stringtranslate.com

Evil Queen

The Evil Queen (German: böse Königin), also called the Wicked Queen or the Queen, is a fictional character and the main antagonist of "Snow White", a German fairy tale recorded by the Brothers Grimm; similar stories exist worldwide. Other versions of the Queen appear in subsequent adaptations and continuations of the fairy tale, including novels and films. A particularly notable version is Disney's depiction, sometimes known as Queen Grimhilde. The character has also become an archetype that inspired unrelated works.

The Evil Queen is Snow White's vindictive wicked stepmother, obsessed with being "the fairest in the land". The beautiful young princess Snow White evokes the Queen's sense of envy, so the Queen designs several plans to kill Snow White through witchcraft. A driving force in the story is the Queen's Magic Mirror. In the traditional resolution of the story, the Queen is executed for her crimes. The tale is didactic, meant as a warning to young children against the dangers of narcissism, pride, and hubris.

In some retellings of the fairy tale, the Queen has been re-imagined or portrayed more sympathetically, such as being morally conflicted or suffering from madness instead of being simply evil. In some of the revisionist stories, she serves as the protagonist and has even been portrayed as an antihero or a tragic hero.

The Brothers Grimm tale

The queen with her mirror, from the 1921 My Favourite Book of Fairy Tales (illustrated by Jennie Harbour)

The Evil Queen is a very beautiful but proud and arrogant woman, who marries the King after the death of his first wife, the mother of Snow White. The Evil Queen owns a magic mirror, which one day informs her that her young stepdaughter, the Princess Snow White, has surpassed her in beauty.

After deciding to kill Snow White, the Queen orders her Huntsman to take the princess into the forest to murder her. The Queen tells him to bring back Snow White's lungs and liver as proof that the princess is dead. However, the Huntsman takes pity on Snow White, and instead brings the Queen the lungs and liver of a wild boar. The Queen has the cook prepare the lungs and liver and she eats what she believes are Snow White's organs.

The Queen in disguise, offering lace to Snow White (a late 19th-century German illustration)

While questioning her mirror again, the Queen discovers that Snow White has survived and has found sanctuary with the Seven Dwarfs. Intending to kill Snow White herself, she takes the disguise of an old peddler woman. She visits the dwarfs' house and sells Snow White laces for a corset that she laces too tight in an attempt to suffocate the girl. When that fails, the Queen returns as a comb seller and tricks Snow White into using a poisoned comb. After the comb, too, fails to kill Snow White, the Queen again visits Snow White disguised as a farmer's wife and gives Snow White a poisoned apple, which puts Snow White into a deep sleep.

Snow White is awakened by a Prince from another kingdom, and they invite the Queen to their wedding. Although fearing what will happen, the Queen's jealousy drives her to attend. There she is forced to put on red-hot iron shoes and dance until she drops dead.[1]

Alternative fates

The Queen arrives at Snow White's wedding in a 1905 German illustration

In the classic ending of "Snow White", the Evil Queen is put to death by torture. This is now often considered too dark and potentially horrifying for children. The first English translation of the Grimm's tale, written by Edgar Taylor in 1823, has the Queen choke on her own envy upon the sight of Snow White alive. Another early (1871) English translation by Susannah Mary Paull "replaces the Queen's death by cruel physical punishment with death by self-inflicted pain and self-destruction" when it was her own shoes that became hot due to her anger.[2] Other alternative endings have the Queen instantly drop dead "of anger" at the wedding[3] or in front of her mirror upon learning of it,[4] die from her own designs going awry (such as from touching her own poisoned rose[5]) or by nature (such as falling into quicksand while crossing a swamp on her way back to the castle after poisoning Snow White[6]), be killed by the dwarfs during a chase,[7] be destroyed by her own mirror,[8] run away into the forest never to be seen again,[9] or simply being banished from the kingdom forever.[10] As Sara Maitland wrote, "we do not tell this part of the story any more; we say it is too cruel and will break children's soft hearts."[11]

Many (especially modern) revisions of the fairy tale often change the gruesome classic ending in order to make it seem less violent. In some versions, the Queen is merely prevented from committing further wrongdoings and does not die. Fawzia Gilani-Williams' Snow White: An Islamic Tale, for instance, has Snow White forgive her evil witch stepmother entirely, making her repent and redeem herself, as part of the book's religious lessons for children.[12] However, in the same 2014 nationwide UK poll that considered the Queen from "Snow White" the scariest fairy tale character of all time (as cited by 32.21% of responding adults), around two-thirds opined that today's stories are too "sanitized" for children.[13] Anthony Burgess commented in 1983: "Reading that, how seriously can we take it? It is fairy-tale violence, which is not like real mugging, terrorism and Argentinean torture."[14]

Sheldon Cashdan, Professor of Psychology at the University of Massachusetts, argues that, in accordance with the logic of fairy tales, the Queen could not be allowed to flee or merely be locked up in a dungeon or exiled, as the story portrayed her "as a thoroughly despicable creature who deserves the worst conceivable punishment." In his opinion, fairy tale narrative also demands that "if the witch is to die — and remain dead — she must die in a way that makes her return highly unlikely," and so "the reader needs to know that the death of the witch is thorough and complete, even if it means exposing young readers to acts of violence that are extreme by contemporary standards."[15] Conversely, writers such as Oliver Madox Hueffer have expressed sympathy for the queen,[16] or, like psychology professor Sharna Olfman, have removed the violence when reading the story to children while also acknowledging that verbal storytelling lacks "graphic visual imagery".[17]

Origins and evolution

A Polish illustration by Zofia Plewińska-Smidowiczowa

In the first edition of the Brothers Grimm story from their 1812 collection Kinder- und Hausmärchen ("Children's and Household Tales"), the Queen is Snow White's biological mother and in the beginning sits sewing at an open window. She pricks her finger with her needle, causing three drops of red blood to drip onto the white snow on the black ebony windowsill. She then wishes to have a daughter with skin as white as snow, lips as red as blood, and hair as black as ebony, and she later gives birth to Snow White. In subsequent versions after 1819,[18] this was changed; text was added to include that Snow White's mother died and the king remarried.[19][20] Jack Zipes said that the change was made because the Grimms "held motherhood sacred."[21] According to Cashdan, a "cardinal rule of fairy tales" mandates that the "heroes and heroines are allowed to kill witches, sorceresses, even stepmothers, but never their own mothers."[15] Zipes' 2014 collection of Grimm fairy tales in their original forms reinstated the Queen as Snow White's mother.[22][23]

However, the wicked stepmother was not unknown in German versions predating the Brothers Grimm's collection. In 1782, Johann Karl August Musäus published a literary fairy tale titled "Richilde" which reimagined the folktale from the villain's point of view.[24] The main character is Richilde, arrogant Countess of Brabant, who as a child received the gift of a magic mirror invented by her godfather Albertus Magnus. Many elements of the Grimms' Snow White appear in this story, including the wicked stepmother, the magic mirror, the poisoned apple, and the punishment of dancing in red-hot shoes.[25]

Hueffer noted that the wicked stepmother with magical powers threatening a young princess is a recurring theme in fairy tales; one similar character is the witch-queen in "The Wild Swans" as told by Hans Christian Andersen.[16] According to Kenny Klein, the enchantress Ceridwen of the Welsh mythology was "the quintessential evil stepmother, the origin of that character in the two tales of Snow White and Cinderella."[26]

Equivalents to the Evil Queen can be found in Snow White-like tales from around the world. In the Scottish Gaelic oral tale "Gold-Tree and Silver-Tree", the Queen is named Silver-Tree and is the heroine's biological mother. A talking trout takes the place of the Queen's mirror and the huntsman figure is the princess's own father.[27][28] The villain's relationship with Snow White can also vary, with versions from around the world sometimes featuring wicked sisters or sisters-in-law, or a wicked mother of the prince.[29] One earlier variation of the tale was Giambattista Basile's "The Young Slave" (1634), in which the heroine's mother is unintentionally involved in putting her to sleep, and she is awoken by her cruel and jealous aunt who treats her like a slave.

The Queen's tricks also vary from place to place. In Italy, she uses a toxic comb, a contaminated cake, or a suffocating braid. In France, a local tale features a poisoned tomato.[26] The Queen's demands for proof from the huntsman (often her lover in non-Grimm versions[30]) also vary: a bottle of blood stoppered with the princess's toe in Spain, or the princess's intestines and blood-soaked shirt in Italy.[31]

Rosemary Ellen Guiley suggests that the Queen of the Brothers Grimm tale uses an apple because it recalls the temptation of Eve; this creation story from the Bible led the Christian Church to view apples as a symbol of sin. Many people feared that apples could carry evil spirits, and that witches used them for poisoning.[32] Robert G. Brown of Duke University also makes a connection with the story of Adam and Eve, seeing the Queen as a representation of the archetype of Lilith.[33] The symbol of the apple has long had traditional associations with enchantment and witchcraft in some European cultures, as in case of Morgan le Fay's Avalon ("Isle of the Apples").[34]

The iron shoes being heated in an illustration from an 1852 Icelandic translation of the Grimms' story

Diane Purkiss attributes the Queen's fiery death in the Brothers Grimm tale to "the folkbelief that burning a witch's body ended her power, a belief which subtended (but did not cause) the practice of burning witches in Germany."[35] The American Folklore Society noted that the use of iron shoes "recalls folk practices of destroying a witch through the magic agency of iron."[36]

Interpretations

According to some scholars such as Roger Sale and University of Hawaii professor Cristina Bacchilega, the story has ageist undertones vilifying the older woman character, with her envy of Snow White's beauty.[37][28] Terri Windling wrote that the Queen is "a woman whose power is derived from her beauty; it is this, the tale implies, that provides her place in the castle's hierarchy. If the king’s attention turns from his wife to another, what power is left to an aging woman? Witchcraft, the tale answers. Potions, poisons, and self-protection."[28]

Sandra Gilbert and Susan Gubar regard Snow White and her mother/stepmother as two female stereotypes, the angel and the monster.[38] The fact that the Queen was Snow White's biological mother in the first version of the Grimms' story has led several psychoanalytic critics to interpret "Snow White" as a story about a repressed Oedipus complex, or about Snow White's Electra complex and sexual rivalry with the Queen.[38] According to Bruno Bettelheim, the story's main motif is "the clash of sexual innocence and sexual desire": "whereas Snow White achieves inner harmony, her stepmother fails to do so. Unable to integrate the social and the antisocial aspects of human nature, she remains enslaved to her desires and gets caught up in an Oedipal competition with her daughter from which she cannot extricate herself. This imbalance between her contradictory drives proves to be her undoing."[39] Cashdan interprets the Queen's motives as "fear that the king will find Snow White more appealing than her."[15] This struggle so dominates the psychological landscape of the tale that Gilber and Gubar even proposed renaming the story "Snow White and Her Wicked Stepmother".[31][40] Harold Bloom opined that the three "temptations" all "testify to a mutual sexual attraction between Snow White and her stepmother."[41]

Robert Anning Bell's 1912 illustration

Cashdan proposes that the evil queen "embodies narcissism, and the young princess, with whom readers identify, embodies parts of the child struggling to overcome this tendency. Vanquishing the queen represents a triumph of positive forces in the self over vain impulses." As such, "the death of the witch signals a victory of virtue over vice, a sign that positive forces in the self have prevailed." In addition, "the active involvement of heroine in the witch's demise communicates to readers that they must take an active role in overcoming their own errant tendencies."[15] Similarly, psychologist Betsy Cohen wrote about the perceived symbolism of the act: "In order to avoid becoming a wicked queen herself, Snow White needs to separate from and kill off this destructive force inside of her."[42] In the words of Bettelheim, "only the death of the jealous queen (the elimination of all outer and inner turbulence) can make for a happy world."[43]

Regarding the manner of the Queen's execution, scholars such as Cashdan, Sheldon Donald Haase, and John Hanson Saunders argue from psychological and storytelling viewpoints that the Queen's punishment fits her crimes, gives closure to the reader, and shows good triumphing over evil.[15][38][44] Jo Eldridge Carney, Professor of English at The College of New Jersey, wrote: "Again, the fairy tale's system of punishment is horrific but apt: a woman so actively consumed with seeking affirmation from others and with violently undoing her rival is forced to enact her own physical destruction as a public spectacle."[45] Likewise, Mary Ayers of the Stanford University School of Medicine wrote that the red-hot shoes symbolise that the Queen was "subjected to the effects of her own inflamed, searing hot envy and hatred."[46] It was also noted that this ending echoes the fairy tale of "The Red Shoes", which similarly "warns of the danger of attachment to appearances."[47]

Adaptations and other media

The character was portrayed in a variety of ways in the subsequent adaptations and reimaginings of the classic fairy tale. According to Lana Berkowitz of the Houston Chronicle, "Today stereotypes of the evil queen and innocent Snow White often are challenged. Rewrites may show the queen is reacting to extenuating circumstances."[37] Scott Meslow of The Atlantic noted that "Disney's decision to throw out the Grimm's appropriately grim ending—which sentences the evil queen to dance in heated iron shoes until her death—has meant that ending is all but forgotten."[48]

Disney's Snow White franchise

Morgan McMichaels dressed as the Evil Queen from the 1937 film in 2015

In Disney's seminal 1937 animated film Snow White and the Seven Dwarfs, the Queen, usually known as the Evil Queen or the Wicked Queen, is the villain. This version of the character was sometimes referred to as Queen Grimhilde in Disney publications from the 1930s and was originally voiced by Lucille La Verne. The film's Queen, in the form of an old witch, falls to her death after poisoning Snow White. In the film, similar to the Brothers Grimm story, the Queen is cold, cruel, and extremely vain and obsessively desires to remain the "fairest in the land". She becomes madly envious of the beauty of her stepdaughter, as well as the attention of the Prince from another land; such a love triangle element is one of Disney's changes to the story. This leads her to plot the death of Snow White and ultimately puts her on the path to her own demise, which in the film is indirectly caused by the Seven Dwarfs. The film's version of the Queen character uses her dark magic powers to actually transform her into an old woman instead of just taking a disguise like in the Grimms' story; with this appearance she is commonly referred to as the Wicked Witch or alternatively as the Old Hag or just the Witch. The film's version of the Queen was created by Walt Disney and Joe Grant, originally animated by Art Babbit, and voiced by Lucille La Verne. Inspiration for her design came from several sources, including the characters of Queen Hash-a-Motep from She and Princess Kriemhild from Die Nibelungen,[49][50] as well as actresses such as Joan Crawford and Gale Sondergaard.[51][52]

This interpretation of the classic fairy tale character has been very well received by film critics and the general public, often being considered one of Disney's most iconic and menacing villains. Besides the film, the Evil Queen has made numerous appearances in Disney productions and attractions, such as Fantasmic!, The Kingdom Keepers and Kingdom Hearts Birth by Sleep, sometimes appearing alongside Maleficent from Sleeping Beauty. The Queen has since been voiced by Eleanor Audley, Louise Chamis, and Susanne Blakeslee. She was portrayed live by Anne Francine, Jane Curtin, and Olivia Wilde, among others. Her surviving and aged version was portrayed by Kathy Najimy in Descendants. The film's version of the Queen has also become a popular archetype that influenced a number of artists and non-Disney works.

The 1989 film Happily Ever After, introduces the late Queen's brother, the evil wizard Lord Maliss, who arrives in the kingdom to avenge his sister on those responsible for her demise: Snow White and Prince Charming.[53] Due to pressure by Disney lawyers,[54][55] the Queen herself does not appear and is only shown via a portrait and a bust statue, and the film begins with her monster minions actually partying and celebrating her death. Her brother is eventually destroyed when he is transformed into a dragon and turned into a stone statue.[citation needed]

Gal Gadot is set to portray the character in Snow White, Disney's own 2025 live-action film reimagining of their 1937 animated classic.

Film

Television

One early yet notable animated adaptation was Snow White (1933), a Betty Boop series cartoon short in which the Queen resembles Olive Oyl.[68][56] Another early American animation, Coal Black and de Sebben Dwarfs (1943), is a controversial[60] World War II propaganda short that reimagines all the story's characters as African-Americans. The "mean ol' queen" (voiced by Ruby Dandridge and Danny Webb) of the story, a parody of the Disney character,[69] plots to murder So White out of jealously for the handsome Prince Chawmin, represents food hoarders at the time of war rationing.

Comics

Novels

Short stories

Theater and opera

See also

References

Bibliography

Citations

  1. ^ Brothers Grimm (2002). "Little Snow White". The Complete Fairy Tales. Routledge Classics. ISBN 0-415-28596-8.
  2. ^ Anderman, Gunilla M. Voices in Translation: Bridging Cultural Divides. p. 140.
  3. ^ Gikow, Louise. Muppet Babies' Classic Children's Tales.
  4. ^ Carruth, Jane. The Best of the Brothers Grimm. p. 19.
  5. ^ Heitman, Jane. Once Upon a Time: Fairy Tales in the Library and Language Arts Classroom. p. 20.
  6. ^ Ruth Solski, Fairy Tales Using Bloom's Taxonomy Gr. 3-5, page 15.
  7. ^ Van Gool, Snow White, page 39.
  8. ^ Nelson Thornes, Snow White and the Seven Dwarfs, page 32.
  9. ^ Richard Holliss, Bedtime Collection Snow White, page 82.
  10. ^ Elena Giulemetova, Stories, page 71.
  11. ^ Sara Maitland, From the Forest: A Search for the Hidden Roots of Our Fairy Tales, page 195.
  12. ^ "Snow White: An Islamic Tale". Siraj Islamic Lifestyle Store. Retrieved 2023-11-24.
  13. ^ "Snow White 'favourite fairy tale'". News.uk.msn.com. 2014-05-23. Archived from the original on 2014-05-29. Retrieved 2014-05-28.
  14. ^ New York Magazine issue of 21 November 1983, page 96.
  15. ^ a b c d e Sheldon Cashdan, The Witch Must Die: The Hidden Meaning of Fairy Tales, pages 11, 15, 35-37, 61.
  16. ^ a b Oliver Madox Hueffer, The Book of Witches.
  17. ^ Sharna Olfman, The Sexualization of Childhood, page 37.
  18. ^ Terri Windling, "Snow, Glass, Apples: the story of Snow White[usurped]".
  19. ^ Cay Dollerup, Tales and Translation: The Grimm Tales from Pan-germanic Narratives to Shared International Fairytales, page 339.
  20. ^ Diane Purkiss, The Witch in History: Early Modern and Twentieth-Century Representations, page 278.
  21. ^ Adam Uren. "Miserably ever after: U of M professor's fairy tales translation reveals Grimm side". Rick Kupchella's - BringMeTheNews.com. Retrieved 8 December 2014.
  22. ^ "Today's Fairy Tales Started Out (Even More) Dark and Harrowing". NPR.org.
  23. ^ "English Translation of the First Edition of the Grimm Brothers' Fairy Tales Now Available - Dread Central". Dread Central. 14 November 2014. Retrieved 8 December 2014.
  24. ^ Kawan, Christine Shojaei (2005–2006). "Innovation, Persistence and Self-Correction: The Case of Snow White" (PDF). Estudos de Literatura Oral. 11–12: 238.
  25. ^ Beckford, William (1791). Popular Tales of the Germans, Volume 1. J. Murray. pp. 1–73.
  26. ^ a b Kenny Klein, Through the Faerie Glass, page 124.
  27. ^ Kay F. Stone, Some Day Your Witch Will Come, page 67.
  28. ^ a b c "The Evolution of Snow White: 'Magic Mirror, on the Wall, Who Is the Fairest One of All?' | Cultural Transmogrifier Magazine". Ctzine.com. 2012-06-01. Archived from the original on 2013-10-21. Retrieved 2013-07-31.
  29. ^ Tatar, Maria (2020). The Fairest of Them All: Snow White and 21 Tales of Mothers and Daughters. Harvard University Press.
  30. ^ "Snow, Glass, Apples: The Story of Snow White by Terri Windling: Summer 2007, Journal of Mythic Arts, Endicott Studio". Endicott-studio.com. Archived from the original on 2014-02-22. Retrieved 2014-05-04.{{cite web}}: CS1 maint: unfit URL (link)
  31. ^ a b Maria Tatar, The Hard Facts of the Grimms' Fairy Tales, pages 233-234.
  32. ^ Rosemary Guiley, The Encyclopedia of Magic and Alchemy, page 17.
  33. ^ Robert G. Brown, The Book of Lilith, page 214.
  34. ^ Rosemary Guiley, The Encyclopedia of Witches, Witchcraft and Wicca, page 9.
  35. ^ Diane Purkiss, The Witch in History: Early Modern and Twentieth-Century Representations, page 285.
  36. ^ Journal of American Folklore, volume 90, page 297.
  37. ^ a b Berkowitz, Lana (27 March 2012). "Are you Team Snow White or Team Evil Queen? - Houston Chronicle". Chron.com. Retrieved 2014-01-11.
  38. ^ a b c Donald Haase, The Greenwood Encyclopedia of Folktales and Fairy Tales, pages 777-778, 885.
  39. ^ Henk De Berg, Freud's Theory and Its Use in Literary and Cultural Studies: An Introduction, pages 102, 105.
  40. ^ Tatar, Maria (8 June 2012). "A Brief History of Snow White". The New Yorker. Retrieved 2014-01-11.
  41. ^ Roger Sale, Fairy Tales and After: From Snow White to E.B. White, page 40.
  42. ^ Betsy Cohen, The Snow White Syndrome: All About Envy, pages 6, 14.
  43. ^ Bruno Bettelheim, The Uses of Enchantment: The Meaning and Importance of Fairy Tales.
  44. ^ John Hanson Saunders, The Evolution of Snow White: A Close Textual Analysis of Three Versions of the Snow White Fairy Tale, pages 71-71.
  45. ^ Jo Eldridge Carney, Fairy Tale Queens: Representations of Early Modern Queenship, page 94.
  46. ^ Mary Ayers, Mother-Infant Attachment and Psychoanalysis: The Eyes of Shame, page 97.
  47. ^ Sara Halprin, Look at My Ugly Face!: Myths and Musings on Beauty and Other Perilous Obsessions With Women's Appearance, page 85.
  48. ^ Cutler, David (2012-03-29). "Snow White's Strange Cinematic History - Scott Meslow". The Atlantic. Retrieved 2014-01-11.
  49. ^ "Disney Villains: Queen". Disney.go.com. Archived from the original on February 27, 2011. Retrieved November 6, 2013.
  50. ^ Golden Anniversary: Walt Disney's Snow White and the Seven Dwarfs, Gladstone 1987.
  51. ^ Ryan Gilbey, Jonathan Ross, The Ultimate Film: The UK's 100 Most Popular Films, page 19.
  52. ^ Axel Nissen, Actresses of a Certain Character: Forty Familiar Hollywood Faces from the Thirties to the Fifties, page 197.
  53. ^ Thomas, Kevin (1993-05-28). "MOVIE REVIEW : 'Happily Ever After': Sadly Disappointing". Los Angeles Times. Retrieved 2012-05-29.
  54. ^ "Non-Disney 'Snow White' Sequel Has Unhappy Box-Office Opening". Apnewsarchive.com. 1993-06-01. Retrieved 2014-03-20.
  55. ^ "SNOW WHITE REVISITED: THE QUEEN'S DEAD, BUT CONFLICT ISN'T BANISHED". Dayton Daily News. May 28, 1993.
  56. ^ a b c d e "Snow White through the years - Timelines - Los Angeles Times". Timelines.latimes.com. 30 March 2012. Retrieved 2014-01-11.
  57. ^ Review, St. Petersburg Times, July 16, 1961.
  58. ^ "Caperucita y Pulgarcito contra los monstruos". Film.nu.
  59. ^ "De "Pulgarcito" a "El dolor de pagar la renta": Las películas que hicieron famoso a Cesáreo Quezadas". 17 March 2021.
  60. ^ a b c d "Special feature: Popular screen adaptations of 'Snow White'". mid-day. 22 December 2014. Retrieved 5 January 2015.
  61. ^ Slethaug, p. 230.
  62. ^ "7 Dwarves | 2005 Tribeca Festival". Tribeca. Retrieved 2023-11-24.
  63. ^ Solomon, Charles (2015-07-31). "Review: 'The Seventh Dwarf' a forgettable princess tale". Los Angeles Times. Retrieved 2023-11-24.
  64. ^ "'Snow White' Lands Julia Roberts As Evil Queen, So How Does She Stack Up Against Charlize Theron?". MTV Movies Blog. 2011-02-08. Archived from the original on February 11, 2011. Retrieved 2012-05-29.
  65. ^ "Interview: "Snow White And The Huntsman" Director Rupert Sanders Talks Dark Fairy Tales & Kristen Stewart's Toughness". Complex. 2012-06-02. Retrieved 2014-07-05.
  66. ^ "'Snow White's Charlize Theron: 'Evil Queen like The Shining character' - Movies News". Digital Spy. 2012-06-07. Retrieved 2014-07-05.
  67. ^ "Pre-register [Red Shoes: Wood Bear World] NOW!" – via www.facebook.com.
  68. ^ Smoodin, p. 22.
  69. ^ Slethaug, p. 214.
  70. ^ "Biancaneve". www.elvifrance.fr.
  71. ^ "Snow White and the Seven Robots: A Graphic Novel". Capstone Library. Retrieved 5 January 2015.
  72. ^ Oyeyemi, Helen (2014-03-09). "'Boy, Snow, Bird' Takes A Closer Look Into The Fairy Tale Mirror". NPR. Retrieved 2014-05-05.
  73. ^ "Dwarfing Snow White: A Q&A with Helen Oyeyemi | National Post". Arts.nationalpost.com. 2014-03-25. Archived from the original on 2014-05-05. Retrieved 2014-05-05.
  74. ^ Feminist Fairy Tales, page 20.
  75. ^ Smoodin, p. 45.

External links