By Jacob and Wilhelm Grimm ONCE Upon a Time in the Middle of Winter
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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. -
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. -
Snow White and the Seven Dwarfs: New Perspectives on Production, Reception, Legacy
Holliday, Christopher, and Chris Pallant. "Introduction: Into the burning coals." Snow White and the Seven Dwarfs: New Perspectives on Production, Reception, Legacy. Ed. Chris Pallant and Christopher Holliday. New York: Bloomsbury Academic, 2021. 1–22. Bloomsbury Collections. Web. 30 Sep. 2021. <http://dx.doi.org/10.5040/9781501351198-005>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 30 September 2021, 04:44 UTC. Copyright © Chris Pallant and Christopher Holliday 2021. You may share this work for non- commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 1 Introduction: Into the burning coals Christopher Holliday and Chris Pallant The wicked woman uttered a curse, and she became so frightened, so frightened, that she did not know what to do. At fi rst she did not want to go to the wedding, but she found no peace. She had to go and see the young queen. When she arrived she recognized Snow-White, and terrorized, she could only stand there without moving. Then they put a pair of iron shoes into burning coals. They were brought forth with tongs and placed before her. She was forced to step into the red-hot shoes and dance until she fell down dead. 1 To undertake a scholarly project on the Wonderful World of Disney, in particular one focused on the historical, cultural and artistic signifi cance of its celebrated cel-animated feature fi lm Snow White and the Seven Dwarfs (David Hand, 1937), is an endeavour that often feels like jumping headlong ‘into burning coals’. -
Power, Totalitarianism and the Fairy Tale Ideal
The Horror Of "Happily Ever After": Power, Totalitarianism and the Fairy Tale Ideal Jeremy E. DeVito B.A., Mount Allison University, 1999 Thesis submitted in partial fulfillment of the requirements for the Degree of Master of Arts (English) Acadia Universiiy Fall Convocation 200 1 Q by Jeremy E. DeVito, 200 1 I, Jeremy E. DeVito, grant permission to the University Librarian at Acadia University to reproduce, loan, or distrubute copies of my thesis in microform, paper or electronic formats on a non-profit basis. I, however, retain the copyright in my thesis. Signature of Author Date Contents Abstract Key To Citations Acknowledgernents Introduction A Note on Michel Foucault and the Fairy Tale Ideal Chapter 1- Fairy Tale Crisis: Stepmothers, Spiinters and Peas (Oh My!) Flaws and imperfections (and the sleeping patterns of Princess's) Contlicting visions and fairy taie rivalry: a struggle for dominance Deviant invasion (or what happens when the wolves are not kept at bay) Food intentions and the failure to devour Chapter II - Fairy Tale Resolution: Destruction, Conformity, and Isolation "Little Red Riding Hood" and the fairy tale ideal AnnihiIating deviance: to devour and destroy Conforming deviance: the production of docile bodies Keeping deviance out: brick tvalls and locked doors .. '-Honibly Ever Afier" Chapter III - Fairy Tale Alternatives: Revisioning "Happily Ever After" (Re)visions of the tàiry tale ideal Equal time for differing points of view Anne Sexton's Transformations: an interrogation A different approach: resisting closure, finding fault with perfection The anti-fairy-tale Concl usion Works Cited Works Consulted Appendix: Famous Last Words Abstract While many various approaches have been taken to the study of fairy tales this thesis aims at introducing to the field an approach that has not been put to extensive use. -
The Evolution of Snow White: a Close Textual Analysis of Three Versions Of
The Pennsylvania State University The Graduate School Department of Communication Arts and Sciences THE EVOLUTION OF SNOW WHITE: A CLOSE TEXTUAL ANALYSIS OF THREE VERSIONS OF THE SNOW WHITE FAIRY TALE A Dissertation in Speech Communication by John Hanson Saunders © 2008 John Hanson Saunders Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy December 2008 The dissertation of John Hanson Saunders was reviewed and approved* by the following: Stephen H. Browne Professor of Communication Arts and Sciences Dissertation Advisor Chair of Committee Thomas W. Benson Edwin Earle Sparks Professor of Rhetoric Tony M. Lentz Professor of Communication Arts and Sciences Steven L. Herb Education Librarian James P. Dillard Professor of Communication Arts and Sciences Head of the Department of Communication Arts and Sciences *Signatures are on file in the Graduate School iii ABSTRACT The fairy tale “Snow White and the Seven Dwarfs” has endured hundreds of revisions and retellings throughout the last several centuries. Each version of this story carries with it traces of the author or authors and of the culture that produced that particular version. The meta- narrative must remain somewhat intact for any version to be recognizable as a variation of the Snow White tale. However, the elements that are added or subtracted by each author or authors make each version unique. This work presents a close textual analysis of three popular versions of the Snow White fairy tale. The focus of this work is not to just highlight how versions are different, but rather to isolate the unique variants of each version. -
The Case of Snow White
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Sapientia INNOVATION, PERSISTENCE AND SELF- -CORRECTION: THE CASE OF SNOW WHITE Christine Shojaei Kawan* Snow White is one of our favourite fairy tales. Some scholars presume that it is of Mediterranean origin, but it is popularly associated with winter images and, through the world famous version of the brothers Grimm, with Germany. Their Snow White tale has been translated, often not very faithfully, into many languages; it has been shortened and simplified for picture books and primers, and amplified for the stage and the movies. In short: Snow White versions which are labelled ‘Grimm’ do not necessarily represent the original Grimm version. The most famous adaptation of the Grimms’ Snow White is undoubtedly Walt Disney’s Snow White and the Seven Dwarfs (1937) which became as influential for international Snow White reception than the Grimm tale itself, maybe even more influential. But Snow White is not only a book tale adapted by a wide range of media, it is a tale type of oral tradition which is very widespread all over Europe and is also found far beyond, especially in America and Africa.1 However, it would be impossible to say how many hundreds of oral variants there are altogether which have been published in books and stored in the archives: folktale archives and tale type catalogues may well give numbers, but they include fragments, defective and deviant versions as well as variants which fit the ideal type pattern well; moreover, they make no distinction between tales deriving directly from bookish traditions, others that are more indirectly influenced by literary sources and the ones that are independent from the literary mainstream. -
Series Title # Author
Sheet1 SERIES TITLE # AUTHOR 13 Treasures One Wish 0.5 Harrison, Michelle 1 13 Treasures 13 Treasures 1 Harrison, Michelle 1 13 Treasures 13 Curses 2 Harrison, Michelle 2 13 Treasures 13 Secrets 3 Harrison, Michelle 1 39 Clues The Maze of Bones 1 Riordan, Rick 2 39 Clues One False Note 2 Korman, Gordon 1 39 Clues The Sword Thief 3 Lerangis, Peter 1 39 Clues Beyond the Grave 4 Watson, Jude 1 39 Clues The Black Circle 5 Carman, Patrick 1 39 Clues In Too Deep 6 Various authors 1 39 Clues The Viper's Nest 7 Lerangis, Peter 1 39 Clues The Emperor's Code 8 Korman, Gordon 1 39 Clues Storm Warning 9 Park, Linda Sue 1 39 Clues Into the Gauntlet 10 Haddix, Margaret Peterson 1 39 Clues Vespers Rising 11 Riordan, Rick 1 39 Clues : Cahills vs. Vespers The Medusa Plot 1 Korman, Gordon 1 39 Clues : Cahills vs. Vespers A King's Ransom 2 Watson, Jude 1 39 Clues : Cahills vs. Vespers The Dead of Night 3 Lerangis, Peter 1 39 Clues : Cahills vs. Vespers Shatterproof 4 Smith, Roland 1 39 Clues : Cahills vs. Vespers Trust No One 5 Park, Linda Sue 1 39 Clues : Cahills vs. Vespers Day of Doom 6 Baldacci, David 1 39 Clues : Unstoppable Nowhere to Run 1 Watson, Jude 2 39 Clues : Unstoppable Breakaway 2 Hirsch, Jeff 2 39 Clues : Unstoppable Countdown 3 Standiford, Natalie 3 39 Clues : Unstoppable Flashpoint 4 Korman, Gordon 1 5th Wave, The The 5th Wave 1 Yancey, Richard 1 5th Wave, The The Infinite Sea 2 Yancey, Richard 1 5th Wave, The The Last Star 3 Yancey, Richard 1 Abandon Abandon 1 Cabot, Meg 1 Abandon Underworld 2 Cabot, Meg 4 Page 1 Sheet1 Abandon Awaken -
Idea De Princesa” En La Mujer Del Siglo XXI”
UNIVERSIDAD POLITÉCNICA DE VALENCIA FACULTAD DE BELLAS ARTES “La pervivencia de la “idea de princesa” en la mujer del siglo XXI” Alumna: Dafne Walker Maldonado Valencia, Diciembre de 2008 Directora: Rosa Martínez-Artero Martínez INDICE PRESENTACIÓN …………………………………………………….. 1 Introducción …………………………………………………………. 2 Datos personales …………………………………………………… 4 Resumen curricular ………………………………………………… 5 MEMORIA: DESARROLLO CONCEPTUAL ………………………….. 7 Comentarios preliminares …………………………………………. 8 Aproximaciones a las teorías de arquetipos y estereotipos de:… 13 princesas de cuentos de hadas ………………………….. 15 princesas reales “la consorte” de Europa y Norte América ……………………………… 20 Pop Princesses …………………………………………….. 30 la femineidad contemporánea …………………………….. 37 Medio de masas y productos relacionados con características actualizadas de la “idea de princesa” .………………………. 42 Elementos de cuentos de hadas y el ideal romántico ………….. 50 Reflexión personal …………………………………………………. 60 MEMORIA: DESARROLLO DEL PROYECTO ……………………….. 64 Materialización de lo aprendido …………………………………. 65 Referentes artísticos ………………………………………………. 70 Proceso de trabajo y fichas técnicas …………………………….. 76 Cuadro a cuadro …………………………………………… 86 Proyecto expositivo y simulación espacio ………………………. 108 Presupuesto ………………………………………………………… 112 CONCLUSIONES …………………………………………………………. 113 ANEXOS …………………………………………………………………… 115 BIBLIOGRAFIA …………………………………………………………… 177 PRESENTACIÓN INTRODUCCIÓN El título de este proyecto sintetiza el desarrollo conceptual del tema expuesto y su posterior aplicación en las obras -
Fairy Tales Summer Session I May 18-June 24, 2010
Rollins College Hamilton Holt School ENG 344D Selected Studies: Fairy Tales Summer Session I May 18-June 24, 2010 Section H1 CRN # 60044 6:00-9:10 pm Tuesday and Thursday in Orlando 105 (4 credit hours) Dr. Jennifer Ailles Department of English Office Hours: Tuesday and Thursday 4:30-5:30 pm (and by appointment) Office: Orlando Hall 104 Email: [email protected] Western culture is inundated with images of innocent and beautiful Princesses, handsome Prince Charmings, wicked step-mothers, ineffectual fathers, and other sundry stereotypical characters drawn from the land of Far, Far, Away. We often think that fairy tales, especially Disney ones, are meant for children, but are they? Fairy tales contain significant amounts of violence, dark magic, monsters, thievery, cannibalism, and sex--things that are usually seen as inappropriate for children. In addition to presenting a lot of gruesome and seemingly immoral content, fairy tales also construct and reinforce positive social norms. This course will address the dark and sometimes nasty side of fairy tales as we examine the specific roles they have played in creating and supporting cultural ideals. We will center our examination on stories and films based on the classic tales of Cinderella, Beauty and the Beast, Little Red Riding Hood, Sleeping Beauty, and Snow White. This course will be suitable for English majors and minors and will satisfy the literature (L) general education requirement. This course satisfies the literature (L) general education requirement. The Rollins faculty has described the purpose of the L requirement this way: “The L requirement seeks to develop lifelong readers, sensitive to the richness of literary texts and to the pleasure of exploring that richness. -
THE FAIRY BOOK MACMILLAN and CO., Limited
3 3333 08115 6776 'n/ ^4- 13^^3>H ';i{f%Q^^ .^51^ ^ ,1 Digitized by tlie Internet Arcliive in 2007 witli funding from Microsoft Corporation littp://www.arcli ive.org/details/fairybookbestp6p00crai02 / THE FAIRY BOOK MACMILLAN AND CO., Limited LONDON BOMBAY • CALCUTTA MELBOURNE THE MACMILLAN COMPANY NEW YORK • BOSTON • CHICAGO DALLAS • SAN FRANCISCO THE MACMILLAN CO. OF CANADA, Ltd. TORONTO r- VarwiCK GoBut THE FAIRY BOOK THE BEST POPULAR FAIRY STORIES SELECTED AND RENDERED ANEW BY THE AUTHOR OF 'JOHN HALIFAX, GENTLEMAN' WITH 32 ILLUSTRATIONS IN COLOUR BY WARWICK GOBLE MACMILLAN AND CO., LLMITED ST. MARTIN'S STREET, LONDON 1913 ^1^^ COPYRIGHT First Edition, 1S63. Edition tvit/i IUvstratio?is in Colour by Way^vick Goble, 1913 DEDICATED TO LITTLE OLIVE )»«>»•' 9 S> J'>« PREFACE A PREFACE is usually an excrescence on a good book, and present a vain apology for a worthless one ; but in the instance a few explanatory words seem necessary. This Is meant to be the best collection attainable of that delight of all children, and of many grown people who retain the child-heart still —the old-fashioned, time- honoured classic Fairy-tale. It has been compiled from familiar, the all sources — far-off and familiar ; when stories have been traced with care to their original form, which, if foreign, has been re-translated, condensed, and in any other needful way made suitable for modern British children. Perrault, Madame d'Aulnois, and Grimm have thus been laid under contribution. Where it was not possible to get at the original of a tale, its various versions in have been collated, compared, and combined ; and some instances, where this still proved unsatisfactory, the whole story has been written afresh. -
Snow White Blood Red by Marcus Sedgwick Pdf
Snow White Blood Red Pdf By Marcus Sedgwick This version of pdf is Re-designed by Pdfcorner.com © Copyright Reserved 2018 Snow White and the Seven Dwarfs Jacob Grimm Wilhelm Grimm Abstract Snow White was a princess who lived long, long ago. Her mother died and her father remar- ried. Her new stepmother wants to kill her because Snow White is more beautiful than she is. Then Snow White runs away and hides in a small cottage that belongs to seven dwarfs. The stepmother finds her and kills her. A noble prince comes and kisses her back to life and marries her. The stepmother visits the marriage and gets killed (see page XIII). Contents 1 Introduction II 2 The evil stepmother III 3 The great forest V 4 The seven dwarfs VI 4.1 The cottage . VI 4.2 The dwarfs . VI 4.3 The encounter . VII 5 The murder of Snow White VIII 5.1 First attempt . VIII 5.2 Second attempt . IX 5.3 Third attempt . IX 6 The funeral XI 7 The prince XII 8 The marriage XIII I Chapter 1 Introduction Once upon a time in the middle of winter, when the flakes of snow were falling like feathers from the sky, a queen sat at a window sewing, and the frame of the window was made of black ebony. And whilst she was sewing and looking out of the window at the snow, she pricked her finger with the needle, and three drops of blood fell upon the snow. And the red looked pretty upon the white snow, and she thought to herself, would that I had a child as white as snow, with lips as red as blood, and hair as black as the wood of the window-frame.