Princess Stories for Preschool –4Th Grade
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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. -
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. -
2Nd- Into 3Rd- Grade Summer Reading List
nd rd 2 - into 3 - Grade Summer Reading List *============================* Liz Perry, Librarian for Stacey Hubbard, 2020 Listed below are books to read to your children and books for your children—if they are ready—to read on their own. A fine guide to reading comfort is a thoughtful evaluation of your child’s response to what sits in his or her lap: Is he or she mastering most of the words on the page? If there is frustration, consider an easier read. For your own read-aloud interest—and to connect with stories you might have encountered long ago—books below are separated into categories contemporary and classic. While books published more than 50 years ago may have old-fashioned views, they represent takes on cultural views and rituals of family life that become more varied (politically correct) in later works of fiction. It is worth noting that an “adventure” a hundred years ago could dwell in the simplest of activities: finding stray buttons while dusting or following a butterfly across a meadow. What is worthy of the term “adventure” in juvenile literature today? Parent read-alouds are still rewarding social exchanges even with proficient readers, and conversation around stories can give revealing glimpses into how your child experiences and interprets the world. I Can-Read/Ready-to-Read Series While there are many worthy reads in this genre featuring books children will want (and perhaps need) to read multiple times, choices below tend toward more traditional illustration and a gentler narrative voice. As you make your selections, try to avoid cartoon-like formats that sometimes over-simplify the beauty of nature or caricature the human form. -
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. -
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. -
Hermione's Self-Determination in Harry Potter" (2007)
Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College 10-17-2007 Conjuring Her Self: Hermione's Self- Determination in Harry Potter Gwendolyn Limbach Pace University Follow this and additional works at: http://digitalcommons.pace.edu/honorscollege_theses Part of the Modern Literature Commons Recommended Citation Limbach, Gwendolyn, "Conjuring Her Self: Hermione's Self-Determination in Harry Potter" (2007). Honors College Theses. Paper 64. http://digitalcommons.pace.edu/honorscollege_theses/64 This Article is brought to you for free and open access by the Pforzheimer Honors College at DigitalCommons@Pace. It has been accepted for inclusion in Honors College Theses by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. Conjuring Her Self: Hermione’s Self-Determination in Harry Potter By Gwendolyn Limbach Honors Thesis 2007 “But why’s she got to go to the library?” “Because that’s what Hermione does,” said Ron, shrugging. “When in doubt, go to the library.” - (Harry Potter and the Chamber of Secrets 255) “Hermione, I don’t know what’s gotten in to you lately!” said Ron, astounded. “First you hit Malfoy, then you walk out on Professor Trelawney—” Hermione looked rather flattered. -(Harry Potter and the Prisoner of Azkaban 326) In most classic children’s literature, a female protagonist, though the center of the story, does not exhibit agency; rather, power “arrives in the form of rescue” and is acted upon her by a male hero (Sweeney).1 Recent feminist children’s literature, such as The Princess and the Admiral and The Ordinary Princess, empowers the protagonist to be her own rescuer.