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Non‐Russian readers of Russian fairy tales may find the stories disturbing and harsh, full of cruel and violent acts such as murders, robberies and other illegal actions. In Russia, however, many children grow up reading these fairy tales as part of an ordinary cultural upbringing. This article analyses the subject of elder abuse and disrespect of age as presented in Russian fairy tale works. On the basis of sociological research of the fairy tales, the author draws a conclusion about the prevalence of elder abuse and age discrimination portrayed in the analysed folk works.

Snow White is one of the most popular fairy tales worldwide. Therefore, it is not surprising that the story has been reconsidered multiple times during the current trend of producing fairy tale adaptations. Especially the Evil Queen has become an object of further examination in many recent instalments of the story. In this chapter, I analyse the revision of Snow White's stepmother in the book series The Lunar Chronicles (2012–2016), the films Mirror Mirror (2012), Snow White and the Huntsman (2012) and The Huntsman: Winter's War (2016), as well as the TV-series Once Upon a Time (2011–2018). Compared to other villains in recent fairy tale adaptations, who are, like Maleficent, redeemed, the queen remains an embodiment of evil and terror in most adaptations. I outline the depiction of the Evil Queen in present-day US-American fairy tale narratives, assessing what makes her the most villainous woman in all the fairy tale realms and questioning why many of these stories try to understand but do not forgive her. The focus of this investigation is on the backstory that she is equipped with, her crimes, and her ultimate fate. Although she has been abused, traumatized, and betrayed, she seems to remain an uber villain, not only attempting to kill her stepdaughter but also destroying nature, starving her people, and spreading a deadly virus. This kind of representation might result from the fact that her opponent is by the very name the purest fairy tale princess ever known.

THE catalogue, as a library appliance of importance, has had more attention devoted to it than, perhaps, any other method or factor of librarianship. Its construction, materials, rules for compilation and other aspects have all been considered at great length, and in every conceivable manner, so that little remains for exposition save some points in the policy of the catalogue, and its effects on progress and methods. In the early days of the municipal library movement, when methods were somewhat crude, and hedged round with restrictions of many kinds, the catalogue, even in the primitive form it then assumed, was the only key to the book‐wealth of a library, and as such its value was duly recognized. As time went on, and the vogue of the printed catalogue was consolidated, its importance as an appliance became more and more established, and when the first Newcastle catalogue appeared and received such an unusual amount of journalistic notice, the idea of the printed catalogue as the indispensable library tool was enormously enhanced from that time till quite recently. One undoubted result of this devotion to the catalogue has been to stereotype methods to a great extent, leading in the end to stagnation, and there are places even now where every department of the library is made to revolve round the catalogue. Whether it is altogether wise to subordinate everything in library work to the cult of the catalogue has been questioned by several librarians during the past few years, and it is because there is so much to be said against this policy that the following reflections are submitted.

This paper aims to argue that culturally responsive approaches to literacy instruction are necessary not only to celebrate Black girl literacies but to also expose, challenge and disrupt antiblackness in English education. However, without explicit exemplars to guide classroom practice, this type of instruction will remain elusive. The present paper expands upon the original conceptualization of Counter Fairy Tales (CFT) by further explicating the framework and providing recommendations to inform culturally responsive literacy practices to disrupt antiblackness.

The question that drives this study asks how can the CFT model be applied as a form of culturally responsive literacy instruction to best teach Black girls?

The CFT framework places value on Black girls’ ways of knowing and gives primacy to their voice and unique experiences through culturally responsive literacy instruction.

The larger implication of this research is for teachers to begin to create culturally responsive literacy instruction that honors the lived experiences of today’s Black adolescent girls, particularly those in young grades. Inclusive and affirming literary practices must be established, an environment in which Black girls can share their voices and visions as they explore themselves through writing.

This conceptual paper is one of few that specifically focuses on how teachers can use CFTs to facilitate the inclusion of Black girls’ experiential and communal ways of knowing to support culturally responsive literacy instruction in younger grades.

This chapter analyses the character of Mrs Coulter in BBC/HBO TV show His Dark Materials (2019–ongoing). Mrs Coulter shows clear links with traditional fairy tale figures; in the words of actor Ruth Wilson, ‘She's fairy godmother and she's the nasty queen. She's like Snow White, and she's the Wicked Witch’ (HBO, 2019). Keeping in mind these intertextual references, but focusing on the text, I am going to study the ways in which Mrs Coulter's ‘being evil’ is constructed: are any motivations provided to account for her becoming evil?

Are we supposed to feel sympathy for her – a woman struggling for power in a patriarchal society? How do her interactions with other characters modify the ‘traditional’ roles she evokes and her perceived evilness? To answer these questions, I will employ theoretical tools stemming from queer theory and positioning theory. While arguing for the usefulness of such theoretical outlook for the study of villains, I aim to prove that Mrs Coulter is depicted as a thwarted good character, ruined not only by societal sexist norms, but also by the internalization of ideals typical of toxic masculinity.

The purpose of this paper is to discuss findings from an Arts and Humanities Research Council (AHRC)-funded research project into the heritage culture of British folk tales. The project investigated how such archival source material might be made relevant to contemporary audience via processes of artistic remediation. The research considered artists as “cultural intermediaries”, i.e. as actors occupying the conceptual space between production and consumption in an artistic process.

Interview data is drawn from a range of 1‐2‐1 and group interviews with the artists. These interviews took place throughout the duration of the project.

When artists are engaged in a process of remediation which has a distinct arts marketing/audience development focus, they begin to intermediate between themselves and the audience/consumer. Artist perceptions of their role as “professionals of qualification” is determined by the subjective disposition required by the market context in operation at the time (in the case of this project, as commissioned artists working to a brief). Artists’ ability (and indeed willingness) to engage in this process is to a great extent proscribed by their “sense-of-self-as-artist” and an engagement with Romantic ideas of artistic autonomy.

A consideration of the relationship between cultural intermediation and both cultural policy and arts marketing. The artist-as-intermediary role, undertaking creative processes to mediate how goods are perceived by others, enables value-adding processes to be undertaken at the point of remediation, rather than at the stage of intermediation.

SO much controversy has raged around the subject of newsrooms in the past two years, that librarians are, as a rule, utterly tired of it, and the appearance of still another article upon the subject is not calculated to tone down the general spirit of vexation. It requires no little courage to appear in the arena in this year of Grace, openly championing those departments of our institutions which were originally intended to convey the news of the day in the broadest manner.

Draws on a consultancy project designed to reduce accident rates in four Danish sugar factories. Presents examples of metaphor use in the project and documents a steady decline in numbers and severity of accidents over time. Hypothesises that the use of metaphors is part of the explanation. Following a multi‐disciplinary review of the literature on metaphors, suggests that they can be harnessed in three ways: as tools for conscious, creative analysis; as ways of creating emotions; and as ways of fostering unconscious learning processes. Suggests that the effect in the sugar project is due to unconscious learning. Explains how this can happen and stresses the most important. Proposes that consultants use images, stories, narratives, and fairy tales to a larger degree and put less weight on formal conceptual learning when change is the issue.