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We are all responsible for our own actions and trust me people who claim they are innocent and prey to what ever have also done wrong. So this is my point of view. Yes some time people do need help they loose their way in what their goal is or what not but hey you live and learn. We provide a service to the so called less fortunate people who need and want the attention we can provide that no one else can give.

Also for people who are in the closet about what ever fetish they have from toes to bunt cakes. So try a different aprouch to get the affect you are looking for. Marketing is a key play here. I completely agree. The fact that people bring religion into everything is annoying. I seem to remember a lot of bad things happenin in the catholic church, christian church, hell even the jewish church. So there it is. I was amazed at the amount of people observing Pornography, and the money spent on this, more surprising was how many people I did not know the extent of Children that have access to Porn sites.

I had two of my Granddaughters stay with my wife and I they are Teenagers. They told me their parents had watched Porn and so had they. It is a shame I preach against this and I warn others about, looking at this type of Material and Movies. He was a Male prostitude, I deal with Female prostitudes also and try to lead them to Jesus Christ, and get them off the streets, the battle is up hill not only for porn but Drug addiction and Alcoholism.

Lol I believe God does not currently manifest his power in physical ways such as curing Herpes. He expects his message to be spread by his messengers in this age. However, as previously stated, living a healthy lifestyle might have caused some scientific difference that allowed the symptoms to fade. It is medically impossible to be cured of it. Now to the pornstars: they choose the life, they choose the regrets. Heres an example; just as a bank robber takes the risk of 10 years in jail, so a pornstar risks a life of emotional distress and physical degradation.

However, the difference between the two are the skillsets required. To rob a bank, one must have the know how and tools for the job; these usually come after a fair amount of practice, the acquisition of contacts, etc. Therefore, I would assume that a skilled robber would be at a point in his mental development which would allow him to make a more informed decision about the cost and affect. Therefore, I would assume that a skilled robber would be at a point in his mental development which would allow him to make a more informed decision about the cost and affect of his actions.

A pornstar, on the other hand, requires usually only one skill, if it can even be called such: a beautiful physical appearance. These girls did choose the lifestyle, but just as a 16 year old child who is addicted to heroin, they should be given grace because of their inability to use the skill of foresight, which comes later in life when one has gained some maturity. Therefore, I commend this woman for looking to help some of these girls. Y is it everyone has to turn a conversation about 1 thing into religion.

This is about how porn performers and their families are injured or tormented because the system is eithr corrupt or completly shattered. It always goes back to God it always has — it always will. I myself wld be very afraid to try and belittle him. When God has enough of this fealty — evil- disgusting world — He will destroy it!

There is nothing inherently wrong with sex work, just as there is nothing inherently wrong with any act that does not hurt anyone else. It is the lack of standards and of regulations- the industry runs unsupervised and corrupt, and this is what happens. There is such a thing as immoral systems that promote self-harm. Besides, there are many other harms that come from the product produced by the porn industry. The problem of porn addiction is even recognized by the medical community. Here we go again. Phoenix is correct in sayin that it does not hurt anyone. That makes no sence.

But I see where its goin back to the religious aspect. Suicide is for someone who fels they have no way out of a life they cannot get control of. Simple fact is that we all have something wrong with us nobodys perfect so y would u wanna make a excuse of it. Also morality is a personal preerences. My morals are differnet from u. But fyi I watch porn almost everyday.

Does that make me sick? I use it for a medical reason I look different so there it is. We just need to accept our actions simple and plain. T Skee — The suicide analogy exposes the absurdity of your notion that just because someone does something to themselves and harm no one else, this makes it okay. But those that are truely mentally ill that cannot afford medicla or anything like that. What would u prefer? Payin for their medical bills via taxes or payin for their boarding at a jail or mental institute cause they took their agression out on a INNOCENT person.

Id prefer they offed themselves. If that makes me wrong oh well. If innocent gets hurt what is more wrong? It can be used and abused which is wrong and should be handled by law enforcement. Its not. The issue needs to be fixed. Just like any job they should be able to go to work feel safe and enjoy their job. I was pointing out that absurdity by applying his principle to something else entirely. Yes, back on topic… We do agree at least on the principle that if porn is going to be legal that it needs to be a safe workplace.

Unfortunately that has not happened in California, as Shelley points out here. When I interviewed Shelley back in February she told me about their initiative to require condoms on the porn sets just like a doctor who works with bodily fluids is required to wear gloves. The porn industry in California is blatantly defying the law and doing so openly: only a handful of producers are complying.

In fact, they are so defiant, they would rather relocate than comply. Porn is, after all, a form of legalized prostitution. The world of commercial sex of which porn is a part comes with the inherent danger of a world where men buy sex for money. Go anywhere where women are bought and sold even by choice , whether is Las Vegas, Mexico City, or Phnom Penh, and you find brutality. But this is only the tip of the iceberg. Where we disagree is I do believe porn is wrong because it commodifies and industrializes sex and trains men and women to dehumanize one another.

So as u said that california law requires the producers to have condoms on hand yes? I get that. And guess what not just men watch porn. But what about the ugly beast Fabio? Is he not industrialized and commodified and lusted upon by women? T Skee — First, the issue about condoms in porn films which will appear on the LA county ballot in November is not related to whether a pornstar can take initiative and buy condoms for herself. Yes, any actress could do that, but directors control what they want shown in their films. The point is that the porn production companies bear this responsibility.

If I am a doctor operating on patients without the proper gloves, I would expect that the hospital administration to take action. Similarly, if a guy and a girl on the porn set start having sex without a condom, I would expect the producers and directors to take action. No matter what a pornstar might want to do on the set, the responsibility to ensure her safety lies in the hands of those who hire her. Second, you are right: Porn is also viewed by women. I also coordinated a webinar for women who struggle with this a couple months ago.

Simple fact is that there is not enough exposure no pun intended on this subject. Yay its on the internet so its out there forever great but how many ppl r readin and replyin on this blog? If you or I want anything to change where is the media? There not here r they NO y? Public outcry can change a lot that is undeniable. So give that a shot. And they can and do have a choice on wheter ot not to do a scene with a condom. And yes I know I am pretty sure I spelled that wrong. But at least big organizations like Cal-Osha are going after porn producers now.

If something happens there, it might raise national awareness. Well since condoms were voted to be used in nov. Lets see it enforced,i feel the watchin and making of porn will start to decline. Im sure theyll move to where they dont have to use them. I sure dont feel for a out of work porn star. Addictions are treatable. Any one heard of the new laughn disorder? Just the way the pharmasuiticle co. Laughn is the best medicine,if one wants to stop laughn,stick your finger in a door jamm and slamm the door. If ones child is watching porn,take away the internet conn.

Adults make your own bed and lay in it yes? All one has to do is learn from history,as in Greece and Rome,to know the dangers and to know better than to dive into the instant gratification and seemingly unimportant decisions. You two guys are making some excellent point. I hate condoms,i thank the gods ive a fantastic wife of many years. Honestly when we were first dating we watched some porn,but it didnt last for long for several reasons. Why watch some one picking apples when you have the best home made apple pie waiting to be ate in your own kitchen.

Shelley …. Please save people from doing porn……save the performers who are in the industry now…There is a lot of porn and it can be continued for next years…so no more is required please save all……. Take care. You are doing gud by helping for the victims. I also want to protest with you for adult industries. Miss Shelley-Thank you so much for educating people on the realities of pornography. I used to be in the industry myself. I reside in a big city in the USA. I originally got into the business to avoid homelessness after running away. It was exciting and the money was instant gratification and I became addicted to the lifestyle and never ending flow of cash.

Then, while working in a whorehouse, three thugs somehow got in and I was raped. I did press charges-come to find out the guy who did that to me was wanted for murder. I became more addicted to drugs, but kept working as a high class escort. I also did a few films. No condoms. I was scared to death-but oh the money! I felt so trapped that I considered suicide many times. Now, after stopping working in the sex biz, I am strong, independent, and successful without having to sell my body for quick money. I love Jesus, and after accepting him as my saviour, my life has changed dramatically!

I am genuinely happy, I love myself again, and I have everything I need. I advise any girls and women who are reading this to not make the same mistakes I unfortunately did. I have been diagnosed with PTSD, bipolar disorder, and depression. Since I stopped using drugs, and have been on my legitimately prescribed medication, I can finally function in life again. God bless everyone, and thanks for reading my story. Have some respect and be mature. Hey Jesus was a good man……. To many people miss the point of the moral guidebook that is the bible. Instead of going to church and telling yourself you are a good Christian, why not spend that time helping others or generally being a better person.

Hey those porn stars are hard working men and woman trying to support drug or material powdering addictions. Stop raping yourselves to FAKE porn trash. Your limp wristed fantasies will never come true. Well I love and think porn is perfectly fine. I really dont see whats wrong with is whatsover. This is and pathetic. Let me explain something to everyone. In rap vi videos you have video vixens.

They dance in the background for mobey right, buy when they get a certain age they want to write books and do interviews to talk about how horrible it was in that industry. Case in point this lady. Dont do something enjoy it then go back and try to expose ot simply because it doesnt want you any more. I applaud her for speaking out but motives are a totally dfferent thing.

Its not about religion its about trying to get back at something because it doesnt want you anymore. That POV was a weak minded one to make about religion. Not to be off topic. Point blank, the porn industry is voluntary. SO who is really to blame for these misfortunate events?

Not to mention a lot of actors are mostly Christian to begin with lol. That discussion about the sovereignty of God has been around for centuries, so I doubt your small paragraph here closes the question. The porn industry is voluntary, of course at least for most people. That is not really the question. The question is how the public should respond to the abuses in the industry. Where do you get the idea that most women in the industry are Christians?

Do you have any evidence for that? Very interesting. My ex used to be a pole dancer. Even that could have lead to to a bigger involvement if I would have let it. I must say we should aboide by the laws given us to GOD. I also pray for those who have STD and many other different diseases. Shelley Lubben and to all , i know your trying to help the men and woman to get out of the pron scene and i have respect for you for that.

My son was lured out to California from a Craigslist ad for modeling. I thought it was real modeling , but it turns out it was gay porn. He had to sign a year contract with them, he was only He never went back after the contract was up, but started drinking heavily for the next two years. He was raised in church. He had to transfer to another school district and graduated from high school this year at age He has since had to move out of state. He is really struggling with this and needs prayer. Just thought I would tell my experience with this horrible industry. With all due respect people sorry to say that ur God had nothing to do with the curing of mrs.

If it were simply that easy theen y does Your God aquire death n our everyday life y not help old people and dying starving kids? Sorry to tell you that God is not the creator of all things and furthermore what type of title is that for the creator since it not really a name at all or a divine title. God simply means an ideal in which you can idealize any person, place or thing. So before you speak about things you know nothing about take time to think and do some homework about the creator himself you people have to get right with Yahweh he is our one true heavenly father or El meaning the most high!

Any diease that are aquired are not of the creator and is of satan since earth is his domain!!!!! And pornogarphy is of satan!!!!!! There was life long before light the ancient ones who rule the earth today as we speak the annuki beings or gods are celestrial reptillians from another time and place they just altered the human perseption and turned the whole world against eachother they supply the drugs they altered and have hidden the true religion they make the medicine they control your minds they use hate and fear against us to keep the world at war they control the media they embed violence in our minds from birth so why you ask why the world is slowly dying they lant that image in our heads a child repeats what they hear or see so if we turn on the t.

War was installed to kill us off so in the end guess who still remains on top?? Think people do your homework the whole world is corrupted and with one agenda on their minds world dominance and a world of the new ages bka new world order a one world supremacy!!!!!!!! Just to throw this out there, no one needs to talk about god or religion.

I do not know exactly what I believe in so I feel like that gives me the best point of view on religion. It pains me to see people trust god with all their heart and tell people their views make no sense because they are blinded with religion. I just wanted to say to everyone….. You all sound like a bunch of little kids fighting. For the people that believens god again I respect your opinions and views this is how it should be.

Does it not say in the bible to not force religion on someone who wishes not to learn? Then stop doing it. Gezz wiz. I believe what they are saying is that God can cure herpes. Sadly, most politicians have no interest in being known as the one that cleaned up the porn industry and made it safe for those that work in it. I empathize for those hurt by the industry but, also believe that there it has a fundamental 1st amendment right to exist.

That is why i doubt, as much as their cause is out of the virtue, will be at at all successful. I would actually like to make a suggestion….. Yes, i can understand that to a large extent shelly is a christian woman and that this is a christian blog, but this is not the platform for us to attack each other about what we believe and to convince others to believe the same thing. I personally think that some people are not commenting to support or criticise the work that shelly is doing, but now they are pushing their own agendas, and this is seriously out of line now…….

I am a christian, and i strongly believe that Gods power and how he acts is beyond human comprehension…. I dont —- no i know for a fact—- that God is not pleased at all to see what is happening here. If you, luke, believe in God then its fine. If you, T. Dont carry on like fools fighting please. Again, bigups to shelly for what she is doing—- einstein south africa. Unfortunately Einstein, You yourself are somewhat self righteous. Who are you to tell other what to say, think or do here.

I respect all the positive opinions about Shelly here. But again who are you to speak about god as if you know him and have two way conversations with him. Dis is real,funny,sad,upsetting and humorous with all the bickering and fighting,you guys are adults,keep your thoughts to yourself if there not nice,like you were told as kids and tell your kids,you should be ashamed as adults and especially parents to stoop to such a low degree of immaturity,you people rarely mention the lady this whole thing was started from. The important thing to remember here is that we all share a common interest.

The common interest is to reduce the suffering of our fellow human beings. For the most part I would assert that the women in the sex industry, whether it be pornography or prostitution, are not there because they want to be. Past and future circumstances dictate to a large extend what your current predicament may be. I do not think that it can be disputed that the sex industry preys off of peoples unfortunate circumstances and lack of knowledge on the subject. Regardless of religion I myself do not believe in a supreme being suffering is taking place. If you are religious than there is ample literature within your particular faith that condemns this human suffering.

If you are not religious than there is also ample literature within psychology and sociology to condemn the sex industry for its ill-effects on the mental state of an individual. For everyone who believes in god you need to grow up and realize where we came from, I guess you guys still believe in santa clause and the tooth fairy too. Religion is a scam and a business..

Do you really think there is a guy who just created everything and is watching every move you make? The only reason you guys believe in god is because of how you were raised and you dont know anything else besides what your parents taught you. Thats called Enculturation. You have to have an open mind and get out of your circle and go explore and find out the truth, now I am not saying I know the truth but I know religion, and you guys are all fooled.

How did god get created? It takes millions of years for life to get created. My point of this is not to burst everyones bubble, I just find it ridiculous that everyone has this faith in something that is totally fake and its okay to want to know the truth. You just have to really think about it.

Interestingly, a number of people looked at the facts and came to the complete opposite conclusion. You may be interested to read the experiences of investigative journalist Lee Strobel , for example. Better yet most have been degenerate, crude, insensitive, biased, judgemental, for a lack of words many of you showed your true colors.

Even if it was your child, sibling, etc? At least she could rely on being truthful with herself and attempting to be god like by showing true compassion where most of you jackasses lack it completely. For anyone who clarifies that porn is not an issue I know there is much more than that going on in your boring life. Either to someone else or yourself. You probably treat others like objects where ever you are.

Work, home, etc. Be better than what you received, shit stick and all. At least Shelley was brave enough to be a caring human being. I came to believe in God in AA. I believe that miracles are possible. I should be dead. But here I am. This leads me to believe along with a thousand other reasons that most major religions are bogus. As far as I can tell…some people are just garbage.. Those children that die are paying penance for some hideous past crime. And porn.

I eat meat. The farming industry is destroying the very habitat in which we live and poisoning us with hormones. I drive a car. The oil industry is doing everything it can do stop the invention of clean energy because of greedy tycoons. And I occasionally watch porn. So I use porn to crank one out now and again please excuse my crude language.

But…look to your own religion. Even our good works are like filthy rags. None of us would ever be able to pay the punishment mandated by a righteous God. DiaMiracle, i will not try to enter into an argument with you. I respect your opinion about me being self righteous.

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All the reason for the madness here, and the distraction from the pointof the entire mmessage from Shelly, is due to the very first post. Steps need to be taken back. I could very well be Budhist, and say all the Christians have karma now, some with good, some with bad. Does she come on the set preaching the word of god to them after the shooting scene is finished?

Women and men do have a choice you are affected by your choices, unless they are all mental patients applying for the job, well if they want to put thier hand in the fire and get burnt. They need some sort of psychiatrist treatment,this need to be ongoing Now iam sure these people can find work else where like scrubbing toilet bowls or waitress, money is a bit less but hey it,s a job. I think people that wish to work in the porn industry are either sex addicted,love the money or just plain stupid. Iam sure that people of the antichrist would,nt really help these folks they rather watch you do another porn clip.

As for your self i hope you reached those people and got throught to them and shared the love of christ to them to set them free from thier actions. And by thier faith this is the healing they would receive. Jesus said it is by your faith thats sets you free. Thank God you gave your life to christ at long last. Pornography is sinful, it is the sin of lust. It is sex separated from love, it is selfish and perverse. Sex and love are one and the same, and are meant only for a man and woman in marriage. When you have sex on camera, you have violated that which is sacred, and you no longer have anything special to offer, you are in essence damaged goods.

The only way to be cleansed is to repent of your sins and turn to God. Fornication is a sin because it harms not only ourselves but others as well, whether it be an STD, or an unwanted pregnancy, which can lead to an out of wedlock birth or abortion. God warns us in his word not to sin, and so when we get diseases like herpes, etc.

God warned Adam and Eve of what would happen if they ate the forbidden fruit, but they did not listen and what God said would happen to them did indeed happen. We live in a fallen world, we have diseases, death, and despair because we have turned our backs on God. God gave us free will, we can choose to accept him into our lives, or we can reject him and go our own way.

We can always live in sin if we so choose, but sin always has consequences. There is fun in sin for a short season, but eventually it always catches up to us.

Fucking The Big Bad Wolf (Gay Erotic Fairy Tales #1)

Getting drunk may be fun for a while, but if we do it long enough, we could destroy our body and die prematurely. Same with porn. Some of the porn actors may enjoy it for a while, but if they do it long enough it will eventually catch up to them, and what was once sweet will become bitter. The wage of sin is death. Some of the women in porn may be physically beautiful, but they lack inner beauty, they are afflicted with an ugliness of the soul.

I like a beautiful woman just as much as any guy, they are pleasing to the eye, God made them that way, it is one of His gifts to them, but He made them that way so that they will be special to one man, a husband who will love and cherish them, not to be degraded and looked upon as a piece of meat by those with sinful lusts.

Beauty and sex are made by God for enjoyment, but it has to be done properly and not abused, much like drugs, which are good if used for healing purposes but bad if used for recreational purposes. Satan is a lie,let us know that God is the one who crated us, His purpose was for a men to live a live according to His purpose. John 10 a; This is the plan of God : jeremiah 29 ;. You can make it work in the Porn Industry just as you can make it work anywhere else in the world.

Stay clean uncorrupt and truly know those you work with around you. No Secrets. Anyone who have said those actors should be symphatise can equally say the same to the person who has killed his blinded him, his brother or loved ones. All you Atheists here better get one thing straight,we can believe for once God doesnt exists but for that sake do not tell us that your pathetic porn industry is any better than God.

People in the name of God and in his fear do good things,you dont know what happens to a person after he dies or before he is born in particular,hell if Science and porn is so smart why till today they could never predict the correct date of the end to this world? God is real…. U all missed the point of this was to show the bad stuff that happens in the porn industry not spark a religious argument. There really was no intention in the article or mention for that matter about religious ideas. The argument started when people were asking Shelley to share about the time she was cured of her herpes by God , and then others started in with the name-calling.

Stop making everything about religion. You have your own beliefs which you are entitled to and everyone else has their own. Next, about porn stars, they choose to do what they do. I personally have never experienced any situations or any relationships with friends like this.

But, people choose their own careers no matter what. I have had very close people with those experiences and are now in college studying to be a lawyer. You choose your own faith. I count about 11 or so here that have nothing to do with God or religion. Second, why is leaving comments on a blog post forcing my opinions on others. Is this really an accurate description?

Why try to squash the religious dialogue? I welcome it, as, it seems, do the people here who willingly engage in the discussion. What is the harm in me stating what I believe or asking others to state why they believe what they do? Third, I hear what you are saying about whether porn stars should receive our sympathy or help. Certainly many people believe they have made their bed: they should lie in it. I suppose I would ask you this question in reply: If someone like Shelley spends her time helping prostitutes and porn stars, herself fully knowing they have chosen their career path and are now regretting the hurt it has brought them, are her sympathy and aid somehow misguided?

Is she giving too much sympathy to them? If so, what helps you to gage when too much sympathy has been given in a particular situation? Yea you are so right! Her belief in god and praying cured her. Hey we dont need medicine or vaccines eighter since god will just cure us when we pray to him. We should just get rid of doctors since in your view their just getting in the way of gods work.

Sit on your ass pray and everything will magicly be better. Yea ill have fun in whatever you percieve hell is because İ dont share your views.. But thats how your religeon keeps poeple in line right? Ms Shelley. Please contact me. He grinned as he pressed send. A few minutes later his phone beeped and a new text came in.


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Oh, really? Which piece of ass caught your eyes? Either way, happy hunting! Remember to send pictures. Brad snorted at the text. Bradley Davis, a senior on the swim team, championship winner and record-breaking athlete. At first glance, he was the typical jock, all about the parties and the ladies. And he lived up to his reputation too—being in one of the most notorious frat houses on campus, he was usually one of the ones organizing the parties. Of course, that piece of information was his dirty little secret that very few people were privileged to know.

Brad smirked as he watched Richard walk towards the food court. Brad had first seen him at the library buried between two huge piles of books. After that, Brad began spending time at the library, observing him. Richard had a bright, carefree, infectious smile that lit up the space around him. He also had this… adorable Can you even use that word on a guy? Brad wondered little pout as he chewed on the cap of his pen when he got stuck on a problem.

Despite its familiar format, it was intended to illustrate the benefits of random access over videotape. The disc presents twenty-four fables using a multicultural theme, historically contextualizing Aesop as a black slave living in Greece. The second link explicates the moral; a brief animated sequence shows how a sentence can sum up the teaching of a whole story. Finally, the third option, the pictures- only link, lets the child retell the fable in her own words as she flips through the pictures.

Like illustrated audio-lectures, these links discuss what history knows about Aesop and how the stories were transmitted from oral recounting to printed texts and ultimately to electronic versions. To balance this strong didactic quality, Sidewalk Studio added a final link dedicated to play. Despite the menu links and games, the narrative structure of this program remains traditional, a picture book composed of several fables.

Although the fracturing of the narrative is less evident than in the other adaptations, this program lets us see the transition from print to digital text in its rudimentary use of hypermedia and hyperlink. This adaptation grew from a collaboration with authors Stan and Jan Berenstain, children, and teachers. Unlike the Aesop annotated stories, the plot-centered narrative was opened up to create the spatialized storyspace typical of the digital medium.

After the animation, the program presents the map of Bear Country, showing locations of the animated story. For theorists, the concept of the avatar conveys this notion of second person. This is the world of digital storytelling — a world in which narrative and games converge. The series presents a group of eight friends of middle school age who organize babysitting in their community. The girls are feminist in their creative entrepreneur ventures and traditional in feelings and relationships.

The challenge was to construct a world evoking these characteristics.

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For example, a shared journal with contributions from both the user and Babysitter Club characters features entries that change daily, replicating the experiences of the fictional characters who write about their babysitting experiences; users with a secret password have the opportunity to write their own journal entries. Although this adaptation abandons traditional linear narrative, its values, fantasy, and themes are rooted in the original print text now transmuted into interactive modalities.

Plot becomes spatialized. These changes instruct us about the different meaning of adaptation of familiar narrative elements into new media illustrating the principle that a story is a function of the technology in which it is conveyed. Children are able to read without adult participation and enter an adult-free world into which they can escape for education and entertainment. And, the experience of play and pleasure inherent in new media — entertainment rather than didacticism — may be even more important than the sense of mastery and autonomy offered by computer literacy.

We are on the edge of a new world with practical and theoretical implications involving new media, storytelling, education, and childhood. The CD-I machine was a dedicated electronic box with a proprietary operating system. Los Angeles: Philips Media. The Berenstain Bears on Their Own. Bolter, Jay David and Richard Grusin. Understanding New Media.

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Cambridge: MIT P. The Dark Tales of Aesop. San Francisco: Broderbund Living Books. Drucker, Gary. Personal Interview. Children, Computer Culture and Popular Technologies. Sue Howard. London: U College London P. Hatfield, Charles. Kinder, Marsha. Marsha Kinder. Durham and London: Duke UP. Lanhan, Richard A. The Electronic Word. Democracy, Technology, and the Arts. Chicago: U of Chicago P. McLuhan, Marshall. Understanding Media.

New York: McGraw-Hill. Mackey, Margaret. Literacies Across Media. London: Routledge. Manovich, Lev. The Language of New Media. Org: Childhood and Adolescence in a Mediated Culture. Murray, Janet H. Negroponte, Nicholas. Being Digital. New York: Alfred A. Newman, Rebecca. May - January Ryan, Marie-Laure. One might call it orature at its finest: I choose to term it the cyber-salon. Was free.

Discussed eagerly on then excitingly-new message boards, such as the now-venerable Surlalune Fairy-Tale website, its content helped to create a framework for a new kind of a fairy tale community: the cyber-salon. Fairy tale and fantastic Tucker, and Catherine Valente, exemplifies the vigor of the experimental artists of the s and s who retold the fairy tale while adapting it for a new generation of enthusiasts and scholars. These artists employ newly available technological and social strategies for reclaiming elements of the tales that have been occluded by convention and commodification, strategies which are more akin to the salons of yore than they are dependant upon the auspices and approvals of any commercial agency.

Grounded in a fundamental misunderstanding of the fairy tale, PIC takes what had been a communal process of story telling and identity formation and reconfigures it into an easily consumable product. Disney, perfected the process of the homogenization of fairy tales that continues to this day. The Disney corporation has recently branched out from its empire of fairy-tale products for children to provide both a line of engagement rings and a line of wedding dresses, thus bringing us full circle to the Disney bassinet, and, again, then, to the indoctrination of child consumers.

Disney currently pursues an audience composed almost exclusively of children — female children, and the women that they will become. However, the product that is being sold to their child audience is not a natural fit: is it aspirational. It proffers a relatable vision of adulthood to a powerless juvenile audience. The Disney princess is not intended to be a role model: she is intended to be a product, and a carrier of products. In movie after movie, the helper figures and, occasionally, the prince are heroic, while the princesses are charming mannequins, pretty dolls; consider the conclusion to Sleeping Beauty, as our godmothers zap her ballgown — pink!

The problem is, little girls grow up; and their play becomes their template, the Princess Industrial Complex becomes the Wedding Industrial Complex; and they become the playthings. Windling was largely responsible for creating the Ace Fantasy imprint: there, Windling discovered many of the mainstays of contemporary fantasy, including, but not limited to writers like Pamela Dean, Charles de Lint, Gregory Frost, Ellen Kushner, and Delia Sherman.


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Windling To continue that metaphor, it seems like what Windling provided was, not just content or a place to sit and read it, but an effective set of blue-prints for DIY chairs: while JotMA initially mimicked the top-down approach familiar from the world of publishing, with an editor accepting, rejecting, and perfecting the work of contributors, generational shift produced a very interesting result.

As many a teacher attempting to explain plagiarism to a generation acclimated to the notion that information wants to be free has recently observed, we are witnessing a paradigm shift in terms of how we relate to information and its ownership. Each retelling of a movie or remix of a song is less a new thing or a faithful one, more a case of a new production than anything else. Thus, the cyber-salon. There are two elements behind the nature of the cyber-salon: the nature of the fantasy, and its application.

Endicott Studio acted as a locus for fairy-tale fanatics of all sorts and all stripes. In concert with what we might call other first-generation fantastical internet phenomena like The Green Man Review and Surlalune Fairy Tales: the key difference is that Endicott published essays and fiction as well as reviews and annotations, inspiring readers to experiment with their own formats and presentations. The result? Today, there is a thriving online community of poets and critics and writers working in unison to weave a collectively acceptable and accessible message, asking no fee and giving no edict but opinion.

Even more important, the destabilization of authority makes every producer of content — author, artist, musician, or other Other? McGuire is a very popular budding writer who began her career with fanfiction: astoundingly prolific, shortly after acquiring an agent, McGuire sold three series, two of which are currently in print. Tinker Bell says, and I find I agree You have to break rules if you want to break free. McGuire McGuire is currently working on a further collaboration of this piece with indie singer-songwriter S.

Tucker, whose work is much in the same vein, and it is safe to say that its message applies to the community as a whole: in refusing to conform to the paradigm of the princess and embracing the role of the rebel, not just as a lone figure but as a member of a movement, they are normalizing the position, expanding it, and developing it to produce a valid alternative. The plural is crucial. Tucker has produced five albums in approximately fifteen months, much of them inspired by the mainstream publications of author Catherynne M.

Valente, with whom she has a dual-current relationship: each, in turn, inspires the other. Describing one of her songs, she says My friend Catherynne M. Palimpsest tells the story of four people who cross the border into a true shared-world fantasy on the same night, when each of them separately sleeps with a person marked as belonging to the city, and dreams of being within its precincts. The result is a novel-length commentary on the nature of community, insularity, and dreaming, of both the desirous and the lucid varieties. Topically applicable to the culture of neotribalism, Palimpsest garnered tremendous support from the fan community, inspiring trailers, songs, art, and a full- fledged tour.

One character, and a very unusual set of circumstances, inspired something more: a highly idiosyncratic, highly successful, multiple-award-winning novel-within-a-novel, soon to become a novel in its own right. It began as the favorite novel of a character within Palimpsest. Recalling her childhood, one of our four protagonists — fantastical November, who alone of her quarto has no last name, and who is, arguably, our primary heroine — considers her introduction to the narrative upon which she consciously models herself.

We read: Weckweet, Gleiss and Schafandre: New York. The book was small, in a brown leather cover embossed faintly with a little girl standing naked on a raft, straight as a mast, her stance determined, holding up her dress as a sail. November had read it exactly times, not counting unfinished perusals… The girl in the book was named September, and she had known this was meant for her, a message from Hortense Francis Weckweet and her father. Perhaps if the girl had not been called September, November would not have read it times.

I have that. A dress like a sail. As for the dress which it references? Has her author? Like so many, in the summer of , Valente found herself in dire financial straits. Unlike many, she proposed a novel solution if you will pardon the expression : to write the novel-within-a-novel mentioned in Palimpsest which had inspired so much interest and post it online, for the perusal and judgment of the marketplace. I want to trade something wonderful for a way to keep us alive. And last night I had a thought, a bolt of lightning thought.

What I can do is this. Over the course of the Palimpsest tour, people asked me one thing more than anything else. Is it a real book? Will you write it? And I said no. I will be writing it in real time, posting every Monday. It will be free to read — but please know that the sheer calories to make my brain create it require funding, and I would very much appreciate your support.

Valente b For the next five months, Valente updated Fairyland like clockwork. Fairyland is in many ways a more polished revision of Palimpsest, returning to its themes and demonstrating how September could have been a template for November, how November was in point of fact a template for September in a very postmodern Ouroboros of metatextuality. Although Fairyland does not directly reference Palimpsest, the similarities between the two are marked: from the green hair and commanding personalities of Casimira and her child-sized Fairyland counterpart, the Marquess, to the nature of dreams in their worlds, and, not least of all, the overall moral of the tale.

Her voice was weak, as it often is in dreams. It is something to do with physicks [sic]. Our heroine, September, is enticed away from a boring afternoon of washing pink-and-yellow teacups in Omaha by the tricksy and charming Green Wind under the Persephone Clause of Fairyland. Feeling abandoned by her soldier father and subject to what might be termed the benign neglect of her strong and wonderful mechanic mother, September is susceptible to the allure of an adventure and the opportunity to leave them in return, even as she is shaped by their good examples.

After numerous adventures, not yet at the climax of her journey, she is told: No one is chosen. Not ever. Not in the real world. Fairyland did not choose you — you chose yourself. You chose. You chose it all. Just like you chose your path on the beach: to lose your heart is not a path for the faint and fainting. Notes 1.

Little Red Riding Hood? I fucked her.

Bibliography: Bottigheimer, Ruth B. Fairy Tales: A New History. Brucato, Phil. Datlow, Ellen and Terri Windling, eds. Disney, Walt, dir. Snow White and the Seven Dwarves. California: Walt Disney Productions. El-Mohtar, Amal, Jessica P. Wick, Oliver Hunter, eds. Goblin Fruit. Geromini, Clyde, dir. Sleeping Beauty. Green Man Review. Surlalune Fairy Tales. Wicked Fairy Apologist. Seattle: Spiderwise Press. Valente, Catherynne M. New York: Bantam Spectra. New York: Tor Books. New York: Routledge. But, as David Butler recognises, there are unique challenges that face the fantasy filmmaker.

It is the recognition of this concern that provides an opportunity to go beyond simply assessing how successful the screen fairy tale is as a translation of the oral or written tradition, to engage with broader questions regarding the role of design in cinema. It also narrows expression to the external, visual, material, and spectacular and in the process puts filmmakers in an uneasy power relationship with reality. As filmmakers serve the script, they shape reality to fictional ends.

The function of production design, therefore, is to maintain the link between the fictional world of the screen and the lived experience of the audience. It is not so much suspension of disbelief, therefore, that is the essential condition of becoming immersed in visual fantasy, but rather the opportunity to be apprehended by the image. Conversley, some productions create fictional worlds and at the same time deliberately expose their construction.

This has been a feature of metafictional screen fairy tales such as The Princess Bride , the Shrek series and Enchanted He argues that [g]enres mitigate the difficulty of understanding a given text by providing a framework of expectations within which that text can be understood. Genres specify in advance the content of the narrative. Any given genre film, such as the western or horror film, draws on themes and images from other texts the generic intertext that blur the boundaries of the individual text.

In Sets in Motion: Art Direction and Film Narrative, Affron and Affron state that it is their aim to isolate the role of the set designer and give credit to these key contributors to the moving image who are regularly eclipsed by stars, directors and cinematographers. The most important contribution to the study of set design that the Affrons have provided is a useful schema through which to categorise the function of the set within a film. Fundamentally, these range from pedestrian backdrops through to the set itself becoming the narrative. Tashiro adapts this methodology to describe the elements of design that extend from the screen characters Costume, jewellery and make-up are the first circle from the human body as they have the closest proximity to the subject.

The third circle is comprised of furniture. The work of the Affrons and Tashiro provide a useful starting point for a detailed discussion of design within the screen fairy tale and augment the need to foreground this neglected area. Within the genre, there are two distinct modes of visual foundation. While characters often share similarities and the stories borrow from established narrative patterns, it is the setting or location that can provide the most significant differences.

For one group of films, the fantasy space is created through the use of the studio or soundstage, which allows for a constructed and controlled environment, key examples are The Dark Crystal , The NeverEnding Story The Company of Wolves , Legend , and Labyrinth , the other group of films, which, The Princess Bride and Willow , utilise extensive location shooting and a natural landscape. It is the former that is of particular interest here. It would be possible to regard all screen fairy tales produced under studio conditions as effectively sharing similar concerns.

Choosing to create an environment for the narrative eliminates the potentially problematic nature of location shooting. But, it is perhaps more productive to explore them further by considering the way in which they approach the relationship between the narrative and design. In some instances, design is developed in accordance with the needs of the story, but the screen fairy tale also presents examples of design leading the narrative and so is at odds with the supposition that the set and props service the story.

The Company of Wolves provides an example of a film that was developed directly from a literary source. Taylor and Jenkins After funding for a feature film was secured by producer Stephen Woolley it was the script that was developed first and the look of the film evolved later. As Jordan puts it, [t]he effects had to be hugely satisfying, and they had to be things you had not seen before. The woodland and village set is heavily stylised, the trees are gnarled and their branches bare, and the vaguely medieval cottages, comprised of stone, wood and straw, seem to be an organic extension of the landscape.

There is an overriding sense that the environment is infertile, cold and forbidding and that the vibrant and curious Rosaleen is at odds with her surroundings. It should be emphasised that the majority of this story is contained within the dream of an adolescent girl and therefore its primary purpose is not verisimilitude. These elements are reflective of her troubled psychological condition as she makes the transition from childhood to womanhood.

Her dream-state effectively legitimises the unreality of her vision and at the same time recalls common fairy tale motifs that allow the audience to comprehend the fantasy space. However, it does not appear to be an accurate description of the practice that culminated in Legend. Director Ridley Scott, in a number of interviews published around the time the film was released, acknowledged that he had been planning for some time to make a movie that referenced the mythological or the fairy tale. By conceding that the narrative is elementary, Scott places greater emphasis on design, in that it must be spectacular enough alone to distinguish the film.

This methodology contradicts the basic rules of set design put forward by Barsacq who argues that [i]t must never be forgotten that sets enter a film as background, while actors occupy the foreground. The spectator has no time to analyse his sensations; therefore such settings must be characterised without any equivocation. He has cited this artistic training as providing him with a desire and ability to oversee all aspects of design within his cinematic work.

Johnston 6 This is a mode of filmmaking that is concerned, above all, with preserving a creative vision, but for some critics, his obsession with breathtaking imagery has incurred an inequity between story and depiction. Far from dissolving the illusion of the cinematic experience the sets draw attention to themselves and the design detail ensures the fantasy screen world appears complete and pervasive. Like The Company of Wolves, this production, which was filmed almost entirely on a sound stage, can be succinctly divided into sections that are each characterised by distinct design and colour pallet.

The first is in the forest before the capture of the unicorns. These opening sequences provide an image of an Edenic land comprising of tall, imposing trees, sunlit glades, lush greenery and delicate flowers. It seems that no detail has been overlooked, even to the extent that in the hazy pale golden glow that illuminates the woodland, particles that perhaps denote insects or tiny falling leaves catch the light as they float in the air.

The camera moves slowly and lingers on this beautifully constructed environment. The colours that dominate these scenes are light and bright, a spectrum of greens and subtle shades of blue and yellow. The only exceptions to this pastel pallet are the goblins, whose dark tones and bold and exaggerated features disrupt the pervading harmony of this soft focus visual hyperbole. The mystical atmosphere is maintained once again through detail and expressive lighting.

When Lili discovers the ailing male unicorn with the restless mare watching over him, the animals are lit from below giving them an eerie ethereal glow. It is these touches in both sections which underline that the purpose of this painstaking attention to detail was to augment the creation of a supra-real world, that is, a world that is above and beyond the real in its ability to arrest and engage the viewer.

One of the pivotal sequences of this section is when Darkness attempts to seduce Lili. At the beginning of the scene, Lili runs though a vast columned room closely followed by the fairy Oona Annabelle Lanyon. Both Lili and Oona appear tiny beside the huge graphite-coloured structures dominating the screen. Eventually, Lili reaches two embossed bronze doors decorated with the heads of two stern guardians that slam behind her as she passes through them. Evoking references to Pandora of Greek mythology, she tentatively opens the lid, her eyes widening as the box reveals its secrets.

Slowly she takes out a sparkling crystal necklace and holds it up admiringly. The ornament, the box and numerous trinkets that litter the table radiate a white luminescent glow that seems to come from the objects themselves rather than from an external light source. They are vibrant and shimmering to convey to the spectators why Lili is drawn to them. Design, lighting and colour are employed to give weight to a sparse narrative and ultimately it is dependent on the audience knowing what a fairy tale should look like.

The images do not supplant audience perceptions of their own realities, but they give fantasy a temporary material being. Although The Company of Wolves and Legend are both studio- made films it is evident that the approach of Jordan and Scott in respect to the balance between story and design was significantly different. What they do have in common, however, is the extent to which they are dependent on references to other films of a fantastic nature.

While this citation of forms may include narrative devices or motivations, character types or sound references, it seems that post- classical cinema most commonly borrows aspects of visual design. In the instance of The Company of Wolves Jordan suggested that it was his intention to create fairy tale imagery that recalled earlier representations of fantasy stories; he wanted audiences to have the feeling that they had seen what they were witnessing in this film somewhere before. The Company of Wolves. At this point, he recalls, there was no story just a sense of what the film should look like.

Legend: Ultimate Edition. Jones 23 and Sammon 79 Production design has the ability to re-present the quotidian, embellish and extend the real, synthesise multiple, recognisable cultural signs, and make tangible the realms of imagination. Whatever its relationship to the film narrative, the set and decor are intrinsic to the realisation of the screen fairy tale. New Brunswick: Rutgers UP. Allen, Richard. Cambridge: Cambridge UP.

Andrew, Geoff. The Film Handbook. New York: Longman. Barnwell, Jane. Production Design: Architects of the Screen. London: Wallflower. New York: Plume. Brown, Chris. Butler, David. Fantasy Cinema: Impossible Worlds on Screen. Steve Neale and Murray Smith. London and New York: Routledge. Johnston, Shelia. Jones, Alan. Jordan, Neil, dir. Incorporated Television Company. Mendlesohn, Farah. Rhetorics of Fantasy. Middletown: Wesleyan UP. Norberg-Schulz, Christian. Existence, Space, and Architecture.

New York: Praeger. Sammon, Paul M. London: Orion. Scott, Ridley, dir. Ultimate Edition. Embassy International Pictures. Tashiro, C.

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Austin: Texas UP. Taylor, Paul and Steve Jenkins. Tuson, Elizabeth-Marie. Waugh, Patricia. London: Methuen. It is, therefore, aligned with two distinct, though not mutually exclusive, traditions: the tradition of the literary fairy tale and the tradition of ballet or classical dance. Thus, transformed from history to nature, gender is mythologised, as its ideological dominance is obscured and maintained Barthes , In Cinderella Marin combines several codes to perform new meanings from single elements and combinations of elements.

The study thus examines performances of femininity in the literary fairy tale tradition, the classical dance tradition and in various other texts to which the dance work refers. The literary fairy tale and the performance of feminine identity Charles Perrault, by the twentieth century, had become acclaimed by canon as the most influential writer of fairy tales for children. Perrault, a member of the court of Louis XIV, began writing his tales for an adult audience.

They were subsequently appropriated, and directed, towards the exertion of a civilising influence on the children of the upper classes Zipes , In this way, the performance of the ideal upper class woman as beautiful, polite, graceful, submissive, domesticated and industrious becomes naturalised. The subordination of her will to that of the patriarchal order is also naturalised. Performing conformity to this ideal is rewarded with marriage to a prince, and any alternative performance of femininity, particularly any involving feminine will or agency, is punished.

France, Russia and the construction of feminine identity in nineteenth-century ballet The reign of Louis XIV in France was the period in which the French court ballet was at its peak. By the end of the nineteenth century, however, ballet in France was in decline and this period marked the golden age of ballet in Russia. It was a time of political struggle for Russia, both nationally and internationally, and in Russia entered a military alliance with France. Both ballets, in the splendour of their stage settings, in their spectacle and in their costumes, also evoked the French court of Louis XIV.

Just as he conveys her, she conveys desire. She exists as a demonstration of that which is desired but is not real. Her body flames with the charged wantings of so many eyes, yet like a flame it has no substance. She is, in a word, the phallus, and he embodies the forces that pursue, guide and manipulate it. The mythological performance of gender identity in the fairy-tale ballet, therefore, echoes that of the literary fairy tale. In the ballet, however, the performance is given visual, aural, corporeal and kinetic form. The postmodern literary fairy tale and dance in the s In the s several writers had begun to question the mythic status of the literary fairy tales of Perrault and others.

These writers, challenging the mythic status of the fairy tales, also challenged the naturalised ideologies of subjectivities, gender and narrative they perform. Since , such experiments have extended beyond the literary field to encompass cultural fields as diverse as theatre, opera, musical, film, art, ballet, television, publicity, cartoons, illustration and the Internet Zipes , Like their postmodern counterparts in other art forms, these choreographers employed pastiche, irony, playfulness, intertextuality and socio-historical themes.

They diffused the boundaries between dance and other art forms and they fostered new relationships between artist and audience. Since the time of Perrault, Cinderella has been repeatedly reworked for adults and children alike in, and outside, the classical dance tradition. Marin aligns her dance work with the classical dance tradition, by calling it a ballet and by repeating aspects of that tradition. She also reworks it by combining it with a variety of other dance and non-dance styles.

In addition, she repeats and reworks aspects of the classical music tradition and the traditional fairy tale narrative and she combines elements of the traditional and the avant garde in her costumes, lighting and setting. By repeating, recombining, reworking and disrupting aspects of the classical dance tradition Marin subverts its ideologies and mythic status while, at the same time, acknowledging its contribution to the development of alternative performances of dance. She, likewise, recognises the role of various other traditions and discourses in the development of alternative performances of femininity and other ideologies.

Setting the scene In the opening credits Marin aligns her dance work musically, stylistically and in subject matter fairy tale with the classical Franco-Russian dance tradition. Cinderella opens by focusing on a female child confined to bed, surrounded by dolls and leafing through a book. At the outset of her dance work Marin, thus, repeats, combines and plays with two familiar performances of femininity — the feminine domestic Cinderella and the feminine sexual object Barbie — while rendering both strange.

Then, concentrating her gaze on Cinderella, the girl-child becomes identified with the dancing doll. Dressing the dolls All the characters in the dance work wear doll-like masks and many are, like Cinderella, padded. In this way Marin refers to the tradition of carnival and spectacle in which mask, costume and disguise are used to overturn traditional hierarchies Stewart Their performances refer to the pantomime tradition — incorporated into classical nineteenth century dance works — where such performances served to remind the audience of the dire consequences of feminine agency exercised outside of approved limits.

That their costumes are unpadded and that their movements are similar subverts the traditional unequivalent performance of gender in the classical dance tradition, as described earlier. Marin thus combines traditional performances of femininity with traditional performances of masculinity to generate the possibility of more fluid performances of gender in which aspects of the traditional are conserved. Furthermore, the lack of padding on the prince and the fairy godmother reveals their classically trained bodies, which prove no barrier to competency in a variety of other dance and non-dance styles.

All of this suggests that grounding in particular traditions or discourses, does not preclude transformation. Indeed, it would appear to offer the only possible basis for transformation and innovation. Here she struggles to replicate the perfect lines of the classical tradition as she falls and is picked up and supported by her teachers.

In the broom pas de deux, she walks on her heels and inverts the classical turned out position of the feet. Its authority, as it relates to the performance of femininity, is challenged by the feminine agency of the fairy godmother. It is also subverted by the feminine agency of Cinderella who releases the fairy godmother from the trunk given to her by her father.

And, in her playful physical contact with the rag doll, she becomes the agent of its transformation into a powerful fairy godmother. In their duets, Cinderella and the prince subvert the strict codified form of the classical duet and in displays of spontaneity and playfulness, neither exhibits dominance and neither is manipulated.

She, however, uses images, sounds and bodies adept in a range of movement vocabularies, to subvert this heritage. It would appear that for Marin the transformation of the classical dance tradition, or indeed of any tradition or myth, requires an acknowledgement of its influence, power and significance.

It is as if her awareness and understanding of the myths which have been central to the performance of her identity, enables her to move beyond them to generate a performance of feminine identity, which contains elements of these myths, but is not confined by them. Marin herself, however, has stated on at least two occasions that she did not want to write a psychoanalytic story Canton 86; Kisselgoff The lighting changes from blue to green to yellow to purple to pink to orange creating a surreal quality.

The use here of masculine pronouns to connote boy and girl children reflects the tendency in Western patriarchal culture to privilege — and thereby, normalise — the masculine perspective. Such struggle, concealed in performances of classical dance, also reveals the exertion and training required to achieve such a pose. In contrast, Cinderella fits her foot into the slipper with one precise, small, movement. It also refuses to forge clear distinctions between past and future, masculine and feminine, tradition and innovation.

Mythologised performances of femininity within these traditions are also destabilised, as are mythologised performances of femininity in Western culture.

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In a dance work that is traditional and avant garde Marin employs ballet conventions and other dance styles, holding them in dialectical tension with each other to create an innovative dance work which she calls a ballet. The agency with which Cinderella is conferred, however, suggests that Cinderella herself has the potential to transform these performances.

The fairy godmother, however, posits the possibility of a more fluid performance of feminine identity in which it is possible, as in the construction of the dance work itself, to hold binary opposites in dialectical tension with each other. Bibliography Adshead, Janet, ed. Dance Analysis: Theory and Practice. London: Dance Books. Dancing Texts: Intertextuality and Interpretation. Au, Susan. Ballet and Modern Dance. Pennsylvania: U of Pennsylvania P.

Banes, Sally.