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Tracing Fairy Tales in Popular Culture Through the Depiction of Maternity in Three “Snow White” Variants
University of Louisville ThinkIR: The University of Louisville's Institutional Repository College of Arts & Sciences Senior Honors Theses College of Arts & Sciences 5-2014 Reflective tales : tracing fairy tales in popular culture through the depiction of maternity in three “Snow White” variants. Alexandra O'Keefe University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/honors Part of the Children's and Young Adult Literature Commons, and the Comparative Literature Commons Recommended Citation O'Keefe, Alexandra, "Reflective tales : tracing fairy tales in popular culture through the depiction of maternity in three “Snow White” variants." (2014). College of Arts & Sciences Senior Honors Theses. Paper 62. http://doi.org/10.18297/honors/62 This Senior Honors Thesis is brought to you for free and open access by the College of Arts & Sciences at ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in College of Arts & Sciences Senior Honors Theses by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. O’Keefe 1 Reflective Tales: Tracing Fairy Tales in Popular Culture through the Depiction of Maternity in Three “Snow White” Variants By Alexandra O’Keefe Submitted in partial fulfillment of the requirements for Graduation summa cum laude University of Louisville March, 2014 O’Keefe 2 The ability to adapt to the culture they occupy as well as the two-dimensionality of literary fairy tales allows them to relate to readers on a more meaningful level. -
Snow White: Evil Witches Professor Joanna Bourke 19 November 2020
Snow White: Evil Witches Professor Joanna Bourke 19 November 2020 Each generation invents evil. And evil women have incited our imaginations since Eve first plucked that apple. One of my favourites evil women is the Evil Queen in the story of Snow White. She is the archetypical ageing woman: post-menopausal and demonised as the ugly hag, malicious crone, and depraved witch. She is evil, obscene, and threatening because of her familiarity with the black arts, her skills in mixing poisonous potions, and her possession of a magic mirror. She is also sexual and aware: like Eve, she has tasted of the Tree of Knowledge. Her story first roused the imaginations of the Brothers Grimm in 1812 and 1819: the second version stripped the story of its ribald connotations while retaining (and even augmenting) its sadism. Famously, “Snow White and the Seven Dwarfs” was set to song by Disney in 1937, a film that is often hailed as the “seminal” version. Interestingly, the word “seminal” itself comes from semen, so is encoded male. Its exploitation by Disney has helped the company generate over $48 billion dollars a year through its movies, theme parks, and memorabilia such as collectible cards, colouring-in books, “princess” gowns and tiaras, dolls, peaked hats, and mirrors. Snow White and the Evil Queen appears in literature, music, dance, theatre, fine arts, television, comics, and the internet. It remains a powerful way to castigate powerful women – as during Hillary Clinton’s bid for the White House, when she was regularly dubbed the Witch. This link between powerful women and evil witchery has made the story popular amongst feminist storytellers, keen to show how the story shapes the way children and adults think about gender and sexuality, race and class. -
Rockin Snow White Script
!1 THE ROCKIN TALE OF SNOW WHITE This script belongs to: __________________________ CHARACTERS: Forest Animals: Ribbon Peddler Roonie Rabbit Comb Peddler Mother Donnie Deer Fruit Peddler Josh Billy Bunny Peggy Sue Chip Chipmunk Little Bird SONGS: King Young Queen Huntsman Snow White’s Hip-Hop, Doctor Angel Doo-Wop, Be-Bop, Funky Devil Little Rockin’ Tale Ladies in Waiting: Meredith Villagers: Ladies in Waiting Molly Rock Mary Stone The Seven Dwarves Work Maureen Pebble Song Martha Brick Judy Have Ya Heard? Dwarves: Evil Queen Zip A Pinch of This Snow White Kip Mirror Tip Celebrate Pip Romantic Hero Prince Flip Snow White Reprise His People Chip Big Mike !2 SONG: SNOW WHITE HIP-HOP, DOO WOP, BE-BOP, FUNKY LITTLE ROCKIN’ TALE ALL: Once upon a time in a legendary kingdom, Lived a royal princess, fairest in the land. She would meet a prince. They’d fall in love and then some. Such a noble story told for your delight. ’Tis a little rockin’ tale of pure Snow White! They start rockin’ We got a tale, a magical, marvelous, song-filled serenade. We got a tale, a fun-packed escapade. Yes, we’re gonna wail, singin’ and a-shoutin’ and a-dancin’ till my feet both fail! Yes, it’s Snow White’s hip-hop, doo-wop, be-bop, funky little rockin’ tale! GIRLS: We got a prince, a muscle-bound, handsome, buff and studly macho guy! GUYS: We got a girl, a sugar and spice and-a everything nice, little cutie pie. ALL: We got a queen, an evil-eyed, funkified, lean and mean, total wicked machine. -
Ile Radio Stars Answer "What Will You Do If War Comes?" JJ
ONE THE SEQUEL TO SNOW WHITE MOST DELIGHTFUL RADIO NOVELTY AUGUST The Truth About DEATH AT BIRTH ToNDNSEX IGNORANCE Ile Radio Stars Answer "What Will You Do If War Comes?" JJ MAKES MAVIS Talcum Guards Your Thrilli' Daintiness as the "Undies" Test Prove Close in his arms...heart pressed to heart -and yt the ecstasy of such a moment can be shattered, you've been careless about your daintiness. Why run the risk of losing love when it's so easy play safe the Mavis way? Always, before you dret shower your whole body with Mavis Talcum. It keel you safe from giving offense because this marveloc talcum has a special protective quality - it prevem excess perspiration. For Mavis Talcum forms a fragrant, soothing film c protection between your clothing and your skin. Th. lets the pores breathe...and yet -in a normal, health way - reduces the amount you perspire. And you to make a startling test that proves what amazing prc tection Mavis Talcum gives. It's called the undies test. Here's all you do. Tomo row morning, shower your whole body with delighth Mavis Talcum. Then at night when you undress, notic that your undies are dainty, fresh and sweet. That convincing proof that all day long, you've been sal from giving offense. And Mavis Talcum gives you an enchanting, exot fragrance that makes you thrilling and seductive. Me that you're ado Enchanting Mavis Per will crowd around you...whispering t [urns makes you glom - able...begging for dates. Get your Mavis Talcum orous. 10r, 25t. -
Snow White in the Spanish Cultural Tradition
Bravo, Irene Raya, and María del Mar Rubio-Hernández. "Snow White in the Spanish cultural tradition: Analysis of the contemporary audiovisual adaptations of the tale." Snow White and the Seven Dwarfs: New Perspectives on Production, Reception, Legacy. Ed. Chris Pallant and Christopher Holliday. New York: Bloomsbury Academic, 2021. 249–262. Bloomsbury Collections. Web. 27 Sep. 2021. <http://dx.doi.org/10.5040/9781501351198.ch-014>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 27 September 2021, 23:19 UTC. Copyright © Chris Pallant and Christopher Holliday 2021. You may share this work for non- commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 249 14 Snow White in the Spanish cultural tradition: Analysis of the contemporary audiovisual adaptations of the tale Irene Raya Bravo and Mar í a del Mar Rubio-Hern á ndez Introduction – Snow White, an eternal and frontier-free tale As one of the most popular fairy tales, Snow White and the Seven Dwarfs has international transcendence. Not only has it been translated into numerous languages around the world, but it has also appeared in several formats since the nineteenth century. However, since 2000, an increase in both fi lm and television adaptations of fairy tales has served to retell this classic tales from a variety of different perspectives. In the numerous Snow White adaptations, formal and thematic modifi cations are often introduced, taking the story created by Disney in 1937 as an infl uential reference but altering its narrative in diverse ways. In the case of Spain, there are two contemporary versions of Snow White that participate in this trend: a fi lm adaptation called Blancanieves (Pablo Berger, 2012) and a television adaptation, included as an episode of the fantasy series Cu é ntame un cuento (Marcos Osorio Vidal, 99781501351228_pi-316.indd781501351228_pi-316.indd 224949 116-Nov-206-Nov-20 220:17:500:17:50 250 250 SNOW WHITE AND THE SEVEN DWARFS 2014). -
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. -
Passive and Active Masculinities in Disney's Fairy Tale Films
PASSIVE AND ACTIVE MASCULINITIES IN DISNEY‘S FAIRY TALE FILMS GRACE DuGAR Bachelor of Arts in Political Science Denison University May 2008 submitted in partial fulfillment of requirements for the degree MASTER OF ARTS IN ENGLISH at the CLEVELAND STATE UNIVERSITY May 2013 This thesis has been approved for the Department of ENGLISH and the College of Graduate Studies by ____________________________________________________________ Thesis Chairperson, Rachel Carnell ______________________________ Department & Date ____________________________________________________________ James Marino ______________________________ Department & Date ___________________________________________________________ Gary Dyer ______________________________ Department & Date PASSIVE AND ACTIVE MASCULINITIES IN DISNEY‘S FAIRY TALE FILMS GRACE DuGAR ABSTRACT Disney fairy tale films are not as patriarchal and empowering of men as they have long been assumed to be. Laura Mulvey‘s cinematic theory of the gaze and more recent revisions of her theory inform this analysis of the portrayal of males and females in Snow White, Cinderella, Sleeping Beauty, The Little Mermaid, Beauty and the Beast, and Aladdin. This study reveals that many representations of males in these films actually portray masculinity as an object of female agency. Over time, Disney‘s representations of masculinity have become more supportive of male agency and individuality, but this development has been inconsistent and much-delayed. While early films generally show princes who lack character and ability, -
A4 Tale of the Addicted Evil Queen
Answers rsavvy Page 3 Page 4 be 1. 10 + 10 + 10 = 30 y 2. 10 + 4 + 4 = 18 2 3. 4 - = 2 2 4. + 10 + 4 = 16 5. 10 - 10 + 4 = 4 es 2 10 i 6. + - 4 = 8 er 2 S 7. 4 + 4 - = 6 8. 10 + 4 - 4 = 10 9. 10 + 10 + 4 = 24 2 2 10. - = 0 Page 7 Page 9 The Tale of the addicted Evil Queen Am I addicted to my device? Our Tale For you & your parents! Once upon a time there was a beautiful Queen who lived To see how stuck to your device you are, ask your trusted adult to help you answer these in a far away land. But she wasn’t a very good Queen. questions: Instead of paying attention to her Kingdom and taking 1=Notreally 2=Everynowandthen 3=Sometimes 4=Alot 5=Allthetime care of her people, she spent all her time on social media 1. Do you ever stay online longer that you planned to? 1 2 3 4 5 posting pictures of herself and waiting to see how many 2. Do you ever skip your chores to spend more time on your likes she got. She had a Magic Mirror that looked at device? 1 2 3 4 5 Facebook, Instagram and Snapchat and told her who 3. Is being on your device more exciting than hanging out with your friends or family? 1 2 3 4 5 was getting the most likes. 4. Is it easier to make friends online or in real life? 1 2 3 4 5 5. -
Aging with Disney and the Gendering of Evil
Journal of Literature and Art Studies, February 2015, Vol. 5, No. 2, 114-127 doi: 10.17265/2159-5836/2015.02.004 D DAVID PUBLISHING Aging With Disney and the Gendering of Evil Nada Ramadan Elnahla Alexandria University, Alexandria, Egypt Walt Disney animated films are considered synonymous with wholesome family entertainment despite the inherent negative messages of gender, age, and power hierarchies behind them. This paper proposes to explore the aspect of age as intersecting with gender through the villainesses in six of Disney’s popular animated films: Snow White and the Seven Dwarfs (1937), Cinderella (1950), Sleeping Beauty (1959), The Little Mermaid (1989), Tangled (2010), and Frozen (2013). How Disney alters the actions of major and minor characters, and the construction of aging female characters and the key characteristics they exhibit during their fight for eternal youth, beauty, and social and political power will be analyzed, attempting to show how Disney is not a harmless substitute for a babysitter for children. Keywords: aging, ageism, feminism, Disney, animated films, villain Introduction In 1923, Walt Disney and his brother Roy pooled their money to set up a cartoon studio in Hollywood: The Disney Brothers’ Studio. It would take Disney 14 years before the first animated feature-length version of Snow White was released. The film’s phenomenal success at the time (earning eight million dollars on its initial release and winning a full-size Oscar statuette and seven miniature ones) signaled the beginning of a golden age of animation and a rising influence of the Disney movies, brand, and theme parks. -
Negotiating Magical Space and Identity in Puella Magi Madoka Magica
humanities Article Becoming the Labyrinth: Negotiating Magical Space and Identity in Puella Magi Madoka Magica Sara Cleto * and Erin Kathleen Bahl Department of English, The Ohio State University, Columbus, OH 43210, USA; [email protected] * Correspondence: [email protected]; Tel.: +1-404-808-8407 Academic Editor: Claudia Schwabe Received: 2 March 2016; Accepted: 30 March 2016; Published: 6 April 2016 Abstract: In the magical girl anime series Puella Magi Madoka Magica, middle-school girls receive the power and responsibility to fight witches in exchange for making a wish. The series has connections to many different genres and narrative traditions within the realm of folkloristics. However, the folkloric genre most relevant to the ethos and aesthetics of Madoka is that of the fairy tale. Drawing on Bill Ellis’s concept of “fairy-telling” and scholarship on new media composition, in this paper we seek to investigate labyrinths as acts of embodied composing—not lairs of evil or destruction but rather creative material memory work that negotiates grief and despair. Many of the series’ action sequences unfold in “labyrinths,” the magical spaces controlled by witches. By composing a labyrinth, witches can simultaneously reshape their environment and create a powerful statement about identity through personalized performance in narrative spaces that they control. In particular, we argue that both the frameworks of “fairy tale” and “new media” give us useful analytical resources for beginning to make sense of the intricately complex phenomenon of Madoka’s labyrinths. Keywords: fairy tale; new media; anime; magical girl; labyrinth; Madoka 1. Introduction In the anime series Puella Magi Madoka Magica [1] (hereafter Madoka), a granted wish marks not a happily-ever-after ending but rather a complicated beginning. -
Snow White and the Seven Dwarfs - Short Stories for Kids
Snow White and The Seven Dwarfs - Short Stories for Kids Once upon a time, there was a beautiful castle in a land far far away. In the magnificent castle there lived the most beautiful queen. The queen only had one wish to be happy and to have a beautiful baby girl. It was a cold winter day, the queen was sewing next to the window she saw a shooting star and made a wish to have a baby girl, with skin as white as snow, whose eyes are brighter than the shiniest jewel and has cherry red lips and her heart full of joy and happiness. And one day the wish of the good-hearted queen came true she had a beautiful baby girl they named her Snow White. The years went by, The queen becomes ill and soon after passed away. After a while, the king remarried another woman. The new queen had an evil heart. She was an arrogant and jealous woman . Every day the queen would look into her magic mirror and ask "Mirror mirror on the wall who's the fairest of them all". The magic mirror would answer "No one your highness, you are the most beautiful one". The queen would be very happy with the answer. The years went by fast and snow white grew up to be a beautiful young girl. Snow White and The Seven Dwarfs - Short Stories for Kids One day the queen was in front of her magic mirror and asked the same question. But this time the mirror answer "Well I am sorry but not you dear queen snow white is fairest of all. -
Anne of Green Gables
1 ANNE OF GREEN GABLES By Lucy Maud Montgomery Published by Ichthus Academy Anne of Green Gables ©Ichthus Academy 2 CONTENTS I Mrs. Rachel Lynde is Surprised 4 II Matthew Cuthbert is surprised 10 III Marilla Cuthbert is Surprised 21 IV Morning at Green Gables 27 V Anne's History 33 VI Marilla Makes Up Her Mind 38 VII Anne Says Her Prayers 43 VIII Anne's Bringing-up Is Begun 47 IX Mrs. Rachel Lynde Is Properly Horrified 54 X Anne's Apology 60 XI Anne's Impressions of Sunday-School 66 XII A Solemn Vow and Promise 71 XIII The Delights of Anticipation 76 XIV Anne's Confession 80 XV A Tempest in the School Teapot 88 XVI Diana Is Invited to Tea with Tragic Results 100 XVII A New Interest in Life 109 XVIII Anne to the Rescue 114 XIX A Concert a Catastrophe and a Confession 122 XX A Good Imagination Gone Wrong 132 XXI A New Departure in Flavorings 137 XXII Anne is Invited Out to Tea 146 Anne of Green Gables ©Ichthus Academy 3 XXIII Anne Comes to Grief in an Affair of Honor 149 XXIV Miss Stacy and Her Pupils Get Up a Concert 155 XXV Matthew Insists on Puffed Sleeves 159 XXVI The Story Club Is Formed 167 XXVII Vanity and Vexation of Spirit 173 XXVIII An Unfortunate Lily Maid 179 XXIX An Epoch in Anne's Life 186 XXX The Queens Class Is Organized 193 XXXI Where the Brook and River Meet 202 XXXII The Pass List Is Out 207 XXXIII The Hotel Concert 214 XXXIV A Queen's Girl 222 XXXV The Winter at Queen's 228 XXXVI The Glory and the Dream 232 XXXVII The Reaper Whose Name Is Death 237 XXXVIII The Bend in the road 243 Anne of Green Gables ©Ichthus Academy 4 CHAPTER I Mrs.