Rebecca Solnit’s retelling of ‘Cinderella’ in Cinderella Liberator (2019) transforms the fairy tale by infusing a slew of modern ideas into its ‘once upon a time’. Cinderella becomes an independent, active, empowered heroine not only freed from servitude, but able to liberate others in her community from oppression. While the rewriting targets the morals and values of traditional ‘Cinderella’ texts, it is anchored in a specific version of the tale. Cinderella Liberator reuses illustrations Arthur Rackham produced for a 1919 Cinderella gift book by C. S. Evans. This article analyses the interplay of text and image in Cinderella Liberator to establish how the particularities of the Evans/Rackham version inflect the adaptation’s wider discourse on the Cinderella narrative. It focuses on images correlated with the fairy tale’s reassessment of the value and significance of work, the separation of social classes and of external appearance as an indication of moral values.

中文翻译：

---

丽贝卡·索尔尼特 (Rebecca Solnit) 的《灰姑娘解放者》(2019) 中的当代价值观与经典插图相遇

丽贝卡·索尔尼特 (Rebecca Solnit) 重述了《灰姑娘解放者》(Cinderella Liberator, 2019) 中的“灰姑娘”，将大量现代理念注入“曾几何时”，从而改变了童话故事。灰姑娘成为一个独立、积极、有能力的女英雄，不仅摆脱了奴役，而且能够将社区中的其他人从压迫中解放出来。虽然重写的目标是传统“灰姑娘”文本的道德和价值观，但它是基于故事的特定版本。Cinderella Liberator 重复使用了 Arthur Ra​​ckham 为 CS Evans 于 1919 年出版的灰姑娘礼品书制作的插图。本文分析了灰姑娘解放者中文本和图像的相互作用，以确定埃文斯/拉克姆版本的特殊性如何影响改编版对灰姑娘叙事的更广泛论述。