Naming and Narrating in Women’s Fiction, 1750-1880
Notes Chapter One 1. Elizabeth Gaskell, Ruth, ed. Alan Shelston (Oxford & New York: Oxford University Press, 1985) 69. 2. Bourke, “The Baby and the Bathwater: Cultural Loss in Nineteenth-Century Ireland,” Ideology and Ireland in the Nineteenth Century, ed. Tadhg Foley and Seán Ryder (Dublin: Four Courts Press, 1998) 81. 3. Nicola Bown, Fairies in Nineteenth-Century Art and Literature (Cambridge: Cambridge University Press, 2001) 13. 4. Joseph Ritson, Fairy Tales (London: Payne and Foss, 1831) 27. 5. The Fantastic: A Structural Approach to a Literary Genre, trans. Richard Howard (Cleveland & London: The Press of Case Western Reserve University, 1973) 25. 6. Lewis Spence, British Fairy Origins (London: Watts & Co., 1946) 82–3. 7. Yeats, The Celtic Twilight (London: A. H. Bullen, 1902) 8 and Fairy and Folk Tales of Ireland, 3rd ed. (Gerrards Crossing: Colin Smythe Ltd., 1988) 6. 8. Yeats, Fairy and Folk 11–12. 9. For photo reproductions, see Maas et al., Victorian Fairy Painting, ed. Jane Martineau (London: Royal Academy of Arts and Merrell Holbertson Publishers, 1997). 10. Carole G. Silver, Strange and Secret Peoples: Fairies and Victorian Consciousness (New York & Oxford: Oxford University Press, 1999) 175. 11. Spence, 138–9. 12. In “Fairy Tales, Old Wives, and Printing Presses,” History Today 54.1 (2004): 38–44, Ruth Bottigheimer argues that fairy tales originated in print tradition. Any connection between illiterate folk and later fairy tales represents a clever marketing ploy. 13. See “The Tellers” in Marina Warner, From the Beast to the Blonde: On Fairytales and Their...
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