Author: Duggan, E
Date published: July 1, 2011
After a series of correspondence, and a gesture of great generosity on his part, I finally got to meet Jacques Barchilon in person. In September 2009 I happened to be in Paris at the same time as Jacques and his wife, Judith, and I had the great pleasure of spending an afternoon with the two of them. We had a recurrence of good fortune in May 2010, when I got the chance to interview Jacques for Marvels & Tales.1
When I was a graduate student, Jack Zipes brought to my attention Le conte merveilleux français: De 1690 à 1790 (The French Marvelous Tale: From 1690 to 1 790, 1975), which was and still is an inspiration to me, as it is for numerous fairy-tale scholars. As early as 1963, Barchilon had pointed out the important influence of precieux culture on the seventeenth-century fairy tale, an influence that is revisited in Le conte merveilleux français. This work paved the way for such scholars as Raymonde Robert, Lewis C. Seifert, and Sophie Raynard, who further developed and explored relations between the tale and preciosite. Barchilon's very first article from 1959 concerns the evolution of 'Beauty and the Beast" from myth to fairy tale. He traces the history of the tale from Apuleius and Giambattista Basile to the French fairy-tale writers of the 1690s and Madame Leprince de Beaumont. His interest in origins and transformations of tales is further demonstrated in the research he carried out on the relations between "Sleeping Beauty" and the medieval romance Perceforest. Besides writing one of the foundational books in the field of French fairy-tale studies, Jacques Barchilon also contributed enormously to our understanding of Charles Perrault as a man, a fairy-tale author, and a philosopher. Finally, with the foundation of the journal Merveilles & Contes/Marvels & Tales in 1987, Barchilón created a venue that brought fairy-tale scholars together from across the world, truly fostering the field not only of French fairy-tale studies but also of fairy-tale studies across national literatures. Just as it was appropriate to honor Jacques Barchilón by having him write the preface to the tricentennial edition of Madame d'Aulnoy's tales, so it seems appropriate to honor the founding editor, a pioneer of fairy-tale studies, and, as readers will discover in the interview below, a member of the Free French forces, with a special issue of Marvels & Tales.
Anne Duggan: How did you get interested in the fairy tale?
Jacques Barchilón: When I was a student at Harvard in a class on Romantic poetry, there was a lecture on Gérard de Nerval, and the teacher said, "You know, there's an interesting thesis to do on the fairy tale." So I started researching, and I wanted to do a general study of the French fairy tale, but I was immediately drawn to the beginning of the fairy tale in the seventeenth century, because there's a famous book that you probably know by Marie Elizabeth Storer, La mode des contes de fées, 1685-1700 . So I started working on Perrault and then something unusual happened. I was in the Rare Books Room at the library at Harvard - the library is enormous - and one of the librarians asked me, "Well, what is your research on?" and I said, "The fairy tale." And then he said, "You know the Pierpont Morgan Library purchased a manuscript of Perrault recently." I said, "That's impossible, how could there be a manuscript?" and he said, "Yes, yes." So I went to New York to the Pierpont Morgan Library and said, "Is it true that you ..." and the director told me, "Yes, yes, do you want to see it?" and he showed it to me. And it was the 1695 manuscript The Tales of Perrault, a beautiful manuscript not by Perrault but with a scribal hand. So I asked them if they wanted to publish it, and they said, "Yes we would like to," and I said, "Well, there's no one more qualified than me."
AD: [Laughs] And what year was that?
JB: 1954. So I started working on a transcript of the manuscript, and it resulted in two volumes. One volume was a facsimile reproduction of the manuscript [ . . . ] It's a beautiful, beautiful facsimile, with a second volume, which is a scholarly introduction [ . . . ] After that - everything came naturally. I had my first job at Smith, my second job at Brown University, and my third job at University of Colorado. At the University of Colorado, I went back to my initial project of doing a general book on the fairy tale, and that became the book in French that is fairly well known and out of print, Le conte merveilleux français, which was published in 1975. It is also the first volume of a reprint of Le cabinet des fées [published in 1978 as the Nouveau cabinet des fées].
AD: What was the state of fairy-tale studies when you started working on Perrault?
JB: It was practically inexistent. When I was at Harvard, I never took a course on the fairy tale. I did take courses on seventeenth-century lit, but when I was a graduate student, there were no courses on the fairy tale.
AD: So there was basically the work of Storer -
JB: There were courses on the French seventeenth-century tragedy, the French novel, and this is what I essentially taught. It took me a long, long time before I could give a graduate course on the fairy tale. In the seventeenth-century course, I would give a couple of lectures on the fairy tales, which interested the students very much. Eventually I directed some theses on the fairy tale, without having taught a course, out of the interest of the students [ . . . ] One of the best was one on Charles Nother, as a Romantic; in fact, the title ofthat thesis was Charles Nother Artiste du merveilleux by Odile Clause, who teaches in California. Some of my best students started working on the fairy tale [ . . . ]
We jumped so quickly from 1956 to 1975, so my interest in the fairy tale, was, I don't know how to explain it . . .
AD: Did you read them when you were a child?
JB: Very much, very much so. By the way, there is an article of mine that you may have; it's called "Confessions of a Fairy-Tale Lover" [ . . . ] It was published in The Lion and the Unicorn in 1988, and I tell of my background in the fairy tale.2
AD: I was also interested in your book Le conte merveilleux français, where you really laid the groundwork for the field of seventeenth- and eighteenthcentury fairy-tale studies.
JB: Well, that's quite flattering.
AD: Well, it's true!
JB: Really, Storer did it [ . . . ] The first chapter of my book develops a connection between the fairy tale, myth, and folklore. It is devoted to 'Beauty and the Beast," one of the most famous fairy tales in the world. And it has a source in the myth of Cupid and Psyche, so the connection between fairy tale and myth leads us right down to the beginnings of the fairy tale in Latin literature with Apuleius. It's very interesting that in Latin the first line of the tale is "Erant in quadam civitate," "there was in a certain city," just the same vague beginning, specific without being specific. By the way, if you know Spanish literature, do you remember the first sentence of Don Quixote?
AD: I don't.
JB: "En un lugar de la Mancha, de cuyo nombre no quiero acordarme," "In a certain place in La Mancha province, whose name I don't want to remember."
AD: [Laughs] Whose name I don't want to remember?
JB: Exactly, so you are immediately situated in a precise unspecified locale. It's the same thing with some of the most famous works of literature [ . . . ] Isn't it amazing how many famous works begin in a kind of vague, specific fairy-tale atmosphere? So the first chapter is the connection of mythology and the fairy tale [ . . . ] Then the second chapter of the book was a study of Perrault, and then there was a very long chapter on Madame d'Aulnoy, which I call the "Queen of the Fairyland." And then the third chapter was on the précieux element of the fairy tale with all of those women authors, Madame de Murat, Mademoiselle de la Force . . .
AD: You really are one of the first scholars who introduced the notion of the conte précieux. Today more scholars are looking at the contes précieux, which you talk about as early as 1963 and again in 1975.
JB: Those women were wonderful; they were so witty. I remember the ending of a fairy tale by Madame de Murat in which she says, "And they lived happily ever after without marriage coming to spoil their perfect union." And the prototype of "Rapunzel" from the Grimm brothers was written by Mademoiselle de La Force, where the hair of the girl comes right down, and the prince climbs up her hair, and then she doesn't understand why she becomes so big, and it's because she is pregnant. All of this was quite clear already, and it certainly brings out the close connection between the French fairy tale and the Grimm brothers, who learned of the fairy tale through French émigré women.
[ . . . ] Another chapter, which is rather significant, is on the connection between the fairy tale and the licentious fairy tale. Oh, what a mine of stories, you know! They are licentious, and sometimes they verge on pornography. You have read a bit of Sade?3
JB: Julie, ou les Infortunes de la vertu, you notice the sister who was virtuous, she had all the troubles in the world; and the sister who decided not to be virtuous, she . . . everything worked. If that is not a kind of inverted fairy tale like Candide: "Il y avait une fois dans le château ... Et Candide fut chassé du paradis terrestre, à coup de pied dans le derrière" ["Once upon a time in the castle . . . Candide was chased from Paradise, with a kick in the behind"].4 It's wonderful.
AD: And the influence of Arabian Nights from Les lettres persanes [The Persian Letters] to -
JB: Oh, yes, yes, le conte oriental [the oriental tale] was a disguise for fantasy and satire, and it was a satirical fairy tale. Voltaire wrote Candide to show that the world is not like a fairy tale, and you hear it sometimes in American lit, you hear it in the novel - "You think this is a fairy tale?" There's a whole series of jokes on the fairy tales.
AD: In the eighteenth century?
JB: No, in American slang. You know, this is a bit risqué, but you can quote it. It's the story of a man who meets an old lady at night on a bridge, and she tells him that she's a fairy and that if he sleeps with her, the next day that [sic] she will become a young lady. So he does his job, and the next day he said, "But you're still an old lady," and she said, "You still believe in fairy tales."
AD: [Laughs] That's pretty good.
JB: That's an American story; it's an example of American wit.
AD: Do you think that we see the beginnings of the satirical tale when you think of Madame d'Aulnoy?
JB: Yes, Madame d'Aulnoy is very satirical; I mentioned it in my book [ . . . ]
AD: What I think is interesting is that so much more work has been done on the seventeenth-century tale and the precious tale. But the work that you laid out on the eighteenth-century tale, there hasn't been a lot of work done on it since.
JB: No, no. I'll tell you one of the stories, and I mentioned it [in the book] , and I couldn't tell you the author without having the book. It tells how a young lady was looking for a fiancé who had been dismembered by a jealous magician lover. And here's what happens: she looks for different parts of his body but she couldn't find a crucial part, which was his penis. But if you look at Egyptian mythology, when Isis looks for her dismembered lover [Osiris], she finds all the parts except the penis, and what she does is build the first mummy, so there is a connection between that fairy tale and the myth of Osiris, which I mentioned it in the book.5 That is a licentious fairy tale which has a mythological source in Egyptian history or Egyptian myth. That is the sense of Le conte merveilleux français. I developed [the idea of] the moralizing fairy tale, which is so prevalent in the eighteenth century. There were quite a few insipid, moralizing fairy tales, but nevertheless very interesting. That was my standard work on Le conte merveilleux français, published in 1975 and now completely out of print. It was redone with much more depth by Raymonde Robert, and she quotes a sentence of mine in which she says, "Le professeur américain Barchilón s'indigne qu'on pense seulement au dix-septième siècle alors qu'au dix-huitième siècle le conte était très vivant" ["The American Professor Barchilón is indignant that we only think about the seventeenth century, whereas in the eighteenth century the tale was very much alive"], and she does an enormous job on that. So my book came, and ten years later her book came, so you could say I was a pioneer, but I don't think so . . .
AD: I think you were a pioneer!
JB: In the twentieth century, maybe, but there were works written before. In 1983, just after Raymonde Robert had published her book Le conte de fée littéraire en France [de la fin du XVTIe à la fin du XVlU, 2002], by then I was somewhat known for my work, and I had a Fulbright exchange to teach at the University of Chambéry. I was invited for lectures, and the idea came to have a colloquium on the fairy tale at Cerisy in Normandy. In 1983 in Cerisy there was a colloquium on the fairy tale, of which I was the codirector. This is where I met Catherine Velay-Vallantin and we discussed the possibility of a journal on the fairy tale. It did not quite work out, because there was a first bulletin that was only published in France and was not international. [There was a] colloquium on the fairy tale in Oslo in 1986; it was called "Dimensions du merveilleux" ("Dimensions of the Marvelous"), and at that colloquium the codirector said, why don't you do your own thing in the fairy tale, and that's when I met [Maria] Nikolajeva and asked her to contribute, and she contributed to the first issue [ . . . ] The Huberts were there, and out of that congress was born the idea of Merveilles & Contes.
AD: It's interesting because, when you look at the first issues of Merveilles & Contes, you see all the people who have written many of the books and articles in the field. It really did bring together all of the people - specializing in fairy-tale studies.
JB: Exactly. There were quite a few people from that colloquium. I can refresh your memory on the Oslo colloquium: the Huberts were there, and [Judd] Hubert's wife [Renée Riese Hubert] , a very sweet woman, was a specialist on surrealism.6
Then, thanks to a grant from the University of Colorado, we started Marvels & Tales, but it took a long time. The first issue came in '86-'87 thanks to a grant from the dean of Arts and Sciences. Marvels & Tales was started with university help, otherwise you can't start a journal. So then I started Merveilles «S- Contes; Catherine Velay-Vallantin was one of the editors [ . . . ]
Now, I should say a few words on my relationship with Catherine Velay-Vallantin, because we did a little work together that is not well known, I discovered . . .
AD: Is it the text by Perrault?
JB: Yes, Les pensées chrétiennes [Christian Reflexions], which is fascinating and which is unknown. Who knows that he wrote pages almost as beautiful as Pascal?7 Aren't they interesting? What he says about the infinity of the stars and so forth, he obviously had read Pascal [ . . . ]
AD: You realize that he was a profoundly religious person.
JB: Yes, yes, religious, but at the same time extremely enlightened in terms of thinking. You have to give him credit for something which you can't give credit to Pascal. Pascal was anti-Semitic, and he thought the Jews were paying for the murder of Christ and were condemned, but Perrault never said that. Perrault was much more enlightened, and he was close to the Jansenists; that appears quite clearly. His thinking is not narrowly orthodox Catholic; it is Pensées chrétiennes, but it is also pensées philosophiques [philosophical reflections] if you notice. I am glad you looked at that, because it is ignored.
AD: It is a fascinating text.
JB: It is. There is a nice introduction by Catherine Velay-Vallantin and myself; we did that together and the book is out of print and unknown now [ . . . ]
Now, how did Merveilles & Contes become Marvels & Tales? I returned to active scholarship in '91 after retiring, and I continued to publish the journal until 1996. Finally I became tired of it, and I had collaborated with Don [Haase] on a wonderful book on the Grimm brothers.8
AD: The Reception of Grimms' Fairy Tales, right?9
JB: So I asked him if he would continue. He said [laughter], "Um, well, let's wait!" and when he was sure that the dean of the university would help him, then he agreed. 1996 was volume ten, and then he [Haase] took the succession. I was very glad of it. After that I could take it easy and travel - not for research, but travel for pleasure - and eventually get married again.
AD: Do you see Marvels & Tales being more concerned with the literary fairy tale rather than a strict folkloric approach?
JB: Yes, I mentioned that to Don, and he didn't answer that, but the answer is obvious [ . . . ] There is a wonderful journal, published in Germany, Fabula. I have a very good article in Fabula [on] the prototype of Sleeping Beauty in medieval folklore.
AD: What was the text it was based on?
JB: Perceforest, and every time I say Perceforest, they say, "Oh, you mean Parsifal."10 No, Perceforest, in French [ . . . ] The text is quite long. Manuscript studies have been done, but the microfilm of that exists, and I have the copied text at the University of Wyoming; Harold Neemann has it [ ... ] 11 I did the introduction to a facsimile, but then Slatkine didn't print it, because they didn't have enough orders; they only had one specific order from Japan, and, you know, publishers only work on books when they are sure they are going to make money12 [ . . . ]
Free French Soldier
AD: How did you make your way from Morocco to England to the United States?
JB: Oh, it's a long story You have to understand that in the French school system, I ended up in Tangier.
AD: Did you grow up in Casablanca?
JB: We left Casablanca when the war started [World War II] and went to Tangier, which was much more peaceful than Casablanca, and there I was in the lycée [high school] , the French lycée of Tangier, which was called the Lycée Regnault. But I was a terrible student; I was the worst student you can imagine [ . . . ] Many of my friends from Tangier were going to Gibraltar, and I had the project to go to Gibraltar and join the Free French forces, as many of my friends did.
AD: What was the motivation behind that?
JB: The motivation was to escape the French school system, because I was afraid of flunking.
JB: And also it was a measure of idealism. I had heard the speeches of de Gaulle on the French radio in Tangier, and, besides, that was the only way to escape to go to England.13 So Tangier was a nest of spies, and the intelligence service arranged for the escape of young men who wanted to join the army. I told one of the professors, who was in the Resistance, that I wanted to go, so she arranged for me to go to Gibraltar, but it was an escape, because I didn't have legal papers. In other words, I was in the Resistance, like any other French or European man leaving France to go through Spain, and reaching Gibraltar.
AD: And you had no passport?
JB: No, no, no, I only had a Spanish passport, which was not legal for escaping to go to Gibraltar. So one night in Tangier, we waited on the beach with two other friends and got into and hid in the bottom of a Portuguese fishing boat, and it was stinking of fish and it was horrible. I was seasick. We crossed the Strait of Gibraltar in that boat, and I was as sick as can be. It took the whole night to cross very slowly to escape German submarines, and we arrived in Gibraltar in blazing sunshine. So we arrived in the harbor in Gibraltar, and the minute I was in Gibraltar I was in a new world; I was in a world at war. And a British officer welcomed us, gave us a cigarette. I was taken to barracks of the British army in Gibraltar, we were given uniforms, and we were immediately led to the office of the Free French liaison in Gibraltar. And we signed a paper, in French, "promesse d'engagement," "With promise to." And I will tell you something interesting, when we were told to get rid of our civilian clothes, we were led to a room and we were told in that room to leave our shoes. And there was a mountain of shoes this high, from all the kids who had escaped France through Gibraltar. Three days later, I was on a troop ship, bound for England.
Now, I'm going to tell you of my few microscopic connections to the history of the Second World War. I was on that troop ship called the Santa Rosa, an American troop ship. I was leaning on the edge, and I saw a tall French officer, going on the gangplank. It was de Gaulle. I recognized him immediately. And what was he doing there? He wasn't going to England - no, he came from London on his way to Algiers, where eventually he was to become the head of government in exile. But his visit to the French troop ship is not mentioned in any of his biographies, so I wrote to the de Gaulle Institute, and I told them what I saw, and I was thanked immediately. I was told, "Thank you, thank you. For someone as important as General de Gaulle, any bit of information is important," and that letter is now in the archives of the institute.
From Gibraltar, we took a week to get to Scotland, to Glasgow, and you must understand that in May, at the end of May 1943, the Battle of the Atlantic was won by the American and British navy. You know why? Because those submarines sank thousands of tons of shipping from the U.S. Thousands of soldiers died, but the U-boat danger was eliminated, because in April-May, the Nazi navy lost eighty-nine submarines, so they stopped trying to do it. It was a disaster, and the Battle of the Atlantic was won. I was lucky to be on that transport ship at that time. If I had left before, we could have been sunk. In Glasgow we were loaded on a train to London. In London we went to patriotic school, but these are too many details [ . . . ]
AD: Patriotic school?
JB: Oh, you don't know what that is? Patriotic school was a sort of a camp in which anybody escaping to England to become a soldier was debriefed to make sure they were not spies. And there was a letter from de Gaulle pasted on the wall saying, "England is a fortress defending itself at its doors" [ . . . ] After two weeks I was debriefed and judged not a Nazi spy or something, and I was allowed to join the Free French army. I was taken to a camp outside of London, where I signed my engagement: the duration of the war plus three months, and then I was a Free French soldier. I should show you my uniform, a photo of my uniform. It was a British uniform, and on the side here [gestures] it had France, and kids from Norway had Norway written here, and so forth. I should stop now. This is very far from the fairy tale.
AD: But it's interesting.
JB: I was an interpreter and a driver in the headquarters of the Free French, which were doing the liaison with Eisenhower, because Eisenhower was planning the invasion of Normandy. But he had to accept the help of the French Resistance. We weren't the French Resistance; we were in communication with the Resistance in France. So I was a - driver in the headquarters because of my knowledge of English. I don't know how to explain what I did. For instance, sometimes I was told to drive to this address, that address, but they wouldn't tell me where we were going [ . . . ] Of course, they don't want you to know where you are going, because these were agents spending their last night in London before being parachuted into France. So that's some of the work I did. I met some fascinating people, officers who were in the Free French, even an American who enlisted in the Free French army out of idealism. He wrote a book called Yankee Fighter [ . . . ]
AD: And you mentioned Judd Hubert.
JB: Oh, Judd Hubert, I only met him after the war. He was in New York teaching French to the American pilots who may have had to bail out from their plane. It was terrible. Do you know that out of every five missions, two to three pilots did not come back? It was murder, the bombing of Germany during the war. It was murder.
AD: Do you see any connection at all between your experiences in the war and going to the States and being attracted to the fairy tale?
JB: No, no, at that time I was interested in perhaps becoming a journalist. No, my interest in the tale came after I returned to a more meditative life in England and when I was at Harvard [ . . . ]
1 . Interview transcribed and notes by Helen Callow and Anne Duggan. Edited by Anne Duggan.
2. In the article in question, Barchilón discusses his encounters with the Brothers Grimm; Charles Perrault; the storytelling traditions of his birthplace, Morocco; as well as Angela Carter. It also includes a tale Barchilón penned himself, "Paul and the Dragon."
3. The Marquis de Sade (1740-1814) was a French aristocrat, revolutionary, and writer famous for his libertine sexuality and lifestyle. His works include novels, short stories, plays, and political tracts; in his lifetime some were published under his own name, while others appeared anonymously and Sade denied being their author. He is best known for his erotic novels, which combined philosophical discourse with pornography, depicting bizarre sexual fantasies with an emphasis on violence, criminality, and blasphemy against the Catholic Church. He was a proponent of extreme freedom, unrestrained by morality, religion, or law.
4. The quote in French reads: "Il y avait en Westphalie, dans le château de Monsieur le baron de Thunder-ten-tronckh ... [le baron] chassa Candide du château à grands coups de pied dans le derrière . . . Candide, chassé du paradis terrestre." Candide, ou l'Optimisme is a French satire written in 1759 by Voltaire.
5. Barchilón discusses dismemberment in Le conte merveilleux (103-06). The tale discussed here is an anonymous tale titled La Gaudriole (1746).
6. Judd D. Hubert is professor emeritus of the University of California-Irvine and had been Jacques Barchilon's professor at Harvard. His wife, Renée Riese Hubert, was a professor of French and comparative literature at University of CaliforniaIrvine as well, and passed away in 2005.
7. Blaise Pascal (1623-1662), was a French mathematician and philosopher.
8. Donald Haase, is the current editor of Marvels & Tales.
9. The Reception of Grimms' Fairy Tales: Responses, Reactions, Revisions (Detroit: Wayne State UP, 1993).
10. Parsifal is an opera by Richard Wagner based on the thirteenth-century epic poem by Wolfram von Eschenbach.
11. Harold Neemann passed away on June 5, 2010, just a few weeks after this interview with Jacques Barchilón.
12. In the end, Droz started publishing a multivolume critical edition of Perceforest in 1979, edited by J. H. M. Taylor and G. Roussineau.
13. A French general and statesman, Charles de Gaulle (1890-1970) led the Free French forces during World War II. He later founded the French Fifth Republic in 1958 and served as its first president from 1959 to 1969.
Selected Works by Jacques Barchilón
With Peter Flinders. Charles Perrault: A Critical Biography. Boston: Twayne, 1981.
Le conte merveilleux français: De 1690 à 1790, cent ans de féerie et de poésie ignorées de l'histoire littéraire. Paris: Champion-Slatkine, 1975.
Editor of Merveilles & Contes [Marvels & Tales], 1987-1996.
Editor of CERMEIL, the organ of the Centre d'Etudes et de Recherches sur le Merveilleux, l'Etrange, et llréel en Littérature, an International Society, 1984-1986.
Aulnoy, Marie -Catherine d'. Contes I. Les Contes des Fées. Edition du tricentenaire. Intro. Jacques Barchilón. Ed. Philippe Hourcade. Paris: Société des Textes Français Modernes, 1997.
Pensées chrétiennes de Charles Perrault. Ed. Jacques Barchilón and Catherine VelayVallantin. Paris: Biblio 17, 1987.
Contes de Perrault. Facsimile of the original editions of 1695-1697. Ed. and preface Jacques Barchilón. Geneva: Slatkine Reprints, 1980.
Le Nouveau Cabinet des Fées. 18 vols. Geneva: Slatkine Reprints, 1978.
The Authentic Mother Goose Fairy Tales and Nursery Rhymes. Ed. Jacques Barchilón and Henry Pettit. Denver: Alan Swallow, 1960.
Perrault's Tales of Mother Goose: The Dedication Manuscñpt of 1695. Ed. and intro. Jacques Barchilón. 2 vols. New York: Pierpont Morgan Library, 1956.
Translation in progress with Lee Chadeayne of Ville Lumière. Années Noires, Les Lieux du Paris de la Collaboration. Paris: Denoël, 2008.
With Ester Zago. "1La Belle au bois dormant' à travers l'aventure de Troylus et Zellandine dans le roman de Perceforest." Merveilles & Contes 2.1 (1988): 37-45; 2.2 (1988): 111-19; (1989): 240-46.
Articles and book chapters on fairy tales
"Adaptations of Folktales and Motifs in Madame d'Aulnoy's Contes: A Brief Survey of Influence and Diffusion." Marvels & Tales 23.2 (2009): 353-64.
"Remembering Angela Carter." Marvels & Tales 12.1 (1998): 19-22. Reprinted in Angela Carter and the Fairy Tale. Ed. Cristina Bacchilega and Danielle Roemer. Detroit: Wayne State UP, 2001. 26-29.
"Children and War in the Fairy Tale." Merveilles & Contes 7.2 (1993): 317-39.
"Personal Reflections on the Scholarly Reception of Grimms' Tales in France." The Reception of Grimms' Fairy Tales: Responses, Reactions, Revisions. Ed. Donald Haase. Detroit: Wayne State UP, 1993. 269-82.
"Charles Perrault contestataire-polémiste." Ordre et contestation su temps des classiques. Ed. Roger Duchêne and Pierre Ronzeaud. Paris: Papers on French SeventeenthCentury Literature, 1992.
"Souvenirs et reflections sur le conte merveilleux." Littératures classiques 14 (1991): 231-47.
"Les Fables de La Fontaine en anglais et en espagnol." Le Fablier 2 (1990): 50-54.
"Lhistoire de 'La Belle au bois dormant' dans le Perceforest." Fabula 36.1-2 (1990): 16-23.
"Confessions of a Fairy-Tale Lover." Lion and the Unicom 12.2 (1988): 208-23.
"Portrait-Souvenir de Robert Nicolich, à la manière de La Rochefoucauld." PFSCL 29.15 (1988): 397-98.
"Les arcanes royales du pouvoir féminin chez Corneille et Racine." PFSCL 40 (1988): 185-93.
"De l'interprétation psychanalytique des Contes de Perrault." Les Contes de Perrault/La contestation et ses Limites/Furetière. Actes de BANFF 1986. Paris: Biblio 17, 1987. 13-27.
"Vers l'inconscient de 'La Belle au bois dormant.'" CERMEIL 2.5 (1986): 88-92.
"Commentaire sur lphigénie ou la tragédie du clair-obscur." PFSCL 25 (1986): 110-13.
"Problems in Fairy Tale Interpretation." Proceedings of Dimensions du merveilleux, Colloque International et Interdisciplinaire. Oslo: U of Oslo P, 1986. 1: 2-26.
'Le premier texte imprimé de 'La Belle au bois dormant.'" CERMEIL 1.3 (1985): 67-74.
"Les songes de Descartes du 10 novembre 1619, et leur interprétation." PFSCL 11.20 (1984): 99-113.
"Le Désert, l'engagement et la retraite à travers Descartes, Pascal, Racine, La Fontaine et les dictionnaires." PFSCL (1984): 193-205.
"The Semiotic Criticism of Charles Perrault's Contes." Semiotica 51.3 (1984): 271-85.
L'Humour dans la littérature au dix-septième siècle." PFSCL 13.1-2 (1980): 192-98.
"Fiction et vraisemblance à travers romans et contes merveilleux." PFSCL 8 (1978): 3-24.
"The Aesthetics of the Fairy Tale." La cohérence intérieure: Etudes sur la littérature française du 17'eme siècle. Présentées en hommage à Judd D. Hubert. Paris: Jean Michel Place, 1977.
"Le Cabinet des Fées et l'imagination romanesque." Etudes Littéraires 1 (1968): 215-31.
L'Ironie et l'Humour dans les Contes de Charles Perrault." Studi Francesi 32 (1967): 258-70.
"Charles Perrault à travers les documents du Minutier Central des Archives Nationales. Linventaire de ses meubles en 1672." Dix-septième siècle 65 (1964): 3-16.
"Uses of the Fairy Tale in the Eighteenth Century." Studies on Voltaire and the Eighteenth Century 24 (1963): 111-38.
"'Précieux' Elements in the Fairy Tale of the Seventeenth Century." LEsprit Créateur 3.3 (1963): 99-107.
"Les frères Perrault à travers la correspodance et les oeuvres de Christian Huygens." Dix-septième siècle 56 (1962): 19-36.
"Wit and Humour in La Fontaine's Psyché." French Review 36 (1962): 23-31.
"A Note on the First Edition of 'Beauty and the Beast.'" Modern Language Review 56.1 (1961): 80-81.
"Beauty and the Beast: From Myth to Fairy Tales." Psychoanalysis and the Psychoanalytic Review 46.4 (1959): 19-29.
Neemann, Harold. Piercing the Magic Veil: Toward a Theory of the Conte. Foreword by Jacques Barchilón. Tübingen, Germany: Narr, 1999.
Aulnoy, Madame d'. Contes I. Les Contes des Fées. Intro. Jacques Barchilón. Ed. Philippe Hourcade. Paris: Société des textes français modernes, 1997.
Aulnoy, Madame d'. Contes IL Contes nouveaux ou les Fées à la mode. Intro. Jacques Barchilón. Ed. Philippe Hourcade. Paris: Société des textes français modernes, 1998.
Contes de Perrault. Intro. Jacques Barchilón. Geneva: Slatkine Reprints, 1980.
Perrault's Tales of Mother Goose: The Dedication Manuscnpt of 1695 Reproduced in Collotype Facsimile. Intro, and critical text by Jacques Barchilón. 2 vols. New York: Pierpont Morgan Library, 1956.
Concordances and bibliographies on Perrault
Concordance to the Maximes of La Rochefoucauld. Jacques Barchilón and Robyn Holman. Niwot: UP of Colorado, 1996.
Perrault à travers la critique depuis 1960: Bibliographie annotée. Jacques Barchilón and Claire-Lise Malarte. Paris: PFSCL, 1989.
A Concordance to Charles Perrault's Taies. Jacques Barchilón, E. E. Flinders, and J. Anne Foreman. 2 vols. Darby, PA: Norwood Editions, 1977-79.
Anne E. Duggan is associate professor of French literature and associate editor of Marvels & Tales. She is author of Salonnières, Furies, and Fairies: The Politics of Gender and Cultural Change in Absolutist France (2005) and is currently completing a book tentatively titled Enchanting Subversions: The Fairy-Tale Cinema of Jacques Demy. Along with her work on fairy tales, she has published on early modern women writers as well as on the genre of the tragic story.