DOCSLIB.ORG

An Excerpt from GREY OWL: You Want to Talk Civilization

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
An Excerpt from GREY OWL: You Want to Talk Civilization Rampike Volume 8/#2, 1997. INDEX Ryosuke Cohen p. 2 Editorial p. 3 Geza Pemeczky p. 4 Artpool p. 10 K. Takeishi-Tateno p. 11 Anonymous p. 11 Serse Luigetti p. 11 Tribute to Guillenno Deisler p. 12 Basil Johnston p. 14 Thomas King p. 17 Arthur (Butch) Elliot p. 21 Annand Gamet Ruffo p. 22 Kateri Akiwenzie-Damm p. 26 Arthur (Butch) Elliot p. 27 Rolland Nadjiwon p. 28 / Arthur (Butch) Elliot p. 29 Philippe Sollers p. 30 Rolland Sabatier p. 31 Hedi Bouraoui p. 32 Rolland Sabatier p. 32 Christine Gennain p. 33 Betsy Warland p. 34 Gabor Gyukics p. 35 Helen Lovekin p. 36 William Knight p. 37 Paul Dutton p. 38 Jurgen 0. Olbrich p. 38 Gerry Shikatani p. 39 Hank Lazer p. 40 Joan Chevalier p. 42 Christian Bok p. 46 Sheila Murphy p. 47 Geza Perneczky p. 47 Robert Priest p. 48 Opal L. Nations p. 49 Genni Gunn p. 50 Stan Rogal p. 52 Oscar Martens p. 53 Gary Barwin p. 54 Doleske p. 56 John Barlow p. 59 Susan Andrews Grace p. 60 Aleksandrs Caks p. 61 Harry Rudolfs p. 61 Louise Bak p. 62 Joelli Ethier p. 63 Alan Lord p. 64 Phlip Arima p. 64 Jill Battson p. 65 Fernando Aguiar p. 65 Richard Harrison p. 66 Michael Londry p. 67 Kristjana Gunnars p. 68 Fernando Aguiar p. 69 Lisa Samuels p. 70 Brian David Johnston p. 71 ~ Karl E. Jirgens p. 72 ) t Laurie Kruk p. 7 5 Death Waits p. 76 George Angel p. 79 Books Received p. 80 Brain Cell: Artist's Statement EDITORIAL This issue of Rampike celebrates a wide variety of perspectives from around the world. by Ryosuke Cohen The issue begins with documentation of the world-wide mail-art movement with Ryosuke Cohen began professional work as an artist in the 1970' s. Among statements by Ryosuke Cohen & Geza Pemeczky. In this issue we pay tribute to our long­ Cohen's early works was a human figure inter-acting with LED's or Light Emitting time correspondent, mail-artist, graphic artist, and friend, Guillermo Deisler (1940-1995). Diodes to create an interplay of light and shadow. Cohen also participated in guerilla art A mail-art project involving 58 participants from 18 countries took part in a collaborative activity, for example, by creating a parody of a sculpture and placing without next to homage to this great maestro. This issue also offers other varieties of investigation into another sculpture which had been criticized for being demeaning against worn.en (1979). artistic form, including Shaped Poetry, Lettrism, Fluxus, Sound Poetry, post-structural Ryosuke Cohen also did a guerilla performance which involved hanging the enemy's flag fiction and poetry, graphic arts, as a gesture to the idea that there need not be a single or on the stone wall of Osaka Castle in Cohen's own home town. In 1980, after studying dominant aesthetic for meaningful cultural statements or exchanges. In this issue, such is with Byron Black who taught Video Art in a Japan, Cohen was introduced to Mail art. the statement made by eminent French writer Philippe Sollers whose anti-novel "H" Impressed by this free form expression, Cohen pursued mail-art and soon organized major eloquently demonstrates an alternate mode to the fictional text. The arts, within a shifting shows.for example, at the Tokyo Metropolitan Museum (1984), the Osaka Contemporary global balance offer the alternative of cultural collaboration rather than cultural domination Art Centre (1984), and the Kyoto City Museum (1985). Since then Ryosuke Cohen has of one group over another. Upon encountering regional, national or global multi­ arranged for shows in many other galleries throughout Japan. A sample of one of culturalism, it becomes apparent that all cultural groups must speak in their own voices Cohen's mail-art collages graces the cover of this issue ofRampike magazine. The collage in order to be heard and understood, in order to "name" them/our-selves, and in order to consists of rubber-stamp art sent to Cohen from around the world. The cultural exchange avoid being arbitrarily "named" by others who lack awareness (n.b., Pocahontas and the of mail-art establishes a network of inter-action that is world-wide. In the following Disneyfication of culture provide one of many cases in point which bring to mind a 1 2 artist's statement, Ryosuke Cohen discusses Mail Art activities which Cohen has dubbed metonymic > chain of signifiers > including "disinfection," "anaesthetic," "disaffection," "Brain Cell." Mail art offers alternatives to more conventionalized forms of cultural and "corporate imaging"). Receptivity and expression are equally important in a mixed 3 4 expression. Matters of authorship, copyright, ownership, and profit are abandoned in cultural environment. The thetic > and the monological > may be seductive but embrace favour of non-profit collaboration, mutual benefit and exchange. The most successful and an obsolete ethos within a pluralistic, multi-cultural environment. / valued mail artists are those who selflessly manage to share the most with others. Ryosuke This issue features a number of North American First Nations writers whose Cohen's contribution to world mail-art has been exemplary. Cohen is recognized on every views also further the notions of global harmony and stewardship of the earth. But these continent, and has been a powerful catalyst to a synthesis of world mail-art energy. are also writers who display unique styles. As Thomas King so aptly demonstrates, one Beyond the one-on-one communications possible with the exchange of letters, can draw from an ancient oral tradition, and yet one can also enter into the structural Mail-Art initiates an exponential expansion of artists into a ever-growing network. Mail investigations of contemporary expression or what has been termed the "post-modern." In art is not only passed on from artist to artist on a one-on-one basis, but often artists will this issue are artists and writers investigating form, from a wide range of cultural invite group collaborations, or will "publish" other artists' mail-art expressions and then backgrounds, including Canadian, French, German, Icelandic, Italian, Hungarian, Japanese, distribute them to whomever they have contact with in their network. Beyond the Latvian, U.S., Yugoslavian, backgrounds, among others. One of structural innovations exponential view, one can think of each sub-network as a kind of "cell" and eventually, present in this issue is the application of notation, foot-notes, post-scripts and anti-scripts. the cells and networks inter-connect in ever-expanding patterns, not unlike the neural cells These peripheral sub-texts establish an alterity to meaning, a secondary level of expression of the human brain. This is a global art phenomenon. Except unlike the human brain that suggests multiple layers and complexities to statements. Through use of these which eventually entropies and dies, with the mail-art network, whenever a cell dies, peripheral sub-texts, the thetic, the authoritative and the monological are displaced and 5 others come to take its place. It is an expanding network that continues to grow. I have rendered provisional until the footnote engages the text in a dialogical > and unresolvable named this Mail-Art phenomenon "Brain Cell" activity, because the structure of the discourse. These texts speak to themselves as well as to the reader. method and the idea behind it, is analogous to neural brain-cell activity. When I began, In the past, Rampike has also featured artistic works from Africa, Australia, India I made a broad public appeal to participate in these Mail Art projects. I have been able and South America, among other places. This issue serves as a complement to those to publish over 280 issues mail art collaborations from around the world. These earlier issues. But, this issue of Rampike is also eclectic and non-representative. It does "anthologies" of works are then sent back to the contributors. Issue No. 1 came out in not stand for any particular world view, nor does it try to offer a complete spectrum. June of 1985. Since then over 3500 artists have begun to participate in this network and Instead, it presents a forum for a multiplicity of cultural voices and forms from a have participated in the "Brain-Cell" journal. Artists from over 70 countries are regular provisional range of perspectives, as a gesture to a few of the many sources and styles of participants. Among these are children, and mature artists. Many of those who began with contemporary artistic expression around the world today. "Brain Cell" in its early days are now deceased including artists such as Cavellini (Italy), Currently, we are planning for a future issue of Ram pike dealing with electronic Achim Weigelt (Germany), Michael Scott (England), Rudolph (USA), A.M.Fine (USA). culture in society. Expressions dealing with low-tech and high-tech electronic influences Other artists who are still active, including Dr. Klaus Groh (Germany), Giovanni Strada on art and life, influences and applications of electricity, electronics, and computers for (Italy), Shmuel (USA), and H. Mittendorf (Germany), have participated in over one artistic and/or anti-artistic expression, are appropriate. We are pleased to once again hundred collaborations with Brain Cell. We hope that Brain Cell will continue to grow consider unsolicited manuscripts (fiction, poetry, hyper-text, theoretical statements, etc.), and expand and that an ever broader range of contributors will participate. inter-media and/or multi-media expressions, artist's statements, documentations, During the Renaissance, perspective fundamental to the visual arts, as did the performances, audio-works, video-art, installations, photographs, and so on, in either emerging influence of Church and State. In the 17th and 18th centuries, the Baroque and French or English are welcome.
Load more

Recommended publications
  • The Junior Classics, Volume 1
    The Junior Classics, Volume 1 Willam Patten The Junior Classics, Volume 1 Table of Contents The Junior Classics, Volume 1.................................................................................................................................1 Willam Patten.................................................................................................................................................2 INTRODUCTION.........................................................................................................................................5 PREFACE......................................................................................................................................................7 MANABOZHO, THE MISCHIEF−MAKER................................................................................................9 WHY THE WOODPECKER HAS RED HEAD FEATHERS...................................................................12 WHY THE DIVER DUCK HAS SO FEW TAIL FEATHERS..................................................................14 MANAIBOZHO IS CHANGED INTO A WOLF......................................................................................15 MANABOZHO IS ROBBED BY THE WOLVES.....................................................................................17 MANABOZHO AND THE WOODPECKERS..........................................................................................18 THE BOY AND THE WOLVES................................................................................................................20
    [Show full text]
  • Exposing Minstrelsy and Racial Representation Within American Tap Dance Performances of The
    UNIVERSITY OF CALIFORNIA Los Angeles Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Brynn Wein Shiovitz 2016 © Copyright by Brynn Wein Shiovitz 2016 ABSTRACT OF THE DISSERTATION Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 by Brynn Wein Shiovitz Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2016 Professor Susan Leigh Foster, Chair Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950, looks at the many forms of masking at play in three pivotal, yet untheorized, tap dance performances of the twentieth century in order to expose how minstrelsy operates through various forms of masking. The three performances that I examine are: George M. Cohan’s production of Little Johnny ii Jones (1904), Eleanor Powell’s “Tribute to Bill Robinson” in Honolulu (1939), and Terry- Toons’ cartoon, “The Dancing Shoes” (1949). These performances share an obvious move away from the use of blackface makeup within a minstrel context, and a move towards the masked enjoyment in “black culture” as it contributes to the development of a uniquely American form of entertainment. In bringing these three disparate performances into dialogue I illuminate the many ways in which American entertainment has been built upon an Africanist aesthetic at the same time it has generally disparaged the black body.
    [Show full text]
  • Teacher's Notes
    Teacher’s Notes Pearson EnglishTeacher’s Kids Readers Notes Pearson English Kids Readers Level 1 Suitable for: young learners who have completed up to 50 hours of study in English Type of English: American Headwords: 200 Key words: 5 (see pages 2 and 6 of these Teacher’s Notes) Key grammar: present simple (affirmative and negative). Why- and yes / no questions, short answers The Duke wants his son to marry and organizes a ball so the Prince can find a wife. The stepsisters Summary of the story go to the ball, but Cinderella can’t as she doesn’t Cinderella is a nice and beautiful girl. Her two have anything suitable to wear. The Fairy sisters aren’t nice and they treat Cinderella badly. Godmother waves her magic wand and creates a beautiful dress and glass slippers, as well as a The Prince is having a dance at his home. coach and horses. She warns Cinderella that the Cinderella’s sisters go to the dance, but Cinderella magic will disappear at midnight. At the ball, is left behind. The Fairy Godmother appears and Cinderella dances all evening with the Prince. She turns Cinderella’s clothes into a beautiful dress. has to run away at midnight and leaves one of her She tells Cinderella that she must come home by glass slippers behind. 12 o’clock. The Duke searches the land. In spite of the The Prince sees Cinderella and dances with her stepsisters’ attempts to keep her away, Cinderella until the bells ring at midnight. Cinderella runs puts on the slipper and is recognized as the away and loses her shoe on the way.
    [Show full text]
  • Cinderella Or the Little Glass Slipper
    CINDERELLA OR THE LITTLE GLASS SLIPPER Unknown Author Narrated by Michael Scott Produced by ThoughtAudio.com — Adaptation by Garcia Mann Technical Production by Anita Scott Copyright © 2016 ALL RIGHTS RESERVED rTA0063 CINDERELLA nce there was a gentleman who married for his second wife the proudest and most haughty woman that was ever seen. She had by a former husband two O daughters of her own humor, who were, indeed, exactly like her in all things. He had likewise, by another wife, a young daughter, but of unparalleled goodness and sweetness of temper, which she took from her mother, who was the best creature in the world. No sooner were the ceremonies of the wedding over but the mother-in-law began to show herself in her true colors. She could not bear the good qualities of this pretty girl, and the less because they made her own daughters appear the more odious. She employed her in meanest work of the house: she scoured the dishes, tables, etc., and scrubbed madam's chamber and those of misses, her daughters; she lay up in a sorry garret, upon a wretched straw bed, while her sisters lay in fine rooms, with floors all inlaid, upon beds of the very newest fashion, and where they had looking-glasses so large that they might see themselves at their full length from head to foot. The poor girl bore all patiently and dared not tell her father, who would have rattled her off; for his wife governed him entirely. When she had done her work she used to go into the chimney-corner and sit down among cinders and ashes, which made her commonly be called a cinder maid; but the youngest, who was not so rude and uncivil as the eldest, called her Cinderella.
    [Show full text]
  • The English Language Arts and Basic Skills Program of Bellevue Public Schools, Wash, PUB CATE Oct 72 AVAILABLE from Bellevue
    DOCUMENT RESUME ED 074 487 CS 200 357 TITLE The English Language Arts and Basic Skills Program of the Bellevue Public Schools. Elementary Level. INSTITUTION Bellevue Public Schools, Wash, PUB CATE Oct 72 NOTE 418p.; Draft 2 AVAILABLE FROMBellevue Public Schools, District 405, 310 102nd Avenue, NE, Bellevue, Washington 98004 ($5.00) EDRS PRICE ME-$0.65 HC-$16.45 DESCRIPTORS Affective Objectives, Cognitive Objectives; *Composition Skills (Literary); Creative Writing; *Curriculum Guides; Elementary Education; *Elementary School Curriculum; English; *Language Arts; Language Skills; *Literature; Literature Appreciation; Speech; Values; Vocabulary ABSTRACT This curriculum guide discusses an English language arts and basic skills Program for the elementary school grades. The program is designed to reflect the learner's point of yiew. The authors argue that education is not so mucha matter of objectives or subject content as it is a matter of what happens to the student. Accordingly, this guide discusses teaching methods and activities that reflect what happens to studentS when they use language. The guide begins by discussing assumptions and expectations of the program. It then describes activities that reflect stages of a language cycle beginning when we become aware that a speakeror writer has said something to us. These stages, the major divisions of the guide, are identified as (I)"the way others say things are," (2) "the way I say things are," (3)"the way I say things might be," (4) "the way I say things should be," and (5)"the way I say I am." The guide also includes a discussion of basic skills for the writing program and supplementary material (teaching suggestions for "Magic Moments," notes On improvisation, creative writing--newspaper) that may be used with the guide.
    [Show full text]
  • A Methodological Guide for Educational Approaches to the European Folk Myths and Legends
    Angela ACQUARO, Anthi APOSTOLIDOU, Lavinia ARAMĂ, Carmen-Mihaela BĂJENARU, Anetta BIENIARZ, Danuta BIENIEK, Joanna BRYDA-KŁECZEK, Mariele CARDONE, Sérgio CARLOS, Miguel CARRASQUEIRA, Daniela CERCHEZ, Neluța CHIRICA, Corina- Florentina CIUPALĂ, Florica CONSTANTIN, Mădălina CRAIOVEANU, Simona-Diana CRĂCIUN, Giovanni DAMBRUOSO, Angela DECAROLIS, Sylwia DOBRZAŃSKA, Anamaria DUMITRIU, Bernadetta DUŚ, Urszula DWORZAŃSKA, Alessandra FANIUOLO, Marcin FLORCZAK, Efstathia FRAGKOGIANNI, Ramune GEDMINIENE, Georgia GOGOU, Nazaré GRAÇA, Davide GROSSI, Agata GRUBA, Maria KAISARI, Maria KATRI, Aiste KAVANAUSKAITE LUKSE, Barbara KOCHAN, Jacek LASKA, Vania LIUZZI, Sylvia MASTELLA, Silvia MANEA, Lucia MARTINI, Paola MASCIULLI, Paula MELO, Ewa MICHAŁEK, Vittorio MIRABILE, Sandra MOTUZAITE-JURIENE, Daniela MUNTEANU, Albert MURJAS, Maria João NAIA, Asimina NEGULESCU, Helena OLIVEIRA, Marcin PAJA, Magdalena PĄCZEK, Adina PAVLOVSCHI, Małgorzata PĘKALA, Marioara POPA, Gitana PETRONAITIENE, Rosa PINHO, Monika POŹNIAK, Erminia RUGGIERO, Ewa SKWORZEC, Artur de STERNBERG STOJAŁOWSKI, Annalisa SUSCA, Monika SUROWIEC-KOZŁOWSKA, Magdalena SZELIGA, Marta ŚWIĘTOŃ, Elpiniki TASTANI, Mariusz TOMAKA, Lucian TURCU A METHODOLOGICAL GUIDE FOR EDUCATIONAL APPROACHES TO THE EUROPEAN FOLK MYTHS AND LEGENDS ISBN 978-973-0-34972-6 BRĂILA 2021 Angela ACQUARO, Anthi APOSTOLIDOU, Lavinia ARAMĂ, Carmen-Mihaela BĂJENARU, Anetta BIENIARZ, Danuta BIENIEK, Joanna BRYDA-KŁECZEK, Mariele CARDONE, Sérgio CARLOS, Miguel CARRASQUEIRA, Daniela CERCHEZ, Neluța CHIRICA, Corina- Florentina CIUPALĂ,
    [Show full text]
  • Magical Lands Letter of the Day Books to Share Fun with Fingerplays And
    Dear Caregivers: Today we used some of these books, fingerplays, and other materials in our storytime. Please continue helping your child develop by sharing these at home! MAGICAL LANDS LETTER OF THE DAY BOOKS TO SHARE FUN WITH FINGERPLAYS AND Prince & Knight SONGS by Daniel Haack Here Is The Knight [action rhyme] Franklin's Flying Bookshop Here is the knight with her feathered cap [take off hat, by Jen Campbell bow] Here are her boots which go tap, tap, tap [tap feet] Dragon Was Terrible Here is the dragon, listen to him roar [roar] M m by Kelly DiPucchio Here are his wings to help him soar [soar] Here is the princess with her golden crown [four Over At The Castle fingers over head] by Boni Ashburn Here is her lovely blue ball gown [curtsy] ASL SIGN OF THE DAY The Daring Prince Dashing Fairy Tale Song by Marilou Reeder "Magic" [Tune: "Jingle Bells"] The Princess And The Pony Fairy tales, fairy tales by Kate Beaton Read them every day! Oh what fun it is to hear Lottie's Princess Dress How Goldilocks got away! by Doris Dörrie Fairy tales, fairy tales, The Tiny King Full of joy and laughter! by Tarō Miura Do you know how this one ends? La Princesa And The Pea Why, it's 'Happily Ever After!' by Susan Middleton Elya Princess, Princess, What Do You See? My Princess Boy by Cheryl Kilodavis Princess, princess, what do you see? I see a unicorn looking at me. Take both hands Not Every Princess Unicorn, unicorn, what do you see? with fingers together by Jeffrey Bone I see a fairy looking at me.
    [Show full text]
  • Enjoy Reading
    Enjoy Reading and Learn English with Introductory Methodology for English Teachers and Instructors Anna Kinovičová, UJEP Ústí nad Labem Projekt Síť vzdělavatelů učitelů cizích jazyků NEFLT registrační číslo CZ.1.07/2.4.00/31.0074 je součástí IPRM Ústí nad Labem Centrum. Tento projekt je spolufinancován Evropským sociálním fondem a státním rozpočtem České republiky. Copyright 2 Contents 3 To the Instructor 5 6 Introduction i Organization of the Selected Materials 6 ii Reading literature in the ELT Classroom 7 and Its Advantages iii Importance of Storytelling in ELT 9 iv Critical Thinking – A Path to Deeper Learning 10 Part I Reading for Pleasure 11 Unit 1 What is Poetry? 12 Poetry for Appreciation 13 Reading and Writing Poetry 13 Cinquains 14 Haiku Poems 15 Unit 2 Fables 17 Unit 3 Short Short Stories 26 One-Sentence Stories 27 Six-Word Stories 28 Mini Sagas 30 Unit 4 Timeless Myths, Parables and Other Stories 32 Unit 5 Urban Legends Legends 39 Unit 6 Fairy Tales 42 An Oriental Tale 44 English Fairy Tales 48 Unit 7 Two Ghost Stories 58 A Ghost Story 58 Long Live the Queen by Ruth Rendell 61 (Adaptation of a Longer Short Story) 3 Part II Reading for Understanding and Appreciation 73 Selected Texts of English Literature from Beowulf 73 to Jane Austen Unit 1 The Anglo-Saxons 74 Beowulf 75 Unit 2 Geoffrey Chaucer 86 The Canterbury Tales 89 The Squire and The Wife of Bath from the Prologue 88 Unit 3 King Arthur and His Knights 94 Arthurian Legends 95 King Arthur and Princess Guinevere 97 The Wedding of Sir Gawain and Dame Ragnell 102 Unit 4
    [Show full text]
  • Cinderella; Or the Little Glass Slipper
    THE FAIRY BOOK THE FAIRY BOOK BY DINAH MARIA MULOCK YESTERDAY’S CLASSICS CHAPEL HILL, NORTH CAROLINA Cover and arrangement © 2007 Yesterday’s Classics. This edition, first published in 2007 by Yester- day’s Classics, is an unabridged republication of the text originally published by Harper & Broth- ers in 1876. Illustrations by Louis Rhead included in this volume are from the edition published by Harper & Brothers in 1922. For a complete listing of the books published by Yesterday’s Classics, please visit www.yesterdaysclassics.com. Yester- day’s Classics is the publishing arm of the Baldwin Online Children’s Literature Project which presents the complete text of hundreds of classic books for children at www.mainlesson.com. ISBN-10: 1-59915-154-5 ISBN-13: 978-1-59915-154-0 Yesterday’s Classics PO Box 3418 Chapel Hill, NC 27515 PREFACE is usually an excrescence on a good book, and a vain apology for a worthless one; but in the present instance, a few explanatory words seem necessary. This is meant to be the best collection attainable of that delight of all children, and of many grown people who retain the child-heart still—the old-fashioned, time-honored classic Fairy- tale. It has been compiled from all sources—far-off and familiar; when familiar, the stories have been traced with care to their original form, which, if foreign, has been retranslated, condensed, and in any other needful way made suitable for modern British children. Perrault, Madame d’Aulnois, and Grimm have thus been laid under contribution. Where it was not possible to get at the original of a tale, its various versions have been collated, compared, and combined; and in some instances, when this proved still unsatisfactory, the whole story has been written afresh.
    [Show full text]
  • Off Singing Voice
    Cinderella script Disney Cinderella, you're as lovely as your name Cinderella, you're a sunset in a frame Though you're dressed in rags You wear an air of queenly grace Anyone can see a throne Off singing Would be your proper place voice Cinderella, if you give your heart a chance It will lead you, to the kingdom of romance There you'll see your dreams unfold Cinderella, Cinderella In the sweetest story ever told A book's opened and the Narrator reads Once upon a time in a faraway land there was a tiny Kingdom, peaceful, prosperous and rich in romance and tradition. Here in a stately chateau there lived a widowed gentleman and his little daughter Cinderella. Although he was a kind and devoted father and gave his beloved child every luxury and comfort still he felt she needed a mother's care. And so he married again choosing for his second wife a woman of good family with two daughters just Cinderella's age by name: Anastasia and Drizella. Narrator It was upon the untimely death of this good man, however, that the stepmother's true nature was revealed. Cold, cruel and bitterly jealous of Cinderella's charm and beauty, she was grimly determined to forward the interests of her own two awkward daughters. Thus, as time went by the chateau fell into disrepair, for the family fortunes were squandered upon the vain and selfish stepsisters while Cinderella was abused, humiliated and finally forced to become a servant in her own house. And yet through it all Cinderella remained ever gentle and kind for with each dawn she found new hope that someday her dreams of happiness would come true.
    [Show full text]
  • Download Download
    Reviews Canadian Children’s Shoe Stories and Their Antecedents: Fortune’s Footwear —Leslie McGrath Few literary symbols offer the richness of the shoe as or a contributor to the family’s upkeep but also that, an emblem of mobility, the ability to be moved and to although the family may be poor, it at least can afford move. Shoes are the first grown-up part of work attire shoes. It seems likely, then, that most Canadian children that ordinary young readers own. They need shoes for open a shoe story or listen to a shoe tale with at least a many tasks in the parts of the world to which much practical sense of the importance of shoes. Canadian literature relates. Elegant and dainty shoes, Canadian children’s literature focuses on life in a like fine clothes, offer hints of nobility and belong to a “geographic landscape and a child’s experience in privileged class. As L. M. Montgomery’s Anne Shirley it,” according to Patricia Vickery in her response to comments, “You couldn’t imagine a fairy wearing boots, the survey conducted by Perry Nodelman on “What’s could you? Especially with copper toes?” (268). Coarse Canadian about Canadian Children’s Literature?” (28). shoes or clogs indicate that the wearer is a worker Young readers learn of parts of Canada they have never Jeunesse: Young People, Texts, Cultures 8.1 (2016) Leslie McGrath 311 visited through stories about children who live there and, historians Humphrey Carpenter and Mari Pritchard as on another level, identify more closely with the children part of the oral tradition of storytelling in the south of who share their own experiences.
    [Show full text]
  • Ye Xian and Her Sisters. the Role of a Tang Story in the Cinderella
    ADVERTIMENT. Lʼaccés als continguts dʼaquesta tesi queda condicionat a lʼacceptació de les condicions dʼús establertes per la següent llicència Creative Commons: http://cat.creativecommons.org/?page_id=184 ADVERTENCIA. El acceso a los contenidos de esta tesis queda condicionado a la aceptación de las condiciones de uso establecidas por la siguiente licencia Creative Commons: http://es.creativecommons.org/blog/licencias/ WARNING. The access to the contents of this doctoral thesis it is limited to the acceptance of the use conditions set by the following Creative Commons license: https://creativecommons.org/licenses/?lang=en Corso di Dottorato di ricerca in Studi sull’Asia e sull’Africa ciclo 30 Tesi di Ricerca in cotutela con Universitat Autónoma de Barcelona Ye Xian and her sisters The role of a Tang story in the Cinderella Cycle SSD: L-OR/21 Coordinatore del Dottorato Ca’ Foscari ch. prof. Patrick Heinrich Coordinatore del Dottorato UAB ch. prof. Amelia Sáiz López Supervisore ch. prof. Marco Ceresa Supervisore cotutela ch. prof. Antonio Paoliello Dottoranda Mila Moioli Matricola 773354 Ye Xian and her sisters The role of a Tang story in the Cinderella Cycle Mila Moioli Doctoral thesis UAB director: Antonio Paoliello Ca’ Foscari director: Marco Ceresa Tutor: Jordi Más Coordinator Uab: Amelia Sáiz López Coordinator Ca’ Foscari: Patrick Heinrich Departament de Traducció, d'Interpretació i d'Estudis de l'Àsia Oriental, 2017/2018 To my boyfriend and my mum, who are always there. To my friends and family, who have always been there. To my tutors who were always there. To my dad, who is no longer there. iv Abstract and key words Ye Xian is the protagonist of a story written in the Tang dynasty (618-907 CE) which has been defined as “the Chinese Cinderella” and “the first written Cinderella”.
    [Show full text]