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Mar 1, 2018 · Following the line of inquiry of cognitive and rhetorical theory of narrative, this paper argues that the female characters develop critical views of the classic fairy tale and become courageous ...
The author of "The Magic Power of Telling and Re-telling in Kissing the Witch", Qiu Xiaoqing, further extends this idea by addressing the ending of "The Tale of the Kiss"—unlike the others, the final tale makes it clear in its direct address to the reader that the role of the narrator is passing beyond the story and stepping into the real ...
Mar 1, 2018 · The first section looks into the character narrators' views of their counterparts and the development of their own worldviews. The second section discusses these character narrators' purposes and effects of telling. The third and final section explores the effects of Donoghue's rewriting on the reader.
These papers were written primarily by students and provide critical analysis of Kissing the Witch: Old Tales in New Skins by Emma Donoghue. The Anti-Feminist Aspects of Emma Donoghue’s ‘Feminist Retelling’ of "The Tale of the Rose"
They end up finding the cottage of an old woman who wants to kill Hansel for food. Gretel manages to free him, but instead of going with him, decides to stay with the witch, intrigued by her. The Tale of the Skin is a retelling of Donkeyskin, and follows Gretel’s witch in her youth.
The narrative strategy and framing technique deployed by Donoghue enables a transtextual space of gathering where previously objectified and focalized female characters of canonical tales engage in dialogue through storytelling.
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As Kissing the Witch is a collection of short stories, there is no one clear climax. Instead, the climax of each story occurs when the retelling departs from its original canon. For example, when Cinderella leaves the ball after dancing with the prince, rather than pursuing him, she realizes that she wants her fairy godmother instead.
