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Croire aux images? Following Roman Jakobson, translation is no longer limited to interlinguistic mediation but has come to encompass intersemiotic transposition. But it is significant that in the last decades of the twentieth century, the fairy tale was also revived as a genre for adults in the English-speaking world. Angela Carter played an important role in the development of this parallel tradition through her collection of fairytale-inspired stories, The Bloody Chamber and Other Stories , which started a veritable fashion that lasts to this day.

By contrast, the illustrations are aimed at an adult audience and they self-consciously foreground the formal and visual dimensions of the tales. In this sense, they prefigure The Bloody Chamber, which re-envisions the traditional stories of Bluebeard, Little Red Riding Hood, and Beauty and the Beast through the prism of Western art, literature and culture. Besides challenging generic expectations, they also foreground the issue of vision in the tales. And what a craftsman Perrault was! The plot arises from the interaction of the wolf and his hunger, and the child and her ingenuity.

No child reared on these austere and consummately constructed narrative forms is going to be easily fobbed off with slipshod stream-of-consciousness techniques, or overheated poetic diction. And yet, clear-cut binary oppositions and fixed roles are inevitably complicated insofar as the plot revolves around deception, disguise and substitutions. Toc, toc. Contes , , He knocked on the door, rat tat tat.

At last she came knocking on the door, rat tat tat. Fairy Tales 24; His characters are impassive, still, and expressionless, to the point of undermining the dramatic action and its impact on the reader that supposedly drives the cautionary message home, according to Carter in her essay.

The marked absence of visible emotions in face, attitude, or gesture in the pictures thus shifts the focus from action to narrative form, story to discourse, affect to critical distance. However, they also complicate any attempt to oppose them, since the juxtaposition of two almost identical scenes in the picture conveys an idea of elementary sequence and development that is characteristic of narrative, as opposed to the alleged descriptive nature of illustration.


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The brutality and violence of the devouring of the grandmother and the girl that follows upon each scene of waiting is elided, although the fact that the wolf moves from outside to inside the house, from background to foreground creates a sense of suspense and threat, suggesting that he might even step outside the frame to devour the reader. It is written in an excessive and self-consciously visual style that evokes a scene full of eyes and literal and metatextual reflections:.

If the benighted traveler spies those luminous, terrible sequins stitched suddenly on the black thickets, then he knows he must run, if fear has not struck him stock-still.

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Here also, the meaning of the tale remains ambiguously open. These complex reconfigurations of the constitutive elements of the tale call into question the simple conflict and clear message that Carter praised in her essay about Perrault and sought to emulate in her translation. The text-image interaction that characterizes The Fairy Tales of Charles Perrault thus suggests a variety of possibilities for interpretation that the writer explored in The Bloody Chamber.

The curtains thus dramatize the conditions of visibility of the picture while clearly associating vision with sexual intimacy, sensual pleasure and erotic desire see Louvel, , At last he arrived in a room that was entirely covered in gilding and, there on a bed with the curtains drawn back so that he could see her clearly, lay a princess about fifteen or sixteen years old and she was so lovely that she seemed, almost, to shine. The prince approached her trembling, and fell on his knees before her. The enchantment was over ; the princess woke.