Dissertations / Theses on the topic 'Cinderella (Tale)'
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Westerlund, Johanna. "The Brazilian Fairy Tale – The Union Leader Becomes President." Thesis, Halmstad University, School of Social and Health Sciences (HOS), 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-2321.
Full textBrazilian politics has for a long time been considered an elitist system, dealing with corruption and social inequalities. In 2002 something unimagined happened when the former industrial worker Luiz Inácio Lula da Silva, was elected President of the Republic of Brazil. This case study examines Lula’s authority role as President by testing the theories Cinderella Complex and Max Weber’s theory of Pure Leadership. It also tries to explain what motivates Lula’s actions and what affect this has on Brazilian politics. The case study reveals that Lula is not driven by any ideology, but is motivated by own personal interests of eliminating hunger and poverty. To realise these wishes he creates alliances in order to get enough support for these policies. Even though his government is designed as a bureaucratic administration, Lula has not proven to use rational ideas to establish new reforms. Instead he is dependent on raising enough support and trust, through his charismatic image. This is visible in his election campaigns. This leadership style has implemented some valuable programmes like the Fome Zero and Bolsa Familia, but his endless travels and commitments abroad joint with his approach to the corruption scandal in 2005 has created a new image of Lula as a negligent person.
This case study is using qualitative methods to explain the leader and President of Brazil.
Persson, Penzer Anna. "Modern Day Fairy Tales : A comparative study between Amy Plum's Die for Me and the Western Fairy Tale Tradition." Thesis, Högskolan Dalarna, Engelska, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:du-24632.
Full textSinn, Julie A. ""I ain't no trick baby" or princess in disguise gender boundaries and female mobility in Freeway, Snow White : a tale of terror, and Ever after : a Cinderella story /." [Gainesville, Fla.] : University of Florida, 2001. http://purl.fcla.edu/fcla/etd/UFE0000353.
Full textYang, Su Jin. "Adapting Korean Cinderella Folklore as Fairy Tales for Children." Thesis, University of Louisiana at Lafayette, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3622966.
Full textCinderella stories are one of the most popular fairy tales in the world. At the same time, they are most stigmatized by people for describing a weak and passive female protagonist. To discover possible explanations for this continuing popularity of Cinderella stories, I chose to analyze the Kongjwi Patjwi story, one of the Cinderella tales in Korea. The Kongjwi Patjwi story is one of the well-known folktales in Korea that has been adapted for children since the beginning of the 20th century. Since the Kongjwi Patjwi story is not familiar to many western people, I first analyze two of the folklore versions of Kongjwi Patjwi to prove that this story is also one kind of Cinderella tale. Both of them have the "innocent, persecuted heroine" theme, which is one of the most distinctive features of Cinderella tales. In one version, the plot follows almost exactly the same trajectory as European Cinderella tales in that it has the lost shoe motif and marriage with the Prince. The biggest difference between the Korean Cinderella and other Cinderella stories is that there is another plot in the Korean Cinderella story as the passive protagonist matures and becomes an independent woman. In some of the adapted fairy tale versions for children, this plot does not appear and the Korean Cinderella becomes another passive girl who is rescued by her Prince Charming. One of the reasons for this change is that the mothers, the buyers of the children's books, want the "Prince Charming's rescue" plot because they find that it is hard to become an independent woman in Korean society. To accommodate the consumers' wants and needs, publishers intentionally change the plots with passive protagonists. The folklore version of Kongjwi Patjwi actually suggests a more independent and mature female character which would be a good role model for many young boys and girls.
Carling, Rylee. "Damsel in Distress or Princess in Power? Traditional Masculinity and Femininity in Young Adult Novelizations of Cinderella and the Effects on Agency." BYU ScholarsArchive, 2020. https://scholarsarchive.byu.edu/etd/8758.
Full textRice, Jessica. "Women in Fairy Tales: The Pursuit of a Modern-Day Heroine." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/907.
Full textWittmann, Gerda-Elisabeth. "Aschenputtel und ihre Schwestern - Frauenfiguren im Märchen : Eine Kontrastierung des Grimmschen Aschenputtel von 1857 mit Aschenputtelerzälungen des 20. und 21. Jahrhunderts /." Link to the online version, 2008. http://hdl.handle.net/10019/2040.
Full textWittmann, Gerda-Elisabeth. "Aschenputtel und ihre Schwestern : Frauenfiguren im Marchen : eine Kontrastierung des Grimmschen Aschenputtel von 1857 mit Aschenputtelerzählungen des 20. und 21. Jahrhunderts." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/2145.
Full textIt has been widely assumed that the portrayal of women in fairytales subscribes to somewhat outdated and stereotypical modes of representation. Upon closer inspection however, it can be seen that this is a fallacious assumption and that the female roles in these stories are much more multidimensional in nature. One of the most popular fairytales from the Grimm Brothers is Cinderella. The portrayal of women in this story is typical of the weak, subjected woman who needs to be rescued by the prince from her unfavourable and subjugated position. The research presented here aims to show that the Grimm’s specific depiction of Cinderella in the 19th century provides an alternative to the modern myth. Here, she reacts strongly and independently to find the most advantageous resolution to her problematic subject position. To this end the Grimms’ version will be compared to text and filmic versions from the 20th and 21st centuries. By comparing aspects of female representation in the Cinderella-themed portrayals, one can evaluate the extent to which societal expectations have altered over time as well as investigating the modern-day implications of this.
Iacovetta, Anna C. "Moving Up the Social Ladder: An Analysis of the Role of Temptation in Shaping Characters in Select Fairy Tales Employing Marxist and Psychological Lenses." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1491073505893036.
Full textNyh, Johan. "From Snow White to Frozen : An evaluation of popular gender representation indicators applied to Disney’s princess films." Thesis, Karlstads universitet, Institutionen för geografi, medier och kommunikation, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-36877.
Full textBetyg VG (skala IG-VG)
TONG, QIAN，, and 錢桐. "Live-action Films of The Fairy Tale Cinderella." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/31953725714376989159.
Full text輔仁大學
德國語文學系碩士班
105
The four live-action movies examined in this study are: Cinderella, by Walt Disney Studios (2015); Cinderella radiated at ZDF on 24 December; A Cinderella Story, by Warner Brothers Pictures (2004); and Ella Enchanted, produced by Miramax Films (2004). All of these films are updated revisions of the Cinderella fairy tale from the last 15 years, and have been brought to the market by the most influential film groups with great success. An analysis of the narration of the four live-action films, and a comparison of the traditional fairy tale with each film will show traces of times. This thesis consists of four chapters. The first chapter gives an overview of the aims and the methods used in this work. Chapter 2 explains the origin of the fairy tale Cinderella and the two tales of Cendrillon ou la Petite Pantoufle de Verre (Cinderella or the little glass slipper) from 1697 by Charles Perrault, and Cinderella (KHM21) from 1857 by The Brothers Grimm. Chapter 3 presents the four live-action movies. In this chapter, the changes to characters and plot, and the transmedian description in each film and their meaning are interpreted. The four live-action films are all based on the traditional fairy tale Cinderella, but change the plot and presentation. On the one hand, they reflect conventional culturally-related meanings; on the other hand, they also use modern social educational values. The look of the woman and her extraordinary beauty doesn’t play an outstanding role any more. Great value is placed on independence and personal character. In the fourth chapter, the film adaptations are analysed. The four films have clearly shown that the traditional Cinderella fairy tale reflects the former social relationships. The female role is characterized by passivity and thus dependence on the male world, which basically determines her life. The main role shows the self-realization of a modern woman. In contrast, the female main characters in the four films are portrayed as independent to the Unconventional, which in turn depicts the improved position of women in the child’s education.
Yu-Hsuan, Lai, and 賴育萱. "Cinderella from Fairy Tale to Romance: Contemporary Popular Romances and Postfeminism." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/34059548006907969366.
Full text國立臺東大學
兒童文學研究所
102
This study explores the ways in which contemporary romances rework the Cinderella tale and the reasons why such romance texts are popular in the cases of romance novels and idol dramas favored by teenagers. Vladimis Propp’s approach is applied to examine the structural similarities among romance novels, idol dramas and fairy tales. Gender representations are examined through a lens of postfeminism to explore how the postfeminist discourse appeals to contemporary audiences. The result shows that the morphological structure of each romance text is similar to the general pattern of fairy tales formulated by Propp. The texts adapt to social changes by incorporating postfeminist concepts. Shifted gender representations both reflect and shape cultural sensibilities about gender. Postfeminism draws more attention to popular culture, creating a space for popular media texts in the field of young adult literature. Young people are constructed as active desiring subjects who can try new things and take responsibilities for their own choices in the postfeminist discourse. However, postfeminism may contribute little to the development of young adult (literature) if the word “girl” is appropriated only for grown women to embrace a sense of youth or the agential power of the young generation is induced only to the commercial realm.
Tsai, Huinien, and 蔡蕙年. "The Modern Concept of Love in Taiwanese Idol Drama “Meteor GardenⅠ”：A transformation of the Fairy Tale “Cinderella”?" Thesis, 2011. http://ndltd.ncl.edu.tw/handle/cdyzgx.
Full text國立臺東大學
兒童文學研究所
99
The Modern Concept of Love in Taiwanese Idol Drama “Meteor GardenⅠ”： A transformation of the Fairy Tale “Cinderella”? Abstract In the process of whispering in ears, the power of bedside stories usually have children unconsciously absorb the ideology behind the text. Through such a reading experience, the love portrayed in the fairy tales also virtually constructs the modern vision of love. Even if the protagonists in the stories may have been shaped by social civilization, enlightened by modern education, and inspired by feminine consciousness, such ideas as the picture of romance and the yearning for love still stay in people’s subconscious mind, and delicately manipulate our every move. In 2001, the film producer Chih-ping Chai shot the TV version "Meteor GardenⅠ" in Taiwan, and created a trend of the times. From then on Taiwanese idol dramas began to sell overseas and continue to move their ways into Asia. The protagonist in "Meteor Garden Ⅰ"─Poor Shan-tsai, is a girl full of self-awareness and never afraid of wealthy or powerful clan. However, when facing great difficulties, she still expects the salvation from Prince Charming. Comparison can be made with the plot in the classic fairy tale “Cinderella”: the character is constantly bullied by her stepmother and stepsisters, but the fairy godmother and prince appear and rescue her. Eventually, she gets out of the oppressed life, and ends up as an enviable princess. Such similarity makes one think, even after the great change of historical background, power and economic structure, why the thought “the Princess / heroine have to wait for the salvation and recognition of the prince / hero, certainly, before enabling to display their intrinsic brilliance” is still deeply rooted in women’s hearts? How influential can a fairy tale be and what impact it may bring to the values of self-aware modern women for love? Furthermore, is the value of fairy tales shaping the plot of the idol dramas, or idol dramas again manifest the value of fairy tales? This paper is aimed to analyze the ideology and the influence of the classic fairy tale through a feminist point of view. Further analyses are provided to discuss how women's views on love have changed with the flow of time and to explore the correlation between the classic fairy tale and the modern idol drama.
Chung, Jui-ching, and 鍾瑞菁. "In the Umbrage of "Cinderella": A Study of the Ironic Fairy-Tale Syndrome in The Portrait of a Lady." Thesis, 1999. http://ndltd.ncl.edu.tw/handle/68987667265843153858.
Full text淡江大學
西洋語文研究所
87
Henry James’The Portrait of a Lady is greatly influenced by fairy tales. He draws upon numerous fairy-tale elements while creating both plots and characters of this novel. It charts Isabel Archer’s journey from innocence to experience. In this thesis, I parallel the circumstances and characters Isabel confronts in this journey to some classical fairy tales. I trace how James utilizes fairy-tale elements in this novel, and more importantly, I show how he works on his own change and transforms The Portrait of a Lady into an ironic fairy tale. Chapter 1 is the introduction of this thesis. In Chapter 2, I scrutinize Isabel’s antenuptial career. Depending on Propp’s fairy-tale narrative format, Isabel’s antenuptial life lays out “the initial situation” and “preparation.” I chiefly examine how Isabel is transformed from obscurity to prominence and how she deals with the several marriage proposals she receives. In Chapter 3, I explore Isabel’s postnuptial life from her wedding day to her return to Gardencourt. The story of this stage presents the fairy-tale protagonist’s “struggle.” How Isabel deals with her domestic problems is the central concern in this chapter, especially her relationships with her husband, Gilbert Osmond, and with her stepdaughter, Pansy. In Chapter 4, I scrutinize the heroine’s two pilgrimages of “return”─her first return from Rome to London and ultimately back to Rome. In particular, I probe into the much talked-about ending─the reasons why Isabel returns to confront her ill-fated marriage. In conclusion, I make an overall review of Isabel’s career and thrash out the fundamental differences between a Jamesian tale and classical fairy tales. In the end, I prove that The Portrait of a Lady could be taken as an ironic fairy tale.
GALAJDOVÁ, Nicole. "Vývojové a mediální proměny Popelky jako pohádkového příběhu a jako postavy." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-381459.
Full textDejlová, Hana. "Autorská muzikálová pohádka z pohledu hudební výchovy." Master's thesis, 2020. http://www.nusl.cz/ntk/nusl-434831.
Full textCHAN, HUI-CHI, and 詹惠芝. "Looking into the Female Characters in Cinderella Fairy Tales Then and Now." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/c86593.
Full text東海大學
外國語文學系
107
The earlier versions of the Cinderella fairy tale have been rewritten and retold through numerous modern narratives such as Just Ella (1999) by the American writer Margaret Peterson Haddix, Confessions of an Ugly Stepsister (1999) by the American novelist Gregory Maguire, Bound (2004) by the American writer and linguist Donna Jo Napoli, and All the Ever Afters (2018) by the Canadian writer Danielle Teller, among others. An adaptation of a fairy tale gives its earlier version a twist by making changes in the characters or by adding a current concept to make the story more appealing, relatable, or acceptable to modern readers. When comparing earlier and modern versions of the Cinderella fairy tale, what the reader could easily observe is that there are aspects of patriarchal ideology in the earlier versions and more women-centered narratives in the modern ones. Looking into the modern versions of Cinderella fairy tales, the main female character in these rewritten versions has gotten rid of her frail image and has been interpreted from different angles to be aligned with the modern concept of a woman who has the power to master her own life. Furthermore, the other female characters such as the stepmother and stepsisters also have their voices heard. Many women-centered perspectives are rather obvious in these rewritten stories and will be explored in this thesis. In addition, considering the intertwined and complex relationships among the female characters that shape different angles of the story, this thesis will also explore the roles of, and relationships among these female characters in earlier versions and compare and contrast them to the modern versions of “Cinderella.”
CHUN, YA PIN, and 葉品君. "The Previous Life & the Present Life Cinderella: On Interaction between Culture and Fairy Tales." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/a2qjcs.
Full textCHANG, Yi-Chun, and 張逸君. "To Construct Reading and Writing in Classic Fairy Tales with Mind Map: Cinderella, Thumbelina, and Mermaid as Examples." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/91275511371926704218.
Full text國立臺東大學
兒童文學研究所
98
This dissertation takes action research as study method and aims to build up children’s reading and writing abilities by exercising mind map in classic fairy tales. The researcher takes “To Light Up on NightLight Angels Project” reading group of Happy Elementary School in Chia-yi County as research field. The subjects are sixteen students from the third to the sixth grades, and the reading books are Cinderella, Thumbelina, and Mermaid. Mind map is applied to help students understand text structures and increase their reading and writing abilities from mimetic writing and creating on characters, plots, themes and so on. The researcher spends eighteen weeks observing the reading group and the time is from 7 to 8:30 in the evening on Mondays. The researcher gives lectures with another assistant teacher, Ms LI, and they together work on the teaching plans and adjust their teaching from students’ feedbacks. The study materials include teaching plans, reflection notes, learning sheets, observation records, individual interviews, activity pictures and related after reading evaluations in fairy tales. This research has the following purposes: (1) To discuss how to improve students’ abilities in reading and talking about the fairy tales with mind map teaching. (2) To discuss how to guide students to catch the key words plus sentences from the fairy tales and to give strategies of how to do a summary with mind map teaching. (3) To discuss how to enhance students’ writing abilities from creating their own fairy tales with mind map teaching. (4) To discuss how to advance the teachers’ teaching through the problems found during the researching process with mind map teaching. This research discoveries prove the above mentioned discussions in fairy tales with mind map teaching, which are: students have obvious improvement in writing, reading and talking about the stories, also know better how to find out key words plus sentences and write a summary in or after reading. The last but not the least, researcher herself realizes the mind map reading and writing is an effective teaching strategy, and adjusts self-teaching from the whole research evolution.
Huang, Yen-Yu, and 黃嬿瑜. "Awakening from the Love in Classical Fairy Tales：Exampled with Cinderella, the Sleeping Beauty and Snow White in Grimm’s Fairy Tales." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/3rz9uq.
Full text國立臺東大學
兒童文學研究所
95
Classics, presenting humans’ intelligence beyond countries and generations, are a common communication channel, which fosters self-understanding. Fairy tales are not only a magic mirror but enable a female reader to reflect on herself into the innermost. Classical fairy tales, which have been passed down for centuries by word of mouth and are recorded in the written form later, preserve the value of times and literatures. Classical fairy tales lift readers' spirit and strengthen self-identity. Love comes with the self and self-esteem. Only when we love ourselves are we qualified to love others and then others will become complete with love. Among the classical fairy tales containing components of love, the researcher chose Cinderella, the Sleeping Beauty, and Snow White in Grimm’s Fairy Tales to be explored. Based on the three topics, female image, mirror stage , self-awakening, the researcher pursued the ego, probed into the female's unheard voice and awakened through the analysis of the three female characters. In the process, a female is the “One” remains an independent “Self”, not “the Other” who traps in love. In the end, there are four points concluded. First, the female is materialized to be an object at the gaze of the male. Second, the female seeks for self-identification through the female characters. Third, the female expresses her internal feelings by means of reading love stories in fairy tales. Forth, the female’s inner self transforms and self-awakening is aroused. Reviewing the classical fairy tales and inquiring the essence of love, the research found out that females awaken and transcend the limitations of the self before mirror-like fairy tales of reality and illusion.
Li, I.-Ching. "From classic fairy tales to contemporary plays for children an examination of the Grimms' Cinderella, Little Snow-white, and Susan Zeder's Step on a crack /." 1994. http://catalog.hathitrust.org/api/volumes/oclc/30889891.html.
Full textTypescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 69-73).
JUN, LEE HUI, and 李惠絨. "A Study on the Subversion of Snow White, Cinderella, and The Little Mermaid-- Focusing on Fairy Tales Rewritten by Taiwanese Female Writers in the 90s." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/794uzs.
Full text國立臺東大學
兒童文學研究所
95
With the coming of 20th century, the power of changing took its form in Taiwan’s society. Can prince and princess in the fairy tales still live happily ever after? Is there a new interpretation of “happiness”? Since 1990s, there has been flourishing development of fairy tales in Taiwan, and fairy-tale writers have devoted their attention to different topics. These writers brought forth a different interpretation of the classic fairy tales about prince and princess in the West, subverting the roles of prince and princess as well as the ending that “prince and princess will live happily ever after.” In the 90s, some well-known classic fairy tales, Snow White, Cinderella, and The Little Mermaid, were re-interpreted by local female writers and given with new spiritual meanings, which revealed the perspective of love and marriage in this new age and displayed the values in Taiwan’s society. This was the main issue investigated in this study. In this study, comparisons between original editions of the above-mentioned fairy tales and the rewritten ones were made. According to the results, it could be inferred that the values of Taiwanese writers were: 1) the myth of beauty should be destroyed to help women face themselves from a new perspective; 2) adaptive love and marriage is the assurance of happiness; 3) being yourself and proactively pursuing your happiness. From the analysis, the key to happiness was also obtained – love, courage, and wisdom. Women in pursuit of happiness must free themselves from the myth of beauty, enhance self-worth, be confident, be courageous, be determined, and be responsible for their choices. Thus, the two genders could understand each other by being together candidly and select the most ideal partner to create better happiness.