South Central Review

Have you ever thought about Frozen’s Olaf (the funny snowman friend of the protagonist Elsa) as a golem? Perhaps not, even though you likely recognized the allegorical figure of the unfinished automaton Edward Scissorhands (1990), serving as an emblem of isolation characteristic of the ‘monstrous’ Other. You may have also observed the proliferation, in the last couple of decades at least, of references to conventional fairy tale imagery in contemporary popular culture—consider, for instance, Shrek’s universe or the multitude of cinematic reinterpretations, from Maleficent (2014) to the upcoming live-action Snow White (2025). In her book, German studies scholar Claudia Schwabe takes readers on a fascinating journey to delve into the intricate mirror representations of fairy-tale creatures. This exploration spans across time and space, forging connections between the imaginative realms crafted by German Romantic authors and the dynamic landscape of contemporary U.S. popular culture. Schwabe, however, goes a step further.

The central premise of Schwabe’s book and thesis, in fact, stands out clearly, almost conspicuously so. By directing attention to U.S. consumer and popular culture products and texts emerging from the late 20th and early 21st centuries, Schwabe discerns a compelling correlation. The escalating prevalence and significance of narratives and imaginaries rooted in the fairy-tale universe are, according to the author, intricately tied to “an ideological shift in how we view and value diversity in society today” (11). This shift, as Schwabe notes, represents a transformative trajectory toward “the celebration and exaltation of fantastic Otherness” (4). Consequently, the postmodern and transtextual adaptations, as Schwabe aptly frames them, of German fairy tales and their creatures—especially within the Romantic tradition of the early 19th century—while drawing on conventional tropes and figures, embark on a process of reinvention and rewriting. This metamorphosis is achieved through “the anthropomorphization of and identification with supernatural beings, and the rehabilitation of classic fairy-tale villains and monsters” (4). The overarching aim of such adaptations, as Schwabe argues, is to confront issues of “marginalization, diversity, and Otherness within a hegemonic culture” (4). In essence, Schwabe’s exploration reveals the profound impact of these adaptations in reshaping cultural narratives and addressing critical societal themes within the contemporary context.

Schwabe skillfully employs the concept of “transtextuality”, a term originating from Genette’s theory of textual transcendence, defined as “everything that brings a text into relation, whether manifest or hidden, with other texts” (6). [End Page 119] This strategic utilization allows Schwabe’s analysis to deftly juxtapose texts and figures stemming from diverse contexts and backgrounds. In each chapter, the spotlight is cast upon one or more traditional fairy tale characters. What characterizes the analytical approach is the dual lens through which each character undergoes scrutiny. Initially situated within the framework of the German tradition and canon, these characters are subsequently examined within the context of contemporary cinematic and televisual U.S. texts where they have been transposed. This intricate and nuanced analytical process serves to illuminate the profound transformations experienced by each character throughout this literary and cinematic journey, providing readers with a comprehensive understanding of the dynamic interplay between tradition and modern reinterpretation.

In the initial chapter, “Reimagining Uncanny Fairy-Tale Creatures: Automatons, Golems, and Doppelgangers,” Schwabe embarks on a thorough analysis of these three figures, casting them as manifestations of the Uncanny. Her investigation begins by examining representations of these enigmatic figures individually in the works of authors associated with the Dark Romantic movement, such as E. T. A. Hoffmann, Achim von Arnim, and Joseph Eichendorff. Expanding her inquiry, Schwabe extends her exploration to analogous figures featured in cinematic productions like Edward Scissorhands, A.I. Artificial Intelligence (2001), The Stepford Wives (2004), and Frozen (2013). The scope further broadens to include television series, encompassing The Simpsons (FOX 1989-current), The X-Files (FOX 1993–2002; 2016–2018), and Once Upon a Time (ABC 2011–2018). Throughout this comprehensive examination, the central focus...