Relevant bibliographies by topics / Puppets in literature

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

Academic literature on the topic 'Puppets in literature'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 March 2023

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Journal articles on the topic "Puppets in literature"

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Ayers, Shan R. "American Puppetry: Collections, History and Performance. Edited by Phyllis T. Dircks. Foreward by Steve Abrams. Jefferson, NC: McFarland, 2004; pp. vii + 326. $39.95." Theatre Survey 46, no. 2 (2005): 351–53. http://dx.doi.org/10.1017/s0040557405400204.

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American Puppetry: Collections, History and Performance, edited by Phyllis T. Dircks, is a valuable collection of essays on the state of puppet theatre in America and useful documentations of extant collections that will serve puppeteers. Dircks identifies the need for this work in her introduction when she, rightly, comments that “[f]ortunately, thousands of puppets from various cultures and many time periods have been collected by scholars, enthusiasts and curators, who wisely realized that these material images can teach us much about the society for which they were crafted” (4). Her careful and thorough collection chronicles the well-known, such as Bread and Puppet, the Muppets, and Howdy Doody, as well as the lesser-known facts in the field of puppetry—for example, Peter Arnott's use of puppets to stage plays from classical dramatic literature. The volume is also up to date; the work of Julie Taymor is discussed for its fusion of human performers with the surreal and for its highly imaginative puppet creations.
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Ratchatakorntrakoon, Ratchaneekorn. "Taleng Phai: A Chakrabhand Puppet Play: Characteristics of Performance Literature." MANUSYA: Journal of Humanities 25, no. 1 (2022): 1–22. http://dx.doi.org/10.1163/26659077-25010017.

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Abstract This research examines literary techniques used in the adaptation of Lilit Taleng Phai to a Chakrabhand puppet play and analyzes characteristics of Taleng Phai: A Chakrabhand Puppet Play as performance literature. The study reveals that four literary techniques were used to make this adaptation: 1) adaptation of the content; 2) the characters; 3) the pattern; and 4) the presentation. These adaptations contribute to the characteristics of puppet play as performance literature through five conventions: 1) use of an invocation for puppet performance; 2) inclusion of puppet songs; 3) insertion of jokes; 4) method of delivery of puppets to the stage; and 5) not ending with the death of a character. Importantly, the play includes three innovations of puppet performance: 1) the creation of a puppet play from historical literature; 2) the creation of an atmosphere in a puppet performance; and 3) the creation of songs and a singing format.
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Indriyani, Jiphie Gilia, Kholidah Sunni Nafisah, Ainur Rosidah, et al. "Adaptasi Cerita Kakawin Arjuna Wiwaha pada Pewayangan Jawa Lakon Arjuna Wiwaha." SULUK: Jurnal Bahasa, Sastra, dan Budaya 1, no. 1 (2020): 31–36. http://dx.doi.org/10.15642/suluk.2019.1.1.31-36.

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Kakawin Arjunawiwaha is the first milestone of literature in East Java, in which there is a perfection of life as explained in other stories of wayang. Arjuna as the most handsome puppet play is an ideal illustration of Javanese culture about the image of a knight. This study aims to find out the story of Kakawin Arjuna Wiwaha in the Javanese puppet play of Arjuna Wiwaha. This study uses a qualitative research method based on a literature review of Kakawin Arjuna Wiwaha Wiryamartana (1987) which has been translated into Indonesian. The results of the study include: (1) Describing the story of Kakawin Arjuna Wiwaha in the Javanese puppet story Arjuna Wiwaha, (2) The characters in Kakawin Arjuna Wiwaha used in Javanese puppets of Kakawin Arjuna Wiwaha, (3) The response of the Javanese community towards Javanese puppets Arjuna Wiwaha adapted from the story of Kakawin Arjuna Wiwaha, especially on the characteristics of Arjuna as a person who is knighted, powerful and exemplary. Overall, it can be seen that there is a connection between the story of Kakawin Arjuna Wiwaha and the Javanese puppet play of Arjuna Wiwaha.
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Schumann, Peter. "What, At the End of This Century, Is the Situation of Puppets & Performing Objects?" TDR/The Drama Review 43, no. 3 (1999): 56–61. http://dx.doi.org/10.1162/105420499760347324.

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Purwaningsih, Dominika Anggraeni. "PUPPET MOVEMENTS IN STRUCTURE-SPECIFIC TRADITIONAL PAPER CUT OUT ANIMATION PRODUCTION." Ultimart: Jurnal Komunikasi Visual 13, no. 2 (2020): 61–68. http://dx.doi.org/10.31937/ultimart.v13i2.1821.

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Physical paper puppets are inanimate objects, but when we’re speaking in terms of the production of traditional paper cut out animation, they become the actors and the souls that drive the movie. When shooting and animating traditional paper cut out animation, the puppets are laid flat on a surface so they can only move in limited directions compared to conventional 2D or 3D animation. As we know, each character in animated movie has its own personality and unique to each other. The challenge lays in bringing out the characteristics and personality of the character through the limited medium of paper puppet. In this qualitative research, puppet movements will be applied to quadruped cat characters in a public service announcement titled “Spay & Neuter”. The puppet along with the visual design, segmentations, and joints were done in previous research. Qualitative observations and audio-visual materials are used to collect the data for references. Literature review will study the characteristics of cats, body language, behaviour, and principles of animation especially timing and exaggeration. Observation is conducted by studying the movements of real cats from online videos and direct observations and also studying how other animators animate cat characters in animated films. In the exploration stage, paper puppets will be animated according to the movement design while experimenting with the timing and frame rate of the stop motion to achieve the final results.
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Orenstein, Claudia. "The Object in Question: The FIDENA International Puppetry Festival." TDR/The Drama Review 59, no. 2 (2015): 164–69. http://dx.doi.org/10.1162/dram_a_00457.

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Germany’s FIDENA puppetry festival’s provocative offerings, with shows drawn from visual arts and dance, without traditional puppets at their center, prompts reflections on the shifting boundaries of puppetry arts, the new notion of “material performance,” and, within this new rubric, the continuance of elements essential to puppetry.
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Pradana, Gede Yoga Kharisma. "IMPLICATIONS OF COMMODIFIED PARWA SHADOW PUPPET PERFORMANCE FOR TOURISM IN UBUD, BALI." Journal of Business on Hospitality and Tourism 4, no. 1 (2018): 70. http://dx.doi.org/10.22334/jbhost.v4i1.103.

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The purpose of this article is to examine the phenomenon of Balinese shadow puppet performances as a tourism entertainment spectacle in Ubud, Bali. Basically, the Parwa shadow puppet shows as Balinese shadow puppets are stag for the purposes of traditional ceremonies with long duration. In contrast to the type of Parwa shadow puppet show in Ubud is stag for tourism, only it's stag with a shorter duration. This phenomenon certainly raises a big question about the implications of stag such performances for tourism.This article is prepared to use qualitative research methods. All data were obtained through literature study, interview and observation. After all data is obtained, it is analyzed by using the perspective of cultural studies.The results show that the commodification of Parwa shadow puppet shows for tourism has economic, social and cultural implications. Economically, the commodification of the Parwa shadow puppet show for tourism has already had implications for a change in instrumental value, adding profit to cottage owners and retailers. Socially, the commodity has implications in the popularity as well as the identity of shadows puppet group. Culturally has implications for the preservation of cultural identity in the context of tourism, mediation of cultural promotion to tourists, cultural degradation of puppets and the difficulty of enculturation.
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Lanberg, O. A., L. G. Khayet, and T. V. Kadinskaya. "Systemic Puppet Therapy in Rehabilitation Practice." Bulletin of Rehabilitation Medicine 99, no. 5 (2020): 88–93. http://dx.doi.org/10.38025/2078-1962-2020-99-5-88-93.

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The concept of systemic puppet therapy proposed by the authors is described. Therapeutic work with puppets is a promising method of psychological assistance as part of rehabilitation processes. Its insufficient use is due to its low structurality. The phased application of morphological analysis and synthesis made it possible to streamline the known and develop new effective methods of puppet therapy. The proposed systemic puppet therapy is an ordered polymodal set of static (lining on the table or on the floor of a puppet arranged set) and dynamic (presenting history on behalf of the puppet or staging a performance) methods, individual and group methods, face-to-face and remote forms of work, algorithms for their choice.The size, material and design of puppets, quantitative and qualitative composition of their therapeutic set are justified. Methods of puppet therapy of different degree of structuring and depth of exposure for patients with different level of intelligence are described, including category and scope of application of the technique, instructions to the patient, plan of results discussion,transformation procedure providing therapeutic effect. Implementing a polymodal approach, after working with puppets, patients painted, composed and analysed works of literature andart. The field of puppet therapy intersected with the fields of drama-, mask- and art therapy, body-oriented and verbal therapy, psychodrama and system arrangements. Puppet therapy content included work with feelings and emotions, with the process of communication and social roles, with verbal and non-verbal diagnostics and self-diagnostics, with personal features and a system of relationships,with values and needs, with existential problems of patients. Systemic puppet therapy is applicable to a wide range of nosological categories, therapeutic situations, physical condition, intellectual level, gender and age characteristics of patients.The conditions and examples of application of techniques in the National Medical Research Centre of Rehabilitation and Balneology with the tasks of correcting unproductive attitudes and the system of patient relations, correcting perceptions of oneself; capacity-building and resource search; development of a compliance installation and active participation in rehabilitation are given.
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Blumenthal, E. "Portfolio: Political Puppets." Theater 36, no. 3 (2006): 83–93. http://dx.doi.org/10.1215/01610775-2006-005.

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Habiburrahman, Lalu. "Locality vs Globality: Wayang Sasak's Practice and Teaching in the World Literature." Jurnal Kependidikan: Jurnal Hasil Penelitian dan Kajian Kepustakaan di Bidang Pendidikan, Pengajaran dan Pembelajaran 8, no. 4 (2022): 1063. http://dx.doi.org/10.33394/jk.v8i4.5834.

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This research aims to examine the issue of the relationship between locality and globality which is the practice of Sasak puppets in teaching global literary values. The research was conducted on the work on the play Brambang Ulung, one of Amir Hamzah's series of stories in the Sasak puppet. The method combines ethnographic studies, video recordings, literature reviews and interviews. Processing the data using the movie avi 15 plus and excel. This research applies discourse analysis and representation of the Bourdieusian model. Data analysis showed that the field practice lasted all night around 6:56:21 (six hours and fifty-six minutes and twenty-one seconds, divided into preparation, 0.27:20 or 6.75%; modal gending with a duration of 1:30:47 or 21.80%; and the play modal with a duration 4:58:18 or 71.63%. The analysis of the play modal with a duration of 4:58:18, found the main play modal is in Middle Javanese language, 2:35:51 or 52.26%; the intermediate play modal is in Middle Javanese and Sasak language, with time duration 0:52:40 or 17.66%; and Sasak language play modal with a duration of 1:29:43 or 30.08%. This study reveals the global (Arabic) literary value of Amir Hamzah's story, including da'wah. This practice is a legacy of local teaching networks and pre-modern global. Ricci termed this network with Arab Kosmopolis, a literary network that forms a network of ummah. Pre-modern models of local and global relations, such as in the field practice of Sasak puppets, appear grounded. This is different from the model in local textbooks, wayang Sasak and other local contexts are taught as complementary.
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Dissertations / Theses on the topic "Puppets in literature"

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McDermott, Lydia M. "It's different with puppets." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1180977676.

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Harris, Jason Marc. "The Angle of Desire and Other Stories." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1395068706.

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Andersson, Sapir Erika. "Cowboys, meat-puppets och razor-girls : Ett genusperspektiv på kroppen i William Gibsons Neuromancer." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-85671.

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Cyberpunk som litterär genre tar ofta upp teman som berör kroppen och dess förhållande till teknik på olika sätt. I denna uppsats studeras mäns och kvinnors förhållande till sin egen kropp och synen på manliga och kvinnliga kroppar i cyberpunk-romanen Neuromancer av William Gibson, utifrån Yvonne Hirdmans teorier om genus. I analysen av romanen kan man se två huvudsakliga spår utifrån Hirdmans tre formler för förhållandet mellan könen, varav det tydligaste är det som Hirdman kallar jämförelsens formel. Kvinnor ses som impulsstyrda och kroppsliga medan män står för intellektet och en längtan efter att lämna kroppen bakom sig. Eftersom kvinnor ses som kroppsliga, blir det kroppsliga också något kvinnligt och därmed något oönskat för de manliga karaktärerna. I cyberpunken modifierar kvinnor sina kroppar för att kunna stanna kvar i dem, medan män modifierar sina kroppar för att kunna lämna dem.
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Maciel, Aline Razzera. "Shakespearean puppets." reponame:Repositório Institucional da UFSC, 2012. http://repositorio.ufsc.br/xmlui/handle/123456789/94017.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Cominicação e Expressão, Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente, Florianópolis, 2010<br>Made available in DSpace on 2012-10-25T05:36:56Z (GMT). No. of bitstreams: 1 283000.pdf: 1152628 bytes, checksum: c9430c4a829c7b4a1930a446b281196d (MD5)<br>Through a study of adaptations of Shakespeare#s plays into Puppet heatre, this research explores dramatic and human body adaptations, discussing Shakespearean rewritings in a show performed with puppets, focusing on both the way the human body and Shakespeare#s dramatic body are adapted. The corpus is the play 100 Shakespeare, performed by the Brazilian company Pia Fraus, consisting of an adaptation of nine Shakespearean play-texts. The sketches selected are: Hamlet, Othello, and Titus Andronicus, since they present elements which characterize both textual and bodily adaptations. This thesis draws theoretical parameters mainly from Linda Hutcheon, who stresses that each person experiences differently the same adaptation because of his background; from Patrice Pavis, who believes that an adaptation can modify the meaning of a play; from Ana Maria Amaral, who defines puppet as an inanimate object which portrays human beings or animals, and is animated by an actor-manipulator; from Pilar Amorós and Paco Parício, who contribute to several notions regarding Puppet Theatre; from Valmor Nini Beltrame, who presents some principles of manipulation of puppets; and from Heinrich von Kleist#s ideas regarding the marionette#s superiority to human beings. Based on the identified parameters, this research points out the possibilities of considering puppets as adaptations of human body and mind, and as humanizations of Shakespearean characters, by analyzing how sketches are adapted, puppets manipulated, and characters developed.<br>Através de um estudo sobre adaptações de peças de Shakespeare para o Teatro de Formas Animadas, essa pesquisa explora adaptações do corpo dramático e humano, discutindo reescrituras de Shakespeare em um espetáculo representado com bonecos, enfocando a questão da adaptação do corpo humano e do corpo dramático de Shakespeare. O corpus é a peça 100 Shakespeare, representada pela Compania brasileira Pia Fraus, que consiste na adaptação de nove peças de Shakespeare para o Teatro de Formas Animadas. As esquetes selecionadas são: Hamlet, Otelo e Titus Andronicus uma vez que estas apresentam elementos que caracterizam adaptações textuais e corpóreas. Esta dissertação utiliza parametros teóricos, sobretudo, de Linda Hutcheon, que aponta que cada pessoa experiencia uma mesma adaptação diferentemente de outra por causa de sua formação; de Patrice Pavis, que acredita que uma adaptação pode modificar o significado de uma peça; de Ana Maria Amaral, que define #boneco# como objeto inanimado que retrata seres humanos ou animais e que é animado por um ator-manipulador; de Pilár Amorós e Paco Parício, que contribuem com diversas idéias a repeito do Teatro de Formas Animadas; de Valmor Nini Beltrame, que apresenta alguns princípios da manipulação de bonecos; e das idéias de Heinrich von Kleist a respeito da superioridade da marionete em relação ao serhumano. Baseando-se nos parametros identificados, esta dissertação aponta para as possibilidades de considerar os bonecos adaptações do corpo e da mente humana e humanizações de personagens Shakespeareanas, analisando como as esquetes são adaptadas, como os bonecos são manipulados e como as personagens são desenvolvidas.
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Guglietta-Possamai, Daniela. "The twists and turns of a timeless puppet: Violence and the translation and adaptation of Carlo Collodi's "Le avventure di Pinocchio"." Thesis, University of Ottawa (Canada), 2008. http://hdl.handle.net/10393/27783.

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This thesis explores two English translations of Carlo Collodi's Le avventure di Pinocchio (1883), one by British translator M. A. Murray in 1891 and the other by American translator Walter S. Cramp in 1904. It also examines Walt Disney's adaptation of Pinocchio (1940) for the screen, and in the process studies how the different English target cultures and systems have motivated and influenced translators' and adaptors' decisions and how, therefore, translations and adaptations are necessarily products of their environment. My approach is to focus specifically on moments of violence in Collodi's text, and use them as particularly 'hot' text situations from which to study the English translations. These translations are placed into and then analysed in regard to their respective reconstructed socio-cultural, literary and translation contexts. The norms governing the British and American translators' and American adaptor's respective versions provide some insight into the translators' and adaptor's approach to violence in children's literature and help identify possible reasons for the differences between the source and the target texts, and also between the different translations. Skopostheorie, Descriptive Translation Studies, polysystem theory and norm theory all play a role in the analyses.
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Kline, Daniel P. "Bringing Pocci’s “Hansel and Gretel” to America: A Study and Translation of a Puppet Show." Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1211208363.

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Esberg, Högsten Ida. "”Livet blir liksom lite roligare, busigare och fantasifullare om dockor är med i förskolans verksamhet” : Hur dockan används för kommunikation med grund i forskning." Thesis, Karlstads universitet, Institutionen för pedagogiska studier (from 2013), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-71142.

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The purpose of this study is to find out if dolls are used as an artifact in preschools for communication, language and identity development - based on previous research. It also examines the teachers' opinions about what a doll or puppet is. To be able to look in to this I sent out a survey with questions and got responses from 176 informants within the preschool. The result shows that dolls are frequently used by many preschool teachers, but around 40-50% had not taken part in any research or education on the subject. The result also shows that the teachers usually associates the word ‘doll’ with baby dolls”. Some conclusions I can see after this study is that the dolls place in the preschool is determined based on adults' opinions about it. The doll is often used as a communicative tool but not always consciously or with a basis in research.<br>Syftet med denna studie är att undersöka om dockor används inom förskolan som en artefakt för kommunikation, språk och identitetsskapande utifrån tidigare forskning. Den undersöker även pedagogers svar om vad en docka respektive puppet är. Detta behandlas genom svar på enkäter från 176 informanter inom förskolan varav 138 är utbildade förskollärare och 38 är utbildade barnskötare.    Resultatet visar att dockor används frekvent av många förskollärare och barnskötare men runt 40–50% har inte tagit del av forskning eller utbildning inom ämnet. Resultatet visar också att pedagogerna oftast tänker på dockan i form av bebisdockor vid ordet ’docka’. Några slutsatser jag kan se efter denna studie är att dockans plats på förskolan avgörs utifrån vuxnas åsikter om den. Dockan används ofta som ett kommunikativt redskap men inte alltid medvetet eller med grund inom forskning.
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Feeman, Kelley Laurel. "ADAPTING IMAGINATION: A COGNITIVE THEORY FOR ADAPTING COMICS TO THE STAGE." Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami1564738881854803.

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Ratet, Jennifer. "Du littéraire au marionnettique : réécritures de textes littéraires sur la scène marionnettique contemporaine." Thesis, Montpellier 3, 2019. http://www.theses.fr/2019MON30052.

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Une part conséquente de la production marionnettique puise sa matière dans des textes-sources issus de la littérature. Je me suis interrogée sur ce qui distingue ces spectacles de marionnettes des « créations originales ». Cette contribution se veut une analyse des rapports entretenus entre les données textuelles et leurs réappropriations scéniques d’un point de vue technique, thématique et esthétique. Son objectif de recherche est de déterminer s’il existe une poétique de la réécriture du littéraire par le marionnettique. J’ai d’abord construit un corpus de spectacles avec pour critères d’inclusion l’utilisation d’un texte-source ainsi que la date et le lieu de création : XXIe siècle en occident. J’ai ensuite récolté des données par le biais d’analyses de spectacles marionnettiques et d’échanges avec des praticiens de le marionnette. J’ai enfin structuré l’articulation de notre réflexion qui se développe autour des trois axes suivants : les opérations de modifications apportées au texte-source visant à résoudre les contraintes techniques et narratives, les modes et les modalités d’expression marionnettiques narrativement actifs et les dynamiques interactives qui font du présent scénique une source d’enjeux en termes de narration<br>A significant part of puppet production draws its material from source-texts from literature. I asked myself what distinguishes these puppet shows from «original creations». This contribution is an analysis of the relationship between textual data and their scenic reappropriation from a technical, thematic and aesthetic point of view. Its research objective is to determine if there is a poetics of the rewriting of the literary by puppetry. I first built a corpus of shows with the inclusion criteria of the use of a source text as well as the date and place of creation: 21st century in the West. I then collected data through analyses of puppet shows and exchanges with puppet practitioners. Finally, I have structured the structure of our reflection around the following three axes: the operations of modifications made to the source-text in order to solve technical and narrative constraints, the modes and modalities of narratively active puppet expression and the interactive dynamics that make the present scene a source of matters in terms of narration
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Poitrenaud-Lamesi, Brigitte. "« Pinocchio, un enfant parallèle » : La question du père et du fils dans l’œuvre de Carlo Collodi (1826-1890)." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040233.

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Écrivain dramatique, romancier, nouvelliste et conteur, Carlo Collodi (1826-1890), à sa mort, est avant tout reconnu comme un journaliste de talent, auteur apprécié de livres pour enfants. Paradoxalement, l’œuvre de Collodi, sous la plume de ses biographes les plus célèbres, devient ensuite celle d’un seul livre : Le avventure di Pinocchio. Storia di un burattino (1883), un chef-d’œuvre isolé « écrit par hasard » (selon l’expression de P.Pancrazi). La recherche récente de type philologique – en particulier les travaux de Daniela Marcheschi – réinsère Pinocchio dans un ensemble littéraire faisant fonction d’atelier de création, dans lequel se sont élaborés les outils stylistiques et thématiques ancillaires de l’œuvre majeure. Une étude intertextuelle, ainsi qu’une approche de type anthropologique, de l’ensemble du corpus collodien, montrent que Pinocchio est l’aboutissement d’une recherche existentielle : le projet collodien, paré de la magie des contes de fées, explore les limites du vivant et de l’inanimé, il pose la question de l’intégrité des êtres. L’analyse textuelle révèle que l’auteur a tenté, avec Pinocchio, une opération de « reproduction », de régénération, un engendrement sans la mère: la création du pantin n’est pas celle d’un être nouveau mais initialement celle d’un double du vieillard, rajeuni. Voilà pourquoi « l’enfant parallèle », auquel Collodi donne corps, n’est pas le fruit d’un désir de paternité classique, mais l’objet d’une entreprise chimérique visant à refuser le destin mortel de l’homme<br>Carlo Collodi (1826-1890) playwright, novelist, short story writer and storyteller was, at his death, known primarily as a talented journalist and author of popular books for children. Paradoxically, Collodi’s work, according to his most famous biographers, had been reduced to a single book: Le avventure di Pinocchio. Storia di un burattino (1883), an isolated masterpiece "written by chance" (in the words of P. Pancrazi). Recent philological research - in particular the work of Daniela Marcheschi - reinserts Pinocchio into a literary corpus that functioned as a creative writing workshop, in which the stylistic and thematic tools subordinate to the main work were developed. An intertextual study and an anthropological approach to the complete works of Collodi show that Pinocchio is the culmination of an existential search: Collodi’s design, adorned with the magic of fairy tales, is to explore the limits of the animate and the inanimate and raise the question of the integrity of the human being. Textual analysis shows that what the author attempted with Pinocchio is a project of reproduction or regeneration, a sort of engendering without the mother: the puppet he created is not initially a new being, but rather a duplicate of the old man rejuvenated. That is why "the parallel child " to which Collodi gives life stems not from the desire for traditional paternity, but from the impossible dream of refusing the mortal destiny of man
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Books on the topic "Puppets in literature"

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Puppets. Rourke Press, 2001.

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Doney, Meryl. Puppets. F. Watts, 1995.

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Samantha, Berger, and Jim Henson Foundation, eds. Puppets. Scholastic, 1999.

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Vanessa, Bailey, ed. Puppets. Gloucester Press, 1991.

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Llewellyn, Claire. Puppets. Franklin Watts, 2012.

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Llewellyn, Claire. Puppets. Franklin Watts, 2008.

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Henry, Sally. Puppets. Franklin Watts, 2011.

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Puppets. Smart Apple Media, 2006.

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Puppets. Celebration Press, 1996.

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Peter, McNiven, and Fairclough Chris ill, eds. Puppets. Thomson Learning, 1995.

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Book chapters on the topic "Puppets in literature"

1

Hargrave, Matt. "Puppets, players and the poetics of vulnerability." In The Routledge Companion to Literature and Disability. Routledge, 2020. http://dx.doi.org/10.4324/9781315173047-30.

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Jurkowski, Henryk. "Between Literature and Plastic Art." In Aspects of Puppet Theatre. Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-33845-7_3.

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Kelly, Catriona. "Petrushka and the Pioneers: The Russian Carnival Puppet Theatre after the Revolution." In Discontinuous Discourses in Modern Russian Literature. Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-19849-8_5.

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Berger, Renate. "Metamorphose und Mortifikation Die Puppe." In Weiblichkeit und Tod in der Literatur. Böhlau Verlag, 1987. http://dx.doi.org/10.7788/9783412307226-012.

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Pacchioni, Federico. "Poetry and Politics of the Emilian Puppet: Bertoluccian Memories." In The Image of the Puppet in Italian Theater, Literature and Film. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-98668-1_9.

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Pacchioni, Federico. "Yearning for Vitality: The Italian Avant-Garde and the Puppet." In The Image of the Puppet in Italian Theater, Literature and Film. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-98668-1_5.

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Pacchioni, Federico. "The Remediation of the Puppet: Theater of Animation and Early Cinema." In The Image of the Puppet in Italian Theater, Literature and Film. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-98668-1_3.

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Pacchioni, Federico. "The Pupo and the Theater of Life: Pasolini’s Dream." In The Image of the Puppet in Italian Theater, Literature and Film. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-98668-1_8.

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Pacchioni, Federico. "Conclusions." In The Image of the Puppet in Italian Theater, Literature and Film. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-98668-1_12.

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Pacchioni, Federico. "Burattino, a Name and an Idea: From Commedia dell’Arte to Pinocchio." In The Image of the Puppet in Italian Theater, Literature and Film. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-98668-1_2.

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Conference papers on the topic "Puppets in literature"

1

Insani, Hikmah Nur. "The Use of Puppet in Teaching Speaking to Young Learners." In Tenth International Conference on Applied Linguistics and First International Conference on Language, Literature and Culture. SCITEPRESS - Science and Technology Publications, 2017. http://dx.doi.org/10.5220/0007173206830688.

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Santoso, Trisno, and Bagus Setyawan. "Wayang Golek Menak: Wayang Puppet Show as Visualization Media of Javanese Literature." In Proceedings of the 1st Seminar and Workshop on Research Design, for Education, Social Science, Arts, and Humanities, SEWORD FRESSH 2019, April 27 2019, Surakarta, Central Java, Indonesia. EAI, 2019. http://dx.doi.org/10.4108/eai.27-4-2019.2286930.

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Purnamawati, Dyah Hanggraheni, and Sri Harti Widyastuti. "The Values of Leadership in the Puppet Show: Bisma Gugur by Ki Manteb Soedarsono." In 1st International Conference on Language, Literature, and Arts Education (ICLLAE 2019). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200804.076.

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U Teng, HO. "Transformations of the Live Dog in the “Proteus” Chapter of Ulysses and Shadowed Puppet Play in Plato’s Parable of the Cave." In Annual International Conference on Language, Literature & Linguistics. Global Science & Technology Forum (GSTF), 2012. http://dx.doi.org/10.5176/2251-3566_l31276.

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Widayat, Afendy, and Avi Meilawati. "Sugriwa and Subali in Purwa Puppet: Descriptive Ethics Perspective." In Proceedings of the Third International Seminar on Recent Language, Literature, and Local Culture Studies, BASA, 20-21 September 2019, Surakarta, Central Java, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.20-9-2019.2296827.

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Harahap, Ahmad, Hafniati Hafniati, Herlina Hrp, and Tiarma Siallagan. "Developing German Short Story (Kurzerzählung) during the “COVID-19” Pandemic into a Puppet Show (Puppenspiel) as a Literature Teaching Material in German Department of FBS UNIMED (State University of Medan)." In Proceedings of the 3rd International Conference on Innovation in Education, Science and Culture, ICIESC 2021, 31 August 2021, Medan, North Sumatera Province, Indonesia. EAI, 2021. http://dx.doi.org/10.4108/eai.31-8-2021.2313794.

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