Is Jurassic Park a work of covert misogynist propaganda? Does romanticizing childhood lead to abusing children? What secret correspondence links Mary Shelley's Frankenstein to video games and Shakespe
From wicked queens, beautiful princesses, elves, monsters, and goblins, to giants, glass slippers, poisoned apples, magic keys, and mirrors, the characters and images of fairy tales have cast a spell
Our foremost theorist of myth, fairytales, and folktales explores the magical realm of the imagination where carpets fly, objects speak, dreams reveal hidden truths, and genies grant prophetic wishes.
Marina Warner explores the tradition of personifying liberty, justice, wisdom, charity, and other ideals and desiderata in the female form, and examines the tension between women's historic and symbol
Explores the changing presentations of, attitudes toward, and attributes of the Virgin Mother, from the biblical Mary to the Pitying Intercessor, revealing the many faces of the Western ideal of femin
Drawing on well known examples both past and present, the author examines the history of fairy tales, discussing their origins and variations, their meanings and cultural influences and how they combi
Since the beginning of storytelling, monsters of all kinds have inhabited myths, legends, folklore, and oral traditions, and they continue to thrive amidst society's ever-increasing attraction to the
This is a book about sanctuary: what it means for people in desperate situations today, and what refuge and displacement has meant for people throughout history, and the canons of literature and myth.
This is a book about sanctuary: what it means for people in desperate situations today, and what refuge and displacement has meant for people throughout history, and the canons of literature and myth.
Art writing at its most useful should share the dynamism, fluidity, and passions of the objects of its enquiry, argues author Marina Warner in this new anthology. Here, some of Warner’s most compellin
An illustrated exploration of Helen Chadwick’s erotic, playful, and fierce 1986 installation. In 1986 the Institute of Contemporary Arts in London showed a new commission by the artist Helen Chadwick (1954–1996). What Chadwick conceived for the ICA exhibition explored her characteristic themes―the female body (her own), the aesthetics of pleasure, the material variety and wonder of phenomena―but took them in a new, flamboyant direction. In this illustrated volume, Marina Warner examines one part of Chadwick’s installation, The Oval Court. This work was erotic, playful, and fierce; it showed imaginative ambition on an exceptional scale and a unique, piquant sensibility, both raunchy and delicate. Despite the work’s recognition as a feminist monument of rare intensity, it has rarely been shown or discussed since the author’s catalogue essay for the original exhibition. Warner here reconsiders Chadwick’s influence as an artist who helped to shift conventional aesthetics and transvalue
