Character Roles in the Estonian Versions of the Dragon Slayer (At 300)
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The Child and the Fairy Tale: the Psychological Perspective of Children’S Literature
International Journal of Languages, Literature and Linguistics, Vol. 2, No. 4, December 2016 The Child and the Fairy Tale: The Psychological Perspective of Children’s Literature Koutsompou Violetta-Eirini (Irene) given that their experience is more limited, since children fail Abstract—Once upon a time…Magic slippers, dwarfs, glass to understand some concepts because of their complexity. For coffins, witches who live in the woods, evil stepmothers and this reason, the expressions should be simpler, both in princesses with swan wings, popular stories we’ve all heard and language and format. The stories have an immediacy, much of we have all grown with, repeated time and time again. So, the the digressions are avoided and the relationship governing the main aim of this article is on the theoretical implications of fairy acting persons with the action is quite evident. The tales as well as the meaning and importance of fairy tales on the emotional development of the child. Fairy tales have immense relationships that govern the acting persons, whether these are psychological meaning for children of all ages. They talk to the acting or situational subjects or values are also more children, they guide and assist children in coming to grips with distinct. Children prefer the literal discourse more than adults, issues from real, everyday life. Here, there have been given while they are more receptive and prone to imaginary general information concerning the role and importance of fairy situations. Having found that there are distinctive features in tales in both pedagogical and psychological dimensions. books for children, Peter Hunt [2] concludes that textual Index Terms—Children, development, everyday issues, fairy features are unreliable. -
The Seven Pillars of Storytelling
BOOKS The Seven Pillars of Storytelling Ffion Lindsay Copyright © 2015 Sparkol All rights reserved Published by: Sparkol Books Published: December 2015 Illustrations: Ben Binney Sparkol Books Bristol, UK http://sparkol.com/books Keep this book free We’ve written this book to help you engage your audience through storytelling. Sharing it with just one other person spreads the word and helps us to keep it free. Thank you for clicking. Tweet Facebook G+ Pin it Scoop it LinkedIn Foreword If I were an architect designing a building I would look to nature – to the great creator, to God, if you like – for structures and principles, for design and style, for strength and beauty and for methods that have evolved over time. As communicators, we can do the same. In this book reams of theory has been distilled into practical, simple tools for understanding and applying the power of story. Ever thought why as evolved beings we don’t have more useful dreams at night? Why no one dreams in bullet points? Why the film industry is so large? Or why the gaming industry – which loves narrative based games – is even larger? Why we paint the day in stories, not facts, when we come home to our families? In the Middle East, centuries ago, a bearded man, a familiar boy who’d grown and looked like any other, trained in his father’s humble profession, stepped out on to a mountain and delivered simple stories that have been repeated ever since. Jesus, for me the most effective communicator there ever was, used parables. -
Charming the Prince Free Ebook
FREECHARMING THE PRINCE EBOOK Teresa Medeiros | 352 pages | 01 May 2004 | Bantam Doubleday Dell Publishing Group Inc | 9780553575026 | English | New York, United States THE PRINCE CHARMING EXPERIENCE - Alopecia, Hair Loss, Hair Growth Goodreads helps Charming the Prince keep track of books you want to read. Want to Read saving…. Want to Read Currently Reading Read. Other editions. Enlarge cover. Error rating book. Refresh and try again. Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Page. Preview — Charming the Prince by Teresa Medeiros. He never lost Charming the Prince battle until he met the one woman who might succeed in Charming the Prince. Never in my life have I backed down from any challenge or betrayed so much as a hint of fear—until the war ended and I found myself a reluctant papa to Charming the Prince dozen unruly children. Rea He never lost a battle until he met the one woman who might succeed in Realizing that I couldn't lop their little heads off or throw them in the Charming the Prince, I sent my steward out to find them a mother and me a bride—an attractive, meek, maternal creature too plain to tempt me to get her with child. You can imagine my horror when he returned with Lady Willow of Bedlington, a spirited beauty who made me think of Charming the Prince else! With her cloud of dark curls and the sparkle Charming the Prince passion in her eyes, Willow was everything I'd sworn to resist. -
The Heroic Fairy Tale Villain
The Heroic Fairy Tale Villain Application of Vladimir Propp’s formalist schema to the creation of a revisionist cinematic fairy tale in which the traditional villain is transformed into an anti-hero. Scott Hamilton B.E., Dip. Film & Television Production. Submitted in fulfilment of the requirements for the degree of Master of Fine Arts (Research). School of Creative Practice Faculty of Creative Industries, Education and Social Justice Queensland University of Technology 2021 Keywords Screenwriting, screenplay structure, feature film, revisionist fairy tale, character, archetype, hero, anti-hero, villain, protagonist, antagonist. i Abstract Recent trends in the Hollywood film industry have seen a rise in revisionist fairy tale films in which the traditional literary story villain has been transformed into a cinematic anti-hero. Although many of these commercial blockbuster films have been financially successful at the box office, they are often criticised for their reliance on the Hero’s Journey structural approach of Christopher Vogler, which is a mainstay in Hollywood hero-origin style narratives. This creative practice-led research analyses this character transformation construct and addresses this criticism by formulating a new approach to screenplay structure. This is achieved by utilising the formalist schema of literary Russian fairy tales outlined by Vladimir Propp in Morphology of the Folktale—which has thus far primarily been used within Film Studies academia as an analysis tool of pre-existing film texts and not as a screenplay development tool—and mapping it to Syd Field’s three-act structural paradigm, which is the dominant narrative structure in mainstream Hollywood cinema. Transformation of the villain to anti-hero and application of this new structural approach was used in the writing of this exegesis’ creative work The Devil’s Symphony, a feature-length dramatic screenplay based on the fairy tale The Pied Piper of Hamelin. -
FEMA's Be a Hero! Youth Emergency Preparedness Curriculum
cy Preparedness Emergen Youth Grades 1-2 TM http://www.ready.gov/kids 1 Dear Educator, Welcome to FEMA’s Be a Hero curriculum, an empowering educational journey into emergency preparedness! This standards-based, cross-curricular program is designed to provide students in grades 1 and 2 with the knowledge, awareness, and life-saving skills needed to prepare for a variety of emergencies and disasters. By engaging in three inquiry-based lessons, students will gain a personal and meaningful understanding of disaster preparedness in the context of real-world hazards. All learning activities lead to important learning through collaborative fact-finding and sharing. By the final lesson, students will become “heroes” as they develop their ownReady Books on emergency preparedness. Using communication skills and creativity, they will generate awareness of emergency preparedness among friends, families, and the school community. Knowledge empowers! We hope this program will help you, your students, and their families feel prepared. Sincerely, Your Friends at FEMA Table of Contents Lesson 1: Lesson 2: Lesson 3: Super Mission: Find the Facts 5 Superheroes, Ready! 16 We Know What To Do! 22 Essential Questions: Essential Questions: Essential Questions: What is an emergency? What is a How can I/my family prepare for an What should I do in an emergency? What are natural disaster? What are different emergency or disaster? Am I/is my safe actions in different emergency situations? kinds of emergencies that can family prepared? impact me? Learning Objectives: -
The Dramatis Personae in Disney's Beauty and The
THE DRAMATIS PERSONAE IN DISNEY’S BEAUTY AND THE BEAST FAIRY TALE BASED ON VLADIMIR PROPP’S THEORY A Thesis In Partial Fulfilment of the Requirements For The Sarjana Degree Majoring American Cultural Studies in English Department Faculty of Humanities Diponegoro University Submitted by: MARWA WULANSARI NIM: 13020114120004 FACULTY OF HUMANITIES DIPONEGORO UNIVERSITY SEMARANG 2018 PRONOUNCEMENT The writer honestly confirms that she compiles the thesis by herself and without taking any results form other researchers in S-1, S-2, S-3 and in diploma degree of any university. The writer ascertains also that she does not quote any material from other publications or someone’s paper except from the references mentioned. Semarang, 30 May 2018 Marwa Wulansari MOTTO AND DEDICATION Whatever you love most in life is your Master as simple as that. Yasmin Mogahed This paper is dedicated to my beloved family, everyone who helped me accompanished this paper and the readers who are interested in children literature especially fairy tales. APPROVAL THE DRAMATIS PERSONAE IN DISNEY’S BEAUTY AND THE BEAST FAIRY TALE BASED ON VLADIMIR PROPP’S THEORY Written by Marwa Wulansari NIM: 13020114120004 Is approved by the thesis advisor On 30 May 2018 Thesis Advisor Retno Wulandari, S.S., MA NIP. 197505252005012002 The Head of the English Department Dr. Agus Subiyanto, M.A NIP. 196408141990011001 VALIDATION Approved by Strata 1 Thesis Examination Committee Faculty of Humanities Diponegoro University On 25 June 2018 Chair Person First Member Arido Laksono, S.S, M.Hum Rifka Pratama, S. Hum., M.A NIP. 197507111999031002 NIP. 199004280115111092 Second Member Third Member Prof. -
SPECIAL SCENARIO: DRAGONSLAYER V1.0
SPECIAL SCENARIO: DRAGONSLAYER v1.0 In a deep dark cave, somewhere in the heart of The Worlds Edge Mountains, something stirred. Something huge. It lifted its head, groaned, and let it fall to the cavern floor again. "Just another few years", it promised itself, falling back into a doze. As it slumbered, it dreamed. It saw the world as it used to be, seven thousand years ago, felt the noiseless explosion which threw the second moon into the sky. It dreamed of the armies of gibbering, twisted things which poured across the land. The Dragon stirred uneasily as the dream shifted. It saw a strange figure step forward, saw the glowing axe, and shuddered as the awesome weapon struck it. Then it jerked awake. "That dream again" it rumbled to itself. The Dragon pulled itself to its feets. Gaping wounds opening along the length of its great body - they should have been fatal, but the Dragon would not find death so easily. It roared as its head brushed the wall, jarring its broken tooth and aggravating its abscess - the size of a man's head - which lay beneath it. For hours it raged. Then its eye lit on the great Dragon skull which lay just outside. "Yes" it rumbled, "I must pull myself together. Things to do". It remembered the murder of its beloved mate, and grunted. "Hmm... I can still remember his powerful face, " it mused, "My pain gets worse. But I'll sort it out. I'll kill every one of those little creatures that tries to steal my gold. -
Introduction
INTRODUCTION The wuxia film is the oldest genre in the Chinese cinema that has remained popular to the present day. Yet despite its longevity, its history has barely been told until fairly recently, as if there was some force denying that it ever existed. Indeed, the genre was as good as non-existent in China, its country of birth, for some fifty years, being proscribed over that time, while in Hong Kong, where it flowered, it was gen- erally derided by critics and largely neglected by film historians. In recent years, it has garnered a following not only among fans but serious scholars. David Bordwell, Zhang Zhen, David Desser and Leon Hunt have treated the wuxia film with the crit- ical respect that it deserves, addressing it in the contexts of larger studies of Hong Kong cinema (Bordwell), the Chinese cinema (Zhang), or the generic martial arts action film and the genre known as kung fu (Desser and Hunt).1 In China, Chen Mo and Jia Leilei have published specific histories, their books sharing the same title, ‘A History of the Chinese Wuxia Film’ , both issued in 2005.2 This book also offers a specific history of the wuxia film, the first in the English language to do so. It covers the evolution and expansion of the genre from its beginnings in the early Chinese cinema based in Shanghai to its transposition to the film industries in Hong Kong and Taiwan and its eventual shift back to the Mainland in its present phase of development. Subject and Terminology Before beginning this history, it is necessary first to settle the question ofterminology , in the process of which, the characteristics of the genre will also be outlined. -
Exploring the Magical Girl Transformation Sequence with Flash Animation
Georgia State University ScholarWorks @ Georgia State University Art and Design Theses Ernest G. Welch School of Art and Design 5-10-2014 Releasing The Power Within: Exploring The Magical Girl Transformation Sequence With Flash Animation Danielle Z. Yarbrough Follow this and additional works at: https://scholarworks.gsu.edu/art_design_theses Recommended Citation Yarbrough, Danielle Z., "Releasing The Power Within: Exploring The Magical Girl Transformation Sequence With Flash Animation." Thesis, Georgia State University, 2014. https://scholarworks.gsu.edu/art_design_theses/158 This Thesis is brought to you for free and open access by the Ernest G. Welch School of Art and Design at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Art and Design Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. RELEASING THE POWER WITHIN: EXPLORING THE MAGICAL GIRL TRANSFORMATION SEQUENCE WITH FLASH ANIMATION by DANIELLE Z. YARBROUGH Under the Direction of Dr. Melanie Davenport ABSTRACT This studio-based thesis explores the universal theme of transformation within the Magical Girl genre of Animation. My research incorporates the viewing and analysis of Japanese animations and discusses the symbolism behind transformation sequences. In addition, this study discusses how this theme can be created using Flash software for animation and discusses its value as a teaching resource in the art classroom. INDEX WORDS: Adobe Flash, Tradigital Animation, Thematic Instruction, Magical Girl Genre, Transformation Sequence RELEASING THE POWER WITHIN: EXPLORING THE MAGICAL GIRL TRANSFORMATION SEQUENCE WITH FLASH ANIMATION by DANIELLE Z. YARBROUGH A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Art Education In the College of Arts and Sciences Georgia State University 2014 Copyright by Danielle Z. -
Defining and Subverting the Female Beauty Ideal in Fairy Tale Narratives and Films Through Grotesque Aesthetics
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 9-10-2015 12:00 AM Who's the Fairest of Them All? Defining and Subverting the Female Beauty Ideal in Fairy Tale Narratives and Films through Grotesque Aesthetics Leah Persaud The University of Western Ontario Supervisor Dr. Angela Borchert The University of Western Ontario Graduate Program in Comparative Literature A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Leah Persaud 2015 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Comparative Literature Commons Recommended Citation Persaud, Leah, "Who's the Fairest of Them All? Defining and Subverting the Female Beauty Ideal in Fairy Tale Narratives and Films through Grotesque Aesthetics" (2015). Electronic Thesis and Dissertation Repository. 3244. https://ir.lib.uwo.ca/etd/3244 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. WHO’S THE FAIREST OF THEM ALL? DEFINING AND SUBVERTING THE FEMALE BEAUTY IDEAL IN FAIRY TALE NARRATIVES AND FILMS THROUGH GROTESQUE AESTHETICS (Thesis format: Monograph) by Leah Persaud Graduate Program in Comparative Literature A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Leah Persaud 2015 Abstract This thesis seeks to explore the ways in which women and beauty are depicted in the fairy tales of Giambattista Basile, the Grimm Brothers, and 21st century fairy tale films. -
MORPHOLOGY of the FOLI(TALE
MORPHOLOGY of the FOLI(TALE by V. PROPP FIRST EDITION TRANSLATED BY LAURENCE SCOTT WITH AN INTRODUCTION BY SVATAVA PIRKOVA-JAKOBSON SECOND EDITION REVISED AND EDITED WITH A PREFACE BY LOUIS A. WAGNER NEW INTRODUCTION BY ALAN DUNDES Published for The American Folklore Society, Inc., and the Indiana University Research Center for the Language Sciences UNIVERSITY OF TEXAS PRESS, AUSTIN & LONDON ••- 'll!.o.--""' 18 MORPHOLOGY OF THE FOLKTALE wide Tale in a 'Interpretation"] (Russkaja Mysl', 1893, XI); R.__ Marche_n: und Volkslieder (Berlin, 1894); M. G. Xalan- skiJ, [ m lstort]a russkpj literatury pod redakciej Anickova z_ Vol. I, Fasc. 2. chap. 6 (Moscow, 1908): A_· Thunme, ?as Mari!hen (Leipzig; 1909); A. Van Gennep, La formation de; legendes (Pans, 1910); F. v.d. Leyen, Das Miirchen 2nd ed (1917)· K sp· CHAPTER II "Das d eu t sch e vo lk smarc·· h en," in Aus Natur und Geisteswelt' · Fasc 587• ·(L · 1ess,· and B err m, 1917) ; S. F . 01 'den burg, "Stranstvovanie skazki" ' ["The. W deipzig · of the Tale"] in Vostok, no. 4; G. Huet, Les contes populaires (Paris, The Method and Material Let us first of all attempt to formulate our task. As already stated in the foreword, this work is dedicated to the study of fairy tales. The existence of fairy tales as a_special class is as- sumed as an essential working hypothesis,/By "fairy tales" are meant at those tales classified by Aarne under numbers 300 to 749.1 Jrhis definition is artificial, but the occasion will subseqti@htfy arise to give a more precise determination on the basis of resultant co···nclu.sions\We are undertaking a comparison k of the themes of these tales. -
An Analysis of Narrative-Based Educational Software
AN ANALYSIS OF NARRATIVE-BASED EDUCATIONAL SOFTWARE by DAVID NOAH (Under the direction of Lloyd Rieber) ABSTRACT Instructional designers often rely on stories to structure interactive learning environments. There is little evidence that they bring contemporary critical theory to these designs, especially as it pertains to the narratological implications of a hypermedia environment. The use of stories in these designs raises issues about the relationship between learning, interactivity, and story. Interactivity undermines traditional narrative structures, diminishing their power as structural agents. However, it also creates constructivist affordances for the instructional designer. How are designers resolving this conflict? How are they using story? This research study examines the use of story and instructional design in selected educational CD-ROMs. The works of Propp, Campbell, and Gagne are used as models for the analysis of the stories and instructional events. The results indicate that instructional presentation in narrative environments is usually sequestered from the main narrative, though there is some relation between story elements and instructional design. The designers do use story to engage learner attention, though there is little consistent correlation with the story models chosen for this research. Character transformation, important in narrative, is not addressed in the software. Simulations offer the most integrated approach to story and instruction, but at the cost of traditional story models. I conclude that story and instruction are largely incommensurable when instantiated within a hypermedia environment. Instruction is transparent in the sense that we go to it in order to get something else: learning. On the other hand, story is opaque in the sense that it is an end in itself.