I was influenced to create this FMP by wanting to impart and encourage feminist and gender equal ideals onto the next generation in a way that is fun and reader friendly, but i have been influenced in my ideas to adapt this certain fairytale “The 12 Dancing Princesses” by feminist writer Angela Carter. Her book the “Bloody Chamber” is one of my favorite’s and her bold way of creating new stories from the ashes of the old classics is very inspiring. When i say i will adapt the original story, i am drawn to thinking of her words below. I will be writing a new story as such, because it will have some reflection of the original Grimms telling, but essentially it will be a modern fairytale, for a new generation inspired by the original.

Angela Carters stories are far more gruesome than i intend to go, but there is no need for me to sugarcoat events for children because Grimms stories were always told to children and were definitely horrifying. I do intend to have some elements of humor perhaps in my version. When i begin my adaptation, i will look to some of my favorite of her stories for inspiration, for when i become too nicey nice and worried about what i should say i hope her stories will encourage me to be braver with my content. As this is what i will have to illustrate its very important to get it right and have the text and illustrations complement or contrast eachother in interesting ways.

Whilst i shall be influenced by the feminism inspired aspects of Angela’s writing, that give females power, i will not be influenced by the sexuality of her writing, as this would not be fit or appropriate for purpose.

The tigers bride has held alot of influence over me previously and i think it will do so in this project, due to the female characters rejection of material gifts from the male character- her warden who keeps her locked up ( this is a rendition of beauty and the beast)

Angela Carter made clear, “My intention was not to do ‘versions’ or, as the American edition of the book said, horribly, ‘adult’ fairy tales, but to extract the latent content from the traditional stories and to use it as the beginnings of new stories.” She knew from the start that she was drawn to “Gothic tales, cruel tales, tales of wonder, tales of terror, fabulous narratives that deal directly with the imagery of the unconscious”. She drew a sharp distinction between what she described as “those fragments of epiphanic experience which are the type of the 20th-century story”, and the “ornate, unnatural” style and symbolism of her favoured form, the tale. When, in her second collection, The Bloody Chamber, she continued in this Gothic mode but with narratives suggested by traditional west European fairy tales, she found she had conjured up an exotic new hybrid that would carry her voice to a wider audience than it had reached before.


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