Journal articles: 'Beauty and the beast (Tale)'

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DAVIS, LAURA. "Intensely Original." Study and Scrutiny: Research on Young Adult Literature 5, no. 1 (December 31, 2021): 67–84. http://dx.doi.org/10.15763/issn.2376-5275.2021.5.1.67-84.

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The story of Beauty and her beast is truly a tale as old as time: a beautiful girl falls in love with a beast and her love transforms him into a prince. This project is framed by Joosen’s (2011) argument regarding fairy tale retellings disrupting Jauss and Benzinger’s (1970) claim that fairy tales and retellings align with the horizon of expectations. Using Kemmerer’s A Curse so Dark and Lonely (2019), a “Beauty and the Beast” retelling, this essay tests Joosen’s (2011) theory to determine if the retelling remains true to or diverges from the original parent material.

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Banerjee, Priyanka, and Rajni Singh. "Challenging Hegemonic Gender Norms in Emma Donoghue’s “The Tale of the Rose” and Disney’s Beauty and the Beast." Folklore: Electronic Journal of Folklore 84 (December 2021): 77–96. http://dx.doi.org/10.7592/fejf2021.84.banerjee_singh.

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While heteronormativity remained at the core of the classic fairy tale, a queer subtext existed in the form of subtle symbolic codes. By reflecting the changing socio- cultural discourses about sexuality and gender in time, the representation of queer sexuality in fairy tales has also developed. This paper attempts a queer reading of the revisioning of Madame Beaumont’s “Beauty and the Beast” in Emma Donoghue’s “The Tale of the Rose” and the 2017 Disney version. This paper demonstrates how Emma Donoghue’s adaptation deconstructs the heteronormativity of Beaumont’s tale by dismantling the binaries of Beauty/Beast and man/woman and represents queer sexuality and desire through multi-layered language. This paper also examines how in the Disney version the story takes a new dimension in close proximity to twenty-first century media culture and lends itself to queer interpretation.

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Taş Gürsoy, İlkay. "Beauty and the Beast: A Fairy Tale of Tourismphobia." Tourism Planning & Development 16, no. 4 (April 23, 2019): 434–51. http://dx.doi.org/10.1080/21568316.2019.1582086.

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Shabatini W, Gabrilla, Rathinam Alias Shanmugasundarie K, and Susmitha M. "EVOLUTION OF LOVE: EXAMINING BELLE AND THE BEAST'S RELATIONSHIP IN “BEAUTY AND THE BEAST”." Pedagogy and Education Management Review, no. 2(16) (June 30, 2024): 12–17. http://dx.doi.org/10.36690/2733-2039-2024-2-12-17.

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The tale of "Beauty and the Beast" has captivated audiences for generations, with its timeless message of love, acceptance, and the transformative power of inner beauty. This article, "Evolution of Love: Examining Belle and the Beast's Relationship in 'Beauty and the Beast,'" explores the development of the relationship between Belle, a compassionate young woman, and the Beast, a prince cursed due to his selfish nature. By analyzing key versions of the story, including those by De Beaumont and Villeneuve, and drawing from a range of scholarly perspectives, the study examines the characters' evolution, symbolic elements, and socio-cultural and psychological implications of their relationship. The literature review highlights various interpretations, focusing on the symbolic meanings of elements like the enchanted rose, and how they contribute to the narrative's themes of transformation and redemption. The article also discusses modern adaptations and their resonance with contemporary audiences, particularly in terms of psychological themes and societal expectations. The aim of this study is to provide a comprehensive understanding of the evolution of love in "Beauty and the Beast." Objectives include analyzing character development, exploring symbolic elements, assessing socio-cultural contexts, and evaluating psychological perspectives. The methodology involves a multifaceted approach, including a literature review, character analysis, symbolic analysis, socio-cultural analysis, and comparative analysis. The findings suggest that "Beauty and the Beast" offers a rich narrative that challenges traditional gender roles and societal norms while emphasizing the importance of empathy and compassion. By examining the relationship between Belle and the Beast through various theoretical lenses, the article provides deeper insights into the complexities and enduring appeal of this timeless tale.

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Stone, Kay F., and Betsy Hearne. ""Beauty and the Beast": Visions and Revisions of an Old Tale." Journal of American Folklore 104, no. 411 (1991): 137. http://dx.doi.org/10.2307/541157.

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Potabuga, Maryuni, Tini Mogea, and Delly Sabudu. "ROMANCE JEANE MARIE IN BEAUTY AND THE BEAST." SoCul: International Journal of Research in Social Cultural Issues 1, no. 01 (December 15, 2022): 11–20. http://dx.doi.org/10.53682/soculijrccsscli.v1i01.1695.

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This research is mainly to find out the causes of conflict which is reflected in Brown's novel entitled Beauty and the Beast through characters named Belle and the ugly prince. In conducting his research, the authors use qualitative research because the data collected is in the form of words, not numbers. An objective approach is used in analyzing the data. The results of this study found that there are very valuable lessons and knowledge, especially those related to the love relationship between two characters who come from different backgrounds. It is also stated that Belle was finally able to fall in love with the Ugly Prince even though she knew that the prince was not like humans in general. Although there are the differences between them, however in the end the two of them can be together forever because of the power of Belle's love that can break the curse on the ugly prince. Keywords : Romance, Fairy Tale, conflic

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Kliś-Brodowska, Agnieszka. "Of Fairies and “Docile Daughters”: Ubisoft Montreal’s Child of Light as an Adaptation of Gabrielle-Suzanne de Villeneuve’s Beauty and the Beast." Przegląd Kulturoznawczy, no. 4 (58) (2023): 579–98. http://dx.doi.org/10.4467/20843860pk.23.037.19186.

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The following article analyzes Ubisoft Montreal’s art game Child of Light (2014) as an adaptation of the eighteenth-century fairy tale Beauty and the Beast (1740) by Gabrielle-Suzanne de Villeneuve, the less famous original of Jeanne-Marie Leprince de Beaumont’s canonical “Beauty and the Beast” (1756). While Villeneuve drew from the late seventeenth-century French salon fairy-tale tradition, her novel-length tale represented an ideological turning point, ultimately subordinating women’s independence and freedom to act in the public sphere, propagated by older upper-class salonnières in their fairy tales, to the bliss of love and family, typical of the bourgeois private sphere. Judging by the designers’ announcements that the game was meant to concentrate on growing up to adulthood, self-sufficiency, and independence, instead of marriage, and thus did not feature the character of the Beast/Prince, Child of Light might appear to have a potential to restore the voice of the older conteuses by, again, concentrating on women empowerment and the ability to act in the public/outdoors. In particular, I focus on the game’s transposition of the tale’s chosen fragments, namely: Villeneuve’s caste of powerful, independent fairies; class division dramatized in the tale; and, somewhat surprisingly, the self-sacrificing heroine, ready to abdicate her desire, or a docile daughter. In the case of latter, Aurora may not sacrifice herself for the sake of the man, but still must sacrifice her longing for family to become an egalitarian ruler devoted to public service, which, in the end, appears to peculiarly disempower her. Thus, Child of Light may be seen to nonetheless reiterate conservative values rather than propose a tale of women empowerment.

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Hixon, Martha. "The Tale with a Thousand Faces: "Beauty and the Beast"." Children's Literature 34, no. 1 (2006): 214–17. http://dx.doi.org/10.1353/chl.2006.0010.

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Abdullah Rashed, Atoof, and Laila M. Al-Sharqi. "Roses in Amber: Gendered Discourse in Disney’s 2017 Adaptation of Villeneuve’s Fairytale Beauty and the Beast." Arab World English Journal For Translation and Literary Studies 5, no. 1 (February 15, 2021): 126–43. http://dx.doi.org/10.24093/awejtls/vol5no1.9.

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This study considers the dialogic relationship between the 2017 Disney live-action film Beauty and the Beast with Gabrielle-Suzanne de Villeneuve’s fairy tale and Disney’s 1991 animated version. Drawing on cultural and feminist discourse, the study seeks to examine Disney’s live-action film for incidents of cultural appropriation of gender representation compared to Villeneuve’s fairy tale and Disney’s 1991 animated version. The Study argues that the 2017 film adaptation reverses the traditional patriarchal notions and embraces a transgressive feminist discourse/approach as part of Disney’s strategy of diversity and inclusion of gender, race, class, and sexual orientation as constantly evolving cultural categories. This study finds significant alterations made to the physical and psychological attributes of the 2017 film’s three characters: Beauty/Belle, the Beast, and the Enchantress, changes that align with the film’s gendered discourse. By reversing the characteristic privileging of the male and the empowerment of the female, the live-action succeeds in addressing the contemporary audience demands of diversity and inclusion. The study concludes that the changes made in the 2017 film adaptation displace the oppressive patriarchal notions and stereotypical modes of representing the male and female as they have been perceived in the original fairy tale, for they are no longer compatible with contemporary cultures’ assumptions on gender.

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Hearne, Betsy. "Beauty And The Beast: Visions and Revisions of an Old Tale: 1950-1985." Lion and the Unicorn 12, no. 2 (1988): 74–111. http://dx.doi.org/10.1353/uni.0.0146.

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Mazzoni, Cristina. ""Cristina Campo’s Visions and Revisions: The essay ‘Una rosa' between 1962 and 1971"." Quaderni d'italianistica 33, no. 2 (February 9, 2013): 151–70. http://dx.doi.org/10.33137/q.i..v33i2.19422.

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A comparative analysis of the 1962 and the 1971 versions of Cristina Campo’s essay “Una rosa”—an interpretation of the French classic fairy tale, “Beauty and the Beast”—reveals several small but significant changes. These can be most usefully understood in the context of Campo’s conversion to traditionalist Catholicism: in every instance, the later version of “Una rosa” underscores and increases the spiritual significance of Beaumont’s fairy tale.

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Beal, Jane. "Beauty and the Beast: The Value of Teaching Fairy Tales to University Students in the 21st Century." International Journal of English and Cultural Studies 5, no. 1 (April 28, 2021): 1. http://dx.doi.org/10.11114/ijecs.v5i1.5207.

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In this essay, I suggest that fairy tales have particular value for students studying at the university level. Assigning fairy tales allows students to read familiar stories from their childhood and reconsider them from critical perspectives. When teaching a college course on fairy tales, my students and I utilize three essential frameworks for understanding fairy tales, focusing on the psycho-social development and sexual maturation of the human person, feminist critique and the need for gender equality in a patriarchal world, and audience reception and reader responses leading to emotional progress and even spiritual enlightenment. Students primarily familiar with Disney film versions of fairy tales enlarge their understanding of multiple versions of tales, both early modern and contemporary. They become familiar with classic fairy tale writers and collectors, such as Charles Perrault, Madame d’Aulnoy, the Brothers Grimm, Hans Christian Anderson, Oscar Wilde, Andrew Lang, J.R.R. Tolkien, C.S. Lewis, Anne Sexton, Angela Carter, and J.K. Rowling as well as fairy tale scholars like Bruno Bettelheim, Maria Tartar, and Jack Zipes. Their study not only results in a firm grasp of the key aspects of story in general, but in the ability to see connections between the real-world problems of the 21st century – such as poverty, starvation, disease, inequality, child abuse, human trafficking, and abuses of political power, among others – and lessons learned from fairy tales. This essay analyzes “Beauty and the Beast” as a key example of the genre and identifies pedagogical strategies for teaching it.

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Coates, Linda, Shelly Bonnah, and Cathy Richardson. "BEAUTY AND THE BEAST: MISREPRESENTATION AND SOCIAL RESPONSES IN FAIRY-TALE ROMANCE AND REDEMPTION." International Journal of Child, Youth and Family Studies 10, no. 1 (February 14, 2019): 119–37. http://dx.doi.org/10.18357/ijcyfs101201918809.

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Budidarma, Diana, Irwan Sumarsono, Fithriyah Inda Nur Abida, and Adolfina M. S. Moybeka. "Gender Representation in Classic Fairy Tales: A Comparative Study of Snow White and the Seven Dwarfs, Cinderella and Beauty and the Beast." World Journal of English Language 13, no. 6 (May 12, 2023): 11. http://dx.doi.org/10.5430/wjel.v13n6p11.

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Grimm’s Snow White and the Seven Dwarfs, Cinderella, and De Beaumont’s Beauty and the Beast are three examples of classic fairy tales that have been commonly told to children. The writers focused the study on the portrayal of gender representation reflected in these fairy tales. The writers used the descriptive qualitative method and feminist theory to analyze how these fairy tales portray gender representation. This study was expected that it could contribute to gender role discussion in children's literature and introduce children to equal gender roles to make them able to treat different gender equally. Unlike previous studies, this research focuses on traditional fairy tales and employs a qualitative methodology that involves close reading and content analysis. The writers found out that Grimms’ Snow White and the Seven Dwarfs and Cinderella portray traditional gender stereotypes. Snow White and Cinderella support the domination of masculinity and submissive femininity, while Beauty and the Beast does not portray the traditional gender roles because the tale makes its female protagonist free to determine her life. The writers used a feminist point of view to analyze gender representation in the selected tales. It is expected that this study highlights the importance of critically analyzing gender roles in children's literature and the need for more diverse and complex representations of gender in fairy tales and other literary works.

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Jorgensen, Jeana. "The Thorns of Trauma: Torture, Aftermath, and Healing in Contemporary Fairy-Tale Literature." Humanities 10, no. 1 (March 11, 2021): 47. http://dx.doi.org/10.3390/h10010047.

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While classical fairy tales do not portray much depth of suffering, many contemporary fairy-tale retellings explore trauma and its aftermath in great detail. This article analyzes depictions of trauma in fairy tales, utilizing as a primary case study the “Beauty and the Beast” retelling A Court of Thorns and Roses by Sarah J. Maas, arguing that this text provides a scientifically accurate representation of trauma and its aftermath, thereby articulating the real in fairy tales. Further, this article classifies that work as not simply a “dark” fairy tale (a contentious term that invites rethinking) but rather as fairy-tale torture porn, in a nod to the horror genre that foregrounds torture, surveillance, and the disruption of bodily boundaries and safety. However, the text’s optimistic account of healing is uniquely relevant in a time of widespread trauma due to a global pandemic, thereby demonstrating that fairy tales remain germane in contemporary contexts.

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Markova, M. V. "An enlightened beauty and a natural beast. A dialogue of epochs in a fairy-tale dimension." Voprosy literatury, no. 6 (February 7, 2019): 226–53. http://dx.doi.org/10.31425/0042-8795-2018-6-226-253.

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The article analyses the dialogue happening between two historical periods inside the fairy-tale context of Beauty and the Beast: a story with its origins in the late days of the ‘gallant’ age and on the cusp of the Age of Enlightenment. A product of the conflict between the two, the fairy-tale provides ample inspiration for contemporary re-tellers of classical stories. The original work by Madame de Villeneuve centres on the idea of assimilation of a territory, its colonization and its integration into the political and economic context of the inhabited world. The same idea is taken up and reinforced by the American author M. Lackey, who considered the French original and its origination period through the concept of a national idea, in particular, the notion of the ‘hearth’. The article demonstrates how this idea, reaching its peak during the American Enlightenment, helped Lackey to transform the original’s colonization motifs and endow the classical plot with new prospects. In her ‘domestication’ of the fairy-tale world, Lackey delivers it a paradoxical blow at the end of the story, and turns de Villeneuve’s triumph of civilization into a more relevant ideal of freedom and unlimited opportunities, where the female protagonist enjoys emancipation and is invested with her rights.

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Kaczyńska, Barbara. "Motywacja metamorfozy a potworność cielesna i duchowa w wybranych realizacjach wątku „Pięknej i Bestii”." Literatura i Kultura Popularna 27 (December 29, 2021): 21–37. http://dx.doi.org/10.19195/0867-7441.27.2.

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The article discusses the motivations of the monstrous metamorphosis in some Beauty and the Beast retellings, chiefly those by Gabrielle-Suzanne de Villeneuve (1740), Jeanne-Marie Leprince de Beaumont (1756), Alex Flinn (2007), and Małgorzata Musierowicz (1996). Other versions are mentioned as a broader context. The aim of the article is to observe a correlation between transmotivation and a retelling’s structure and message. While folk versions usually omit the motivation altogether, literary and film retellings often provide in-depth explanations of the transformation. In the 18th-century fairy tales, the metamorphosis is a villainy inflicted on an innocent victim, and Beauty has to see through the monstrous appearance in order to realize the true, internal beauty of the Beast. Retellings from the 20th and 21st centuries, on the other hand, often present the metamorphosis as a comeuppance for some emotional and moral fault. Physical deformity reflects spiritual monstrosity, and the Beast’s struggle with the latter helps him become free of the former. As a consequence, transmotivation implies a shift in the narrative from Beauty’s experience to the Beast’s internal change. This may be due to the didactic tradition of the fairy tale for children, in which the hero is tested and disciplined, as well as the influence of the modern novel, focused on individual characters’ psychology

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Sintamutiani, Diah Purwita, Dias Fitriani, and Ratih Inayah. "AN ANALYSIS OF SPEECH ACT CLASSIFICATION IN BEAUTY AND THE BEAST." PROJECT (Professional Journal of English Education) 2, no. 4 (June 20, 2019): 429. http://dx.doi.org/10.22460/project.v2i4.p429-435.

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Pragmatics is study of significance aspects and language use which are dependent to the speaker, the addressee and other characteristics about the context of utterance. Along with communication, we are as humans do it as speakers who deliver utterance or anything to the addressee. Therefore communication and language are related to another one with pragmatics. Usually people utilize language in spoken and written, for instance conversation writing ideas, thoughts and so on in the book. For example cerebration contained in fairy tale stories were poured through the writer that one may be understood by readers. These ideas are expressed in the form about speech acts as described in Yule's theory in his book Pragmatics: Speech Act Classification (1996), there are five classifications of speech act pragmatically that can be proposed with a speaker such as representatives, directives, commissives, expressives, and declarations. The researchers used Beauty and the Beast short story to be analyzed classification about speech act. The method used in this analysis is a descriptive qualitative method. The results in this study, there are 10 speech act in short story Beauty and the Beast. In the outcomes of this study, that speech act classified into 4 types. Speech act classification is mostly Directives (50%); Representatives (30%); Declarations (10%); and Commissives (10%). The classification type unfound in the story above is Expressives.

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Greenberg, Joel. "Montreal / Toronto …but our own?" Canadian Theatre Review 86 (March 1996): 49–51. http://dx.doi.org/10.3138/ctr.86.008.

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For more than ten years the mega-musical has been a constant resident in Canada, particularly in Toronto. What began with Cats, now and forever, has led to Les Miserables, Phantom of the Opera, Miss Saigon, Joseph and the Amazing Technicolor Dreamcoat, Aspects of Love, Tommy, Beauty and the Beast and Sunset Boulevard. All of these productions, with the lone exception of Beauty and the Beast, have been “made in Britain” and have come to Canada with the tell-tale signs of the franchised product: the audition process that has been a national sweep of our singer-dancer-actor triple threats; the newspaper coverage of these same auditions that have whipped up enthusiasm as much as a year in advance of the first rehearsal; and the original Broadway television commercials that have flooded prime-time hours – the shows that cast Canadians in principal roles and then advertise the shows by broadcasting the New York actors are especially troubling.

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Kurysheva, Lyubov A. "The first Russian translation of Jeanne-Marie Leprince de Beaumont's fairy tale Beauty and the Beast." Vestnik Tomskogo gosudarstvennogo universiteta. Filologiya, no. 56 (December 1, 2018): 248–62. http://dx.doi.org/10.17223/19986645/56/13.

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Palma. "Entitled to a Happy Ending: Fairy-Tale Logic from “Beauty and the Beast” to the Incel Movement." Marvels & Tales 33, no. 2 (2019): 319. http://dx.doi.org/10.13110/marvelstales.33.2.0319.

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Battisti, Chiara. "Bodies, Masks and Biopolitics: Clothing as “Second Skin” and Skin as “First Clothing” in “The Tiger’s Bride”." Pólemos 10, no. 1 (April 1, 2016): 101–23. http://dx.doi.org/10.1515/pol-2016-0006.

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Abstract This essay aims at analysing the contemporary revision of the fairy tale Beauty and the Beast re-told by Angela Carter in “The Tiger’s Bride.” In my critical approach I will intertwine two distinct theoretical strands: one focused on the concept of ‘skin’ and its role as idiom of personhood and identity and the other focused on the notion of the dressed/undressed body, its political power and the manner in which clothing acts as a form of embodiment. I will be focusing on the idea of both body/skin and the dressed body as telling traces of the cultural negotiations of identity and difference by analysing the transformation of Beauty into an animal and the figure of The Beast, as a strange being in a dimension between human and animal. It is precisely the movement of these bodies- naked, clothed and masked- in a liminal zone, an area of exclusion, that makes them the powerful destroyers of the rules of normalcy and allows them to deconstruct the normative perspectives of biopolitics, defined by Michel Foucault as the extension of state control over both the physical and political bodies of a population.

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Ajdačić, Dejan. "Vukodlaci – oborotnji i psoglavci u odabranoj slovenskoj prozi 19. veka." Poznańskie Studia Slawistyczne, no. 20 (September 22, 2021): 159–74. http://dx.doi.org/10.14746/pss.2021.20.9.

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The author analyzes the origins and characteristics of werewolves (human-wolves) and lycanthropus (human-dogs) as dual-natured beings within Slavic folk beliefs. He also analyzes the way their mythological properties transform through literature. The werewolf’s mythos is approached through texts of 19th century authors, Russians Orest Somov (Oboroten: narodnaja skazka, 1829) and Alexander Kuprin (Serebrjanyj volk, 1901) and the Pole from Belarus Jan Barszczewski(Wilkołak, 1844), while the lycanthrope’s is viewed through the lens of the literary fairy tale by Serbian Joksim Nović Otočanin (Vrzino kolo i Zlatni i Alem-grad, 1864). The author puts focus on symbolism, specifically that of the human-beast dichotomy. The literary representation of this man-beast duality in 19th century Slavic written prose indicates a fantasy view of the coexistence between beast and man – the beastly in men, or the human in beasts.

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Paal, Peter, and Arnd Timmermann. "The beauty and the beast – a tale of the laryngeal tube and related potentially life threatening operational faults." Resuscitation 85, no. 12 (December 2014): A1—A2. http://dx.doi.org/10.1016/j.resuscitation.2014.09.006.

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Sempère, Emmanuelle. "Le « charme de la voix » : topiques du son enchanteur et réflexions musicales au XVIIIe siècle." Topiques, études satoriennes 6 (February 15, 2023): 1–17. http://dx.doi.org/10.7202/1096708ar.

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The formula of the "Charm of the voice", which is the title of a play by Thomas Corneille from 1657, constitutes the topical matrix of a vast corpus of works which, throughout the classical age, have questioned the powers of the voice. The article identifies two sets of topoi: in the tale of "Beauty and the Beast" and its rewrites between the 1740s and the 1770s, the "charm of the voice" is essentially considered from the point of view of gentleness and civilizational process, while in Cazotte's short story, Le Diable amoureux (1772-1776), it appears as a destabilizing power in relation to the witch's imaginary.

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Corti, Roberto, Christian Binggeli, Isabella Sudano, Lukas E. Spieker, René R. Wenzel, Thomas F. Lüscher, and Georg Noll. "The Beauty and the Beast: Aspects of the Autonomic Nervous System." Physiology 15, no. 3 (June 2000): 125–29. http://dx.doi.org/10.1152/physiologyonline.2000.15.3.125.

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Sympathetic nerve activity is altered and is a prognostic factor for many cardiovascular diseases such as hypertension, coronary syndromes, and congestive heart failure. Therefore, the selection of vasoactive drugs for the treatment of these diseases should also take into consideration their effects on the sympathetic nervous system.

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Indayanti, Pindy, Rosma Tami, and Ahmad. "THE MEMORY OF MOTHER IN DISNEY’S FAIRY TALE MOVIES." Elite : English and Literature Journal 9, no. 2 (December 15, 2022): 204–14. http://dx.doi.org/10.24252/elite.v9i2.33746.

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This study discusses the memory to the mothers in Disney’s fairy tale movies. This study aimed to analyze the princesses’ remembrances to their mothers and the effects of those remembrances by using the nostalgia theory by Linda Hutcheon. Three Disney movies, Cinderella, Beauty and The Beast, and Frozen II were studied using descriptive qualitative methods. The result of this study shows that the princesses remember their mothers due to adversities faced in their lives, and this memory is accessed through several media such as mother’s words, the mother’s old dress, the Lullaby, and places. It is also found that those remembrances empower the princesses and have many positive and significant effects on the princesses’ life, such as drawing strength and motivation, knowing the truth, reconstructing their identity, and maintaining self-identity. This positive effect occurs when the princesses have positive perspectives on the memory to past events. It means that it may have a negative effect if the past was taken as trauma or negative events. Furthermore, even though the late mothers can no longer have an influence on their children, their influence remains in the memory of the princesses. Keywords:

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Ma, Yuanyuan. "Reality and Ideality: An analysis on Beauty and the Beast from the Perspective of Feminist Narratology." Frontiers in Humanities and Social Sciences 4, no. 6 (June 25, 2024): 240–47. http://dx.doi.org/10.54691/wzk1hk47.

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La Belle et la Bête (Beauty and the Beast) is a fairy tale originally written by Gabrielle-Suzanne Barbot de Villeneuve, a French female author, and later adapted into a cartoon by Disney, which tells an actualization of idealized love in reality through the whole story. Such is, on one hand, a revelation of the opposite relationship between reality and ideality while, on the other, an embodiment of the reconcilability in the emotional power, instanced by equal love, confidence and dependence, in the contradiction between the ideality and reality. The theme of La Belle et la Bête as the main objection of this article is analyzed on the basis of the feminist narratological analysis of characters, mainly of La Belle, for the purpose of the acquirement of the profound meaning of equal identity and, simultaneously, of the perception of the realizability of ideal life in reality. This paper intends to analyze the theme of La Belle et la Bête, an actualization of idealized love in reality, from the perspective of feminist narratology based mainly on La Belle, the female protagonist, to acquire the embodiment of realities and idealities, their opposite relationship and the way of equal love in conciliating the opposites.

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Geer, Jennifer. "Women’s Writing and Women’s Literacy in Two “Beauty and the Beast” Tales." Asian Women 32, no. 2 (June 30, 2016): 67. http://dx.doi.org/10.14431/aw.2016.06.32.2.67.

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Shchurik, Natalia V., and Vera E. Gorshkova. "Magic Folk Tales in Intersemiotic Translation." Russian Journal of Linguistics 23, no. 2 (December 15, 2019): 415–34. http://dx.doi.org/10.22363/2312-9182-2019-23-2-415-434.

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The present paper examines intersemiotic translation of magic folk tales. Research objective is to show the structural identity of the surface structure which can be described as a sequence of plot elements (“functions”) of fairy-tale characters; in semiotic terms it is explained by the existence of a universal matrix defining the law of genre. The authors go on to the cognitive-culturological aspect of fairy tales in terms of N. Chomsky. This research paper has clearly shown that “functions” of the surface structures correspond to plans, scenarios and frames of the deep structures, which differ in British and Russian magic fairy folk tales (wonder folk tales). Numbers and proper names are the main permanent elements of fairy tale narrative: on the level of the surface structures they connect the universal matrix of a fairy tale discourse organizing space and rhythm and at the level of the deep structures - they help to understand the main features of the national character. The study is based on 13 fairy-tale film corpus, under the common theme “Beauty and the Beast”, film adaptations of the fairy tales “La Belle et la Bête” by J.-M. Leprens de Beaumont (1757) and “The Scarlet Flower” by S.T. Aksakov (1858). Hence, the analysis of the latter based on the works of R. Jacobson and W. Eco and understood by the authors as a kind of intersemiotic translation / interpretation that, on the one hand, proves universality of the proposed algorithm for studying fairy discourse in synchrony and diachrony. On the other hand, it plays the most important role in intersemiotic translation of diachronic aspect because it deals with changing the “integral model of reality”, which is reflected, in particular, in changing the on-screen presentation / interpretation of certain aspects of the fairy-tale narrative. Finally, it is worth pointing out that the conclusions can be used to study plurality of film adaptation as a form of intersemiotic translation.

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Juanna, Juanna, and Sholihul Abidin. "ANALISA SEMIOLOGI PESAN MORAL PADA FILM “BEAUTY AND THE BEAST LIVE ACTION”." Commed : Jurnal Komunikasi dan Media 2, no. 2 (April 16, 2018): 87. http://dx.doi.org/10.33884/commed.v2i2.472.

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“Beauty and The Beast Live Action” movie is a re-make film of the original version with the same title in 1991. As a romantic themed fiction show, it's no wonder that the film managed to tie the audience emotionally, so the audience can sense that they are part of the film as long as he/she watched the movie. By the time the film finishes, there will be at least a meaning or moral message that can be taken from a movie, which is composed of signs containing a moral message. Overall, the movie Beauty and The Beast Live Action gives a moral message that we should not judge a person just from his appearance alone, because the most important is the kindness of the person. However, if we look closely at the signs contained in each scene, there are still some moral messages beyond the theme of the film that we can take through semiological analysis, using qualitative research methods. This research uses Charles Sanders Peirce's semiology theory which divides the mark into three categories namely icons, indexes and symbols in creating meaning, which will then be summed up into a moral message. The object of research investigated is some snippets of scenes in the film that will be drawn conclusions of moral messages based on semiology analysis, so that ultimately obtained the results of research on what moral messages contained in every scene of the film and also that the moral message is not only obtained from the entire film alone, but also through each scene cut.

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Matveeva, L. V., and Yu V. Mochalova. "Cultural Codes in Teenagers' Perception of Cartoon Characters." Bulletin of Irkutsk State University. Series Psychology 46 (2023): 29–38. http://dx.doi.org/10.26516/2304-1226.2023.46.29.

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The study of the impact of the entertainment discourse of the modern media environment on the children's audience was carried out, including through a comparative analysis of the perception of school-age children of the heroes of domestic and foreign cartoons, which are based on a similar fairy tale plot and screen fairy tales. The study used the method of psychosemantic scaling with subsequent factorization of data. The factor structures revealed in the course of the study reproduce the semantic spaces of consciousness of schoolchildren who are viewers of the Domestic m/ f “The Frog Princess” and the American “The Princess and the Frog”, as well as the domestic cartoon “The Scarlet Flower” and the American “Beauty and the Beast”. The study involved adolescents aged 13 and 16 years old, a total of 40 people. Significant differences were obtained between the images of the characters of domestic and foreign cartoons by the first factor “Moral and ethical”, by the second factor “Charismatic”, as well as by the fourth factor “Psychological distance”. The differentiation of schoolchildren's perception of m/f heroes made in different cultural traditions is revealed.

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Kurysheva, L. A., and A. M. Lavrentiev. "“The Story of Labelle and the Beast”: a digital edition of a manuscript the first Russian translation of the “Beauty and the Beast” fairy-tale powered by the TXM demo portal." Sibirskiy filologicheskiy zhurnal, no. 1 (March 1, 2019): 54–61. http://dx.doi.org/10.17223/18137083/66/4.

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Zegarlińska, Magdalena. "Intertextuality of C.S. Lewis’ The Last Battle." Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre 2, no. 1 (January 1, 2014): 50–58. http://dx.doi.org/10.18778/2353-6098.2.07.

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The Chronicles of Narnia has an established position in the canon of children’s literature. However, what on the surface is a fairy tale involving adventures and magic; with children, kings, talking beasts, and wood spirits as main protagonists; is, in fact, a set of stories deeply rooted in Christian and chivalric traditions, containing elements of beast fable and morality tale. The story, according to Madeline L’Engle, depending on the reader's cultural knowledge and experience, may be understood on various levels, from the literal one of an adventure story for children, through the moral and allegorical levels, eventually reaching the anagogical level. While reading The Chronicles, one is able to notice various references to other written works, interwoven into the text, with the Bible, chivalric romances and beast fables being the most prominent sources of intertextual allusions. In The Last Battle Lewis attempts to answer John Donne’s question, “What if this present were the world’s last night?" (Holy Sonnet XIII) and presents a comprehensive image of Narnian apocalypse and life after death in Aslan’s country. The following paper will present the most noteworthy intertextual references in the final volume of The Narniad.

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Mazzoni, Cristina. "The Beauty of the Beast: Fairy Tales as Mystical Texts in Simone Weil and Cristina Campo." Spiritus: A Journal of Christian Spirituality 11, no. 2 (2011): 156–75. http://dx.doi.org/10.1353/scs.2011.0042.

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Nasr, Nada. "The beauty and the beast of consumption: a review of the consequences of consumption." Journal of Consumer Marketing 36, no. 7 (November 11, 2019): 911–25. http://dx.doi.org/10.1108/jcm-04-2017-2163.

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Purpose The purpose of this paper is to answer the following question: What can researchers learn from consumer research that can inform them about the consequences of consumption? Design/methodology/approach This paper follows guidelines for a summarization conceptual model. First, the paper offers a review of consumption theories and research studies on a variety of consumption-related constructs. Then, a bird’s-eye view is taken to critically synthesize the findings. Findings The consequences of consumption can be summarized along a framework reflecting the positive and negative effects of consumption on oneself, one’s relationships, one’s society and the Earth. Knowledge gaps in previous research are identified, and a set of propositions is provided to enrich the understanding of the consequences of consumption. Research limitations/implications The bird’s-eye view of the studies addressing the impacts of consumption identified gaps of knowledge in this area; these gaps constitute valuable topics for future researchers to study. The findings of the paper stress the need for studying the boundaries of different consumption effects. The review emphasizes the complex intermingling between consumer motives (antecedents) to behave in certain ways and the impacts (consequences) of such behaviors. The major limitation to this research stems from the immensity of the task involved. Practical implications This paper informs public policymakers on how to create realistic regulations that take into consideration the complexity of consumption. It calls on governments to provide an infrastructure that facilitates experiential consumption and to educate consumers, through the media and the public schools, to consume responsibly. Originality/value Whereas previous researchers have focused on a particular consumption practice while studying the consequences of consumption, this paper provides a comprehensive review that includes an array of practices. This paper synthesizes previous research findings through presenting a framework delineating the effects of consumption and identifying knowledge gaps in this research domain. The paper also provides a set of propositions that can guide future research on the topic.

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Krijnen, Gijs J. M., Harmen Droogendijk, Ahmad Dagamseh, Ram Jaganatharaja, and Jerome Casas. "Imitating the Cricket Cercal System: The Beauty of the Beast with a Twist of the Engineer." Advances in Science and Technology 84 (September 2012): 19–28. http://dx.doi.org/10.4028/www.scientific.net/ast.84.19.

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MEMS offers exciting possibilities for the fabrication of bioinspired mechanosensors. Over the last years we have been working on cricket inspired hair-sensor arrays for spatio-temporal flow-field observations (i.e flow-camera) and source localization. Whereas making flow-sensors as energy efficient as cricket hair-sensors appears to be a real challenge we have managed to fabricate capacitively interrogated sensors with sub millimeter per second flow sensing thresholds, to use them in lateral line experiments, address them individually while in arrays tracking transient flows, and use nonlinear effects to achieve parametric filtering and amplification. During these developments we have been working in close collaboration with insect biologists, generating a bidirectional flow of information and knowledge, beneficial to both parties. E.g. where the engineering has greatly benefitted from the insights derived from biology and biophysical models, the biologists have been able to take advantage of MEMS structures allowing for the sort of analysis that is hard to do on living material (e.g. the study of viscous coupling between closely spaced hair-sensors).

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Hussein, Marwa Sami. "The Importance of Fairy Tales in Children’s Literature: A study in D. M. Larson’s Beauty Is a Beast." JOURNAL OF LANGUAGE STUDIES 2, no. 1 (August 20, 2023): 123–40. http://dx.doi.org/10.25130/jls.2.1.6.

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Children are the future of every nation. They arecurious by their nature and enjoy “make-believe”. They havetheir own imaginary world where they can be other personsby pretending, exploring a variety of imaginative behaviours,and inventing imaginary companions. Such imaginary worldmay be created either by watching cartoons and movies or byattending plays for children, or listening to stories especiallybefore going to sleep. They even ask to repeat the same storyagain and again if they like it. Among the adorable kind ofstories that children, and even some adults, like are fairy tales.These stories teach them moral lessons, show them the goodand evil, help them to be creative, successful, and intelligent.They may create their own stories. Moreover, fairy talesdevelop children’s imagination, and by this developmentnations arise.

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Nikolić, Jovana. "Symbolism and imagination of the medieval period: The lady and the unicorn in the works of Gustave Moreau." Kultura, no. 168 (2020): 51–68. http://dx.doi.org/10.5937/kultura2068051n.

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The French Symbolist painter Gustave Moreau often used the motifs of fantastic beings and animals in his works, amongst which the unicorn found its place. Moreau got the inspiration for the unicorn motif after a visit to the Cluny Museum in Paris, in which six medieval tapestries with the name "The Lady and the Unicorn" were exhibited. Relying on the French Middle Age heritage, Moreau has interpreted the medieval legend of the hunt for this fantastic beast (with the aid of a virgin) in a new way, close to the art of Symbolism and the ideas of the cultural and intellectual climate of Paris at the end of the 19th century. In the Moreau's paintings "The Unicorn" and "The Unicorns", beautiful young nude girls are portrayed in the company of one or multiple unicorns. Similarly to the lady on the medieval tapestry, they too gently caress the animal, showing a close and sensual relationship between them. Although they were rid of their clothes, the artist donned lavish capes, crowns and jewellery on them, alluding to their privileged social status. Their beauty, nudity and closeness with the unicorns ties them to the theme of the femme fatal, which was often depicted in the Symbolist art forms. Showing the fairer sex as beings closer to the material, instinctual and irrational, Moreau has equated women and animals, as is the case with these paintings. Another important theme of the Symbolic art forms which can be seen on the aforementioned paintings is nature, wild and untouched. The landscape in the paintings shows a harmony between the unrestrained nature and the heroes of the painting, freed from strict moral laws of the civil society, or civilization in general. Putting the ladies and the unicorns in an ideal forest landscape, Moreau paints an intimate vision of an imaginary golden age, in this case the Middle Age, through a harmonic relationship of unicorns, women and nature. In that manner, Moreau's unicorns tell a fairy tale of a modern European man at the end of the 19th century: a fairy tale of harmony, sensuality and beauty, hidden in the realms of imagination and dreams.

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Rieti, Barbara. "Betsy HEARNE, Beauty and the Beast: Visions and Revisions of an Old Tale (Chicago and London, University of Chicago Press, 1991, pp. 247, ISBN 0-226-32240-8)." Ethnologies 14, no. 2 (1992): 188. http://dx.doi.org/10.7202/1082489ar.

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Dienstag, Joshua Foa. "Building the Temple of Memory: Hegel's Aesthetic Narrative of History." Review of Politics 56, no. 4 (1994): 697–726. http://dx.doi.org/10.1017/s0034670500019136.

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This article examines Hegel's philosophy of history with the intention of once again rendering it strange. Hegel's “historicism” has been accepted for so long that the actual terms of his history are rarely examined afresh. But his account of the past, it is argued here, is best understood through the vocabulary of art and beauty that he develops in the Aesthetics. Historical forms cannot be wholly grasped through the vocabulary of dialectical reason, but ought to be seen as “shapes” in a strong sense. Two principle conclusions follow from this reassessment: The first is that the Philosophy of History is best understood neither as an optimistic account of rational progress, nor as a tale of the “end of history” in liberal democracy, but as an attempt to “seduce us to life”—that is, an attempt to reconcile us to the world through the beauty of history. The second conclusion is that this attempt must fail. It fails because, in his effort to discern beauty in the past, Hegel imposes a completeness upon time that excludes the possibility of a future. Whether intentionally or not, Hegel's pessimism about art is transmitted to his philosophy of history. The Temple of Memory that Hegel builds to shelter our souls ends up imprisoning them instead.

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Jilan, Muhammad Fa’iz, and Rahayu Puji Haryati. "Meaning Reconstruction in Fairy Tales Across Eras: An Intertextual Study on A Grain of Truth and Beauty and the Beast." Language Circle: Journal of Language and Literature 18, no. 2 (April 30, 2024): 280–87. http://dx.doi.org/10.15294/lc.v18i2.50284.

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Intertextuality is a study that observes the relation and connection that text has with other texts. By looking at intertextuality, it can be seen how one text can have resemblances to another text, whether that resemblance is intentional or not. This study uses a story by Andrzej Sapkowski, titled A Grain of Truth as the material objects of the study. It tells the story of a cursed human with a monstrous body who desires to find love to be human again. This research uses qualitative research methods, and the data were analyzed using intertextuality theory to answer the research questions. This paper aims at finding out the intertextuality connection between A Grain of Truth and Beauty and the Beast, through their resemblances in theme and due to the sociocultural enironment erround the stories. The result shows that there are sesemplances in terms of theme, characterization, and symbols in the story. This is related to the collective unconsciousness about the perception of love and curse in fantasy.

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Pasolini, Anna. "Words which are ‘very much her own’ – a corpus stylistic analysis of The bloody chamber by A. Carter." Research in Corpus Linguistics 3 (2015): 7–18. http://dx.doi.org/10.32714/ricl.03.02.

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This paper endeavours to carry out a corpus stylistic analysis of the discursive construction of female identity in some fairy tales collected in The bloody chamber and other stories by Angela Carter (1979) with a twofold purpose. More generally, it aims at providing a further example of the application of corpus linguistics methods to the analysis of a literary text. It also purports to emphasise that corpus stylistics can assist the examination of the poetics as well as the politics of a literary text. In particular, corpus linguistics methods will be shown to enable an analysis of the way in which the linguistic configuration of the text can be seen to map power relationships. This investigation addresses two main research questions stemming from corpus-based comparative enquiries, which analyse some keywords as triggers of ideological meanings: • if the fairy tale ‘The bloody chamber’ is computationally compared to what is deemed to be its main source, Pearrult’s ‘Blue beard’, is it possible to show that Carter succeeds in challenging and amending the gender politics underlying Perrault’s text through the use of language? • can the intuitive insight that Carter manages to criticise women’s compliance with patriarchy in their subordination, and to offer empowering alternatives through intertextual and intratextual references be proved with corpus linguistics methods? The first question will be tackled through the computational comparison between the tales ‘The bloody chamber and an English translation of ‘La barbe bleue’ by Charles Perrault; the second through the comparative analysis of the two versions of ‘Beauty and the Beast’ re-written by Carter and included in the same collection – ‘The courtship of Mr Lyon’ and ‘The tiger’s bride’. As regards methodology, three main techniques will be deployed: the study and comparison of the wordlists of the tales through some purposely-generated concordance lines, the analysis of collocations, and – to a lesser extent – that of keywords. The software used for the analyses is WordSmith Tools, which generates statistical data on a text or corpus through three main functions: wordlist, concord, and keywords. Even though it will not be possible to draw general conclusions about Carter’s style or about the ways in which the fairy tale as a genre changes thanks to her revolutionary manipulations (which will hopefully be the focus of future research), sample-examples will be offered of the ways in which a computer-assisted analysis could support, validate, and even enrich an intuitive one performed through the methodological and critical tools offered by cultural and literary studies. In both cases, indeed, intuitive insight will be proved through computer-generated textual evidence and new knowledge will hopefully be gained as well.

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De Witte, Marleen. "Insight, Secrecy, Beasts, and Beauty." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 1, no. 2-3 (December 3, 2005): 277–300. http://dx.doi.org/10.1558/post.v1i2_3.277.

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Since the liberalization of the Ghanaian media in 1992, audiovisual representation has become crucial in the struggle over religion and culture. This article examines the neo-traditionalist Afrikania Mission’s struggles with audiovisual media in the context of a strong Pentecostal dominance in Ghana’s religious and media landscape. It argues that the study of religion in an era of mass media cannot be limited to religious doctrine and content. One must also take into account matters of style and format associated with audiovisual representation. This article shows how new media opportunities and constraints have pushed Afrikania to adapt its strategies of accessing the media and its styles of representation. Adopting dominant media formats such as the documentary, the news item, and the spectacle involves a constant struggle over revelation and concealment. It also entails the neglect of much of the spiritual power that constitutes African religious traditions. The question of how to represent spiritual power through audiovisual media occupies many religious groups, but the question of its very representability seems to be especially pressing for Afrikania.

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Atlas, Anna Z. "DEMYTHOLOGISING SOCIAL FICTIONS IN ANGELA CARTER’S REINTERPRETATIONS OF FAIRY TALES." Philological Class 26, no. 2 (2021): 182–90. http://dx.doi.org/10.51762/1fk-2021-26-02-15.

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The paper focuses on culture stereotypes embodied in fairy tales and the ways of their representation in twice-told tales. The awareness of pressure of stereotypes in culturally central texts led to their persistent revision by the 20th century women writers. In “The Bloody Chamber and Other Stories”, Angela Carter appropriates some of Charles Perrault’s classical plots calling it a “demythologizing business”. The paper studies “social fictions” regarding women scrutinized in Carter’s reinterpretations of Beauty and the Beast plot. As their overall structure analysis testifies, critical approach to conventional culture’s concepts of gender predetermines the mode of narration - “stories about fairy stories” and female character perspective. These allow for the use of metacommentary that centres on economic issues concerning young women. Alongside with their fears, these issues are thematised by foregrounding recurrent motifs and law words. As the research shows, the major female character’s motivations that their flat prototypes lack are exposed; the 1st person narration also absent in the pretext permits the author to articulate criticism of “social fictions” underlying classical fairy tales through the female character’s mouthpiece in feminist terms. The introduction of a foil triggers the female character’s self-discovery and the multiple reinterpretations of the same plot shattering its ruthless changelessness provide new life scenarios for her.

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Choong-Soo, Lee. "A Study on the Object and the Desire of Love of the Animal Bridegroom Tales in The Frog King and Beauty and the Beast." Modern Studies in English Language & Literature 59, no. 2 (May 31, 2015): 221–40. http://dx.doi.org/10.17754/mesk.59.2.221.

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Mermelstein, Ari. "Beauty or Beast?" Journal of Ancient Judaism 8, no. 3 (May 19, 2017): 388–409. http://dx.doi.org/10.30965/21967954-00803005.

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This article explores the role that emotion plays in rabbinic interpretations of the law of the captive woman. Discrete “emotional communities” establish “feeling rules” through which they broadcast their ideal emotional world and the values associated with it. Different midrashim, employing rich metaphors, agree that the feeling rule in the law of the captive seeks to elicit disgust from the captor. That emotion emphasizes the otherness of its object and thereby affects the power relations that obtain between subject and object. Midrashic sources disagree, however, over whether the captor’s disgust response will motivate him to jettison the captive. At issue is the identity of the powerful party confronting the captor: a gentile plot that disgust could help him neutralize or an evil inclination which it could not. If the captor marries his captive, he will experience hate, an emotion that will confirm the otherness that he earlier failed to recognize.

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Mermelstein, Ari. "Beauty or Beast?" Journal of Ancient Judaism 8, no. 3 (November 13, 2017): 388–409. http://dx.doi.org/10.13109/jaju.2017.8.3.388.

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Kurysheva, Lyubov A. "Beauty and the Beast." Vestnik Tomskogo gosudarstvennogo universiteta. Filologiya, no. 56 (December 1, 2018): 263–73. http://dx.doi.org/10.17223/19986645/56/14.

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McBride, Regina. "Beauty and the Beast." Antioch Review 50, no. 3 (1992): 498. http://dx.doi.org/10.2307/4612542.

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Journal articles on the topic 'Beauty and the beast (Tale)'

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