‘Where is the Prince?’ Unlocking Doré’s Illustration of Perrault’s Cinderella

Author(s)

  • Emilie Sitzia

DOI:

https://doi.org/10.18352/relief.543

Keywords:

Doré, Perrault, illustration, intersemiotic translation

Abstract

This article proposes to consider illustrations as “intersemiotic translation” from words into images. Using this methodology, illustrations give particular insights into the reception and interpretation of Perrault’s fairy tales in a specific cultural, social and political environment. The question then becomes what do Doré’s illustrations say about the reception of Perrault’s fairy tales in 19th‐century France?

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Author Biography

  • Emilie Sitzia
    Dr Emilie Sitzia is a Senior Lecturer (Associate Professor) in Art History and Theory at the University of Canterbury in New Zealand. Her research interests are 19th century Literary Art (in paintings, illustrations or portraits of writers) as well as Art Literature (art novels, art criticism and painters' texts). She was educated in France, Germany and Finland where she followed a double major in Art History and Theory and French Literature. She recently published L’artiste entre mythe et réalité dans trois œuvres de Balzac, Goncourt et Zola (Åbo Akademi University Press, 2004) and is currently preparing a book on the interactions between Art and Literature in 19th century France.

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Published

2010-12-08

Issue

Vol. 4 No. 2 (2010): The magic of the image: textual and visual images in fairy tales

Section

II. Nouvelles fonctions de l’illustration pendant le long XIXe siècle

License

All articles published in RELIEF appear in Open Access under the Creative Commons Attribution 4.0 International License (CC-BY 4.0). Under this licence, authors retain ownership of the copyright of their article, but they allow its unrestricted use, provided it is properly cited.

How to Cite

Sitzia, E. (2010) “‘Where is the Prince?’ Unlocking Doré’s Illustration of Perrault’s Cinderella”, RELIEF - REVUE ÉLECTRONIQUE DE LITTÉRATURE FRANÇAISE, 4(2), pp. 158–173. doi:10.18352/relief.543.