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O ALTO E O BAIXO NA ARQUITETURA.Pdf
UNIVERSIDADE DE BRASÍLIA FACULDADE DE ARQUITETURA E URBANISMO O ALTO E O BAIXO NA ARQUITETURA Aline Stefânia Zim Brasília - DF 2018 1 ALINE STEFÂNIA ZIM O ALTO E O BAIXO NA ARQUITETURA Tese apresentada ao Programa de Pós-Graduação em Arquitetura e Urbanismo da Faculdade de Arquitetura da Universidade de Brasília como requisito parcial à obtenção do grau de Doutora em Arquitetura. Área de Pesquisa: Teoria, História e Crítica da Arte Orientador: Prof. Dr. Flávio Rene Kothe Brasília – DF 2018 2 TERMO DE APROVAÇÃO ALINE STEFÂNIA ZIM O ALTO E O BAIXO DA ARQUITETURA Tese aprovada como requisito parcial à obtenção do grau de Doutora pelo Programa de Pesquisa e Pós-Graduação da Faculdade de Arquitetura e Urbanismo da Universidade de Brasília. Comissão Examinadora: ___________________________________________________________ Prof. Dr. Flávio René Kothe (Orientador) Departamento de Teoria e História em Arquitetura e Urbanismo – FAU-UnB ___________________________________________________________ Prof. Dr. Fernando Freitas Fuão Departamento de Teoria, História e Crítica da Arquitetura – FAU-UFRGS ___________________________________________________________ Prof. Dra. Lúcia Helena Marques Ribeiro Departamento de Teoria Literária e Literatura – TEL-UnB ___________________________________________________________ Prof. Dra. Ana Elisabete de Almeida Medeiros Departamento de Teoria e História em Arquitetura e Urbanismo – FAU-UnB ___________________________________________________________ Prof. Dr. Benny Schvarsberg Departamento de Projeto e Planejamento – FAU-UnB Brasília – DF 2018 3 AGRADECIMENTOS Agradeço a todos que compartilharam de alguma forma esse manifesto. Aos familiares que não puderam estar presentes, agradeço a confiança e o respeito. Aos amigos, colegas e alunos que dividiram as inquietações e os dias difíceis, agradeço a presença. Aos que não puderam estar presentes, agradeço a confiança. Aos professores, colegas e amigos do Núcleo de Estética, Hermenêutica e Semiótica. -
Fat Fairies 1
Peterson Fat Fairies 1 Fat Fairies: Stereotype, Body Type, and Personality of TV Godmothers (Presented at UC Berkeley’s Western States Folklore Conference on April 8, 2016) Before getting to her magical work, Cinderella’s 1950 Disney godmother rolls up her sleeves and realizes that she seems to have misplaced her wand. She bumbles about, looks under the garden bench, shakes out her dress before announcing, “Oh! I forgot: I put it away!” Busy godmothers can forget things, but this fairy’s absent mindedness doesn’t end there. Moments later this pudgy Disney godmother nods her head approvingly to send Cinderella off to the ball still dressed in her rags before realizing, “Good heavens, child! You can’t go to the ball in that!” Thus our round friend is a little absent-minded at times, but she leaves us with an iconic image of fairy godmothers: that they are chubby and therefore cheery. Fast forward now to 2015 and let’s watch this same scene. For actress Helena Bonham Carter Disney got rid of the rounded body type (though, not necessarily the round dress). But Carter’s godmother takes her pumpkin into the greenhouse to turn it into a coach—and nearly misses getting squashed by the pumpkin’s enlargement. Yes, Disney got rid of the round body from 1950, but what did that leave them with? The ditzy godmother who cannot think through her own magical spells. I wondered if these large and airheaded, chubby and cheery godmothers were just a Disney-sponsored formula. But they weren’t. From 1950-2016, animation to live-action, Disney to non-Disney, my research finds that most fairy godmothers across the film industry and on TV are either fat or foolish—and they are usually a combination of both. -
Read Ebook {PDF EPUB} Ciderella and the Little Glass Sipper by Aaron Burakoff Cinderella, Or the Little Glass Slipper
Read Ebook {PDF EPUB} Ciderella and the Little Glass Sipper by Aaron Burakoff Cinderella, or the Little Glass Slipper. Cinderella, or the Little Glass Slipper is a book illustrated by Marcia Brown. Released by Scribner Press, the book is a retelling of the story of Cinderella as written by Charles Perrault, and was the recipient of the Caldecott Medal for illustration in 1955. [1] The book takes place in France, in a palace similar to other Cinderella stories. Contents. Plot Theme Reception References External links. A widower marries a haughty woman with two daughters of her own. Both the woman and the two daughter hates the man's daughter called Cinderella. Cinderella is very gentle and beautiful. However, her step-mother and sisters treat her very awful and mean. Cinderella is always assigned to do all the chores around the house and also sleeps in the attic. One day, it is announced that the prince is having a royal ball and invites all the ladies of quality to the ball. Cinderella wants to go the ball but she can't because she is forced to stay home and clean the whole house. Cinderella starts crying as her stepsister goes to the ball while she has to stay and clean. As Cinderella was crying and cleaning, her fairy godmother appears out of nowhere and asks, "why are you crying". Cinderella explains why she is upset to her fairy godmother. After, Cinderella explains everything, her fairy godmother uses her magic power to help Cinderella. The fairy godmother transforms all the mice, lizards, and rats into horses and coachmen for the golden coach. -
Untitled Fi 1M, with Mr
IT WI LL BE A GOLDEN, GLITTERING, GLAMOROUS GALA SALUTE TO MOVIES WHEN ABC TELECASTS THE 50TH ANNUAL ACADEMY AWARDS LIVE ON APRI L 3 Fifty years of the art, glamour and sheer magic of the movies will be saluted when the 50th Annual Academy Awards are presented live, I'J10NDAY, APRIL 3 (10:00 p.m., EST, to conclusion), on the ABC Television Network. Bob Hope will serve as the sole Master of Ceremonies for Oscar's Golden Anniversary. The comedian's appearance marks the first time since 1967 that one person has presided over the telecast. Hope, coincidentally, was the emcee at that time. More closely associated with Oscar than any other Hollywood ce lebrity, Hope previously has made 22 appearances on the awards, a record. He also served as Master of Ceremonies 15 times, another record, and was the sale emcee on eight occasions. He first officiated at an Oscar show in 1940. Presenters include (alphabetically) Julie Andrews, Fred Astai re, Jacqueline Bisset, Ellen Burstyn, Paddy Chayefsky, Bette Davis, Olivia de Havilland, Kirk Douglas, Faye Dunaway, Joan Fontaine, Jodie Foster, Greer Garson, Janet Gaynor, John Green, Mark Hamill, Goldie Hawn, William Holden, Olivia Newton-John, Farrah Fawcett-Majors, Henry Mancini, James Mason , Marcello Mastroianni, Walter Matthau, Steve McQueen, Gregory Peck , Sylvester Stallone, Barbara Stanwyck, John TraVolta, Jack Valenti, King Vidor, Jon Voight, Raquel Welch, Billy Dee Williams, Henry Winkler and Natalie Wood. Also, there will be two special presenters, R2-D2 and C-3PO (Anthony Daniels), the robot sta rs of "Star Wars." Three special production numbers will highlight this year's awards. -
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. -
Adaptation As Interpretation
SMT 9 (1) pp. 3–11 Intellect Limited 2015 Studies in Musical Theatre Volume 9 Number 1 © 2015 Intellect Ltd Editorial. English language. doi: 10.1386/smt.9.1.3_2 EdITorIaL robert Gordon and olaf Jubin regent’s University London ‘telling the tale’: adaptation as interpretation abstract Keywords The introduction considers the adaptations of stage musicals from previously exist- adaptation ing source material as acts of cultural translation, operating through intricately adaptation studies interwoven intertexts of narrative meaning in myths, folk tales, fairy tales, prose genre fiction, poetry and films across a wide spectrum of cultures and languages. One of medium the key questions problematized is the common sense idea of fidelity to the original narrative source material; it is however logically impossible for an adaptation to be faithful to translation its source as all adaptation involves interpretative decisions so that even the simplest translation from one medium to another is a hermeneutic act. Rather than focusing exclusively on the technical differences between media, the articles in this volume address adaptations of sources for the musical stage as interpretations. The majority of musicals currently running on Broadway and in the West End 1. In alphabetical order, these are: Aladdin, have been adapted from already existing material: of the nineteen playing in Cabaret, Chicago, New York in January 2015, eleven are adaptations from various sources;1 this A Gentleman’s Guide trend is even more pronounced in London where fourteen out of 23 musi- to Love and Murder, 2 Honeymoon in Vegas, cal theatre productions are based on novels, plays or movies. -
The Stories of Cinderella
good john © good john © good john © good john © good john © john © good good john © john © good good good john good john © john good © © john good good © john good good good © john john The stories of Cinderella good good The story of Cinderella has been told for well over a thousand© years and is still one of our most popular fairy tales today. The very first version of the story is believed john to have come from China more than 1,100 years ago. The man who collected it, Tuan Ch’êng-shih, said he had got © the story from Li Shih-yüan, who had for many years been good a servant in his family, but originally came from the caves john of south China. good Although the bare essentials of this rags to riches story © john © john goodhave remained the same, there © have been many changes down the centuries, and these changes john usually say quite a lot about both the people who wrote them down himself in the city of Memphis. He is so good delighted by it that he immediately © and the people they expected to vows to marry the woman whom the john sandal fits, and he searches through Egypt until he finds her. good The earliest Cinderella-type tale found© in Europe is La Gatta Cenerentola or The Hearth Cat, collected by an Italian called Giambattista Basile in his book, Il read or listen Pentamerone, printed in 1634. In 1697, a Frenchman called good to them. Charles Perrault first published the story as Cinderella in a © In an Egyptian collection of eight fairy tales meant especially for children. -
Religious Rites and Female Spirituality in Cinematicadaptations of Cinderella
Religious Rites and Female Spirituality in CinematicAdaptations of Cinderella ELISABETH S. WEAGEL Abstract Since the 1970s, fairy tales like Cinderella have been criticized for negatively acculturating women, but this reading fails to account for an inherent spirituality which is necessary to understanding the Cinderella tale. Reconnecting the story to its numinous roots reveals Cinderella as a subjective and active being who claims her own life. With the assistance of her fairy godmother (a representation of the feminine divine) and her deceased mother, Cinderella goes through a religious rite, which leads to her individuation and, ultimately, apotheosis. Keywords: Cinderella; fairy tales; religious rites; female religious experience, Luce Irigaray Respect for the order of the universe, the question of our relation to the divine are not irrelevant and can help us in the task of seeking a personal and collective identity. -Luce Irigaray 1. Introduction Cinderella may be the most well-known fairy tale in the world. It is a story that has been told across cultures for hundreds of years, and continues to be a ubiquitous subject for books, films, operas, ballets, and various other story-telling mediums. But despite its continued popularity, Cinderella also bears a negative stigma. Beginning in the 1970s with an article by Marcia R. Lieberman and continuing into the present, fairy tales have been criticized for negatively affecting women’s acculturation (383-95). Heroines, such as Cinderella, are seen as passive creatures who wait for someone else to come and turn their lives into something better. If that someone is a prince, all the worse because of how it reflects on the female sex as incapable and reliant on men. -
Ausstellungsfuehrer Grimm Ein
so leben sie noch heute 13. März–9. Juni 2013 200 Jahre «Kinder- und Hausmärchen» der Brüder Grimm so leben sie noch heute 200 Jahre «Kinder- und Hausmärchen» der Brüder Grimm 13. März bis 9. Juni 2013 «Wir wollen [...] hier die Märchen nicht rühmen, oder gar gegen eine entgegengesetzte Meinung vertheidigen: jenes bloße Daseyn reicht hin, sie zu schüzzen. Was so mannichfach und immer wieder von neuem erfreut, be- wegt und belehrt hat, das trägt seine Nothwendigkeit in sich, und ist gewiß aus jener ewigen Quelle gekommen, die alles Leben bethaut». Vorrede von Jacob und Wilhelm Grimm zum ersten Band der«Kinder- und Hausmärchen», Kassel, 18. Oktober 1812 Die Brüder Jacob (1785–1863) und Wilhelm Grimm (1786–1859) sind als Sammler und Herausgeber von Märchen weltberühmt geworden. Durch ihre Arbeiten im Bereich der germanischen Sprach- und Literaturwissen- schaften, der Rechtskunde, Geschichte und Mythologie sowie ihr politi- sches Wirken gehören sie zu den bedeutendsten Persönlichkeiten der deut- schen wie der europäischen Geistes- und Kulturgeschichte. 2 so leben sie noch heute 200 Jahre «Kinder- und Hausmächen» der Brüder Grimm Als Jacob und Wilhelm Grimm zu Anfang des Jahres 1813 die ersten Exemp- lare ihrer «Kinder- und Hausmärchen» in den Händen hielten, war ihr Welt- erfolg in den seither 200 Jahren nicht absehbar. Der Absatz liess zunächst zu wünschen übrig, und erst als eine 1823 publizierte Auswahl daraus in englischer Sprache auf Anhieb grossen Erfolg hatte und die Brüder Grimm darauf 1825 ebenfalls eine «Kleine Ausgabe» publizierten, fanden die «Kin- der- und Hausmärchen» auch im deutschen Sprachraum zunehmende Ver- breitung. Zum wachsenden Erfolg trug auch bei, dass die Brüder Grimm die anfäng- liche Textgestalt mit jeder Ausgabe überarbeiteten. -
Mary Poppins Transactions, Fill Our Lives with Joy, Satisfaction, Tcontains Numerous Examples of Ingenious and Meaning
PRODUCTION HANDBOOK 2 ©Disney/CML TABLE OF CONTENTS Introduction.............................................................................................. 2 Synopsis.................................................................................................... 4 Casting...................................................................................................... 6 Approaches to Character....................................................................... 11 Staging...................................................................................................... 24 Music Direction........................................................................................ 25 Choreography.......................................................................................... 37 Design....................................................................................................... 48 Beyond the Stage.................................................................................... 74 Resources................................................................................................. 93 Credits...................................................................................................... 97 ©Disney/CML INTRODUCTION Come feed the little birds, Show them you care, And you’ll be glad if you do. Their young ones are hungry, Their nests are so bare. All it takes is tuppence from you. Feed the birds, tuppence a bag, Tuppence, tuppence, tuppence a bag. — “Feed the Birds” by Richard and Robert Sherman “‘Tuppence -
University of Cincinnati
UNIVERSITY OF CINCINNATI _____________ , 20 _____ I,______________________________________________, hereby submit this as part of the requirements for the degree of: ________________________________________________ in: ________________________________________________ It is entitled: ________________________________________________ ________________________________________________ ________________________________________________ ________________________________________________ Approved by: ________________________ ________________________ ________________________ ________________________ ________________________ UNIVERSITY OF CINCINNATI GRIMM REALITY: A DIGITAL VIDEO FEATURE PRESENTATION DOCUMENTATION OF THESIS PROJECT SUBMITTED TO THE FACULTY OF THE SCHOOL OF DESIGN IN CANDIDACY FOR THE DEGREE OF MASTER OF DESIGN FROM THE COLLEGE OF DESIGN, ARCHITECTURE, ART & PLANNING BY ERIC CHATTERJEE, BA Psychology CINCINNATI, OHIO 2002 Committee Chair: J. Chewning iii ABSTRACT The entertainment industry may be on the verge of a major change. For more than a century, celluloid film has been the artistic medium for the motion picture industry- the third largest industry in the United States. However, recent advances in video technology may allow this visual media, once thought suitable only for broadcast television, to become the new industry standard. Although, at the time of this writing, only one Hollywood feature (The Anniversary Party) entirely shot on digital video has been released, in the coming years many more are sure to follow. Even more remarkable are the number of amateur filmmakers that have taken advantage of the medium of digital video to produce highly polished short films and displayed them on the Internet. In the following project, digital video and related technologies were used to produce a program that can be viewed as a series of shorts or as a feature length adaptation of some of the Grimm’s Fairy Tales, in a manner faithful to the original tales, some of which have never been adapted to the screen before.