{"id":2364,"date":"2018-08-24T15:05:54","date_gmt":"2018-08-24T19:05:54","guid":{"rendered":"http:\/\/y90sclassroom.blog.ryerson.ca\/?page_id=2364"},"modified":"2022-03-01T15:05:37","modified_gmt":"2022-03-01T15:05:37","slug":"fairy-tales-folklore-and-fantasy-fiction-in-yellow-nineties-magazines","status":"publish","type":"page","link":"https:\/\/cdh.rula.info\/y90sclassroom\/exhibitions\/fairy-tales-folklore-and-fantasy-fiction-in-yellow-nineties-magazines\/","title":{"rendered":"Fairy Tales, Folk Tales, and Fantasies in Yellow Nineties Magazines"},"content":{"rendered":"
\"Detail
Aubrey Beardsley. Detail of Design for Back Cover of The Yellow Book, vol. 2, July 1894. The Yellow Nineties Online.<\/figcaption><\/figure>\n

What are \u201cYellow Nineties Magazines\u201d? Associated with the avant-garde in literature and art at the turn of the twentieth century, these magazines were aesthetically experimental, culturally challenging, and sexually dissident. The Yellow Book<\/em> (1894-1897), an infamous quarterly featuring sexually provocative modern stories by aesthetes and feminists, coloured the entire decade \u201cthe yellow nineties.\u201d The little magazines that developed in The Yellow Book<\/em>\u2019s orbit were similarly progressive and adult-oriented. These included\u00a0 The Dial<\/em> (1889-1897), edited by lovers and artistic partners Charles Ricketts and Charles Shannon; The Evergreen: A Northern Seasonal<\/em> (1895-1896\/7), edited by William Sharp (who also published as Fiona Macleod, the reclusive leader of the Celtic revival); The Pageant<\/em> (1896, 1897), edited by art critic Gleeson White and artist Charles Shannon; and The Savoy (1896), edited by<\/em> Aubrey Beardsley and Arthur Symons, and founded by the former after he was fired from The Yellow Book <\/em>following the arrest and conviction of Oscar Wilde in spring 1895 for the crime of loving other men. Beardsley was not criminally charged or named in the trials, but his daring designs for Wilde\u2019s Salome <\/em>(1893) associated him in the public mind with the author\u2019s transgressions and he lost his job, a victim to sexual prejudice and fake news.<\/p>\n

Yellow Nineties Magazines were targeted at adult readers. Collectively, these digital exhibits explore why these avant-garde magazines for a mature audience included so many fairy tales, folk tales, and fantasies. Our research findings indicate that the communities that collected around these magazines were hubs of dissidence at a transitional moment in cultural history, when mainstream assumptions were being challenged by feminist, queer, racialized, and classed individuals. Art was a way of critiquing the status quo, and \u201cweird fiction\u201d\u2014that is, fantasies of various kinds\u2014allowed creative individuals to challenge social norms in symbolic form. Works of fantasy are concerned with transformation, and these Yellow Nineties contributors wanted to transform the social opinions, social hierarchies, and social norms of their day. At a time of increasing urbanization and industrialization, the mythical past and fantastic worlds offered spaces to imagine how life might be lived otherwise. The fairy tales, folk tales, and fantasy fiction created by the diverse contributors to these magazines transferred criticism of the contemporary scene to remote locations inhabited by hybrid creatures and other-worldly figures in order to critique the restrictions of the present and envision an alternative future. In symbolic plays, ironic fairy tales, and re-framed folk legends, these writers explored and expanded what it means to be fully human\u2014spiritually, sexually, and socially.<\/p>\n

General Editor<\/strong>: Lorraine Janzen Kooistra, Ryerson University Department of English<\/p>\n

Authors<\/strong>: Second-year Undergraduate Students in Advanced English Research Methods (ENG810), F2018 and W2019<\/p>\n

Primary Sources<\/strong>:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Material copies of the magazines are held in Ryerson University Library\u2019s Special Collections and Archives; digital editions are available on Yellow Nineties 2.0<\/em><\/a>.<\/p>\n

\u00a0<\/strong>Attribution<\/strong>:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Each author\u2019s Digital Exhibit is protected by a Creative Commons License 4.0<\/a>.<\/p>\n

To cite an exhibition, use this format<\/em>:<\/strong><\/p>\n

Author\u2019s last name, first name. \u201cTitle of exhibit.\u201d Y90s Classroom<\/em> on Yellow Nineties 2.0. <\/em>Edited by Lorraine Janzen Kooistra. Ryerson University Centre for Digital Humanities, 2019.<\/p>\n

Disclaimer: <\/strong>Images in this online exhibit are either in the public domain or being used under fair dealing for the purpose of research and are provided\u00a0solely for the purposes of research, private study, or education.<\/p>\n

The Dial (1889-1897)<\/span><\/span><\/a><\/h2>\n

Japanese Influence in The Works of The Dial<\/strong><\/a>
\nLeila Kazeminejad<\/p>\n

The Dial, Charles Ricketts and Laurence Housman, “A Glimpse of Heaven” and “Open the Door, Posy!”<\/strong><\/a>
\nPatricia Lucreziano<\/p>\n

The Centaur\u2019s Place in The Dial as an Early Engagement of Symbolist Literature<\/strong><\/a>
\nBrian Luong<\/p>\n

Undiagnosed Remains: Mental Illness T. Sturge Moore\u2019s \u201cKing Comfort\u201d and \u201cThe Centaur\u201d<\/strong><\/a>
\nDeclan Macintosh<\/p>\n

Charles Ricketts, The Dial and Sympathy Through Symbolism<\/strong><\/a>
\nKatica Majic<\/p>\n

The Case of the Child in \u201cA Glimpse of Heaven\u201d and \u201cOpen the Door, Posy!\u201d<\/strong><\/a>
\nAlexandra Monstur<\/p>\n

Charles Ricketts\u2019s Editorial Mandate in \u201cThe Marred Face,\u201d \u201cThe Bridal,\u201d \u201cElla the She-Bear\u201d and \u201cSnow in Spring\u201d<\/strong><\/a>
\nDeanna Ratzki<\/p>\n

The Full Context of the “Flying Fish,” by John Gray<\/strong><\/a>
\nJoshua Reynolds<\/p>\n

The Evergreen: A Northern Seasonal (1895-1896\/7)<\/span><\/a><\/h2>\n

Aesthetics and Why They Matter\u2014The Evergreen: A Northern Seasonal<\/strong><\/a>
\nWalker Ciancio<\/p>\n

Fiona Macleod\u2019s Role in the Celtic Revival Movement Through \u201cMary of the Gael\u201d<\/strong><\/a>
\nShawna Cormier<\/p>\n

Religious Folktales and Science in The Evergreen<\/strong><\/a>
\nAiden Dolan<\/p>\n

The Evergreen: A Northern Seasonal – Power, Women and Religion’s Influence in Mary of the Gael<\/strong><\/a>
\nMelissa Emanoilidis<\/p>\n

Environmentalism & the Symbolism of Autumn in The Evergreen: A Northern Seasonal, Vol. II<\/strong><\/a>
\nEmma Fraschetti<\/p>\n

The Scottish Renaissance in Sir George Douglas’ “Cobweb Hall” and Margaret Thomson’s “The Story of Castaille Dubh”<\/strong><\/a>
\nFahimah Hamidavi<\/p>\n

Essentialism & Darwinism Being the Cause of Fiona Macleod’s Success<\/strong><\/a>
\nAlisha Hasham<\/p>\n

The Pageant (1896 and 1897)<\/span><\/span><\/a><\/h2>\n

Spirituality and Sexuality in Laurence Housman’s “The Tale of a Nun”<\/strong><\/a>
\nNikita Ruzycky<\/p>\n

A New Woman as a Feminist Princess in Laurence Housman’s “Blind Love”<\/strong><\/a>
\nParis Salmon-Wright<\/p>\n

Radical Femininity and New Woman Fiction in Michael Field’s “Equal Love”<\/strong><\/a>
\nTanis Smither<\/p>\n

Influence of the Pre-Raphaelite Brotherhood and The New Woman\u2019s Movement in Laurence Housman\u2019s \u201cTale of a Nun\u201d<\/strong><\/a>
\nElisia Steinberg<\/p>\n

Belgian Symbolism in Maurice Maeterlinck\u2019s \u201cThe Death of Tintagiles\u201d<\/strong><\/a>
\nKayla Walden<\/p>\n

Michael Field\u2019s \u201cEqual Love\u201d: A Work of Trojan Horse Feminism<\/strong><\/a>
\nBrendan Wallace<\/p>\n

The Duality of Art and Reality: A Critical Analysis of Maurice Maeterlinck’s “The Seven Princesses”<\/strong><\/a>
\nEmily Zagar-Arcilesi<\/p>\n

The Savoy (1896)<\/span><\/span><\/a><\/h2>\n

The Representation of Women in Music Halls in \u201cA Romance of Three Fools\u201d by Ernest Rhys and \u201cAt the Alhambra\u201d by Arthur Symons<\/strong><\/a>
\nPayton Flood<\/p>\n

Olivia Shakespear\u2019s \u201cBeauty\u2019s Hour\u201d and how it challenges the assumptions of women in the 1890\u2019s through the lens of fantasy and its trope of transformation<\/strong><\/a>
\nMaria Hanifi<\/p>\n

Fantasy as Feminist Critique in Olivia Shakespear’s “Beauty’s Hour: A Phantasy”<\/strong><\/a>
\nNoah Holder<\/p>\n

W.B. Yeats Rosa Alchemica and Tables of the Law; Social Hierarchy and the Importance of Community<\/strong><\/a>
\nIan Howard<\/p>\n

Vulgarity, Scandal and Fairytales in Music Halls in “A Romance of Three Fools” by Ernest Rhys and “At the Alhambra: Impressions and Sensations\u201d by Arthur Symons<\/strong><\/a>
\nLoraine Illeperuma<\/p>\n

Fantasy and the Ultimate Dismantling of the 1890s Power Relations in Fiona Macleod\u2019s \u201cMorag of the Glen\u201d<\/strong><\/a>
\nFatima Khan<\/p>\n

Modernity and Occultism in \u201cRosa Alchemica\u201d and \u201cTables of the Law\u201d by W.B. Yeats<\/strong><\/a>
\nEmily Mackey<\/p>\n

The Yellow Book (1894-1897)<\/span><\/span><\/a><\/h2>\n

The Emergence of the New Woman in Evelyn Sharp’s \u201cThe Restless River”<\/strong><\/a>
\nAndrea Aguiar<\/p>\n

Breaking Down the Binary in “Prince Alberic and the Snake Lady” by Vernon Lee.<\/strong><\/a>
\nSarah Ali<\/p>\n

Catholicism and Lack of Decadent Art in Graham’s “The Christ of Toro”<\/strong><\/a>
\nMarina Arnone<\/p>\n

Diversity in Gender and Genre<\/a><\/strong>
\nLana Bosnjak<\/p>\n

The Improbable Juxtaposition of Religion and Morality During the Fin-de-Si\u00e8cle in Baron Corvo\u2019s \u201cStories Toto Told Me\u201d<\/strong><\/a>
\nRachel Bowman<\/p>\n

Homosexuality and Heretics in Baron Corvo’s “Stories Toto Told Me”<\/strong><\/a>
\nKelsey Brewis<\/p>\n

Decadence and the Fin-De-Si\u00e8cle | Richard Garnett’s tale: Alexander The Ratcatcher By Kiara Byron-Walters<\/strong><\/a>
\nKiara Byron-Walters<\/p>\n

A Feminist Fairytale: Evelyn Sharp’s “The Restless River”<\/strong><\/a>
\nKrystal Cusma<\/p>\n","protected":false},"excerpt":{"rendered":"

What are \u201cYellow Nineties Magazines\u201d? Associated with the avant-garde in literature and art at the turn of the twentieth century, these magazines were aesthetically experimental, culturally challenging, and sexually dissident. The Yellow Book (1894-1897), an infamous quarterly featuring sexually provocative modern stories by aesthetes and feminists, coloured the entire decade …<\/p>\n","protected":false},"author":60,"featured_media":2367,"parent":14,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"template-full-width.php","meta":{"footnotes":""},"class_list":["post-2364","page","type-page","status-publish","has-post-thumbnail","hentry","column","threecol","has-thumbnail"],"_links":{"self":[{"href":"https:\/\/cdh.rula.info\/y90sclassroom\/wp-json\/wp\/v2\/pages\/2364","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/cdh.rula.info\/y90sclassroom\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/cdh.rula.info\/y90sclassroom\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/cdh.rula.info\/y90sclassroom\/wp-json\/wp\/v2\/users\/60"}],"replies":[{"embeddable":true,"href":"https:\/\/cdh.rula.info\/y90sclassroom\/wp-json\/wp\/v2\/comments?post=2364"}],"version-history":[{"count":2,"href":"https:\/\/cdh.rula.info\/y90sclassroom\/wp-json\/wp\/v2\/pages\/2364\/revisions"}],"predecessor-version":[{"id":8239,"href":"https:\/\/cdh.rula.info\/y90sclassroom\/wp-json\/wp\/v2\/pages\/2364\/revisions\/8239"}],"up":[{"embeddable":true,"href":"https:\/\/cdh.rula.info\/y90sclassroom\/wp-json\/wp\/v2\/pages\/14"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/cdh.rula.info\/y90sclassroom\/wp-json\/wp\/v2\/media\/2367"}],"wp:attachment":[{"href":"https:\/\/cdh.rula.info\/y90sclassroom\/wp-json\/wp\/v2\/media?parent=2364"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}