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Journal articles on the topic 'Schneewittchen'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 March 2023

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1

Köhler, Myrta. "Schneewittchen in Indien." hautnah dermatologie 34, no. 1 (January 2018): 66. http://dx.doi.org/10.1007/s15012-018-2659-z.

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2

Lee, Seong-Joo. "Schneewittchen als die lebendige Schönheit." Deutsche Sprach- und Literaturwissenschaft 29, no. 1 (March 31, 2021): 421–33. http://dx.doi.org/10.24830/kgd.29.1.18.

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3

Ciupek, Martin. "„Schneewittchen-Sarg“ schützt Rettungsflieger vor Infektionen." VDI nachrichten 75, no. 04 (2021): 4. http://dx.doi.org/10.51202/0042-1758-2021-04-4.

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4

Ursprung, Heinrich W. "Schneewittchen im Land der Klapperschlangen: Evaluation eines Evaluators." Perspektiven der Wirtschaftspolitik 4, no. 2 (May 2003): 177–90. http://dx.doi.org/10.1111/1468-2516.t01-1-00001.

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5

Vlahos, J. C. "Daylength Influences Growth and Development of Achimenes Cultivars." HortScience 25, no. 12 (December 1990): 1595–96. http://dx.doi.org/10.21273/hortsci.25.12.1595.

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Six cultivars of Achimenes, `Blau Import', `Blauer Planet', `Linda', `Prima Donna', `Schneewittchen', and `Tetraelfe', were grown for 16 weeks under short (SD, 8 hours) or long days (LD, 16 hours) at 21C in a greenhouse. LD increased plant height, shoot mass, number of flowers, and accelerated time to anthesis. SD, depending on the cultivar, increased number of rhizomes. Results show differences in several characteristics of growth and development among the cultivars and that LD promote shoot growth and flowering.

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6

Auraix-Jonchière, Pascale. "Les jeux de la reconfiguration dans Schneewittchen de Robert Walser." Féeries, no. 9 (October 15, 2012): 113–38. http://dx.doi.org/10.4000/feeries.825.

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7

Bottigheimer, Ruth B., Ines Köhler-Zülch, Christine Schojaei Kawan, and Ines Kohler-Zulch. "Schneewittchen hat viele Schwestern: Frauengestalten in europäischen Märchen. Beispiele und Kommentare." Die Unterrichtspraxis / Teaching German 22, no. 1 (1989): 97. http://dx.doi.org/10.2307/3530063.

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8

ALBİZ, Ümmügülsüm. "DIE UBERSETZUNGSSCHWIERIGKEITEN UND UBERSETZUNGSPROBLEME AM BEISPIEL VON GRIMMS MÄRCHEN: ROTKÄPPCHEN UND SCHNEEWITTCHEN." Journal of Academic Social Sciences 120, no. 120 (2021): 60–77. http://dx.doi.org/10.29228/asos.52065.

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9

Prince, Nathalie. "Le merveilleux à la renverse : de Schneewittchen des Grimm à Neigefleur de Jean Lorrain." Féeries, no. 9 (October 15, 2012): 85–106. http://dx.doi.org/10.4000/feeries.821.

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10

Dätwyler, Myriam. "Il était une fois… La compréhension et le malentendu chez Robert Walser." Cahiers du Centre de Linguistique et des Sciences du Langage, no. 44 (March 23, 2016): 15–29. http://dx.doi.org/10.26034/la.cdclsl.2016.523.

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Cet article propose une réflexion autour du malentendu dans un dramolet de Robert Walser, intitulé Schneewittchen (‘Blanche-Neige’). Une brève introduction des enjeux autour du malentendu en littérature est suivie par l’analyse du dramolet rédigé par Walser en 1901. Celle-ci se concentre d’une part sur le malentendu dans le texte (entre les personnages du dramolet), d’autre part sur le malentendu inhérent au texte (entre le texte et le lecteur). L’oeuvre de Walser est caractérisée par une ouverture herméneutique: elle ne donne pas de réponse définitive au lecteur. Elle est marquée par l’ambiguïté, l’opacité et la polysémie. L’article pose la question de la relation entre cette poétique d’ouverture pratiquée par Walser et le malentendu. Ce dernier peut-il servir de clé de lecture ou devient-il obsolète face à la multiplication de lectures possibles? Ainsi, l’analyse de la position du lecteur face au texte devient primordiale et sert de fil rouge. La dernière partie évoque le silence comme possible recours à l’incompréhension et au malentendu et tente de placer le dramolet dans le développement plus large d’une pratique littéraire souvent qualifiée de «moderne».

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11

Berghoff, Daniel. "Es war 4 mal – Érase 4 veces: Ein Theaterprojekt im DaF-Unterricht der Deutschen Schule Valdivia." Scenario: A Journal of Performative Teaching, Learning, Research IX, no. 1 (January 1, 2015): 86–96. http://dx.doi.org/10.33178/scenario.9.1.5.

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Um die Siebtklässler der Deutschen Schule Valdivia in Chile zum Deutschlernen zu motivieren, wurden im Schuljahr 2013 zwei der insgesamt sechs wöchentlichen Deutsch als Fremdsprache (DaF)-Stunden erstmalig als Theaterkurs angeboten. Ziel des Pilotprojektes war es, die mündliche Kommunikation der Schülerinnen und Schüler1 zu verbessern und gleichzeitig ihre kreativen Ausdruckfähigkeiten zu fördern. Alle Schüler der Jahrgangsstufe erhielten so die Möglichkeit, Deutsch auf eine kreative Art zu lernen und vor allem in der Praxis anzuwenden. Im ersten Schulhalbjahr wurden zunächst viele verschiedene Bereiche des Theaters spielerisch thematisiert. Der Theaterunterricht aller drei Lerngruppen fand natürlich auf Deutsch statt, so dass einerseits das Hörverständnis der Schüler gefördert wurde, andererseits durch die eigenständige Entwicklung der späteren Dialoge für eine Aufführung die Sprachpraxis geübt wurde. Als Thema wurde das Märchen von Schneewittchen gewählt, welches von den drei Gruppen verfremdet werden sollte. So entstanden drei kurze, moderne Versionen auf Deutsch. Eine vierte Version wurde von der spanischsprachigen Theater-AG entwickelt. Die beiden Theaterlehrer führten als Jakob und Wilhelm Grimm durch den Abend und bereiteten das nicht-deutschsprachige Publikum bilingual auf Spanisch und Deutsch auf die Handlung vor. Der Erfolg des Pilotprojekts führte dazu, dass Theater im DaF-Unterricht an der Schule fest im Curriculum verankert wurde. Im Artikel wird erläutert, wie auch an anderen Schulen nach ähnlichem Schema, Theater im DaF-Unterricht die mündliche Kommunikation fördern und stärken kann.

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12

Cassagnau, Laurent. "“Plaudern auf dem bekiesten Weg / sei des Gezankes frohes End”. Dépassement du tragique par le dialogue ? Schneewittchen. Ein Dramolett de R. Walser." Cahiers d’études germaniques 47, no. 2 (2004): 67–82. http://dx.doi.org/10.3406/cetge.2004.1654.

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13

Cunha, Roseli Barros. "A Blancanieves Andaluza de Pablo Berger: Tradução e Intermidialidade." Tradterm 38 (February 23, 2021): 234–51. http://dx.doi.org/10.11606/issn.2317-9511.v38p234-251.

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Em 2012, Schneewittchen – ou Branca de Neve, como a conhecemos em português –, dos irmãos Jacob e Wilhelm Grimm (1812), ganha mais uma releitura. O filme Blancanieves, do diretor Pablo Berger, é inspirado no conto (mais especificamente, Märchen) recolhido da tradição oral pelos filólogos alemães. A proposta deste artigo é, partir de duas traduções para o português do Brasil, a saber, a de Tatiana Belinky (2013) e a de Christine Röhrig (2014), examinar as relações intermidiáticas entre as obras literária e cinematográfica à luz dos estudos de Irina Rajewsky (2012) e Claus Clüver (2011), principalmente, no que se refere à caracterização da personagem principal, Branca de Neve, de seus pais, do lugar e da época onde ocorre a ação tanto do conto quanto do filme. Na produção de Berger, personagens, espaço e tempo contidos na obra dos Grimm são evidentemente ressignificados a partir de elementos do flamenco e das touradas, associados à cultura tradicional cigana presente, por sua vez, na tradição popular do sul da Espanha. A presença desses elementos faz com que a obra dialogue com outras produções bastante conhecidas sobre tais temáticas e os estereótipos que se perpetuam em relação a elas tanto na Espanha quanto fora dela ao longo de séculos. Analiso como ocorre o processo de ressignificação e de que modo ela discute ou não conceitos e preconceitos sobre elementos populares e tradicionais muito associados ao que se costuma entender por ‘cultura espanhola’, principalmente a partir do apoio teórico de Rafael Jover (2007), Francisco Aix Gracia (2002) e Gerhard Steingresse (2002).

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14

Vitanova-Ringaceva, Ana, Dragana Kuzmanovska, Vesna Koceva, Snezana Kirova, and Bijlana Ivanova. "PHRASEOLOGISMS AND THEIR FUNCTION IN THE BUILDING OF THE MOTIVE "INNOCENTLY PROSECUTED HEROINES" IN THE GRIMM BROTHERS’ FAIRY TALES." KNOWLEDGE - International Journal 54, no. 5 (September 30, 2022): 779–85. http://dx.doi.org/10.35120/kij5405779v.

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The original corpus of the linguistic material for this paper are the Grimm Brothers’ tales, in original inGerman and translated into Macedonian, English and Italian. The indicated phraseologisms are widely used today inboth languages, which only proves their fluency in modern language trends. The basic criterion for classificationrefers to the phraseologisms that are related to the main character in the fairy tale, i.e., the hero who goes through hisown initiation journey. In this paper the focus shifts to the two heroines in the fairy tales "Snow White" and"Cinderella" who have the common status of "innocently persecuted heroines". The tales "Snow White" and"Cinderella" are the two most famous tales by the Brothers Grimm. Jakob and Wilhelm Grimm's interest in Germanfairy tales began in 1812 with the publication of Kinder - und Hausmärchen ("Children's and Household Tales").The fairy tales "Snow White" (Schneewittchen) and "Cinderella" (Achenputtel) were then published. Although thereare many variants of these stories in the world and with different titles, we would still dwell on their integral text.The aim of this scientific research paper is to present the similarities and differences in the phraseological units thatare used in the same context, but in completely different language systems: German, English, Italian andMacedonian. The linguistic approach initiates the conclusion that phraseological units function at the morphological,syntactic and semantic level of the text, which means that they have a wide range of meanings. Phraseologisms arespecific linguistic expressions composed of two or more words that form linguistic units recognizable for thelinguistic environment of the speaker. The linguistic-cultural richness of the indicated languages, Macedonian andGerman and English and Italian is recognized by using phraseologisms as a tool for presenting the external andinternal description of the character, but also the description of his/her socio-economic status in the community. Thephraseologisms referring to the heroines in both tales are characterized by imagery, which gives the text a richcolorful structure. The imagery is achieved through the use of the comparative approach, i.e., through phraseologicalunits that are built on the basis of comparison; the text is also enriched at reception and each reader creates his/herown individual image. The phraseological material in the fairy tales is quite rich, especially in the fairy tale "SnowWhite". These two most widespread tales of the Brothers Grimm are analyzed in science from various aspects. Forus, the target group were students who, in the process of education, acquired knowledge about the meaning ofphraseological units and are able to recognize them in a given text. The work fuses the knowledge from the field offolklore and from the field of language, in correlation with the teaching process, through which students acquirenecessary knowledge from both fields of interest. However, this paper aims to detect the comparativephraseologisms used to describe the characters of the two heroines with a similar character structure. Both fairy talesare in the subgenre of tales of "innocently persecuted heroines", a fairy tale motif with a long history and deepantiquity. We will look into comparative phraseologisms through five different prisms:1. physical attributes of the character: handsome, ugly, thin, fat, short, tall2. character traits: good, bad, clever, stupid, brave, timid, proud3. emotional state of the character: love, hate, fear, anger, revenge4. socio-economic status of the character: poor, rich, learned, simple5. attitude towards others in the environment: understanding, tolerance, helping, misunderstanding

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15

Taverna, Erhard. "Schminke fr Schneewittchen." Schweizerische Ärztezeitung, June 3, 2020. http://dx.doi.org/10.4414/saez.2020.18695.

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16

Covindassamy, Mandana. "Das kleine Schneewittchen." Germanistik in der Schweiz, 2013. http://dx.doi.org/10.24894/1664-2457.90125.

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17

Taverna, Erhard. "Schminke fr Schneewittchen." Bulletin des Médecins Suisses, June 3, 2020. http://dx.doi.org/10.4414/bms.2020.18695.

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18

Knessl, Lothar. "Heinz Holligers „Schneewittchen" an der Oper Zürich." Österreichische Musikzeitschrift 53, no. 12 (January 1998). http://dx.doi.org/10.7767/omz.1998.53.12.59b.

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19

Ursprung, Heinrich W. "Schneewittchen im Land der Klapperschlangen: Evaluation eines Evaluators." Perspektiven der Wirtschaftspolitik 4, no. 2 (January 2003). http://dx.doi.org/10.1515/1468-2516.t01-1-00001.

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20

Wulandari, Julia, and Setiawati Darmojuwono. "ADJECTIVES PERTAINING TO GOOD AND EVIL IN THE TALES OF THE BROTHERS GRIMM AND THEIR UNIVERSAL VALUES." International Review of Humanities Studies 6, no. 1 (January 28, 2021). http://dx.doi.org/10.7454/irhs.v6i1.305.

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The values of good and evil in the tales recounted by the Brothers Grimm are so universal that they have become an integral part of world literature. The research data for this paper was compiled from three tales, Aschenputtel (Cinderella), Rapunzel, and Schneewittchen (Snow White). This research project analyzed the language used in the stories to assess the values of virtue and evil that prevailed in reality in German society at the time the stories were compiled, and that are still valid today. This paper intends to describe the 19th century German concepts of good and bad, the pan-German values embedded in the folktales, and their universal moral appeal to diverse cultures of global human civilization. Qualitative literature study and descriptive data analysis are the methods employed in this investigation. The results indicate that the concept of virtue refers to beauty and generosity, but being good causes the protagonists to suffer. On the other hand, the concept of evil, as described in the three Grimm brothers stories that have been analyzed, refers to heartlessness and wickedness. The antagonists keep endangering the protagonists but eventually, the good characters live happily ever after. The conflict between good and evil is presented through the daily activities of human life that apply to people of varied cultural backgrounds.

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