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Journal articles on the topic 'Princess'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

Weida, Courtney Lee, Carlee Bradbury, and Jaime Chris Weida. "Poetics of the Fairy Tale Princess: Products, Problems, & Possibilities / Poésie de la princesse des contes de fées : produits, problèmes et possibilités." Canadian Review of Art Education / Revue canadienne d’éducation artistique 46, no. 2 (2019): 17–32. http://dx.doi.org/10.26443/crae.v46i2.67.

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Abstract: In the following paper, the authors analyze the prevalence of princess culture in the literature, film, and visual culture of young people. An art educator, art historian, and professor of English literature, the authors propose creative interventions through alternative resources and readings. Focusing on foundations of media studies and literature of Fairy-Tale Studies and girlhood studies, this interdisciplinary collaboration investigates complex creative predicaments of girlhood and princess media. Utilizing Princess Aurora and Sleeping Beauty as a case study and focal point, the

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Norcia, Megan A. "PERFORMING VICTORIAN WOMANHOOD: ELSIE FOGERTY STAGES TENNYSON'S PRINCESS IN GIRLS' SCHOOLS." Victorian Literature and Culture 41, no. 1 (2013): 1–20. http://dx.doi.org/10.1017/s1060150312000198.

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Tennyson's poem The Princess (1847) has long intrigued readers with its polarizing gender politics and playful, lilting verses recounting the grim bloodshed that results when an ambitious Princess establishes a women's college. The frame narrative focuses on a group of friends at a summer party who are inspired by a tale of an ancient warrior queen, who “sallying thro’ the gate, / Had beat her foes with slaughter from her walls” (Prologue 30–34). At some moments jocular and at others acerbic, the men spin the Princess's story, with the women of the gathering providing interludes of music betwe

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Hine, Benjamin, Dawn England, Katie Lopreore, Elizabeth Skora Horgan, and Lisa Hartwell. "The Rise of the Androgynous Princess: Examining Representations of Gender in Prince and Princess Characters of Disney Movies Released 2009–2016." Social Sciences 7, no. 12 (2018): 245. http://dx.doi.org/10.3390/socsci7120245.

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Previous quantitative research examining Disney movies has highlighted that whilst prince characters display largely balanced gender profiles, princesses exhibit biased gender role portrayals—performing mostly feminine characteristics, rarely participating in rescue behavior, and concluding movies in romantic relationships with the prince. However, such research, as well as public commentary, has also suggested that princess characters in movies released across the 2000s and 2010s may have more positive gender role portrayals. This study aimed to test these assertions by utilizing content codi

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Гадалова, Галина Сергеевна. "TO THE QUESTION ABOUT THE TIME OF THE OLD RUSSIAN PRINCESS-WIDOW RAISING A SON." Вестник Тверского государственного университета. Серия: История, no. 4(64) (December 28, 2022): 150–60. http://dx.doi.org/10.26456/vthistory/2022.4.150-160.

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Анализ летописных источников о жизни княгинь-вдов Тверского княжеского дома свидетельствует об их активной деятельности как в период несовершеннолетия наследников, так и в последующее время. Привлечение к исследованию дополнительных источников позволяет уточнить время монашеского пострига великих княгинь: вдовы уходили в монастырь после женитьбы сына, свидетельствующей о его самостоятельности. Однако если в княгине нуждалась семья, вдова оставалась жить на княжем дворе. An analysis of chronicle sources about the life of the princesses-widows of the Tver princely house testifies to their vigoro

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Ding, Dongliang, Ahmad Muhyiddin Yusof, Amalia Qisitna Castaneda Abdullah, and Changting Li. "Exploring the Quest for Identity Through Archetypal Analysis of Feminism Inspired by Asian Historical Literature Films: A Case Study of Princess Jasmine in the Movie Aladdin." Herança 7, no. 3 (2024): 86–96. https://doi.org/10.52152/heranca.v7i3.814.

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Disney films began in 1937 and often featured the typical Disney princess. However, in later years, inspired by the feminist wave, Disney decided to change the concept of the Disney princess image. Changes in the Disney princess tropes include characterization, symbolism, themes, and issues. This paper intends to adopt an eclectic approach and analyze from the perspective of feminism. Based on Princess Jasmine's the image characteristics, this paper analyzes the embodiment of the awakening, expounds the spiritual connotation of Disney princesses in different times, and further analyzes the gra

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Orr, Lisa. "Difference That Is Actually Sameness Mass-Reproduced: Barbie Joins the Princess Convergence." Jeunesse: Young People, Texts, Cultures 1, no. 1 (2009): 9–30. http://dx.doi.org/10.3138/jeunesse.1.1.9.

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Disney’s phenomenally successful princess line inspired Mattel to give Barbie a crown. Barbie’s variations on the princess theme make her seem more independent and modern than her Disney counterparts. Ultimately, however, both Barbie and Disney princesses reveal the coherence, power, and social conservatism of the princess industry.

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Melnichuk, Valentina A. "Biographies of Princesses in Architectonics of the Book of Royal Degrees." Vestnik NSU. Series: History and Philology 20, no. 2 (2021): 84–93. http://dx.doi.org/10.25205/1818-7919-2021-20-2-84-93.

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The article presents the materials of the Book of the Royal Genealogy (16th century), associated with female images, describes their place in the plot and composition structure (architectonics) of the monument. The life of the Equal-to-the-Apostles Princess Olga, which opens the Book of the Royal Genealogy, emphasizes the legitimacy of the author’s plan, which includes almost all the stories about princely wives and mothers from brief news to detailed stories. The role of these messages is to celebrate the piety of all branches of the royal family. In the characteristics of female representati

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Miao, Qingyang. "The Independence of Princess Images in Frozen and Princess Animated Films Series of Disney." BCP Education & Psychology 9 (March 29, 2023): 418–23. http://dx.doi.org/10.54691/bcpep.v9i.4717.

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Social gender theory is proposed to distinguish biological sex, which holds that gender is not just born but acquired through psychological, cultural, and social norms and more. Nowadays, scholars generally study the issues of communication and gender from the perspective of social gender. The Disney Frozen and Princess series of animated films has created 14 princesses with different images and styles in 80 years, from 1937 to 2017. The inner characters of the women in the films are influenced by the environment and ideology of The Times to a certain extent. Based on gender theory, nine princ

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9

Delden, C. Blankenberg-Van. "Ahmes Satamon Once Again." Journal of Egyptian Archaeology 72, no. 1 (1986): 192–93. http://dx.doi.org/10.1177/030751338607200119.

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Hine, Benjamin, Katarina Ivanovic, and Dawn England. "From the Sleeping Princess to the World-Saving Daughter of the Chief: Examining Young Children’s Perceptions of ‘Old’ versus ‘New’ Disney Princess Characters." Social Sciences 7, no. 9 (2018): 161. http://dx.doi.org/10.3390/socsci7090161.

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Both popular and academic discourse has noted progressive change in the gender role portrayals of much-loved Disney princess characters. However, at present, little is known about children’s recognition of such changes, or of their interpretation of princesses’ gendered behavior. This study therefore asked 131 8–9-year-old UK children to attribute various feminine and masculine characteristics to ‘princesses’ both before and after watching an ‘old’ (Sleeping Beauty) versus ‘new’ (Moana) Disney princess movie. Post-movie they were also asked to attribute these characteristics to the princess ch

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Arby, Sella Putri, Lina Meilinawati Rahayu, and R. M. Mulyadi. "NEGOSIASI WACANA FEMININITAS MELALUI FILM-FILM ANIMASI PUTRI DISNEY." Paradigma: Jurnal Kajian Budaya 12, no. 2 (2022): 136. http://dx.doi.org/10.17510/paradigma.v12i2.609.

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Negotiation Discourse of Femininity Through Disney Princesses’ Movies. Femininity tends to be explained as a condition ‘to be a woman’, making it an ideology that gives limitations to women. Mills uses discourse theory to explain femininity, stating femininity is a process that is constructed and negotiated in every interaction. Disney Princesses show changes through times and each animation film, showing a negotiation of what defines femininity. The data collection was carried out by qualitative method narrative study, with Performativity of Gender by Judith Butler and Negotiation Discourse o

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Zhai, Yige. "Evolution of Disney Princesses and Its Impact on Young Girls." Lecture Notes in Education Psychology and Public Media 6, no. 1 (2023): 799–806. http://dx.doi.org/10.54254/2753-7048/6/20220794.

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From 1937 to the present, Disney produced 13 princess movies in total. Many gender portrayals in these movies are stereotypical, inaccurate, and/or problematic. To explore the effects of these stereotypes displayed in Disney's princess movies on its viewers, this paper reviewed 25 sources to first demonstrate if and how Disney princesses has changed throughout the years. It will then analyze how the evolving portrayal of female characters casts influences on young girls. Results of the study shows that Disney princesses have advanced in terms of their decision-making abilities and leadership s

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Orfinskaya, Olga V., and Bella L. Shapiro. "Study of a costume complex from the burial of the princess Natalia Alexeevna Romanova. Preserved and lost." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 62 (2021): 23–35. http://dx.doi.org/10.37816/2073-9567-2021-62-23-35.

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This paper discusses a costume complex from the burial of the Princess Natalya Alexeevna Romanova, the sister of Emperor Peter II. The burial of the young Princess took place in a dynastic necropolis of the Ascension Monastery of the Moscow Kremlin in January 1729, among dozens of tombs of Great Duchesses, Queens And Princesses. Two hundred years later, with the destruction of the monastery, by the efforts of museum and scientific staff, all the sarcophagi of the necropolis moved to the Moscow Kremlin Museums. Here is where their research began as part of a large project “Historical Necropolis

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14

Zedler, Beatrice H. "The Three Princesses." Hypatia 4, no. 1 (1989): 28–63. http://dx.doi.org/10.1111/j.1527-2001.1989.tb00866.x.

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This article introduces three princesses: Princess Elizabeth of Bohemia (1618–1680); her sister, Princess Sophie who became the Electress of Hanover (1630–1714); and Sophie's daughter, Sophie Charlotte, who became the first Queen of Prussia (1668–1705). After summarizing their common family background, the article presents, for each in turn, her biography and a discussion of her relation to philosophy. In each case their philosophical involvement stems from their friendships with the leading philosophers of their day; Princess Elizabeth was a friend of Descartes while the Electress Sophie and

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15

Svens, Christina. "Prinsessan på alerten." Kulturella Perspektiv – Svensk etnologisk tidskrift 18, no. 2 (2009): 31–36. http://dx.doi.org/10.54807/kp.v18.30148.

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The Princess of Haga is a play about the Royal Family in Sweden during 1940-1970. Christina, one of the princesses, is critical about her position and the demands that she is expected to fulfill in order to perform the role of princess. The article discusses her relation to this role, to her royal family and how she handles being a princess and at the same time being presented as an ordinary woman in an ordinary family. She does her job but reveals at the same time how meaning about representing role models for people to identify within an ideal social order is created.

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16

Jule, Allyson. "Princesses in the Classroom: Young Children Learning to be Human in a Gendered World." Journal of Childhood Studies 36, no. 2 (2011): 33. http://dx.doi.org/10.18357/jcs.v36i2.15093.

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For well over fifty years, girls as princesses has been a staple of child-hood play. In 2000, The Disney Corporation released its "Princesses" line of merchandise - - eight princess-es marketed together as a group for the purpose of creating a single brand which can be more easily mass-pro-duced. As such, the princess industry has grown significantly in the last ten years. This paper explores the heavily marketed princess motif on the devel-opment of gender identity in young girls. The messages of simplistic and traditional, hyper-gendered perfor-mances are powerful and ubiquitous, and such fi

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17

Oktarina, Rizki Nurmaya. "Ambiguitas yang Mencerminkan Rasisme dalam Film The Princess and The Frog." Paradigma, Jurnal Kajian Budaya 4, no. 2 (2016): 161. http://dx.doi.org/10.17510/paradigma.v4i2.50.

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<p>Princess fairy tales have made the Disney Corporation so famous. At fi rst, Disney princesses were white skinned. As time goes by, Disney started fi lming animated movies with colored princesses. In 2009, Disney released a movie based on an African-American princess named Tiana in ‘The Princess and the Frog’ (2009). Ambiguities in terms of understanding black appear in the fi lm. To help analyzing this movie, Barthes’ semiotics theory will be used. By using that theory, the writer proposes that on one hand, Disney conveys that America has become “color blind,” but on the other, blacks

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18

Petrov, Alexey. "On the Issue of the Baptism of Princess Olga." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 1 (February 2020): 200–207. http://dx.doi.org/10.15688/jvolsu4.2020.1.16.

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Introduction. More than once researchers will address this issue and related subjects. Where, how and why did Princess Olga receive holy baptism? When and in what capacity did she travel to Constantinople? What was the meaning of Olga’s baptism for Rus? Was the blessed princess the ruler of a pagan state? The author proposes to share his thoughts on this subject in this article. Methods. The method of considering this issue ultimately comes down to finding the best option for reconciling conflicting testimony of sources, taking into account extensive historiography, but also in the context of

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19

Barbosa, Carlos Eduardo, and Evandra Grigoletto. "CONTINUIDADES E RUPTURAS." Revista Crítica Cultural 18, no. 1 (2023): 79–95. http://dx.doi.org/10.59306/rcc.v18e1202379-95.

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This article aims to reflect, from the theoretical-methodological framework of Discourse Analysis, on the figure of the princess. Coming from fairy tales where she’s portrayed as beautiful and defenseless, this figure has been changing: she’s no longer just the hero’s prize. On this context, we take the film Brave as a corpus of analysis, in which we have a rebellious princess who fights against the traditions that are imposed on her, since she wants to follow her own path and choices. With Princess Mérida being the focus of the story, we observe, in our analyses, the suppression of the romant

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20

Hamrick, Stephen. "“Of rose and pomegarnet the redolent pryncesse”: Fashioning Princess Mary in 1525." Renaissance and Reformation 40, no. 2 (2017): 35–62. http://dx.doi.org/10.33137/rr.v40i2.28501.

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While a more accurate appraisal of Mary Tudor’s life and reign is underway, historians of literature continue either to ignore or to misinterpret surviving representations of Princess Mary. To begin correcting this failure, the article analyzes a complex 1525 verse portrait of Mary, setting that text within its contemporary political contexts. Analysis of William Newman’s unpublished manuscript poem, “My ladie princesse doughter to king harry the VIII,” recovers an intriguing characterization of the first Tudor princess in the period immediately prior to Henry’s divorce from Catherine of Arago

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Robinson, W. R. B. "Princess Mary's Itinerary in the Marches of Wales 1525–1527: a Provisional Record." Historical Research 71, no. 175 (1998): 233–52. http://dx.doi.org/10.1111/1468-2281.00062.

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Abstract The State Papers and the Journal of Prior More of Worcester are the main sources for a detailed, though incomplete, record of the itinerary of Princess Mary in the Marches of Wales, 1525–7. Revised dates are proposed for several documents calendared in Letters and Papers … of Henry VIII which the princess's biographers have misinterpreted, including some relating to the appointment of her council and household. References to the itinerary of the princess's council are also noted. After returning to court early in 1527, the princess did not return to the Marches, probably because her p

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Anindita, Nastasha Primera. "A Comparison Between Disney Earlier and Recent Princess of The Third Generation of Disney Animated Films as Seen in Rapunzel in Tangled and Moana in Moana." K@ta Kita 10, no. 1 (2022): 51–57. http://dx.doi.org/10.9744/katakita.10.1.51-57.

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This study compares the girl power characteristics such as bravery, independence, and intelligence in identifying Rapunzel as the earlier princess character and Moana as the recent princess character of the third generation of Disney Princesses in the two Disney Princess Animated Films titled Tangled and Moana. As a result of this study, I found that in terms of bravery, Moana as the recent princess, is more daring to make decisions and take risks when compared to Rapunzel as the earlier princess of the third generation. In terms of independence, it can also be seen that Rapunzel still seems t

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Munawaroh, Roudhotul, Titis Srimuda Pitana, and Warto Warto. "Beauty Company Labeled "Beautiful Like a Palace Princess" As Evidence of the Commodification of the Ngadi Sarira Putri Tradition of the Surakarta Palace." International Journal of Multicultural and Multireligious Understanding 9, no. 12 (2022): 233. http://dx.doi.org/10.18415/ijmmu.v9i12.4251.

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This study aims to explain the emergence of a beauty enterprise with the tagline "beautiful as a palace princess", particularly in Surakarta City, which is evidence of the commodification of the ngadi sarira putri Keraton Surakarta heritage. The study results indicate that the emergence of a beauty company labeled "beautiful in the style of a palace princess" amid modernization reveals that beauty in the style of a palace princess merely enhances the visualization of personal beauty without enhancing inner beauty. This does not adhere to the concept of the royal princess's beauty as described

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Усманова, Шаходат. "THE QUEENS OF THE BABURIANS." MODERN SCIENCE AND RESEARCH 3, no. 2 (2024): 196–200. https://doi.org/10.5281/zenodo.10636923.

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<em>The article reflects the latest scientific, artistic and historical works about the Baburi princesses. Princess Qutlugh Nigor is the mother of Khanim Babur. Babur's queens were: Beg Khanzoda, Beg Gulbadan, Beg Nurjahan, Beg Arjumand, Beg Mumtaz Mahal (the queen of the palace). Jahan Oro Beg, Anjuman Oro Beg, Dahr Oro Beg and Kiti Oro Beg. Princess Dilras is the daughter of Bonu Shahnavaz Khan, and is married to Babur's daughter Gulbadan Beg. Bey Zebiniso.</em>

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Gissena, Annisa, and Rivga Agusta. "Once Upon A Princess: The Construction of Princesshood in The Disney Princess Animated Film." Jurnal Indonesia Sosial Sains 6, no. 6 (2025): 1843–55. https://doi.org/10.59141/jiss.v6i6.1757.

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Disney Princess films, such as Cinderella (1950), Snow White and the Seven Dwarfs (1937), and Beauty and the Beast (1991), are global cultural phenomena that influence children's perceptions of royalty. In Indonesia, this depiction has become more prominent among children than traditional royal figures, such as local princesses from historical contexts, raising concerns about shifting local cultural narratives. This study explores how Disney Princess films construct the concept of a princess as a royal symbol, focusing on depictions of royalty through visual and narrative elements. Using Rolan

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Sumarni, Sumarni, Azis Azis, and Mayong Mayong. "The Ecranization of Dewi Lestari's Supernova Novel Becomes Rizal Montovani's Supernova Film." Journal of Asian Multicultural Research for Social Sciences Study 4, no. 1 (2023): 52–62. http://dx.doi.org/10.47616/jamrsss.v4i1.365.

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This study is descriptive qualitative in nature. 1) What is the nature of the intertextual link between the book and the Supernova film Episode Knight, Princess and Falling Star? and 2) How was the novel adapted for the Supernova film Episode Knight, Princess and Falling Star? This research examined 1) the intertextual link between the book and the Supernova film Episode Knight, Princess and Falling Star, and 2) the process of ecranizing the novel into the Supernova film Episode Knight, Princess, and Shooting Star. This study's data include of words, phrases, clauses, and sentences from the bo

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Jiang, Yiding, Xinyi Fan, and Xiaohan Xia. "Aladdin——The Live-Action Version: A Feminist Revolt Against Patriarchy." Journal of Education, Humanities and Social Sciences 24 (December 31, 2023): 745–50. http://dx.doi.org/10.54097/r8csre73.

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The live-action version of "Aladdin" (2019) is based on the 92nd edition of Disney's animated film of the same name, giving the audience a great visual treat. As a work in the Disney series, the image of the princess in the live-action version of "Aladdin" is one of the major attractions of the film. Disney's portrayal of princesses is varied. From a feminist perspective, the early images of the princesses embodied the patriarchal and husbandly expectations of women, which is a kind of expectation for women. With the public's understanding, Disney's character and image of the princess have bec

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Harvey, Kate. "Dressing Disney's children in the twenty-first century." Film, Fashion & Consumption 9, no. 1 (2020): 23–42. http://dx.doi.org/10.1386/ffc_00010_1.

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Abstract This article is concerned with the clothing and costuming of children in the Disney Princess transmedial universe. This extends to the fictional children who grow into their 'princesshood' within the film, as well as the nonfictional children who are the implied audience both for the films and for their associated merchandise. Since Disney acquired Pixar in 2006 and John Lasseter was made creative director of both companies, there has been an increased focus on childhood in Disney's output, and this is particularly notable in the 'princess' films produced under Lasseter: The Princess

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Baltasar, Eva, and Lawrence Venuti. "Princess." World Literature Today 83, no. 5 (2009): 56. http://dx.doi.org/10.1353/wlt.2009.0142.

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Dietrich, Bryan D. "Princess." Missouri Review 26, no. 1 (2003): 127–30. http://dx.doi.org/10.1353/mis.2003.0094.

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Wang, Ziyan. "Research on the Variations of Female Characters in Disney Movies Taking the Seven Dwarfs and Moana as Examples." Communications in Humanities Research 14, no. 1 (2023): 264–67. http://dx.doi.org/10.54254/2753-7064/14/20230489.

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Disney is one of the most famous film companies in the world, and its Disney Princess series is also one of the most popular movies for women and children. The characteristics and personalities of the princesses influence peoples ideas. However, with the passage of time, the image of women in Disney movies has also undergone great changes. In this regard, based on Disneys first princess movie Snow White and the Seven Dwarfs and the last officially certified princess movie Moana, this paper makes a case analysis and comparison of female characters in these two movies. Through the method of lite

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Boyarsky, V. A. "Two unhappy princesses: «The Princess Mery» of Mikhail Lermontov and «The Princess Mery» of Gayto Gazdanov." Sibirskiy filologicheskiy zhurnal, no. 3 (September 1, 2015): 169–77. http://dx.doi.org/10.17223/18137083/52/18.

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Jordan, G. Lladó, M. D. C. Díaz García, P. Mediavilla Sánchez, B. Lozano Díez, J. A. Gómez Del Barrio, and R. Ayesa-Arriola. "Pro-Ana and Pro-Mia keywords, their google search trend." European Psychiatry 64, S1 (2021): S702—S703. http://dx.doi.org/10.1192/j.eurpsy.2021.1860.

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IntroductionEating Disorders (ED) have increased both in number of cases and diagnoses in recent years, partly due to the ease of searching on the Internet. This “community” as they call themselves has a proper language, which makes them easier to connect.ObjectivesTo know the search frequency of Pro-Ana and Pro-Mia terms in Spanish in the Google search engine.MethodsA manual screening was carried out based on the word analysis of Pro-Ana and Pro-Mia blogs to obtain their search frequency in Spanish. Using the Google Trends tool, a total of 19 word combinations related to ED and their advocacy

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Simonova, Olga A. "Razin’s motif of the Princess’s drowning in the literature about the Russian Civil war (“Princess” by Andrey Sobol and “Povolniki” by Alexander Yakovlev)." Sibirskiy filologicheskiy zhurnal, no. 4 (2021): 97–109. http://dx.doi.org/10.17223/18137083/77/8.

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The motif of the Persian Princess’s drowning was central to the plot connected with the figure of the famous Cossack ataman Stepan Razin. The motif became popular in Russian literature. The most famous was a song based on the words of Dmitry Sadovnikov, “Iz-za ostrova na strezhen…” (“Round the island to the midstream...” (Stenka Razin Song)), which served as the basis for the subsequent perception of the motif. The story of A. Sobol, “Princess” (1924), and the novel of A. Yakovlev, “Povolniki” (1922), embody the text of Sadovnikov’s song. The character and action of the “ataman” were close to

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Wang, Caroline Yiqian. "Re-imaging empowered princesshood against the rise of the fourth-wave feminism: A thematic study of Disney’s princess live-action remakes." International Journal of Disney Studies 1, no. 1 (2025): 33–51. https://doi.org/10.1386/ijds_00003_1.

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From 2014 to 2023, The Walt Disney Company launched five princess live-action remakes and two adaptations to update its iconic female characters. In both media discussions and academic literature, these revamped princess productions have been celebrated for their embodiments of fourth-wave feminist qualities, such as confidence, independence and girl power. However, the exact process of framing women’s empowerment on-screen – translating abstract feminist ideologies into specific visualizations and bodily performances of Disney princesses – has been treated as a taken-for-granted phenomenon pl

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Benardete, Jane. "The Princess Casamassima and Tennyson's The Princess." Henry James Review 19, no. 2 (1998): 183–88. http://dx.doi.org/10.1353/hjr.1998.0014.

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Ingle, Zachary. "Princess Mononoke: Understanding Studio Ghibli’s Monster Princess." Historical Journal of Film, Radio and Television 39, no. 3 (2019): 624–26. http://dx.doi.org/10.1080/01439685.2018.1563391.

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Iswalono, Astrinda N., and Listiyanti Jaya Arum. "DISNEY PRINCESS SEQUELS IN THE PERSPECTIVE OF SECOND WAVE FEMINISM IN AMERICA." Rubikon : Journal of Transnational American Studies 8, no. 1 (2021): 62. http://dx.doi.org/10.22146/rubikon.v8i1.65485.

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Disney Animation Production, one of the media manifesting American sociology phenomena, discovered a breakthrough by depicting Princess movies. Starting with the appearance of Snow White (1937), followed by Cinderella (1950) and other sequels of Princess movies, Disney reflected one important progress of American history. The development of the sequels was estimated to be under the appeal of the Second Wave Feminism movement. Hypothesizing the change was within American society, a gender study by Nancy Hewitt would direct the observation of the study. The First Period Princesses (1937-1959) re

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Cho, Bok Hyeon. "The Marriage of Li Yuan-hao of Xi-xia and Khitan Princess Xing Ping the War between Khitan and Xi-xia." Institute of History and Culture Hankuk University of Foreign Studies 84 (November 30, 2022): 187–216. http://dx.doi.org/10.18347/hufshis.2022.84.187.

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Xixia and Khitan maintained friendly relations between the two countries through their marriage to Li Ji Qian and princess Yi Cheng. And secondly, Li Yuan-hao and princess Xing Ping could be married. Although Li Yuan-hao was an outstanding monarch who founded the country, he also had a side to the immoral tyrant.Li Yuan-hao married Khitan princess Xing Ping. But She died of illness seven years after her marriage, and Khitan did not visit her when she died. Later, when Khitan's envoy asked the cause of the princess's death, he gave no answer, which angered the Khitan emperor. Xixia had st

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Uppal, Charu. "Over Time and Beyond Disney—Visualizing Princesses through a Comparative Study in India, Fiji, and Sweden." Social Sciences 8, no. 4 (2019): 105. http://dx.doi.org/10.3390/socsci8040105.

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Disney animated princesses are broadcasted around the world through Disney Channel and its global affiliates as well as through numerous other networks that purchase distribution rights. In an attempt to provide diversity in the last 25 years, Disney has featured nonwestern princesses such as those in Aladdin (1992), Pocahontas (1995), Mulan (1998), and Moana (2016). This study examines how princesses in animated Disney movies are perceived and understood by girls (8–15 years) in three different countries, over two time-periods with a gap of nearly a decade (2009 and 2018). The primary researc

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Moorehead, Paul. "Princess Abra." Annals of Internal Medicine 148, no. 1 (2008): 80. http://dx.doi.org/10.7326/0003-4819-148-1-200801010-00011.

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Holloway, John. "Deserving Princess." Hudson Review 41, no. 3 (1988): 449. http://dx.doi.org/10.2307/3851478.

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Carniel, Jess. "Commonwealth Princess?" Persona Studies 7, no. 1 (2021): 33–47. http://dx.doi.org/10.21153/psj2021vol7no1art1459.

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Prior to the Sussexes’ departure from their roles as senior royals, there was a significant attempt to construct for the Duchess of Sussex the persona of the “Commonwealth Princess”. There were two main purposes to this persona. The first was to use both the Duke and Duchess of Sussex and their popularity to leverage a more modern face to monarchy in the Commonwealth. The second purpose, stemming from this, was to maintain and strengthen contemporary relations with Commonwealth nations. Markle’s biracial identity was an important part of this strategy and persona as it became a means to connec

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Read, Rupert. "Princess Di." Philosophers' Magazine, no. 4 (1998): 14–15. http://dx.doi.org/10.5840/tpm199845.

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Maitland, Sara. "Autumn princess." Book 2.0 7, no. 2 (2017): 215–19. http://dx.doi.org/10.1386/btwo.7.2.215_7.

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de Silva, Daya. "The Princess." South Asian Review 27, no. 3 (2006): 62–68. http://dx.doi.org/10.1080/02759527.2006.11932467.

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Nocentelli, Carmen. "Spice Race: The Island Princess and the Politics of Transnational Appropriation." PMLA/Publications of the Modern Language Association of America 125, no. 3 (2010): 572–88. http://dx.doi.org/10.1632/pmla.2010.125.3.572.

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Recent scholarship has located John Fletcher's The Island Princess (1621) in the historical context of the early modern “spice race” but has not addressed the extent to which the intra‐European tensions staged in the play also enact an international contest for symbolic and cultural resources. Taking as its starting point Fletcher's acknowledged sources, Bartolomé Leonardo de Argensola's Conquista de las islas Malucas (1609) and Louis Gédoyn de Bellan's “Histoire memorable de Dias espagnol, et de Quixaire princesse de Moluques” (1615), this essay places The Island Princess in the thick of an a

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Johnson, Michelle. "She's Beauty and She's Grace(less): The Mercurial Femininity of the Modern Disney Princess." Congress on Research in Dance Conference Proceedings 2016 (2016): 229–34. http://dx.doi.org/10.1017/cor.2016.31.

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Focusing on characters from Disney's three most recent “princess” films, Tangled (2010), Brave (2012), and Frozen (2013), I examine the development and divergence of these figures from “classic” Walt Disney models. Their mercurial character, as illustrated through gesture and movement, presents a firm contrast with and significant departure from their predecessors in films such as Cinderella (1950) and Sleeping Beauty (1959)—protagonists who exhibited a static character reflective of their social roles through the “embodiment” of balletic grace. Expanding on existing research comparing Walt Di

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Juraini, Astri, Dina Wulansari, Muhammad Abrar Muda, and Dina Syarifah Nasution. "Moral and Cultural Values in the Story of Putri Pukes from Central Aceh." Journal of Linguistics, Literature, and Language Teaching (JLLLT) 1, no. 2 (2022): 69–75. http://dx.doi.org/10.37249/jlllt.v1i2.379.

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Princess Pukes is the small kingdom's beloved girl and the only child. Because she denied his mother, who said she should not look back when escorted to the groom's house before passing through the Pukes area. But because she couldn't stand her parents' choice, the princess accidentally looked back, suddenly lightning struck, and the rain was weighty. So Putri Pukes took shelter in the cave. Inside the cave, Putri Pukes stood in a corner because of her cold body temperature. Slowly the princess's body hardened and turned into stone. The prince who entered first heard the news that the princess

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Gregorio, Laurence A. "A Quarrel inLa Princesse de Clèves: Ancient Princess and Modern Nemours." Seventeenth-Century French Studies 29, no. 1 (2007): 81–87. http://dx.doi.org/10.1179/175226907x187528.

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