Academic literature on the topic 'Sleeping beauty (fictitious character)'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Sleeping beauty (fictitious character).'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Sleeping beauty (fictitious character)"
1
Piters-Hofmann, Ludmila. "Sleeping Beauty." Experiment 23, no. 1 (October 11, 2017): 45–54. http://dx.doi.org/10.1163/2211730x-12341299.
Full textAbstract:
Abstract At the beginning of the twentieth century, Viktor Vasnetsov (1848-1926) started his work on the cycle Poema semi skazok [The Poem of Seven Fairy Tales] (1900-26). This self-imposed task included seven monumental paintings depicting popular Russian folktales. Yet, among the representations of famous Russian fairy tale characters, there is a canvas that centers on the Spiashchaia tsarevna [Sleeping Tsarevna] (1900-26), a character originally from Western Europe. This article will focus on the depths of the impact of Western traditions on this seemingly Russian painting by first elaborating on the development of Sleeping Beauty as a character in fairy tales and the spread of her popularity as far as Russia and second by analyzing the painting itself for Russian and European elements in composition and style.
2
Kaczyńska, Barbara. "“Because he’s worth it”: Heroization of the Male Rescuer in Retellings of the “Sleeping Beauty” Tale Typ." Humanistyka i Przyrodoznawstwo, no. 24 (December 20, 2018): 89–104. http://dx.doi.org/10.31648/hip.2598.
Full textAbstract:
The paper discusses some retellings of the “Sleeping Beauty” tale type (ATU 410) ranging from the 14th to the 21st century: a chivalric romance, literary fairy tales, and films, both animated and live-action. The analysis focuses on the portrayals of the male rescuer figure. His heroization and idealization seem to be a relatively new addition to the “Sleeping Beauty” myth and constitute a strategy that allows to mitigate the savior-aggressor ambivalence of the character and the violence implicit in the tale.
3
Nurhalidasia, Nurhalidasia, and Rosmah Tami. "The Character Alteration of Maleficent From Sleeping Beauty into Maleficent Movie." Jurnal Adabiyah 16, no. 2 (December 23, 2016): 138–48. http://dx.doi.org/10.24252/jad.v17i116i2a4.
Full text
4
Muhartoyo, Muhartoyo, and Keilly Kristani. "Directive Speech Act in The Movie “Sleeping Beauty”." Humaniora 4, no. 2 (October 31, 2013): 949. http://dx.doi.org/10.21512/humaniora.v4i2.3536.
Full textAbstract:
Pragmatics is one of linguistics studies that is quite attractive to learn more about. There are many aspects of pragmatics; one of them is dealing with speech acts. Speech acts consist of many categories; one of them is directive speech act. This study aims to identify the directive speech act performed in “Sleeping Beauty” movie. Likewise, it will find out how often the directive speech act performed and which type of directive speech act that are most frequently used in the movie. This study used qualitative method in which data collection is done by watching the movie, analyzing the body movement and the dialogues of each character, reading the script and library research. A total of 139 directive speech acts were successfully identified. The result of analysis showed that the directive speech act of ordering is the most frequently used in the movie (21,6%). The least frequently used directive speech act is inviting directive speech act (0,7%). The study also revealed the importance of directive speech act in keeping the flow of storyline of the movie. This study is expected to give some useful insights in understanding what directive speech acts is.
5
Della, Fara, and Barnabas Sembiring. "AN ANALYSIS OF DIRECTIVE SPEECH ACTS BY SEARLE THEORY IN “SLEEPING BEAUTY” MOVIE SCRIPT." Journal of English Education and Teaching 2, no. 1 (June 7, 2018): 22–27. http://dx.doi.org/10.33369/jeet.2.1.22-27.
Full textAbstract:
This research aims to find out the types of Directive Speech Acts by the characters in “Sleeping Beauty” movie script based on the theory that proposed by Searle theory and analyze the types of directive speech acts that most frequently used in the movie script and the possible reason for it. The subject of the research was the script of the conversation between the characters. The type of this research is Descriptive Quantitative research. In this research, the researcher used documentation as the instrument. The object of this study is the “Sleeping Beauty” movie script by Casper Van Dien. The results of the research show that, first, the types of directive speech acts were Command, request, permission, prohibition, and question. Second, the types of directive speech act that most frequently used were command type. In terms of types, the command is in the highest rank (51 utterances) and prohibition ( 2 utterances)) is in the lowest rank. In terms of reason, the command types (51 utterances) is the most frequently used, because it usually shows the strength of each character very clearly. And also the movie genre also influences the use of its directive speech acts itself.
6
Daulay, Resneri. "HEROINE AND PRINCESS: WOMEN IMAGE PORTRAYED IN SELECTED DISNEY’S STORIES." JURNAL BASIS 8, no. 1 (April 21, 2021): 109. http://dx.doi.org/10.33884/basisupb.v8i1.3553.
Full textAbstract:
The purpose of this study is to revealed the women image portrayed in selected Disney’s stories. There are several stories of Disney’s movie adaptation that are used as object in this research. There are Sleeping Beauty (Disney, 2014), Snow White (Brothers Grimm, 1812), Beauty and The Beast (Gabrielle-Suzanne Barbot, 1740), Cinderella (Giambattista Basile, 1634), Mulan (Guo Maoqian, 1992), and Brave (Disney, 2012). In addition, the aim of this research is also to identify the characteristics of female characters in selected Disney’s stories related to the Heroine and Princess attitude. This study used qualitative research; descriptive qualitative methods are used to analyze data. This study used three main concepts of semiotics theory by Roland Barthes, there are meaning of denotation, connotation, and myth. This study also applied feminism approach accordance to women attitude as heroine and princess. In this study, the researcher found some results. First, this study indicated the women image portrayed in Disney’s stories contains two images, they are women as heroine and princess. Women image as heroine is revealed in Beauty and the Beast, Mulan and Brave. Meanwhile, women as princess is portrayed in Sleeping Beauty, Snow White and Cinderella. Then, there are several characteristics found in Disney’s stories that represent the woman’s character as heroine and princess. They are from the feminism such as submissive, kind and gentle, domestic role, damsel in distress, emotional balance, craving for freedom (independent and brave), willing to sacrifice and has ability to stand up to the antagonist.
7
Widyahening, Ch Evy Tri, and Nugraheni Eko Wardhani. "Deconstruction of maleficent characters in the movie titled 'maleficent'." Linguistics and Culture Review 5, S3 (November 5, 2021): 1453–67. http://dx.doi.org/10.21744/lingcure.v5ns3.1681.
Full textAbstract:
The purpose of this study was to analyze 1) Maleficent character deconstruction, 2) female image deconstruction in the story, and 3) character values ??contained in the studied films. The research method used is a qualitative method with an emphasis on the character of Maleficent. Data collection techniques used are literature study techniques or documentation studies. The data analysis technique analyzes the content or text-based deconstruction survey theory, which begins with selecting data from the rewatching film 'Maleficent' and the rereading of the Sleeping Beauty fairy tale. The idea was used to search for opposition binaries and analyze Maleficent's character both in the film and in the original fairy tale. The results showed that Maleficent's existence was deconstructed into a figure of a magic woman who was kind, compassionate, motherly and always maintained the calm and safety of Princess Aurora. Deconstruction takes place on other supporting characters in evil films, such as the king and princess Aurora. The deconstruction can be seen in the image of women depicted in the film. Princess Aurora's image is deconstructed into a vital, assertive, straightforward, brave, and critical figure.
8
Kalmakurki, Maarit. "Snow White and the Seven Dwarfs, Cinderella and Sleeping Beauty: The Components of Costume Design in Disney’s Early Hand-Drawn Animated Feature Films." Animation 13, no. 1 (March 2018): 7–19. http://dx.doi.org/10.1177/1746847718754758.
Full textAbstract:
Costumes in feature films can be deliberately used for narrative purposes to reveal or conceal something related to the plot, functioning as a key element for cinematic storytelling. Costume design in animation is an integral part of character creation; however, relatively little is known about the design process. Previous research concentrates on either the history of hand-drawn animation, the principles of making animated films or character construction. This article presents several key components of the animators’ costume design process in Walt Disney’s animated feature films Snow White and the Seven Dwarfs (1937), Cinderella (1950) and Sleeping Beauty (1959). The author demonstrates that the costume design in these films was a multi-layered process. For example, for Snow White, the costume silhouette of the final animation is visible in the early conceptual designs whereas, for Cinderella or Princess Aurora, the principal character animators designed the final costume. Additionally, the slow production time influenced the style of the costumes: small details on costumes and complex constructions were not used as it would have taken too long for them to be drawn. The article also reveals that animators used live-action filming and rotoscoping as tools for designing costumes. Furthermore, costumes that were used in pre-production filming for rotoscope were different in their construction from everyday garments. The work of a costume designer existed in the character design process, although not as a separate profession. This article aims to highlight the importance of characters’ costumes in Disney’s early hand-drawn animated films and the different ways costumes have been designed for animated characters.
9
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.
Full textAbstract:
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 Disney–era princesses with those from the Disney Renaissance of the 1980s and 1990s, I explore the significance of this shift in representation. Viewed as a metaphor for contemporary femininity, how do these modern princesses resolve the incongruity between their official social stations, proscribed behavior, and “real” personalities through their bodies over the course of the films?I believe that the conflict staged on these animated bodies is representative of larger societal issues emerging from contested definitions of both feminism and femininity, and that the Disney princess offers a contemporary site for the expression and resolution of this dissonance. Viewing the body of the Disney princess as representative of a larger female “social body” and conflict that occurs within her as indicative of the larger forces that shape female identity, I integrate my study with historical dance scholarship which regarded movement as indicative of the presence of an Apollonian/Dionysian dialectic working within culture.
10
Mahiet, Damien. "The First Nutcracker, the Enchantment of International Relations, and the Franco-Russian Alliance." Dance Research 34, no. 2 (November 2016): 119–49. http://dx.doi.org/10.3366/drs.2016.0156.
Full textAbstract:
Despite the lively scholarly debate on the place of The Sleeping Beauty (1890) in the political and cultural history of the Franco-Russian alliance in the 1890s, the representation of international relations in the first production of The Nutcracker (1892) has so far received little attention. This representation includes the well-known series of character dances in the second act of the ballet, but also the use of French fashion from the revolutionary era to costume the party guests, the mechanical dolls, the toy soldiers, and even Prince Nutcracker. The fairy-tale world offered a frame that not only promoted the absolutist aspirations of Alexander III's regime, but also solved the symbolic challenge of a problematic alliance between republican France and tsarist Russia. The same visual repertoire informed diplomatic life: four years after The Nutcracker, in 1896, the décor for the state visit of Nicholas II and Alexandra Feodorovna in France duplicated that of the fairy-tale world on stage.
Dissertations / Theses on the topic "Sleeping beauty (fictitious character)"
1
Nyh, Johan. "From Snow White to Frozen : An evaluation of popular gender representation indicators applied to Disney’s princess films." Thesis, Karlstads universitet, Institutionen för geografi, medier och kommunikation, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-36877.
Full textAbstract:
Simple content analysis methods, such as the Bechdel test and measuring percentage of female talk time or characters, have seen a surge of attention from mainstream media and in social media the last couple of years. Underlying assumptions are generally shared with the gender role socialization model and consequently, an importance is stated, due to a high degree to which impressions from media shape in particular young children’s identification processes. For young girls, the Disney Princesses franchise (with Frozen included) stands out as the number one player commercially as well as in customer awareness. The vertical lineup of Disney princesses spans from the passive and domestic working Snow White in 1937 to independent and super-power wielding princess Elsa in 2013, which makes the line of films an optimal test subject in evaluating above-mentioned simple content analysis methods. As a control, a meta-study has been conducted on previous academic studies on the same range of films. The sampled research, within fields spanning from qualitative content analysis and semiotics to coded content analysis, all come to the same conclusions regarding the general changes over time in representations of female characters. The objective of this thesis is to answer whether or not there is a correlation between these changes and those indicated by the simple content analysis methods, i.e. whether or not the simple popular methods are in general coherence with the more intricate academic methods.Betyg VG (skala IG-VG)
Books on the topic "Sleeping beauty (fictitious character)"
More sourcesConference papers on the topic "Sleeping beauty (fictitious character)"
1
Martinsone-Škapare, Katrīne. "Character Dance Genre in the Creative Work of Ballet Master M. Petipa and Ballet Art Education." In 81th International Scientific Conference of the University of Latvia. University of Latvia Press, 2023. http://dx.doi.org/10.22364/htqe.2023.48.
Full textAbstract:
This research delves into the historical development of the character dance genre in ballet education. By analyzing ballet literature from Latvia and Europe published over the past decade, the study aims to create a theoretical outline of character dance history. This will provide a wider understanding of the genre and serve as a professional teaching tool for academic dance performers and pedagogues. The research focuses on French ballet master M. Petipa’s contribution to the development of ballet art, particularly his character dance “writing” as a means of enriching the choreographical language of classical ballet. The study also examines the interpretation of foreign dance elements and movement composition in classical dance. The enduring value of M. Petipa’s classical ballet works, including Pharaoh’s Daughter, Don Quixote, Bayadere, The Sleeping Beauty, Nutcracker, Swans’ Lake, and Raymonda, are reviewed in the study. The research identifies essential pedagogical principles for the development of ballet education, including the consideration of character dance genre. Ultimately, this study will provide a methodical learning material of a historical period for the professional growth of character dance ballet performers and to preserve M. Petipa’s legacy in classical ballet culture.