2223690911891455694.png
Mary Poppins comes back on the end of a kite string, stays with the Banks family for a while, and then disappears on a merry-go-round horse.
Source: Publisher's blurb
'This paper offers a comparative analysis of two characters belonging to the tradition of empowered “spinster” in children’s fiction, namely Mary Poppins and Ms Wiz, from the perspective of gender politics and child/adult interactions. A distinction is made between the figure portrayed in P. L. Travers’ texts and the Disney film starring Julie Andrews, which turned the magic nanny into a cultural icon. These two renderings of the powerful, single woman, in turn, are contrasted with Terence Blacker’s postmodern depiction of the good witch in the “Ms Wiz” series, with a view to tracing the evolution of the ostracised female wizard, a character inherited from folklore that has its origin in the Great Mother archetype. As is demonstrated, each representation of the supernatural woman modifies the manner in which the feminine influences the patriarchal order.'
'This paper offers a comparative analysis of two characters belonging to the tradition of empowered “spinster” in children’s fiction, namely Mary Poppins and Ms Wiz, from the perspective of gender politics and child/adult interactions. A distinction is made between the figure portrayed in P. L. Travers’ texts and the Disney film starring Julie Andrews, which turned the magic nanny into a cultural icon. These two renderings of the powerful, single woman, in turn, are contrasted with Terence Blacker’s postmodern depiction of the good witch in the “Ms Wiz” series, with a view to tracing the evolution of the ostracised female wizard, a character inherited from folklore that has its origin in the Great Mother archetype. As is demonstrated, each representation of the supernatural woman modifies the manner in which the feminine influences the patriarchal order.'
