Puss in Boots the Musical
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Shrek4 Manual.Pdf
Important Health Warning About Playing Video Games Photosensitive Seizures A very small percentage of people may experience a seizure when exposed to certain visual images, including fl ashing lights or patterns that may appear in video games. Even people who have no history of seizures or epilepsy may have an undiagnosed condition that can cause these “photosensitive epileptic seizures” while watching video games. These seizures may have a variety of symptoms, including lightheadedness, altered vision, eye or face twitching, jerking or shaking of arms or legs, disorientation, confusion, or momentary loss of awareness. Seizures may also cause loss of consciousness or convulsions that can lead to injury from falling down or striking nearby objects. Immediately stop playing and consult a doctor if you experience any of these symptoms. Parents should watch for or ask their children about the above symptoms— children and teenagers are more likely than adults to experience these seizures. The risk of photosensitive epileptic seizures may be reduced by taking the following precautions: Sit farther from the screen; use a smaller screen; play in a well-lit room; and do not play when you are drowsy or fatigued. If you or any of your relatives have a history of seizures or epilepsy, consult a doctor before playing. ESRB Game Ratings The Entertainment Software Rating Board (ESRB) ratings are designed to provide consumers, especially parents, with concise, impartial guidance about the age- appropriateness and content of computer and video games. This information can help consumers make informed purchase decisions about which games they deem suitable for their children and families. -
Once Upon a Time There Was a Puss in Boots: Hanna Januszewska’S Polish Translation and Adaptation of Charles Perrault’S Fairy Tales
Przekładaniec. A Journal of Literary Translation 22–23 (2009/2010): 33–55 doi:10.4467/16891864ePC.13.002.0856 Monika Woźniak ONCE UPON A TIME THERE WAS A PUSS IN BOOTS: Hanna Januszewska’s POLISH TRANSLATION AND ADAPTATION OF CHARLES Perrault’s FAIRY TALES Abstract: This article opens with an overview of the Polish reception of fairy tales, Perrault’s in particular, since 1700. The introductory section investigates the long- established preference for adaptation rather than translation of this genre in Poland and provides the framework for an in-depth comparative analysis of the first Polish translation of Mother Goose Tales by Hanna Januszewska, published in 1961, as well as her adaptation of Perrault’s tales ten years later. The examination focuses on two questions: first, the cultural distance between the original French text and Polish fairy- tales, which causes objective translation difficulties; second, the cultural, stylistic and linguistic shifts introduced by Januszewska in the process of transforming her earlier translation into a free adaptation of Perrault’s work. These questions lead not only to comparing the originality or literary value of Januszewska’s two proposals, but also to examining the reasons for the enormous popularity of the adapted version. The faithful translation, by all means a good text in itself, did not gain wide recognition and, if not exactly a failure, it was nevertheless an unsuccessful attempt to introduce Polish readers to the original spirit of Mother Goose Tales. Keywords: translation, adaptation, fairy tale, Perrault, Januszewska The suggestion that Charles Perrault and his fairy tales are unknown in Poland may at first seem absurd, since it would be rather difficult to im- agine anyone who has not heard of Cinderella, Puss in Boots or Sleeping Beauty. -
Searching for Moral Lessons in "Rapunzel"
University of Hawai‘i at Hilo HOHONU 2015 Vol. 13 Searching for Moral Lessons of “'the seven deadly sins of childhood'” (ix). He claims, “Every major fairy tale is unique in that it addresses a in “Rapunzel” specific failing or unhealthy predisposition in the self” Kara Nelson (Cashdan 13). He also believes in the rewards of teachers English 345 and parents “subtly” having children see a fairy tale's Summer 2014 “underlying sin” (Cashdan 15). In Cashdan's theory, the witch in these stories dies to “ensure that bad parts of the The Grimms' fairy tale “Rapunzel” does not self are eradicated and that good parts of the self prevail” portray the stereotypical evil stepmother, perfect prince, (35). Finally, Cashdan believes adult ties to fairy tales or immediate fairytale wedding. Hence, when adapted result from childhood experiences with them, since “it into various mediums, such as the movies Tangled and is in childhood that the seeds of virtue are sown” (20). Barbie as Rapunzel or the graphic novel Rapunzel's In order to understand certain complex tales such as Revenge, the story is often misinterpreted and reinvented “Rapunzel,” it is believed that a symbolic, historical, or since the world no longer values the tale's implied psychoanalytic analysis is not enough—these tales must morality and coming-of-age issues. While Bettelheim's also be viewed from a didactic or moral viewpoint. Freudian approach to fairy tales has been widely Indeed, “Rapunzel” addresses many moral criticized, he and many others, especially Sheldon issues. Zipes claims “Rapunzel” is not meant to be Cashdan, illustrate that fairy tales can hold deeper “didactic,” but that it has “the initiation of a virgin, who moral lessons. -
Deconstruction and Reconstruction of Puss in Boots
DECONSTRUCTION AND RECONSTRUCTION OF PUSS IN BOOTS AND HUMPTY DUMPTY CHARACTERS IN ANIMATED FILM PUSS IN BOOTS A Thesis Submitted to Letters and Humanities Faculty In partial Fulfillment of the Requirements for the degree of Strata One By: ADE DWI SEPTIAN 1111026000077 ENGLISH LETTERS DEPARTMENT LETTERS AND HUMANITIES FACULTY STATE ISLAMIC UNIVERSITY SYARIF HIDAYATULLAH JAKARTA 2016 ABSTRACT Ade Dwi Septian, NIM. 1111026000077, Deconstruction and Reconstruction of Puss In Boots and Humpty Dumpty Characters in Animated Film Puss In Boots. Thesis: English Letters Department, Letters and Humanities Faculty, State Islamic University of Syarif Hidayatullah, Jakarta, 2015. This thesis analyzes the animated film entitled Puss In Boots. The film is directed by Chris Miller was released in 2011. The problem in this film is located in the main characters, Puss In Boots and Humpty Alexandre Dumpty. The film is considered deconstructs the characteristics of the two main characters. In this case, Puss In Boots, fairy tale by Charles Perrault and Humpty Dumpty character in the novel Through The Looking-Glass by Lewis Carroll are the benchmark. This research uses the deconstruction theory by Jacques Derrida. The method that is used in this research is descriptive qualitative. Puss In Boots is animated film that tells the story of the greatness of two buddies, Puss In Boots and Humpty Alexandre Dumpty, that become hero in a town called San Ricardo. However, the presence of Puss and Humpty as main characters in the film is contrary to the characteristics of Puss and Humpty in the fairy tale earlier. Generally, Puss and Humpty in this film shows a form of deconstruction related to the characteristics of Puss and Humpty in the fairy tale. -
Into the Woods Character Descriptions
Into The Woods Character Descriptions Narrator/Mysterious Man: This role has been cast. Cinderella: Female, age 20 to 30. Vocal range top: G5. Vocal range bottom: G3. A young, earnest maiden who is constantly mistreated by her stepmother and stepsisters. Jack: Male, age 20 to 30. Vocal range top: G4. Vocal range bottom: B2. The feckless giant killer who is ‘almost a man.’ He is adventurous, naive, energetic, and bright-eyed. Jack’s Mother: Female, age 50 to 65. Vocal range top: Gb5. Vocal range bottom: Bb3. Browbeating and weary, Jack’s protective mother who is independent, bold, and strong-willed. The Baker: Male, age 35 to 45. Vocal range top: G4. Vocal range bottom: Ab2. A harried and insecure baker who is simple and loving, yet protective of his family. He wants his wife to be happy and is willing to do anything to ensure her happiness but refuses to let others fight his battles. The Baker’s Wife: Female, age: 35 to 45. Vocal range top: G5. Vocal range bottom: F3. Determined and bright woman who wishes to be a mother. She leads a simple yet satisfying life and is very low-maintenance yet proactive in her endeavors. Cinderella’s Stepmother: Female, age 40 to 50. Vocal range top: F#5. Vocal range bottom: A3. The mean-spirited, demanding stepmother of Cinderella. Florinda And Lucinda: Female, 25 to 35. Vocal range top: Ab5. Vocal range bottom: C4. Cinderella’s stepsisters who are black of heart. They follow in their mother’s footsteps of abusing Cinderella. Little Red Riding Hood: Female, age 18 to 20. -
PRINCESS Books 11/2018
PRINCESS Books 11/2018 PICTURE BOOKS: Princess Palooza jj Allen, J The Very Fairy Princess jj Andrews, J The Very Fairy Princess: Here Comes the Flower Girl! Jj Andrews, J The Very Fairy Princess Takes the Stage jj Andrews, J The Princess and the Pizza jj Auch, M Snoring Beauty jj Bardhan-Quallen, S The Princess and the Pony jj Beaton, K Marisol McDonald Doesn’t Match = Marisol McDonald No Combina jj Brown, Monica Babar and Zephir jj Brunhoff, J Princess Peepers Picks a Pet jj Calvert, P Puss in Boots jj Cauley, L The Frog Princess jj Cecil, L The Princess and the Pea in Miniature: After the Fairy Tale by Hans Christian Andersen jj Child, L Princess Smartypants jj Cole, B Do Princesses Scrape Their Knees? Jj Coyle, C A Hero’s Quest jj DiCamillo, K The Mouse and the Princess jj DiCamillo, K A Friend for Merida jj Disney The Prince Won’t Go to Bed! Jj Dodds, D A Gold Star for Zog jj Donaldson, J Zog and the Flying Doctors jj Donaldson, J Dora Saves the Snow Princess jj Dora How to Become a Perfect Princess In Five Days jj Dube, P Olivia and the Fairy Princesses jj Falconer, I Olivia: The Princess jj Falconer, I The Most Wonderful Thing in the World jj French, V The Princess Knight jj Funke, C The Snow Rabbit jj Garoche, C Spells jj Gravett, E Fitchburg Public Library 610 Main St, Fitchburg, MA 01420 978-829-1789 www.fitchburgpubliclibrary.org Princesses Save the World jj Guthrie, S Princesses Wear Pants jj Guthrie, S Snoring Beauty jj Hale, B Princess Academy jj Hale, S PA1 Princess Hyacinth: (The Surprising Tale of a Girl Who Floated) -
Rapunzel Is Not Just a Princess in Fairy Tale
Rapunzel Is Not just a Princess in a Fairy Tale Column ideas sometimes arrive by chance, and from the strangest, offhand comments. Last week, my friend Terri said, “I want to ask you about an herb. I was reading nursery stories, and did you know that Rapunzel was named after an herb? Her mother ate so many of them while she was pregnant that she decided to name her baby daughter after the plant. The herbs were stolen from a witch’s garden, so she placed a curse on the baby.” It had been many years since I read “Rapunzel,” and I didn’t recall the reference to raiding the witch’s garden. I love researching odd stories and occurrences, and an unusual reference to the plant origin of the heroine’s name in a fairy tale piqued my interest. Terri is correct about the origin of Princess Rapunzel’s name. When the Brothers Grimm published “”Rapunzel” in 1812, rapunzel, or Campanula rapunculus, was commonly grown in herb and vegetable gardens. The plant name would have been familiar to readers of that period. Campanula rapunculus is a member of the Campanulaceae or bellflower family, of which there are 500 species. Campanula species are native to North Africa, Europe, and Western Asia. Other common names are bluebell and harebell. The Latin name “Campanula” translates as little bell and “rapunculus” is derived from the Latin word “rapa,” meaning small turnip, in reference to the parsnip or radish-like roots. An English-language common name of C. rapunculus is rampion, not to be confused with ramp or Allium tricoccum, a strongly flavored spring onion, native to the eastern United States and Canada, and the focus of spring festivals in Virginia, West Virginia, North Carolina, and Tennessee. -
Working Title
Three Drops of Blood: Fairy Tales and Their Significance for Constructed Families Carol Ann Lefevre Thesis Submitted for the Degree of Doctor of Philosophy in Creative Writing Discipline of English School of Humanities and Social Sciences The University of Adelaide South Australia June 2009 Contents 1. Abstract.……………………………………………………………iii 2. Statement of Originality…………………………………………..v 3. Introduction………………………………………………………...1 4. Identity and Maternal Blood in “The Goose Girl”………………9 5 “Cinderella”: The Parented Orphan and the ‘Motherline’….....19 6. Abandonment, Exploitation and the Unconscious Woman in “Sleeping Beauty”………………………………………….30 7. The Adoptive Mother and Maternal Gaze in “Little Snow White”………………………………………..44 8. “Rapunzel”: The Adoptee as Captive and Commodity………..56 9. Adoption and Difference in “The Ugly Duckling”……………..65 10. Conclusion……………………………………………………...…71 11. Appendix – The Child in the Red Coat: Notes on an Intuitive Writing Process………………………………....76 12. Bibliography................................................……………………...86 13. List of Images in the Text…..……………………………………89 ii Abstract In an outback town, Esther Hayes looks out of a schoolhouse window and sees three children struck by lightning; one of them is her son, Michael. Silenced by grief, Esther leaves her young daughter, Aurora, to fend for herself; against a backdrop of an absent father and maternal neglect, the child takes comfort wherever she can, but the fierce attachments she forms never seem to last until, as an adult, she travels to her father’s native Ireland. If You Were Mine employs elements of well-known fairy tales and explores themes of maternal abandonment and loss, as well as the consequences of adoption, in a narrative that laments the perilous nature of children’s lives. -
Fairytales in the German Tradition
German/LACS 233: Fairytales in the German Tradition Tuesday/Thursday 1:30-2:45 Seabury Hall S205 Julia Goesser Assaiante Seabury Hall 102 860-297-4221 Office Hours: Tuesday/Thursday 9-11, or by appointment Course description: Welcome! In this seminar we will be investigating fairytales, their popular mythos and their longevity across various cultural and historical spectrums. At the end of the semester you will have command over the origins of many popular fairytales and be able to discuss them critically in regard to their role in our society today. Our work this semester will be inter-disciplinary, with literary, sociological- historical, psychoanalytic, folklorist, structuralist and feminist approaches informing our encounter with fairytales. While we will focus primarily on the German fairytale tradition, in particular, the fairytales collected by the Brothers Grimm, we will also read fairytales from other cultural and historical contexts, including contemporary North America. Course requirements and grading: in order to receive a passing grade in this course you must have regular class attendance, regular and thoughtful class participation, and turn in all assignments on time. This is a seminar, not a lecture-course, which means that we will all be working together on the material. There will be a total of three unannounced (but open note) quizzes throughout the semester, one in-class midterm exam, two five-page essays and one eight-page final essay assignment. With these essays I hope to gauge your critical engagement with the material, as well as helping you hone your critical writing skills. Your final grade breaks down as follows: Quizzes 15% Midterm 15% 2- 5 page essays (15% each) 30% 1 8 page essay 20% Participation 20% House Rules: ~Class attendance is mandatory. -
About the Book: from Favorites Like "Puss in Boots" and "Goldilocks" To
FAIRY TALE COMICS – READING GROUP GUIDE About the Book: From favorites like "Puss in Boots" and "Goldilocks" to obscure gems like "The Boy Who Drew Cats," Fairy Tale Comics has something to offer every reader. Seventeen fairy tales are wonderfully adapted and illustrated in comics format by seventeen different cartoonists, including Raina Telgemeier, Brett Helquist, Cherise Harper, and more. Edited by Nursery Rhyme Comics' Chris Duffy, this jacketed hardcover is a beautiful gift and an instant classic. For Discussion: Which of the fairy tale comic retellings is your favorite and why? There are many wicked witches, sneaky stepmothers, and creepy creatures in this book. Which villain of all of the comics do you think is the worst of them all? There are also many smart and cunning heroes, who do you think is the cleverest in all the comics? Who would win in a battle of wits? Many fairy tales teach very valuable lessons, such as the fairy tales of Baba Yaga and The Prince and the Tortoise. What lessons do you think these fairy tales present? Can you think of any other stories, or other fairy tales that teach important lessons? In many of the fairytales the characters find themselves in situations they are not sure how to get out of. What would you do if you were Hansel and Gretel stuck in the evil witch’s house, or sent to Baba Yaga who likes to eat children, or were forced to guess someone’s name like in Rumpelstiltskin? What fairy tales not included in the book would you remake into a comic? What parts of the tale would you keep the same and what would you change? Fairy tales are often made into movies, such as Snow White, Cinderella, and many others. -
Rapunzelapunzel 3
RRapunzelapunzel 3 Lesson Objectives Core Content Objectives Students will: Demonstrate familiarity with the fairy tale “Rapunzel” Identify the fairy tale elements of “Rapunzel” Identify fairy tales as a type of f ction Identify common characteristics of fairy tales, such as “once upon a time” beginnings, royal characters, elements of fantasy, problems and solutions, and happy endings Compare and contrast different adaptations of fairy tales Language Arts Objectives The following language arts objectives are addressed in this lesson. Objectives aligning with the Common Core State Standards are noted with the corresponding standard in parentheses. Refer to the Alignment Chart for additional standards addressed in all lessons in this domain. Students will: Describe, orally or in writing, the setting, characters, facts, events, and elements of magic in “Rapunzel” (RL.1.3, W.1.3) Describe how eating the rapunzel made the woman feel delight using words and phrases that suggest feelings (RL.1.4) Distinguish fantasy from realistic text by explaining that the certain events in the story could not have happened in real life (RL.1.5) Compare and contrast, orally or in writing, similarities and differences between the characters and settings of “Sleeping Beauty,” “Rumplestiltskin,” and “Rapunzel” (RL.1.9) 40 Fairy Tales 3 | Rapunzel © 2013 Core Knowledge Foundation Compare and contrast, orally or in writing, similarities and differences between the read-alouds and a trade book for the story “Sleeping Beauty,” “Rumplestiltskin,” or “Rapunzel” (RL.1.9) Discuss personal responses to how they received their names and compare that to Rumpelstiltskin’s and Rapunzel’s names (W.1.8) Clarify information about “Rapunzel” by asking questions that begin with where (SL.1.1c) While listening to “Rapunzel,” orally predict what the man will do to save his wife and then compare the actual outcome to the prediction Core Vocabulary delight, n. -
Melting Pot Rapunzel by Jay Voorhies a Thesis Presented to the Honors
Melting Pot Rapunzel by Jay Voorhies A Thesis presented to the Honors College of Middle Tennessee State University in partial fulfillment of the requirements for graduation from the University Honors College April 2015 TABLE OF CONTENTS Page Signature Page……………………………………………………………………….……..………i Acknowledgements…………………………………………………………………..........……….ii Abstract……………………………………………………………………………..........……......iii Table of Contents………………………………………………………………………...……......iv List of Figures……………………………………………………………………………………...v Part I – Research Component Chapter 1 – Organismic Rapunzel………………………………………...…………..…..1 Chapter 2 – The Maiden-in-a-Tower Tale…………………………………….………..…3 Chapter 3 – “Rapunzel”…………………………………………………..…………….....4 Chapter 4 –“Petrosinella”……………………………………………………….……..….9 Chapter 5 – Mediterranean Variants…………………………………………………......13 Chapter 6 – “Persinette”……………………………………………………………….....16 Chapter 7 – French Variants……………………….………………………….………....21 Chapter 8 – “Louliyya Daughter of Morgan”………………………………………..…..24 Chapter 9 – The Legend of Saint Barbara…………………………………………..…...28 Chapter 10 – “Zal and Rudabeh”…………………………………………………….......30 Chapter 11 –“Mother and Daughter”…………………………………………….........…31 Chapter 12 – Sugar Cane: A Caribbean Rapunzel………………………………………33 Chapter 13 – Tangled………………………………………………………….……...….36 Conclusion…………………………………………………………………………...…..40 Part II – Creative Component “Yamaima”…………………………………………………………………..………..…42 Works Cited…………………………………………………………………..………….60 LIST OF FIGURES Figure I: “Yamaima in her Tower” Figure II: “Yamamba’s