Fairy Godmother Free

Total Page:16

File Type:pdf, Size:1020Kb

Fairy Godmother Free FREE FAIRY GODMOTHER PDF Tony Bradman,Sarah Warburton | 50 pages | 13 Mar 2014 | Capstone Press | 9781434279613 | English | Mankato, United States Home | Fairy Godmother She is voiced by Jennifer Saunders in the films and Claudia Christian in the video games. When Fiona approaches her and tells her what she wants, Fortuna gives Fairy Godmother a Beauty potion, which gives her her curse. The Fairy Godmother transformed Harold into a human in order Fairy Godmother marry Lillian, in return for the hand of their future daughter. When they saw Fairy Godmother become an ogress possibly due to the Fairy Godmotherthey sought her help. Lillian however, unlike Harold, didn't like the Fairy Godmother, mentioning that she didn't trust her when she and Harold went to sign their kingdom away. When Shrek consults the Fairy Godmother to try to mend his relationship with Fiona, she dismisses them, saying that ogres don't live happily ever after. When Shrek arrives at the castle under the effects of the Happily Ever After Potion, hoping to Fairy Godmother Fiona she sends Prince Charming to intercept Fiona and pose as Shrek and proceeds to have the magic furniture block Fairy Godmother available exits and keep Shrek away from Fiona. After Shrek tries and fails to get Fiona's attention Fairy Godmother explains to Shrek that he's "messed her life up enough" and pretends to be kind, caring, and sympathetic pretending to gently explain that Fiona can finally be happy now that she's found the prince of her dreams. Shrek tries to explain what tried to do for Fiona, but Fairy Godmother explains that Shrek needs to "stop living in a fairy tale" claiming that Fiona's a princess and that Shrek's an ogre and claims that is something that no amount of potion will ever Fairy Godmother no matter how much Shrek wants it. Fairy Godmother Godmother then gives Harold a love potion to make Fiona fall in love with love with the first man she kisses. When Harold objects to this, stating that morally she can't Fairy Godmother force someone to fall in love Fairy Godmother blackmails Harold, explaining that she helped him with his happily Fairy Godmother after and that she can easily take it way permanently. When Fairy Godmother discovers that Shrek has learned of her true intentions and her true colors she has Shrek, Donkey, and Puss in Boots captured to stop them and keep Shrek away from Fiona. Fairy Godmother the ball, while Fairy Godmother Godmother sings, "I need a hero," as Charming is about to kiss Fiona, Shrek interrupts him having just broken into the castle. Then, Fiona knocks him out with a head-butt. The Fairy Godmother then blasts a spell at him, presumably to kill him, but Harold sends it back on her, she is seemingly unharmed for a few seconds and was about to attempt to blast him again but then the spell reduces her to bubbles and sparkles. The Fairy Godmother Fairy Godmother appear in Shrek the third as she is dead but she is mentioned several times by her son and is seen in a photo. She makes a cameo in the end Fairy Godmother as Fairy Godmother shows the moments of the previous films as the film was the final chapter of the Shrek saga. Shrek Forever After video game. Donkey : Um, between you and me, Shrek, she is definitely not the fairest Fairy Godmother them all. Fairy Godmother: Yes. Puss in Boots Fairy Godmother : The ogre is right, Senora. That tiara will be ours. On guard! After this, a battle takes place between Shrek, his friends, Godmother, Fairy Godmother and spiders. You hear me! She appears to be a sweet and stereotypical fairy godmother but in reality, she is a manipulator who will stop at nothing to get what she wants. The Fairy Godmother is an old looking lady that has gray hair with sparkles. She Fairy Godmother a long light blue dress with light blue glasses, purple star earrings, light blue slippers, and wears four rings on her fingers, two on Fairy Godmother right pointer Fairy Godmother ringman, and two on her left tallman and pinky. She also carries around a wand. At Fiona's wedding ball, the Fairy Godmother wore a red dress that matches her earrings, glasses, and slippers. DreamWorks Villains. Tweedy Mr. Peabody and Sherman: Ms. This wiki. This wiki All wikis. Sign In Don't have an account? Start a Wiki. Do you like this video? DreamWorks Wiki has Fairy Godmother collection of images and media related to Fairy Godmother. Categories :. Universal Conquest Wiki. Fairy Godmother | Dreamworks Animation Wiki | Fandom Our team is comprised of elite event producers with strengths in design and attention to detail. We are here to take care of the big and small things, with the confidence that we will take care of you and your guests. We can help you create an intimate wedding with your closest loved ones, or just you Fairy Godmother your partner. We seek couples who have delayed their wedding because tragic circumstances redirected wedding funds to pay for medications, treatment and other costs associated with a serious illness or sustained injury. Nominate a Couple. Dedication Our team is comprised of elite Fairy Godmother producers with strengths in design and attention to detail. Meet the Team. A Cause Dear to Our Hearts We seek couples who have delayed their wedding because tragic circumstances redirected wedding funds to pay for medications, treatment and other costs Fairy Godmother with a serious illness or sustained injury. Rentals Rentals Account Login Photobooth. Social Facebook Instagram YouTube. Get Updates. We Fairy Godmother with amazing vendors! They make our jobs s. These fall desserts we just incredible! Just add a. Who else is obsessed with fall decor?? Did someone say apple cider bar?! Are you more of a hot chocolate or an Fairy Godmother cider. Pumpkin spice and everything nice! We love our clients and what we do! This view and this couple are both just too gorgeo. Follow Fairy Godmother. Fairy Godmother: Dark Deal by DOMINIGEIMS, OOO In Perrault's Cinderellahe concludes the tale with the cynical moral that no personal advantages will suffice without proper connections. The fairy godmother is a special case of the donor. Many other supernatural patrons feature in fairy tales; these include various kinds of animals and the spirit of a dead mother. The most well-known Fairy Godmother is probably the fairy godmother in Charles Perrault 's Cinderella. The popularity of these versions of Fairy Godmother tales led to this being widely regarded as a common Fairy Godmother motif, although they are less common in other tales. She is portrayed as kind, gentle and loving. Madame d'Aulnoy created a fairy godmother for Fairy Godmother evil stepsister in her fairy tale The Blue Bird ; in this position, the fairy godmother's Fairy Godmother to bring about the marriage of her goddaughter and the hero are evil attempts to impede his marriage Fairy Godmother the heroine. Likewise, in her The White Doethe fairy godmother helps Fairy Godmother evil princess get revenge on the heroine. In Finette Cendronthe fairy godmother is the heroine's, but after helping her in the early portion of the tale, she is offended when Fairy Godmother Cendron does not take her advice, and Finette must work through the second part with Fairy Godmother assistance from her. In Henriette-Julie de Murat 's Bearskinthe heroine has a fairy godmother, but she is offended that the heroine's marriage was arranged without consulting her, and refuses to assist. Fairy godmothers Fairy Godmother frequently in fairytale fantasyespecially comic versions and retellings of Cinderella and Sleeping Beauty. Mercedes Lackey presents a gently lampooned version of the concept in her Tales of the Five Hundred Kingdoms series, in which Fairy Godmothers are magically-gifted women who monitor magical forces across the kingdoms. Whenever events are right for a fairy tale to recur, the relevant Fairy Godmother steps in to make sure that the tale in question runs its course with as few fatalities as possible. From Wikipedia, the free encyclopedia. Redirected from Fairy Godmother. For other uses, see Fairy godmother disambiguation. Children's literature Fairy Godmother. Walls, ed. Hey, Cinderella! Cinderella complex Cinderella effect The Cinderella Movement. Fantasy fiction. History Literature Magic Sources. Anime Films Television programs. Tolkien World Fantasy Convention. Outline Category. Stock characters. Byronic hero Man alone Tragic hero. Gentleman detective Jack Trickster. Harlequin Zanni. Bad boy Gentleman thief Pirate Air pirate Space pirate. False hero. Double agent Evil twin. Dark Lord Mad scientist Supervillain. Dragon Lady Femme fatale Tsundere. Jungle girl Magical girl. Princesse lointaine Southern belle Valley girl Yamato nadeshiko. Class S Laotong. Columbina Mammy stereotype. Gamer girl. Final girl Princess and dragon. Wise old man Elderly martial arts master Magical Negro. Feral child Noble savage Caveman Moleman Mountain man. Seme and uke. Pachuco Black knight. Celebi Jigglypuff Weezing Mimikyu Mr. Fairy-like Fairy Godmother in folklore. See also Category List of beings referred to as fairies. Categories : Fairy tale stock characters Fictional Fairy Godmother and sprites Fictional characters who Fairy Godmother magic Female characters in animation Female characters in fairy tales Female characters in film Cinderella characters. Hidden categories: Articles containing French-language text Commons category link from Wikidata. Namespaces Article Talk. Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file. Download as PDF Printable version. Wikimedia Commons. Wikimedia Commons has media related to Fairy godmother. Film and television Anime Films Television programs. Lovable rogue Gentleman detective Jack Trickster. Antivillains False hero. Harlequin Pierrot. .
Recommended publications
  • Use Style: Paper Title
    International Journal on Recent and Innovation Trends in Computing and Communication ISSN: 2321-8169 Volume: 4 Issue: 6 494 - 497 ____________________________________________________________________________________________________________________ Study of Manga, Animation and Anime as an Art Form Steena. J. Mathews Department of Master Of Computer Application(MCA) University Of Mumbai Dr.G.D.Pol Foundation YMT College of Management Sector-4 Kharghar, Navi Mumbai-410210, India [email protected] ne 1 (of Affiliation): dept. name of organization Abstract—Manga is from Japanese for comics or whimsical images. Manga grow from combining of Ukiyo-e and from Western style drawing and it’s currently soon after World War II. Part from Manga's covers which is usually issued in black and white. But it is usual to find introductions to chapters to be in color and is read from top to bottom and then right to left, alike to the layout of a Japanese basic text. Anime relates to the animation style developed in Japan. It is characterized by particular characters and backgrounds which are hand drawn or computer generated that visually and confined set it apart from other forms of animation. Plots may include a variety of imaginary or ancient characters, events and settings. Anime is a complex art form that includes various themes, animation styles, messages, and aspects of Japanese culture. Each member will understand the differences in theme, style, animation, and cultural influences between Anime, Manga and American animation. As mass- produced art, anime has a stature and recognition even American animated films, long accepted as a respectable style of film making, have yet to achieve.
    [Show full text]
  • Schoolgirl RPG Complete Edition
    Schoolgirl RPG Complete Edition By Ewen Cluney Sample file 1 Credits Presented by Yaruki Zero Games (www.yarukizerogames.com) Original Maid RPG design by Ryo Kamiya Written by Ewen Cluney (©2014) Cyborg Catgirl Art by Wossa and Dawn Davis The following icons are used under a Creative Commons Attribution license: Dice by Les Kleuver Girl by Andrew McKinley Catgirl by Nick Green Swimmer by Cristina Gallego Woman by Nicolas Morand Woman by Matt Brooks Cockroach by Michael Thompson VHS icon by Mike Wirth Hammer by Michael A. Salter Energy Drink by Daniel Brunsteiner Syringe by Richard Pasqua Male icon by Rahul Anand Bomb icon by Maximilian Becker Shinai icon by Luke Anthony Firth Star icon by Vincent BARSE Nunchucks icon by Stephen Copinger Color-Fan by Dan Hetteix Sample file 2 Table of Contents Introduction ..................................... 5 Teacher Rules ................................ 47 Character Creation .......................... 9 1. Attributes ................................... 49 1. Attributes .................................... 11 2. Subject ........................................ 49 2. Special Qualities .......................... 11 3. Special Qualities ......................... 50 3. Stress Explosion .......................... 12 4. Stress Explosion ......................... 50 4. Colors ......................................... 12 5. Weapon ..................................... 51 5. Stress Limit .................................. 12 6. Colors ......................................... 52 6. Details ........................................
    [Show full text]
  • Tolkien As a Child of <I>The Green Fairy Book</I>
    Volume 26 Number 1 Article 9 10-15-2007 Tolkien as a Child of The Green Fairy Book Ruth Berman Independent Scholar Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Berman, Ruth (2007) "Tolkien as a Child of The Green Fairy Book," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 26 : No. 1 , Article 9. Available at: https://dc.swosu.edu/mythlore/vol26/iss1/9 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Considers the influence of some of olkienT ’s earliest childhood reading, the Andrew Lang fairy books, and the opinions he expressed about these books in “On Fairy-stories.” Examines the series for possible influences on olkienT ’s fiction in its portrayal of fairy queens, dragons, and other fantasy tropes.
    [Show full text]
  • The Origins of the Magical Girl Genre Note: This First Chapter Is an Almost
    The origins of the magical girl genre Note: this first chapter is an almost verbatim copy of the excellent introduction from the BESM: Sailor Moon Role-Playing Game and Resource Book by Mark C. MacKinnon et al. I took the liberty of changing a few names according to official translations and contemporary transliterations. It focuses on the traditional magical girls “for girls”, and ignores very very early works like Go Nagai's Cutie Honey, which essentially created a market more oriented towards the male audience; we shall deal with such things in the next chapter. Once upon a time, an American live-action sitcom called Bewitched, came to the Land of the Rising Sun... The magical girl genre has a rather long and important history in Japan. The magical girls of manga and Japanese animation (or anime) are a rather unique group of characters. They defy easy classification, and yet contain elements from many of the best loved fairy tales and children's stories throughout the world. Many countries have imported these stories for their children to enjoy (most notably France, Italy and Spain) but the traditional format of this particular genre of manga and anime still remains mostly unknown to much of the English-speaking world. The very first magical girl seen on television was created about fifty years ago. Mahoutsukai Sally (or “Sally the Witch”) began airing on Japanese television in 1966, in black and white. The first season of the show proved to be so popular that it was renewed for a second year, moving into the era of color television in 1967.
    [Show full text]
  • Confessions of an Ugly Stepsister
    Reading Guide Confessions of an Ugly Stepsister By Gregory Maguire ISBN: 9780060987527 Summary We have all heard the story of Cinderella, the beautiful child cast out to slave among the ashes. But what of her stepsisters, the homely pair exiled into ignominy by the fame of their lovely sibling? What fate befell those untouched by beauty...and what curses accompanied Cinderella's exquisite looks? Set against the rich backdrop of seventeenth-century Holland, Confessions of an Ugly Stepsister tells the story of Iris, an unlikely heroine who finds herself swept from the lowly streets of Haarlem to a strange world of wealth, artifice, and ambition. Iris's path quickly becomes intertwined with that of Clara, the mysterious and unnaturally beautiful girl destined to become her sister. Far more than a mere fairy-tale, Confessions is a novel of beauty and betrayal, illusion and understanding, reminding us that deception can be unearthed -- and love unveiled -- in the most unexpected of places. Questions for Discussion 1. While versions of the Cinderella story go back at least a thousand years, most Americans are familiar with the tale of the glass slippers, the pumpkin coach, and the fairy godmother. In what ways does Confessions of an Ugly Stepsister contain the magical echo of this tale, and in what ways does it embrace the traditions of a straight historical novel? 2. Confessions is, in part, about the difficulty and the value of seeing-seeing paintings, seeing beauty, seeing the truth. Each character in Confessions has blinkers or blinders on about one thing or another. What do the characters overlook, in themselves and in one another? 3.
    [Show full text]
  • Mammy Figure
    Mammy: A Century of Race, Gender, and Southern Memory Kimberly Wallace-Sanders http://www.press.umich.edu/titleDetailDesc.do?id=170676 The University of Michigan Press INTRODUCTION The “Mammi‹cation” of the Nation: Mammy and the American Imagination Nostalgia is best de‹ned as a yearning for that which we know we have destroyed. —david blight The various incarnations of the mammy ‹gure have had a profound in›uence on American culture. There is virtually no medium that has not paid homage to the mammy in some form or another. In his series “Ameri- can Myths,”for example, artist Andy Warhol included both the mammy and Aunt Jemima, along with Howdy Doody, Uncle Sam, Dracula, and the Wicked Witch of the West (‹gs. 1 and 2).1 In the late 1980s, Italian pho- tographer Olivero Toscani created an advertisement for Benetton featuring a close-up of a white infant nursing at the breast of a headless, dark- skinned black woman wearing a red Shetland sweater (‹g. 3). The adver- tisement was met with unbridled criticism from African Americans, yet it won more advertising awards than any other image in Benetton’s advertis- ing history.2 Today, tourists visiting Lancaster, Kentucky, can tour the for- mer slave plantation of Governor William Owsley, ironically called Pleas- ant Retreat. The restored home features many remnants of the Old South, including a “charming mammy bench,” a combination rocking chair and cradle designed to allow mammies to nurse an infant and rock an additional baby at the same time.3 Diminutive mammy “nipple dolls” made in the 1920s from rubber bottle nipples with tiny white baby dolls cradled in their arms are both a “well-kept secret”and an excellent investment by collectors of southern Americana (‹g.
    [Show full text]
  • Tolkien's Women: the Medieval Modern in the Lord of the Rings
    Tolkien’s Women: The Medieval Modern in The Lord of the Rings Jon Michael Darga Tolkien’s Women: The Medieval Modern in The Lord of the Rings by Jon Michael Darga A thesis presented for the B.A. degree with Honors in The Department of English University of Michigan Winter 2014 © 2014 Jon Michael Darga For my cohort, for the support and for the laughter Acknowledgements My thanks go, first and foremost, to my advisor Andrea Zemgulys. She took a risk agreeing to work with a student she had never met on a book she had no academic experience in, and in doing so she gave me the opportunity of my undergraduate career. Andrea knew exactly when to provide her input and when it was best to prod and encourage me and then step out of the way; yet she was always there if I needed her, and every book that she recommended opened up a significant new argument that changed my thesis for the better. The independence and guidance she gave me has resulted in a project I am so, so proud of, and so grateful to her for. I feel so lucky to have had an advisor who could make me laugh while telling me how badly my thesis needed work, who didn’t judge me when I came to her sleep-deprived or couldn’t express myself, and who shared my passion through her willingness to join and guide me on this ride. Her constant encouragement kept me going. I also owe a distinct debt of gratitude to Gillian White, who led my cohort during the fall semester.
    [Show full text]
  • Iacs2017 Conferencebook.Pdf
    Contents Welcome Message •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 4 Conference Program •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 7 Conference Venues ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 10 Keynote Speech ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 16 Plenary Sessions •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 20 Special Sessions •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 34 Parallel Sessions •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 40 Travel Information •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 228 List of participants ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 232 Welcome Message Welcome Message Dear IACS 2017 Conference Participants, I’m delighted to welcome you to three exciting days of conferencing in Seoul. The IACS Conference returns to South Korea after successful editions in Surabaya, Singapore, Dhaka, Shanghai, Bangalore, Tokyo and Taipei. The IACS So- ciety, which initiates the conferences, is proud to partner with Sunkonghoe University, which also hosts the IACS Con- sortium of Institutions, to organise “Worlding: Asia after/beyond Globalization”, between July 28 and July 30, 2017. Our colleagues at Sunkunghoe have done a brilliant job of putting this event together, and you’ll see evidence of their painstaking attention to detail in all the arrangements
    [Show full text]
  • Abstract Rereading Female Bodies in Little Snow-White
    ABSTRACT REREADING FEMALE BODIES IN LITTLE SNOW-WHITE: INDEPENDENCE AND AUTONOMY VERSUS SUBJUGATION AND INVISIBILITY By Dianne Graf In this thesis, the circumstances and events that motivate the Queen to murder Snow-White are reexamined. Instead of confirming the Queen as wicked, she becomes the protagonist. The Queen’s actions reveal her intent to protect her physical autonomy in a patriarchal controlled society, as well as attempting to prevent patriarchy from using Snow-White as their reproductive property. REREADING FEMALE BODIES IN LITTLE SNOW-WHITE: INDEPENDENCE AND AUTONOMY VERSUS SUBJUGATION AND INVISffiILITY by Dianne Graf A Thesis Submitted In Partial Fulfillment of the Requirements For the Degree of Master of Arts-English at The University of Wisconsin Oshkosh Oshkosh WI 54901-8621 December 2008 INTERIM PROVOST AND VICE CHANCELLOR t:::;:;:::.'-H.~"""-"k.. Ad visor t 1.. - )' - i Date Approved Date Approved CCLs~ Member FORMAT APPROVAL 1~-05~ Date Approved ~~ I • ~&1L Member Date Approved _ ......1 .1::>.2,-·_5,",--' ...L.O.LJ?~__ Date Approved To Amanda Dianne Graf, my daughter. ii ACKNOWLEDGEMENTS Thank you Dr. Loren PQ Baybrook, Dr. Karl Boehler, Dr. Christine Roth, Dr. Alan Lareau, and Amelia Winslow Crane for your interest and support in my quest to explore and challenge the fairy tale world. iii TABLE OF CONTENTS Page INTRODUCTION………………………………………………………………… 1 CHAPTER I – BRIEF OVERVIEW OF THE LITERARY FAIRY TALE AND THE TRADITIONAL ANALYSIS OF THE FEMALE CHARACTERS………………..………………………. 3 CHAPTER II – THE QUEEN STEP/MOTHER………………………………….. 19 CHAPTER III – THE OLD PEDDLER WOMAN…………..…………………… 34 CHAPTER IV – SNOW-WHITE…………………………………………….…… 41 CHAPTER V – THE QUEEN’S LAST DANCE…………………………....….... 60 CHAPTER VI – CONCLUSION……………………………………………..…… 67 WORKS CONSULTED………..…………………………….………………..…… 70 iv 1 INTRODUCTION In this thesis, the design, framing, and behaviors of female bodies in Little Snow- White, as recorded by Wilhelm and Jacob Grimm will be analyzed.
    [Show full text]
  • Maleficent's Character Development As Seen In
    MALEFICENT’S CHARACTER DEVELOPMENT AS SEEN IN MALEFICENT MOVIE A GRADUATING PAPER Submitted in Partial Fulfillment of the Requirements for Gaining The Bachelor Degree in English Literature By : Nur Asmawati 10150043 ENGLISH DEPARTEMENT FACULTY OF ADAB AND CULTURAL SCIENCES STATE ISLAMIC UNIVERSITY SUNAN KALIJAGA YOGYAKARTA 2015 PERUBAHAN KARAKTER MALEFICENT SEPERTI YANG TERGAMBAR DALAM FILM MALEFICENT Oleh Nur Asmawati ABSTRAK Skripsi ini berjudul “Perubahan Karakter Maleficent dalam Film Maleficent”. Maleficent adalah karakter utama dalam film Maleficent karya Joe Roth. Movie ini menarik untuk di analisis karakter utama Maleficent tersebut mengalami perubahan dari seorang peri yang baik menjadi peri yang jahat. Perubahan ini disebabkan oleh cintanya pada manusia bernama Stefan dan kemudian dan mendapat penghianatan. Data yang diambil dari film untuk analisis ini adalah naskah film tersebut. Metode analisis data merupakan penelitian deskriptif kualitatif. Penulis menggunakan teori struktural khususnya teori perubahan karakter, teori tersebut berhubungan dengan gagasan perubahan karakter yang di usulkan oleh William Kenny. Kesimpulan dari penelitian ini adalah Maleficent sebagai tokoh utama dalam film Maleficent mengalami perubahan karakter. Dalam cerita, Maleficent mengalami dua perubahan karakter yaitu, pertama karakter baik berubah menjadi karakter buruk, dan buruk karakter menjadi baik. Dalam perubahan karakter dari baik menjadi buruk disebabkan oleh dari berjiwa kepemimpinan dan persahabatan dan memiliki dendam dan dari mempunyai rasa cinta dan mengasihani menjadi marah dan benci. Sedangakan perubahan karakter dari buruk menjadi baik hanya karena dari rasa benci dan marah menjadi cinta dan menjadi kasihan Kata Kunci : Tokoh, Film, Perubahan Karakter. iii MALEFICENT’S CHARACTER DEVELOPMENT AS SEEN IN MALEFICENT MOVIE By Nur Asmawati ABSTRACT This graduating paper is entitled “Maleficent’s Character Development as Seen in Maleficent Movie”.
    [Show full text]
  • Character Roles in the Estonian Versions of the Dragon Slayer (At 300)
    “THE THREE SUITORS OF THE KING’S DAUGHTER”: CHARACTER ROLES IN THE ESTONIAN VERSIONS OF THE DRAGON SLAYER (AT 300) Risto Järv The first fairy tale type (AT 300) in the Aarne-Thompson type in- dex, the fight of a hero with the mythical dragon, has provided material for both the sacred as well as the profane kind of fabulated stories, for myth as well as fairy tale. The myth of dragon-slaying can be met in all mythologies in which the dragon appears as an independent being. By killing the dragon the hero frees the water it has swallowed, gets hold of a treasure it has guarded, or frees a person, who in most cases is a young maiden that has been kidnapped (MNM: 394). Lutz Rörich (1981: 788) has noted that dragon slaying often marks a certain liminal situation – the creation of an order (a city, a state, an epoch or a religion) or the ending of something. The dragon’s appearance at the beginning or end of the sacral nar- rative, as well as its dimensions ‘that surpass everything’ show that it is located at an utmost limit and that a fight with it is a fight in the superlative. Thus, fighting the dragon can signify a universal general principle, the overcoming of anything evil by anything good. In Christianity the defeating of the dragon came to symbolize the overcoming of paganism and was employed in saint legends. The honour of defeating the dragon has been attributed to more than sixty different Catholic saints. In the Christian canon it was St.
    [Show full text]
  • FEMA's Be a Hero! Youth Emergency Preparedness Curriculum
    cy Preparedness Emergen Youth Grades 1-2 TM http://www.ready.gov/kids 1 Dear Educator, Welcome to FEMA’s Be a Hero curriculum, an empowering educational journey into emergency preparedness! This standards-based, cross-curricular program is designed to provide students in grades 1 and 2 with the knowledge, awareness, and life-saving skills needed to prepare for a variety of emergencies and disasters. By engaging in three inquiry-based lessons, students will gain a personal and meaningful understanding of disaster preparedness in the context of real-world hazards. All learning activities lead to important learning through collaborative fact-finding and sharing. By the final lesson, students will become “heroes” as they develop their ownReady Books on emergency preparedness. Using communication skills and creativity, they will generate awareness of emergency preparedness among friends, families, and the school community. Knowledge empowers! We hope this program will help you, your students, and their families feel prepared. Sincerely, Your Friends at FEMA Table of Contents Lesson 1: Lesson 2: Lesson 3: Super Mission: Find the Facts 5 Superheroes, Ready! 16 We Know What To Do! 22 Essential Questions: Essential Questions: Essential Questions: What is an emergency? What is a How can I/my family prepare for an What should I do in an emergency? What are natural disaster? What are different emergency or disaster? Am I/is my safe actions in different emergency situations? kinds of emergencies that can family prepared? impact me? Learning Objectives:
    [Show full text]