Relevant bibliographies by topics / Sleeping Beauty (Tale)

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

Academic literature on the topic 'Sleeping Beauty (Tale)'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2024

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Journal articles on the topic "Sleeping Beauty (Tale)"

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Piters-Hofmann, Ludmila. "Sleeping Beauty." Experiment 23, no. 1 (October 11, 2017): 45–54. http://dx.doi.org/10.1163/2211730x-12341299.

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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.
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Boomkamp, Margreet. "Sleeping Beauty." Rijksmuseum Bulletin 67, no. 2 (June 15, 2019): 142–61. http://dx.doi.org/10.52476/trb.9727.

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The interest in fairy tales grew strongly over the course of the nineteenth century, particularly in Germany, the birthplace of Frans Stracké (1820-1898). Renowned artists made illustrations for popular publications of fairy tales and in the middleof the century characters from fairy tales also appeared in paintings and sculptures. The sculptor Frans Stracké was inspired by this development and in the eighteen-sixties created a Sleeping Beauty and a Snow White. He may have chosen these designs because the sleeping figure offers greater sculptural possibilities, for example in funeral art. He showed Sleeping Beauty at the precise moment she falls asleep, after she had pricked her finger on a spindle. Stracké followed the fairy tale by the Brothers Grimm from 1812, in which the ill-fated event was predicted during the celebration of Sleeping Beauty’s birth. Sleeping Beauty (also known as Briar Rose) was precisely the sort of subject Stracké preferred: he excelled in making genre-like sculpture of a very high standard. This was little appreciated in the Netherlands, whereas in France and Italy practitioners of this type of sculpture enjoyed considerable success. Stracké is credited with introducing contemporary developments in European sculpture into the Netherlands; Sleeping Beauty is a relatively early and typical example.
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George, Sigy. "How Disney Altered the Original ‘Sleeping Beauty’." Indian Journal of Social Science and Literature 2, no. 2 (December 30, 2022): 1–6. http://dx.doi.org/10.54105/ijssl.a1033.122222.

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Fairy tales have been associated with story time at home, in schools and libraries, and bedtime reading rituals for a long time. From Hans Christian Anderson to Brothers Grimm, fairy tales have been part of every generation, and each child has their favorite. Disney’s version of fairy tales has become the accepted version among people. This variation of the famous classic fairy tales and alteration of the original tale to a white man’s tale of love and glory is called Disneyfication. The domination of Disney over these fairy tales has pushed the original lesser-known tales to the background. The old original tales have vintage and rich historical records, and it is sad to see that the Disney interpretation is what everyone remembers in reality. The fairy tales were first told orally to groups of peasants worldwide, and their true beginnings are unclear. The stories were likely first recorded in the 14th century (Zipes, 2001,[13]). The stories evolved from being a kind of amusement for uneducated peasants to being embraced by the middle classes and the nobility as more and more authors started to write their versions of the classics. Each time an author/s altered the fairy tales, it was to match the preferences and deliver what was acceptable. This paper examines one such fairy tale ‘Sleeping Beauty’ and how Disney has altered it. Disney’s adaptation of the fairy tale reflects the company’s domination and how it took over the general psyche of people. This paper seeks answers to the questions: Does Disney’s animated version of fairy tales change the perception of fairy tales like Sleeping Beauty? Is the influence of Disney so dominant that their version is more recognizable to people than the original stories?
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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.

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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.
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Loeffler, Dirk. "HSC aging: a sleeping beauty fairy tale?" Blood 141, no. 16 (April 20, 2023): 1902–4. http://dx.doi.org/10.1182/blood.2023019780.

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Završnik, Jernej, and Peter Kokol. "A tale of a pediatric urology Sleeping Beauty." Journal of Pediatric Urology 12, no. 5 (October 2016): 324–25. http://dx.doi.org/10.1016/j.jpurol.2016.04.032.

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Starostina, A. B. "Daoist priest as magical helper in Pei Xing’s novella “The Tale of Xue Zhao”." Orientalistica 6, no. 3-4 (November 19, 2023): 691–704. http://dx.doi.org/10.31696/2618-7043-2023-6-3-4-691-704.

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The article aims to confirm the hypothesis presented in 2011 that the chuanqi tale “Xue Zhao” by Pei Xing (9th century) contains a sequence of motifs characteristic of the international tale type “Sleeping Beauty” (no. 410 in the Aarne – Thompson Index). The role of the Daoist Celestial master Shen (Shen Yuan / Shen Yuanzhi) as a helper is considered. The author provides some data on the image of Master Shen as the companion of Emperor Xuanzong on his lunar journey in Tang fiction. The article proves the existence of parallel characters to Shen Yuan in the early Western European versions of “Sleeping Beauty”.
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Tanusy, Jeanyfer, and Trisnowati Tanto. "Female Traditional Gender Roles in The Brothers Grimms' Sleeping Beauty." Lire Journal (Journal of Linguistics and Literature) 7, no. 1 (February 9, 2023): 31–42. http://dx.doi.org/10.33019/lire.v7i1.168.

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The tale of the Sleeping Beauty is still one of the well-loved and popular fairy tales among children, especially girls. The story has been adapted into various versions but has not changed essentially—it is always about a princess saved from a curse, about good versus bad. Due to the simple nature of the story, most literary researchers no longer deem this story a valuable source of data anymore although there are still more to uncover from the fairy tale. This study attempts to examine how the female characters in the story are represented from the structural semiotics perspective using two theories proposed by A. J. Greimas, namely the Actantial Model and the Narrative Trajectory. The qualitative method is applied to interpretatively divide the story into different major events, from which an actantial diagram and a trajectory can be made before the representation is drawn. The findings suggest that the female characters in the story are mostly placed as an object of the actantial diagram and a goal in the trajectory; this means that the story puts the female characters in passive roles that comply to the traditional gender roles and female stereotypes.
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Sabrina, Adani Nur. "FIGURES OF SPEECH IN THE SLEEPING BEAUTY IN THE WOOD." Jurnal Sosial Humaniora dan Pendidikan 2, no. 2 (July 24, 2023): 43–48. http://dx.doi.org/10.56127/jushpen.v2i2.804.

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The readers of literary works are not limited by age and background. Not only grown-up adults, but children also have their own literature texts. This research discussed the figures of speech in one of the children’s literature, namely a fairy tale. The purposes of this research are to find the figures of speech in the tale, classify them into categories, and analyze their implementation in the story. Since the data and analysis of this research are in the form of words, this research used a qualitative method. The source of the data is a famous fairy tale by Charles Perrault entitled The Sleeping Beauty in the Wood. The results show there are thirty-one figures of speech that cover two metaphors, three similes, four synecdoches, eleven personifications, eight hyperboles, two meiosis or understatements, and one paradox.
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Judson, Judith. "Dancing the Fairy Tale: Producing and Performing The Sleeping Beauty." Journal of Dance Education 16, no. 2 (April 2, 2016): 71–72. http://dx.doi.org/10.1080/15290824.2015.1064288.

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Dissertations / Theses on the topic "Sleeping Beauty (Tale)"

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Ledwick, Lisa-Mari. ""Soliloquy: the untold story of Sleeping Beauty's dreams"; a re-vision of Charles Perrault's "The sleeping beauty in the woods."." Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/3155.

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Taken as a whole, the purpose of the practical and theoretical components of this research aims to contextualise and present a contemporary fairy tale heroine who recuperates and re-values traditional aspects of femininity within a feminist context.
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Padovani, Francesca. "When Beauty Goes to Sleep: an analysis of the symbolism behind the sleeping beauty tale." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amslaurea.unibo.it/9198/.

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Approaching the world of the fairy tale as an adult, one soon realizes that things are not what they once seemed during story time in bed. Something that once appeared so innocent and simple can become rather complex when digging into its origin. A kiss, for example, can mean something else entirely. I can clearly remember my sister, who is ten years older than I am, telling me that the fairy tales I was told had a mysterious hidden meaning I could not understand. I was probably 9 or 10 when she told me that the story of Sleeping Beauty, which I used to love so much in Disney’s rendering, was nothing more than the story of an adolescent girl, with all the necessary steps needed to become a woman, the bleeding of menstruation and the sexual awakening - even though she did not really put it in these terms. This shocking news troubled me for a while, so much so that I haven’t watched that movie since. But in reality it was not fear that my sister had implanted in me: it was curiosity, the feeling that I was missing something terribly important behind the words and images. But it was not until last year during my semester abroad in Germany, where I had the chance to take a very interesting English literature seminar, that I fully understood what I had been looking for all these years. Thanks to what I learned from the work of Bruno Bettelheim, Jack Zipes, Vladimir Propp, and many other authors that wrote extensively about the subject, I feel I finally have the right tools to really get to know this fairy tale. But what I also know now is that the message behind fairy tales is not to be searched for behind only one version: on the contrary, since they come from oral traditions and their form was slowly shaped by centuries of recountals and retellings, the more one digs, the more complete the understanding of the tale will be. I will therefore look for Sleeping Beauty’s hidden meaning by looking for the reason why it did stick so consistently throughout time. To achieve this goal, I have organized my analysis in three chapters: in the first chapter, I will analyze the first known literary version of the tale, the French Perceforest, and then compare it with the following Italian version, Basile’s Sun, Moon, and Talia; in the second chapter, I will focus on the most famous and by now classical literary versions of Sleeping Beauty, La Belle Au Bois Dormant, written by the Frenchman, Perrault, and the German Dornröschen, recorded by the Brothers Grimm’s; finally, in the last chapter, I will analyze Almodovar’s film Talk to Her as a modern rewriting of this tale, which after a closer look, appears closely related to the earliest version of the story, Perceforest.
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Wilén, Rönquist Olof. "The Changing Nature of Female Portrayal : An Analysis of Gender Roles in Fairy Tales." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-37649.

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This essay examines gender normative and patriarchal elements of the popular fairy            tale Sleeping Beauty in order to expose how patriarchal ideals are upheld. The reason for this is that children may internalize the values taught in these stories, which may lead to them perpetuating patriarchal ideals and gender normative behavior. The popular version of this fairy tale, made by Disney, follows many of the typical patriarchal ideals with a strong male hero, a wicked female witch and a weak and submissive young female, close to nature. This is contrasted by a modern retelling by Cameron Dokey that is, in many ways, gender subversive and challenges the traditional gender roles and attributes. This essay finds that the version made by Disney is a product of its time, and portrays ideals from that period that could affect children of today into internalizing archaic patriarchal ideals. Dokey’s version is better adapted to the current socio-cultural environment and succeeds in aligning the story with modern values and provides a better option to teach children the actual values and gender roles of our society.
Denna uppsats undersöker könsnormativa och patriarkala element i den populära sagan Törnrosa, för att blottlägga hur patriarkala ideal upprätthålls. Anledningen till detta är att barn kan internalisera de värderingar som lärs ut i dessa sagor, vilket kan leda till att de upprätthåller patriarkala ideal och könsnormativa beteenden. Disneys populära version av sagan följer många av de typiska patriarkala idealen, med en stark manlig hjälte, en ond kvinnlig häxa och en svag och undergiven ung kvinna, som är nära kopplad till naturen. Denna version kontrasteras av en modern återberättelse av sagan skriven av Cameron Dokey som på många sätt utmanar traditionella patriarkala könsnormer och sttribut. Disneys version är en produkt av sin tid, och porträtterar ideal från den tiden som kan påverka dagens barn att internalisera ålderdomliga könsideal. Dokeys version är bättre anpassad till den nuvarande socio-kulturella miljön och lyckas med att justera historian till att bättre passa moderna värderingar, och framstår som ett bättre alternativ för att lära barn vårat samhälles könsroller och värderingar.
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Seago, Karen Dagmer. "Transculturations : making 'Sleeping Beauty'; the translation of a Grimm Maerchen into an English fairy tale in the nineteenth century." Thesis, Birkbeck (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.299293.

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Persson, Penzer Anna. "Modern Day Fairy Tales : A comparative study between Amy Plum's Die for Me and the Western Fairy Tale Tradition." Thesis, Högskolan Dalarna, Engelska, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:du-24632.

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Sarnyai, Lili. "Figuring 'Sleeping Beauty' : metamorphosis of a literary and cultural trope in European fairy tales and medicine, c. 1350-1700." Thesis, Birkbeck (University of London), 2016. http://bbktheses.da.ulcc.ac.uk/205/.

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This thesis takes an interdisciplinary approach to a recurrent cultural trope: the figure of the sleeping beauty. Sleeping beauties are young women—paradigms of femininity, paragons of virtue and physical perfection—who lose consciousness and become comatose and catatonic, for prolonged periods. In this unnatural state, these female bodies remain intact: materially incorrupt, aesthetically unblemished. Thus can the body of the sleeping beauty be defined as an enigma and a paradox: a nexus of competing and unanswered questions, uniquely worthy of investigation. This thesis examines the metamorphoses of the figure of the sleeping beauty in literature and medicine between c.1350 and 1700 in order to interrogate the enduring aesthetic and epistemological fascination that she exercises in different contexts: her potency to entrance, her capacity to charm, in both literary and philosophical realms. The widespread presence of the sleeping beauty in literature and art, as well as in the broader social sphere, over the centuries, indicates the figure’s important and ongoing cultural role. Central to this role is the figure’s dual nature and functionality. On the one hand, conceptualized as allegories, sleeping beauties act as receptacles for a complex matrix of patriarchal fears, desires and beliefs about the female body in general, and the virgin and maternal bodies in particular. On the other hand, understood as material or bodily entities, sleeping beauties make these same ideological questions incarnate. Sleeping beauties are, therefore, signs, treated as material bodies, a tension which this thesis explores. As such, they are prime subjects for cross-disciplinary correlational study and historicist analysis: vehicles for comparison and dialogue between literature, medicine, and religion on the issues of power and passivity, sexuality and gender difference, mortality and beauty, nature and the unnatural or supernatural. Sleeping beauties negotiate the boundaries of human desire for, and capacity for belief in, miracles and wonders.
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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.

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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)

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Thompson, Sara. "The words that remain : two theories of performance and the question of identity in contemporary variations of "Sleeping Beauty" /." 2004. http://wwwlib.umi.com/cr/yorku/fullcit?pMQ99392.

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Thesis (M.A.)--York University, 2004. Graduate Programme in Interdisciplinary Studies.
Typescript. Includes bibliographical references (leaves 117-123). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pMQ99392
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Huang, Yen-Yu, and 黃嬿瑜. "Awakening from the Love in Classical Fairy Tales：Exampled with Cinderella, the Sleeping Beauty and Snow White in Grimm’s Fairy Tales." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/3rz9uq.

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碩士
國立臺東大學
兒童文學研究所
95
Classics, presenting humans’ intelligence beyond countries and generations, are a common communication channel, which fosters self-understanding. Fairy tales are not only a magic mirror but enable a female reader to reflect on herself into the innermost. Classical fairy tales, which have been passed down for centuries by word of mouth and are recorded in the written form later, preserve the value of times and literatures. Classical fairy tales lift readers' spirit and strengthen self-identity. Love comes with the self and self-esteem. Only when we love ourselves are we qualified to love others and then others will become complete with love. Among the classical fairy tales containing components of love, the researcher chose Cinderella, the Sleeping Beauty, and Snow White in Grimm’s Fairy Tales to be explored. Based on the three topics, female image, mirror stage , self-awakening, the researcher pursued the ego, probed into the female's unheard voice and awakened through the analysis of the three female characters. In the process, a female is the “One” remains an independent “Self”, not “the Other” who traps in love. In the end, there are four points concluded. First, the female is materialized to be an object at the gaze of the male. Second, the female seeks for self-identification through the female characters. Third, the female expresses her internal feelings by means of reading love stories in fairy tales. Forth, the female’s inner self transforms and self-awakening is aroused. Reviewing the classical fairy tales and inquiring the essence of love, the research found out that females awaken and transcend the limitations of the self before mirror-like fairy tales of reality and illusion.
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Books on the topic "Sleeping Beauty (Tale)"

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Umansky, Kaye. Sleeping beauty. Studio City, CA: Players Press, 2012.

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Disney Enterprises. Pixar Animation Studios. Sleeping Beauty. [London]: Hachette Partworks, 2009.

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1785-1863, Grimm Jacob, and Grimm Wilhelm 1786-1859, eds. Sleeping Beauty. London: Ladybird, 2005.

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Cecilia, Johansson, Grimm Jacob 1785-1863, and Grimm Wilhelm 1786-1859, eds. The sleeping beauty. London: Orchard, 2013.

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Grimm Brothers. Sleeping Beauty: A fairy tale. New York: Abbeville Press, 2001.

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Hayden, Carruth. The sleeping beauty. 2nd ed. Port Townsend, Wash: Copper Canyon Press, 1990.

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Disney Enterprises. Pixar Animation Studios. Walt Disney's Sleeping beauty. Bath: Parragon, 2006.

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Grimm Brothers. The Sleeping Beauty: A fairy tale. New York: North-South Books, 1995.

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Wilson, Mary. Walt Disney's Sleeping Beauty. New York: Random House Children's Books, 2004.

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Disney Enterprises. Pixar Animation Studios. Sleeping Beauty: Birthday princess. Bath: Parragon, 2008.

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Book chapters on the topic "Sleeping Beauty (Tale)"

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Bellas, Athena. "When Sleeping Beauty Wakes: The Twilight Film Series, Liminal Time and Fantasy Images." In Fairy Tales on the Teen Screen, 69–105. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-64973-3_3.

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Murphy, G. Ronald. "Sleeping Beauty." In The Owl, The Raven, & The Dove, 133–52. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195136074.003.0008.

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Abstract When the right King’s Son comes through the hedge of thorns at the appointed moment in time he awakens not just one person held within its time-created frame but all who live (sleep) there. The hedge itself exists as a result of the wish of the old woman who sits and spins thread, a figure of deep mystery from the ancient religious past, known by many names: the Parcae, the Norns, the weird sisters, the fates, or less mythically, the passage of time. When Bruno Bettelheim published his admirable analysis and interpretation of this tale he focused on what in it fascinated him most, the adolescence of the heroine and the 100 years of time.
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"Resistance and Revolt: Cinderella, Snow White and Sleeping Beauty Re-Viewed." In Contemporary Fairy-Tale Magic, 89–98. Brill | Rodopi, 2019. http://dx.doi.org/10.1163/9789004418998_010.

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Zagzebski, Linda Trinkaus. "Sleeping Beauty and the Afterlife (2005)." In God, Knowledge, and the Good, 115–31. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197612385.003.0008.

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Abstract This paper tells a fairy tale aimed at making sense of the idea of a resurrected body identical to the one that died. We have inherited two strands of thought about human persons that are in tension with each other and which force us to make some hard choices. One is the motive to think of human beings as organisms, part of the natural world. The other is the motive to think that an individual person is the sort of thing that is necessarily distinct from everything else in the world, including every other person. A person has determinate persistence conditions and is not replicable. In the story told in this paper, nature cooperates with the strong distinctness of persons. It is possible that there is a substantial form that is a non-duplicable particular, but which cannot exist without informing matter. A certain person exists when and only when that person’s substantial form informs some matter. This interpretation makes the resurrection of that person possible.
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Coste, Jill. "New Heroines in Old Skins: Fairy Tale Revisions in Young Adult Dystopian Literature." In Beyond the Blockbusters, 95–108. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496827135.003.0007.

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This chapter examines three Sleeping Beauty retellings to illustrate the way dystopian scenarios complicate traditional fairy tale tropes. Dystopian literature and fairy tale retellings often feature elements of embodiment, romance, and political activism, and this chapter uses these key notions to consider how the dystopian fairy tale deploys feminist empowerment. While YA dystopian fairy tales often highlight collective action and social activism to resist the status quo, others reproduce troubling representations of passive heroines. This chapter argues that the dystopian YA fairy tale is uniquely primed to address the potential and power of contemporary young women.
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NOE, MARCIA, and LAURA DUNCAN. "“Frau Bauman, Frau Schmidt, and Frau Schwartze” and the Sleeping Beauty Tale." In A Field Guide to the Poetry of Theodore Roethke, 108–14. Ohio University Press, 2020. http://dx.doi.org/10.2307/j.ctv224tz8r.21.

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Leafstedt, Carl S. "The Bluebeard Story At The Turn Of The Century." In Inside Bluebeard’s Castle, 161–84. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195109993.003.0007.

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Abstract For the subject of his first and only opera, Bart6k turned to a modern retelling of the age-old Bluebeard fairy tale, for centuries a familiar children’s story in France, Germany, and England and elsewhere in Europe. Originally one of the Mother Goose tales written by Charles Perrault, where it kept company with such beloved classics as Cinderella, Puss in Boots, Sleeping Beauty, and Little Red Riding Hood, “Bluebeard “ was first published in story form in 1697, and it quickly became a fixture in the pantheon of world children’s literature. Adults from the eighteenth century onward encountered it in dozens of literary recastings, in operas, and in the theater, where the story of the cruel prince who murders his wives for disobeying him was brought to life with a rich variety of plots, settings, and characters.
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Duggan, Anne E. "Binary Outlaws: Queering the Classical Tale in François Ozon’s Criminal Lovers and Catherine Breillat’s The Sleeping Beauty." In New Approaches to Teaching Folk and Fairy Tales, 191–205. Utah State University Press, 2016. http://dx.doi.org/10.7330/9781607324812.c012.

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"Catherine Littlefield and The Sleeping Beauty’s American Premiere (1937)." In Dancing the Fairy Tale, 45–68. Temple University Press, 2015. http://dx.doi.org/10.2307/j.ctvrdf3jt.7.

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Wiley, Roland John. "Nutcracker." In Tchaikovsky’s Ballets, 193–241. Oxford University PressOxford, 1991. http://dx.doi.org/10.1093/oso/9780198162490.003.0007.

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Abstract IN a letter of 25 February/9 March 1890, Tchaikovsky writes to Dé sirée Artot of a ballet to follow Sleeping Beauty, one work in an unrealistically ambitious list of new compositions:Now, dear Madame, you will ask me what I want to do after my opera [The Queen of Spades]? If the Good Lord grants me life and good health, this will be an opera on a French text by J. Detroyat and Gallet that I very much like and which I must do, having promised it to these gentlemen. And then I must absolutely take on a Russian opera of which I have had the poem in hand for two years, and which I have given my word of honour to do.
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Conference papers on the topic "Sleeping Beauty (Tale)"

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Sulman, A., and M. Hatahet. "Sleeping Beauty Is but a Fairy Tale: A Case of Trazodone Associated Neuroleptic Malignant Syndrome." In American Thoracic Society 2023 International Conference, May 19-24, 2023 - Washington, DC. American Thoracic Society, 2023. http://dx.doi.org/10.1164/ajrccm-conference.2023.207.1_meetingabstracts.a5196.

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