A L U M N I & F R I E N D S N E W S L E T T
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
CINDERELLA Curriculum Connections California Content Standards Kindergarten Through Grade 12
San Francisco Operaʼs Rossiniʼs CINDERELLA Curriculum Connections California Content Standards Kindergarten through Grade 12 LANGUAGE ARTS WORD ANALYSIS, FLUENCY, AND VOCABULARY DEVELOPMENT Phonics and Phonemic Awareness: Letter Recognition: Name the letters in a word. Ex. Cinderella = C-i-n-d-e-r-e-l-l-a. Letter/Sound Association: Name the letters and the beginning and ending sound in a word. C-lorind-a Match and list words with the same beginning or ending sounds. Ex. Don Ramiro and Dandini have the same beginning letter “D” and sound /d/; but end with different letters and ending sounds. Additional examples: Don Ramiro, Don Magnifico, Alidoro; Cinderella, Clorinda. Syllables: Count the syllables in a word. Ex.: Cin-der-el-la Match and list words with the same number of syllables. Clap out syllables as beats. Ex.: 1 syllable 2 syllables 3 syllables bass = bass tenor = ten-or soprano = so-pra-no Phoneme Substitution: Play with the beginning sounds to make silly words. What would a “boprano” sound like? (Also substitute middle and ending sounds.) Ex. soprano, boprano, toprano, koprano. Phoneme Counting: How many sounds in a word? Ex. sing = 4 Phoneme Segmentation: Which sounds do you hear in a word? Ex. sing = s/i/n/g. Reading Skills: Build skills using the subtitles on the video and related educator documents. Concepts of Print: Sentence structure, punctuation, directionality. Parts of speech: Noun, verb, adjective, adverb, prepositions. Vocabulary Lists: Ex. Cinderella, Opera glossary, Music and Composition terms Examine contrasting vocabulary. Find words in Cinderella that are unfamiliar and find definitions and roots. Find the definitions of Italian words such as zito, piano, basta, soto voce, etcetera, presto. -
Film. It's What Jews Do Best. Aprll 11-21 2013 21ST
21ST TORONTO JEWISH FILM FESTIVAL APRIL 11-21 2013 WWW.TJFF.COM FILM. It’S WHAT JEWS DO BEST. DRAMAS OVERDRIVE AD COMEDIES DOCUMENTARIES BIOGRAPHIES ARCHIVAL FILMS ARCHIVAL SHORT FILMS SHORT Proudly adding a little spark to the Toronto Jewish Film Festival since 2001. overdrivedesign.com 2 Hillel Spotlight on Israeli Films Spotlight on Africa Israel @ 65 Free Ticketed Programmes CONTENTS DRAMAS 19 COMEDIES 25 DOCUMENTARIES 28 BIOGRAPHIES 34 ARCHIVAL FILMS 37 SHORT FILMS 38 4 Schedule 15 Funny Jews: 7 Comedy Shorts 42 Patron Circle 6 Tickets 15 REEL Ashkenaz @ TJFF 43 Friends and Fans 7 Artistic Director’s Welcome 16 Talks 44 Special Thanks 8 Co-Chairs’ Message 17 Free Family Screenings 44 Nosh Donors 9 Programme Manager’s Note 18 Opening / Closing Night Films 44 Volunteers 10 Programmers’ Notes 19 Dramas 46 Sponsors 12 David A. Stein Memorial Award 25 Comedies 49 Advertisers 13 FilmMatters 28 Documentaries 67 TJFF Board Members and Staff 13 Hillel Spotlight on Israeli Film 34 Biographies 68 Films By Language 14 Spotlight on Africa 37 Archival Films 70 Films By Theme / Topic 14 Israel @ 65 38 Short Films 72 Film Index APRIL 11–21 2013 TJFF.COM 21ST ANNUAL TORONTO JEWISH FILM FESTIVAL 3 SCHEDULE • Indicates film has additional screening(s).Please Note: Running times do not include guest speakers where applicable. Thursday April 11 Monday April 15 8:30 PM BC 92 MIN CowJews and Indians: How Hitler 1:00 PM ROM 100 MIN • Honorable Ambassador w/ Delicious Scared My Relatives and I Woke up Peace Grows in a Ugandan in an Iroquois Longhouse —Owing -
Who Is Cinderella,...Or Cinderfella?
1 Who is Cinderella, … or Cinderfella? Donna Rohanna Patterson Elementary School Overview Rationale Objectives Strategies Classroom Activities Annotated Bibliography/Resources Appendices/Standards Overview Folk and fairy tale stories comprise most of the stories children hear from birth to 2nd grade. They are used not only to entertain, but often as teaching stories about the dangers and values of life. These very same stories are shared in many cultures around the world. Although they vary in characters, setting, and texture from one continent to the next, they remain some of the most powerful stories for teaching and learning during the early years. Folk and fairy tales have initiated children into the ways of the world probably from time immemorial. Many have changed over time to homogenize into the variety that we often see and hear today to meet a more generic audience, often leaving behind the tales geographic and social origins. By exposing students to a variety of multicultural renditions of a classic Fairy Tale they can begin to relate to these stories in new ways, leading to a richer literary experience. Fairy Tales written through ethnic eyes also give a great deal of cultural information, which can result in a richer experience for the students and students. We can then appreciate the origins and adaptations as they have migrated through time and space. These stories help to make sense of the world for young children. Folk and fairy tales were not meant only for entertainment, they provide a social identity, and instill values as well as teaching lessons. In my own experience I have found that classrooms are often filled with students that either come from other countries or have families that do. -
Choose Your Path
Curriculum Units by Fellows of the Yale-New Haven Teachers Institute 1993 Volume II: Folktales Choose Your Path Curriculum Unit 93.02.06 by Mary-Alice Howley I teach remedial reading at Betsy Ross Arts Magnet Middle School which is a fully integrated city school with a strong drama department, and a dedicated English department. This year with the new superintendent, middle school reform is a priority issue. However, because Betsy Ross is an established magnet school it cannot share in the federal funds, which have been made available to start new magnet schools and to instigate middle school reform. So without the benefit of outside resources the faculty at Betsy Ross is being asked to devise new scheduling matrixes and to create new curriculums to more fully coordinate the arts classes with the academic classes. I plan to use the resources of the Yale New Haven Teachers Institute to create a folk tale curriculum that could be extended to involve the reading laboratory with the fifth and sixth grade English and drama departments. Such a curriculum would meet a zeal need. Towards this end the primary goals of this unit are to foster critical thinking skills, to sharpen writing skills, and to refine public speaking skills. These goals will be met by reading fairy tales, comparing fairy tales, writing fairy tales, and telling fairy tales. I chose to base this unit on three familiar fairy tales: “Little Red Riding Hood”, “Cinderella”, and “Jack and the Beanstalk”. The African story “Three Rival Brothers” plus two African-American stories “A Wolf and Little Daughter” and “Wiley, His Momma, and the Hairy Man” expand upon the basic theme of the heroes using their wits and seizing whatever opportunity to achieve happiness, to grow up or simply to stay alive. -
A Rhetorical Analysis of Four Versions of the Cinderella Narrative
Abilene Christian University Digital Commons @ ACU Electronic Theses and Dissertations Electronic Theses and Dissertations Spring 5-2017 After the Shoe Fits: A Rhetorical Analysis of Four Versions of the Cinderella Narrative Faith L. Boren Abilene Christian University, [email protected] Follow this and additional works at: https://digitalcommons.acu.edu/etd Part of the Critical and Cultural Studies Commons, Gender, Race, Sexuality, and Ethnicity in Communication Commons, and the Rhetoric Commons Recommended Citation Boren, Faith L., "After the Shoe Fits: A Rhetorical Analysis of Four Versions of the Cinderella Narrative" (2017). Digital Commons @ ACU, Electronic Theses and Dissertations. Paper 69. This Thesis is brought to you for free and open access by the Electronic Theses and Dissertations at Digital Commons @ ACU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ ACU. ABSTRACT Fairy tales hold the power to influence societies and to challenge societal injustices, and the story of Cinderella exemplifies both of these roles. In this study, I conduct a rhetorical analysis of four different versions of the Cinderella narrative: Charles Perrault’s “Cendrillon,” the Brothers Grimm’s “Ascenputtel,” Anne Sexton’s “Cinderella,” and Disney’s Cinderella (2015). I examine Perrault’s “Cendrillon” and the Grimms’ “Aschenputtel” using constitutive rhetoric. This theory operates around the basic premise that rhetoric holds the power to aid in the shaping of societies. While analyzing “Cendrillon” and “Aschenputtel,” I specifically look for themes of classism and nationalism, respectively. I then examine Sexton’s “Cinderella” and Disney’s Cinderella (2015) using feminist standpoint theory as my theoretical lens. -
Cinderella Movie Review & Film Summary (2015) | Roger Ebert
In Memoriam 1942 – 2013 | ROGEREBERT..COM Choose a Section REVIEWS CINDERELLA | Susan Wloszczyna March 13, 2015 | 63 The presence of a new “Cinderella,” the latest of a long line of TV and theatrical movies about the fairy-tale lass (and one lad, if you Print Page count Jerry Lewis in 1960’s “Cinderfella”), caused me to realize that there seems to be a change in the attitudinal wind when it comes Like to popular entertainment. Like 61 The cynical side winks, knowing smirks, throwback references and dead-pan jokes that are hallmarks of post-modern culture are 5 being ever so politely nudged aside by an emerging re-appreciation of old-fashioned sincerity and the pleasures of simply playing it straight. Basically, warmth is slowly becoming the new cool. One of the first signs of this turnabout might have been Tim Burton’s approach to last year’s “Big Eyes,” a biopic about Margaret Keane, the mid-century kitsch queen of the art world, and her struggle to regain credit for her work from her con-man husband. Given the inherent creepiness of Keane’s waif portraits, many expected Burton’s humorously sinister sensibilities to seep into the beatnik-era clash of low art and high drama. But save for a couple “Twilight Zone”-style dream sequences, the filmmaker adhered to telling the true story pretty much as it happened and focused on building sympathy for its main subject. This apparent sincerity revival went global when it arrived in the form of Lady Gaga’s Oscar-night performance of a medley of Rodgers and Hammerstein songs in honor of “The Sound of Music’s” 50th anniversary. -
Fairy Tale Films
Utah State University DigitalCommons@USU All USU Press Publications USU Press 2010 Fairy Tale Films Pauline Greenhill Sidney Eve Matrix Follow this and additional works at: https://digitalcommons.usu.edu/usupress_pubs Part of the Folklore Commons Recommended Citation Greenhill, P., & Matrix, S. E. (2010). Fairy tale films: Visions of ambiguity. Logan, Utah: Utah State University Press. This Book is brought to you for free and open access by the USU Press at DigitalCommons@USU. It has been accepted for inclusion in All USU Press Publications by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. Fairy Tale Films Visions of Ambiguity Fairy Tale Films Visions of Ambiguity Pauline Greenhill and Sidney Eve Matrix Editors Utah State University Press Logan, Utah 2010 Copyright © 2010 Utah State University Press All rights reserved Utah State University Press Logan, Utah 84322-7800 Cover photo adapted from The Juniper Tree, courtesy of the Wisconsin Center for Film and Theater Research, Nietzchka Keene papers, 1979-2003, M2005-051. Courtesy of Patrick Moyroud and Versatile Media. ISBN: 978-0-87421-781-0 (paper) ISBN: 978-0-87421-782-7 (e-book) Manufactured in the United States of America Printed on acid-free, recycled paper Library of Congress Cataloging-in-Publication Data Fairy tale films : visions of ambiguity / Pauline Greenhill and Sidney Eve Matrix, editors. p. cm. Includes bibliographical references and index. ISBN 978-0-87421-781-0 (pbk. : alk. paper) -- ISBN 978-0-87421-782-7 (e-book) 1. Fairy tales in motion pictures. 2. Fairy tales--Film adaptations. I. Greenhill, Pauline. -
CINDERELLA Curriculum Connections California Content Standards Kindergarten Through Grade 12
San Francisco Operaʼs Rossiniʼs CINDERELLA Curriculum Connections California Content Standards Kindergarten through Grade 12 VISUAL AND PERFORMING ARTS MUSIC STORYTELLING & MUSIC: WHAT IS AN OPERA? Research the etymology of word, “opera.” Character and plot development through musical themes. What is the difference between major and minor keys and how do changes between keys help tell the story? How are operas similar to musicals? How are they different? Watch examples of both. How does orchestral music enhance what characters are singing? How does it act as another character? How does orchestral music communicate a characterʼs state of mind? Set a mood? How does music associated with a particular character enhance their class status? Which voice types usually portray which types of characters and why? What kinds of ensembles are possible with this story and these characters? What is bel canto opera? What is its structure? How did opera change after the bel canto period? What is the purpose of an overture? How does the overture to Cinderella set the stage for the opera? The overture uses a Rossini crescendo. What is that? What is recitative? What role does it play in this and other operas? Music is sung in duets, trios, quartets, quintets and sextets. What are these and what is the effect? What is the music that is played while the storm is happening? How does it sound? In Cinderellaʼs final aria Non piu mesta, the music directs the singer to sing with a glissando. What is a glissando? Define a buffo bass. Who is a buffo bass in Cinderella? Rossini includes a number of patter songs in Cinderella. -
PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO PUC/SP Ariane Fregotte O CONTO DE FADAS NA TRADIÇÃO E NO CONTEMPORÂNEO (Doi
PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO PUC/SP Ariane Fregotte O CONTO DE FADAS NA TRADIÇÃO E NO CONTEMPORÂNEO (dois momentos para reflexão) MESTRADO EM LITERATURA E CRÍTICA LITERÁRIA São Paulo 2020 Ariane Fregotte O CONTO DE FADAS NA TRADIÇÃO E NO CONTEMPORÂNEO (dois momentos para reflexão) Dissertação apresentada à Banca examinadora da Pontifícia Universidade Católica de São Paulo, como exigência parcial para obtenção do título de Mestre em Literatura e Crítica Literária sob a orientação da Prof.ª Dr.ª Vera Bastazin. São Paulo 2020 BANCA EXAMINADORA Presidente e Orientadora: _________________________________________ 1° Examinadora Prof.ª Dr.ª_________________________________________ 2° Examinador Prof. Dr.____________________________________________ DEDICATÓRIA Dedico esta Dissertação aos meus queridos avós, que participaram de minha vida contando-me histórias e presenteando-me com livros de contos de fadas. Aos meus amados pais que sempre leram histórias para mim, fazendo a minha infância feliz e amparando-me para realizar meus sonhos e voar alto. Ao meu irmão por toda ajuda tecnológica para realizar esta pesquisa. AGRADECIMENTOS Agradeço a Prof.ª Dr.ª Vera Bastazin por ter me orientado e dedicado tanto tempo de estudo para minha formação durante todo esse percurso. Aos professores que participaram da Banca do Exame de Qualificação, Prof.ª Dr.ª Maria José Gordo Palo por suas orientações e interesse no desenvolvimento de minha pesquisa e Prof. Dr. Gerson Tenório dos Santos por suas sugestões e atenção a mim dedicadas. À PUC-SP pela oportunidade da realização desta pesquisa. Aos meus pais pelo incentivo e dedicação incondicional durante toda minha pesquisa. À minha amiga Giulia Catarina Florenzano por ter me apoiado a realizar esta pesquisa. -
Downloaded Into Her Brain — Every One Except Caroline’S
Distribution Agreement In presenting this thesis or dissertation as a partial fulfillment of the requirements for an advanced degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis or dissertation in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis or dissertation. I retain all ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. Signature: _______________________________________ _____________________ Shannan Palma Date Tales as Old as Time: Myth, Gender, and the Fairy Tale in Popular Culture By Shannan Palma Doctor of Philosophy Women’s, Gender and Sexuality Studies _________________________________________ Laurie L. Patton, Ph.D. Advisor _________________________________________ Matthew Bernstein, Ph.D. Committee Member _________________________________________ Rosemarie Garland-Thomson, Ph.D. Committee Member Accepted: _________________________________________ Lisa A. Tedesco, Ph.D. Dean of the James T. Laney School of Graduate Studies ___________________ Date Tales as Old as Time: Myth, Gender, and the Fairy Tale in Popular Culture By Shannan Palma B.A., The Ohio State University, 2000 Advisor: Laurie L. Patton, Ph.D. An abstract of A dissertation submitted to the Faculty of the James T. Laney School of Graduate Studies of Emory University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Women’s, Gender and Sexuality Studies 2012 Abstract Tales as Old as Time: Myth, Gender, and the Fairy Tale in Popular Culture By Shannan Palma This dissertation theorizes the contemporary political value of myth through an examination of metonymic and narrative invocations of fairy tales in primarily, but not exclusively, American popular culture. -
Cinderfella by Linda Jones
Read and Download Ebook Cinderfella... Cinderfella Linda Jones PDF File: Cinderfella... 1 Read and Download Ebook Cinderfella... Cinderfella Linda Jones Cinderfella Linda Jones AN AMERICAN PRINCESS The daughter of a Kansas cattle tycoon, Charmaine Haley was given a royal welcome on her return from Boston: a masquerade. But the spirited beauty was aware of her father's matchmaking schemes, and she felt sure there would be no shoe-ins for her affection ... ON THE BALL At the dance, Charmaine was swept off her feet by a masked stranger. She hadn't been so spell-bound since Ash Coleman had stolen her heart years before, but suddenly she found herself in a compromising position that had her father on a manhunt with a shotgun and the only clue the stranger left --- one black boot. A SLIPPERY SITUATION Ash Coleman hadn't planned to attend the ball, but he found himself smitten by the grown-up Charmaine. Now, after a stroke of midnight he'd never forget, he suddenly knew that this time when the shoe fit, he was ready to wear it ... Cinderfella Details Date : Published September 1998 by Dorchester Publishing ISBN : 9780505522757 Author : Linda Jones Format : Paperback 392 pages Genre : Romance, Historical Romance, Historical, Fantasy, Fairy Tales Download Cinderfella ...pdf Read Online Cinderfella ...pdf Download and Read Free Online Cinderfella Linda Jones PDF File: Cinderfella... 2 Read and Download Ebook Cinderfella... From Reader Review Cinderfella for online ebook Taiyesha-Duchess of Indiana says Cinderfella: A cute and well written 4 star read given the correct mindset This is a very cute book. -
Aschenputtels Facetten Und Dornröschens Spiegelungen
Mag.art. Karina Thier 9406877 Aschenputtels Facetten und Dornröschens Spiegelungen Eine Untersuchung zur Entwicklung und Transformation des Aschenputtel- und Dornröschen Märchens im Kontext seiner Zeit mit Hauptaugenmerk auf zeitgenössische Bearbeitungen in Bezugnahme des Frauenbilds der Brüder Grimm Schriftlicher Teil der künstlerischen Abschlussarbeit Betreuerin: ao. Univ.-Prof. Dr.phil. Renate Vergeiner Angestrebter Akademischer Titel: Mag.art. Studienrichtung: Kunst und Kommunikative Praxis Lehramt für Bildnerische Erziehung und Textiles Gestalten Institut für Kunstwissenschaften, Kunstpädagogik und Kunstvermittlung Wintersemester 2018/19 Wien im April 2019 Abstract Die vorliegende Arbeit beschäftigt sich mit der Frage wie das beliebte Aschenputtel- und Dornröschen Märchen der Brüder Grimm ursprünglich ausgesehen hat, beziehungsweise mit der Veränderung und Transformation der typischen Motive der beiden Märchen. Weiter setzt sich die Untersuchung mit der Typologie der beiden Märchenheldinnen, dem Grimm´schen Weiblichkeitsentwurf und den gesellschaftlichen Erwartungen an die Frau im Kontext der jeweiligen Zeit auseinander. Das Bild der Frau in den beiden Märchen ist vor allem in der kritischen Literatur dem beständigen Vorwurf der Passivität und Unterordnung ausgesetzt. Die konträre Position vertritt den Ansatz, dass die Frauen in den Grimm´schen Märchen sehr wohl autonom und emanzipiert agieren. In dieser Arbeit wird versucht zu zeigen, dass die Grimm´sche Heldin als Frau ihrer Zeit keineswegs dem Bild der bürgerlichen Puppenfrau des 19. Jahrhunderts entspricht, sondern die bestmögliche Lösung für ihre Situation anstrebt. Im Zuge dessen werden die beiden ausgesuchten Märchen mit Vorläuferversionen der Grimm´schen Redaktionen, Bearbeitungen im 20. Jahrhundert und zeitgenössischen Adaptionen verglichen. The present paper deals with the question how the popular Cinderella- and Sleeping Beauty fairytale by the Brothers Grimm originally looked, respectively with the change and transformation of the typical themes of the fairytales.