[1]
C. Perrault, Cinderella: or, The history of the little glass slipper. Philadelphia: Printed for Mathew Carey, no. 118, Market-Street, 1800. Available: http://0-opac.newsbank.com.pugwash.lib.warwick.ac.uk/select/evans/37184
[2]
W. Benjamin, ‘The Storyteller: reflections on the works of Nikolai Leskov’, in Illuminations, Pimlico ed.London: Pimlico, 1999, pp. 83–107. Available: https://contentstore.cla.co.uk/secure/link?id=14d1129c-8343-e611-80bd-0cc47a6bddeb
[3]
K. Rowe, ‘To Spin a Yarn: The Female Voice in Folklore and Fairy Tale’, in Fairy tales and society: illusion, allusion, and paradigm, Philadelphia: University of Pennsylvania Press, 1999, pp. 53–74. Available: https://contentstore.cla.co.uk/secure/link?id=b4ab786a-c943-e611-80bd-0cc47a6bddeb
[4]
M. Warner, ‘Absent Mothers: Cinderella’, in From the beast to the blonde: on fairy tales and their tellers, London: Vintage, 1995, pp. 200–217. Available: https://contentstore.cla.co.uk/secure/link?id=cf82516d-e043-e611-80bd-0cc47a6bddeb
[5]
J. Zipes, Fairy tales and the art of subversion: the classical genre for children and the process of civilization, vol. Routledge classics. Milton Park, Abingdon, Oxon: Routledge, 2012. Available: http://lib.myilibrary.com/browse/open.asp?id=344195&entityid=https://idp.warwick.ac.uk/idp/shibboleth
[6]
J. Zipes, Fairy tales and the art of subversion: the classical genre for children and the process of civilization, 2nd ed., vol. Routledge classics. Milton Park, Abingdon, Oxon: Routledge, 2012. Available: http://0-www.tandfebooks.com.pugwash.lib.warwick.ac.uk/isbn/9780203805251
[7]
J. Zipes, Fairy tales and the art of subversion: the classical genre for children and the process of civilization. New York: Routledge, 1991.
[8]
J. Zipes, ‘Who’s Afraid of the Brothers Grimm? Socialization and Politicization through Fairy Tales’, in Fairy tales and the art of subversion: the classical genre for children and the process of civilization, 2nd ed.New York: Routledge, 2006, pp. 59–79. Available: https://contentstore.cla.co.uk/secure/link?id=55d1c8f6-e943-e611-80bd-0cc47a6bddeb
[9]
I. Calvino, Italian folktales, vol. Penguin modern classics. London: Penguin, 2000.
[10]
M. Alfreds, ‘The Empty Space & Actors as Storytellers’, in Then what happens?: storytelling and adapting for the theatre, London: Nick Hern Books, 2013, pp. 33–53. Available: https://contentstore.cla.co.uk/secure/link?id=9dde3c2e-1f50-e611-80c6-005056af4099
[11]
B. Bettelheim, ‘Introduction: the struggle for meaning’, in The uses of enchantment: the meaning and importance of fairy tales, Harmondsworth: Penguin, 1991, pp. 3–19. Available: https://contentstore.cla.co.uk/secure/link?id=1c655705-8443-e611-80bd-0cc47a6bddeb
[12]
B. Bettelheim, The uses of enchantment: the meaning and importance of fairy tales. Harmondsworth: Penguin, 1991.
[13]
R. Appignanesi and O. Zarate, Freud for beginners. Barton, Cambridge: Icon, 1992.
[14]
M. Wilson, Storytelling and theatre: contemporary storytellers and their art, vol. Theatre and performance practices. Houndmills, Basingstoke: Palgrave Macmillan, 2006.
[15]
C. Booker, The seven basic plots: why we tell stories. London: Continuum, 2005.
[16]
F. Herbster, The two sisters: or, The cavern: A moral tale. New-York: Published by E. Duyckinck, no. 68 Water-Street. N. Van Riper, printer, 1818. Available: http://0-opac.newsbank.com.pugwash.lib.warwick.ac.uk/select/shaw/44304
[17]
F. Herbster, The two sisters; or, The cavern: A moral tale. [New Haven]: From Sidney’s Press. For I. Cooke & Co. Church-Street, N. Haven, 1810. Available: http://0-opac.newsbank.com.pugwash.lib.warwick.ac.uk/select/shaw/21543
[18]
Hector Hugh Munro (Saki), ‘The Storyteller’. Available: http://www.classicshorts.com/stories/Storyteller.html
[19]
J. Bate, English literature: a very short introduction, vol. Very short introductions. Oxford: Oxford University Press, 2010.
[20]
Euripides and adapted by Liz Lochhead, Medea. [London]: Bloomsbury, 2015. Available: http://0-dx.doi.org.pugwash.lib.warwick.ac.uk/10.5040/9781784601041.00000002
[21]
Apollonius, Argonautica, vol. The Loeb classical library. Cambridge, Mass: Harvard University Press, 2008.
[22]
Apollonius, Argonautica, vol. Loeb Classical Library. Cambridge, MA: Harvard University Press, 2014. Available: http://0-www.loebclassics.com.pugwash.lib.warwick.ac.uk/view/LCL001/2009/volume.xml
[23]
C. Booker, ‘The Quest’, in The seven basic plots: why we tell stories, London: Continuum, 2005, pp. 69–86. Available: https://contentstore.cla.co.uk/secure/link?id=cafdaad8-8443-e611-80bd-0cc47a6bddeb
[24]
J. Zipes, Creative storytelling: building community, changing lives. New York: Routledge, 1995. Available: http://0-www.tandfebooks.com.pugwash.lib.warwick.ac.uk/isbn/9781315021980
[25]
J. Zipes, Creative storytelling: building community, changing lives. New York: Routledge, 1995.
[26]
J. Zipes, ‘Mythmaking’, in Creative storytelling: building community, changing lives, New York: Routledge, 1995, pp. 137–150. Available: https://contentstore.cla.co.uk/secure/link?id=774764ee-e943-e611-80bd-0cc47a6bddeb
[27]
H. Morales, Classical mythology: a very short introduction, vol. Very short introductions. Oxford: Oxford University Press, 2007.
[28]
H. Morales, Classical mythology: a very short introduction, vol. Very short introductions. Oxford: Oxford University Press, 2007. Available: http://site.ebrary.com/lib/warwick/Doc?id=10197109
[29]
M. Wilson, Storytelling and theatre: contemporary storytellers and their art, vol. Theatre and performance practices. Houndmills, Basingstoke: Palgrave Macmillan, 2006.
[30]
M. Wilson, ‘Acting and Storytelling’, in Storytelling and theatre: contemporary storytellers and their art, Houndmills, Basingstoke: Palgrave Macmillan, 2006, pp. 39–58. Available: https://contentstore.cla.co.uk/secure/link?id=0f8e304b-e543-e611-80bd-0cc47a6bddeb
[31]
A. Aarne, The types of the folktale: a classification and bibliography, vol. FF Communications. Helsinki: Academia Scientiarum Fennica, 1981.
[32]
M. Tatar, ‘Beauty, horror, and ignition power: can books change us?’, in Enchanted hunters: the power of stories in childhood, 1st ed.New York: W.W. Norton, 2009, pp. 68–91. Available: https://contentstore.cla.co.uk/secure/link?id=2e65605d-d843-e611-80bd-0cc47a6bddeb
[33]
M. Damjan and Janosch, The magic paintbrush. London: Dobson, 1968.
[34]
J. Winston, Drama, narrative, and moral education. London: Falmer Press, 1998. Available: http://0-www.tandfebooks.com.pugwash.lib.warwick.ac.uk/isbn/9780203975497
[35]
J. Winston, Drama, narrative and moral education. London: Falmer, 1997.
[36]
M. Tatar, The classic fairy tales: texts, criticism, 1st ed., vol. A Norton critical edition. New York: Norton, 1999.
[37]
R. Bharucha, ‘Peter Brook’s Mahabharata: A View from India’, in Theatre and the world: performance and the politics of culture, London: Routledge, 1993, pp. 68–87. Available: https://contentstore.cla.co.uk/secure/link?id=3f5a471b-8443-e611-80bd-0cc47a6bddeb
[38]
R. Bharucha, Theatre and the world: performance and the politics of culture. London: Routledge, 1993. Available: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2535459
[39]
B. Bettelheim, ‘The child’s need for magic’, in The uses of enchantment: the meaning and importance of fairy tales, Harmondsworth: Penguin, 1991, pp. 45–53. Available: https://contentstore.cla.co.uk/secure/link?id=1d655705-8443-e611-80bd-0cc47a6bddeb
[40]
M. Wilson, Storytelling and theatre: contemporary storytellers and their art, vol. Theatre and performance practices. Houndmills, Basingstoke: Palgrave Macmillan, 2006.
[41]
D. Dutton, ‘The Uses of Fiction’, in The art instinct: beauty, pleasure, & human evolution, Oxford: Oxford University Press, 2009, pp. 103–134. Available: https://contentstore.cla.co.uk/secure/link?id=cce9d487-8e43-e611-80bd-0cc47a6bddeb
[42]
M. Alfreds, Then what happens?: storytelling and adapting for the theatre. London: Nick Hern Books, 2013.
[43]
M. Alfreds, ‘A shared experience: the actor as story-teller’, Theatre Papers, no. 6, pp. 1–25, 1979, Available: https://contentstore.cla.co.uk/secure/link?id=e85246f0-8143-e611-80bd-0cc47a6bddeb
[44]
W. Benjamin, ‘The Storyteller: reflections on the works of Nikolai Leskov’, in Illuminations, H. Arendt, Ed., Pimlico ed.London: Pimlico, 1999, pp. 83–107. Available: https://contentstore.cla.co.uk/secure/link?id=14d1129c-8343-e611-80bd-0cc47a6bddeb
[45]
B. Bettelheim, The uses of enchantment: the meaning and importance of fairy tales. Harmondsworth: Penguin, 1991.
[46]
M. Tatar, The classic fairy tales: texts, criticism, 1st ed., vol. A Norton critical edition. New York: Norton, 1999.
[47]
M. Warner, Managing monsters: six myths of our time : the 1994 Reith Lectures. London: Vintage, 1994.
[48]
M. Warner, Once upon a time: a short history of fairy tale, First edition. Oxford, United Kingdom: Oxford University Press, 2014.
[49]
M. Wilson, Storytelling and theatre: contemporary storytellers and their art, vol. Theatre and performance practices. Houndmills, Basingstoke: Palgrave Macmillan, 2006.
[50]
J. Winston, Drama, narrative and moral education. London: Falmer, 1997.
[51]
J. Winston, Drama, narrative, and moral education. London: Falmer Press, 1998. Available: http://0-www.tandfebooks.com.pugwash.lib.warwick.ac.uk/isbn/9780203975497
[52]
J. Yorke, Into the woods: how stories work and why we tell them. London: Penguin Books, 2014.
[53]
J. Bate, English literature: a very short introduction, vol. Very short introductions. Oxford: Oxford University Press, 2010.
[54]
R. Bharucha, Theatre and the world: performance and the politics of culture. London: Routledge, 1993.
[55]
R. Bharucha, Theatre and the world: performance and the politics of culture. London: Routledge, 1993. Available: http://lib.myilibrary.com/browse/open.asp?id=6795&entityid=https://idp.warwick.ac.uk/idp/shibboleth
[56]
E. Bond, Coffee. London: Bloomsbury, 2013. Available: http://0-dx.doi.org.pugwash.lib.warwick.ac.uk/10.5040/9781408169087.00000053
[57]
E. Bond, Coffee, vol. Methuen modern plays series. London: Methuen Drama, 1995.
[58]
C. Booker, The seven basic plots: why we tell stories. London: Continuum, 2005.
[59]
E. Bentley, The theory of the modern stage: an introduction to modern theatre and drama, Reprinted with corrections and Revised index. London: Penguin, 1992.
[60]
L. N. Breneman and B. Breneman, Once upon a time: a storytelling handbook. Chicago: Nelson-Hall, 1983.
[61]
P. Brook, The empty space, vol. Modern classics. London: Penguin, 2008.
[62]
J. Campbell, The hero with a thousand faces. London: Fontana, 1993.
[63]
M. Cassady, Storytelling step by step. San Jose, Calif: Resource Publications, 1990.
[64]
D. Dutton, The art instinct: beauty, pleasure, & human evolution. Oxford: Oxford University Press, 2009.
[65]
T. Eagleton, The idea of culture, vol. Blackwell manifestos. Oxford: Blackwell, 2000.
[66]
T. Eagleton, The idea of culture, vol. Blackwell manifestos. Malden, MA: Blackwell, 2000. Available: http://0-search.ebscohost.com.pugwash.lib.warwick.ac.uk/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=48679
[67]
A. W. Frank, Letting stories breathe: a socio-narratology. Chicago: University of Chicago Press, 2010. Available: http://lib.myilibrary.com/browse/open.asp?id=290185&entityid=https://idp.warwick.ac.uk/idp/shibboleth
[68]
A. W. Frank, Letting stories breathe: a socio-narratology, Paperback edition. Chicago, Illinois: University of Chicago Press, 2012.
[69]
G. Feuerverger, ‘Fairy tales and other stories as spiritual guides for children of war: an auto‐ethnographic perspective’, International Journal of Children’s Spirituality, vol. 15, no. 3, pp. 233–245, Aug. 2010, doi: 10.1080/1364436X.2010.525148. Available: http://0-www.tandfonline.com.pugwash.lib.warwick.ac.uk/doi/abs/10.1080/1364436X.2010.525148
[70]
R. Kearney, On stories, vol. Thinking in action. London: Routledge, 2002.
[71]
H. Morales, Classical mythology: a very short introduction, vol. Very short introductions. Oxford: Oxford University Press, 2007. Available: http://site.ebrary.com/lib/warwick/Doc?id=10197109
[72]
H. Morales, Classical mythology: a very short introduction, vol. Very short introductions. Oxford: Oxford University Press, 2007.
[73]
M. Tatar, Off with their heads!: fairy tales and the culture of childhood. Princeton, N.J.: Princeton University Press, 1992.
[74]
M. Tatar, ‘Beauty, horror, and ignition power: can books change us?’, in Enchanted hunters: the power of stories in childhood, 1st ed.New York: W.W. Norton, 2009, pp. 68–91. Available: https://contentstore.cla.co.uk/secure/link?id=2e65605d-d843-e611-80bd-0cc47a6bddeb
[75]
M. Warner, From the beast to the blonde: on fairy tales and their tellers. London: Vintage, 1995.
[76]
M. Warner, No go the bogeyman: scaring, lulling, and making mock. London: Chatto & Windus, 1998.
[77]
M. Warner, Stranger magic: charmed states & the Arabian nights. London: Vintage, 2012.
[78]
J. Zipes, Fairy tales and the art of subversion: the classical genre for children and the process of civilization. New York: Routledge, 1991.
[79]
J. Zipes, Fairy tales and the art of subversion: the classical genre for children and the process of civilization, 2nd ed., vol. Routledge classics. Milton Park, Abingdon, Oxon: Routledge, 2012. Available: http://0-www.tandfebooks.com.pugwash.lib.warwick.ac.uk/isbn/9780203805251
[80]
J. Zipes, Fairy tales and the art of subversion: the classical genre for children and the process of civilization, vol. Routledge classics. Milton Park, Abingdon, Oxon: Routledge, 2012. Available: http://lib.myilibrary.com/browse/open.asp?id=344195&entityid=https://idp.warwick.ac.uk/idp/shibboleth
[81]
J. Zipes, Don’t bet on the prince: contemporary feminist fairy tales in North America and England. Aldershot: Gower, 1986.
[82]
J. Zipes, Don’t bet on the prince: contemporary feminist fairy tales in North America and England. New York: Routledge, 2012. Available: http://0-www.tandfebooks.com.pugwash.lib.warwick.ac.uk/isbn/9780203825792
[83]
J. Zipes, The Trials & tribulations of Little Red Riding Hood, 2nd ed. New York: Routledge, 1993.
[84]
J. Zipes, Creative storytelling: building community, changing lives. New York: Routledge, 1995.
[85]
J. Zipes, Creative storytelling: building community, changing lives. New York: Routledge, 1995. Available: http://0-www.tandfebooks.com.pugwash.lib.warwick.ac.uk/isbn/9781315021980
[86]
J. Zipes, Happily ever after: fairy tales, children and the culture industry. New York: Routledge, 1997.
[87]
J. Zipes, Happily ever after: fairy tales, children, and the culture industry. New York: Routledge, 1997. Available: http://0-www.tandfebooks.com.pugwash.lib.warwick.ac.uk/isbn/9780203949153
[88]
I. Calvino, Italian folktales, vol. Penguin modern classics. London: Penguin, 2000.
[89]
A. Carter, The bloody chamber and other stories. London: Vintage, 1995.
[90]
A. Carter, The Virago book of fairy tales. London: Virago Press, 1991.
[91]
A. Carter and C. Sargood, The second Virago book of fairy tales. London: Virago, 1993.
[92]
C. A. Duffy, M. Prachatická, J. Grimm, and W. Grimm, Rumpelstiltskin and other Grimm tales. London: Faber, 1999.
[93]
N. Gaiman, Coraline. London: Bloomsbury, 2002.
[94]
J. Jacobs, D. Haase, J. D. Batten, and J. Jacobs, English fairy tales and more English fairy tales, vol. ABC-CLIO classic folk and fairy tales. Santa Barbara, Calif: ABC-CLIO. Available: http://ebookcentral.proquest.com/lib/warw/detail.action?docID=265371
[95]
J. Jacobs and J. Jacobs, English fairy tales: being the two collections English fairy tales & More English fairy tales. London: Bodley Head, 1968.
[96]
M. Jaffrey and M. Foreman, Seasons of splendour: tales, myths & legends of India. London: Pavilion, 1985.
[97]
L. Petrushevskaya, There Once Lived a Woman Who Tried to Kill Her Neighbor’s Baby: Scary Fairy Tales. Penguin Books 2009.
[98]
J. Reeves, Heroes and monsters: legends of ancient Greece. London: Piper Books, 1989.
[99]
R. B. Bottigheimer, Fairy tales and society: illusion, allusion, and paradigm. Philadelphia: University of Pennsylvania Press, 1986.
[100]
H. Nicholson, ‘This Island’s Mine’: National Identity and Questions of Belonging’, in Theatre, education and performance, New York: Palgrave Macmillan, 2011, pp. 128–151. Available: https://contentstore.cla.co.uk/secure/link?id=769dd4df-b843-e611-80bd-0cc47a6bddeb
