THE BEST BIRTHDAY YET! Written By: Andrew Reid Adapted By: the Adventures Team
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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. -
Fairy Tale Females: What Three Disney Classics Tell Us About Women
FFAAIIRRYY TTAALLEE FFEEMMAALLEESS:: WHAT THREE DISNEY CLASSICS TELL US ABOUT WOMEN Spring 2002 Debbie Mead http://members.aol.com/_ht_a/ vltdisney?snow.html?mtbrand =AOL_US www.kstrom.net/isk/poca/pocahont .html www_unix.oit.umass.edu/~juls tar/Cinderella/disney.html Spring 2002 HCOM 475 CAPSTONE Instructor: Dr. Paul Fotsch Advisor: Professor Frances Payne Adler FAIRY TALE FEMALES: WHAT THREE DISNEY CLASSICS TELL US ABOUT WOMEN Debbie Mead DEDICATION To: Joel, whose arrival made the need for critical viewing of media products more crucial, Oliver, who reminded me to be ever vigilant when, after viewing a classic Christmas video from my youth, said, “Way to show me stereotypes, Mom!” Larry, who is not a Prince, but is better—a Partner. Thank you for your support, tolerance, and love. TABLE OF CONTENTS Once Upon a Time --------------------------------------------1 The Origin of Fairy Tales ---------------------------------------1 Fairy Tale/Legend versus Disney Story SNOW WHITE ---------------------------------------------2 CINDERELLA ----------------------------------------------5 POCAHONTAS -------------------------------------------6 Film Release Dates and Analysis of Historical Influence Snow White ----------------------------------------------8 Cinderella -----------------------------------------------9 Pocahontas --------------------------------------------12 Messages Beauty --------------------------------------------------13 Relationships with other women ----------------------19 Relationships with men --------------------------------21 -
Princess Stories Easy Please Note: Many Princess Titles Are Available Under the Call Number Juvenile Easy Disney
Princess Stories Easy Please note: Many princess titles are available under the call number Juvenile Easy Disney. Alsenas, Linas. Princess of 8th St. (Easy Alsenas) A shy little princess, on an outing with her mother, gets a royal treat when she makes a new friend. Andrews, Julie. The Very Fairy Princess Takes the Stage. (Easy Andrews) Even though Gerry is cast as the court jester instead of the crystal princess in her ballet class’s spring performance, she eventually regains her sparkle and once again feels like a fairy princess. Barbie. Barbie: Fairytale Favorites. (Easy Barbie) Barbie: Princess charm school -- Barbie: a fairy secret -- Barbie: a fashion fairytale -- Barbie in a mermaid tale -- Barbie and the three musketeers. Child, Lauren. The Princess and the Pea in Miniature : After the Fairy Tale by Hans Christian Andersen. (Easy Child) Presents a re-telling of the well-known fairy tale of a young girl who feels a pea through twenty mattresses and twenty featherbeds and proves she is a real princess. Coyle, Carmela LaVigna . Do Princesses Really Kiss Frogs? (Easy Coyle) A young girl takes a hike with her father, asking many questions along the way about what princesses do. Cuyler, Margery. Princess Bess Gets Dressed. (Easy Cuyler) A fashionably dressed princess reveals her favorite clothes at the end of a busy day. Disney. 5-Minute Princess Stories. (Easy Disney) Magical tales about princesses from different Walt Disney movies. Disney. Princess Adventure Stories. (Easy Disney) A collection of stories from favorite Disney princesses. Edmonds, Lyra. An African Princess. (Easy Edmonds) Lyra and her parents go to the Caribbean to visit Taunte May, who reminds her that her family tree is full of princesses from Africa and around the world. -
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) -
World Dog Show Leipzig 2017
WORLD DOG SHOW LEIPZIG 2017 09.-12. November 2017, Tag 2 in der Leipziger Messe Schirmherrin: Staatsministerin für Soziales und Verbraucherschutz Barbara Klepsch Patron: Minister of State for Social Affairs and Consumer Protection Barbara Klepsch IMPRESSUM / FLAG Veranstalter / Promoter: Verband für das Deutsche Hundewesen (VDH) e.V. Westfalendamm 174, 44141 Dortmund Telefon: (02 31) 5 65 00-0 Mo – Do 9.00 – 12.30/13.00 – 16.00 Uhr, Fr 9.00 – 12.30 Uhr Telefax: (02 31) 59 24 40 E-Mail: [email protected], Internet: www.vdh.de Chairmann/ Prof. Dr. Peter Friedrich Präsident der World Dog Show Secretary / Leif Kopernik Ausstellungsleitung Organization Commitee / VDH Service GmbH, Westfalendamm 174, 44141 Dortmund Organisation USt.-IdNr. DE 814257237 Amtsgericht Dortmund HRB 18593 Geschäftsführer: Leif Kopernik, Jörg Bartscherer TAGESEINTEILUNG / DAILY SCHEDULE FREITAG, 10.11.2017: Gruppe 5/ Group 5: Nordische Schlitten-, Jagd-, Wach- und Hütehunde, europäische und asiatische Spitze, Urtyp / Spitz and primitive types Gruppe 9 / Group 9: Gesellschafts- und Begleithunde / Companion and Toy Dogs TAGESABLAUF / DAILY ROUTINE 7.00 – 9.00 Uhr Einlass der Hunde / Entry for the Dogs 9.00 – 15.15 Uhr Bewertung der Hunde / Evaluation of the Dogs NOTICE: The World Winner 2017, World Junior Winner 2017 and the World Veteran Winner will get a Trophy. A Redelivery is not possible. HINWEIS: Die World Winner 2017, World Junior Winner 2017 und der World Veteranen Winner 2017 erhal- ten einen Pokal. Eine Nachlieferung ist nach der Veranstaltung nicht möglich. WETTBEWERBSRICHTER / JUDGES MAIN RING (WORLD DOG SHOW TAG 2) FREITAG, 10. NOVEMBER 2017 / FRIDAY, 10. NOVEMBER 2017 Junior Handling: Gerald Jipping (NLD) Zuchtgruppen / Best Breeders Group: Vija Klucniece (LVA) Paarklassen / Best Brace / Couple: Ramune Kazlauskaite (LTU) Veteranen / Best Veteran: Chan Weng Woh (MYS) Nachzuchtgruppen / Best Progeny Group: Dr. -
Royalty Notice
Royalty Notice A royalty fee must be paid to Contemporary Drama Service, PO Box 7710, Colorado Springs, CO 80933-7710 in advance of any performance of this play. The applicable royalty fee for this play is listed in our catalog or may be determined by calling our customer service department at 719-594-4422. The royalty must be paid whether the play is presented for charity or profit and whether or not admission is charged. A play is considered performed each time it is acted before an audience, except for rehearsals when only cast and production crew are present. When this play is performed, each cast member must have their own script copy purchased from us. It is a violation of copyright law to copy or reproduce any part of this play in any manner. The right of performance is not transferable, and performance without advance permission constitutes copyright infringement punishable by law. All other rights, including professional or equity performance, TV, radio, film, videotape and recording, are reserved. Fees for these rights will be quoted on request. On any programs, playbills or advertising for productions of this play the following information must appear: 1. The full name of the play and the playwright. 2. This notice: “Produced by special arrangement with Contemporary Drama Service, Colorado Springs, Colorado.” Copyright © MMXI Meriwether Publishing Ltd. Printed in the United States of America All Rights Reserved WHOS AFRAID OF THE BIG BAD PRINCE Who’s Afraid of the Big Bad Prince A two-act fairy tale parody/mystery by Craig Sodaro Meriwether Publishing Ltd. -
The Representation of Gender in Disney's Cinderella and Beauty
THE REPRESENTATION OF GENDER IN DISNEY’S CINDERELLA AND BEAUTY & THE BEAST A Comparative Analysis of Animation and Live-Action Disney Film LINDA HOUWERS SUPERVISOR: FRANK MEHRING S4251164 Houwers 4251164/ 2 Essay Cover Sheet AMERIKANISTIEK Teachers who will receive this document: Frank Mehring and Markha Valenta Title of document: The Representation of Gender in Disney’s Cinderella and Beauty & the Beast: A Comparative Analysis of Animation and Live-action Disney Film. Name of course: BA Thesis American Studies Date of submission: June 15, 2017 The work submitted here is the sole responsibility of the undersigned, who has neither committed plagiarism nor colluded in its production. Signed Name of student: Linda Houwers Student number: 4251164 Houwers 4251164/ 3 Abstract This work aims to explore the developments of the representation of gender in popular cultural productions over time. It will focus its research on a recent development within the popular Disney franchise: Live-action remakes of animated classics. In comparing and analyzing four case studies, two animated films and their live-action counterparts, this study seeks to form an idea of gender representation and its progression over time. Using gender theory by Judith Butler and a variety of theory on gender in media and culture specifically, an analysis focused on the representation of gender will be carried out for the chosen case studies of Cinderella (1950), Cinderella (2015), Beauty and the Beast (1991), and Beauty and the Beast (2017). The findings of this work conclude that the live-action case studies clearly reflect ongoing gender discourse and societal change, despite simultaneously still inhabiting some traditional stereotypes and ideas. -
Rape in the Tale of Genji
SWEAT, TEARS AND NIGHTMARES: TEXTUAL REPRESENTATIONS OF SEXUAL VIOLENCE IN HEIAN AND KAMAKURA MONOGATARI by OTILIA CLARA MILUTIN B.A., The University of Bucharest, 2003 M.A., The University of Massachusetts Amherst, 2008 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Asian Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) August 2015 ©Otilia Clara Milutin 2015 Abstract Readers and scholars of monogatari—court tales written between the ninth and the early twelfth century (during the Heian and Kamakura periods)—have generally agreed that much of their focus is on amorous encounters. They have, however, rarely addressed the question of whether these encounters are mutually desirable or, on the contrary, uninvited and therefore aggressive. For fear of anachronism, the topic of sexual violence has not been commonly pursued in the analyses of monogatari. I argue that not only can the phenomenon of sexual violence be clearly defined in the context of the monogatari genre, by drawing on contemporary feminist theories and philosophical debates, but also that it is easily identifiable within the text of these tales, by virtue of the coherent and cohesive patterns used to represent it. In my analysis of seven monogatari—Taketori, Utsuho, Ochikubo, Genji, Yoru no Nezame, Torikaebaya and Ariake no wakare—I follow the development of the textual representations of sexual violence and analyze them in relation to the role of these tales in supporting or subverting existing gender hierarchies. Finally, I examine the connection between representations of sexual violence and the monogatari genre itself. -
Passive and Active Masculinities in Disney's Fairy Tale Films
Cleveland State University EngagedScholarship@CSU ETD Archive 2013 Passive and Active Masculinities in Disney's Fairy Tale Films Grace DuGar Cleveland State University Follow this and additional works at: https://engagedscholarship.csuohio.edu/etdarchive Part of the English Language and Literature Commons How does access to this work benefit ou?y Let us know! Recommended Citation DuGar, Grace, "Passive and Active Masculinities in Disney's Fairy Tale Films" (2013). ETD Archive. 387. https://engagedscholarship.csuohio.edu/etdarchive/387 This Thesis is brought to you for free and open access by EngagedScholarship@CSU. It has been accepted for inclusion in ETD Archive by an authorized administrator of EngagedScholarship@CSU. For more information, please contact [email protected]. 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. -
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. -
Puss in Boots the Musical
The Grimm Brothers Present: Puss in Boots The Musical Book by Bill Leavengood Music and Lyrics by Rick Crom Performance Rights It is an infringement of the federal copyright law to copy or reproduce this script in any manner or to perform this play without royalty payment. All rights are controlled by Eldridge Publishing Co., Inc. Contact the publisher for additional scripts and further licensing information. The author’s name must appear on all programs and advertising with the notice: “Produced by special arrangement with Eldridge Publishing Company.” PUBLISHED BY ELDRIDGE PUBLISHING COMPANY hiStage.com © 2000 by Bill Leavengood and Rick Crom Download your complete script from Eldridge Publishing http://www.histage.com/playdetails.asp?PID=2058 The Grimm Brothers Present: Puss in Boots, The Musical - 2 - STORY OF THE PLAY Here’s an inventive and hilarious retelling of the famed fairy tale that features the bickering Grimm Brothers. Wilhelm Grimm wants to include in their fairy tale collection book the story of a cat who wears boots, but his brother Jacob is against it. So they decide to dramatize the story of a talking cat who helps her downtrodden master become a noble lord by using her wits and resources. With its lively music, witty lyrics and quick-paced script, this play is both entertaining and educational, as the audience helps the Grimms decide upon the morals and merit of an unusual tale. About an hour. CAST OF CHARACTERS (Widely flexible cast up to 14. Minimum with doubling 3 m, 2 w) MALE ROLES FEMALE ROLES Heinrich Puss Jacob Princess Duckweed Wilhelm FLEXIBLE ROLES Miller Marx First Peasant King (or Queen) Second Peasant Servant First Son (or Daughter) Okra Second Son (or Daughter) SETTING A gigantic 8-foot tall storybook is our backdrop.