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The Grafters B430 mens and womens monkey boots are fantastic throw back from the 1970s. The uppers of these vintage ankle boots are made from leather with stitch detailing adding great understated character whilst the front lace gives an easy fit to the foot. Inside a textile lining has been combined with a slightly padded footbed to offer underfoot cushioning for comfort. Completed with a man made PVC chunky outsole with good lug depth for grip the Grafters Retro womens and mens Monkey ankle boot is a must have and a great alternative to the Kickers Kick Hi Ltr.

Boots is a five-and-a-half (four for the first 12 episodes, and later five) year old furry monkey and Dora's best friend who is the co-host of the series. He likes to hold Dora's hand. Boots sometimes gets discouraged when things go wrong. When he is feeling down, he always bounces back quickly with one of his flips. No one can make Dora laugh the way Boots can.

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The scene is a brightly colored theatrical boarding house in Coney Island in 1907. A quartet of singers is rehearsing "Mona from Arizona" on the front porch while the dancing Belmont Sisters (a trio) go over their number, and a stilt walker practices his routine. Boarders and neighbors welcome Lottie Gibson (who owns the boarding house) back home after her vaudeville tour across the country. She's a mature but lively lady, down-to-earth, without pretense (except in her choice of clothes); she's decked out in her usual flamboyant style: many colors, many ruffles, feather boa and sparkling fake jewels ("By the Beautiful Sea").

Lottie and Dennis meet and then hurry off to the Old Mill, a tunnel-of-love boat trip. In the dark, their faces are lighted as they float past scenes of horror, alligators, rhinos and skeletons, with Lottie commenting on the sights: "I've known that gorilla since he was a little monkey." As a giant spider appears, she throws her arms around Dennis, and he confesses how smitten he is ("Alone Too Long"). Outside of the Old Mill, the amusement park revelers quietly saunter off with balloons and kewpie dolls. Lovers strolling, boys and girls flirting, the festive evening ends quietly.

It's the Fourth of July. The Pavilion. The balloon basket is on the platform, and all await Lottie's fete ("Hooray for George the Third!"). The barker introduces Lottie's parachute jump from the hot air balloon. She appears in boots and goggles and salutes the crowd. As she rises, the barker announces that the prize money will be presented by none other than the distinguished Shakespearean actor, Mr. Dennis Emery.

There is a marvel that lives in the spaces of connection among fairy tales, fairgrounds, cabinets of curiosities, and medical literature. It crosses limits and melds bodies, makes the boundaries among disciplines unstable, and draws bodies, objects, and tales about them into a web of connections. It is not merely the fantasy of a fairy in her dragon-drawn carriage pointing her wand at a hapless prince about to be turned into a bird or a lucky princess about to be sent to the ball. It is marvel that gives a fairy-tale princess-monkey the same talents displayed by real hairy girls who traveled about early modern European fairgrounds and courts. It reveals itself in the strange mixture of literary, museological, medical, and zoological concerns about humans and beasts that shaped early modern conceptions of monstrosity, h is marvel that displaces itself and multiplies its objects, putting one pair of real, tiny nut boots into a seventeenth-century English collection and another onto a set of French fairy feet. It slides a tale of bewitchment and salvation by marriage out of literature and into a gazetteer's tale of a supposedly real hog-faced gentlewoman seeking a husband to cure her state.

Fairy tales about hybrid human/animal mixes draw surely from ancient myths. They form new ties and new meanings within an early modern fascination with hybrid Otherness that produced goose and fish trees, vegetable and Tartar lambs; that sold bison horns as unicorn horns and monkey torsos wedded to fish tails as mermen. They make peculiarly consistent sense within worlds of collection and display that mixed representations of anomalous corporealities with precious, rare, worked, contrived, and odd objects. The hairy girls Babiole, Tognina, and Barbara and the pig-snouted Tannakin Skinker--real, fictionalized, or caught between the two--existed not only within a fabric of texts but within a vast ambulatory, collectible, visible, and textualized world of marvel that crossed countries, social classes, cultural spaces, and cultural practices in the early modern. Looking at that world involves sliding fairy-tale theorizing into broad disciplinary intersections where natural history collection, medical philosophy and practice, zoology, art, court, and fairground display share unstable borders. If involves trying to catch the points where literature simultaneously draws from and injects marvelous material back into the mix of disciplines and social practices in which marvel was structured and understood in early modern Europe. This piece, following the trail of three hairy girls and a woman with the nose of a hog, can only catch a few of the points where they enter more complex cross-disciplinary networks.

D'Aulnoy's "Babiole" is a tale of a princess long desired by her mother who is transformed into a monkey moments after her birth, under the spell of a disgruntled fairy. Babiole fit the generalized world of metamorphosis that marked early modern fairy tales, particularly those written by women. While female-authored fairy tales include a kaleidoscope of corporeal metamorphoses--girls transformed into white cats (d'Aulnoy, "La Chatte blanche"), deer (d'Aulnoy, "La Biche au bois"), and half-whales (Lubert, "La Princesse Camion"); and princes who take the form of bluebirds (d'Aulnoy, "L'Oiseau bleu"), eagles (La Force, "Plus Belle que Fee"), green serpents (d'Aulnoy, "Serpentin v ert"), butterfly-men (Murat, "Le Prince des Feuilles"), or fish-headed men (Lubert, "La Princesse Camion")--Babiole's monkey shape is more troubling than many. Babiole's transformation is one of the few explicitly marked in a fairy tale as monstrous. The queen laments, at the sight of her jumping, cavorting, walnut-eating, hairy princess: "Que vais-je devenir! quelle honte pour moi, tous mes sujets croiront que j'ai fait un monstre: quelle sera l'horreur du roi pour un tel enfant!" ("What will become of me, what shame will be upon me, all my subjects will believe that I made a monster: how horrified the king will be at such a child!" [86]).

The queen thinks she will die of despair before courtiers, more competent at remembering the West's mythic past, come up with the not-so-novel notion of putting the baby into a box and throwing her into the ocean. Product of maternal desire and fairy ire, Babiole of course fits the mythic patterns that have crisscrossed the West since Oedipus, Moses, and all the other exposed infants of earlier myth. In familiar fashion, too, the death sentence placed upon this monstrous child by her mother is elided when a greedy servant finds himself too attracted to the box to throw it into the water and an unsuspecting aunt arrives by chance in her unicorn-drawn carriage. Babiole is saved by her child cousin's desire to have her: "Je veux la guenon, je veux l'avoir" ("I want the monkey, I want to have it" [86]), the child tells his daydreaming mother. Caught in an unwilling and repeated flirt with death, the "petit monstre" ("little monster") Babiole narrowly escapes a second death sentence when she finds her way home later in the tale. "Il n'est point naturel d'avoir de tels enfants, quand on est aussi belle que vous" ("It is not at all natural to have such children, when one is as beautiful as you" [102]), the queen is advised. The recommended "extermination" of Babiole is reduced to banishment to a palace-prison, alternative site where unnatural fairy marvel is so often temporarily warehoused. 17dc91bb1f