Review of \u3ci\u3eWinnipeg Beach: Leisure and Courtship in a Resort Town, 1900-1967. \u3c/i\u3eBy Dale Barbour.

Manitoba\u27s answer to such waterside attractions as Coney Island and Blackpool, Winnipeg Beach saw tremendous social change over the nearly 70 years Dale Barbour explores. The dates correspond to the lifespan of Winnipeg Beach as a tourist destination, from its creation by the Canadian Pacific Railway (CPR) in 1901 to the demolition of its dance hall, roller coaster, and boardwalk in 1967. Barbour traces the complexities of the town\u27s development as a primarily heterosocial space for socializing and as a destination for families; its meaning as a paradoxical mixing of nature and culture; and its class and ethnic associations (in contrast to exclusive white, elite, British locations like Victoria Beach). He indicates the CPR\u27s role, not only in providing a mode of transport for Winnipeggers to visit the town, but also in developing facilities for tourist use, including a hotel, dance facilities, and pier

Lesbian Mess(ages): Decoding Shawna Dempsey's Cake Squish at the Festival Du Voyeur

Shawna Dempsey and Lorri Millan's performance piece "Mary Medusa" is explored as an example of how artistic lesbian mess(ages) can be decoded by viewers. Focusing upon anthropological, feminist, and queer theory, I examine how both "Mary Medusa" and its decodings implicate women, sex, power, and food.La pièce "Mary Medua" de Shawna Dempsey et de Lori Millan est explorée afin de montrer comment les messages artistiques lesbiens peuvent être décodés par les spectatrices en se concentrant sur la théorie anthropologique, féministe et homosexuelle/lesbienne, j'examine comment tous les deux "Mary Medusa" et ses décodages réunissent les femmes, le sexe, le pouvoir et la nourriture

Welcoming the Newlyweds: Charivari, Shivaree, Serenade, Banjo, and Saluting in Nova Scotia, 1917-c.1975

In rural Nova Scotia, until the 1970s, charivaris followed certain marriages and occasionally other notable socio-cultural events (either contentious or praiseworthy). This tradition’s complex meaning helps to explain its persistence as part of the ongoing scrutiny and sanctioning of behaviour in rural communities. Its stated purpose as a "welcome," noise-invoking names, cacophonous ritual means, accompanying sexualized trickery, and rural location demonstrate that the event’s main concerns were with the reproduction of individuals and communities while placing the responsibility for this mainly upon women. Résumé Jusque dans les années 1970, certains mariages et parfois d’autres événements socioculturels notables (controversés ou louables) étaient suivis de charivaris dans la Nouvelle-Écosse rurale. La signification complexe de cette tradition aide à expliquer sa persistance alors que les comportements dans les localités rurales étaient surveillés de près et sanctionnés. Son but déclaré de souhaiter la bienvenue, les noms évoquant des bruits, sa fonction de rituel cacophonique, les blagues à caractère sexuel qui l’accompagnaient et son déroulement en milieu rural démontrent que cet événement se rapportait avant tout à la reproduction des individus et des communautés, tout en attribuant cette responsabilité principalement aux femmes

Traditional Ambivalence and Heterosexual Marriage in Canada : Transgressing Ritual or Ritualising Transgression?

Queer moments abound in traditional rituals associated with marriages and weddings, not only in some regions of English Canada but in most European and European-colonised locations. In the Prairie provinces and Ontario, mock weddings (folk dramatic travesties of the Christian/majoritarian wedding ceremony, usually performed cross dressed) can interrupt wedding showers or milestone anniversary parties. And from Prince Edward Island to British Columbia, charivaris (late night visits to a newly married couple, featuring extreme noisemaking and/or traditional trickery) can follow a marriage. The authors question whether these practices transgress against conventional heterosexual marriage or merely ritualise and thus contain potential resistance to its strictures, and find that they do both.Les épisodes louches abondent dans les rituels traditionnels associés aux mariages et aux noces, pas seulement dans quelques régions du Canada anglais, mais dans la plupart des lieux européens ou de colonisation européenne. Dans les provinces des Prairies et en Ontario, des parodies de mariages (travestissements spectaculaires de la cérémonie de mariage de la majorité chrétienne, où l’on intervertit généralement les costumes) peuvent interrompre les showers ou les anniversaires de mariage. Et, de l’Île du Prince Édouard à la Colombie britannique, des charivaris (visites nocturnes à des couples de nouveaux mariés, où l’on fait le plus de bruit possible accompagné ou non de méchancetés traditionnelles) peuvent se dérouler à la suite des noces. Les auteures se demandent si ces pratiques transgressent le mariage hétérosexuel conventionnel ou si elles ne font que ritualiser et donc restreindre la résistance potentielle au strict encadrement qu’il implique, pour découvrir qu’elles font les deux

Little Red Riding Hood and the Pedophile in Film: Freeway, Hard Candy and The Woodsman

"Little Red Riding Hood" is one of very few well-known fairy tales that have not come under what Jack Zipes calls "the Disney spell," which has ossified and Americanized so many others. Creators using various artistic genres have thus felt free to rewrite and reconceptualize it. The three "Little Red Riding Hood" films that we discuss explore, as a significant theme, adult-child sexual relationships. We argue that the "Little Red Riding Hood" story offers filmmakers and viewers a metaphorical tool for understanding relations between pedophiles and their victims in novel ways, opening up the possibility of a shift in perspective on this issue.    DOI: 10.1353/jeu.2010.0002 &nbsp

Fairy Tale Films

In this, the first collection of essays to address the development of fairy tale film as a genre, Pauline Greenhill and Sidney Eve Matrix stress, the mirror of fairy-tale film reflects not so much what its audience members actually are but how they see themselves and their potential to develop (or, likewise, to regress). As Jack Zipes says further in the foreword, “Folk and fairy tales pervade our lives constantly through television soap operas and commercials, in comic books and cartoons, in school plays and storytelling performances, in our superstitions and prayers for miracles, and in our dreams and daydreams. The artistic re-creations of fairy-tale plots and characters in film—the parodies, the aesthetic experimentation, and the mixing of genres to engender new insights into art and life— mirror possibilities of estranging ourselves from designated roles, along with the conventional patterns of the classical tales.” Here, scholars from film, folklore, and cultural studies move discussion beyond the well-known Disney movies to the many other filmic adaptations of fairy tales and to the widespread use of fairy tale tropes, themes, and motifs in cinema.https://digitalcommons.usu.edu/usupress_pubs/1060/thumbnail.jp

Folklorama, Brommtopp et politique

Malgré les tentatives des organisateurs de festivals multiculturels/ethniques/nationaux d’en effacer toutes les implications politiques, la promotion de la culture associée à des impératifs de profit ne peut jamais s’en trouver entièrement dépourvue. Par ailleurs, et ce malgré les assertions présentant les rituels communautaires comme des pratiques intrinsèquement inoffensives, des éléments racistes et colonialistes peuvent facilement s’y immiscer. Afin d’étayer ces affirmations, nous avons choisi d’analyser comparativement deux exemples concrets, intéressants d’un point de vue ethnomusicologique – un festival et un rituel – et de montrer comment des chansons apparemment simples peuvent impliquer ces dimensions délicates. Nous explorons ainsi les enjeux négociés au travers du festival et du rituel, en comparant la mise en scène de l’identité et ses implications dans leurs contextes respectifs : l’ethnospectacle touristique (festival) du Folklorama de Winnipeg et le rituel de visites domestiques de la tradition mennonite du Brommtopp dans la province du Manitoba

Quantifying the Grimm Corpus: Transgressive and Transformative Bodies in the Grimms’ Fairy Tales

What do bodies mean in fairy tales? Donald Haase’s engagement with the Grimms’ fairy tales has offered some hints, ranging from his attention to feminist scholarship on the Grimms to his multifaceted review of recent Grimm scholarship that addresses various meanings of bodies in the language and translation of their tales. Inspired by Haase’s work and encouragement, I created a database that lists every mention or description of a body in the Grimms’ tales and in five other European tale collections. I detailed the results of this quantitative investigation in my dissertation, generally treating all the tale collections as part of one large corpus. In this essay, however, to add to the conversation that Haase has generated and curated, I refilter the data to solely examine which body parts (nouns, adjectives, and actions) appear in the Grimm tales. A major thematic focus is transgression and transformation, especially their gendered dimensions