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The House of Dust
The House of Dust Conrad Aiken The House of Dust Table of Contents The House of Dust.....................................................................................................................................................1 Conrad Aiken.................................................................................................................................................1 NOTE.............................................................................................................................................................1 PART I...........................................................................................................................................................1 PART II........................................................................................................................................................10 PART III......................................................................................................................................................23 PART IV......................................................................................................................................................48 i The House of Dust Conrad Aiken This page copyright © 2001 Blackmask Online. http://www.blackmask.com • NOTE • PART I. • PART II. • PART III • PART IV. THE HOUSE OF DUST A Symphony To Jessie NOTE . Parts of this poem have been printed in "The North American Review, Others, Poetry, Youth, Coterie, The Yale Review". I am indebted to Lafcadio Hearn for the episode -
The Best a Brand Can Be? P&G's Femvertising Meeting Hegemonic
Course: SKOM12 Term: Spring 2020 Supervisor: Scott Burnett Examiner: Cecilia Cassinger The best a brand can be? P&G’s femvertising meeting hegemonic masculinity PATRICIA AGUDELO Lund University Department of strategic communication Master’s thesis 1 Abstract The best a brand can be? P&G’s femvertising meeting hegemonic masculinity This thesis uses Feminist Critical Discourse Analysis and Multimodal Discourse Analysis to study how a house of brands, like Procter & Gamble (P&G), handles femvertising, that it is produced by its own brands. The paper analyses the phenomenon using examples from commercials that belong to P&G’s #WeSeeEqual campaign and the controversial commercial video from Gillette The best men can be. One research questions served as a guideline for this project: What characterizes the femvertising pieces targeting women and/or men, produced by the house of brands P&G for their brands Gillette, Fairy, Ariel and Always? In order to be able to study this phenomenon, the empirical materials that will be analysed are: 1) #ShareTheLoad by Ariel, 2) #MakeItFair by Fairy, 3) #LikeAGirl by Always, and 4) The best men can be by Gillette. As theoretical framework this paper uses Foucault’s theory of power and the theory of hegemonic masculinity by Connell & Messerschmidt. What was identified after analysing the data was that the different commercials always include hegemonic masculinity somehow in their content, in some it is attacked directly, in others in a subtle and implicit way and in others just excused or justified. Keyword: Femvertising, Feminist Critical Discourse Analysis, Hegemonic masculinity, Multimodal Discourse Analysis, P&G, Power, Foucault. -
Abstract Rereading Female Bodies in Little Snow-White
ABSTRACT REREADING FEMALE BODIES IN LITTLE SNOW-WHITE: INDEPENDENCE AND AUTONOMY VERSUS SUBJUGATION AND INVISIBILITY By Dianne Graf In this thesis, the circumstances and events that motivate the Queen to murder Snow-White are reexamined. Instead of confirming the Queen as wicked, she becomes the protagonist. The Queen’s actions reveal her intent to protect her physical autonomy in a patriarchal controlled society, as well as attempting to prevent patriarchy from using Snow-White as their reproductive property. REREADING FEMALE BODIES IN LITTLE SNOW-WHITE: INDEPENDENCE AND AUTONOMY VERSUS SUBJUGATION AND INVISffiILITY by Dianne Graf A Thesis Submitted In Partial Fulfillment of the Requirements For the Degree of Master of Arts-English at The University of Wisconsin Oshkosh Oshkosh WI 54901-8621 December 2008 INTERIM PROVOST AND VICE CHANCELLOR t:::;:;:::.'-H.~"""-"k.. Ad visor t 1.. - )' - i Date Approved Date Approved CCLs~ Member FORMAT APPROVAL 1~-05~ Date Approved ~~ I • ~&1L Member Date Approved _ ......1 .1::>.2,-·_5,",--' ...L.O.LJ?~__ Date Approved To Amanda Dianne Graf, my daughter. ii ACKNOWLEDGEMENTS Thank you Dr. Loren PQ Baybrook, Dr. Karl Boehler, Dr. Christine Roth, Dr. Alan Lareau, and Amelia Winslow Crane for your interest and support in my quest to explore and challenge the fairy tale world. iii TABLE OF CONTENTS Page INTRODUCTION………………………………………………………………… 1 CHAPTER I – BRIEF OVERVIEW OF THE LITERARY FAIRY TALE AND THE TRADITIONAL ANALYSIS OF THE FEMALE CHARACTERS………………..………………………. 3 CHAPTER II – THE QUEEN STEP/MOTHER………………………………….. 19 CHAPTER III – THE OLD PEDDLER WOMAN…………..…………………… 34 CHAPTER IV – SNOW-WHITE…………………………………………….…… 41 CHAPTER V – THE QUEEN’S LAST DANCE…………………………....….... 60 CHAPTER VI – CONCLUSION……………………………………………..…… 67 WORKS CONSULTED………..…………………………….………………..…… 70 iv 1 INTRODUCTION In this thesis, the design, framing, and behaviors of female bodies in Little Snow- White, as recorded by Wilhelm and Jacob Grimm will be analyzed. -
Fairy and Folk Tales of the Irish Peasantry, by 1
Fairy and Folk Tales of the Irish Peasantry, by 1 Fairy and Folk Tales of the Irish Peasantry, by William Butler Yeats This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Fairy and Folk Tales of the Irish Peasantry Author: William Butler Yeats Editor: William Butler Yeats Release Date: October 28, 2010 [EBook #33887] Language: English Fairy and Folk Tales of the Irish Peasantry, by 2 Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK FAIRY AND FOLK TALES *** Produced by Larry B. Harrison, Brian Foley and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.) FAIRY AND FOLK TALES OF THE IRISH PEASANTRY. EDITED AND SELECTED BY W. B. YEATS. THE WALTER SCOTT PUBLISHING CO., LTD. LONDON AND FELLING-ON-TYNE. NEW YORK: 3 EAST 14TH STREET. INSCRIBED TO MY MYSTICAL FRIEND, G. R. CONTENTS. THE TROOPING FAIRIES-- PAGE The Fairies 3 Frank Martin and the Fairies 5 The Priest's Supper 9 The Fairy Well of Lagnanay 13 Teig O'Kane and the Corpse 16 Paddy Corcoran's Wife 31 Cusheen Loo 33 The White Trout; A Legend of Cong 35 The Fairy Thorn 38 The Legend of Knockgrafton 40 A Donegal Fairy 46 CHANGELINGS-- The Brewery of Egg-shells 48 The Fairy Nurse 51 Jamie Freel and the Young Lady 52 The Stolen Child 59 THE MERROW-- -
Procter & Gamble and Magnit Partner up for Sustainable Development In
Procter & Gamble and Magnit Partner Up for Sustainable Development in Russia P&G and Magnit announce large-scale partnership for sustainable development; P&G and Magnit announce the launch of their social and environmental campaign ‘The Second Life of Plastic’ and the largest chain of recycling kiosks in Russia; Dima Bilan, Ambassador of ‘The Second Life of Plastic’ Campaign, to create Russia’s first music environmental manifesto together with his followers; P&G launches the ‘Turning Point’, a special project to support the Earth Hour, in Magnit stores under the WWF auspices; P&G announces the launch of Fairy Pure&Clean in Russia. 11 February 2020, Moscow, Russia –Procter & Gamble and the retailer Magnit have announces their partnership to promote responsible consumption in Russia. The details of the partnership were presented and P&G’s “Ecology of Business” media forum. The Second Life of Plastic The partnership’s key project will be the social and environmental campaign ‘The Second Life of Plastic’. From May through September 2020, every P&G item bought in the Magnit stores as part of the campaign will give the buyer a vote for a Russian city. Based on the results of the open vote on magnit.ru, children’s playgrounds made of recycled plastic will be built in the top four cities. Moreover, 80 kiosks collecting plastic for recycling will be installed in Magnit stores in Moscow and Krasnodar. Magnit and P&G’s recycling kiosk chain will be the largest in Russia. Sotirios Marinidis, Head of P&G in Eastern Europe: “Brands play a significant role in promoting responsible consumption. -
Procter & Gamble Ecosystem
The Procter & Gamble Company 1 Procter & Gamble Plaza Procter & Gamble Ecosystem Cincinnati, Ohio 45202 Phone: (513)-983-1100 www.us.pg.com Outside Relationships Outside Relationships The Procter & Gamble Company (Ohio Corporation) Securities Regulators Capital Suppliers Customers Regulation Customers Suppliers Capital Regulators and NYSE Bond Lenders Debt Structure Equity Structure Listing Rules Securities Financing Debt ($34.6 Billion as of 6/31/20) Credit Ratings (Senior Unsecured): AA- (S&P); Aa3 (Moody’s) Equity Convertible Class A preferred stock, stated value $1 per share (600 shares Regulators Bondholders Equity Working Capital authorized) Significant Short-Term Debt: $5B 2020 Maturity: $1.27zB @ 2022 Maturity: 3.37B @ 2024 Maturity: 1.46B @ Capital US Financing 2023 Revolving Credit 2020-2021 Maturity Remaining years (2026- Shareholders Commercial Paper Debt avg 3.08% avg 2.14% avg 0.58% Non-Voting Class B preferred stock, Class C Capital Stock Securities Commercial Foreign Currency, Facility ($4.0B; $0 (ESOP Notes): $119M 50): $10.98B @ avg Financing (Non- 2021 Maturity: 2.32B @ 2023 Maturity: 2.4B @ 2025 Maturity: 750M @ stated value $1 per share (200 shares (350M Shares Authorized; 340,979,832 Professional and Banks Cash Flow, and Drawn as of 12/31/19) @ avg 9.36% 3.14% Vanguard Interest Rate Outstanding as of 12/31/19) avg 1.85% avg 1.95% avg 2.55% authorized) Shares Outstanding) Services Firms Group (8.48%) Exchange Derivatives Commission SSgA Funds Hedging Ernst & Young Communications Finance and Operatons Professional Management New York Counterparties Governance Human Resources Corporate Matters (Auditing Services) Services (4.68%) Stock (e.g., Banks) Board of Directors Digital and Social Media Finance and Accounting Committees: Audit Talent Recruitment/Diversity Legal Exchange Jones Lang BlackRock Francis S. -
Vicks® Launches New Nature Fusion™ Line
VICKS® LAUNCHES NEW NATURE FUSION™ LINE Nature Fusion cough, cold and flu products offer the powerful symptom relief, plus real honey for taste Cincinnati, OH, August 11, 2011 – Procter & Gamble’s (NYSE: PG) Vicks brand announced today that it is launching Nature Fusion, a new line of over-the-counter cold, cough and flu relief products that combine powerful symptom relief with real honey for flavor. What inspired Vicks Nature Fusion? Research shows that consumers increasingly desire more natural and less artificial ingredients in their over-the- counter medications, so Vicks is answering the call with Nature Fusion, which joins the powerful science of symptom relief with the best of nature. Beginning with the original Vicks products launched in 1894 which contained Eucalyptus oils from Australia and menthol from Japan, Vicks has a long history of using ingredients inspired by nature. Now, Vicks is continuing this tradition by blending real honey for flavor in new Vicks Nature Fusion. “For more than 120 years, Vicks has helped people feel better by providing proven treatments to deliver effective relief from cold, cough and flu symptoms,” says Andy Cipra, Vicks Brand Manager. “Today, with the launch of Nature Fusion, Vicks is proud to offer the same powerful medicine now flavored with real honey.” Honey has often been favored as a flavor, but lately it has been getting even more buzz as consumers increasingly seek natural ingredients in the products they use. The addition of honey provides aesthetic properties such as flavor, sweetness and thickness. Nature Fusion is also free from alcohol and gluten. -
Hans Christian Andersen's Fairy Tales Ballet Production Cast 2015
HANS CHRISTIAN ANDERSEN’S FAIRY TALES BALLET PRODUCTION CAST 2015 (REVISED 12/4) The Storyteller (5:30 – 6:00pm Studio C) Hans Christian Andersen: TBD Storybook Children – Caroline Geiling, Alivia Sutter, Joleen Wobby, Madison White, Gianni Lombardi The Red Shoes (1:30– 2:00pm Studio D) Karen – Taylor Hollingsworth Shoemaker – Ellie Meck Red Shoe Dancers – Lillian Pisarczyk, Lily Buckner, Eden Stambaugh, Annalisa Conca, Annabelle Fait, Shalene Blanchard Ugly Duckling Baby Ducks (2:45‐3:15pm Studio D) ‐ Stella Pannacciulli, Reese Lockerman, Kaylee Wilson, Olivia Johnson, Addilynne Gaeta, Presley Moore, Paige Paulsen, Anya Contrino, Autumn O’Sullivan, Bria Patt Little Ugly Duckling (2:45‐3:15pm Studio D) – Maddy Blechschmidt Ducks (2:00‐2:30pm Studio B) – Sierra Anderson, Oliver Skiver, Sierra Blechschmidt, Sophia Kelly, McKinna Barnes, Kaitlynn Ellis, Natalie Beck, Eliza Engle, Samantha Fischer, Alex Morel, Sydney Madison, Madelyn Kamholz, Maya Wong, Mandie Simpson Swans (4:00‐4:30pm Studio B) – Megan Wagner, Maddie A’bell, Eliza Cervantes, Erin Klaerich, Valerie Yermian, Emma Marshall, Megan Overbey, Monique Dufault Grown Swan (4:00‐4:30pm Studio B) – Jillian Porath Mamma Duck (4:00‐4:30pm Studio B) – Narissa Urcioli Thumbelina Thumbelinas (3:30‐4:00pm Studio C) – Gabrielle Esposito, Nadia Gibbs, Sophia Parraga, Valeria Bedoya, Avery Paulsen, Reese Raymundo, Alyssia Garza, Lauren Shim, Zoe Dai Herrera, Grace Molina Tom Thumb (3:30‐4:00pm Studio C) – Will Weitz Lead Flowers (5:30‐6:00pm Studio D) – Charlotte Fait, Sidney Greene Flowers -
Knowledge 3 Teacher Guide Grade 1 Different Lands, Similar Stories Grade 1 Knowledge 3 Different Lands, Similar Stories
¬CKLA FLORIDA Knowledge 3 Teacher Guide Grade 1 Different Lands, Similar Stories Grade 1 Knowledge 3 Different Lands, Similar Stories Teacher Guide ISBN 978-1-68391-612-3 © 2015 The Core Knowledge Foundation and its licensors www.coreknowledge.org © 2021 Amplify Education, Inc. and its licensors www.amplify.com All Rights Reserved. Core Knowledge Language Arts and CKLA are trademarks of the Core Knowledge Foundation. Trademarks and trade names are shown in this book strictly for illustrative and educational purposes and are the property of their respective owners. References herein should not be regarded as affecting the validity of said trademarks and trade names. Printed in the USA 01 BR 2020 Grade 1 | Knowledge 3 Contents DIFFERENT LANDS, SIMILAR STORIES Introduction 1 Lesson 1 Cinderella 6 Introducing the Read-Aloud (10 min) Read-Aloud (30 min) Application (20 min) • Core Connections/Domain • Purpose for Listening • Vocabulary Instructional Activity: Introduction Instructions • “Cinderella” • Where Are We? • Somebody Wanted But So Then • Comprehension Questions • Word Work: Worthy Lesson 2 The Girl with the Red Slippers 22 Introducing the Read-Aloud (10 min) Read-Aloud (30 min) Application (20 min) • What Have We Already Learned? • Purpose for Listening • Drawing the Read-Aloud • Where Are We? • “The Girl with the Red Slippers” • Comprehension Questions • Word Work: Cautiously Lesson 3 Billy Beg 36 Introducing the Read-Aloud (10 min) Read-Aloud (30 min) Application (20 min) • What Have We Already Learned? • Purpose for Listening • -
Issun Boshi: One-Inch
IIssunssun BBoshi:oshi: OOne-Inchne-Inch BBoyoy 6 Lesson Objectives Core Content Objectives Students will: Explain that f ctional stories come from the author’s imagination Identify folktales as a type of f ction Explain that stories have a beginning, middle, and end Describe the characters, plot, and setting of “Issun Boshi: One- Inch Boy” Explain that people from different lands tell similar stories 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: Demonstrate understanding of the central message or lesson in “Issun Boshi: One-Inch Boy” (RL.1.2) Recount and identify the lesson in folktales from diverse cultures, such as “Issun Boshi: One-Inch Boy” (RL.1.2) Orally compare and contrast similar stories from different cultures, such as “Tom Thumb,” “Thumbelina,” and “Issun Boshi: One-Inch Boy” (RL.1.9) Draw and describe one of the scenes from “Issun Boshi: One- Inch Boy” (W.1.2) Describe characters, settings, and events as depicted in drawings of one of the scenes from “Issun Boshi: One-Inch Boy” (SL.1.4) Different Lands, Similar Stories 6 | Issun Boshi: One-Inch Boy 79 © 2013 Core Knowledge Foundation Add suff cient detail to a drawing of a scene from “Issun Boshi: One-Inch Boy” (SL.1.5) Prior to listening to “Issun Boshi: One-Inch Boy,” identify orally what they know and have learned about folktales, “Tom Thumb” and “Thumbelina” Core Vocabulary astonished, adj. -
Adaptation from Fairy Tale to Film III
White as Snow: Adaptation from Fairy Tale to Film By Corina Brown Bachelor of Arts and Media This Thesis is presented for the Honours degree of Media in Screen Production at Murdoch University Declaration: I declare that this thesis is my own account of my research and contains, as its main content, work that has not previously been submitted for a degree at any tertiary educational institution, including Murdoch. Signed: _____________________________ Full Name: Corina Brown Student Number: 31249445 Date: 1/11/2016 II Abstract Most research into adaptation studies focuses on comparison between the source text and the filmic adaptation. Conversely, this dissertation looks at the adaptation process in practice, following the process of adapting a fairy tale to the screen from conceptualisation to the final film. To do this, this dissertation examines the generic context of the fairy tale adaptation, the screen-writing process, and the film-making process in order to understand how filmic intertextuality and extratextuality can influence the role the source text plays in a filmic adaptation. This dissertation includes an exegesis, the original fairy tale, the final White as Snow locked script, and the final film, all of which need to be read and understood for the purposes of this study. These elements examine the process of the filmic adaptation of a popular fairy tale, “Little Snow White” by the Brothers Grimm. The significance of this research lies in the practical approach, analysing the adaptation process from the perspective of the film-maker, rather than a simple comparison of the source text and the final product of the film. -
Little Snow-White
Little Snow-White Germany, Jacob and Wilhelm Grimm Once upon a time in mid winter, when the snowflakes were falling like feathers from heaven, a beautiful queen sat sewing at her window, which had a frame of black ebony wood. As she sewed, she looked up at the snow and pricked her finger with her needle. Three drops of blood fell into the snow. The red on the white looked so beautiful, that she thought, "If only I had a child as white as snow, as red as blood, and as black as this frame." Soon afterward she had a little daughter that was as white as snow, as red as blood, and as black as ebony wood, and therefore they called her Little Snow-White. Now the queen was the most beautiful woman in all the land, and very proud of her beauty. She had a mirror, which she stood in front of every morning, and asked: Mirror, mirror, on the wall, Who in this land is fairest of all? And the mirror always said: You, my queen, are fairest of all. And then she knew for certain that no one in the world was more beautiful than she. Now Snow-White grew up, and when she was seven years old, she was so beautiful, that she surpassed even the queen herself. Now when the queen asked her mirror: Mirror, mirror, on the wall, Who in this land is fairest of all? The mirror said: You, my queen, are fair; it is true. But Little Snow-White is still A thousand times fairer than you.