Relevant bibliographies by topics / Pied Piper of Hamelin (Tale)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Pied Piper of Hamelin (Tale)'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Pied Piper of Hamelin (Tale)"

1

Kline, Jim. "What, no rats? The solar bird tradition and its relevance to the Pied Piper legend." International Journal of Jungian Studies 10, no. 1 (2018): 1–15. http://dx.doi.org/10.1080/19409052.2017.1392335.

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ABSTRACTFor over seven hundred years, the legend of the Pied Piper has inspired folk tales, poems, songs, and theatrical productions, as well as speculations about whether the legend is based upon actual events that occurred on 26 June 1284, the date given to the incident according to several commemorative documents and monuments found in the town of Hamelin, Germany, where the legend originated. Many scholars who have studied the legend believe it has little to do with a Pied Piper ridding the town of rats and later enticing the town's children to follow him out of town where they all disappe
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Rodriguez, Gonzalo Santiago. "la infancia inmunizada." childhood & philosophy 15 (April 29, 2019): 1–30. http://dx.doi.org/10.12957/childphilo.2019.40269.

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In recent decades, studies of the history of private life have posited infancy as a social and historical construct in which different cultural, economic, and philosophical elements intervene. Based on an interpretation of “The Pied Pieper of Hamelin” (BROWNING, 2003; BROWNING; PISU, 1980; GRIMM; GRIMM, 2000, 1816), this article analyzes the founding characteristics of modern infancy using as Italian philosopher Roberto Esposito’s concept of communitas (2003). Utilizing both the author’s fundamental notion of the latter and several modern and contemporary bibliographic sources about the legend
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3

Lee, Jaebin. "Types and Features of Flute Stories: Focusing on Korea and Japan." Global Knowledge and Convergence Association 5, no. 2 (2022): 193–219. http://dx.doi.org/10.47636/gkca.2022.5.2.193.

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In this paper, we looked at how the flute is used by paying attention to classical literature, especially the narrative. In the most famous tale, Manpasik, the flute was used as a tool to strengthen the royal authority or prevent foreign enemies. However, the flute was often the story’s center when analyzing flute-related stories. The sound of the flute changes the situation rapidly. It can be seen that the happy ending of the protagonist getting out of the crisis of death by the sound of the flute, becoming wealthy by playing the flute well, or solving the case with the sound of the flute and
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Airs, John, and Chris Ball. "The Pied Piper of Hamelin." 5 to 7 Educator 2010, no. 64 (2010): iv—vii. http://dx.doi.org/10.12968/ftse.2010.9.4.46956.

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Chandawarkar, Rajiv Y. "The Pied Piper of Hamelin." Plastic and Reconstructive Surgery 119, no. 4 (2007): 1365–66. http://dx.doi.org/10.1097/01.prs.0000254799.73824.09.

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Greydanus, Donald E. "Routing a Modern Pied Piper of Hamelin." JAMA: The Journal of the American Medical Association 261, no. 1 (1989): 99. http://dx.doi.org/10.1001/jama.1989.03420010109044.

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Greydanus, D. E. "Routing a modern Pied Piper of Hamelin." JAMA: The Journal of the American Medical Association 261, no. 1 (1989): 99–100. http://dx.doi.org/10.1001/jama.261.1.99.

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8

Bush, Elizabeth. "The Pied Piper of Hamelin (review)." Bulletin of the Center for Children's Books 65, no. 4 (2011): 218. http://dx.doi.org/10.1353/bcc.2011.0914.

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9

Kertz-Welzel, Alexandra. "The Pied Piper of Hamelin: Adorno on Music Education." Research Studies in Music Education 25, no. 1 (2005): 1–12. http://dx.doi.org/10.1177/1321103x050250010301.

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10

Micheni, Brian Mugendi, and Dr Christine Atieno Peter. "Intertextuality between Pied Piper of Hamelin and Nyamgondho Wuod Ombare." Journal of English Language and Literature 10, no. 3 (2018): 1051–64. http://dx.doi.org/10.17722/jell.v10i3.400.

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Texts borrowing from each other has been there since the existence of humankind and scholars refer to this borrowing as intertextuality. Many intertextuality scholars have gone ahead to use the phrase “no text is an island” to emphasize on the existence of intertextuality in everyday communication of humankind through spoken words or written works. The objective of the study is to determine whether there are intertextual relations between the stories, Nyamgondho Wuod Ombare and Pied Piper of Hamelin. The study aims to determine instances of intertextuality between the two stories. The study di
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Dissertations / Theses on the topic "Pied Piper of Hamelin (Tale)"

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Tolley, Rebecca. "Pied Piper or Rumpelstiltskin? A Tale of Two Twitter Identities." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/5751.

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Books on the topic "Pied Piper of Hamelin (Tale)"

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Robert, Browning. The Pied Piper of Hamelin. Lothrop, Lee & Shepard Books, 1986.

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2

Morpurgo, Michael. The Pied Piper of Hamelin. Walker, 2011.

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3

Mieder, Wolfgang. The pied piper: A handbook. Greenwood Press, 2007.

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4

Slater, Cecelia. The Pied Piper: A German folk tale. Dream House/Mount Washington Press, 1993.

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5

Keith, McCune, ed. The rats of Hamelin: A piper's tale. Moody Publishers, 2005.

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6

Norbert, Humburg, ed. Geschichten und Geschichte: Erzählforschertagung in Hameln, Oktober 1984. In Kommission bei A. Lax, 1985.

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7

Dobbertin, Hans. Quellenaussagen zur Rattenfängersage. CW Niemeyer, 1996.

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8

Rostek-Lühmann, Fanny. Der Kinderfänger von Hameln: Untersagte Wünsche und die Funktion des Fremden. D. Reimer, 1995.

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9

Malinkovich, Inessa. Sudʹba starinnoĭ legendy: I.V. Gete, K. Zimrok, R. Brauning, G. Geĭne, M. T͡S︡vetaeva. Izd-vo "Sinee i͡a︡bloko", 1999.

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10

Brown, Carron. Hansel and Gretel and The Pied Piper of Hamelin: Two tales and their history. Alphabet Soup, 2010.

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Book chapters on the topic "Pied Piper of Hamelin (Tale)"

1

Valint, Alexandra. "“To a Joyous Land”: Nature and Gender in Kate Greenaway’s The Pied Piper of Hamelin." In Literary Cultures and Nineteenth-Century Childhoods. Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-38351-9_13.

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2

Díaz-Fleischer, Francisco, Jaime C. Piñero, and Todd E. Shelly. "Interactions Between Tephritid Fruit Fly Physiological State and Stimuli from Baits and Traps: Looking for the Pied Piper of Hamelin to Lure Pestiferous Fruit Flies." In Trapping and the Detection, Control, and Regulation of Tephritid Fruit Flies. Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-9193-9_5.

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"The Pied Piper of Hamelin." In Robert Browning: Selected Poems. Routledge, 2013. http://dx.doi.org/10.4324/9781315834450-13.

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Sr., Robert Browning,. "'The Pied Piper of Hamelin', by Robert Browning sen." In The Poetical Works of Robert Browning, Vol. 3: Bells and Pomegranates I–VI: including Pippa Passes and Dramatic Lyrics, edited by Rowena Fowler and Ian Jack. Oxford University Press, 1988. http://dx.doi.org/10.1093/oseo/instance.00131603.

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Barrier, Michael. "Disney,1933-1936." In Hollywood Cartoons. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195037593.003.0004.

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Abstract In the months just after he made Three Little Pigs, Walt Disney took up the challenge of human characters again and made five Silly Symphonies with them. The third of those cartoons, The Pied Piper, was being animated when Three Little Pigs was released in May; it was easily the most ambitious of the new cartoons because its central figures, the Piper and Hamelin ‘s Mayor, most resembled real human beings in how they were drawn. In 1933 the production schedule, and the need to give work to animators, made the thoughtful casting behind Three Little Pigs impractical on every film; on Lullaby Land, the Silly Symphony that came just before The Pied Piper, the animators handled sequences rather than characters, and the infant protagonist looks like a different character from one animator ‘s scenes to the next. For The Pied Piper, though, Disney cast by character again, even more rigorously than he had for Three Little Pigs. All the most important scenes with the Mayor the closeup scenes in which he speaks-were assigned to Art Babbitt, and the comparable scenes with the Piper to Ham Luske.
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"The Pied Piper of Hamelin Origin, History, and Survival of the Legend." In Tradition and Innovation in Folk Literature. Routledge, 2015. http://dx.doi.org/10.4324/9781315673677-10.

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Tarr, Anita. "China Miéville’s Young Adult Novels." In Posthumanism in Young Adult Fiction. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496816696.003.0012.

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Noting the penchant for China Miéville’s writings to defy genre categorization, Anita Tarr labels his three YA novels as posthumanist assemblages, being posthumanist-Marxist-fantasy-Gothic horror-Young Adult novels. King Rat, Un Lun Dun, and Railsea are all re-envisionings of classic stories (“Pied Piper of Hamelin,” Through the Looking-Glass, and Moby Dick), sometimes to the detriment of Miéville’s superlative imaginative writing. Miéville is especially concerned with his protagonists resisting their conventional heroic destiny as they explore their posthumanist possibilities. Stock full of hybrid characters, each novel acknowledges fluid boundaries (fantasy and reality, animal and human) and multiple subjectivities; however, each is also burdened with heavy ties to anti-consumerist lessons.
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Shingler, Martin. "Popping in and out as a virtuosic guest star in The Pied Piper (1972)." In Diana Dors. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474473996.003.0009.

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This chapter explores Diana Dors’ role as the Burgermeister’s buxom, bossy and bad-tempered wife in Jacques Demy’s The Pied Piper (1972). Based on the famous Grimm Brothers’ folktale of 1816, this musical fantasy starring Donovan in the title role included a small part for Dors, the 40-year old actress being billed as a ‘Guest Star.’ Here, she showcased her virtuosic acting skills in what was little more than a cameo role, deftly conveying her character’s marital and maternal failings in just six short scenes. Making a big impression in some highly theatrical costumes, she played Frau Poppendick as an archetypal fairy-tale villainess, while drawing heavily upon her own public image and screen persona. Analysis of her performance in The Pied Piper reveals what well-known stars can do with small character parts and how seemingly incidental roles give them a chance to flex their acting muscles while exploiting their celebrity.
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