorn
914:"Is Shrek Bad for Kids?"
793:musical of the same name
363:The Book That Jack Wrote
219:Knight in Shining Armour
2572:Fire-breathing monsters
888:"Fractured Fairy Tales"
278:1971 poetry collection
52:The 2001 animated film
2323:Dungeons & Dragons
1689:Leduc, Amanda (2020),
1637:Haase, Donald (2000).
781:Jack and the Beanstalk
755:, a spin-off from the
669:Little Red Riding Hood
579:Jack and the Beanstalk
533:Jack and the Beanstalk
521:Little Red Riding Hood
353:Jack and the Meanstalk
84:
2389:International Fantasy
1830:Children's literature
1803:Kinsella, Marilyn A.
1406:10.1353/mat.2001.0016
1293:10.1353/chq.2019.0024
1106:10.1353/mat.2006.0018
886:Kinsella, Marilyn A.
867:Disney animated films
763:, poking fun at the "
574:Jack the Giant Killer
544:Fractured Fairy Tales
529:The Three Little Pigs
359:and Rebecca Wildsmith
325:
298:Modern representation
89:Fractured Fairy Tales
77:
41:Fractured Fairy Tales
3193:Supernatural fiction
2270:Fantastic Adventures
1041:Zipes, Jack (2011).
994:Zipes, Jack (1988).
806:Beauty and the Beast
688:Happily N'Ever After
26:fractured fairy tale
3269:Fairy tale parodies
2494:Tolkien's influence
2207:Fantasy Masterworks
2160:Television programs
1968:Fairy tale parodies
1755:Marvels & Tales
1643:Marvels & Tales
1605:. Broadview Press.
1545:Marvels & Tales
1394:Marvels & Tales
1334:. November 1, 2011.
1094:Marvels & Tales
1047:Marvels & Tales
767:" fairy tale (2011)
728:Shrek Forever After
403:by Michael Emberley
335:The Giant's Big Toe
284:Grimm's Fairy Tales
242:Feminist retellings
211:Damsel in Distressâ
191:unreliable narrator
2716:Damsel in distress
2484:Mythopoeic Society
2085:Paranormal romance
2000:Historical fantasy
1985:Fantasy of manners
1939:Children's fantasy
1012:10.1353/uni.0.0236
743:, a spy sequel to
594:The Princess Bride
550:from 1959 to 1961.
508:Some of the early
471:by Cordellya Smith
465:by Cordellya Smith
430:by Frances Minters
282:that parodies the
229:Contemporary tales
104:digital revolution
85:
3251:
3250:
3125:
3124:
3050:Places and events
2512:
2511:
2342:
2341:
2063:Planetary romance
1974:Fairytale fantasy
1929:Alternate history
1917:Sword and sorcery
1908:Action-adventure
1702:978-0-221-04580-6
1612:978-1-55111-604-4
1510:Scholarly Commons
1482:978-0-8143-3928-2
1198:978-1-4008-4182-0
910:Poniewozik, James
825:Hansel and Gretel
779:, poking fun at "
681:The Ugly Duckling
497:James Finn Garner
184:Attribute to the
75:
24:(also known as a
22:Fairy tale parody
3296:
3241:
3240:
3231:
3230:
3107:Enchanted forest
2751:Occult detective
2523:
2479:Lovecraft fandom
2444:
2148:highest-grossing
2122:
2109:Westâern fantasy
1860:
1853:
1846:
1837:
1828:
1827:
1826:
1819:
1808:
1801:
1795:
1794:
1746:
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1328:
1313:
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1272:
1261:
1260:
1241:10.2307/20467798
1220:
1211:
1210:
1182:
1176:
1175:
1156:10.2307/20467798
1135:
1126:
1125:
1085:
1079:
1078:
1038:
1032:
1031:
991:
982:
981:
971:
969:10.3390/h5040081
947:
936:
935:
933:
931:
926:on June 17, 2007
922:. Archived from
912:(May 10, 2007).
906:
900:
899:
897:
895:
883:
453:by Chris Conover
424:by Ellen Jackson
391:Revolting Rhymes
326:Children's books
280:Transformations,
76:
16:Genre of fiction
3304:
3303:
3299:
3298:
3297:
3295:
3294:
3293:
3254:
3253:
3252:
3247:
3219:
3188:Science fiction
3121:
3044:
2934:
2841:Magical weapons
2772:
2736:Fairy godmother
2692:
2636:Talking animals
2508:
2433:
2359:British Fantasy
2338:
2310:
2291:Science Fantasy
2248:
2164:
2113:
2052:Science fantasy
1897:
1869:
1867:Fantasy fiction
1864:
1834:
1824:
1822:
1814:
1812:
1811:
1802:
1798:
1748:
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1738:
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939:
929:
927:
908:
907:
903:
893:
891:
885:
884:
880:
875:
858:
720:Unstable Fables
708:Shrek the Third
569:
553:The late 1980s
517:Merrie Melodies
505:
503:Animated shorts
481:Eugene Trivizas
413:The Three Bears
409:by Louise Gikow
357:Brian Wildsmith
328:
300:
244:
231:
207:Intertextuality
169:magical realism
153:
140:
132:intertextuality
116:
67:
65:
17:
12:
11:
5:
3302:
3300:
3292:
3291:
3286:
3281:
3279:Fantasy genres
3276:
3271:
3266:
3256:
3255:
3249:
3248:
3246:
3245:
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3221:
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3217:
3212:
3211:
3210:
3200:
3195:
3190:
3185:
3180:
3175:
3170:
3168:Horror fiction
3165:
3163:Gothic fiction
3160:
3154:
3149:
3144:
3139:
3133:
3131:
3127:
3126:
3123:
3122:
3120:
3119:
3114:
3112:Thieves' guild
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2520:
2514:
2513:
2510:
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2496:
2491:
2489:Tolkien fandom
2486:
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2476:
2471:
2463:
2458:
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2435:
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2432:
2431:
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2258:
2256:
2250:
2249:
2247:
2246:
2241:
2236:
2235:
2234:
2229:
2224:
2217:List of novels
2214:
2209:
2204:
2197:
2196:
2195:
2185:
2180:
2174:
2172:
2166:
2165:
2163:
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2067:
2066:
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2060:
2049:
2044:
2039:
2034:
2033:
2032:
2022:
2017:
2012:
2007:
2002:
1997:
1992:
1987:
1982:
1977:
1971:
1965:
1964:
1963:
1953:
1952:
1951:
1941:
1936:
1931:
1926:
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1914:
1905:
1903:
1899:
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1865:
1863:
1862:
1855:
1848:
1840:
1833:
1832:
1810:
1809:
1796:
1761:(2): 314â337.
1736:
1701:
1668:
1626:
1611:
1586:
1551:(2): 255â271.
1522:
1496:
1481:
1452:
1445:
1427:
1400:(1): 128â131.
1380:
1367:
1337:
1314:
1287:(2): 173â193.
1262:
1235:(2): 503â504.
1212:
1197:
1177:
1127:
1080:
1053:(2): 221â243.
1033:
983:
937:
901:
877:
876:
874:
871:
870:
869:
864:
857:
854:
853:
852:
847:, a sequel to
840:
835:, a sequel to
828:
816:
796:
788:Into the Woods
784:
768:
748:
736:
724:
716:
704:
692:
684:
672:
660:
652:Chicken Little
648:
632:
618:
610:Ella Enchanted
606:
598:
590:
582:
568:
565:
564:
563:
551:
546:" segments on
540:
504:
501:
484:
483:
472:
466:
460:
454:
448:
447:
446:
440:
431:
425:
416:
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404:
398:
387:
360:
350:
341:
327:
324:
299:
296:
243:
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230:
227:
223:
222:
204:
194:
181:
152:
149:
139:
136:
115:
112:
64:
61:
43:" segments on
15:
13:
10:
9:
6:
4:
3:
2:
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3186:
3184:
3181:
3179:
3176:
3174:
3171:
3169:
3166:
3164:
3161:
3158:
3157:Ghost stories
3155:
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3150:
3148:
3145:
3143:
3140:
3138:
3135:
3134:
3132:
3128:
3118:
3115:
3113:
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2966:
2964:
2961:
2959:
2956:
2954:
2951:
2949:
2946:
2945:
2943:
2941:
2940:Fantasy races
2937:
2929:
2926:
2924:
2921:
2919:
2916:
2914:
2913:Shapeshifting
2911:
2909:
2906:
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2812:
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2807:
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2801:
2797:
2794:
2792:
2789:
2788:
2787:
2786:Hard and soft
2784:
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2609:Shapeshifters
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2440:
2436:
2430:
2429:World Fantasy
2427:
2425:
2424:TĂ€htifantasia
2422:
2420:
2417:
2415:
2412:
2410:
2407:
2405:
2402:
2400:
2397:
2395:
2394:Japan Fantasy
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2127:
2123:
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2092:Weird fiction
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2075:Urban fantasy
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849:Puss in Boots
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833:
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800:Strange Magic
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777:Tom and Jerry
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765:Puss in Boots
762:
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752:Puss in Boots
749:
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735:series (2010)
734:
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715:series (2007)
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3117:Magic school
3090:Astral plane
3085:Hollow Earth
2778:Magic system
2731:Dragonslayer
2626:Skin-walkers
2474:The Inklings
2467:Harry Potter
2466:
2321:
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2296:
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2282:
2275:
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2020:Magical girl
1995:High fantasy
1990:Hard fantasy
1967:
1956:Dark fantasy
1934:Contemporary
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510:Warner Bros.
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3264:Fairy tales
3142:Epic poetry
3003:Leprechauns
2918:Thaumaturgy
2893:Incantation
2846:Magic sword
2404:MĂ©liĂšs d'Or
2305:Weird Tales
2058:Dying Earth
2037:Mythopoeiaâ
2015:Low fantasy
1980:Fantastique
1695:, Toronto,
1006:(2): 7â31.
745:Hoodwinked!
664:Hoodwinked!
657:Henny Penny
428:Cinder-Elly
422:Cinder Edna
418:Cinderella
313:masculinity
99:fairy tales
34:fairy tales
3258:Categories
3203:Tokusatsuâ
3152:Fairy tale
3095:Dreamworld
2993:Hobgoblins
2928:Witchcraft
2898:Necromancy
2878:Divination
2873:Demonology
2836:Magic ring
2826:Magic item
2809:Ceremonial
2698:Characters
2619:Werewolves
2557:Elementals
2461:Filk music
2409:Mythopoeic
2244:Publishers
2170:Literature
2130:television
2102:Weird West
2042:Omegaverse
1912:Lost world
1883:Literature
1711:1140509658
1150:(2): 503.
956:Humanities
873:References
862:Fairy tale
615:Cinderella
396:Roald Dahl
348:Jane Yolen
339:Brock Cole
319:Disability
249:princesses
215:Evil Queen
177:Chronotope
3198:Superhero
3183:Mythology
3080:Lost city
2988:Halflings
2908:Shamanism
2903:Runecraft
2888:Evocation
2746:Magicians
2721:Dark lord
2706:Barbarian
2666:Skeletons
2589:Gargoyles
2567:Familiars
2527:Creatures
2263:Fantastic
2254:Magazines
2097:New weird
1902:Subgenres
1791:192578432
1775:1521-4281
1655:1521-4281
1621:182040347
1581:163033162
1565:1521-4281
1491:870177329
1422:201741878
1414:1536-1802
1309:182356482
1301:1553-1201
1249:0026-7937
1207:979685942
1164:0026-7937
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1114:1536-1802
1067:1521-4281
1028:144272360
1020:1080-6563
978:2076-0787
962:(4): 81.
837:Enchanted
696:Enchanted
586:Ladyhawke
556:ALF Tales
3289:Parodies
3243:Category
3137:Allegory
3013:Mermaids
2983:Gremlins
2948:Centaurs
2883:Egregore
2864:Schools
2831:Grimoire
2791:Elements
2763:Wild man
2683:Unicorns
2671:Vampires
2614:Werecats
2456:Fanspeak
2364:Crawford
2334:Podcasts
2047:Romantic
2030:Mythpunk
1961:Grimdark
1949:Bangsian
1725:citation
1663:41380741
1573:41388955
1257:20467798
1172:20467798
1075:41389000
930:April 2,
894:July 25,
856:See also
827:" (2021)
683:" (2006)
671:" (2006)
617:" (2004)
581:" (1962)
264:feminist
197:Optimism
145:feminism
128:Hutcheon
108:parodies
3233:Outline
3130:Related
3008:Merfolk
2998:Kobolds
2978:Goblins
2963:Treants
2953:Dwarves
2923:Theurgy
2868:Alchemy
2800:neutral
2768:Witches
2711:Caveman
2676:Zombies
2661:Mummies
2631:Spirits
2582:Dragons
2577:Chimera
2562:Faeries
2379:Gemmell
2374:Gandalf
2329:FĂ©eries
2298:Unknown
2178:Authors
2153:S&S
1893:Sources
1878:History
1716:May 26,
1515:May 24,
1374:May 11,
636:Shrek 2
289:Author
253:villain
165:romance
161:fantasy
124:Burkert
63:Origins
28:) is a
3284:Genres
3102:Castle
3063:Worlds
3058:Quests
3040:Trolls
3018:Mermen
2973:Gnomes
2968:Giants
2741:Heroes
2656:Liches
2651:Ghosts
2641:Undead
2604:Nymphs
2550:Ghouls
2545:Devils
2540:Demons
2535:Angels
2518:Tropes
2469:fandom
2439:Fandom
2419:Saturn
2414:Nebula
2369:Dragon
2354:Balrog
2347:Awards
2188:Comics
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2010:LitRPG
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167:, and
157:fables
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3178:Mecha
3147:Fable
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2958:Elves
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2804:light
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2688:YĆkai
2646:Death
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2315:Other
2277:Locus
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1779:JSTOR
1659:JSTOR
1577:S2CID
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1024:S2CID
757:Shrek
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602:Shrek
542:The "
120:myths
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3068:list
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2819:Moon
2814:Love
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2756:list
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2193:list
2128:and
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1771:ISSN
1731:link
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