I've had huge mental and physical block with this project which prevented me from really wanting to get started. While my tutors were incredibly helpful with helping me select my texts from the library at the beginning of the module in October, I had trouble accessing them for many weeks while waiting on a sighted PA. Time was lost when the PA arrived as her reading comprehension wasn't suited to the material, she wasn't used to assisting university students (only young school children) and I received a number of strange comments from her, making me feel even further estranged from my work. With no friends in Leeds or on the course I had no one to ask and only had access to my books, finally, over the Christmas period when I met with a good friend (an impartial source who is a Masters student in London with no interest in illustration or fairytales, he is very much a postmodern conceptualist!) who very kindly spent some time with me to record some key quotes from my texts. Even with other sources that were provided to me, my motivation and my mood was low with what happened with my PA and COP felt like such an impossible mountain that I couldn't even begin to climb. The Christmas period was difficult with having a chest infection for a month and eventually needing antibiotics and having to face home where I'm a carer for my mum.
I am happy with my project proposal, essay outline, bibliography, breadth of research resources that I will explore in more detail in my own time as I am sure I will be resubmitting this module when need be (potentially June?), and the contextual research I have composed so far. The deadline has pushed me to get started properly and acquainted with my work again and I feel I have made some good progress to the start of this year - especially with my illustrations. Using strong symbols of the wolf, the moon and running Red, with the concept of her running away at the start of the zine to then be running toward the wolf, coupled with strong colours of black, red and white give this project a visual identity and some kind of end product. I will, of course, be composing my essay and will seek academic support though student welfare for additional support, comfort and some inspiration to get started and that it's okay that this has happened. I don't fear writing or COP but just lost my steam and had many barriers.
I will now continue the uphill climb in my own time!
Playing with images and symbols of the running Little Red Riding Hood, the hungry wolf, a moon, and highlighting his carnal nature and beast qualities through sharp points on his mouth and eye. I'd like to start the zine this way, Red running from the wolf in the way as we know...
Showing next a series of, what I referring to when creating them, "sexy wolves" - the desirable wolves that women often find themselves running towards - especially seen in Angela Carter's story where the wolves are more desirable than the men, the men being the beasts and the animals! The experiments will be whittled down to the ones I find most successful for the final zine.
Ending with, Little Red did end up in the Wolf's bed after all - but of her own free will and attraction to him. Is this more successful with a wolf's head or without? I will need to draw sexy wolf's head for this to work.
I will place my essay throughout the zine between these illustrations showing the metamorphosis of the Little Red Riding Hood Story as a cautionary tale to children to then becoming that of a desirable story for feminist women, choosing the wolf over the man and making her own decisions. It is my vision to have the zine look like a story book but it depends on how much time I have.
Introduction
Introduce the essay and give background onto what a fairytale is, how it is identifiable from other stories and its function - to teach morals and life lessons One such life lesson is being aware of strangers, as seen in Little Red Riding Hood...
Introduce Little Red Riding Hood and the importance of the wolf as a symbol / in culture
Case Studies
1) Original Italian version of the tale
2) Grimm's Tale
3) Angela Carter's retelling
Compare the versions
Conclude
Bibliography
• Beauty and the Beast. (1991) G. Trousdale and K. Wise [Film]. United States: Buena Vista Pictures.
• Beckett, S.L. (2008) Red Riding Hood for All Ages: A Fairy-Tale Icon in Cross-Cultural Contexts. Detroit, Michigan: Wayne State University Press.
• British Library. (2016) Angela Carter's Wolf Tales ('The Werewolf', 'The Company of Wolves' and 'Wolf Alice'). Available at: https://www.bl.uk/20th-century-literature/articles/angela-carters-wolf-tales (Accessed: 14th November, 2019).
• Carter, A. (2010) Angela Carter's Book of Wayward Girls and Wicked Women. Great Britain: Virago Press • Cinderella. (1950) Directed by C. Geronimi, H. Luske and W. Jackson [Film]. United States: RKO Radio Pictures.
• Myths and Legends. (2016) '48-Snow White: Killer Queen' mythpodcast.com, October 31st. Available at: https://www.mythpodcast.com/4268/48-snow-white-killer-queen/ (Accessed: 14th November, 2019).
• Owens, G. (2012) ‘History of Fairytales.’ YouTube Video, 18th December. Available at: https://www.youtube.com/watch?v=NIFOlQU56FY (Accessed: 7th October, 2019)
• Oxford Academic (Oxford University Press). (2018) ‘Fairy Tale: A very Short Introduction | Marina Warner.’ YouTube Video, 25th June. Available at https://www.youtube.com/watch?v=LK1wn_Zzy_4 (Accessed: 13th October, 2019).
• Snow White and the Seven Dwarfs. (1937) D. Hand, W. Cottrell, W. Jackson, L. Morey, P. Pearce and B. Sharpsteen. [Film] United States: RKO Radio Pictures.
• Talks at Google. (2018) ‘Marina Warner: “Fairy Tale: A Short Introduction” | Talks at Google.’YouTube Video, 18th April. Available at https://www.youtube.com/watch?v=Zop-QPDlnFw (Accessed: 13th October, 2019).
• To The Best of Our Knowledge. (2018) In The Company of Wolves. Available at: https://www.ttbook.org/show/company-wolves (Accessed: 13th November, 2019).
• The University of Sheffield. (2017) ‘Marina Warner in Conversation – On Fairytales.’ YouTube Video, 8th May. Available at: https://www.youtube.com/watch?v=yKSeHHgzjns(Accessed: 13thOctober, 2019).
• The University of Sheffield. (2017) ‘Marina Warner in Conversation – On Myth.’ YouTube Video, 8th May. Available at: https://www.youtube.com/watch?v=K97Tupt77r8 (Accessed: 13th October, 2019).
• Von Franz, M.L. (1997) Archetypal Patterns in Fairy Tales. Tornoto: Inner City Books.
• Warner, M. (1995) From the Best to the Blonde: On Fairy Tales and Their Tellers. 2nd Edition. London: Vintage.
• Zipes, J. (1986) Don’t Bet on the Prince: Contemporary Feminist Fairy Tales in North America and England. 2nd Edition. New York: Routledge.
• Zipes, J. (2012) The Irresistible Fairy Tale: The Cultural and Social History of a Genre. New Jersey: Princeton University Press.
• Zipes, J. (1993) The Trials and Tribulations of Little Red Riding Hood. New York: Routledge.
• Can you find other definitions of a fairy tale to link with Marina Warner - varying angles - who is the moral tale for - does it inform or is it a way of oppressing also?
• Look at semiotic theory to analyse images or descriptions of the wolf - what does it represent culturally or traditionally? The wild? Masculinity? Danger (of men)? The unknown?
• Look at Grimm's version of the tale what are the differences in how the wolf is dealt with (modern version for children red riding hood escapes).
• Look at Angela Carter - The Bloody Chamber - A Company of Wolves - her version of red riding hood - men are hairy on the inside they are the dangerous ones not wolves.
The chosen theme of my Context of Practice essay and supporting practical work is that of fairy tales. A fairy tale is defined by being a short story of nursery standard that is filled with enchantments and the supernatural, with a hero or heroine overcoming supreme obstacles to reach a happy ending, and filled with a recognisable shared language of symbols, images and motifs, passed down from generation to generation. Not just existing in books or illustrations, fairy tales are widely popular through movie adaptations bringing them to a wider contemporary audience. I am interested in the women of these stories – the mothers, nurses, cooks and caregivers who shared them at the fireside, how female characters are portrayed within the tales with still-harmful stereotypes and archetypes in both books and movie adaptions, and how they have culturally impacted and restricted women’s expectations and ideals of romance and life goals, and how women are subjected to lesser roles of passivity, dependency and self-sacrifice. Through my initial research I have found a number of books and academic discussion in videos that provides a fantastic source of secondary research, covering the topic of fairy tales from a feminist standpoint along with a number of feminist fairy tales written by women and older tales rewritten by a female point of view and with the woman having agency and power. For primary research I have discovered two exhibitions that would benefit my project and I would like to visit, one based around fairy tales and fairy tale illustration and the other on feminist art.
I created a series of collages marrying feminist Barbara Kruger's distinct conceptual visual language, brand and immediacy with that of classic Disney Princesses in their various states of being pretty objects and secondary to their own stories. Meshing the modern and postmodern. Why Barbara Kruger? There were a number of key phrases and words that stood out to me in my previous book research that I wanted to do something with and Kruger immediately came to mind with her strong use of type.
Identifying the use of Futura Bold Oblique or Helvetica Ultra through some quick investigations, I wanted to emblazon these slogans in her style. I think these are pretty successful outcomes and really highlight the docility of Disney Princesses, often sleeping, cooking and tending to men.
Contextual Research of Barbara Kruger
"Barbara Kruger is an American Conceptual artist known for her combination of type and image that conveys a direct feminist cultural critique. Her works examine stereotypes and the behaviours of consumerism with text layered over mass-media images. Rendered with black-and-white, red accented, Futura Bold Oblique, inspired by the Constructivist Alexander Rodechenko, her works offer up short phrases such as “Thinking of You,” “You are a captive audience,” and “I shop therefore I am.” Like multimedia artist Jenny Holzer, Kruger uses language to broadcast her ideas in a myriad of ways, including prints, T-shirts, posters, photographs, electronic signs, and billboards. “I'm fascinated with the difference between supposedly private and supposedly public and I try to engage the issue of what it means to live in a society that's seemingly shock-proof, yet still is compelled to exercise secrecy,” (http://www.artnet.com/artists/barbara-kruger/)
Here are a few examples of Kruger's most popular works. The bright red snappy slogans emblazoned across black and white imagery give immediate thoughts and connections to tabloids, drawing focus to the text with the image in the background - sometimes grainy or distorted.
The red is quite interesting for my project and could draw in emotions and a connection to Little Red Riding Hood?
If this was a route I were to take I would need to be careful of things such as plagiarism vs inspiration, editing my ideas enough that they become my own, crediting sources (which I will add to my bibliography) and more accuracy to the original works such as a border and graininess of the black and white imagery for a more authentic Kruger look.
• Beauty and the Beast. (1991) G. Trousdale and K. Wise [Film]. United States: Buena Vista Pictures.
• Beckett, S.L. (2008) Red Riding Hood for All Ages: A Fairy-Tale Icon in Cross-Cultural Contexts. Detroit, Michigan: Wayne State University Press.
• British Library. (2016) Angela Carter's Wolf Tales ('The Werewolf', 'The Company of Wolves' and 'Wolf Alice'). Available at: https://www.bl.uk/20th-century-literature/articles/angela-carters-wolf-tales (Accessed: 14th November, 2019).
• Carter, A. (2010) Angela Carter's Book of Wayward Girls and Wicked Women. Great Britain: Virago Press • Cinderella. (1950) Directed by C. Geronimi, H. Luske and W. Jackson [Film]. United States: RKO Radio Pictures.
• Myths and Legends. (2016) '48-Snow White: Killer Queen' mythpodcast.com, October 31st. Available at: https://www.mythpodcast.com/4268/48-snow-white-killer-queen/ (Accessed: 14th November, 2019).
• Owens, G. (2012) ‘History of Fairytales.’ YouTube Video, 18th December. Available at: https://www.youtube.com/watch?v=NIFOlQU56FY (Accessed: 7th October, 2019)
• Oxford Academic (Oxford University Press). (2018) ‘Fairy Tale: A very Short Introduction | Marina Warner.’ YouTube Video, 25th June. Available at https://www.youtube.com/watch?v=LK1wn_Zzy_4 (Accessed: 13th October, 2019).
• Snow White and the Seven Dwarfs. (1937) D. Hand, W. Cottrell, W. Jackson, L. Morey, P. Pearce and B. Sharpsteen. [Film] United States: RKO Radio Pictures.
• Talks at Google. (2018) ‘Marina Warner: “Fairy Tale: A Short Introduction” | Talks at Google.’YouTube Video, 18th April. Available at https://www.youtube.com/watch?v=Zop-QPDlnFw (Accessed: 13th October, 2019).
• To The Best of Our Knowledge. (2018) In The Company of Wolves. Available at: https://www.ttbook.org/show/company-wolves (Accessed: 13th November, 2019).
• The University of Sheffield. (2017) ‘Marina Warner in Conversation – On Fairytales.’ YouTube Video, 8th May. Available at: https://www.youtube.com/watch?v=yKSeHHgzjns(Accessed: 13thOctober, 2019).
• The University of Sheffield. (2017) ‘Marina Warner in Conversation – On Myth.’ YouTube Video, 8th May. Available at: https://www.youtube.com/watch?v=K97Tupt77r8 (Accessed: 13th October, 2019).
• Von Franz, M.L. (1997) Archetypal Patterns in Fairy Tales. Tornoto: Inner City Books.
• Warner, M. (1995) From the Best to the Blonde: On Fairy Tales and Their Tellers. 2nd Edition. London: Vintage.
• Zipes, J. (1986) Don’t Bet on the Prince: Contemporary Feminist Fairy Tales in North America and England. 2nd Edition. New York: Routledge.
• Zipes, J. (2012) The Irresistible Fairy Tale: The Cultural and Social History of a Genre. New Jersey: Princeton University Press.
• Zipes, J. (1993) The Trials and Tribulations of Little Red Riding Hood. New York: Routledge.
Jstor Articles:
- Stripping for the wolf: Elizabeth Marshall
- Little Red Riding Hood - Werewolf and Prostitute
- On Anazlyzing Fairytales - Little Red Riding Hood
• Masculine supervision
• Conformity
• Oedipal ambiguities
• Male power
• Relegate
• Total reliance
Quotes
Feminism and Fairy Tales
Karen E. Rowe
"...such alluring fantasies gloss the heroine's inability to act self-assertively, total reliance on external rescues, willing bondage to father and prince, and her restriction to hearth and nursery."
"In short, fairy tales perpetuate the patriarchal status quo by making female subordination seem a romantically desirable, indeed n inescapable fate."
"...continue to glamourise a heroine's traditional yearning for romantic love which cultivates in marriage."
"...folklorists counter any casual dismissal as folktales are mere entertainment by arguing that they have aways been one of culture's primary mechanisms for inculcating roes and behaviours."
"These tales which glorify passivity, decency, and self-sacrifice as a heroine's cardinal virtues suggests that culture's very survival depends upon a woman's acceptance of roles which relegate her to motherhood and domesticity."
"They transfer from fairytales into real life those fantasies which exalt acquiescence to male power and make marriage not simply one ideal, but the only estate toward which women should aspire."
"The idealisations, which reflect culture's approval, mane the female's choice of marriage and maternity seem commendable, indeed predestined."
"In short, fairy tales are not just entertaining fantasies, but powerful transmitters of romantic myths which encourage women to internalise only aspirations deemed appropriate to our 'real' sexual functions within a patriarchy."
"Indeed, fairy tale fantasies come to seem more deluding than problem-solving."
"Fairy tales, therefore, no longer provide mythic validations of desirable female behaviour; instead they seem more purely escapist or nostalgic, having lost their potency because of the widening gap between social practice and mantic idealisation."
"An examination of a few popular folktales from the perspective of modern feminism not only reveals why romanic fantasy exerts such a powerful allure but also illuminates how contemporary ambiguities cloud women's attitudes towards men and marriage,"
"For the ageing stepmother, the young girl's maturation signals her own waning sexual attractiveness and control."
"Fairy tales, therefore, do acknowledge traumatic ambivalences and during a female's rite of passage they respond to the need for both detachment from childish symbioses and a subsequent embracing of adult independence. Yet, this evolution dooms female protagonists (and readers) to pursue adult potentials in one way only: the heroine dreamily anticipates conformity to those predestined roles of wife and mother. "
" ...reward these heroines or patient servitude or dreamy waiting."
"She trades her independent selfhood for subordination."
"Subjection to masculine supervision and denied any true independence."
Fairy tales weren’t written for children originally and had adult themes and beginnings. Little to do with fairies. A large number of fairytales were written in 17th century France. Tales told and retold now are far older in origin. Edited and changed ver time as they ere written and translated, removing drier aspects. Fairytales were created by women rebelling against society, they were not written for children. When asked to name authors of fairytales, most would answer The Grimm Brothers of Hans Christian Andersen. Throughout history, fairytales have been women’s stories passed down orally from mothers and grandmothers. When the tales began to be a literary form, the output from female authors vastly exceeded that of the male authors. The Grimm brothers collected their tales from peasants and died them to suit their audience. The Grimm brothers saw how the tase bewitched young readers and “fixed” things; tales became softer, sweeter, with greater morals Hans Christian Andersen was an intelligent boy who enjoyed stories fostered from his mother’s superstitions. Andersen’s tales were all original creations in comparison to the Brother Grimm’s endless source of folklore. The oral tradition of the fairytale came long before the written page. Tales were told or enacted out from generation to generation. Disney’s 1937 classic Snow White and the Seven Dwarves put the written page on the screen and established fairytales as a movie genre. Fairytales have their own lives each with their own eccentric qualities. The same story will have different lessons for each individual who listens. The effects of what we learn will last for a lifetime.
My thoughts: The introduction was too long, it was 1 minute and 33 seconds long taking up a huge chunk of time that could be used for information. Audio was patchy. It was very muffled to started with, becoming clearer towards the end. Images chosen were pixelated. The narrator wasn’t engaging enough with his delivery and could have emphasised certain words to keep audience interest. Sentences ran on together and he could have slowed down his pacing. Despite these flaws, the content was thoroughly captivating and I’m keen to learn more regarding fairytales - particularly the women creating them and why men took these stories for own profit and gain. The content was well written and thought provoking to take notes from and highly quotable as a starting point for my own work.
- 1: A fairytale is a short story filled with enchantments that is classic and familiar, often nursery standard . Cinderella, Red Riding Hood, Sleeping Beauty.
- 2: “Fairytale” is a generic narrative term for a certain kind of enchanted story that takes you to another world, a secondary world as Tolkien called it. For example, “A Midsummer Night’s Dream” by Shakespeare is a fairytale play.
- 3: One of the characteristics of both a fairytale and the fairytale genre is that is often imagines a previous teller. The story that you are hearing now is a variation on something of the past.
- 4: Fairytales are written in a shared language of symbols and images. We know we’re in fairytale territory when we have “blood fading on the snow” or a red apple that might be poisoned or birds that sing or an enchanted castle. There’s a repertory of picture motifs.
- 5: The fairytale can enter very dark places. Mothers die at the beginning of fairytales. Stepmothers are cruel. Siblings can fight. Tyrants murder people, parents abandon their children. These are very, very difficult areas that the fairytale goes into. It has made them a tool for many people to return to look at how we can cope with the tests that life presents us with.
- 6: Fairytales are not only mobile across cultures ad across time but between media. We remember the first fairytales we heard from the pictures. (that’s true!)
- 7: The media through which fairytales travel spread not only in book form as illustration and print and on the human voice but above all through the performed media. Film has played an enormous role in the distribution of fairytales with Disney’s Snow White (1937), one if the most watched films in the world - still.
- 8: A dominant characteristic of the fairytale is almost too obvious to say. It’s enchantment and supernatural. But the supernatural is there to help us hope because another feature that’s really important is that the end of the story holds out consolation that whatever horrors have been described they are going to come to an end.
- 9: On the whole, even children know this is a made up world where anything can happen because it’s been invented but it does not command the deep commitment of belief.
- 10: The heroes and heroines overcome their destinies which are terrible. The ragged skivvy in the hearth is going to become a princess, the feckless boy who never does anything right who is booted out by his parents turns out to be the hero who kills the giant. There’s a spirit of heroism in the humour of the tale and very often a fairytale undercut itself at the very end. So, for example in the conventional ending of a fairytale which is, “well they all lived happy and content while we sit here picking our teeth.”
My thoughts: This is quite a short and snappy video on the 10 things that make up a recognisable fairytale. It was well edited, well paced, Dame Marina has a clear knowledge and understanding on the subject, a very warm and welcoming presence and is a pleasure to listen to. Some thing were repeated, such as "enchantment,"which didn't particularly need to be said over and over and some of this is very surface level and introductory. It's a good starting point for my research but I'm not sure if I will draw much from it for physical creation of work or academic writing, as it is rather simplistic.
Marina Warner in Conversation - On Fairytales
https://www.youtube.com/watch?v=yKSeHHgzjns
"Archetypal", the word archetype is a word coined by Swiss psychologist -. Marina tends to be very critical of him. "I think that, on the whole, the theories of the archetype don't allow enough room for historical change. This is also true of Freud to some extent because Freud's interpretation of the myths is quite... if you think of how he interpreted Electra or Oedipus, these are quite closed systems - a universal application. What I resist n both of them is the idea that there is a fixed set of co-ordinates which we can't get past. The Wicked Stepmother is usually seen as an archetype. The older woman, the vengeful queen, as in "Snow White." Marvellous Disney, terrifying film, which I think is a marvellous film but it shouldn't be seen as a writ (?) for human nature. The wicked Queen in that is an archetypal wicked, older woman. What I argue, in my approach to fairytales, is that this wicked older woman is the product of certain strains and inequalities in social systems. One of the things that used to be the case up until the discovery of penicillin is women died in childbirth. Frequently, very high rate all over the world, or they died of fever and that is something that has changed now. And, when women died in childbirth, the remarriage of widowers in Europe was very high. Of different social classes, too. If there were surviving children, the new wife would come in. Women did not control their property, did not have jurisdiction over their children, so there was tremendous competition for resources. And there's nothing like competition fr resources to turn people against one other.
One of the things that is deeply mysterious and endlessly fascinating about stories is how ancient they are. I always remember a marvellous moment when John Berger, who unfortunately died recently, he did a piece - it was a wonderful talking piece - about the history of art and he took us down into the bottom of the underground. He talks about the cave paintings from thousands of years ago and he described them very brilliantly that when you look at the drawing of a bear or the drawing of a deer, you can smell the animal so vivd. And then he said, "In the beginning there was no fumbling." So, from the beginning of the first human strokes that depicted, it was amazing. Picasso couldn't do as well! That's the same with narrative. Narrative in the beginning, there is no fumbling. Gilgamesh is still one of the best stories ever written and we have little bits of it that come out of the desert and we can add them now to it. Cinderella, I take Cinderella as it's probably one of the most widespread stories, there is a 9th century version... the earliest version I think still yet to be discovered, it may have, since I did my research, been another one but, is ninth century and Chinese. And in this version where she marries a scholar, it's not a prince as there's the values of Chinese society - Tang Dynasty society - and her slipper is gold, not glass. But otherwise it's very similar. The fairy godmother coms in the form of a fish. The Chinese have a veneration for beautiful golden carpe, she's inside the carpe. There are variations but the structure is exactly the same; she's lost her mother, a stepmother comes in, stepmother prefers her own two children, two sisters, and treats her as a servant, beats her, and so on. Doesn't want her to go to the local feast, the golden carpe helps her. But it's very clear from the way the story has been taken down, from a storyteller, that the storyteller knows that the audience knows the story already. He doesn't explain things! So, this is not a new story. This is a shared story that is already shared. And part of the pleasure for that very early ninth century audience was recognising a tory they already knew. So it's already there, its an ancient story. There are classical antecedents as well, in Herodotus I think, there's a trace of a similar Cinderella story. It's there in every kind of culture.
I'm not a archetypal... I don't believe this is hardwired. I don't believe that Cinderella pops up autonomously in this part and that part. Because we all have these stories imprinted in our brains. I believe in diffusion and that's why I'm very interested in networks that carry stories from a well, across a caravan, across the desert, the Silk Road. There are identifiable routes. The seas are very important, the ports are very important. So I believe that people tell these stories and that, in some ways, what's hardwired are the structural elements that people then remember so they can re-embroider it, So the hatred for an incoming mother for earlier children, that kind of thing, remains a structural, almost nodes, around which the memory can build the next version of the story. In Cinderella the most famous version, in the West, is the 17th century French version by ? and in his old age when he wrote down the fairytales and he says that he knew them from servants and from little biddies. He's quite contemptuous. This idea of disparaging the stories while actually telling them at the same time is very structural to the dissemination of fairytales. In one of the very early and beautiful versions the
Interests / practice Children's Books - fairy tales, their traditions, narratives and morals and how they are encompassed in illustrations and characters Feminism - female narratives, the importance of female stories Handmade - collage, aesthetic, qualities
Key words / phrases / concepts / theories (use these as search terms) Feminism: the advocacy of women's rights on the ground of equality of the sexes → Advocacy: public support for or recommendation of a particular case or policy → Equality: the state of being equal - especially in status, rights or opportunities → Liberation: set someone free from imprisonment, slavery or oppression → Women's rights, human rights, Narratives: a spoken or written account of connected events; a story Fairy tales: something resembling a fairy story in being magical, idealised or extremely happy → Folk tales: a story originating in popular culture, typically passed on by word of mouth → Regional? Country-based? Small communities?
Handmade: made by hand, not by machine, and typically therefore of superior quality → Patience, Repetition, Iteration, Focus.
• From the Beast to the Blonde: On Fairy Tales and their Tellers - Marina Warner • Women Who Run with the Wolves - Clarissa Pinkola Estés • On Monsters - Stephen Asma • Media, Gender and Identity - David Gauntlett • The work of Angela Carter
Primary Research Methods? Visits / interviews / questionnaires / activities (If applicable) I'd certainly like to compose a questionnaire of some description to collate more data relevant to my project and investigate my findings visually
Processes / Techniques I'd like to investigate hand-made processes such as collage and print-making to give an authentic tone of voice to my zine
• Through this task I have identified key areas of my own interests and what I could explore in relation to my emerging practice. I am very interested in becoming a children's book illustrator and therefore am fascinated by characters and narratives and how context changes depending on the the author's identity and life experiences.
• What does this mean for my COP2 project at Level 5? What can be explored here?
• I didn't get to explore feminism and being female as much as I would have liked to last year. Could this be something to explore further? How female narratives change a story, perhaps?
