Cinderella in Spain

Every culture in the world has a version of the story of Cinderella. Surveying thousands of tellings of what is perhaps the most popular fairy tale of all time, this critical examination explores how the famous folk heroine embodies common societal values, traits and ethics. Multiple adaptations in Spain—gay Cinderella, suicidal Cinderella, censored Cinderella, masked Cinderella, porn Cinderella and others—highlight not only Spanish traditions, history and Zeitgeist, but reflect the story’s global appeal on a philosophical level.

Maia Fernández Lamarque is a full professor at Texas A&M University-Commerce in the Department of Literature and Languages.

Maia Fernández-Lamarque

Foreword by John Stephens

Format: softcover (6 x 9)
Pages: 199
Bibliographic Info: notes, bibliography, index
Copyright Date: 2019
pISBN: 978-1-4766-6782-9
eISBN: 978-1-4766-3706-8
Imprint: McFarland

Acknowledgments ix
Foreword by John Stephens 1
Prologue 5
1. “Estrellita de oro” and the Ritual of Branding 13
2. The Censored Version of Cinderella in Franco’s Spain 26
3. Performance as a Mask in La nueva Cenicienta 41
4. The Notion of Otherness Through Synecdoche and Prosopopeia in Sólo un pie descalzo 54
5. Queer Cinderella: Cenicienta en Chueca 66
6. Cinderella as a “Chick” Protagonist in Cenicienta siempre quiso un Wonderbra 78
7. La Cenicienta que no quería comer perdices: A Cinderella Picture Book 94
8. Suicidal Cinderella: Cenicienta en Pensilvania 109
9. Idiotizadas: Comics, Folktales and Feminism in Spain 124
10. A Poetic Version: Te cuento … Cenicienta 138
11. Versions of Cinderella in Spain: A Survey of Primary Texts 151
Chapter Notes 165
Bibliography 169
Index 183