Write a two to three paragraph essay explaining the main ideas of your visual elements, including citations where appropriate.

CRITICISM, THEORY, and ANALYSIS:Aarne, Antti A., and Stith Thompson.

The Types of the Folktale: A Classification and Bibliography. Folklore

Fellows Communications no. 184. Helsinki: Academia Scientiarum Fennica, l96l.

Revised edn. 1964. Second revision, Helsinki: Soumalainen Tiedeakatemia, 1981.

[Tales classified according to Animal Tales (Wild Animals, Wild Animals

and Domestic Animals, Man and Wild Animals, Domestic Animals, Birds, Fish, Other

Animals and Objects); Ordinary Folk-Tales (Tales of Magic: Supernatural

Adversaries, Supernatural or Enchanted Husband Wife or other Relatives,

Supernatural Tasks, Supernatural Helpers, Magic Objects, Supernatural Power or

Knowledge, Other Tales of the Supernatural; Religious Tales; Romantic Tales;

Tales of the Stupid Ogre); Jokes and Anecdotes (Numbskull Stories,

Stories about Married Couples, Stories about a Woman/Girl, Stories about a

Man/Boy, The Clever Man, Lucky Accidents, The Stupid Man, Jokes about Parsons

and Religious Orders, Anecdotes about Other Groups of People, Tales of Lying);

Formula Tales (Cumulative Tales, Catch Tales, Other Formula Tales);

Unclassified Tales. Types most frequently in Cinderella stories are

510: Cinderella and Cap o' Rushes, which includes such functions

as the persecuted heroine, magic help, meeting the prince, overstaying at the

ball, proof of identity such as the slipper test, a ring, or unique abilities

such as that of plucking the gold apple, marriage to the prince, and the value

of salt. 510A: Cinderella, the stepsisters, the missing mother who

helps by means of animals. 510B: The Dress of Gold, of Silver, and of the

Stars, where the father would marry his daughter; three fold visit to the

church, identifying footwear. 511: One-Eye, Two-Eyes, Three-Eyes,

with child abused by mother, but assisted by wise-woman; magical tree.

511A: The Little Red Ox, with cruel stepmother and stepsisters; Ox

as helper; spying on the Ox, flight, a Magic Horn.]

Abel, Elizabeth; Marianne Hirsch; and Elizabeth Langland. The Voyage In:

Fictions of Female Development. Hanover, N.H.: University Press of New

England, 1983.

Abrahams, Roger D. African Folktales: Traditional Stories of the Black

World. New York: Pantheon, 1983. [Introduction (pp. 1-29). Sixteen Tales of

Wonder from the Great Ocean of Story, with introduction; twenty-eight Stories to

Discuss and Even Argue About, with introduction; thirty-three Tales of Trickster

and Other Ridiculous Creatures, with introduction; two Tales of Praise of Great

Doings, with introduction; fifteen tales on Making a Way Through Life, with

introduction. Bibliography (pp. 343-46). See entry above under Modern

Children's Editions: African American, African.]

"Accusations of Abuse Haunt the Legacy of Dr. Bruno Bettelheim." New York

Times, 4 November 1990. The Week in Review.

Adams, Richard. "The Social Identity of a Japanese Storyteller." Ph.D. diss.

Indiana University, 1972.

Afanasiev, Aleksandr. Russian Fairy Tales. Trans. Norbert Guterman.

New York: Pantheon, 1945.

Akridge, Sharon A. Hollenbeck. Cinderella from the Pampas. Ann Arbor,

Michigan: University Microfilms International, 1983.

Aldrich, Elizabeth. From the Ballroom to Hell: Grace and Folly in

Nineteenth Century Dance. Evanston, Ill.: Northwestern University Press,

1991. [A mine of information on nineteenth-century manuals of etiquette on the

ball as avenue to acceptable behavior in America and Europe.]

Aley, Peter. Jugendliteratur im Dritten Reich (Gutersloh: Bertelsmann,

1967), p. 102. [Cites G. Grenz on Cinderella as example of Prince,

following his unspoiled instinct, to find the right Arian girl whereby the blood

lines are kept pure. The voice in his blood tells him she is the right one.]

Angelopoulou, Anna. "Fuseau des cendres." Cahiers de Littrature

Orale, 15 (1989), 71-96. [Considers functions of spindles at the fireside in

folktales.]

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