DOCSLIB.ORG

Redefining Gender and Social Stereotypes in Disney's Frozen

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Redefining Gender and Social Stereotypes in Disney's Frozen FILOZOFICKÁ FAKULTA Time to Let it Go: Redefining Gender and Social Stereotypes in Disney's Frozen Magisterská diplomová práce BA VERONIKA VARGOVÁ Vedoucí práce: doc. PhDr. Tomáš Pospíšil, Ph.D. Katedra anglistiky a amerikanistky Program Anglický jazyk a literatura Brno 2021 TIME TO LET IT GO: REDEFINING GENDER AND SOCIAL STEREOTYPES IN DISNEY'S FROZEN Bibliografický záznam Autor: BA Veronika Vargová Filozofická fakulta Masarykova univerzita Katedra anglistiky a amerikanistky Název práce: Time to Let it Go: Redefining Gender and Social Stereotypes in Disney's Frozen Studijní program: Anglický jazyk a literatura Vedoucí práce: doc. PhDr. Tomáš Pospíšil, Ph.D. Rok: 2021 Počet stran: 89 Klíčová slova: genderové a sociální stereotypy, Disney, Frozen, homosexualita, archetypy, duševní zdraví, feminismus 2 TIME TO LET IT GO: REDEFINING GENDER AND SOCIAL STEREOTYPES IN DISNEY'S FROZEN Bibliographic record Author: BA Veronika Vargová Faculty of Arts Masaryk University Department of English and American Studies Title of Thesis: Time to Let it Go: Redefining Gender and Social Stereotypes in Disney's Frozen Degree Programme: English language and literature Supervisor: doc. PhDr. Tomáš Pospíšil, Ph.D. Year: 2021 Number of Pages: 89 Keywords: gender and social stereotypes, Disney, Frozen, queerness, archetypes, mental health, feminism 3 TIME TO LET IT GO: REDEFINING GENDER AND SOCIAL STEREOTYPES IN DISNEY'S FROZEN Anotace Hlavním cílem této práce je prostřednictvím řady vybraných příkladů poukázat na klí- čové aspekty, které odlišují Frozen od předchozích Disney Princess filmů, a zároveň uznat společné podobnosti. Práce se zaměřuje na tři klíčová témata, která mají v obou filmech Frozen významné zastoupení: archetypy, feminismus a queerness. První hlavní kapitola je věnována vztahu mezi animovanými filmy a společností a zaměřuje se na témata, jako je role marketingu a zboží; reprezentace pohlaví, rasy a sexuality v animo- vaných filmech se zaměřením na Disney a reprezentace duševního zdraví ve Frozen. 4 TIME TO LET IT GO: REDEFINING GENDER AND SOCIAL STEREOTYPES IN DISNEY'S FROZEN Abstract The main aim of this thesis is to demonstrate on a variety of selected examples the key aspects which differentiate Frozen from previous Disney Princess films, while also ac- knowledging the shared similarities. The thesis is focusing on three key topics, which have a significant presence in both Frozen films: archetypes, feminism and queerness. In addition, the first main chapter is dedicated to the relationship between animated films and society, focusing on topics such as the role of marketing and merchandise; representation of gender, race and sexuality in animated films with a focus on Disney, and mental health representation in Frozen. 5 TIME TO LET IT GO: REDEFINING GENDER AND SOCIAL STEREOTYPES IN DISNEY'S FROZEN Declaration I hereby declare that this thesis with title Time to Let it Go: Redefining Gender and Social Stereotypes in Disney's Frozen I submit for assessment is entirely my own work and has not been taken from the work of others save to the extent that such work has been cited and acknowledged within the text of my. Brno May 15, 2021 ....................................... BA Veronika Vargová 7 TABLE OF CONTENTS Table of Contents 1 Introduction 11 1.1 Background information about the production of Frozen ................................ 12 1.2 Frozen and H.Ch.Andersen’s The Snow Queen ........................................................ 14 1.3 The Thesis .............................................................................................................................. 15 2 Literature review 17 2.1 Evolution of Disney Princess ......................................................................................... 17 2.2 Archetypes ............................................................................................................................. 20 2.3 Gender performativity, gender and sex .................................................................... 23 2.4 Masculinity ............................................................................................................................. 25 2.5 Queer readings and the issue of querbaiting .......................................................... 28 2.6 Eve Sedgwick Kosofsky’s Epistemology of the Closet ........................................... 30 3 Cartoons, marketing and society 32 3.1 Marketing ............................................................................................................................... 32 3.2 Representation of gender,race and sexuality in animated films .................... 36 3.3 Disability and autism representation in Frozen .................................................... 40 4 Character and plot archetypes in Frozen 46 4.1 The Disney Princess ........................................................................................................... 46 4.2 Analysis of selected scenes in Frozen according to Propp’s archetypes ..... 48 4.3 Elsa the Villain ...................................................................................................................... 56 5 Feminism 59 5.1 Feminism and Disney ........................................................................................................ 59 5.2 Feminism in Frozen ............................................................................................................ 60 5.3 Nature, ecofeminism and Frozen .................................................................................. 62 6 Queer reading of Frozen 67 6.1 Why is it possible ? ............................................................................................................. 67 6.2 Queer metaphors in Frozen ............................................................................................ 71 7 Conclusion 75 9 TABLE OF CONTENTS 7.1 Concluding remarks ........................................................................................................... 75 7.2 Gaps and potential for further research .................................................................... 76 8 Bibliography 78 9 Resume CZ 86 10 Resume EN 88 10 INTRODUCTION 1 Introduction When discussing children’s stories, it is common for adults to see the story and the characters simply as a mean to occupy the minds of their children for several precious minutes, during which the parents are able to rest and focus on themselves or on all the tasks that need to be completed that day. Many stories are clearly written specifi- cally for this purpose. Understandably, only a few would then care to pay closer atten- tion to the finer details, themes and most importantly, the messages of these stories. However, in 2021, it seems that such an attitude is far too dated. Topics that were considered taboo or too sensitive for public discussion are now being discussed openly. People of all ages and backgrounds are willing to share their stories and so the boundaries between the public and the private are more blurred than ever before. A person well acquainted with contemporary Anglo-American children’s and young adult literature of the past decade will certainly realize how quickly the publishing in- dustry responded to readers’ demands for diversity in books. In fact, ever since the paranormal /dystopian era of the early 2010s ended in 2014, it is rare that a book for young adults released in the past 6 years which does not feature at least one character who is not white, has a disability or is queer. Regarding the representation of gender, particularly noticeable is the frequent occurrence of strong and independent female characters. Furthermore, as many of the recent films and series are adaptations of these books, a similar trend can be observed in the cinema industry. Being arguably the biggest and the most influential producer of animated films for children, it was only a matter of time until Disney also responded to these changes. 11 INTRODUCTION And while all four of the most recent Disney Princess films – The Princess And the Frog, TAngled, BrAve and Frozen – can be considered to be Disney’s answer, the films which had the greatest impact was Frozen, the subject of the present study. 1.1 Background information about the production of Frozen Frozen is Disney’s 53rd full-length feature film, co-directed by Jennifer Lee and Chris Buck. It is also the first Disney film which was directed by a woman (Lester,2019). The main characters are voiced by Idina Menzel (Elsa), Kristen Bell (Anna), Jonathan Groff (Kristoff), Josh Gad (Olaf) and Santino Fontana (Hans) (imdb,undated). From its re- lease in 2013 until the release of The Lion King remake in July 2019, Frozen was the highest-grossing animated film of all time, earning over 1.25 billion dollars worldwide. The Lion King remake earned 1.65 billion dollars. The sequel film, Frozen 2, which was released in November 2019 is currently the second highest-grossing animated film of all time, earning over 1.45 billion dollars worldwide (Wikipedia,undated). During the early stages of production, a number of major changes were made to the original story- line. According to James B. Stewart (2005), Elsa was initially written to be a typical Disney evil witch who would freeze her potential suitors, until she meets an ordinary man who melts her heart. This trope is widely used in modern literature and cinema, however, it would be the first time Disney features it in one of its Princess films in this exact form. The implication here is clear
Load more

Recommended publications
  • Frozen in Time: How Disney Gender-Stereotypes Its Most Powerful Princess
    social sciences $€ £ ¥ Essay Frozen in Time: How Disney Gender-Stereotypes Its Most Powerful Princess Madeline Streiff 1 and Lauren Dundes 2,* 1 Hastings College of the Law, University of California, 200 McAllister St, San Francisco, CA 94102, USA; [email protected] 2 Department of Sociology, McDaniel College, 2 College Hill, Westminster, MD 21157, USA * Correspondence: [email protected]; Tel.: +1-410-857-2534 Academic Editors: Michele Adams and Martin J. Bull Received: 10 September 2016; Accepted: 24 March 2017; Published: 26 March 2017 Abstract: Disney’s animated feature Frozen (2013) received acclaim for presenting a powerful heroine, Elsa, who is independent of men. Elsa’s avoidance of male suitors, however, could be a result of her protective father’s admonition not to “let them in” in order for her to be a “good girl.” In addition, Elsa’s power threatens emasculation of any potential suitor suggesting that power and romance are mutually exclusive. While some might consider a princess’s focus on power to be refreshing, it is significant that the audience does not see a woman attaining a balance between exercising authority and a relationship. Instead, power is a substitute for romance. Furthermore, despite Elsa’s seemingly triumphant liberation celebrated in Let It Go, selfless love rather than independence is the key to others’ approval of her as queen. Regardless of the need for novel female characters, Elsa is just a variation on the archetypal power-hungry female villain whose lust for power replaces lust for any person, and who threatens the patriarchal status quo. The only twist is that she finds redemption through gender-stereotypical compassion.
    [Show full text]
  • Siposjános Angol Karacsáj.Indd
    János Sipos – Ufuk Tafkul KARACHAY-BALKAR FOLKSONGS János Sipos – Ufuk Tafkul KARACHAY-BALKAR FOLKSONGS Institute for Musicology of the Research Centre for the Humanities of the Hungarian Academy of Sciences – L’Harmattan Budapest, 2015 The fi eldwork lasting 10 years were supported by the Stein-Arnold Exploration Fund of the British Academy (2010), the Mellon Fellowship for Research in Turkey (2005, 2011) and the Hungarian Scientifi c Research Fund (OTKA K-42461, K-67997) The publication of the book was supported by the Hungarian Scientifi c Research Fund (OTKA PUB 113373) Photos made by: János Sipos and Ufuk Tavkul English translation by Judit Pokoly © János Sipos, 2015 © Institute for Musicology of the Research Centre for the Humanities, the Hungarian Academy of Sciences, 2015 © L’Harmattan, 2015 ISBN 978-963-414-083-2 L'Harmattan France 5-7 rue de l'Ecole Polytechnique 75005 Paris T.: 33.1.40.46.79.20 Email: [email protected] L'Harmattan Italia SRL Via Degli Artisti 15 10124 TORINO Tél : (39) 011 817 13 88 / (39) 348 39 89 198 Email: [email protected] L’Harmattan Hungary: L’Harmattan Könyvesbolt Párbeszéd Könyvesbolt 1053 Budapest, Kossuth L. u. 14–16. 1085 Budapest, Horánszky utca 20. Tel.: 267-5979 www.konyveslap.hu [email protected] www.harmattan.hu Editor in chief: Ádám Gyenes Design: Gábor Kardos, cover design: László Kára Printed and bound by Séd Nyomda, general director: Szilvia Katona CONTENTS PREFACE . 7 INTRODUCTION . 7 IN THE WAKE OF THE EASTERN CONNECTIONS OF HUNGARIAN FOLK MUSIC . 11 Report on my fi eldwork series in researching folk music .
    [Show full text]
  • Celebrations-Issue-31-DV75620.Pdf
    Enjoy the magic of Walt Disney World all year long with Celebrations magazine! Receive 6 issues for $29.99* (save more than 15% off the cover price!) *U.S. residents only. To order outside the United States, please visit www.celebrationspress.com. To subscribe to Celebrations magazine, clip or copy the coupon below. Send check or money order for $29.99 to: YES! Celebrations Press Please send me 6 issues of PO Box 584 Celebrations magazine Uwchland, PA 19480 Name Confirmation email address Address City State Zip You can also subscribe online at www.celebrationspress.com. On the Cover: “5 Years of Disney Magic” Photos © Tim Devine and Disney Issue 31 Five Years of Magic at Walt Disney World 42 Contents Calendar of Events .............................................................6 Disney News & Updates................................................. 8 MOUSE VIEWS ..........................................................13 Guide to the Magic by Tim Foster............................................................................14 “Ghost” Writers: Hidden Mickeys by Steve Barrett ......................................................................16 The Story of the 52 Photography Tips & Tricks by Tim Devine ..........................................................................18 Haunted Mansion Disney Legends by Jamie Hecker ....................................................................22 Disney Cuisine by Allison Jones ......................................................................24 Disney Secrets by Jamie Hecker
    [Show full text]
  • Land, Community, and the State in the North Caucasus: Kabardino-Balkaria, 1763-1991
    Land, Community, and the State in the North Caucasus: Kabardino-Balkaria, 1763-1991 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Ian Thomas Lanzillotti Graduate Program in History The Ohio State University 2014 Dissertation Committee: Professor Nicholas Breyfogle, Advisor Professor Theodora Dragostinova Professor David Hoffmann Professor Scott Levi Copyright by Ian Thomas Lanzillotti 2014 Abstract The Caucasus mountain region in southern Russia has witnessed many of post- Soviet Eurasia’s most violent inter-communal conflicts. From Abkhazia to Chechnya, the region fractured ferociously and neighboring communities took up arms against each other in the name of ethnicity and religion. In the midst of some of the worst conflict in Europe since 1945, the semiautonomous, multiethnic Kabardino-Balkar Republic in the North Caucasus remained a relative oasis of peace. This is not to say there were no tensions—there is no love lost between Kabardians, Balkars, and Russians, Kabardino- Balkaria’s principal communities. But, why did these communities, despite the agitation of ethno-political entrepreneurs, not resort to force to solve their grievances, while many neighboring ones did? What institutions and practices have facilitated this peace? What role have state officials and state structures played in, on the one hand, producing inter- communal conflict, and, on the other hand, mediating and defusing such conflict? And why has land played such a crucial rule in inter-communal relations in the region over the longue durée? More than enhancing our knowledge of a poorly-understood yet strategically important region, the questions I ask of Kabardino-Balkaria are windows on larger issues of enduring global relevance.
    [Show full text]
  • An Analysis of Disney's Frozen Juniper Patel University of Arkansas, Fayetteville
    University of Arkansas, Fayetteville ScholarWorks@UARK Communication Undergraduate Honors Theses Communication 5-2015 The quirky princess and the ice-olated queen: an analysis of Disney's Frozen Juniper Patel University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/commuht Recommended Citation Patel, Juniper, "The quirky princess and the ice-olated queen: an analysis of Disney's Frozen" (2015). Communication Undergraduate Honors Theses. 1. http://scholarworks.uark.edu/commuht/1 This Thesis is brought to you for free and open access by the Communication at ScholarWorks@UARK. It has been accepted for inclusion in Communication Undergraduate Honors Theses by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. The Quirky Princess and the Ice-olated Queen: An Analysis of Disney’s Frozen An Honors Thesis submitted in fulfillment of the requirements for Honors Studies in Communication By Juniper Patel 2015 Communication J. William Fulbright College of Arts and Sciences The University of Arkansas ii Acknowledgements This thesis would not have been possible without the support of Dr. Stephanie Schulte, Assistant Professor and my thesis mentor. I would like to express my sincerest gratitude for her unwavering support, expertise, insight, and thesis assistance. Many thanks for her support in attaining the Student Undergraduate Research Fellowship (SURF) award and travel grant to present my paper at the Popular Culture Association and America Culture Association National Conference in New Orleans. I would like to thank Dr. David A. Jolliffe, Professor and Brown Chair of English Literacy and Dr. Lauren DeCarvalho, Assistant Professor, for their recommendations for the SURF grant application.
    [Show full text]
  • Frozen: Worldwide Financial Success and a Reflection of Modern Culturalvalue
    View metadata, citation and similar papers at core.ac.ukbrought to COREyou by 83 Frozen: Worldwide Financial Success and a Reflection of Modern CulturalValue Mai Todoroki 国際英語学部英米文化学科 4 年 轟麻衣 Even though it has been over a year since its release, "Frozen fever" isstill here. The catchy song, "Let it Go" is used for some TV commercials in Japan, anddoes not appear to be going away soon. Even Tokyo Disneyland offers a special Frozen event- a pa- rade from January to March 2016. This means that people are still enthusiastic aboutthe film. Many commentators have con- sidered the factors of the movie'ssuccess; its powerful sound- track or the content of the film. One of the most influential of Disney's animated films, Frozen was released on November 2013 in the U.S and came to Japan on March 2014. It was based on Hans Christian Andersen's book, The Snow Queen, which was published in 1844 (Wilde 143-144). There are two heroines in the film, Annaand her sister Elsa, which is unusual for Disney mov- ies. Familiallove, in particular sisterly love, is a major theme in 84 Mai Todoroki this film. Besides being the first double-heroine movie for Disney, the story seems quite common and not so special. However, accord- ing to a BBC article, Frozen made $1.219 billion worldwide and has become "the fifthhighest-grossing film in box office history" behind Avatar, Titanic, Marvel's The Avengers and Harry Potter and the Deathly Hallows-part 2("Frozen Becomes", np). One of the main factors of its financial success was its reception in Japan.
    [Show full text]
  • ANNA and HANS Scene Description
    DISNEY CRUISE LINE FROZEN, A MUSICAL SPECTACULAR HANS SCENE 1: ANNA AND HANS Scene Description: Scene takes place during the course of the Coronation Ball; the initial interaction between Hans and Anna. Hans should appear genuine and youthful… charming to Anna Character Description: A bit forward; not in a suave way. Should appear innocent, genuine and charming. Script: HANS (Noticing the streak in her hair) Hey, what’s this? ANNA I was born with it. Although I dreamt I was kissed by a troll. HANS I like it. (They smile at one another) ANNA Okay, wait -- so you have how many brothers? HANS Twelve older brothers! Three of them pretended I was invisible. Literally. For two years. But, that’s what brothers do. ANNA And sisters. Elsa and I were really close when we were little. But then, one day she just shut me out and I never knew why. NOTICE This material, and all concepts, ideas and information contained herein, are confidential and are the property of the Walt Disney Company. This material, including the concepts, ideas and information contained herein, shall not be published, broadcast, reproduced, disseminate, disclosed or used in any form or by any means, in whole or in part, without prior express written permission of the Walt Disney Company. All rights reserved. ©Disney. - 1 - HANS (Taking her hand) I would never shut you out. ANNA Okay, can I just say something crazy? HANS I love crazy. NOTICE This material, and all concepts, ideas and information contained herein, are confidential and are the property of the Walt Disney Company.
    [Show full text]
  • Elsa's Self-Acceptance As the Result of Her Defense
    PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI ELSA’S SELF-ACCEPTANCE AS THE RESULT OF HER DEFENSE MECHANISM IN JENNIFER LEE’S FROZEN AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters By LUDIA NATALIA GRACE KAOMANENG Student Number: 164214076 DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS UNIVERSITAS SANATA DHARMA YOGYAKARTA 2020 1 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI ELSA’S SELF-ACCEPTANCE AS THE RESULT OF HER DEFENSE MECHANISM IN JENNIFER LEE’S FROZEN AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters By LUDIA NATALIA GRACE KAOMANENG Student Number: 164214076 DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS UNIVERSITAS SANATA DHARMA YOGYAKARTA 2020 ii PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI I have many faults and I have many fears, but I am going to embrace myself as hard as I can, and I am starting to love myself, little by little. -Kim Nam Joon- vii PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI For my beloved family and my lovely seven viii PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI ACKNOWLEDGEMENTS I want to thank God for His grace and His blessing. Through Him, I can go through all of the trials in my life. He gives me hope through my family and those around me. His love never fails to amaze me. My deepest gratitude for my thesis advisor, Dra. Theresia Enny Aggraini, Ph.D., and also to my co-advisor, Dr. Tatang Iskarna for the patience advice, and guidance. Hence, I can finish this research. I thank my family for always supporting me in completing my studies, especially to my parents.
    [Show full text]
  • The Frozen Formula: a Reading of the Film's Calculated Rise to National
    Frozen a barrage of material culture. How is it though that The Formula: this 109-minute children’s film has so entirely and A Reading of the Film’s effectively permeated American culture and why can people not “let it go”? What is it about Frozen Calculated Rise to that makes it so popular and transcendent? It is this National Popularity crucial question which this paper will attempt to answer. Catharine Pinkerton Spawned from a classic, but drastically The Pennsylvania State different fairy tale by Hans Christian Andersen, University-Harrisburg Frozen is evidence of the classic Disney touch which turns horrific or despairing original stories Once upon a time there was a man with an into warmhearted and loveable animated gems. odd sounding name. This man loved to tell stories Classics such as “Cinderella” or “The Little and dreamed of bringing happiness to all the world, Mermaid” with grotesque plotlines that sour even especially its children. The man started his own an adult’s stomach, are proof of the magical company and as he grew in success his company transformation Disney employs on its capitalist also grew. From this company came many stories quest. This metamorphosis, however, is not where and songs. These stories and songs gave the world Frozen is set apart- though it shares in its own joy and wonder. One day, this man’s company, long shapeshifting process. It is rather this new creation, after he was gone, created a story and songs so the film itself, which is unique among its wonderful it took the world by storm- a snowstorm predecessors but for an entirely new Disney-devised as a matter of fact.
    [Show full text]
  • Chapter 1: European Languages
    1. European languages 1.1. Information on European languages Based on Britannica World Data (1991), The International Encyclopedia of Linguistics (1992), Perepis' SSSR 1989, and other sources. A = abbreviation L = location S = number of speakers N = other names R = remarks G = references to grammars Afro-Asiatic Semitic 1. Assyrian A: Asr L: Iraq, Iran, Syria, Turkey, Georgia, Armenia, Azerbaijan S: 167,000 (reported in 1986) N: Aisor; Eastern Syriac, Neo-Syrian; Nestorian; Northeastern Aramaic 2. Maltese A: Mlt L: Malta S: more than 400,000 (reported in 1991) N: Malti G: Aquilina, Joseph. 1959. The Structure of Maltese. Repr. 1973. Malta: Royal University. French, Edward 1978. Contemporary journalistic Maltese: an analytical and comparative study. (Studies in Semitic languages and linguistics VIII) Leiden: E.J. Brill. Schabert, Peter. 1976. Laut- und Formenlehre des Maltesischen anhand zweier Mundarten. Erlangen: Palm & Enke. Sutcliffe, Edmund F. 1936. A grammar of the Maltese language with chrestomathy and vocabulary. London: Oxford University Press. Altaic Mongolian 3. Kalmyk A: Klm L: Kalmykia (Autonomous Republic within the Russian Federation, on the steppes between the Don and the Volga rivers) S: 156,400 (reported in 1989) N: Kalmytz, Kalmuk, Kalmuck, Kalmack, Qalmaq: Oirat-Kalmyk, Kalmyk-Oirat; Western Mongolian G: Badmaev, B.B. 1966. Grammatika kalmyckogo jazyka. Morfologija. Èlista: Kalmyckoe knižnoe izdatel'stvo. Pjurbeev, G.C. 1977. Grammatika kalmyckogo jazyka: sintaksis prostogo predloženija. Èlista: Kalmyckoe knižnoe izdatel'stvo. Benzing, Johannes. 1985. Kalmückische Grammatik zum Nachschlagen. Wiesbaden: Harrassowitz. Turkic 4. Azerbaijani A: Azb L: Azerbaijan (former USSR), West and East Azerbaijan (provinces in Iran), Iraq, Turkey, Syria and Afghanistan S: 6,614,260 (reported in 1989) in the former USSR, 9,590,000 (reported in 1991) in Iran, and more than 1,000 in the other countries N: Azeri, Azerbaydzhan G: Amirpur-Ahrandjani, Manutscher 1971.
    [Show full text]
  • Frozen, Jr Monologues and Audition Songs
    FROZEN, JR MONOLOGUES AND AUDITION SONGS ELSA: (ANNA rushes in to request ELSA’s blessing to marry HANS) Marriage? May I speak with you alone please, Anna? All right. You can't marry a man you just met. What do you know about true love? (rattled by ANNA’s anger) You asked me for my blessing, but my answer is no. (to the CASTLE STAFF) The party is over. Close the gates. “Let It Go” It’s time to see what I can do, to test the limits and break through. No right, no wrong, no rules for me. I’m free! Let it go! Let it go! I am one with the wind and sky. Let it go! Let it go! You’ll never see me cry. Here I stand, and here I’ll stay. Let the storm rage on. YOUNG ELSA: (after being put to bed for the night by the QUEEN IDUNA/KING AGNARR. To ANNA who wants to play instead of sleep..) We’re supposed to be sleeping--- (ANNA wants to play) Okay. Okay. You know there’s a recipe to making a proper snowman. “General - Let It Go” Let it go, let it go, and we’ll rise like the break of dawn. Let it go, let it go. The fear and cold are gone. Here we stand in the light of day. Let our true love grow. Let it go. ANNA: (After bumping HANS and seeing him for the first time) Oh, I'm sorry. So sorry… (smitten) Hi. (after KRISTOFF tries to wedge in between them) Goodness.
    [Show full text]
  • Norse Mythology: Legends of Gods and Heroes
    Norse Mythology Legends of Gods and Heroes by Peter Andreas Munch In the revision of Magnus Olsen Translated from Norwegian by Sigurd Bernhard Hustvedt New York The American-Scandinavian Foundation 1926 vii CONTENTS PAGES Translator’s Preface xi Introduction xiii I. MYTHS OF THE GODS The Creation of the World — The Giants — The Æsir — Men and Women — Dwarfs — Vanir — Elves ……………………… 1 The Plains of Ida — Valhalla — Yggdrasil …………………….. 5 Odin ………………………………………………………………... 7 Thor ………………………………………………………………... 10 Balder ……………………………………………………………… 12 Njord ……………………………………………………………….. 13 Frey ………………………………………………………………... 15 Tyr ………………………………………………………………..... 16 Heimdal ………………………………………………………….... 17 Bragi ……………………………………………………………….. 18 Forseti ……………………………………………………………... 18 Hod — Vali — Vidar — Ull ………………………………………. 18 Hœnir — Lodur …………………………………………………… 19 Loki and His Children ……………………………………………. 21 Hermod — Skirnir ………………………………………………… 25 The Goddesses — Frigg — Jord — Freyja .…………………... 25 Saga — Eir — Gefjon — Var — Vor — Syn — Snotra ………. 28 Idun — Nanna — Sif ...…………………………………………... 29 The Norns …………………………………………………………. 30 Familiar Spirits — Attendant Spirits ……………………………. 31 The Valkyries ……………………………………………………... 32 Thorgerd Hœlgabrud and Irpa ………………………………….. 34 The Forces of Nature — Ægir …………………………………... 34 Night — Day ………………………………………………………. 37 viii Hel …………………………………………………………………. 37 The Giants ………………………………………………………… 39 The Dwarfs ………………………………………………………... 41 The Vettir ………………………………………………………….. 42 The Heroes and Life in Valhalla ………………………………… 48 Corruption
    [Show full text]