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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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Kokol, Peter. "Research letter: Metasynthesis – Fairy tale of a nursing sleeping beauty." International Journal of Nursing Studies 59 (July 2016): 38–40. http://dx.doi.org/10.1016/j.ijnurstu.2016.02.013.
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Berlianti, Anisa Dyah. "The stereotypical representation of women in the classic fairy tales Snow White, Cinderella, and Sleeping Beauty." Indonesian Journal of Social Sciences 13, no. 1 (June 15, 2021): 21. http://dx.doi.org/10.20473/ijss.v13i1.26352.
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The stereotype that emerges from some classic fairy tales is a princess who has a beautiful face and an angelic heart, a prince on a white horse who is handsome and charming, and a happy ending forever. These three sweet things are generally always the main menu served in bedtime fairy tales, including the classic fairy tales Snow White, Cinderella, and Sleeping Beauty. Besides sounding beautiful, the plot and characterization presented in the classic fairy tale represent a woman through feminine standards packaged through stereotypes. This research uses qualitative research methods and narrative analysis. The research results found details of the seven functional characters of the characters in the fairy tale. It can then be seen that various stereotypical representations aimed at women in the three tales, ranging from the obsession with natural beauty, misconceptions about the meaning of ambition, and marriage, are the solution for all the problems of a woman.
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Arnavas, Francesca. "Love, the Moon, and the Body: George MacDonald's "The Light Princess" and "Little Daylight" as Reflections on the Embodied Mind." Marvels & Tales 37, no. 2 (2023): 198–216. http://dx.doi.org/10.1353/mat.2023.a923682.
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Abstract: In George MacDonald's "The Light Princess," the connection between states of mind and bodily reactions is represented and explored, with a particular focus on the meaning of lightness and heaviness in relation to love and emotions—which the form of the tale itself mirrors by alternating comedy and tragedy. Likewise, "Little Daylight" offers innovative meditations on the female body, its changes, and its interrelation with the mind's states. Both stories are inspired by the traditional tale "Sleeping Beauty," but they propose a very different take on the unconscious sleep of mind and body portrayed in the original story by concentrating instead on their complex and dynamic intertwinement. This article aims to elucidate and analyze the provocative representations of the two princesses' embodied minds in George MacDonald's unconventional and ingenious fairy tales.
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Gupta, Maureen. "Laura Katz Rizzo, Dancing the Fairy Tale: Producing and Performing The Sleeping Beauty." Dance Research 34, no. 1 (May 2016): 109–10. http://dx.doi.org/10.3366/drs.2016.0150.
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Stocchetti, Nino. "Sleeping Beauty: A tale still with an uncertain happy ending after head trauma*." Critical Care Medicine 35, no. 4 (April 2007): 1216–17. http://dx.doi.org/10.1097/01.ccm.0000259172.19375.9f.
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Articoni, Angela. "LO SCHERMO TRA LE PAGINE. PER UNA LA RILETTURA DE LA BELLA ADDORMENTATA NEL BOSCO, GENESI E METAMORFOSI DI UNA FIABA." Revista Internacional de Culturas y Literaturas, no. 21 (2018): 186–201. http://dx.doi.org/10.12795/ricl.2018.i21.14.
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La metafora della “Bella Addormentata”, archetipo del femminile che si risveglia solo con “il bacio del vero amore”, inteso come bisogno imprescindibile della figura maschile per la realizzazione del proprio sé, va mutando attraverso il rapido evolversi delle trasformazioni sociali e culturali. I film Maleficent e La belle endormie ribadiscono il valore del femminile all’interno delle narrazioni simboliche. Parole chiave: Letteratura per l’infanzia, La Bella Addormentata, fiabe, cinema.
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Quealy-Gainer, Kate. "The Curse of the Thirteenth Fey: The True Tale of Sleeping Beauty (review)." Bulletin of the Center for Children's Books 66, no. 5 (2013): 270. http://dx.doi.org/10.1353/bcc.2013.0051.
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Skowera, Maciej. "Model baśni filmowej w złotym wieku wytwórni Walta Disneya (wraz z późniejszymi modyfikacjami)." Wielogłos, no. 1 (47) (July 2021): 151–81. http://dx.doi.org/10.4467/2084395xwi.21.007.13582.
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[Model of a Film Fairy Tale in the Disney Golden Age (with Later Modifications)] The article attempts to determine the constitutive elements of a model film fairy tale in the so-called Disney Golden Age and to examine how it was used in later works, both these created by the studio and those by unrelated creators. After preliminary remarks, the author analyses three feature-length animated films: Snow White and the Seven Dwarfs (1937), Cinderella (1950), and Sleeping Beauty (1959). In these works, as he notes, one can notice a set of features that make up the classic Disney model of a film fairy tale. Next, the author discusses modifications applied to the pattern during the Disney Renaissance and Revival. Finally, he cites examples of cultural texts polemical to this paradigm which point to the cultural vitality and heterogeneity of the studio’s films.
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Tautz, Birgit. "A Fairy Tale Reality?: Elfriede Jelinek's Snow White, Sleeping Beauty , and the Mythologization of Contemporary Society." Women in German Yearbook: Feminist Studies in German Literature & Culture 24, no. 1 (2008): 165–84. http://dx.doi.org/10.1353/fgs.2008.a254030.
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This article examines a central tenet of Elfriede Jelinek's work, the perpetuation of myth(s) surrounding gender and the mythologization of contemporary society. Specifically, my reading focuses on the "princess myth." Analyzing Jelinek's rewritings of Snow White and Sleeping Beauty , the first two of a cycle of Princess Plays (1998-2003), I demonstrate how the author exploits the fairy tale reservoir of German High Romanticism and how she scrutinizes its popularization. Furthermore, she appropriates poetic techniques of Early Romanticism. As a result, Jelinek's dramas construct Woman as victim and accomplice of male power, while transgressing this image through linguistic deconstruction and play. By probing the possibility of a "disturbance" in the proliferation of gender identity, Jelinek creates spaces for imaginary (dis-)identification. The article concludes with Jelinek's commentary on the death of Diana, Princess of Wales, and thus traces the powerful impact of the princess myth in contemporary Western society. (BT)
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Kowalczyk, Kamila. "Transformacje wzorców baśniowych w literaturze dziecięcej obecnej na współczesnym rynku wydawniczym." Literatura i Kultura Popularna 23 (May 31, 2018): 135–51. http://dx.doi.org/10.19195/0867-7441.23.9.10.
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Transformation of fairy tales patterns in children’s literature available on the contemporary publishing marketWhat the contemporary publishing market offers the youngest readers are texts that make various forms of fairy tale characters — a strongly representative group among them consists of texts that are transformations of fairy tale patterns that are deeply rooted in the mass imaginations including children’s imagination, which promote a new version of a well-known story: fairy tale renarrations. Such texts not only constitute evidence of changes in the fairy tale genre, but also prove the continuous updates on fairy tales. The aim of the article is to present and discuss how the authors modify specific characteristics of the fairy tale and play with its tradition. The examples of recognizable fairy tale patterns that are deeply rooted in the culture Little Red Riding Hood, Snow White, Hansel and Gretel, Sleeping Beauty, Cinderella were used to present the primary mechanisms of use and modification of fairy tales in children’s literature on the post-2000 Polish publishing market.The description of intertextual relationships between the fairy tale patterns and their renarrations renarration mechanisms has been supplemented with an analysis of influence of popular culture on children’s literature interpenetrating of cultural and literary circulations and the fashion for fairy tales. The studied works include those that have been written with gender education in mind, promotion of knowledge on rights of a child or the environment and those primary aim of which is to entertain the young audience through reading. The article is also an encouragement to reflection on the genealogy of contemporary fairy tales and the shape, in which the “children’s fabulous fairy-tale-sphere” functions, and the factors that influence it.
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Kim, Sun-nyeo. "Comparison of the ‘Sleeping Beauty’ version: the overlapping ‘mythical’ image and the ‘fairy tale’ of modern children’s literature in Bang Jeong-hwan’s Sleeping Princess." Korea Association of Literature for Children and Young Adlult 29 (December 31, 2021): 93–130. http://dx.doi.org/10.24993/jklcy.2021.12.29.93.
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Sosnizkaja, Margarita S. "Parallels of A.S. Pushkin’s tales and Giambattista Basile’s “Tale of Tales” of 17th century." Neophilology, no. 21 (2020): 134–40. http://dx.doi.org/10.20310/2587-6953-2020-6-21-134-140.
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First in Russian the collection “Tale of Tales” by the Neapolitan writer Giambattista Basile (1566–72?–1632) was published in 2016. Most people know plots fragments of the collection from the tales of Brothers Grimm, Carlo Gozzi, Charles Pierrot and A.S. Pushkin. Inspired by the book the movie “Tale of Tales” was shot in 2015, it was directed by Matteo Garrone and got the Italian national film award “Davide di Donatello”. There are some selected plots of these tales; we indicate who actually is “the little animal” (and the Puss in Boots), what mythological background the figures of the Swan Princess, the Dead Princess have. We also consider the Dead Princess’s relation to different world roving plots, including “The Sleeping Beauty” by P.I. Tchaikovsky. We present analogies in rites and customs of the Russian (as well as Ukrainian) folk tales, a pantheon of gods from different peoples, Old Testament. The meaning of the names we establish along with the alchemical formula of A.S. Pushkin, of N.V. Gogol’s Viy and Basile’s Mother of Time; there is also the characterization of N.V. Gogol by P.V. Annenkov (1813–1887). We show the trans-alphabetic coincidence of the meaning of multilingual words, of the calendar names with the mythologic gods’ names related to the different planets. We also present the A.N. Afanasyev’s analysis of one Basile’s fairy tales from in the “Poetic views on nature of the Slavs”, and there are given some thoughts of V.Y. Propp (1895–1970) on the identified topics along with a brief assessment on the oeuvres of A.S. Pushkin given by the renowned specialist in literature P.V. Palievsky (1932–2019).
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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.
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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.
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Segers, Hendrik, and Russell J. Shiel. "Tale of a Sleeping Beauty: A New and Easily Cultured Model Organism for Experimental Studies on Bdelloid Rotifers." Hydrobiologia 546, no. 1 (September 2005): 141–45. http://dx.doi.org/10.1007/s10750-005-4111-8.
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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.
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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.
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Travagliati, Anna. "From illustrating poems to creating a picture book: Creative collaborations with Italian author Anna Travagliati, Italian artist Serena Della Bona and US translator and editor Bristin Scalzo Jones." Book 2.0 13, no. 1 (July 1, 2023): 51–74. http://dx.doi.org/10.1386/btwo_00082_1.
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In this article, author Anna Travagliati explores her creative collaborations with artist Serena Della Bona and translator and editor Bristin Scalzo Jones, in the form of summaries of two projects: Presagi | Omens: A Collection of Illustrated Poetry in Italian and in English (2021), whose English translation was carried out by Jones, and their latest project, the picture book La Cavaliera e la Notturna | The Knightess and the Nocturne, an original story which reinterprets the familiar fairy tale Sleeping Beauty. A large part of the article consists of interviews conducted by the author with Serena Della Bona and Bristin Scalzo Jones, who detail their respective backgrounds, interests, professional practices and their views on collaboration and on creating picture books for a young adult and adult readership. These interviews centre feminist collaboration in both content and form, in so far as they allow this article to push back against masculine individualistic conceptions of authorship by providing a polyphony of female voices, spoken in their own words. The article is accompanied by two appendices which provide examples from both Omens and The Knightess and the Nocturne.
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Weida, Courtney Lee, Carlee Bradbury, and Jaime Chris Weida. "Poetics of the Fairy Tale Princess: Products, Problems, & Possibilities / Poésie de la princesse des contes de fées : produits, problèmes et possibilités." Canadian Review of Art Education / Revue canadienne d’éducation artistique 46, no. 2 (September 13, 2019): 17–32. http://dx.doi.org/10.26443/crae.v46i2.67.
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Abstract: In the following paper, the authors analyze the prevalence of princess culture in the literature, film, and visual culture of young people. An art educator, art historian, and professor of English literature, the authors propose creative interventions through alternative resources and readings. Focusing on foundations of media studies and literature of Fairy-Tale Studies and girlhood studies, this interdisciplinary collaboration investigates complex creative predicaments of girlhood and princess media. Utilizing Princess Aurora and Sleeping Beauty as a case study and focal point, the authors discuss their collaborative arts research intended to explore problems and possibilities of princess culture. Keywords: Art Education; Arts Research; Fairy Tales; Media Studies, Princesses.Résumé : Les auteurs analysent la prévalence de la culture des princesses dans la littérature, les films et la culture visuelle des jeunes. Les auteures, une éducatrice artistique, une historienne et une professeure de littérature anglaise, proposent des actions créatives par le biais de ressources et lectures alternatives. Axée sur les fondements de l’étude des médias et sur la littérature liée à l’étude des contes de fées et de la jeunesse féminine, cette collaboration interdisciplinaire se penche sur les difficultés créatrices complexes des histoires de jeunesse féminine et de princesses. À partir d’une étude de cas de la princesse Aurora et de la Belle au bois dormant, les auteurs utilisent leur recherche artistique concertée pour analyser les problèmes et les possibilités de cette culture des princesses.Mots-clés : éducation artistique ; recherche artistique ; contes de fées ; étude des médias, princesses.
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Kulakevych, Lyudmyla M. "InterpretationPeculiaritiesoftheSleeping BeautyMotif inD.H. Lawrence`s Short Story “Princess”." Alfred Nobel University Journal of Philology 2, no. 22 (2021): 33–43. http://dx.doi.org/10.32342/2523-4463-2021-2-22-3.
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The reception of D.H. Lawrence`s works in Western and Ukrainian literary criticism is reflected in detail in Natalia Styrnik`s thesis. She concluded that Lawrence`s short stories remain underexplored in modern Ukrainian literary criticism. The applicant herself undertook to identify the leading themes, motives, and artistic peculiarities of the implementation of the latter. However, the specifics of the female image in the short stories of the English artist lack her attention, there are only occasional characteristics of a particular heroine. The aim of the article is to determine the peculiarities of the interpretation of the Sleeping Beauty Motif in the short story by D.H. Lawrence “The Princess”. The objective is to determine the basis of the plot of the short story and analyze the artistic components of the main character’s image. To achieve our goal, we use the elements of motif, receptive-interpretive psychoanalytic and comparative methods of analysis. What strikes the eye when reading the short story is the popular plot about so beautiful princess that no man in the kingdom is worth even her little toe. It is a typical plot for fairy tales of different nations. The heroine's lineage with the kings is mentioned at the beginning of the short story due to the origin of her father. Traditionally, in fairy tales, the birth of a child is the result of one of the parents’ interactions with the other world. In Lawrence`s story, this is transformed into the unusual behavior of Colin Urquhart, whose attitude to his married life was so unusual that his wife regarded him as an “unreal creature”, “echo”, “ghost”, which is repeatedly emphasized in the text. The girl`s connection to the other world unfolds through the repeatedly articulated motif of the changeling. In fairy tales, the early death of the mother and the introduction of an evil stepmother are determined by the vital need of the girl to grow up independently, because of the kindness of the mother, her excessive care hinders the deeper development of the young woman and her ability to respond to life's problems. It is established that in Lawrence`s short story the motif of the mother's death undergoes transformations: a two-year-old child finds herself under the full care of her father, who raises the girl in a perfectly romantic atmosphere. It is he who instills a behavioral model of a princess in his daughter, unattainable to any man. As the father and daughter reside on the European continent, and the maternal grandparents live in the United States, it creates an illusion that the mother's family and the father's families belong to different “worlds” – different cultures/worldviews. Colin Urquhart, and later his daughter, embodies a romantic culture that tends to idealize a woman as a beautiful lady, and the knight's love for her is perceived as a deep platonic affection. The romantic worldview is manifested through the details of appearance (Urquharts have blue eyes), the style of the heroine’s clothes, her asexuality. The essence of the beautiful heroine is expressed by one of her names – Dollie, which urges us to perceive the living as the inanimate, understand the existence of the Princess as mechanical, devoid of feelings and sensations, alienated from other people`s lives. Her father Colin being presented through the micro images of the bodiless ghost/phantom/echo can also be interpreted as his asexuality on the one hand, while on the other, it can be seen as the mortality/irrelevance of his life principles, which he himself adheres to and instills in the girl. Many fairy tales convey the need to have a family, which is a marker of a socialized person. The search for a marriage partner in a fairy tale always takes place in a space “alien” to the protagonist, which is often defined as “another kingdom”, “distant lands”. According to the fairy-tale canon, to solve the problem, a woman goes on a journey and as a result gets closer to an impoverished but physically fit and silent Mexican, encouraging him to take this dangerous trip to the mountain forests with her. The heroine deliberately leads to the situation where she ends up alone with the man, but later she turns out to be unable to “turn off” the pattern of the princess cultivated by her father and accept the man with his nature. The dream essentially announces the future fate of Dollie – “to be buried alive”, because she makes every effort to defend her existence as a disembodied/asexual being, thus burying a woman within herself. Thus, the heroine`s common sense and instincts could not prevail over the cultural superstructure called “Princess”. According to the fairy-tale canon, even as a young girl, the protagonist showed extraordinary abilities – in the short story her artistic talent and knowledge were repeatedly noticed: the young woman reads the classic literary novels not in translation, but in the original language, which speaks highly of her intelligence. We can assume that not only parental upbringing, but also classical literature, with its taboo on sexual life until the first third of the twentieth century, influenced the heroine. In mind of the Princess two op- ISSN 2523-4463 (print) ВІСНИК УНІВЕРСИТЕТУ ІМЕНІ АЛЬФРЕДА НОБЕЛЯ. ISSN 2523-4749 (online) Серія «ФІЛОЛОГІЧНІ НАУКИ». 2021. № 2 (22) posite images of men are formed: either he was a disembodied companion of a beautiful lady, or “a rough monster”, “Caliban”. The text repeatedly suggests that Mary Henrietta Urquhart could have been quite happy with Domingo Romero, but due to her distorted-romantic view of men, it never happened. The end of the short story is seemingly happy – the heroine is saved, she returns home, to her former life, and even marries a man who, given his age, most likely was not a sexual partner to her but compensated for the deceased father. This conclusion can be explained both by the fact that the “kiss” of the Mexican, which the Princess initiated herself, had not awakened the woman in her, she remains a sleeping beauty forever. D.H. Lawrence`s short story meets the canons of a fairy tale and is read like the modern-day fairy tale showing you how you should not raise a girl.
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Yue, Genevieve. "Two Sleeping Beauties." Film Quarterly 65, no. 3 (2012): 33–37. http://dx.doi.org/10.1525/fq.2012.65.3.33.
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Both Catherine Breillat's The Sleeping Beauty and Julia Leigh's Sleeping Beauty explore the feminist problem of having, at the center of their reworked fairy tales, sleeping heroines. Each examines the nature of passivity in its relative inaccessibility, and offers in the sleeping woman's hidden subjectivity a form of resistance.
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Komulainen, Kauko, and Martina Paatela-Nieminen. "Sleeping Beauty Fairy Tales as Starting Points for Multiliteral Accumulations." InSEA ART Education VISUAL Journal IMAG #3 1 (November 30, 2016): 195–209. http://dx.doi.org/10.24981/2414-3332-3.1.2016.16.
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Balsara, Zarine R., and Xue Li. "Sleeping beauty: awakening urothelium from its slumber." American Journal of Physiology-Renal Physiology 312, no. 4 (April 1, 2017): F732—F743. http://dx.doi.org/10.1152/ajprenal.00337.2016.
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The bladder urothelium is essentially quiescent but regenerates readily upon injury. The process of urothelial regeneration harkens back to the process of urothelial development whereby urothelial stem/progenitor cells must proliferate and terminally differentiate to establish all three urothelial layers. How the urothelium regulates the level of proliferation and the timing of differentiation to ensure the precise degree of regeneration is of significant interest in the field. Without a carefully-orchestrated process, urothelial regeneration may be inadequate, thereby exposing the host to toxins or pathogens. Alternatively, regeneration may be excessive, thereby setting the stage for tumor development. This review describes our current understanding of urothelial regeneration. The current controversies surrounding the identity and location of urothelial progenitor cells that mediate urothelial regeneration are discussed and evidence for each model is provided. We emphasize the factors that have been shown to be crucial for urothelial regeneration, including local growth factors that stimulate repair, and epithelial-mesenchymal cross talk, which ensures feedback regulation. Also highlighted is the emerging concept of epigenetic regulation of urothelial regeneration, which additionally fine tunes the process through transcriptional regulation of cell cycle genes and growth and differentiation factors. Finally, we emphasize how several of these pathways and/or programs are often dysregulated during malignant transformation, further corroborating their importance in directing normal urothelial regeneration. Together, evidence in the field suggests that any attempt to exploit regenerative programs for the purposes of enhanced urothelial repair or replacement must take into account this delicate balance.
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Zatora, Anna. "Dispelling the Charm of Fairy tales in Elfriede Jelinek’s Miniature Plays." Tekstualia 3, no. 42 (July 1, 2019): 73–80. http://dx.doi.org/10.5604/01.3001.0013.4419.
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The article analyzes Elfriede Jelinek’s Snow White and Sleeping Beauty as reinterpretations of classic fairytales. Weronika Kosecka’s conception of the postmodern fairytale is referred to so as to illuminate Jelinek’s engagement with the issues of gender and the body in the texts under discussion.
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KORUCU, Arzu. "HEROINES VICTIMIZED BY FEMALE VIOLENCE IN FAIRY TALES: JORINDA, RAPUNZEL, SLEEPING BEAUTY, CINDERELLA AND SNOW WHITE." Journal of International Social Research 12, no. 66 (October 20, 2019): 146–50. http://dx.doi.org/10.17719/jisr.2019.3566.
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Eslit, Edgar R. "Tales through a Cultural Lens: Exploring the Global Significance of Cinderella, Snow White, and Sleeping Beauty." International Journal of Languages and Culture 3, no. 2 (December 5, 2023): 12–25. http://dx.doi.org/10.51483/ijlc.3.2.2023.12-25.
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Davis, Aimee. "Adapting Elaine: Tennyson’s “The Lady of Shalott” and Feminist Young Adult Novels." ALAN Review 44, no. 3 (June 21, 2017): 36–46. http://dx.doi.org/10.21061/alan.v44i3.a.4.
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One of the hallmarks of young adult literature is its focus on adolescent protagonists who struggle to reconcile what they want with what they are supposed to want. Indeed, some of the most enduring works of young adult literature, from L. M. Montgomery’s Anne of Green Gables (2006) to Judy Blume’s Forever (1975), place their young characters at a crossroads between cultural convention and individual desire. Foundational scholarship in the field of young adult fiction has suggested a recurring conflict in novels for young readers in which a protagonist finds himself or herself directly at odds with social expectations (McCallum, 1999; Trites, 2004). Furthermore, critics such as Trites (1997), Wilkie-Stibbs (2003), and Mallan (2009) have noted that many of these works concern an adolescent search for identity that is complicated by issues of gender politics, in which a protagonist’s grappling with conventional notions of masculinity and/or femininity is fundamental to a completed coming of age. In Waking Sleeping Beauty: Feminist Voices in Children’s Literature, Roberta Seelinger Trites (1997) argues that this kind of novel “demonstrate[s] characters ‘turning inward’ in ‘a search for identity’ because some form of environmental pressure has made them aware that they are not upholding socially sanctioned gender roles” (p. 2). In turn, these novels can become cathartic for adolescent readers, who may be facing similar struggles in the throes of real-life adolescence. Relying on the definition of a feminist novel established by Elaine Showalter (1977), Trites (1997) defines a “feminist children’s novel” as one “in which the main character is empowered regardless of gender,” or a novel in which “the child’s sex does not provide a permanent obstacle to her/his development. Although s/he will likely experience some gender-related conflicts, s/he ultimately triumphs over them” (p. 4). Though many novels fit this description, two bestselling young adult novels distinguish their adolescent female protagonists’ search for identity as inspired by the legends of Arthurian literature. Meg Cabot’s Avalon High (2006) and Libba Bray’s A Great and Terrible Beauty (2003) each reference the Arthurian legend of the Lady of Shalott—specifically the version that was retold and adapted by Alfred, Lord Tennyson in his 1842 poem “The Lady of Shalott.” Both novels use the characters, language, and symbolism from Tennyson’s poem to provide their heroines—and by extension, their adolescent readers—with a template through which they can understand, examine, and potentially reject the social codes that attempt to determine their behavior. In capitalizing on the ways in which Tennyson’s “The Lady of Shalott” enhanced and adapted the traditional Arthurian legend for a Victorian audience, Cabot and Bray access what Ann Howey (2007) calls the “constellation of association and meanings” (pp. 89–92) connected to the Lady of Shalott in the medieval and Victorian texts, many of which are distinctly feminist by Trites’s definition. In this article, I will argue that in drawing inspiration specifically from Tennyson’s “The Lady of Shalott,” Cabot’s and Bray’s novels develop their feminism through the framework of a Victorian narrative that is more thematically complex and more politically charged than any earlier, medieval version of the Lady of Shalott legend. Specifically, Cabot’s and Bray’s novels reflect the impact of feminist criticism of Tennyson’s poem found in the works of Victorian scholars Nina Auerbach (e.g., The Woman and the Demon: The Life of a Victorian Myth, 1982) and the team of Sandra Gilbert and Susan Gubar (e.g., Madwoman in the Attic, 1984). This foundational work identifies in Tennyson’s adaptation of the Lady of Shalott a dualistic and subversive set of alternatives that is not present in the medieval sources: her status as both a docile, passive figure who is “powerless in the face of the male” (Gilbert & Gubar, 1984, p. 618) and, simultaneously, as an icon of deviant and potentially powerful feminine desire. To identify the ways in which Cabot’s and Bray’s novels revise the Lady of Shalott narrative and embrace this subversion of traditional gender roles, I will first examine the Lady of Shalott narrative in medieval Arthurian literature and in Tennyson’s poem, focusing on how Tennyson’s enhancements to the tale transformed the Lady of Shalott into an iconic image of Victorian femininity. I will then demonstrate how Cabot and Bray employ revisionist strategies to adapt the gender politics of Tennyson’s poem for a 21st-century young adult readership, creating heroines who reject the passive qualities of the Lady of Shalott in favor of a more autonomous alternative and who, in doing so, model for adolescent readers a search for identity that results in self-identification and empowerment.
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PAWŁOWSKA, JOANNA. "GENDER STEREOTYPES PRESENTED IN POPULAR CHILDREN’S FAIRY TALES." Society Register 5, no. 2 (May 15, 2021): 155–70. http://dx.doi.org/10.14746/sr.2021.5.2.10.
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The article aims to contribute to the discussion on gender stereotypes in stories for children by mapping gender stereotypes in traditional fairy tales. The article presents fairy tales' value in children’s education and indicates potential dangers in traditional cultural transmissions, paying special attention to gender stereotypes. A selection of texts was analyzed in terms of their stereotypical gender portrayals. The methodological framework represents an interpretative paradigm in social sciences, using a qualitative method of analysis. The texts were purposely selected, and the most popular fairy tales were chosen: Cinderella, Snow White and Sleeping Beauty, which despite the passing of time, are still popular, widely read and also used in film adaptations. It was shown that in all analyzed fairy tales, there was a stereotypical division of roles according to gender. The article also presents possible ways to counteract gender stereotypes. A limitation of the article is that the analysis is limited to three fairy tales only, but the overarching value raises awareness of gender stereotypes in fairy tales for children.
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Oliveira, Anna Olga Prudente de, and Eliana Bueno-Ribeiro. "Os contos de Charles Perrault em tradução." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 71, no. 1 (January 15, 2018): 169–80. http://dx.doi.org/10.5007/2175-8026.2018v71n1p169.
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Translated and adapted to the Brazilian reader public from the end of the nineteenth century to the present day, the tales Sleeping Beauty in the Forest, Little Red Riding Hood, Blue Beard, The Boots Cat, The Fairies, Cinderella, Riquet of the Topete and The Little Thumb have recently won a new Brazilian edition that presents a complete translation of the work that became the canon of children's literature: Histories or Tales from the Time Past with Morals (Histoires or Contes du temps passé avec des Moralités) by Charles Perrault. In this interview with the translator, he seeks to know his work, his understanding of the work and the process of translation, and his proposals and strategies, especially in relation to these short stories, elaborated by the French writer of the XVII century with a characteristic that distinguishes them from others fairy tales: morality in verse at the end of the story told in prose.
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Abdulqadr, Kizhan Salar, Ranjdar Hama Sharif, Roz Jamal Omer, and Zanyar Kareem Abdul. "Disney Classics between Feminism and Victimization of Women: A Historical Analysis." Technium Social Sciences Journal 21 (July 9, 2021): 833–39. http://dx.doi.org/10.47577/tssj.v21i1.3853.
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This paper focuses on the two contradictory themes of feminism and victimizing women in Disney Classics, a series of films which are based on famous fairy tales and the development of the changes undergone by these stories over time. The study is carried out through an analysis of the themes of the stories with a critical feminist approach in three chronological stages. Previous studies have explored these themes, but no report to date has used a chronological approach to compare the significance of the mentioned themes with the stages of feminism. These stories develop in line with developments in society and widen their perspective when examined through a feminist lens, and this change is also reflected in the Disney treatments of these tales. Despite the similarities in the plots of Snow White and the Seven Dwarfs, Cinderella, The Sleeping Beauty, and The Little Mermaid, the representations of the voice and agency of the female characters in these films differs significantly, especially in the case of Snow White.
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Barbero, Ludmila Soledad. "Caperucita y la abuela-lobo: Los cuentos de hadas queer de Alejandra Pizarnik." Mistral | Journal of Latin American Women's Intellectual & Cultural History 1, no. 2 (November 25, 2021): 49–64. http://dx.doi.org/10.21827/mistral.2.38028.
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Near the end of her life, the Argentine poet Alejandra Pizarnik (1936-1972) wrote a series of short prose works that explicitly rewrite fairy tales or take up their atmosphere and some of their elements. Such is the case of “Violario” (1971), which rewrites Little Red Riding Hood, with an emphasis on the link between violence and sexuality, and “A tiempo y no” (1968) which highlights the most sinister elements of Snow White. This last story, along with Sleeping Beauty, The Little Mermaid and Hansel and Gretel are also rewritten in prose pieces, poems and in her Diaries. This article analyzes how these rewritings take place—starting with the convergences and divergences with the hypotexts—to illuminate the anomalous and queer image of childhood created by Pizarnik. --- La poeta argentina Alejandra Pizarnik (1936-1972) hacia el final de su vida escribe una serie de prosas breves que recuperan explícitamente cuentos de hadas, o retoman su atmósfera y algunos de sus elementos. Tal es el caso de “Violario” (1971), que reescribe Caperucita roja, con un marcado énfasis en el cruce entre violencia y sexualidad, y “A tiempo y no” (1968) que retoma y subraya los elementos más siniestros de Blancanieves. Este último cuento, junto con La bella durmiente, La sirenita y Hansel y Gretel son recuperados también en otras prosas, poemas y en los Diarios. Indagar el modo en que tienen lugar estas reescrituras, a partir de las convergencias y divergencias con sus hipotextos, iluminará zonas de la infancia anómala y queer que Pizarnik configura.
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Pinheiro, Marta Passos, and Sabrina Ramos Gomes. "Os "novos" contos de fadas: tradição e inovação em A Bela e a Adormecida, de Gaiman e Riddell." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 71, no. 2 (June 5, 2018): 35–56. http://dx.doi.org/10.5007/2175-8026.2018v71n2p35.
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In this article, we investigate tradition and innovation in the work Beauty and the Sleeping by analyzing the construction of the narrative, considering the important role of graphic design and illustrations. In this way, we approach the collaborations between two important British authors: the writer Neil Gaiman and the illustrator ChrisRiddell. As a theoretical reference we give priority to studies on illustration and graphic design of children's books - Nikolajeva and Scott. Moraes, Linden and Ramos -, dialoguing with studies on fairy tales - Betelheim, Corso and Corso, Coelho and Propp. We could observe that even if it is not an illustrated book, according to the English conception of picturebook, the narrative is told not only by the written text, but also by illustrations and graphic design. The dialogue between writer and illustrator and the freedom he had to present his point of view were fundamental for the success of the work.
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Gadjeva, Katerina. "„One Day he Will Find me and Save me”. The Dream for Prince Known from the Fairy Tales of Charles Perrault and Brothers Grimm and the Accompanying Illustrations." Balkanistic Forum 30, no. 3 (October 5, 2021): 183–94. http://dx.doi.org/10.37708/bf.swu.v30i3.9.
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Magic stories are extremely difficult to analyze, as they have both folklore (oral) and literary (written) existence, they are oriented towards the little ones, but at the same time they send messages to the adults and last but not least – they are almost always accompanied by illustrations, which further complicate and expand the meaning of the written. Artists become "translators" who have to adapt the content to the specific needs of the particular audience and the peculiarities of its time. Millions of children around the world have shaped their understanding of the roles of man and woman and the relationship between gender and behavior based on the well-known stories of ordinary girls rescued by princes, unusually appeared in their lives. This article will analyze the verbal and pictorial representation of the main characters in two of the most famous fairytales – "Cinderella" and "The Sleeping Beauty". The aim is to highlight certain patterns that have an important contribution to the formation of gender stereotypes in children and their dreams of happy and successful life.
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Tassikas, Apostolos D. "The Court and the Sleeping Beauty 2.0: Filling the Contractual Gap, or Making Valid Consumer Contracts to the Detriment of the Non-consumer?" European Review of Contract Law 19, no. 4 (November 28, 2023): 422–54. http://dx.doi.org/10.1515/ercl-2023-2024.
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Abstract This paper is a critical presentation of the CJEU case-law on UCTD, with particular reference to the non-filling of the contractual gap resulting from the unfairness test by applying ‘dispositive’ law or supplementary interpretation. The result contradicts the principles and methods of national civil law: not only does the balance in the contract suffer under the position the CJEU has chosen, as it creates alternated forms of balance of interests rather than the identical ones sought by the parties, but moreover, the increasing number of different cases imposes an ambiguous approach on the CJEU, since European judges have to ask on a case-by-case basis what the best interest of the consumer is. By adopting such a functional approach in favour of the substantive justice of the contract, the ECJ decided with questionable results with regard to national civil law, while methodological legal questions as to whether the contract should stand as it is, following the unfairness test, or whether a supplementation of the contract should take place are still open. It is therefore of critical importance to achieve an optimal combination between a fair balance of the contract and effective consumer protection.423
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Robertson, Janice. "RISKING MASCULINITY: PLAYING FAST AND LOOSE WITH HEGEMONIC MASCULINITY IN THE HERO’S GUIDE TO SAVING YOUR KINGDOM." Mousaion: South African Journal of Information Studies 32, no. 4 (September 29, 2016): 128–40. http://dx.doi.org/10.25159/0027-2639/1657.
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In Christopher Healy’s (2012) children’s book, The hero’s guide to saving your kingdom, the idea of hegemonic masculinity is subverted in various ways. In this reinvention of four fairy tales – ‘Cinderella’, ‘Sleeping Beauty’, ‘Snow White’ and ‘Rapunzel’ – the author seems consciously to subvert the prevalent stereotypes surrounding traditional representations of the idealised, yet largely uninterrogated image of ‘Prince Charming’. All four of the princes who feature as protagonists in the book express their dissatisfaction at the prescriptive expectations that govern every aspect of their lived realities. Healy explores alternative ways of representing this type of character to modern child readers, in many cases testing the boundaries that dictate which physical characteristics and behavioural patterns are allowable in such characters. This article explores Healy’s negotiation of masculinity in the context of its intended 21st century child audience
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Fast, Ethan, Tina Vachovsky, and Michael Bernstein. "Shirtless and Dangerous: Quantifying Linguistic Signals of Gender Bias in an Online Fiction Writing Community." Proceedings of the International AAAI Conference on Web and Social Media 10, no. 1 (August 4, 2021): 112–20. http://dx.doi.org/10.1609/icwsm.v10i1.14744.
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Imagine a princess asleep in a castle, waiting for her prince to slay the dragon and rescue her. Tales like the famous Sleeping Beauty clearly divide up gender roles. But what about more modern stories, borne of a generation increasingly aware of social constructs like sexism and racism? Do these stories tend to reinforce gender stereotypes, or counter them? In this paper, we present a technique that combines natural language processing with a crowdsourced lexicon of stereotypes to capture gender biases in fiction. We apply this technique across 1.8 billion words of fiction from the Wattpad online writing community, investigating gender representation in stories, how male and female characters behave and are described, and how authors' use of gender stereotypes is associated with the community's ratings. We find that male over-representation and traditional gender stereotypes (e.g., dominant men and submissive women) are common throughout nearly every genre in our corpus. However, only some of these stereotypes, like sexual or violent men, are associated with highly rated stories. Finally, despite women often being the target of negative stereotypes, female authors are equally likely to write such stereotypes as men.
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Pilinovsky, Helen. "The Frog Prince and Other Frog Tales from Around the World , and: ed. by Heidi Ann Heiner Rapunzel and Other Maiden in the Tower Tales from Around the World , and: ed. by Heidi Ann Heiner Sleeping Beauties: Sleeping Beauty and Snow White Tales from Around the World ed. by Heidi Ann Heiner (review)." Marvels & Tales 27, no. 1 (2013): 127–29. http://dx.doi.org/10.1353/mat.2013.a504581.
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Gaipa, Giuseppe, Chiara Francesca Magnani, Daniela Belotti, Giada Matera, Sarah Tettamanti, Benedetta Cabiati, Stefania Cesana, et al. "Clinical-Grade Transduction of Allogeneic Cytokine Induced Killer (CIK) Cells with CD19 Chimeric Antigen Receptor (CAR) Using Sleeping Beauty (SB) Transposon: Successful GMP-Compliant Manufacturing for Clinical Applications." Blood 132, Supplement 1 (November 29, 2018): 196. http://dx.doi.org/10.1182/blood-2018-196.
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Abstract Background: Acute lymphoblastic leukemia (ALL) is a malignant disorder with a long-term remission of less than 50% of adult patients and of nearly 80% of children. Relapsed and refractory (r/r) adult and childhood B-ALL patients, have significant unmet medical needs. Adoptive transfer of patient-derived T cells engineered to express a chimeric antigen receptor (CAR) by viral vectors has achieved complete remission and durable response in highly refractory populations (June CH et al. Science 2018). In addition, unmodified Cytokine Induced Killer (CIK) cells (CD3+, CD56+ T cells) have clearly demonstrated a high profile of safety in ALL patients (Introna M et al. Biol Blood Marrow Transplant. 2017). Here, we demonstrate the feasibility and reproducibility of a GMP-compliant clinical-grade culture and gene-modification protocol of allogeneic CIK cells using the non-viral Sleeping Beauty (SB) transposon system (Singh H et al, Plos One 2013) to obtain CD19CAR expressing CIK cells (Magnani CF et al, Oncotarget 2016, Magnani CF et al, Hum Gene Ther. 2018, Biondi A et al. J Autoimmun. 2017) starting from a limited amount of an easily available material such as peripheral blood (PB). Methods: Fifty mL of PB were centrifuged on Ficoll gradient to obtain mononuclear cells (PBMCs). PBMCs were then simultaneously electro-transferred with the SB GMP-grade DNA transfer CD19.CAR/pTMNDU3 plasmid (human 3rd generation anti-CD19CD28OX40z CAR under the pTMNDU3 promoter), and transposase pCMV-SB11 plasmid (kindly provided by L. Cooper, MDACC, Houston, TX, USA). CIK populations (Introna M et al, Haematologica 2007) were then generated according to the method enclosed in the filed patent EP20140192371 (Magnani CF et al, Oncotarget 2016). The manufacturing process and the quality control tests were performed in a good manufacturing practices (GMP) academic cell factory authorized by Agenzia Italiana del Farmaco (AIFA) in the context of an ongoing phase I clinical trial (NCT03389035) for children and adults with relapsed/refractory B-cell precursor ALL post hematopoietic stem cell transplantation (HSCT). Results: We manufactured nine batches by seeding a mean of 102.52x106 allogeneicPBMCs derived from 50 ml of peripheral blood (range 46.1 - 193.17x106). After 21-22 days of culture the mean harvesting was 5.0x109 nucleated cells (range 1.15 - 16.00x109) with a mean viability of 97.56% (min. 95.24% - max 99.43%). These cells were mostly CD3+ lymphocytes (mean 98.54%, min. 94.85% - max 99.68%) which had a median fold increase of 87.3. Expanded CD3+ cells expressed CD56+ and surface CAR at variable levels among the batches (mean 44.79% and 43.78%, respectively) and had a median vector copy number (VCN) of 2.56 VCN/cells, according to pre-clinical data (Magnani CF et al, Hum Gene Ther. 2018). In all the nine batches, CARCIK-CD19 cells demonstrated potent and specific in vitro cytotoxicity towards the CD19+ REH target cell line (mean 82.96%, min. 61.89% - max 97.72%). Cell products appear to be highly polyclonal and no signs of genotoxicity by transposon insertions could be observed by integration site (IS) analysis performed by Sonication Linker Mediated (SLiM)-PCR and Illumina MiSeq sequencing. The GMP batches were released after about 10 days after the end of production. Quality control release specifications and results are reported in Table 1. Conclusions: Overall, these results demonstrate that clinical-grade SB transduction of allogeneic CIK cells with CD19 CAR is feasible and allows rapid and efficient expansion of highly potent CARCIK-CD19 cells starting from easily available small amounts of PB, with important implications for non-viral technology. In summary our data represent a solid ground for the future development of further SB-based platforms. A clinical trial investigating allogeneic CARCIK-CD19 in r/r pediatric and adult ALL post HSCT is currently ongoing (NCT03389035). Disclosures Gritti: Autolus: Consultancy. Rambaldi:Celgene: Consultancy; Omeros: Consultancy; Novartis: Consultancy; Italfarmaco: Consultancy; Pfizer: Consultancy; Amgen Inc.: Consultancy; Roche: Consultancy.
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Grishchenko, I. V., A. A. Tulupov, Y. M. Rymareva, E. D. Petrovskiy, A. A. Savelov, A. M. Korostyshevskaya, Y. V. Maksimova, A. R. Shorina, E. M. Shitik, and D. V. Yudkin. "A transgenic cell line with inducible transcription for studying (CGG)n repeat expansion mechanisms." Vavilov Journal of Genetics and Breeding 25, no. 1 (March 16, 2021): 117–24. http://dx.doi.org/10.18699/vj21.014.
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There are more than 30 inherited human disorders connected with repeat expansion (myotonic dystrophy type I, Huntington’s disease, Fragile X syndrome). Fragile X syndrome is the most common reason for inherited intellectual disability in the human population. The ways of the expansion development remain unclear. An important feature of expanded repeats is the ability to form stable alternative DNA secondary structures. There are hypotheses about the nature of repeat instability. It is proposed that these DNA secondary structures can block various stages of DNA metabolism processes, such as replication, repair and recombination and it is considered as the source of repeat instability. However, none of the hypotheses is fully conf irmed or is the only valid one. Here, an experimental system for studying (CGG)n repeat expansion associated with transcription and TCR-NER is proposed. It is noteworthy that the aberrations of transcription are a poorly studied mechanism of (CGG)n instability. However, the proposed systems take into account the contribution of other processes of DNA metabolism and, therefore, the developed systems are universal and applicable for various studies. Transgenic cell lines carrying a repeat of normal or premutant length under the control of an inducible promoter were established and a method for repeat instability quantif ication was developed. One type of the cell lines contains an exogenous repeat integrated into the genome by the Sleeping Beauty transposon; in another cell line, the vector is maintained as an episome due to the SV40 origin of replication. These experimental systems can serve for f inding the causes of instability and the development of therapeutic agents. In addition, a criterion was developed for the quantif ication of exogenous (CGG)n repeat instability in the transgenic cell lines’ genome.
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Ripoll León, Verónica. "Elfriede Jelinek y la belleza de las princesas a través del espejo = Elfriede Jelinek and the beauty of princesses through the mirror." FEMERIS: Revista Multidisciplinar de Estudios de Género 2, no. 2 (July 31, 2017): 167. http://dx.doi.org/10.20318/femeris.2017.3764.
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Resumen. La autora Elfriede Jelinek –ganadora del Premio Nobel de Literatura en 2004– es una incansable creadora de personajes estereotipados. Mediante el empleo de la ironía, Jelinek utiliza a los protagonistas de sus obras para reflexionar de manera crítica sobre el conjunto de acciones y comportamientos sociales que forman parte de las expectativas de lo que el género femenino y masculino deben representar dentro de una sociedad. Un año antes de la mención del Nobel, Jelinek publicaba un conjunto de textos dramáticos reunidos bajo el título La muerte y la doncella I-V. Dramas de princesas (Der Tod und das Mädchen I-V. Prinzessinendramen, 2003). En esta obra, la escritora austríaca reescribía dos de los cuentos de princesas –Blancanieves y La Bella Durmiente– y una leyenda –Rosamunda–, que forman parte de la tradición literaria occidental, para reinventar después la historia de otras mujeres reales del panorama histórico y cultural como son Jacqueline Kennedy Onassis y las escritoras Sylvia Plath e Ingeborg Bachmann. El objetivo del presente estudio es atender al problema que supone en estos Dramas de princesas la existencia de unos cánones de belleza cuando se pretende construir la imagen y la identidad de unas mujeres que han quedado sometidas a la supremacía de poder que la sociedad otorga al varón. Para ello, y siguiendo la senda del psicoanálisis, se prestará especial atención al elemento del espejo, entendido como un instrumento que brinda o niega el reconocimiento a estas princesasPalabras clave: Elfriede Jelinek, teatro posdramático, cuentos de hadas, psicoanálisis, espejo.Abstract. Elfriede Jelinek, winner of the Literature Nobel Prize in 2004, is a tireless creator of stereotyped characters. Through the application of irony, the protagonists of her works are used with the intention of exciting critical thought about the social roles and actions expected to be played by women and men within a society. A year before being awarded the Nobel Prize, Jelinek released a body of plays under the title of Death and the Maiden I-V. Princess Plays (Der Tod und das Mädchen I-V. Prinzessinendramen, 2003). In this work, the Austrian writer rewrote two of the most famous fairytales featuring princesses, such as Snow White and Sleeping Beauty, as well as a legend played by Rosamunde. These tales are part of the core of Western literary tradition. In using them, she reinvents the story of other real characters and women from our historic and cultural panorama: Jacqueline Kennedy Onassis or writers like Sylvia Plath and Ingeborg Bachmann. The main goal of the present paper is to analyse the problem posed by the existence of a beauty canon in these Princess Plays insofar as the construction and depiction of female identity is subdued by the control and supremacy of a patriarchal society. To do so, and following a psychoanalytical approach, the theme of the mirror will be the main focus as an instrument which brings or hinders the acknowledgement of these princesses.Keywords: Elfriede Jelinek, postdramatic theatre, fairytales, psychoanalysis, mirror.
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Gáspár, Mátyás. "Csipkerózsika, ébredj! – avagy új kihívások előtt a közösségi hozzáférés." Információs Társadalom 16, no. 3 (April 10, 2017): 113. http://dx.doi.org/10.22503/inftars.xvi.2016.3.5.
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A cikk egy sajátosan magyar közösségi hozzáférési rendszer – a teleházak – fejlődésének hullámzó – egy korai időszakban rendkívül jelentős hazai és nemzetközi kihatású – magyarországi történetét és akkori sikerének „titkát” dolgozza fel. Bemutatja az egyszer már elszalasztott, vagy kevésbé kategorikusan az eddig kellően ki nem használt esélyt. Állítása – amit bizonyítani igyekszik – az, hogy a digitális transzformációban ennek az intézményrendszernek újra feladata van, de a tét sokkal nagyobb. Alapkérdése, hogy vajon visszatérhet-e egy régi-új kerékvágásba a máig élő helyi társadalomba és gazdaságba ágyazott intézményrendszer, s ha igen, akkor milyen szerepben, s mitől függ az, hogy ez megtörténhessen. Az egyik legfontosabb garancia a teleházak közösségi jellege, ami összhangban áll a modern társadalom és gazdaság közösségi önszerveződési trendjével, ami a digitális jövő befogadási képességének is egyik meghatározó tényezője. A teleházak és hálózatuk újjászületésének jelei jól látszanak és egyértelműek, országos mozgalom és program alapjai lehetnek, aminek kibontakozó keretei új esélyt adnak, immár a digitális transzformáció legszélesebb körű megvalósításának hatékony támogatására.
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Sleeping Beauty, wake up!
The article gives an overview of the history and the “secret” of the success of a specific Hungarian community access model, the network of telecottages, which had a variable development path including an early stage which has produced a remarkable impact both on the domestic and the international scenes. It presents the opportunity missed or to be less categorical, the opportunity which has not been properly used so far. The assertion which the article aims to prove is that digital transformation creates a new role for this institution, but this time around the stakes are higher. It examines whether this institution - which is embedded in the local society and economy - can return to business as usual and if so what role it should take and what factors are needed to enable this. A key guarantee for its ability to make this transformation is the community nature of the telecottage system, which fits in well with the trend of self-organisation that characterises modern societies and economies, and which in turn is also a decisive factor in being able to come to grips with the digital future. There are clear signs of a renaissance for the telecottage institution and its network, which bode well for becoming the basis of a countrywide movement and programme. The evolving framework of this programme provides a new opportunity for this model to play an effective part in supporting the digital transformation in the widest possible sense.
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Zong, Shan, Laurence J. N. Cooper, George T. McNamara, and Hiroki Torikai. "Personalization of T-Cell Therapy Using a High-Throughput Platform to Identify Tumor-Specific T-Cell Receptors." Blood 128, no. 22 (December 2, 2016): 3359. http://dx.doi.org/10.1182/blood.v128.22.3359.3359.
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Abstract Background T-cell receptors (TCRs) can be used to redirect the specificity of T-cells for human application. This has particular appeal for the targeting of neoantigens. However, efficient identification, cloning, and characterization of antigen (Ag)-specific TCRs is needed to enable the timely adoptive transfer of T-cells genetically modified to express therapeutic TCRs. We have harnessed next generation sequencing (NGS) to identify desirable TCRs. This approach enables us to simultaneously identify hundreds of Ag-specific TCRs, along with the expression of genes to characterize functional and phenotypical values of individual Ag-specific T-cells (e.g. related to cytotoxicity, exhaustion, etc...). To take advantage of NGS technology, a sister high-throughput technology was developed to evaluate harvested TCRs. A reporter system was implemented using (immortalized) Jurkat T-ALL cells genetically modified to (i) enforce expression of CD8aβ, (ii) conditionally express GFP under minimal elements of NR4A1 promoter, and (iii) prevent expression of both endogenous TCRα and β chains. Sequenced CDR3 regions were coded within DNA plasmids from Sleeping Beauty (SB) transposons as TCR Vα and Vβ libraries that were expressed on the reporter cell to identify both TCR specificity as well as TCR avidity. Thus, we implemented (i) a TCR cloning system based on CDR3 sequencing of Ag-specific T-cells identified by NGS and (ii) a novel reporter cell based on the TCR-mediated induction of GFP expression. As a proof-of-concept to evaluate the entire platform, we used HLA-A2-restricted CMV peptide (NLVPMVATV: CMV/A2) and NY-ESO-1 peptide (SLLMWITQC: NY-ESO-1/A2) as model Ags. Results The reporter cell was initially genetically modified with either high- or low-avidity TCRs against a NY-ESO-1/A2. Upon stimulation with HLA-A2+ 721.221 immortalized B cells, it was found that the expression of GFP positively correlated with the avidity of TCRs (Figure). Next, we isolated naïve Ag-specific T-cells from umbilical cord blood using CMV/A2 tetramer. Single CMV/A2-specific CD8+ T-cells were sorted and their TCRαβ CDR3 sequences were amplified by reverse transcription and PCR with bar-coded probes. The pooled PCR products were sequenced in MiSeq Sequencer (illumina) to obtain TCRαβ CDR3 regions and analyzed in silico using IMGT (International Immunogenetics Information System). The efficiency of identifying individual TCRαβ pairs was 65% to 76% (using 96-well plate or 384-well plates, respectively). Individual SB-derived DNA transposons expressing TCRαβ constructs were synthesized by Gibson assembly and electroporated, with SB transposase, into the reporter cell. These cells were co-cultured with HLA-A2+ 721.221 stimulator cells loaded with graded doses of cognate peptide. The percentage and intensity of GFP expression was evaluated by high-throughput flow-cytometer (IntelliCyt) which revealed high-avidity Ag-specific TCRαβs. Conclusion Our new high-throughput system can identify and characterize, based on specificity and avidity, Ag-specific TCRαβs within a week. This system will be used to generate neoantigen-specific TCRαβs for human application. Disclosures Zong: ZIOPHARM Oncology, Inc.: Equity Ownership, Patents & Royalties; Intrexon: Equity Ownership, Patents & Royalties; Immatics US, Inc: Equity Ownership, Patents & Royalties. Cooper:Ziopharm Oncology: Employment, Equity Ownership, Patents & Royalties; Intrexon: Equity Ownership; City of Hope: Patents & Royalties; Targazyme, Inc.,: Equity Ownership; Immatics: Equity Ownership; Sangamo BioSciences: Patents & Royalties; MD Anderson Cancer Center: Employment; Miltenyi Biotec: Honoraria. McNamara:GeoMcNamara: Consultancy, Other: Consultant in immuno-oncology field; ZIOPHARM Oncology, Inc: Equity Ownership, Patents & Royalties; Intrexon: Equity Ownership, Patents & Royalties. Torikai:intrexon: Equity Ownership, Patents & Royalties; ZIOPHARM Oncology, Inc.: Equity Ownership, Patents & Royalties; Immatics US, Inc: Equity Ownership.