DOCSLIB.ORG

Read Ebook {PDF EPUB} Rotkappchen by Jacob Grimm

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Read Ebook {PDF EPUB} Rotkappchen by Jacob Grimm Read Ebook {PDF EPUB} Rotkäppchen by Jacob Grimm [DOWNLOAD] Rotkäppchen Jacob Grimm, Wilhelm Grimm (Gebundene Ausgabe) PDF. You may easily install this ebook, i render downloads as a pdf, kindle, word, txt, ppt, rar and zip. Around are various material in the globe that does promote our awareness. One of these is the consider permitted Rotkäppchen By Jacob Grimm, Wilhelm Grimm (Gebundene Ausgabe) .This book gives the reader new knowledge and experience. This online book is made in simple word. It makes the reader is easy to know the meaning of the contentof this book. There are so many people have been read this book. Every word in this online book is packed in easy word to make the readers are easy to read this book. The content of this book are easy to be understood. So, reading thisbook entitled Free Download Rotkäppchen By Jacob Grimm, Wilhelm Grimm (Gebundene Ausgabe) does not need mush time. You can treasure scanning this book while spent your free time. Theexpression in this word enables the reader look to examine and read this book again and do not forget. easy, you simply Klick Rotkäppchen novel acquire link on this piece or you does recommended to the standard booking start after the free registration you will be able to download the book in 4 format. PDF Formatted 8.5 x all pages,EPub Reformatted especially for book readers, Mobi For Kindle which was converted from the EPub file, Word, The original source document. Definition it regardless you intend! Choose you surf to transfer Rotkäppchen book? Is that this arrange direct the visitors prospect? Of rate yes. This book gives the readers many references and knowledge that bring positive influence in the future. It gives the readers good spirit. Although the content of this book aredifficult to be done in the real life, but it is still give good idea. It makes the readers feel enjoy and still positive thinking. This book really gives you good thought that will very influence for the readers future. How to get thisbook? Getting this book is simple and easy. You can download the soft file of this book in this website. Not only this book entitled Rotkäppchen By Jacob Grimm, Wilhelm Grimm (Gebundene Ausgabe) , you can also download other attractive online book in this website. This website is available with pay and free online books. You can start in searching the book in titled Rotkäppchen in the search menu. Then download it. Expect for certain time until the acquire is finalize. This calming history is happy to browse whilst you intend. Die beliebtesten Märchen der Gebrüder Grimm. When Jacob and Wilhelm Grimm published their Children's and Household Tales in 1812, followed by a second volume in 1815, they had no idea that such stories as "Rapunzel," "Hansel and Gretel," and "Cinderella" would become the most celebrated in the world. Yet few people today are familiar with the majority of tales from the two early volumes, since in the next four decades the Grimms would publish six other editions, each extensively revised in content and style. For the very first time, The Original Folk and Fairy Tales of the Brothers Grimm makes available in English all 156 stories from the 1812 and 1815 editions. These narrative gems, newly translated and brought together in one beautiful book, are accompanied by sumptuous new illustrations from award-winning artist Andrea Dezsö. From "The Frog King" to "The Golden Key," wondrous worlds unfold—heroes and heroines are rewarded, weaker animals triumph over the strong, and simple bumpkins prove themselves not so simple after all. Esteemed fairy tale scholar Jack Zipes offers accessible translations that retain the spare description and engaging storytelling style of the originals. Indeed, this is what makes the tales from the 1812 and 1815 editions unique—they reflect diverse voices, rooted in oral traditions, that are absent from the Grimms' later, more embellished collections of tales. Zipes's introduction gives important historical context, and the book includes the Grimms' prefaces and notes. From classics such as Cinderella and Snow White to lesser–known gems like The True Bride and Mother Holle, these timeless tales never fail to delight. Enter the wonderful world of witches and fairies, elves and giants, and princes and princesses in this collection of thirty beloved stories! Отзывы. Дополнительная информация. Где читать книги. Смартфоны/планшеты. Ноутбуки и настольные компьютеры. Устройства для чтения книг. Похожие электронные книги. Wilhelm Hauff (29. November 1802 - 18. November 1827) war ein deutscher Schriftsteller der Romantik. Er war ein Hauptvertreter der Schwäbischen Dichterschule. Unter den zahlreichen Werken, die der früh verstorbene Wilhelm Hauff in seinem nur drei Jahre währenden literarischen Wirken verfasst hat, ragen die Märchenalmanache heraus. Der kleine Muck, Zwerg Nase, Kalif Storch - sie und viele andere seiner Figuren erscheinen auch heutigen Lesern als gute alte Bekannte. Die vorliegende Ausgabe bietet sämtliche Märchen, die Illustrationen der Erstdrucke und zusätzliche 10 farbige Bildtafeln. Hauffs Märchen fallen in die spätromantische Literaturphase. Der erste Band um die Rahmenerzählung Die Karawane ist gekennzeichnet von hohem Einfühlungsvermögen in die orientalische Lebensweise. Der zweite Band um den Scheich von Alessandria und seine Sklaven verlässt den rein orientalischen Handlungsraum; Zwerg Nase und zwei von Wilhelm Grimm übernommene Märchen (»Schneeweißchen und Rosenroth« und »Das Fest der Unterirdischen«) stehen in der europäischen Märchentradition. Sein dritter Band, Das Wirtshaus im Spessart, behandelt eher Sagenstoffe als Märchen; die Schwarzwaldsage Das kalte Herz ist die bekannteste dieser Sagen. Der Kalif Chasid zu Bagdad saß einmal an einem schönen Nachmittag behaglich auf seinem Sofa; er hatte ein wenig geschlafen, denn es war ein heißer Tag, und sah nun nach seinem Schläfchen recht heiter aus. Er rauchte aus einer langen Pfeife von Rosenholz, trank hie und da ein wenig Kaffee, den ihm ein Sklave einschenkte und strich sich allemal vergnügt den Bart, wenn es ihm geschmeckt hatte. Kurz man sah dem Kalifen an, daß es ihm recht wohl war. Um diese Stunde konnte man gar gut mit ihm reden, weil er da immer recht mild und leutselig war, deswegen besuchte ihn auch sein Großvezier Mansor alle Tage um diese Zeit. An diesem Nachmittag nun kam er auch, sah aber sehr nachdenklich aus, ganz gegen seine Gewohnheit. Der Kalif tat die Pfeife ein wenig aus dem Mund und sprach: »Warum machst du ein so nachdenkliches Gesicht, Großvezier.« Rotkäppchen. Die Märchen der Brüder Grimm faszinieren seit Generationen Kinder und Erwachsene gleichermaßen. Das klassische Märchen „Rotkäppchen“ ist lehrreich und zeitlos zugleich, sie regt die Fantasie an und vermittelt wichtige Werte. Отзывы. Дополнительная информация. Прослушивание аудиокниг. Смартфоны/планшеты. Ноутбуки и настольные компьютеры. Wilhelm Grimm: другие книги автора. Das Volksmärchen „Die Bremer Stadtmusikanten“ wurde von den Brüdern Grimm in ihrer berühmten Sammlung Kinder- und Hausmärchen erstmals veröffentlicht. Bis zum heutigen Tag hat die spannende Geschichte der Bremer Stadtmusikanten nichts von seinem Zauber verloren. Похожие аудиокниги. Читает Dominic Kolb. Das Volksmärchen „Die Bremer Stadtmusikanten“ wurde von den Brüdern Grimm in ihrer berühmten Sammlung Kinder- und Hausmärchen erstmals veröffentlicht. Bis zum heutigen Tag hat die spannende Geschichte der Bremer Stadtmusikanten nichts von seinem Zauber verloren. Alle lieben Märchen, egal ob Kinder oder Erwachsene, denn in den Märchen werden Träume Wirklichkeit und die Gerechtigkeit gewinnt. Tauchen Sie ein in die Welt von Zaubermärchen mit der „Prinzessin auf der Erbse“ - einem schönen Märchen des dänischen Schriftstellers Hans Christian Andersen. Grimm Brothers - Jacob & Wilhelm Grimm. Once upon a time. many fairy tales, collected by the Grimm Brothers, begin with this phrase. For centuries, children around the world have been listening to the Brother Grimms' stories spellbound. Even today, in the 21st century, their fairy tales are going strong. My favourites are Hänsel & Gretel, Cinderella (Aschenputtel) and Little Red Riding Hood (Rotkäppchen). Jacob Ludwig Carl & Wilhelm Carl Grimm were born in Hanau, Germany. The Grimm family had been living in Hanau for more than 100 years. Their father Philipp was a lawyer and town clerk in Hanau, their mother Dorothea née Zimmer hailed from Kassel in North Hessen. House were the Grimms spent their childhood. Witches house from Hänsel and Gretel. The original house where the brothers were born in Hanau doesn't exist anymore, it was destroyed in 1945 during WWII. However, there used to be a cairn opposite their house of birth at Freiheitsplatz in Hanau and an information panel is still at the new house commemorate the place. There is also a memorial of the brothers on market place in Hanau. Facts & Events. Travel Tips. German States. Foods & Recipes. Culture & Customs. Biography Jacob & Wilhelm Grimm. 1785 - Jacob Ludwig Carl was born 4th January in Hanau. 1786 - Wilhelm Carl Grimm was born 24th February in Hanau. 1791 - Philipp Grimm became a magistrate in Steinau, the town where he was born and his father was a pastor for 47 years. The family moved to Steinau an der Strasse, a village on the Kinzig about 50 km north-east of Hanau. Their aunt Juliane Schlemmer , née Grimm, taught the boys the ABC, to read and write, as well as religion. When the family moved to Steinau, she sold her house in Hanau and lived with the Grimms in Steinau. Tante Schlemmer, as the boys fondly called her, had an important impact on the Brothers Grimm's education. She developed the brothers' intellectual capacities from their early childhood. 1812 - The brothers published the first volume of Grimm's Kinder und Hausmärchen (Tales of Children and the Home). 1825 - Wilhelm married Dorothea Wild, daughter of a pharmacist in Kassel. They had 4 children. 1829-1837 - Jacob & Wilhelm Grimm worked as librarians and professors at the university of Göttingen. 1835 - The first edition of the German Mythology was published. 1837 - King Ernest Augustus of Hanover annulled the liberal constitution which was implemented 1833.
Load more

Recommended publications
  • TEACHER RESOURCE PACK for Teachers Working with Pupils in Years 4 - 6 PHILIP PULLMAN’S GRIMM TALES
    PHILIP PUllMAn’S gRiMM TAlES TEACHER RESOURCE PACK FOR teachers wORKing wiTH pupilS in YEARS 4 - 6 PHILIP PUllMAn’S gRiMM TAlES Adapted for the stage by Philip Wilson Directed by Kirsty Housley from 13 nOv 2018 - 6 jAn 2019 FOR PUPILS IN SCHOOl years 4 - 6 OnCE upon A christmas... A most delicious selection of Philip Pullman’s favourite fairytales by the Brothers Grimm, re-told and re-worked for this Christmas. Enter a world of powerful witches, enchanted forest creatures, careless parents and fearless children as they embark on adventures full of magic, gore, friendship, and bravery. But beware, these gleefully dark and much-loved tales won’t be quite what you expect… Duration: Approx 2 hrs 10 mins (incl. interval) Grimm Tales For Young and Old Copyright © 2012, Phillip Pullman. All rights reserved. First published by Penguin Classics in 2012. Page 2 TEACHER RESOURCES COnTEnTS introdUCTiOn TO the pack p. 4 AbOUT the Play p. 6 MAKing the Play: interviEw wiTH director Kirsty HOUSlEY p. 8 dRAMA activiTiES - OverviEw p. 11 SEQUEnCE OnE - “OnCE UPOn A TiME” TO “HAPPILY EvER AFTER” p. 12 sequenCE TwO - the bEginning OF the story p. 15 sequenCE THREE - RAPUnZEl STORY wHOOSH p. 22 sequenCE FOUR - RAPUnZEl’S dREAM p. 24 sequenCE FivE - THE WITCH’S PROMiSES: wRiTING IN ROlE p. 26 RESOURCES FOR ACTiviTiES p. 29 Page 3 TEACHER RESOURCES INTROdUCTiOn This is the primary school pack for the Unicorn’s production of Philip Pullman’s Grimm Tales in Autumn 2018. The Unicorn production is an adaptation by Philip Wilson of Philip Pullman’s retelling of the classic fairytales collected in 19th century Germany by Jacob and Wilhelm Grimm.
    [Show full text]
  • Wolf Folklore Cartoon Animals Are a Good Example of Anthropomorphism; They Look Like Ani- Popular European Folk Tales Were Mals, but They Act Like People
    KIDS The wolf thanked her warmly and was turning away when she cried, “What about that fee of mine?” “Well, what about it?” snapped the wolf, baring his teeth as he spoke. “You can go about boasting that you once put your head into a wolf’s mouth and didn’t get it bitten off. What more do you want?” European Fairy Tales and the Brothers Grimm Wolf Folklore Cartoon animals are a good example of anthropomorphism; they look like ani- Popular European folk tales were mals, but they act like people. written down during the 19th century. By Connor Hager Over time, most people and cultures In 1812, a number of them were pub- have changed their attitudes toward lished by two brothers with the last name wolves because of human activities like of Grimm, under a title still familiar to Folklore, Folk Tales, agriculture (farming), wildlife man- many young readers: Grimm’s Fairy Tales. Legends and Myths agement and environmental studies. The brothers Grimm were lawyers olklore is the word for the tradi- Changing attitudes can alter the way who became interested in folklore as a tions, customs and beliefs found wolves are depicted by humans—and way to study the German culture and within a culture. Folklore is passed that can affect human tolerance for system of laws. They collected these sto- F ries from people they knew, friends of on by telling stories, sharing supersti- wolves, depending on whether the depic- tions, creating music and art, and teach- tions are positive or negative. ing by word-of-mouth.
    [Show full text]
  • PERRAULT, the BROTHERS GRIMM, and the OWNERSHIP of FAIRY TALES Author(S): Donald Haase Reviewed Work(S): Source: Merveilles & Contes, Vol
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Humanities Commons YOURS, MINE, OR OURS? PERRAULT, THE BROTHERS GRIMM, AND THE OWNERSHIP OF FAIRY TALES Author(s): Donald Haase Reviewed work(s): Source: Merveilles & contes, Vol. 7, No. 2 (December 1993), pp. 383-402 Published by: Wayne State University Press Stable URL: http://www.jstor.org/stable/41390373 . Accessed: 14/03/2013 16:43 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Wayne State University Press is collaborating with JSTOR to digitize, preserve and extend access to Merveilles &contes. http://www.jstor.org This content downloaded on Thu, 14 Mar 2013 16:43:29 PM All use subject to JSTOR Terms and Conditions YOURS, MINE, OR OURS? PERRAULT, THE BROTHERS GRIMM, AND THE OWNERSHIP OF FAIRY TALES Donald Haase The Revered Place of Folklore In 1944 W.H. Auden decreed that Grimms' fairy tales are "among the few indispensable, common-propertybooks upon which Western culture can be founded. ... [IJt is hardly too much to say that these tales rank next to the Bible in importance" (1). Auden was in one sense right.Like the Bible, fairytales - especially the classic tales of Charles Perrault and the - BrothersGrimm hold a revered if not sacred place in mod- ern Western culture.
    [Show full text]
  • A Fairy Tale for Adults
    Journal of Undergraduate Research at Minnesota State University, Mankato Volume 18 Article 1 2018 Underlying Morality in Schneewittchen: A Fairy Tale for Adults Maria Ardanova Minnesota State University, Mankato, [email protected] Follow this and additional works at: https://cornerstone.lib.mnsu.edu/jur Part of the German Language and Literature Commons Recommended Citation Ardanova, Maria (2018) "Underlying Morality in Schneewittchen: A Fairy Tale for Adults," Journal of Undergraduate Research at Minnesota State University, Mankato: Vol. 18 , Article 1. Available at: https://cornerstone.lib.mnsu.edu/jur/vol18/iss1/1 This Article is brought to you for free and open access by the Undergraduate Research Center at Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. It has been accepted for inclusion in Journal of Undergraduate Research at Minnesota State University, Mankato by an authorized editor of Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. Ardanova: Underlying Morality in Schneewittchen: A Fairy Tale for Adults 1 Maria Ardanova Mentor: Dr. Krämer Underlying Morality in Schneewittchen: A Fairy Tale for Adults Schneewittchen in English Snow White, is one of the most famous fairy tales in the collection of Jacob and Wilhelm Grimm. It appeared first in 1812’s collection of Kinder und Hausmärchen and the final version was published in 1857. Grimms’ interest in publishing fairy tales came from their desire to pass down oral traditions of German story telling but in written form. From the first edition in 1812, and to the final in 1857, each was edited with precise attention to cultural and historical situations as well as the audience.
    [Show full text]
  • Rewriting the Grandmother's Story
    Fabula 2021; 62(1–2): 172–184 Vanessa Joosen Rewriting the Grandmother’s Story Old Age in “Little Red Riding Hood” and Gillian Cross’ Wolf https://doi.org/10.1515/fabula-2021-0007 Abstract: Feminist perspectives have strongly influenced the fairy-tale rewritings of the past decades, but the intersection of gender with other identity markers de- serves more attention. This article applies the conclusions of Sylvia Henneberg’s critical examination of age and gender in fairy tales to Gillian Cross’s Wolf (1990), an award-winning rewriting of “Red Riding Hood.” While Wolf presents Nan, the counterpart of Red Riding Hood’s grandmother, as a determined and cunning older woman at first, in the course of the novel, the narrative lapses into the ageist stereotypes of the ineffectual crone and the wise old mentor. Zusammenfassung: In den letzten Jahrzehnten sind Neufassungen von Märchen stark von feministischen Perspektiven beeinflusst worden. Allerdings verdient die Schnittmenge zwischen Gender und anderen Identitätsmerkmalen mehr Auf- merksamkeit. Der vorliegende Artikel wendet die Schlussfolgerungen von Sylvia Hennebergs kritischer Untersuchung zu Alter und Gender in Märchen auf Gillian Cross’ Tochter des Wolfes (1990) an – eine preisgekrönte Neufassung von „Rot- käppchen“. Während in Tochter des Wolfes Nan, der Gegenpart zu Rotkäppchens Großmutter, zunächst als entschlossene und schlaue ältere Frau dargestellt wird, verfällt die Erzählung im Laufe des Romans in altersdiskriminierende Stereo- typen, wie die des nichtsnutzigen alten Weibes und der weisen alten Mentorin. Note: This article was written as part of the research project “Constructing Age for Young Read- ers” (CAFYR). This project has received funding from the European Research Council (ERC) under the European Union’s Horizon 2020 research and innovation programme (grant agreement No 804920).
    [Show full text]
  • By Stephen Murray
    MGTV by Stephen Murray Performance Rights It is an infringement of the federal copyright law to copy or reproduce this script in any manner or to perform this play without royalty payment. All rights are controlled by Eldridge Publishing Co., Inc. Contact the publisher for additional scripts and further licensing information. The author’s name must appear on all programs and advertising with the notice: “Produced by special arrangement with Eldridge Publishing Company.” PUBLISHED BY ELDRIDGE PUBLISHING COMPANY www.histage.com © 1999 by Stephen Murray Download your complete script from Eldridge Publishing https://histage.com/mgtv MGTV -2- STORY OF THE PLAY Mother Goose and the Brothers Grimm have been in competition for over 200 years and the friction between them doesn’t seem to be abating. The poor Big Bad Wolf is caught in the middle of the feuding. He has 12 cubs to feed and is working on the sly for both Mother Goose and the Grimms- when he can stay awake. The war is heating up so Mother Goose has been pretty cranky lately, and the employees beg her to take a vacation. She takes off to a beautiful island resort leaving Simple Simon in charge. Simon lets the power go to his head, spends money like crazy, and the Goose employees go on strike. The only way Simon can bring them back to work and get the company out of the red is to agree to appear on a fairy tale TV special with the Brothers Grimm employees. Unfortunately, the Brothers Grimm know Mother Goose is on vacation and plan to sabotage the Mother Goose presentation on the live, nationwide television broadcast, destroying her company once and for all! But Mother Goose hasn’t run the number one fairy tale company for 200 years by being foolish, and finds a way to save her company and bring it back better than ever.
    [Show full text]
  • Little Red Cap by Jacob and Wilhelm Grimm
    Little Red Cap by Jacob and Wilhelm Grimm Once upon a time there was a sweet little girl. Everyone who saw her liked her, but most of all her grandmother, who did not know what to give the child next. Once she gave her a little cap made of red velvet. Because it suited her so well, and she wanted to wear it all the time, she came to be known as Little Red Cap. One day her mother said to her, “Come Little Red Cap. Here is a piece of cake and a bottle of wine. Take them to your grandmother. She is sick and weak, and they will do her well. Mind your manners and give her my greet- ings. Behave yourself on the way, and do not leave the path, or you might fall down and break the glass, and then there will be nothing for your sick grand- mother.” Little Red Cap promised to obey her mother. The grandmother lived out in the woods, a half hour from the village. When Little Red Cap entered the woods a wolf came up to her. She did not know what a wicked animal he was, and was not afraid of him. “Good day to you, Little Red Cap.” “Thank you, wolf.” “Where are you going so early, Little Red Cap?” “To grandmother’s.” “And what are you carrying under your apron?” “Grandmother is sick and weak, and I am taking her some cake and wine. We baked yesterday, and they should give her strength.” “Little Red Cap, just where does your grandmother live?” “Her house is a good quarter hour from here in the woods, under the three large oak trees.
    [Show full text]
  • Playing with Conventions in Hoodwinked!
    „Acta Humana” 6 (1/2015) Mgr Dominika Kozera UMCS Lublin e-mail: [email protected] Playing with Conventions in Hoodwinked! Hoodwinked!1, “a fast and furious crackpot skewering of Little Red Riding Hood”2 is a computer-animated movie retelling the story of this commonly known fairy tale. The creators (Cory and Todd Edwards) played with the traditional folk- tale and changed it into a police investigation narrative with a “whodunit” motif. Superficially, the storyline of a little girl who is harassed by the wolf while going to her grandma is retained. However, there are many unexpected twists added to the story that build up its completely new picture since “There’s more to every tale than meets the eye”3. Thus, attention to detail is essential to detect numerous ideas used in the film and define Hoodwinked! as a cinematic work, which is challeng- ing due to the indeterminacy of its genre affiliation. My purpose is to establish its genre classification through presenting the production’s cinematic diversity that is a cumulative effect of intertextual references accorded in the animation and the Ed- wards’ play with genre conventions (especially crime and fairy tale motifs). Close scrutiny of intergeneric variation in the film will allow to state how the narrative content corresponds to audiovisual elements, and finally why both are combined with the use of mixing conventions. To begin with the task of classifying the Edwards’ production, it will be indis- pensable to analyze a set of features (i.e. setting, characters, and narrative structure) which are relevant to the identification of predominant genres used inHoodwinked! While the gradual elaboration on them will enable to establish a refined typology of the Edwards’ work, it must be clarified that the motion picture is generally treated as a children’s film due to its animated form and the use of talking animals.
    [Show full text]
  • Little Red Riding Hood a Queensland Ballet and out of the Box Festival Production
    3–8 Years Little Red Riding Hood A QUEENSLAND BALLET AND OUT OF THE BOX FESTIVAL PRODUCTION Queensland Ballet launches their My First Ballet series with a very special premiere. Funny, cheeky and feisty, Little Red Riding Hood is a delightful mashup of ballet and creative theatrics that children will love. This is a unique re-telling of a classic fairytale, set to an original score that will enthral the littlest lovers of dance and theatre. First commissioned by QPAC for the 2016 Out of the Box festival for children eight years and under. AGE RANGE 3–8 Years VENUE Playhouse, QPAC COST School Groups 10+ $20pp 1 teacher free per 10 students booked BOOKINGS outoftheboxfestival.com.au/preview Refer to Festival Timetable on pp. 16-17 for available times and dates. EARLY YEARS FRAMEWORK AUSTRALIAN CURRICULUM v.8.1 Outcome 1: Children have a strong sense of identity. Dance: F-2 Outcome 2: Children are connected with and contribute to Explore, improvise and organise ideas to make dance sequences their world. using the elements of dance (ACADAM001). Outcome 4: Children are confident and involved learners. Use fundamental movement skills to develop technical skills Outcome 5: Children are effective communicators. when practising dance sequences (ACADAM002). Dance: 3&4 Improvise and structure movement ideas for dance sequences QUEENSLAND STUDIES AUTHORITY using the elements of dance and choreographic devices (ACADAM005). ESSENTIAL LEARNINGS BY THE END OF YEAR 3 Practise technical skills safely in fundamental movements THE ARTS (ACADAM006). Ways of Working Create and shape arts works by combining arts elements to express personal ideas, feelings and experiences, using arts Dance Moves elements and languages, reflect on learning to identify new Queensland Ballet with Queensland University of Technology understandings.
    [Show full text]
  • Memory of the World
    MEMORY OF THE WORLD Kinder- und Hausmärchen (Children’s and Household Tales) (Germany) REF N° 2004-10 revised version of July 2011 SUMMARY The “Kinder- und Hausmärchen” (Children’s and Household Tales; hereafter CHT) of the Brothers Grimm are, next to the Luther Bible, the most well-known and the most widely distributed book that has emerged in the course of German cultural history. It is, at once, the first systematic compilation of any fairy tale tradition undertaken in the European or Oriental realm as well as the first scholarly documentation of such a tradition. Translations exist in over 160 languages and cultural dialects from all continents. The Grimms’ great work is like a concave mirror that captures a fairy tale tradition shaped by several cultures, compiles it in a new form, and reflects it in such a way that a new tradition emerges which subsequently unfolds with worldwide impact. The global distribution of the Grimm fairy tales is also a demonstration of their exemplary character, which, rooted in German romanticism, takes up the poetry of the human imagination and sets it down in a universally valid form. The uniqueness and global impact of this collection may be ascribed to the fact that the Brothers Grimm, in their literary encoding of a pre-literary tradition, moved beyond the German and European frame of reference and created a universal pattern for the cross-cultural fairy tale tradition. The most significant preserved historical source documenting the origins and effect of the Grimms’ fairy tales are the Annotated Reference Copies of the CHT, the so-called Kassel Handexemplare.
    [Show full text]
  • For Preview Only
    Book by Alec Strum Music and lyrics by Bill Francoeur © Copyright 2007, Pioneer Drama Service, Inc. Professionals and amateurs are hereby warned that a royalty must be paid for every performance, whether or not admission is charged. All inquiries regarding rights should be addressed to Pioneer Drama Service, Inc., PO Box 4267, Englewood, CO 80155. All rights to this musical—including but not limited to amateur, professional, radio broadcast, television, motion picture, public reading and translation into foreign languages—are controlled by Pioneer Drama Service, Inc., without whose permission no performance, reading or presentation of any kind in whole or in part may be given. These rights are fully protected under the copyright laws of the United States of America and of all countries covered by the Universal Copyright Convention or with which the United States has reciprocal copyright relations, including Canada, Mexico, Australia and all nations of the United Kingdom. COPYING OR REPRODUCING ALL OR ANY PART OF THIS BOOK IN ANY MANNER IS STRICTLY FORBIDDEN BY LAW. On all programs, printing and advertising, the following information must appear: 1. The full name of the musical 2. The full name of the playwright and composer/arranger 3. The following notice: “Produced by special arrangement with Pioneer Drama Service, Inc., Englewood, Colorado” For preview only THE BIG BAD MUSICAL A Howling Courtroom Comedy Book by ALEC STRUM Music and lyrics by BILL FRANCOEUR CAST OF CHARACTERS (In Order of Speaking) # of lines SYDNEY GRIMM ........................young,
    [Show full text]
  • The Brothers Grimm Spectaculathon (Full-Length) (1St Ed
    The Brothers Grimm Spectaculathon (full-length) (1st ed. - 08.02.07) - brothersgrimmspectaculathonAjr Copyright © 2007 Don Zolidis ALL RIGHTS RESERVED Copyright Protection. This play (the “Play”) is fully protected under the copyright laws of the United States of America and all countries with which the United States has reciprocal copyright relations, whether through bilateral or multilateral treaties or otherwise, and including, but not limited to, all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention, and the Berne Conven- tion. Reservation of Rights. All rights to this Play are strictly reserved, including, without limitation, professional and amateur stage performance rights; motion picture, recitation, lecturing, public reading, radio broadcast- ing, television, video, and sound recording rights; rights to all other forms of mechanical or electronic repro- duction now known or yet to be invented, such as CD-ROM, CD-I, DVD, photocopying, and information storage and retrieval systems; and the rights of translation into non-English languages. Performance Licensing and Royalty Payments. Amateur and stock performance rights to this Play are controlled exclusively by Playscripts, Inc. (“Playscripts”). No amateur or stock production groups or indi- viduals may perform this Play without obtaining advance written permission from Playscripts. Required roy- alty fees for performing this Play are specified online at the Playscripts website (www.playscripts.com). Such royalty fees may be subject to change without notice. Although this book may have been obtained for a particular licensed performance, such performance rights, if any, are not transferable. Required royalties must be paid every time the Play is performed before any audience, whether or not it is presented for profit and whether or not admission is charged.
    [Show full text]