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Dissertations / Theses on the topic 'Fairytales'
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Han, Li Li. "Fairytales across cultures." Thesis, University of Macau, 2007. http://umaclib3.umac.mo/record=b1780779.
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Fadina, Nadezda. "Fairytale women : gender politics in Soviet and post-Soviet animated adaptations of Russian national fairytales." Thesis, University of Bedfordshire, 2016. http://hdl.handle.net/10547/603530.
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Despite the volume of research into fairytales, gender and ideology in media studies, the specific subject of animated adaptations of national fairytales and their role in constructing gender identities remains a blind spot at least in relation to non-Western and non-Hollywood animation. This study addresses the gap by analysing animated adaptations of Russian national fairytales in Soviet and post-Soviet cinema and television. It does so as a tool through which to approach the gender politics of the dominant ideologies in national cinema and also, though to a lesser extent, in television. One of the key perspectives this research adopts concerns the reorganization of the myths of femininity, as stored in ‘national memory’ and transferred through the material of national fairytales produced during a century-long period. By providing a detailed critical treatment of animated adaptations of Russian magic fairytales, this research examines the interaction between the cinematic versions of the national fairytales and the representation of female characters on screen. It draws on a range of feminist theoretical approaches on media representation. By performing a systematic study of the under-researched field, through a combination of qualitative and empirical analysis, the work demonstrates how totalitarian regimes and new democratic societies implicitly control gender constructions in similar ways, and specifically through the animated versions of national fairytale adaptations. The research identifies how the constructions of femininity are manipulated through the reshaping of the national past coded in the ancient folkloric narratives. The findings of the study reveal the principles on which the implicit patriarchal gender politics is based. These principles include the conservative choice of fairytale material adapted to the screen, the reactionary increase of production of animated fairytales targeted against liberalisation, the exclusion and reconstruction of strong matriarchal fairytale female characters, stereotypical representation of selected female characters, and normalisation of domestic violence. In so doing the study identifies a weakness in the existing scholarly discourse on ideology, which traditionally has claimed that Soviet animation was non-violent. Further, the study establishes the constructions of national memory and female identity as a part of the dominant cinematic discourses.
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Boulton, Lauren. "Free Women: Fairytales From A Lumbertown Brothel." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1436914200.
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Andersson, Jennie, and Johanna Fröjd. "Sagor i förskola och skola : Tio lärares och tolv elevers syn på sagans roll i förskolan och skolan." Thesis, Umeå universitet, Institutionen för språkstudier, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-64745.
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The purpose of this study was to explore preschool- and primary school teachers’ perceptions of fairytales, why they use fairytales and what thoughts they have about the impact of fairytales on children’s reading and writing development. We interviewed seven teachers and three preschool teachers in northern Sweden to find out how work with fairytales is carried out in preschool and primary school. We also interviewed twelve pupils who were seven and eight years old to find out what they thought of fairytales in primary school. The result showed that preschool- and primary school teachers had a positive attitude towards fairytales and the opportunities provided by fairytales. The preschool- and primary school teachers in this study used fairytales to stimulate the imagination and the language development of the children. Fairytales were believed to create engagement and emotions within the children. To stimulate reading and writing among the children many teachers let the children write their own fairytales, pointing out the structure of a typical fairytale before the students start writing. Preschool teachers used fairytales to introduce the children to written language, since not all children were familiar with written language. This study shows that fairytales were used in different ways among the teachers and the preschool teachers and that the pupils enjoyed working with fairytales
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Brennan, Isabel Cardigos. "In and out of enchantment : blood symbolism and gender in Portuguese fairytales." Thesis, King's College London (University of London), 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285564.
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SOUZA, LUIZ FERNANDO DE. "AN STAGE FOR FAIRYTALES: A THEATRICAL EXPERIENCE WITH CHILDREN IN CHILD EDUCATION." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2004. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=5550@1.
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FUNDAÇÃO OSWALDO CRUZA presente Dissertação de Mestrado busca construir uma base epistemológica consistente para uma experiência teatral, exercida freqüente e organizadamente, com crianças pequenas de diferentes culturas, religiões e extratos sociais, numa creche institucional do Rio de Janeiro. Quer-se discutir a possibilidade de trabalhar dramaturgicamente os contos de fadas, partindo do pressuposto de que tais narrativas fantasiosas possuem um profundo valor antropológico, social e histórico e que o exercício de sua encenação pode ser um instrumento de construção do conhecimento no espaço Creche, além de ajudar a criança a se constituir como sujeito livre, criativo e expressivo, compreendendo o contexto social no qual é inserida pelo nascimento, valorizando a aquisição do conhecimento sensível e a troca afetiva com o outro, reconhecendo-o como parceiro fundamental no desenvolvimento da linguagem, da consciência individual e da cidadania. Inicialmente buscou-se diálogo com autores como Bakhtin, Benjamin, Bettelheim, Bourdieu, Fischer, verificando como a teoria se ancora na prática de encenação teatral com crianças de 0 a 6 anos. Foi considerado também o fato das Artes Cênicas desenvolver tanto a linguagem corporal (imagem) como o imaginário da criança. A conclusão desse estudo evidenciou a necessidade de se estabelecer um palco para o conto de fadas, no qual o contato com a narrativa fantasiosa e o exercício de sua encenação, possam contribuir para construção de alternativas sensíveis em contraponto ao conhecimento mais racional, sem, no entanto, negá-lo, para que a criança, desde pequena, aprenda a ver o mundo como algo a ser modificado no presente, posto que tem um passado, que pode ser revisto.
This Master dissertation aims to build a solid epistemological basis for a drama experience, frequently performed by young children from different cultures, religions and social classes in an institutional kindergarten in Rio de Janeiro. The point is to try to dramatize the fairy tales, based on the fact that these fantastic narratives have great anthropological, social and historical value and its staging can be an instrument to construct knowledge in Education, besides helping the child to understand herself as free, creative and expressive person, comprehending the social context in which she was born, giving value to the acquisition of sensitive knowledge and the affection between people, recognizing them as partners in the development of Language, self- conscience and citizenship. In the beginning, we look for a dialogue with authors such as Bakhtin, Benjamin, Bettelheim, Bourdieu, Fischer, trying to verify if the theory can help in the practice of this theatrical experience with young children. It was considered also the fact that dramatization can develop the corporal language (image) as long as the child`s imagination. In the conclusion of this study we tried to show the need to stabilize a stage to the fairy tales in which the contact with the fantastic narrative and its dramatic performance, can contribute to construct sensitive alternatives in opposition to rational knowledge, without denying it, in order to make the child to learn how to see the world as something that can be modified in the present, since it has a past that can be critized.
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McNeil, Jordan. "The Nix of the Mountain Valley Pond & Other Fairytales." Youngstown State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1528134741611347.
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Goloway, Stephanie. "Happily Ever Resilient: A Content Analysis of Themes of Resilience in Fairytales." ScholarWorks, 2017. https://scholarworks.waldenu.edu/dissertations/4518.
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One in 4 children in the United States lives in a family impacted by the chronic, heritable disease of substance use disorder (SUD), also known as alcoholism or addiction. Recent research has demonstrated that resilience is a key protective factor against developing the disease in adolescence and adulthood and that the neurological roots of resilience lie in the child's experiences in early childhood. In spite of this, few resources related to family SUD or current models of resilience are included in preservice teacher preparation for early childhood educators. This study examined whether key components of Masten's model of resilience are found in fairytales, a form of literature commonly used in early childhood teacher preparation programs. A qualitative, descriptive, deductive content analysis was conducted on 24 fairytales from 22 different cultures, using a tool derived from Propp's morphology of fairytales and Masten's model of resilience. Results indicated that the texts of 96% of these stories contained multiple specific references to the 3 dominant evidence-based factors for resilience: attachment/relationships, initiative, and self-regulation. When broken into the 7 subcategories of these 3 protective factors, as identified by Masten, 9 fairytales contained examples of all 7 protective factors; 9 had examples of 6, and another 5 had examples of 5. The results of this study may be used to provide teacher educators with resources to better prepare preservice early childhood teachers to understand and nurture resilience in children, while addressing existing mandated learning objectives related to emergent literacy. This will benefit all children the teachers will work with, but especially those who are impacted by SUD and other forms of trauma.
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Tillman, Danielle L. "Un-Fairytales: Realism and Black Feminist Rhetoric in the Works of Jessie Fauset." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/english_theses/91.
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I am baffled each time someone asks me, “Who is Jessie Fauset?” As I delved into critical work written on Fauset, I found her critics dismissed her work because they read them as bad fairytales that showcase the lives of middle-class Blacks. I respectfully disagree. It is true that her novels concentrate on the Black middle-class; they also focus on the realities of Black women, at a time when they were branching out of their homes and starting careers, not out of financial necessity but arising from their desire for working. They establish the start of what Patricia Hill Collins later coined “Black feminism” through strong female characters that refuse to be defined by society. This thesis seeks to add Jessie Fauset to the canon of Black feminists by using Collins’ theories on Black feminism to analyze Fauset’s first two novels, There Is Confusion and Plum Bun.
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Sawyer, Kathleen Patricia. "Closed doors: gendered power relations and the use of mature themes in Eurocentric fairytales." Thesis, Rhodes University, 2017. http://hdl.handle.net/10962/5971.
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Established critics, such as Jack Zipes, assert that the subject matter of fairytales shows evidence that the Westernised 'classics' (by authors such as Charles Perrault or the Grimm brothers) were influenced by the cultural norms of their contemporary society and served as a pedagogical tool for mass socialisation. Often authors writing for younger audiences deliberately inserted a moralising function into these tales, in order to normalise and further disseminate certain gender ideals. Their presentation of adult or mature themes (such as sexuality) is often problematic, with some references presented quite naturally and others excluded entirely. This paper investigates modern retellings of Eurocentric fairytales, and speculates on the significance of the perpetuation or complete elision of such themes, and what their selective invocation might intimate about the culture in which the story is produced. It argues that the way in which the fairytale narrative engages with mature themes is demonstrative of its contemporary ethos and its associated cultural bias, which is conveyed unconsciously through the vehicle of the text. Through a critical analysis of relevant literature, the paper explores the maintenance of socio-cultural norms in fairytales as being emblematic in their establishment as cultural relics.
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Forster, Gary. "Fairytale theory and explorations of gender stereotypes in post-1970s Rapunzel adaptations." Thesis, De Montfort University, 2015. http://hdl.handle.net/2086/11423.
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Although Rapunzel criticism habitually concerns literary fairytales, this thesis contributes to the field a sustained examination of the feminist and patriarchal uses to which Rapunzel has been put, with close attention to the range of media, forms, and styles into which ‗Rapunzel‘ has been adapted, from 1970 onwards. It argues that each adaptation appropriates ‗Rapunzel‘ to repeat or disturb gender ideologies, and also extends or contracts the scope of the fairytale and its feminism. Underpinned by memetics, selective adaptation and fairytale theories, and Adrienne Rich‘s concept of ‗re-vision‘, individual chapters focus upon redrawing the boundaries of what makes a (feminist) Rapunzel adaptation a (feminist) Rapunzel adaptation. The thesis also examines the difficult question of why Rapunzel motifs or ‗memes‘ have persisted and whether this is due to the power of cultural ideologies or to certain universal human urges to which ‗Rapunzel‘ ostensibly appeals. As what is meant by feminism changes from the 1970s through to the present day, the selected works are considered in terms of terms of second- and third-wave feminism and postfeminism. Chapter 1 (the Introduction) establishes the approach and rationale. Chapter 2 examines the Grimm ‗Rapunzel‘ variants of 1812 and 1857 as a prelude to examining the ideological uses to which Rapunzel is put post-1970. Chapter 3 focuses on how four feminist poets subject the memes and morals of ‗Rapunzel‘ to different feminist revisions, and thereby challenge the patriarchal meanings invested by the Grimms. Chapter 4 extends this work by examining a feminist moral fable, two complex short stories, a psychological novella, and a graphic novel, in order to draw contrasts between celebratory and darker, more disturbing ‗post-fairytale‘ feminist Rapunzels. Demonstrating the many genres and media into which feminist Rapunzels have been translated, several adapters use the tale on behalf of various kinds of individualism and subjectivisation, and suggest a movement toward greater psychological complexity and interiority in their treatment of Rapunzel memes. Chapter 5 focuses on how Rapunzel memes translate to screen in the feminist reworking Rapunzel Let Down Your Hair (1978) and the postfeminist adaptations Barbie as Rapunzel (2002), Shrek the Third (2007), and Disney‘s Tangled (2010) and Into the Woods (2014). Chapter 6, the final chapter, further extends the analysis by examining Rapunzel‘s general prevalence in the cultural imagination, namely in adverts and on television. By assembling and giving fresh analyses of rare and well-known Rapunzel tales, the chapters critique the gender essentialism in fairytales and reinstate Rapunzel as key to fairytale debate. This research has led to the conclusion that post-1970s Rapunzels exemplify how fairytales appropriate or discard memes in accordance with the possibilities of genre and medium, as well as with the changing face of feminism over the last four decades.
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Bseiso, Layla. "Oscar Wilde’s “The Happy Prince” : The Hidden Messages and the Debate on the Target Audience." Thesis, Högskolan Dalarna, Engelska, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:du-3034.
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Oscar Wilde’s fairytales have been read to children for more than a century. Nevertheless, since the time of their publication in 1888 and 1891, the target audience of The Happy Prince and Other Tales and A House of Pomegranates have been the concern of critics. Delving into the context behind the rich and colourful imagery, one can find implications of homosexuality, the Paterian aesthetic and religious connotations. According to Carol Tattersall, The Happy Prince and Other Tales successfully mislead the public that it is innocent of any intention to undermine established standards of living or writing. Tattersall’s argument is based on comparing the first collection to Wilde’s second, A House of Pomegranates, which was perceived as “offensive and immoral” (136). On the other hand, William Butler Yeats states in his introduction to The Complete Works of Oscar Wilde that overall the reviewers of The Happy Prince and Other Tales were hostile because of Wilde’s aesthetic views (ixxvi). But Yeats overlooks the fact that Wilde was very pleased and proud, dashing notes to friends and reviewers and signing copies to many people (Tattersall 129). In general, the reception of Wilde’s first collection was more positive than that of the second because it was milder and more subtle in its controversial themes.
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Beaman, Jade. ""Feminist fairytales? : discussing 'erotica' in reference to Linda Jaivin's Eat me and Rock 'n' roll babes from outer space" /." Title page and conclusion only, 1997. http://web4.library.adelaide.edu.au/theses/09AR/09arb368.pdf.
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Acworth, Elaine Elizabeth. "Dan Kelly danced into the shadows : large-scale personas in small-scale stories." Thesis, Queensland University of Technology, 2008. https://eprints.qut.edu.au/18342/1/Elaine_Acworth_Thesis.pdf.
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Using an analysis of the creation of the character Dan Kelly in my play, risk, I argue that fairytale characters work as more than personage representations. They function on a big canvas for the audience; they carry large chains of association. Given this, I then propose that the human response is to infer additional meaning, meaning beyond the scope of plot and immediate character interaction - the audience infers symbolic meaning, ‘amplifying’ what is there into more. They enter a ‘generative empty space’ within the play where they infer or ‘unfold’ more meaning. In creating this ‘greater tale’, they are engaged beyond their personal ‘horizon of understanding’, and so, ‘take in’ the work through a heightened perceptual acuity.
Therefore, I pursued the idea of making space for the operation of this process, of leveraging the creation of meaning around a character. My inquiry led me to believe that a powerful way to do this was through absence rather than presence and silence rather than sound; and this had a profound impact on my choice of form for Dan Kelly: he progressed, through a number of stages, from reportage to a digital representation.
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Acworth, Elaine Elizabeth. "Dan Kelly danced into the shadows : large-scale personas in small-scale stories." Queensland University of Technology, 2008. http://eprints.qut.edu.au/18342/.
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Using an analysis of the creation of the character Dan Kelly in my play, risk, I argue that fairytale characters work as more than personage representations. They function on a big canvas for the audience; they carry large chains of association. Given this, I then propose that the human response is to infer additional meaning, meaning beyond the scope of plot and immediate character interaction - the audience infers symbolic meaning, ‘amplifying’ what is there into more. They enter a ‘generative empty space’ within the play where they infer or ‘unfold’ more meaning. In creating this ‘greater tale’, they are engaged beyond their personal ‘horizon of understanding’, and so, ‘take in’ the work through a heightened perceptual acuity.
Therefore, I pursued the idea of making space for the operation of this process, of leveraging the creation of meaning around a character. My inquiry led me to believe that a powerful way to do this was through absence rather than presence and silence rather than sound; and this had a profound impact on my choice of form for Dan Kelly: he progressed, through a number of stages, from reportage to a digital representation.
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Goussarova, Irina, and Svitlana Rado. "Language development in preschool by using fairy tales." Thesis, Malmö högskola, Fakulteten för lärande och samhälle (LS), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-33441.
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I vårt arbete har vi studerat hur pedagoger på förskolan arbetar med sagor för att främja barnens språkutveckling. I den första delen har vi beskrivit forskningsbakgrund. Där tar vi olika forskares synpunkter och åsikter om hur sagan användas för att utveckla barnens språk. Vi beskrev syftet med vårt arbete och bestämde problematiken som vi skulle arbeta med. I den andra delen redovisade vi vårt resultat utifrån våra genomförda intervjuer. Vi har använt oss av intervjuer för att få svar på de frågorna som vi var intresserade av. Vi besökte tre förskolor i två olika kommunen och intervjuade fyra förskollärare där. Vi ville få svar på frågorna i vilket syfte används sagan i förskolan, hur pedagoger arbetar med sagan och om sagan anses som ett viktigt hjälpmedel för att främja barnens språkutveckling. Vi samlade allt informationer från intervjuer, diskuterade och analyserade den. Informationen använde vi i vårt arbete.Sammanställningen av intervjuer visar att pedagogerna arbetar med sagan på olika sätt och använder sagan med olika syften, men alla är medvetna om att detta arbete främjar barnens språkutveckling. Förskollärarna påstår att samtal, diskussion efter läsning har en stor vikt. Stor roll spelar också bokval, bokutställning på avdelning och läsmiljön i allmänhet. Pedagogerna poängterar att en bra läsare spelar en stor roll och är som en förbild för barnen. Förskollärare tycker att använda kroppsspråk, varierar tonläget, visa bilder är ett betydelsefullt moment för barnens språkutveckling. Pedagogerna arbetar med sagan ett tema eller med enskilda sagor. Förskollärarna visade vad de är bra på och vad de ville förbättra i sitt arbete.Två av pedagogerna som hade intervjuer upptäckte att det var nyttigt att svara på våra frågor för att de fick tänka mer om hur man arbetar med sagor, fick analysera sitt arbete och hittade området som de skulle ändra eller förbättra.
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Gabelman, Daniel. "'Divine carelessness' : the fairytale levity of George MacDonald." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/2584.
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Though known for his fantastical writings George MacDonald is often considered to be a typical Victorian teacher of religious and moral seriousness. Approaches to MacDonald’s works normally seek to find his ‘message’ by expositing the moral, social, pedagogical, psychological or theological ‘content’ of his work. This study recasts MacDonald in the light of his shorter fairytales for the ‘childlike’ and argues that these seemingly small and insignificant works are a golden key to his artistic enterprise. This is not because of any particular ‘message’ that they carry but because of their peculiarly light mode of generating meaning and the relation of this lightness to theology. Whilst it is frequently disparaged, levity actually has strong parallels with the theological atmosphere of Christianity. Light modalities such as folly, ecstasy, play, vanity, carnival and Sabbath demonstrate that the Christian faith has greater affinities with lightness and whimsicality than its solemn defenders sometimes admit. MacDonald’s fairytales draw upon this surprising harmony between levity and faith to create environments in which readers can playfully reflect upon the nature of ultimate reality and begin to find their own place within that reality. By helping to remove the mask of ‘seriousness’ presented by things in the everyday world, fairytales engender a kind of ‘divine carelessness’ and help people to let go of the weighty cares and fears that keep them tightly bound to worldly things.
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Boswell, Roseanna Alice. "Everything Is a House if You Think About It." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1522235712055005.
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Silva, Elen Maisa Alves da. "Era uma vez... a literatura infantil que circula na escola : uma análise de edições adaptadas de contos de fadas." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/142031.
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Esta dissertação possui como temática a literatura infantil que circula na escola, especialmente, analisando edições populares adaptadas de contos de fadas. Dentre as coleções encontradas nos acervos investigados em duas escolas municipais – educação infantil e ensino fundamental - de um município da região metropolitana de Porto Alegre/RS, destacou-se a presença de determinadas séries com publicações de textos adaptados muito sucintos e com pouco cuidado editorial, preferencialmente, de “contos de fadas”, ao lado dos acervos oficiais distribuídos às escolas pelo Ministério de Educação (PNBE, PNLD, PNAIC). A partir desta constatação, meu objetivo, nesta dissertação, foi o de analisar criticamente adaptações de textos considerados “clássicos da literatura infantil”, encontrados nas escolas, realizando um cotejo com os "originais" [ou versões mais conhecidas], identificando as modificações e verificando, de maneira geral, os critérios que presidiram suas modificações. Considerando que estas coleções integram o circuito pedagógico nas instituições, realizei uma análise das adaptações de dez clássicos: “O Patinho Feio”, “João e o Pé de Feijão”, “Branca de Neve”, “A Bela e a Fera”, “A Bela Adormecida”, “Cinderela”, “Chapeuzinho Vermelho”, “João e Maria”, “Os Três Porquinhos” e “O Pequeno Polegar”, tomando como referência alguns estudos sobre contos de fadas e sobre adaptação (CADEMARTORI, CECCANTINI, HUTCHEON, CARVALHO, SHAVIT, entre outros). A análise das edições adaptadas, considerando tanto o projeto gráfico dos livros quanto as permanências e modificações dos textos, em relação às obras mais tradicionais, nos permitiu evidenciar o limitado potencial literário destas obras, uma vez que não privilegiam a riqueza das narrativas originais, tampouco sustentam a recepção destas histórias pelo leitor. Tornou-se evidente que a publicação de adaptações constitui uma estratégia do mercado editorial para o largo consumo de livros que possam “ensinar algo” para as crianças. Neste sentido, a investigação é produtiva, à medida que coloca em xeque o conceito de “literatura infantil” ou “livros para crianças” no circuito escolar.This paper focuses on children’s literature in the school, particularly analysing popular issues of fairytales. Among works found in collections investigated in two municipal children’s and primary schools in the city of Porto Alegre (RS), the presence of particular series published from very brief and poorly edited texts, especially, about ‘fairytales’, as well as official collections the Ministry of Education (PNBE, PNLD, PNAIC) distributed to schools. Thus my aim was to analyse critically adaptations of texts considered as ‘children’s literature classics’ found in schools, by comparing them with ‘originals’ (or more popular versions), identifying changes and generally verifying criteria for such changes. Considering that these collections follow pedagogical paths in institutions, I make an analysis of adaptations from ten classics: The Ugly Duckling, Jack and the Beanstalk, Snow White, Beauty and the Beast, Sleeping Beauty, Cinderella, Little Red Riding Hood, Hansel and Gretel, The Three Little Pigs, and Tom Thumb. Here we have drawn to some studies about fairytales and adaptations such as Cademartori, Ceccantini, Hutcheon, Carvalho, Shavit, among others. Analysing these adapted works, by considering both books’ graphic part and attachment or change of traditional, allow us to show that these works have limited literary potential, once they do not favour the richness of the original narratives nor sustain the readers’ reception of these stories, which shows that publication of adaptations constitutes a strategy of the publishing market for the large consumption of books that may ‘teach something’ for children. In this perspective, the investigation is useful as it challenges the concept of ‘children’s literature’ or ‘children’s books’.
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Edström, Camilla. "Fairytale land." Thesis, Konstfack, Institutionen för Konst (K), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-3316.
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This essay will explain some of the key concepts of my theoretical interests in my artistic practice and point out how these are adapted in my recent work, the Satumaa triology. The trilogy consists of films concerning my own status as a Swedish speaking Finn and the history of processes of exclusion in a national community, in this particular case Finland. These processes are in my home country working both outside and within the national borders and are parallel to the French structuralist Michel Foucault’s investigations of a discourse.
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Hines, Sara Marie. "'Taste of the world' : a re-evaluation of the publication history and reception context of Andrew Lang's Fairy Book series, 1889-1910." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/7792.
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This thesis examines Andrew Lang’s Fairy Book series (1889-1910) as a material and cultural commodity, thereby re-evaluating neglected or overlooked aspects of its significance as a printed collection of fairy tales. First, it defines the publishing context for fairy-tale collections printed in Britain prior to the publication of The Blue Fairy Book in 1889. As such, Chapter One addresses pervasive claims that Lang’s series systematically revived a waning interest in fairy tales. The chapter first offers context for Lang’s series by providing a bibliographic history of the classic fairy tales – most of which are included in The Blue Fairy Book – in English from 1691 to 1889. It then focuses specifically on the decade of the 1880s to examine types of fairy-tale collections that were available in print prior to the series’ first volume and suggests that the fairy tale as a publishing phenomenon was more prominent in the late nineteenth century than has been assumed. Chapter Two seeks to establish how the diverse literary, cultural, and intellectual course of Lang’s career made him particularly suitable to edit a collection of fairy tales. His academic interests in literature as well as his ongoing study of fairy tales influenced his editorial strategies for The Blue Fairy Book, which then provided a model for the remainder of the series. Chapter Three examines the phenomenon of the “literary series” through an exploration of paratextual elements, such as Longmans’ production, branding, and marketing strategies as well as Henry J. Ford’s book illustrations and designs. The seasonal context in which the books were published provides a further framework for situating Lang’s series within the history of publishing fairy tales in Britain. Chapter Four considers the series’ printings and sales numbers, along with themes that are present throughout the published reception of the series. While Longmans capitalizes on Lang’s name in their branding strategies, in the popular press Lang’s name became synonymous with fairy-tale narratives. Furthermore, the series’ immediate reception challenges more recent scholarly positions regarding the very significant group of translators who contributed towards the series. Finally, Chapter Five recognizes the colonial context of the period and positions interest in fairy tales within the wider nineteenth-century phenomenon of collecting objects and narratives from across the Empire. It further demonstrates how narratives of race and colonialism influenced both text and illustration in the Fairy Books. The conclusion consists of a brief overview of Fairy Book editions that have been produced from 1910 to the present. Not only did the series achieve immediate popularity during its initial publication, but it has also remained in print for over a century. Through an exploration of the series as a material, publishing phenomenon, and by attending closely to presentational devices, this thesis re-examines the cultural significance of Lang’s Fairy Books.
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Santos, Ana Cristina Alves dos. "CONTOS DE FADAS: VERSÕES EM MOVIMENTO." Pontifícia Universidade Católica de Goiás, 2014. http://localhost:8080/tede/handle/tede/3203.
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Previous issue date: 2014-03-31Esta dissertação apresenta um estudo acerca da origem da literatura infantil e da evolução dos contos de fadas com o objetivo de apresentar suas variações, realizadas no seu processo histórico literário. Empregar-se-á uma abordagem histórica que se justifica pela crescente importância e necessidade de conhecer melhor esse modo narrativo, desde a antiguidade até os dias atuais. A metodologia empregada é a pesquisa bibliográfica, de natureza qualitativa. Quanto ao meio de investigação, trata-se de uma pesquisa descritivo-explicativa, uma vez que a temática em estudo é uma manifestação artística. O método adotado é o dedutivo, pois parte da premissa de que os contos de fadas infantis, a princípio, preenchem função moralizante, porque são formadores da consciência da criança leitora e, posteriormente, adquirem conteúdo humorístico em detrimento do teor moral. Discutir-se-á a narrativa em estudo assim como o espaço em que se encontra a presença de mitos, símbolos e imagens mágicas.
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Hérard, Ivan. "Conte et cinéma français, de Jean Cocteau à Claire Denis : réinvention d’une forme enfantine aux fins de poétiques du trouble." Thesis, Paris 10, 2016. http://www.theses.fr/2016PA100092.
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Le conte n’est pas abordé ici dans sa qualité bien reconnue de genre fixe, de forme « simple » et « naïve » à destination des enfants. Situé en France, entre l’après-guerre et aujourd’hui, le corpus sollicité comprend des adaptations affichées (de La Belle et la Bête de Cocteau en 1946 au Barbe-Bleue de Catherine Breillat en 2009) et des emprunts disséminés et masqués que retravaillent certaines œuvres de Buñuel, Claude Chabrol, Louis Malle, Claude Miller, Claire Denis, Laurent Achard et Marina de Van. Ni anthropologique, ni structuraliste, ni narratologique, ni psychanalytique, mais combinant ces approches, notre thèse a pour visée de déplacer des lignes épistémologiques et méthodologiques, les grilles herméneutiques traditionnelles s’avérant insuffisantes à rendre compte des processus à l’œuvre lorsque le médium cinématographique réécrit selon ses propres dispositifs et avec ses effets spécifiques les contes anciens. Ce renversement se traduit par des poétiques du trouble, de l’opacité, la tentation d’orientations stylistiques naturalistes et de déplacements génériques vers le thriller voire les formes de l’horreur. Non seulement on peut en dégager les affinités profondes entre des cinéastes français éloignés dans le temps, mais on propose de repérer l’expérience du corps éprouvé comme un motif central, de nature érotique, où se redéfinit, dans certains fragments voire certains photogrammes, le travail de l’image cinématographique. C’est dans une visée exploratoire, qui privilégie les démarches analytiques que notre thèse met au jour, sous les emprunts aux contes de l’enfance (Charles Perrault, les frères Grimm, Hans Christian Andersen), une filiation sadienne et bataillienne du cinéma français d’auteurFairytales are not seen here as a fixed genre, a "simple" and "naïve" construct aimed at a child audience. Our body of reference works, originating in France and dating from the post-war years up to this day, includes traditional film adaptations (from Cocteau’s Beauty and the Beast in 1946 to Catherine Breillat’s Bluebeard in 2009) as well as obscure representations reworked in films by Buñuel, Claude Chabrol, Louis Malle, Claude Miller, Claire Denis, Laurent Achard and Marina de Van. Using an approach neither anthropological, structural, narratological or psychoanalytic, but one that combines all of these, our thesis aims to shift epistemological and methodological lines, the traditional hermeneutic matrices proving inadequate to reflect the processes occurring as the film medium, using specific means and effects, rewrites classical fairytales. This inversion is translated by emotional upheaval and blurring, a desire for naturalistic orientations and changing of genre towards the thriller or even forms of horror. Not only do the deep affinities between older generation French filmmakers emerge, but one identifies the use of the body as a central motive, erotic in nature, where shaping the film image is redefined in certain sequences and frames. Using an exploratory approach favouring analytic processes, our thesis illustrates the sadean and bataillean filiation between childhood fairytales (Charles Perrault, The Brothers Grimm, Hans Christian Andersen) and French arthouse cinema
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Voirol, Mary Agnes. "Interactive mechanized fairytale jewelry." Virtual Press, 2000. http://liblink.bsu.edu/uhtbin/catkey/1178353.
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The Primary objectives of this creative project were the exploration of well-known fairy tales (such as Snow White), and the process of creating interactive jewelry based on my own personal interpretation of these stories. I designed and constructed seven jewelry pieces using traditional metal working techniques along with innovative contemporary surface treatments such as etching, sandblasting and colored pencil decoration. Each piece contained a "surprise" interactive element - some pieces contain moving parts, while others contain small pieces of fabric tape on which sentences are written. These tapes are mechanized to wind up into the ring or pendant.This body of work required a variety of metalsmithing techniques including complex constructions, copper forming, casting, lathe turning, and stone setting.Department of Art
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Moreno, Marcos. "NYE: A Fractured Fairytale." Digital Commons at Loyola Marymount University and Loyola Law School, 2010. https://digitalcommons.lmu.edu/etd/138.
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Bodin, Anne Laure J. "The role of fairies as educators : a worldwide influence to stay." Honors in the Major Thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1242.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Humanities
French
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Vidal, Fernanda Fornari. "Príncipes, princesas, sapos, bruxas e fadas : os "novos contos de fada" ensinando sobre relações de gênero e sexualidade na contemporaneidade." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2008. http://hdl.handle.net/10183/14655.
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Esta Dissertação de Mestrado propõese a analisar os “novos contos de fadas” com vistas a examinar as representações de infâncias e de relações de gênero e sexualidade, presentes nestes artefatos da nossa cultura. Neste trabalho, se reconhecem os contos de fadas contemporâneos como “novos contos de fadas”, colocando-os em suspeição, a partir do estudo realizado acerca de sua produtividade como texto cultural. A seleção dos livros é diversificada e nela se procurou escolher livros indicados à faixa etária das séries iniciais ou anos iniciais (610 anos) do Ensino Fundamental, publicados a partir da década de 90, os quais apresentam histórias de diferentes autores, publicadas por editoras distintas; de uma mesma coleção; de autores/as estrangeiros/as (obras traduzidas) e nacionais. A metodologia utilizada é a da interpretação textual, tanto em relação às narrativas quanto às ilustrações. Para isso, esta pesquisa conta com o referencial teórico dos Estudos Culturais em Educação, dos Estudos sobre Narrativas e dos relativos ao Gênero e à Sexualidade, em uma perspectiva pósmoderna e pósestruturalista. Questões relevantes deste estudo são: como os sujeitos infantis são representados por diferentes discursos, entre eles, os que “povoam” os livros infantis? Quais modelos de ser menino e menina, ou ser homem e mulher nos são ensinados através dos “novos contos de fadas”? A dissertação está organizada em seis capítulos. Neles são apresentados: a trajetória da pesquisadora, bem como a escolha e justificativa do tema de pesquisa; a história da literatura infantil, destacando conceitos importantes para o estudo, como os de conto, contos de fadas e “novos contos de fadas”; a história das infâncias; a história dos estudos de gênero e sexualidade; as conclusões do estudo. Articuladas às histórias de infâncias e à história dos estudos de gênero e sexualidade, estão as análises dos “novos contos de fadas” e suas representações de modos de ser criança e modos de viver a feminilidade e a masculinidade. Concluise com esta pesquisa que os “novos contos de fadas” ensinam sobre diferentes modos de ser criança. Com base nos autores estudados, percebemse representadas nas histórias as infâncias: desrealizadas e hiperrealizadas, protegida, parcialmente protegida, desprotegida, marginalizada, pública; chegando a representar as múltiplas infâncias da contemporaneidade, ou seja, aquelas constituídas por múltiplos discursos. Este corpus de textos analisados mostra uma criança saudável, feliz, sapeca, criativa, esperta, inteligente, dinâmica, corajosa, mas também, às vezes, uma criança ingênua e frágil, precisando da proteção adulta. As múltiplas infâncias dos “novos contos de fadas” são representadas por crianças que brincam, ficam tristes, mostramse sonhadoras, ciumentas, lidam com a morte, freqüentam a escola, enfim, representam os modos de ser e viver na contemporaneidade. Concluise, também, que os “novos contos de fadas” ensinam que não há um jeito único, nem mais verdadeiro, de ser homem e de ser mulher e que se podem experimentar vários modos de viver a sexualidade no diaadia. Algumas histórias não operam muitas transgressões de gênero e outras rompem com os discursos hegemônicos em torno da sexualidade, ao repensar “novos padrões”.This master’s dissertation has proposed to analyse ‘new fairytales’ to examine representations of children and gender and sexuality relations, found at these artefacts of our culture. In this work, one has acknowledged the contemporary fairytales as ‘new fairytales’, suspecting of them, from the study conducted about its productivity as cultural text. Book selection is varied, and one has sought to choose books proper for the age range of early school years (six to 10 years old) in the primary school, published from the 1990s on, which feature different authors’ tales in different publishing companies; in a same collection; by foreign male and female authors (domestic and translated works). The methodology used has been that of textual interpretation, whether regarding narratives and illustrations. In support of this, the research has relied on the theoretical referential of the Cultural Studies in Education, Studies on Narratives and Gender and Sexuality, in a postmodern and poststructuralist perspective. The following are relevant questions of this study: how infantsubjects are depicted in different discourses among them, those who ‘inhabit’ the children’ books? What patterns of being a boy and being a girl, or being a man or a woman are taught through ‘our fairytales’? The dissertation is organized in five chapters. In them are: the research path and choice and justification for the subject matter; the story for the children’s literature, highlighting important concepts for the study, such as the tale, fairytales and ‘new fairytales’; children’s history; history of the study of gender and sexuality; final conclusions. Articulated to the children’s stories and to the history of the study of gender and sexuality, are analyses for the ‘new fairytales’ and their representations of styles of being a child and male and female ways of living. One has concluded that the ‘new fairytales’ teach us about different ways of being a child. Based on the studied authors, one has perceived childhoods represented in the stories: unaccomplished and hyperaccomplished, protected, partially protected, unprotected, marginalised, public; which come to represent multiple contemporary children’s ages, that is, those shaped by multiple discourses. This analysed set of texts has showed a healthy, happy, forward, creative, wise, intelligent, dynamic, courageous, but sometimes also artless, frail child who needs adult protection. Multiple childhoods in the ‘new fairytales’ are represented by playing, sad, daydreaming, jealous children dealing with death, attending school, that is, representing being and living styles in contemporary times. One has also concluded that the ‘new fairytales’ teach us that there is no one single ways, not even truest, of being a man and a woman, and that one can try several ways of enjoying sexuality in daily life. Some stories do not work with breaking of the gender, and some break with hegemonic discourses on sexuality, by rethinking ‘new patterns’.
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Richardson, Diane Fern, and Diane Fern Richardson. "Toward a Pedagogy of Ambiguity: Incorporating and Assessing Ambiguity in a Multiliteracies-Based Foreign Language Classroom." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/621855.
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One of the major challenges that persists in postsecondary foreign language (FL) education in the US today is how to implement a more integrated approach to language and literature instruction, that is, one that fosters critical awareness on multiple levels and prepares learners to be globally-connected and engaged citizens (MLA, 2007; Swaffar & Urlaub, 2014). Major contributions for achieving these goals have come from an array of pedagogical approaches that share in common their focus on language as a resource for making socially and symbolically rich meanings that do more than convey facts or express objectives. These include those designated as multiliteracies and genre-based approaches, as well as those that promote intercultural, symbolic and literary competencies as integral to the language learning experience. All of these frameworks acknowledge to some extent the fact that ambiguity-understood here as the multiplicity, indeterminacy, or destabilization of meaning-characterizes language itself and thus also our day-to-day and global communication, as well as the experience and process of FL learning. This dissertation, based on a qualitative classroom-based research study, considers how ambiguity can more be comprehensively integrated into FL learning and in particular into text-oriented teaching practices. The approach taken was a pedagogy that embraces ambiguity by providing learners and educators with strategies for navigating the moments of indeterminacy, uncertainty, and doubt that they will inevitably encounter in and out of the FL classroom. The study, set in an intermediate German language and culture course at a large public university, investigates 1) how to incorporate and assess moments of ambiguity more comprehensively across the curriculum and 2) how learners responded to various encounters with ambiguity, including ambiguity of genre, perspective, and silence. Data analysis revealed that purposeful integration of induced ambiguity can facilitate more comfort with those three dimensions and that it complements the principles of a multiliteracies-based FL pedagogy.
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Slatter, Angela Gaye. "Black-winged angels : theoretical underpinnings." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16351/1/Angela_Slatter_-_Black-Winged_Angels.pdf.
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The creative work, Black-Winged Angels, is a collection of nine re-written fairytales. The collection is divided into three sections: Maiden, Mother, Crone and the three stories in each section explore various aspects of these traditional periods in a woman's life. The tales are re-written, or 're-loaded', to offer alternative views of the tales of childhood, to examine other forces that may be at work inside the stories themselves, and the possible consequences of 'living' those tales differently.
The exegesis examines the colonisation and reclamation of a range of fairy tales. It traces the historical shift from oral to literary fairy tale traditions, and the ensuing patriarchal rewriting of those fairytales. The exegesis then considers the writing of Angela Carter and Emma Donoghue (specifically The Bloody Chamber and Kissing the Witch, respectively), in terms of how their work in the fairytale genre has both succeeded in, and failed to, avoid a simple inversion of gender with their revisions of the colonised literary fairytales.
The exegetical work has grown, in large part, out of the process of critical reflexivity to which I have subjected my creative work. I chose Angela Carter's and Emma Donoghue's works of revisionist fairytales to act as 'bookends' for my own work; Carter as a starting point for fairytale reclamation and Donoghue as a more recent incarnation of the fairytale revisionist. In reflecting on my own work, I often looked back at what these two authors had done, to guide me in the eternal writers' struggle of what to leave in, what to leave out, and where to take the tale.
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Slatter, Angela Gaye. "Black-winged angels : theoretical underpinnings." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16351/.
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The creative work, Black-Winged Angels, is a collection of nine re-written fairytales. The collection is divided into three sections: Maiden, Mother, Crone and the three stories in each section explore various aspects of these traditional periods in a woman's life. The tales are re-written, or 're-loaded', to offer alternative views of the tales of childhood, to examine other forces that may be at work inside the stories themselves, and the possible consequences of 'living' those tales differently. The exegesis examines the colonisation and reclamation of a range of fairy tales. It traces the historical shift from oral to literary fairy tale traditions, and the ensuing patriarchal rewriting of those fairytales. The exegesis then considers the writing of Angela Carter and Emma Donoghue (specifically The Bloody Chamber and Kissing the Witch, respectively), in terms of how their work in the fairytale genre has both succeeded in, and failed to, avoid a simple inversion of gender with their revisions of the colonised literary fairytales. The exegetical work has grown, in large part, out of the process of critical reflexivity to which I have subjected my creative work. I chose Angela Carter's and Emma Donoghue's works of revisionist fairytales to act as 'bookends' for my own work; Carter as a starting point for fairytale reclamation and Donoghue as a more recent incarnation of the fairytale revisionist. In reflecting on my own work, I often looked back at what these two authors had done, to guide me in the eternal writers' struggle of what to leave in, what to leave out, and where to take the tale.
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Cross, Jennifer Lynn. "Artistic interpretation in the fairytale picturebook." Connect to resource, 1987. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1193078814.
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Sideltseva, Kh E., and R. N. Khalikova. "Some characteristic features of fairytale translation." Thesis, Sumy State University, 2015. http://essuir.sumdu.edu.ua/handle/123456789/40038.
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Translation is one of the oldest human practices. It is essential for making communication between people of different cultures. The aim of fairytales is to prepare children for all life situation expectancies. Thus fairytales establish appropriate characters, their behavior and desires.
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Chiovatto, Ana Carolina Lazzari. "A representação do feminino no mundo de Oz, de L. Frank Baum." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-08052017-115800/.
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Nos livros de L. Frank Baum cuja ação se desenvolve na Terra de Oz, as personagens femininas aparecem nas mais diversas funções, de protagonista a vilã, de fada a bruxa, de princesa a general, entre outras, sejam elas humanas, feéricas ou animais, desdobrando-se em diversos papéis e, desse modo, reproduzindo alguns estereótipos e quebrando outros. Diante desse campo fértil, o presente trabalho investiga as formas de representação do feminino empregadas na série, cuja primeira e mais conhecida obra é O Maravilhoso Mágico de Oz. Para tanto, a principal teoria a ser utilizada será a semiótica de linha francesa, com o suporte dos estudos comparatistas e dos estudos de gênero. Averiguamos se os livros da série de Oz trazem inovação na forma de representar o feminino. Como na própria introdução do primeiro livro o autor declarava escrever um conto de fadas moderno, investigou-se ainda a aparente diversidade na forma de manifestar o feminino em relação a outros contos de fada, como os de Charles Perrault e os dos irmãos Grimm.In L. Frank Baums Oz books, a wide range of roles are performed by female figures: leading character and villain, fairy and witch, princess and general, among others, be they human, fairy or animal, thus reproducing some stereotypes while subverting others. In the face of such a profitable field of study, this dissertation researches female representation throughout the series, whose most renowned book is The Wonderful Wizard of Oz. French semiotics is the main theory underlying our study, aided by gender studies and comparative literature studies. We also sought to ascertain whether the first four books in Baums Oz series innovate in terms of female representation. As the first Oz book introduction asserted it was the authors intention to write a modern fairytale, it was also explored in which ways Oz books represent female characters differently from other fairytales, such as those by Perrault and the Grimm brothers.
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Zhou, Yanhua. "Ai Weiwei’s Fairytale : a unique social engagement." ROUTLEDGE JOURNALS, TAYLOR & FRANCIS LTD, 2017. http://hdl.handle.net/10150/625982.
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Art as a social engagement in the West can be dated back to the history of avant-garde art starting from the end of nineteenth century. Rooted in his own cultural background, Chinese artist Ai Weiwei's socially engaged art project "Fairytale is more complex than the avant-garde strategy. The work Fairytale established a structure - "1=1,001". That means on the one hand, the participants can be easily regarded everywhere in Kassel as 1,001 mobile works of art. All of them contribute to an entire work. In other words, the 1,001 people consist of one work. On the other hand, everyone is dealing with their personal issues independent of art. In this sense, the entire work can be divided into 1,001 personal experiences. This structure is based on three principles of Chinese philosophy Taoism - the duality between Yin and Yang, the dynamism between Yin and Yang, and the concept of uselessness. Positioning Fairytale within both Western theoretical as well as Chinese philosophical contexts, this essay is to analyze how Chinese philosophy shaped Ai's strategy of social engagement and his cultural identity - Chineseness.
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Andrade, Glícia Kelline Santos. ""Branca de neve e os sete anões", "espelho, espelho meu" : uma análise discursiva." Universidade Federal de Sergipe, 2015. https://ri.ufs.br/handle/riufs/5679.
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The present work consists in a discursive approach of our master’s degree dissertation’s Project object: the fairy tale “Snow White And The Seven Dwarfs”, the movie “Mirror Mirror”; two distinct materialities: the first essencially linguistic; the second, filmic, presenting verbal and non-verbal language. Our aim is, initially, proceed to a comparison between these two versions, establishing the relations of comparison/contrast, analyzing them discursively. As they are two distinct materialities, we consider the question regarding the discursive gender: the written short story, the movie. As a theoretical contribution to the gender study, we took into consideration the contributions from Bakhtin (1997), to whom the genders are relatively stable types of enunciation. Despite this contribution, this work is confined to the Archaeological Discourse Analysis and, as such, is based mostly on Foucault postulates. According to Revel (2005, p. 13), “The foucaultian Archaeological Method” seeks to, [...], rebuilt behind the fact a whole network of speeches, of powers, of strategies and of practices”. Through the light of Focault’s postulates (2008, 2009, 2012a; 2012b), we have observed, initially, the authorship question, the woman´s position, in both materialities, the relations of power/knowledge, the enunciation, the speech, the already-said speeches. We have yet reflected about the body usage during the process of disciplinarization, linked to the relation power-knowledge, to the punishment; the update of the speech over the social place where the characters enunciate themselves (whether they got social prestige or not). We have analyzed the cultural industry (TEIXEIRA COELHO), specially the one from the cinematographic media (BERNARDET; KRISTEVA), in the update process of the ideal of hapiness, the reiteration of marriage, as a social insititution founder of this happiness. This discourse is built through the use of a values’ system, permeated by the “existence of a happy ending”, due to the ability to reach out a social status of prestige (related to royalty). We highlight also the control of behavior patterns (obedience versus disobedience), these being determinant when it comes to the constitution of a social subject. As a result, we have understood that the cinematographic media allows the spreading of these values/discourses, in an attempt to preserve them and, as they are doing so, they also open dialogues with the religious discourse and the pedagogical. Once given our object of study and the theory sustaining it, we consider this research with a qualitative character. We judge the relevance of this present because it allows a reflection over the pointed out aspects.O presente trabalho consiste em uma abordagem discursiva dos nossos objetos de dissertação de mestrado: o conto de fada “Branca de Neve e os sete anões”, o filme “Espelho, espelho meu”; duas materialidades distintas: a primeira essencialmente linguística; a segunda, fílmica, apresentando linguagem verbal e não-verbal. Nosso objetivo é proceder a uma comparação entre essas duas versões, estabelecendo as relações de comparação/contraste, analisando-as discursivamente. Como são duas materialidades distintas, consideramos a questão dos gêneros discursivos: o conto escrito, o filme. Como aporte teórico para o estudo de gênero, levamos em consideração as contribuições de Bakhtin, para quem os gêneros são tipos relativamente estáveis de enunciado. Apesar dessa contribuição, este trabalho está circunscrito à Análise Arqueológica do Discurso e, como tal, está pautado principalmente nos postulados foucaultianos. Conforme Revel (2005, p. 13), “O método arqueológico foucaultiano busca, [...], reconstituir atrás do fato toda uma rede de discursos, de poderes, de estratégias e de práticas”. Assim, à luz dos postulados de Foucault, observamos a questão da autoria, a posição da mulher, em ambas as materialidades, as relações de poder/saber, o enunciado, o discurso, os discursos já-ditos. Refletimos também sobre a utilização do corpo no processo de disciplinarização, ligado às relações de poder-saber, à punição; a atualização do discurso acerca do lugar social de que enunciam as personagens (de prestígio social ou não). Analisamos ainda a indústria cultural (TEIXEIRA COELHO), em especial, o da mídia cinematográfica (BERNARDET; KRISTEVA), no processo de atualização do ideal de felicidade, da reiteração do casamento, como uma instituição social fundadora dessa felicidade. Esse discurso é construído a partir da utilização de um sistema de valores, perpassado pela “existência de um final feliz”, pelo alcance de um status social de prestígio (relação com a realeza). Ressaltamos ainda o controle de padrões de comportamentos (obediência versus desobediência), determinantes na constituição do sujeito social. Com efeito, entendemos que a mídia cinematográfica propicia a divulgação desses valores/discursos, numa tentativa de preservá-los e, na medida em que faz isso, dialoga tanto com o discurso religioso quanto com o pedagógico. Dado o nosso objeto de estudo e as teorias que o sustentam, consideramos esta pesquisa de caráter qualitativo. Julgamos a relevância deste trabalho por propiciar uma reflexão acerca dos aspectos apontados.
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Pereira, Caroline Costa. "O ensino de leitura em língua estrangeira com os contos de fada: a inter-relação entre as dimensões sociocultural e linguística do gênero." Universidade Federal de Juiz de Fora, 2011. https://repositorio.ufjf.br/jspui/handle/ufjf/2123.
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O objetivo geral deste trabalho é investigar o uso do gênero Conto de fadas no ensino de leitura em língua inglesa no contexto da escola pública. As principais perguntas de pesquisa giram em torno da inter-relação entre a dimensão sociocultural e a dimensão linguística na abordagem didática do gênero, buscandose tanto evitar um ensino de aspectos lingüísticos desvinculado das práticas discursivas quanto usar o gênero apenas como pretexto para o ensino de léxico e gramática. A fim de atender a esses objetivos, elaborou-se uma sequência didática, que foi aplicada numa turma do 9º ano do Ensino Fundamental numa escola da Rede Pública Estadual de Minas Gerais. Para o estudo da noção de gênero, utilizouse fundamentalmente como arcabouço teórico a perspectiva dialógica de BAKHTIN (1953/2006) e, sobre a sequência textual narrativa, as reflexões de BRONCKART (2003). O principal aporte para a elaboração da sequência didática foram as pesquisas sobre a transposição didática do gênero realizadas pelo Grupo de Genebra, DOLZ e SCHNEUWLY (2004) em particular. Recorreu-se também a TURNER (1996), ZILBERMAN (2003), PROPP (1973 /2010) e REUTER (2006) para a descrição linguística e sociocultural do gênero Conto de fadas. Os resultados da pesquisa apontam a relevância de se explorar adequadamente a dimensão sociocultural do gênero para o desenvolvimento da compreensão leitora, mas sem negligenciar o aspecto linguístico-textual, o que se revelou como um grande desafio a ser enfrentado na prática pedagógica.
The aim of this research is to investigate the use of the genre Fairy Tale in the teaching of English reading in the context of public schools. The main research questions revolve around the inter-relation between the sociocultural and linguistic dimension in the approach of language teaching in the genre, seeking to avoid both the teaching of unrelated linguistic aspects of discursive practices and the use of genre only as a pretext for teaching lexicon and grammar. In order to meet these goals, we set up a didactical sequence, which was applied in a 9th grade class of a elementary public school in the state of Minas Gerais. To study the notion of the genre, the dialogical perspective of BAKHTIN (1953/2006) was used as a theoretical framework and the reflections of BRONCKART (2003) for the textual narrative sequence. The main theoretical basis for the development of the didactical sequence was the research of the didactical transposition made by the Group of Genebra, in particular SCHNEUWLY AND DOLZ (2004). Additionally it was referred to TURNER (1996), ZILBERMAN (2003), PROPP (1973/2010) and REUTER (2006) to describe the linguistic and sociocultural description of the genre Fairy tale. The results point to the importance of exploring properly the sociocultural dimension of the genre for the development of reading comprehension without neglecting the linguistic and textual aspect, something that proved a major challenge to be faced in the pedagogical practice.
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Boesel, Jordan Elizabeth, and Jordan Elizabeth Boesel. "Once Upon a Disorder: A Collection of Fairytale Adaptions." Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/621916.
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This creative fiction thesis has developed and grown from the original idea that happened over a year and a half ago when this project was the first to assigned. Showcased as a collection of short stories in the form of fairy tale adaptations that concentrate heavily in the elements of character development as well as threading plots. Each of these stories focuses on and develops the idea of fairy tales alongside psychosocial disorders. As a writer, I challenged myself to write what I did not know—in this case, mental health disorders—and present them in a way where my primary interest of adaptions could be used. Within each of these stories, I have attempted to focus on fundamental elements of craft using personality traits and quirks that are associated with each well-known fairytale character as well as the psychological disorder attributed to them to prompt a discussion about mental health awareness in fiction. These stories are not meant to be serious—though the themes within them are of the utmost seriousness—instead it was my goal to keep the feel of them as lighthearted as possible to counter balance the graveness of the topic.
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Claro, Majori Fonseca. "Da isbá na floresta gélida à caverna tropical: aproximações entre as personagens Baba-Iagá e Cuca." Pontifícia Universidade Católica de São Paulo, 2012. https://tede2.pucsp.br/handle/handle/14706.
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Previous issue date: 2012-10-19Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
The main goal of this research is to accomplish a comparative analysis between the character Baba-lagá, who appears in fairytales of the Slav folklore, and Cuca, a folkloric character from Luso-Brazilian culture, also present in lullabies, literary fragments, religious festivals and in Monteiro Lobato s book, O Sací. Leaving the premises of the Russian formalist Vladimir Propp, we analyze morphologically the creation of the characters in his narrative, as well as tracing their ritualistic origins. Based on the psychological concepts of Carl Gustav Jung, and his followers, we are looking for a symbolic understanding of these two sorceresses. The hypothesis proposed of similarity is that they are rooted on the same archetypal and hystorical ground, in the way that both are representatives of maternal images in its terrible form, and that has its origins in rituals of the sacred and profane. For the differences found we discussed the hypothesis of an inexhaustible manifestation of the archetype as an image and of cultural diversity. Throughout the research we can confirm these hypotheses by analyzing Monteiro Lobato s book and by reflecting on the characteristic features of the literary genres in which these sorceresses fall, concluding that if fairytales and lullabies were to resonate with their narrators voices, through shared experiences from around the world, in the field of modern literary art this reflection would pass into the metalinguistic and the text would gain, from the form, the capacity to consciously contribute to the reformulation of the world it mirrors
O objetivo desta pesquisa é realizar uma análise comparativa entre a personagem Baba- Iagá, presente nos contos de magia do folclore eslavo, e a Cuca, figura do folclore lusobrasileiro, presente também nas cantigas de ninar, fragmentos literários, procissões religiosas e no livro O Saci, de Monteiro Lobato. Partindo das premissas do formalista russo Vladimir Propp, analisamos morfologicamente a atuação das personagens nas narrativas, bem como empreendemos um rastreamento de suas origens ritualísticas. Baseados nos conceitos psicológicos de Carl Gustav Jung e seus seguidores, buscamos a compreensão simbólica dessas duas feiticeiras. A hipótese proposta para as similaridades é que elas se enraízam num mesmo solo arquetípico e histórico, na medida em que ambas são representantes de imagos maternas em sua face terrível , e que têm suas origens nos rituais sagrados e profanos. Para as diferenças encontradas, lançamos a hipótese da inesgotabilidade da manifestação do arquétipo como imagem e da diversidade cultural. No decorrer da pesquisa, pudemos comprovar essas hipóteses e, por meio da análise do livro de Monteiro Lobato, refletir sobre os traços característicos dos gêneros literários nos quais essas feiticeiras se inserem, concluindo que, se nos contos de magia e das cantigas de ninar ressoam vozes narradoras que compartilham experiências sobre o mundo, na arte literária moderna esta reflexão passa a ser também metalinguística e o texto literário ganha, desta forma, a capacidade de contribuir conscientemente para a reformulação do mundo que espelha
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Canvat, Raphaël. "On Mad Geniuses & Dreams In the Age of Reason in French Récits Fantastiques." Miami University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=miami1343124370.
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Albrechtsson, Emy, and Emma Persson. "Utlandspraktik : en dans på rosor? Ur ett studentperspektiv. / Practice abroad: a fairytale? A student perspective." Thesis, Kristianstad University College, Department of Health Sciences, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-4927.
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Bakgrund: Högskolan Kristianstad ger sjuksköterskestudenter möjlighet att göra utlandspraktik. Sjuksköterskestudenter som gör utlandspraktik i ett utvecklingsland erfar upplevelser som påverkar studentens framtida profession, internationella perspektiv, personliga och intellektuella utveckling. Syfte: Syftet var att beskriva sjuksköterskestudenters upplevelser av att göra utlandspraktik i ett utvecklingsland som Sri Lanka. Metod: En kvalitativ empirisk studie genomfördes som grundades på subjektiva dagboksanteckningar i berättelseform. Datainsamlingen har analyserats med kvalitativ innehållsanalys. Resultat: Fyra teman formulerades utifrån tidsepoker: Starten: allt var nytt, Mitten av resan: att finna en vardag, Slutet: blickarna framåt och Första tiden i Sverige: att försöka landa. Upplevelser som beskrivs är exempelvis: känslostorm, att hantera svåra stunder och känslan av personlig utveckling. Diskussion: Att göra utlandspraktik, möta en annan kultur och därmed genomgå en personlig förändring kan hjälpa sjuksköterskestudenter i sin kommande profession som sjuksköterskor. Detta när det både gäller möten och kommunikation med människor från en annan kultur men även förståelsen av ett sjukdomsbesked och faserna som ingår i sjukdomsförloppet.
Abstract in English:
Background: Kristianstad University College in Sweden gives nursing students the opportunity to practice abroad. Nursing students who practice abroad in a developing country enhance experience that affects the student’s future profession, international perspective, personal and intellectual development. Aim: The aim of the study was to describe nursing student’s experiences of practice abroad in a developing country such as Sri Lanka. Method: A qualitative empirical study was implemented. The result and the analysis was based on self written diaries. The data was analyzed with a qualitative content analysis. Results: The result is presented in four themes: The start: everything was new, In the middle of the journey: trying to find daily routines, The end: looking forward and Back in Sweden: to readjust. Experiences as: storm of emotional feelings, to cope with difficult times and a feeling of personal development were presented in the result. Discussion: Performing practice abroad, encountering different cultures and experiencing a personally change can nurture nursing students in their coming quest as nurses. This is germane both in terms of meeting and communicating with patients of various cultural stocks. Furthermore, comprehension concerning receiving information regarding illnesses and also the different phases of the illness itself is facilitated through this experience.
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Sönmez, Destina. "Microcredits: a success or a fairytale? : A study of Grameen Bank in Bangladesh by using secondary data." Thesis, Södertörns högskola, Institutionen för naturvetenskap, miljö och teknik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-26731.
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The global economy celebrates microcredit as poverty alleviation for the individual and as a way to boost a country’s economic growth. This study examines if results from previous research on Grameen Bank’s microcredits are supported by statistics. By using Exploratory Sequential Mixed Method, five themes was conducted from the qualitative findings and then analyzed from capability approach theory and Schumpeterian growth theory. Results indicates that poverty have declined in Bangladesh, but it also shows that income share for the poorest has not increased nor the female employment rate. Both the consumption and the GDP for Bangladesh have increased, but the conclusion of this study suggest that microcredits are convoluted and needs further studies that are comprehensive with both qualitative and statistical research that are more detailed and profound. Since the available statistics are inadequate further research generally about microcredits are needed, especially if banks and organizations worldwide are going to use it as poverty alleviation.
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Wade, Pamela Christine. ""As if it mattered!" Discovering the effect of the fairytale in Willa Cather's "The Song of the Lark" /." Ann Arbor, Mich. : ProQuest, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1453247.
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Thesis (M.A. in English)--S.M.U.Title from PDF title page (viewed Mar. 16, 2009). Source: Masters Abstracts International, Volume: 46-06, page: 3001. Adviser: Nina Schwartz. Includes bibliographical references.
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Яненко, Ярослав Васильович, Ярослав Васильевич Яненко, and Yaroslav Vasylovych Yanenko. "Сюжети казок як основа для сторітеллінгу." Thesis, Сумський державний університет, 2019. http://essuir.sumdu.edu.ua/handle/123456789/74553.
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Стаття присвячена з’ясуванню особливостей використання сюжетів казок у якості основи для сторітеллінгу. Подано результати визначення особливостей сюжетів відомих казок та дій головних героїв з точки зору побудови сучасного сторітеллінгу.Статья посвящена выяснению особенностей использования сюжетов сказок в качестве основы для сторителлинга. Представлены результаты определения особенностей сюжетов известных сказок и действий главных героев с точки зрения построения современного сторителлинга.
The article deals with clarifying the features of using fairy tale plots as a basis for storytelling. It represents the results of determining the features of scenes of famous fairy tales and the actions of the main characters in terms of building a modern storytelling.
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Kässel, Emma, and Sara Marklund. "The Fairytale about the Great Land called Creativity : A study about how to improve creativity in the fashion industry." Thesis, University of Kalmar, School of Communication and Design, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hik:diva-1774.
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The purpose of this thesis was to study how creativity can be improved within creative organizations, and the study was made both in Great Britain and in Sweden. We wanted to learn if creative employees have the possibility to use their creativity within their organization or if rules within the organization only hamper their creativity. We conducted interviews in both Sweden and in Great Britain and the focus on the study were on designers and product developers within the fashion industry. The research was a qualitative study consisting of a total of 7 semi-structured interviews. Designers and product developers feel that their creative ability sometimes gets hampered by their organization. We came to the conclusion that the manager need to be good at structure, trust, set up clear goals, conflict solving and communication and by that, let the organizations creative employees within it have the freedom to work at other places but at the office in order to get inspired by the environment.
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Hermann, Sophia [Verfasser], and Manfred [Akademischer Betreuer] Holodynski. "Evaluation of a fairytale-based pretend-play intervention to foster socioemotional competences in preschool children / Sophia Hermann ; Betreuer: Manfred Holodynski." Münster : Universitäts- und Landesbibliothek Münster, 2017. http://d-nb.info/1145035000/34.
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Дегтярьова, Лариса Іванівна, Лариса Ивановна Дегтярева, Larysa Ivanivna Dehtiarova, and А. В. Северин. "Етноспецифіка та лінгвістичні особливості перекладу казок." Thesis, Сумський державний університет, 2013. http://essuir.sumdu.edu.ua/handle/123456789/30842.
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Проблема перекладу казок пов’язана насамперед з особливостями їх художньої форми, стилістичних засобів та значної кількості зоонімів і антропонімів у її структурі. Часто перекладач надає текстові казки національного колориту. Намагання обов’язково «перебороти» чужу поетичну систему, оцінити її з погляду своєї національної літератури містить у собі і небезпеку. Адже від того, як уявляє собі перекладач еквівалентність самого перекладу, залежить результат і якість його практичної роботи.
При цитуванні документа, використовуйте посилання http://essuir.sumdu.edu.ua/handle/123456789/30842
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Vries, Herie de. "Cultural differences of scientific creativity : a relation with tolerance of ambiguity/uncertainty : an empirical study with children in Luxembourg, France, Thailand, India, and Russia Cultural differences in creativity: the role of immigration Scientific creativity: divergent and convergent thinking and the impact of culture Scientific creativity and ambiguity tolerance: "surface/process/core" products and student's cultural backgrounds Culture's actuation of scientific creativity: a relation with tolerance of ambiguity/uncertainty Scientific creativity in russia: fairytales or knowledge?" Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCB052.
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Ce travail est une exploration de la relation entre la culture, en tant que facteur sociale et la cognition de la créativité scientifique des étudiants. Cinq études ont été réalisées. Les résultats ont indiqué plusieurs facteurs sociaux associés à la cognition créative scientifique des élèves. La première étude exploratoire, a révélé une découverte surprenante et inattendue liée aux origines culturelles. Pour les étudiants immigrants d'origine asiatique, mais pas pour les étudiants d'origine européenne ou américaine, la corrélation généralement constatée entre le trait de personnalité «ouverture» et la créativité a été inversée. Les étudiants asiatiques moins «ouverts» étaient plus créatifs que les étudiants plus «ouverts», dans les deux contextes culturels. La deuxième étude a confirmé que la divergence et la convergence sont des processus distincts du processus en deux étapes de la créativité scientifique. Les résultats confirment également que le processus convergent est particulièrement important pour la créativité scientifique. Enfin, l'étude 2 a montré que plus le nombre de membres de la famille d'un enfant nés hors de France est grand, moins ils ont intégré les concepts au cours du processus convergent. De plus, l'originalité divergente des idées était également significativement moindre pour ces étudiants. La diminution de la créativité divergente et convergente ne peut s'expliquer par le nombre de langues parlées ou par les différences socio-économiques. La troisième étude a révélé une catégorisation des idées des enfants, où elles se concentrent davantage sur des aspects observables (réponses de surface) ou non-observables "noyau" ou "processus". Cette catégorisation n'était pas liée à l'intelligence générale. Il a été observé que les idées étaient liées au niveaux spécifiques de TA. Un autre fait inattendu est que plus les élèves eux-mêmes et les membres de leur famille étaient nés à l'étranger, plus les élèves proposaient des «réponses de surface», pas explicable par le nombre de langues parlées. La quatrième étude visait à démontrer une relation entre la TA et les idées de «surface-processus-noyau» des enfants dans différents contextes culturels: la France, l'Inde et la Thaïlande. Le niveau d'AT correspondait relativement aux niveaux nationaux existants sur la dimension culturelle de l'évitement des incertitudes, ainsi qu'a la catégorisation des réponses. Par exemple, en Inde, les enfants donnaient plus d'idées de "surface" qu'en France ou Thaïlande. Cela révèle que TA, déjà entre 9 et 11 ans, est liée aux différences de potentiel créatif scientifique. La cinquième étude a montré que la catégorisation établie n'était pas liée à la réussite en science. L'étude globale a établi un lien entre la cognition et la culture, ce qui a conduit à plus de compréhension pour favoriser la créativité scientifique pour les enfants de toutes les culturesThis work is an exploration of the relationship between culture as a social factor and the cognition of students' scientific creativity. Five studies were conducted. The results indicated several social factors associated with students' creative scientific cognition. The first exploratory study revealed a surprising and unexpected discovery related to cultural origins. For immigrant students of Asian origin, but not for students of European or American origin, the generally observed correlation between the personality trait "openness" and creativity has been reversed. The less "open" Asian students were more creative than the more "open" students in both cultural contexts. The second study confirmed that divergence and convergence are distinct processes of the two-step process of scientific creativity. The results also confirm that the convergent process is particularly important for scientific creativity. Finally, study 2 showed that the greater the number of family members of a child born outside France, the less they integrated the concepts during the convergent process. In addition, the divergent originality of ideas was also significantly lower for these students. The decrease in divergent and convergent creativity cannot be explained by the number of languages spoken or by socio-economic differences. The third study revealed a categorization of children's ideas, where they focus more on observable aspects (surface responses) or unobservable 'core' or 'process'. This categorization was not related to general intelligence. It was observed that the ideas were related to the specific levels of TA. Another unexpected fact is that the more the students themselves and their family members were born abroad, the more the students proposed "surface answers", not explicable by the number of languages spoken. The fourth study aimed to demonstrate a relationship between MT and the "surface-process-core" ideas of children in different cultural contexts: France, India and Thailand. The level of TA corresponded with existing national levels on the cultural dimension of uncertainty avoidance and categorization of responses. For example, in India, children gave more "surface" ideas than in France or Thailand. This reveals that TA, already between 9 and 11 years old, is related to differences in creative scientific potential. The fifth study showed that the categorization established was not related to success in science. The global study established a link between cognition and culture, which led to more understanding to foster scientific creativity for children of all cultures
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Назаренко, Олена В`ячеславівна, Елена Вячеславовна Назаренко, Olena Viacheslavivna Nazarenko, V. V. Vitchenko, and M. Cvelich. "Communicative orientation of proper names in English fairy tale discourse." Thesis, Sumy State University, 2016. http://essuir.sumdu.edu.ua/handle/123456789/47237.
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Fairy tale discourse is an active medium of implementation the
specific features of fabulousness category that is verbalized at different
levels of linguistic structure. Communication is transferring the content of thought through
language [1, 802]. Proper name is an obligatory element of fairy tale
discourse. The author not only nominates an object, but also gives
information about it, expresses feelings, gives a mark to his character,
shows his behavior and habits by using proper names.
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Назаренко, Олена В`ячеславівна, Елена Вячеславовна Назаренко, Olena Viacheslavivna Nazarenko, and А. В. Борщ. "Комунікативна спрямованість англомовного казкового дискурсу." Thesis, Cумський державний університет, 2016. http://essuir.sumdu.edu.ua/handle/123456789/47274.
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Дослідження дискурсивного аспекту казок – це актуальний
напрямок сучасної лінгвістики. Це пов’язано з необхідністю подальшої
розробки проблем, стосовно виявлення механізмів формування казкових
образів та їх вербального впливу на поведінку і мислення людини.
Поняття дискурсу є одним із основних понять сучасної прагматичної
лінгвістики.
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Andersson, Rebecka. "En vandring genom Skymningssagors land : Samhällskritik, konst, natur och saga i Gustav Sandgrens Skymningssagor." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-44745.
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Abstract The aim of this study is to create a pathway through Gustav Sandgren’s short-story collection Skymningssagor and the second collection with that title, based on his social criticism, notions of art and nature, use of fairytale motifs and finally, his view of the metaphoric liberation of mankind. The study is based on a comparative and thematic investigation, illustrated by examples from Sandgren’s short stories. The theoretical framework is based on Eva Nordlinder’s study of the art fairytale in Sekelskiftets svenska konstsaga och sagodiktaren Helena Nyblom (1992) and Konstsaga och Kultursyn (1992) as well as Torben Brostrøm’s study of the folktale in Folksagan och den moderna litteraturen (1992). The investigation shows that Sandgren’s social criticism permeates his short stories, but that his keys to salvation, nature and art (first and foremost music) exist to help mankind rise above our shackles. The investigation also shows that Sandgren’s short stories are firmly placed within the tradition of the fairytale and the romantic notion of a relation between nature and man. Keywords social criticism, fairytale, nature, music, art, liberation