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Angels and Fairies
The word, "angel," comes from the greek word "angelos," which means "messenger" (MSN Encarta, 2003). Angels are believed to be celestial beings that act as messengers from God; send divine messages; help mankind; and are composed of pure light and absolute love. It is also believed an angel is assigned to a human at birth and that they may stay with us throughout our lives to support us on our paths on the way to greater harmony with God.
The word 'fairy' is a Middle English word meaning 'enchanted being. Stories involving fairies are a lot more diverse than that of angels, but they are most commonly perceived of as small, supernatural beings or creatures involving themselves in human relationships via magic and are usually beneficial to human life (The Fairy Faith, 2001). They are, however, renowned for causing mischief and it is best to treat them…
Microsoft Encarta Online Encyclopedia. (2003). Angels. MSN. Retrieved from the Internet at http://encarta.msn.com/encyclopedia_761565749/Angel.html
Walker, John. The Fairy Faith. History of Fairies. 2001. Retrieved on the Internet at http://www.thefairyfaith.com/intro3.html
folklore perpetuates the customs and beliefs of the country people. Creating a vast universe of heroes and magical figures, folklore creates a sort of collective dreaming. Fairies are the most important magical figure in Celtic folklore. Known as the "good people," fairies possess intense power that is critically neutral. The demise of the "good people" can be traced to the institution of Christianity, which dismissed the folklore of the indigenous people and imposed and superimposed upon it a set of new myths and cosmologies. Yet it has been impossible to totally stamp out the meaning, significance, and symbolism of the ancient folklore and especially that which is related to the "good people." The Celtic countrymen devised ways, as many traditional cultures have, to syncretize deeper and older beliefs with the Christian ones.
The relationship between the countryperson and the domain of the fairies is a complex one. The fairies possess…
Nature of the Universe
The term fantastic insinuates that it has to do with matters extra-terrestrial. It has to do with the world beyond the conventional one that we interact with at the physical level. Tolkien has an obviously clear view of what it is in relation to the value of creative thinking and imagination. Literature is created from the primary imagination which is also referred to as an echo from the primary imagination. This is also the force and living power behind all human perception. This is a repetition of the eternal act of creation as is encased in the creation by the infinite "I AM." The fairy story and triology are nothing but creation. It is the crafting of the secondary universe by imagination. Essentially, that aspect is the outstanding activity of the maker of the fairy story. This is what sets such a creator apart and makes…
Nights at the Circus" is a fairy tale in the modern times. It revolves around the circus star, Sophie Fevvers, who is half-human and half-swan, and who is the passionate object of professional and moral pursuit of Jack Walser, a devout journalist who must seriously investigate into the truth or falsity of this half-human, half-animal phenomenon. Fevvers is surrounded by equally phenomenal characters, such as the prophesying pig named "Sybil,," the clown offo, the circus owner Colonel Kearney, Mignon and Lizzie. Wasler's intense investigation leads him to join the circus team, disguised as a clown, in order to complete and satisfy his obsession of getting to the bottom of Fevver's mysterious person and reality. In the course of their togetherness -- which begins in London, proceeds to Petersburg and Siberia and returns to London --, it is Wasler who transforms from his selfish point of reference to a childlike one,…
Burnett, John. The Annals of Labour: Autobiographies of British Working Class People. Indiana,
USA: Indiana University Press, 1974
Carter, Angela. Nights at the Circus. Vikings Penguin, 1986
Cohen, William A. "Sex, Scandal and the Novel," Sex Scandal: The Private Parts of Victorian
The first reading allows the individual to react to it on a personal level, to relate the story of the tragic lovers in terms of his or her own experiences with love (Walker, 1995, p. 13). But secondary and tertiary (and so on) readings allow the individual to connect to the story on deeper and increasingly abstract levels so that an analysis of this story might come to understand it as a story of the temporary death of the individual and its potential and even expected rebirth as part of a universal mother, a submission of the identity of daughter and son into the more primary identity of creation and life. An individual who follows an analysis along such a path can explore his or her own feelings about love and loss, about autonomy and dependence, about fear and acceptance.
However, within the clinical setting, the client must choose his…
Armenian poetry. Retrieved from http://www.hyeetch.nareg.com.au/armenians/poetry_p15x4.html
Aziz, R. (1990). C.G. Jung's Psychology of Religion and Synchronicity (10th ed.). New York: The State University of New York Press.
Jung, C.G. (1985). Synchronicity. Princeton: Princeton University Press.
Odajnyk, V.W. (2004). The Archetypal Interpretation of Fairy Tales: Bluebeard. Psychological perspectives 47(1): 10-29.
 However, in his greed he puts on his finger a ring that had belonged to the giant, and this ring forces the man to cry out, "Here I am! Here I am!" In order to save himself from being discovered, he bites off his own finger to make the magic stop. Then, lost in the wilderness, the ex-robber tells of frightening forest-entitities, including a woman who is going to commit infanticide and feed her own child to a group of men. The man makes her instead cook a hanged robber for dinner, and, having hung himself in a tree in the place of the robber, has a chunk of his flesh removed from his side to be eaten. In the last story, Giants are frightened away by thunder. The Queen is pleased by the stories and released the man's children. (Grimm)
In the Uses of Enchantment: The Meaning and…
Charles Perrault was responsible for collecting and adapting many of the fairy tales best known to contemporary audiences, and his collection of Stories or Fairy Tales from Past Times with Morals, also known as Mother Goose Tales, offers a unique insight into both the evolution of fairy tales in general and the socio-political context of Perrault's own writing. In particular, Perrault's use of domesticated and wild animals in certain tales shed light on the gender and class conflicts that under-gird both the stories themselves and Perrault's own historical context. By performing a close reading of Perrault's "Little Red Riding Hood," "Puss in Boots," and "Donkeyskin," one can see how Perrault uses domestic and wild animals in order to reinforce notions of gender that idealized male autonomy and proactivity while condemning female exploration, in addition to simultaneously supporting the preexisting class structure that impoverished the majority while rewarding the nobility;…
Ashliman, D.L.. "Charles Perrault's Mother Goose Tales." University of Pittsburg. Web. 3 Dec
Ahmed, K. Al. "Charles Perrault's "Le Petit Poucet" and its Possible Arabic Influences."
Bookbird 48.1 (2010): 31-41.
One Linguistic Feature in the Brothers Grimm: Pronoun Usage
The Brothers Grimm is a collection of fairy tales. There are many linguistics features used in the tales, partially because the Grimm brothers were linguists during their lifetimes. It would be only natural that they would incorporate some of that into what they wrote for others. The linguistics feature focused on in this paper is the use of pronouns. Six fairy tales will be used to discuss and address the pronoun usage of the Brothers Grimm, so that comparisons can be drawn. The reason behind this is that some scholars and others are very interested in the way the Brothers Grimm addressed pronoun usage, since they originally wrote in German. The gender of the nouns and the way the pronouns were used were said to not always match up, at least in translation, leading one to wonder why they…
supportable logical textual evidence written component options. You analyze primary texts relevant question principles close reading -- noting items word choice, similes, metaphors, connotations, .
"Beauty and the Beast:" Fairy tale vs. cinema
The story "Beauty and the Beast" is one of the most popular juvenile fairy tales of all time. It has also been a potent source of metaphor for many authors and filmmakers. One of the most famous written versions of the fairy tale for children is one authored by Jeanne-Marie Le Prince de Beaumont. Beaumont uses the story in a didactic fashion, both to illustrate the values of Beauty and the superior values of the countryside. hen Beauty's family is located in the city, her sisters adopt the shallow and superficial values of the city and refuse to associate with people of their own merchant class. Only after being humbled in the countryside does the youngest daughter…
La Belle et la Bete. Directed by Jean Cocteau. 1946
Ebert, Roger. Beauty and the Beast. Review. Chicago Sun Times. 26 Dec 1999. [4 Jul 2012]
Le Prince de Beaumont, Jeanne-Marie. "Beauty and the Beast." From the Norton Anthology of Children's Literature. New York: Norton, 2005
Judgment and Superficiality in "Beauty and the Beast": Parsing a Fairytale from a Postmodern Perspective
It is the conceit of nearly every epoch to assume that certain ideas, perspectives, and frameworks are new or unique to the current time, and with postmodernism this has extended to the notion of purposefully and meaningfully fragmented texts. That is, many postmodernists view fragmentation and purposeful alienation from reality -- truly, a questioning of what constitutes reality -- as the quintessential and definitive postmodern element (Erb, 51). hile it cannot be denied that the postmodern period and postmodern works frequently embrace and utilize such fragmentation, and while perhaps no era has used it to the extremes or with the prevalence as the postmodern era, it must also be acknowledged that concepts of alienation from truth and reality are not new to the period, though they were dealt with quite differently in earlier…
Beaumont, Jeanne-Marie Le Prince de. "Beauty and the Beast." Accessed 2 May 2012. http://www.pitt.edu/~dash/beauty.html
Craven, Allison. Beauty and the Belles: Discourses of Feminism and Femininity in Disneyland. European Journal of Women's Studies 9(2) (2002): 123-42.
Davidheiser, James C. Fairy Tales and Foreign Languages: Ever the Twain Shall Meet. Foreign Language Annals 40(2) (2007): 215-25.
Erb, Cynthia. Another World or the World of an Other? The Space of Romance in Recent Versions of "Beauty and the Beast." Cinema Journal 34(4) (1995): 50-70.
Film and Culture
The Grimm brothers began collecting folktales around 1807 and began a legacy that has been ingrained in popular culture. Although the tales that they collected were representative of the culture at the time, the brothers worked to canonize some of the archetypes that were present in their day. Instead of seeing them as just random works of literature, the brothers were able to identify various themes which served as the main focuses on their fairy and folk tale. These themes seemed to be generally available in the stories that the two individuals documented just as they are also present today. These archetypical characters which formed can make one wonder whether it is the culture that shapes the story or whether it is the stories that shape the culture.
Very few Grimm's Fairy Tales deviate from the stereotypes of the hero, villain, and damsel in distress…
This has been interpreted as overprotective behavior and is directly linked to being a parent. One cannot be overprotective of a child he or she does not have. It is only logical to conclude that the witch is to Rapunzel a sort of a stepmother; also, one could gather that the witch wanted Rapunzel not only to hurt and get back at the child's natural father, but for her own benefit. She has also been interpreted as a motherless child who steals someone else's offspring in order to fill the void in her own life. Consequently, the witch in Rapunzel cannot be seen as a purely evil character, a typical antagonist who seeks the destruction of the protagonist at all costs. Her refusal to accept the prince and to offer the young girl a chance to fall in love could be explained by maternal jealousy and overbearing parenting. Also, the…
Davidson, Hilda Ellis; Anna Chaudhri, eds. A Companion to the Fairy Tale. Rochester, NY: D.S. Brewer, 2003. Questia. 27 Sept. 2007 http://www.questia.com/PM.qst?a=o&d=106766030 .
Propp, Vladimir. Morphology of the Folktale. 1928. 2nd ed. Trans. Lawrence Scott. Austin: U. Of Texas P, 1968.
Zipes, Jack, ed.. "Cross-Cultural Connections and the Contamination of the Classical Fairy Tale" in the Great Fairy Tale Tradition: From Straparola and Basile to the Brothers Grimm. New York: WW Norton & Co., 2001.
Forests in Children's Lit
The Dark Forest of Fairy Tales
Fairy tales are rightly seen by many authors and critics from Jung to runo ettelheim as repositories for archetypes and for vital social messages. Additionally, they must be seen as a literary genre by themselves, and elements which may be seen archetypically must also be taken in terms of their literary function. In this light, one can study the role of the forest in fairy tales both as a reference to the archetype of the dark forest and as a social reference to the land outside civilization, and simultaneously be aware of the way in which the forest operates as a literary device to isolate the characters quickly from their familiar world by placing them into another realm. The ways in which forests seem to function in fairy tales to isolate the characters ranges from the very physical to the…
Bettelheim, Bruno. The Uses of Enchantment: The Meaning and Importance of Fairy Tales. New York: Vintage, 1989.
The Brothers Grimm. Grimms' Fairy Tales. Trans lated by Edwardes, Marian and Taylor, Edgar.
Champaign: Project Gutenburg, 2001.
Cooper, J.C. An Illustrated Encyclopaedia of Traditional Symbols. London: Thames & Hudson, 1987.
Frances Hodgson Burnett's 1909 "The Secret Garden" is one of the best loved children's stories of all time. As with most children's stories it is based on the fairy tale motif.
No one really knows the exact origin of fairy tales, in fact they seem to have originated in that timeless realm of their subjects (Harischandra Pp). J.R.R. Tolkien describes the realm of fairy tales as "wide and deep and high and filled with many things: all manner of beasts and birds are found there ... beauty that is an enchantment ... there it is dangerous ... To ask too many questions, lest the gate should be shut and the keys be lost" (Tolkien pp). Fairy tales generally have elements of good and evil, often portrayed by evil stepmothers and fairy godmothers, and usually a fair maiden as the protagonist. Burnett modernized the fairy tale motif in "The…
Burnett, Frances Hodgson. The Secret Garden. Pp.
Harischandra, Neshantha. "Fairy Tales and the concept of femininity."
Nivedini -- A Sri Lankan Feminist Journal. June 01, 2001; Pp.
Adventures of Tom Sawyer
Maria Tatar, a professor of German at Harvard, is partial to the Tales of the Brothers Grimm, who she claims purged the collection of references to sexuality but left in "lurid portrayals of child abuse, starvation, and exposure and fastidious descriptions of cruel and unusual punishments, including cannibalism" (Showalter Pp). Says Tatar, "Giants, ogres, stepmothers, cooks, witches, and evil mothers-in-law are driven by a ravenous appetite for human fare" (Showalter Pp). Indeed fairy tales always possess the elements of evil, whether in the form of monsters, step-mothers, or sorcerers. The list of how evil is presented in fairy tales is endless. However, one thing is for certain and that is there is always a duel between good and evil within the fairy tale motif.
Mark Twain's "The Adventures of Tom Sawyer" possesses many elements of the fairy tale motif. However Stanley Brodwin sees it as an…
Twain, Mark. The Adventures of Tom Sawyer. Mass Market Paperback. 1989.
Showalter, Elaine. "The Classic Fairy Tales." New Statesman; 2/26/1999; Pp.
Bush, Harold K., Jr."Mark Twain's American Adam: humor as hope and apocalypse." Christianity and Literature; 3/22/2004; Pp.
Fairy Tales, especially old classic versions of children stories, revolve around one central theme i.e. A person must struggle against odds in order to eventually receive the coveted reward. These stories are usually simple and lucid as the target audience is not cognitively ready to grasp more complex issues and subjects. Grimm Brothers are a popular name in this connection and their many fairy tales including Cinderella and Snow White are every child's favorite. These stories are meant to provide entertainment but they also offer important moral lessons in disguise. "Despite all the criticism, fairy tales survive because of their greatest strength: the enduring lessons of life expressed in few and very simple words." (Schulte-Peevers 1996)
For this paper, I have chosen Cinderella to analyze the theme of struggle. Do fairy tales prepare young children from struggles of life? This question is indeed important and thought provoking because it…
1) "Cinderella or the Little Glass Slipper" from Cinderella, Or the Little Glass Slipper, and Other Stories: Publisher: Henry Altemus. Philadelphia. 1905
2) Andrea Schulte-Peevers, The Brothers Grimm and the Evolution of the Fairy Tale German Life; 3/31/1996;
FIRST PAGE OF THE STORY PASTED BELOW:
Cinderella; or, the Little Glass Slipper.
An intergalactic space mission from Earth tries to create a scientifically-based cooperative. The name of the ship is the Nefertiti, after the ancient Egyptian Queen. Captain Reeftart, his first mate Jane, and their enthusiastic crew first set foot on the friendly planet Stauron. The Stauronians share the Earthlings' hope for an interplanetary federation based on science. Although the Stauronian leader Glastia is skeptical, Reeftart believes that the Dirgonians will be receptive. However, Dirgon is a xenophobic, insular, and isolationist planet who, though benevolent, do not generally support measures to collectivize resources. Reeftart's optimism is tempered by Jane's pragmatism.
Faced with the potential for failure, Reeftart conspires to trick the Dirgonians into starting their own collective; he believes that if the Dirgonians believe that they initiated the idea they would feel fully in charge. Reeftart obviously knows little about Dirgon or their core culture, for when the Nefertiti arrives on…
Trace the roots of many of the traditional cannon of fairy tale - Cinderella, Snow White, Sleeping Beauty etc. - and women and children are often subdued by the establishment. Stardust's suggestion that there might be greater things inside all of us seems perfectly in line with traditional fairy tales.
If, however, you believe in more traditional gender roles and are very conservative in regards to family structure then Stardust may present a problem namely, that homosexuality is okay. To those coming from the hard right, Captain Shakespeare's effeminate behavior behind closed doors (or in the closet), and his revelation to the crew that he enjoys cross-dressing and they're subsequent reveal that they already knew, Stardust is definitely a challenge to the status quo. Even the heterosexual romance between Tristan and Yvaine pushes the limit as they are shown in bed together on more than one occasion. Magic and the…
Oberon and Titania are thus not above the common desires and petty passions that motivate all mortals -- but they know the harms that their jealousies can do, even on a cosmological level, accept that infidelity is a part of life -- and when moved use more creative ways to wage war with the opposite sex. Titiana is jealous of Hippolyta, her most obvious human parallel, given that she has also enjoyed a relationship with Theseus, but she extracts no revenge -- she simply moves on, as Oberon can love a shepherdess, a young boy, and his queen. At their most profound and insightful, the ageless fairies seem to be able to accept that beings such as themselves will have multiple passions, even though they still have the feelings of a human-like creature. This is unlike the four adolescent lovers who literally fall to blows when they suspect infidelity,…
Shakespeare, William. "A Midsummer Night's Dream." MIT Classics Page. December 11, 2008 http://shakespeare.mit.edu/midsummer /' target='_blank' REL='NOFOLLOW'>
Moral Messages in Children's Literature
I chose four children's classics: Charlotte's web (1952) by E.B. White, and other three children's fairy tales, two by Jakob and Wilhelm Grimm (Cinderella and Snow white and the seven dwarfs) and one by Charles Perrault (Sleeping Beauty). These were among my personal childhood favorites. Looking back on all four as an adult, I see many similarities, but also many differences, in these books' inherent moral messages. All have been positively reviewed (e.g., have received awards or good critical reviews, and/or have stood the test of time). Each contains many distinct moral messages, some plain, others less so. Each also deals with situations that require moral decisions.
Charlotte's web is a story about eight-year-old Fern, who, while growing up on a farm, loves and nurtures a pet pig, Wilbur. Wilbur grows up (with help from Fern and various animal friends, including a wise…
The story of Bluebeard is a famous one, although not as often retold as some of the happier stories like "Cinderella" or "Sleeping Beauty." One of the reasons for this is that the story of "Bluebird" does not end happily, nor does it allow the hearer to vicariously imagine him or herself saved from a life of poverty or despair. Fairy tales were told not only to entertain but also to instill wisdom and teach the listener important lessons about proper behavior. The concept was that if a young person, particularly a young female, emulated the behaviors of the virtuous characters in these stories, then perhaps they too would be saved from a miserable life of destitution and depression. This tale, then, is an advisory both about who you choose to marry and about the dangers of disobeying your husband. Critics have argued about what the purpose of this…
Dworkin, Andrea. "Onceuponatime: The Roles." Woman Hating. New York: Dutton. 1974.
Lurie, Alison. "Folktale Liberation." Don't Tell the Grown Ups. Little Brown. 1990. Print.
Opie, Iona and Peter. "Bluebeard." The Classic Fairy Tales. New York: Oxford UP. 1974. Print.
advert employed psycholinguistics in its aim to manipulate readers to buy the product. The 'Fairy Soap' advertisement was used and investigated for the use of concrete imagery -- a strategy of psycholinguistics. Psycholinguistics says that concrete imagery not only forges associations but also makes imagery more vivid and helps reader comprehend and faster remember words. Analysis of the advert in terms of the concrete imagery used showed that all applied. Discussion sums up result and concludes that that readers can be more readily manipulated into buying the product -- unless they were aware that they are being deliberately manipulated by people who know how to make words sound psychologically appealing.
The Concrete Appeal of Soap
None of us wish to be manipulated, but unfortunately, advertisements -- the world of marketing -- uses techniques that indiscernibly manipulates us and influences us in certain way. People tend to think that is only…
SEMIOTICS AND IDEOLOGY
Larry Percy (1982), "Psycholinguistic Guidelines For Advertising Copy," in Advances in Consumer Research Volume 09, eds. Andrew Mitchell, Advances in Consumer Research Volume 09: Association for Consumer Research, Pages: 107-111
A Pictorial History of Fairy Soap Advertising
China and the far east represent such areas and naturally they are a threat to Turkey. One ways of fighting against this threat is by encouraging the local creativity to develop and by promoting it abroad.
Another important issue that can be discussed is repr4esented by the impact of fashion upon the Turkish society. One might argue that the Turkish society is so different from the western one that it is impossible for fashion to actually have a profound social influence. This is not true. On the one hand the attack of the media is extremely intense and there is no way to prevent girls and women to come in contact with them. On the other hand, keeping them away from the media is not a solution, even if the purpose would be that of defending culture. The right way to proceed about it is to allow women to decide…
Doshi, Gaurav. "Textile and apparel industry in Turkey," in http://ezinearticles.com/?Textile-and-Apparel-Industry-in-Turkey&id=373807 accessed February 8, 2010
"Orientalism" in http://www.english.emory.edu/Bahri/Orientalism.html accessed February 9, 2010
"Orientalism and the Islamic philosophy" in http://www.muslimphilosophy.com/ip/rep/H014.htm accessed February 9, 2010
"Orientalism, media and the west" in http://blogs.nyu.edu/blogs/rem346/islammediaandthewest/2008/10/orientalism.html accessed February 7, 2010
Red Riding Hood and its variants is one of the best known fairy tales, but the different versions of a little girl's experiences while going to visit her grandmother have textual differences which serve to change the tone, if not the overall arc, of the story. However, these differences can actually help one to understand the wide range and reception of fairy tales, because even though different versions of "Little Red Riding Hood" have very obvious textual differences, they nonetheless maintain certain elements necessary to identify any particular version as a version of "Little Red Riding Hood" in general. By comparing Charles Perrault's "Little Red Riding Hood," the Grimm Brothers' "Little Red Cap," and an anonymously authored tale from Germany and Poland called "Little Red Hood," one will be able to uncover the narrative elements necessary to identify a fairy tale as a variant of "Little Red Riding Hood." In…
Aarne, Antti, and Stith Thompson. The Types of the Folktale: A Classification and Bibliography.
2. Suomalainen Tiedeakatemia, 1987.
Anonymous. "Little Red Hood." Little Red Riding Hood and other tales of Aarne-Thompson-
Uther type 333. University of Pittsburg, 2011. Web. 23 Nov 2011.
This is perhaps most notable in the punctuating words of the witch. "One midnight gone!" cries the witch at the mid-point of the first act, then sings "It's the last midnight," before she leaves the play. The return to the words and themes of the woods is the only constant of the play. This is because the play is about journeys, not about coming to some final moral conclusion. The woods, unlike the safety of the home, is unpredictable -- not even the witch knows that the spell she weaves to regain her beauty will deprive her of her magic, or that the golden floss first provided by the baker will come from her own beloved, adopted child Rapunzel.
Interestingly enough, Rapunzel is the one character who never says 'Into the Woods,' and when other characters provide often humorous reflections on what they have learned in the woods, such as…
Death of the Ball Turret Gunner by Randall Jarrell Without knowing that a ball turret is small place in a B-17, we would not understand the central metaphor analogizing the mother's womb to the ball turret, which is essential to understanding that the poem is about the contrast between the warmth of a mother's love and the cold dehumanizing treatment of the "State" where he is just another soldier.
Common Ground by Judith Cofer Before reading the poem, the title seemed quite self-explanatory, I figured the poem would be about finding common ground between people, and in a sense it is, but the message, after reading the poem, is much starker. It is more about the inescapability of aging, the common links that tie generations as the young get old and realize the commonalities they share with their parents.
Hazel Tells LaVerne by Katharyn Machan Knowing the fairy tale helps…
The wife's lie is revealed in "Bisclavet" because the inner humanity of the werewolf does shine through, albeit to another man. "This beast understands, feels like a man," says the king. (p.5) Ultimately, the king's friendship, a relationship forged in the male sphere of the hunt with Bisclavet is more meaningful and lasting than that of the marital bond, borne of a lie of concealment, first on the part of the man, then on the part of the woman. After the full truth is revealed and the werewolf becomes human again: "The king ran to hug him tight;/He kissed him a hundred times that day." (p.9) hen he learns that his friend is in fact a man, and also that the truth has set the man free, the king cannot restrain his lover-like affection. For the first time in the werewolf's life, the man has honest relationship that allows him…
De France, Marie. "Bisclavet." Translated by Judith P. Shoaf. 1991-96. [12 Oct 2006] http://web.english.ufl.edu/exemplaria/marie/bisclavret.pdf
De France, Marie. "Lanval." Translated by Judith P. Shoaf. 1991-96. [12 Oct 2006] http://web.english.ufl.edu/exemplaria/marie/lanval.pdf
Education - eading
Violence in Folk Literature
The primary question of the paper is: is there too much violence within the texts or narratives of folk literature? Before the answer is provided, another question appears after this one -- they are too violent compared to what? The question, is there too much violence in folk literature, such as in the Brothers Grimm tales, implies a comparison, but the comparison is incomplete. Are the fairy tales by the Brother Grimm violent? That is affirmative. There is often explicit violence and cruelty in these tales that are supposedly for children, but if readers of the 21st century want to evaluate or qualify the level of violence present, readers and education professionals need to provide standards and criteria by which to gauge the levels of violence. The Brothers Grimm were born into 18th century Germany. Are we comparing the violence and cultural standards…
Carnegie Mellon University. (2012) Grimm's Fairy Tales. Available from http://www.cs.cmu.edu/~spok/grimmtmp/ . 2012 June 03.
THE COURT OF APPEAL OF THE STATE OF CALIFORNIA FOURTH APPELLATE DISTRICT, DIVISION ONE
SHREK, THE OGRE )
Plaintiff and Respondent, )
) Case CJ -- 2012-1014
FAIRYTALE CREATURES and LORD FARQUAAD )
Defendant and Appellant )
STATEMENT OF FACTS
Shrek the Ogre has for a fair amount of years, owned a property near the swamps -- a place more or less undesirable by the rest of the community of the town. He has lived a quiet existence, keeping out of everyone way, and in this regard has been a model citizen. He has made the claim on the property known in no clearer terms by posting signs which indicate that the property belongs to him, and any intrusion of any sort would not be appreciated. He stresses a great deal of importance for the need of privacy and therefore prefers this seclusion.
The sudden injection of the fairy…
Gallin v. Poulou. No. 16602. California . 10th April 1956.
Halperin v. Pitts. No. A139639. Washington County Circuit Court. 19th March 2010.
Kelo v. New London. No. 545 U.S. 469. Supreme Court of the United States. 23rd June 2005.
Youngstown Sheet and Tube Co. v. Sawyer. No. U.S. 579 . United States Supreme Court . 2nd June 1952.
Hansel and Gretel
In the first paragraph, Bruno Bettleheim discusses the very real predicament of a man and woman without money who have little children to care for and little mouths to feed. He states, "Even on this surface level, the folk fairy tale conveys an important, although unpleasant, truth: poverty and deprivation do improve man's character, but rather make him more selfish, less sensitive to the sufferings of others, and thus prone to embark on evil deeds" (273). hen one is need, the instinct is to feel concern more for oneself than others, even if those others include your children or other relatives. Though parents are supposed to have a protective instinct towards their children, this instinct can be limited when the extermination of the self is imminent.
Children are complex psychological creatures. In "Hansel and Gretel," the children begin the story in a crisis. They are cognizant that…
Bettleheim, Bruno. "Hansel and Gretel." 273-80.
Formalism Meets Realism in Haunting, Childlike Badlands
Terrence Malick's 1973 film Badlands blends formalism and realism to produce a genre film (crime, American, gothic, romance) that is at once self-aware, genre-adherent, genre-breaking, realistic, cinematic, artful, and genuinely objective in its depiction of an a subjective childhood experience. The film's sound and editing contribute to the overall feel of the film, which is deliberately romantic, innocent and haunting -- as though the characters were living out a violent Peter Pan fairy-tale in the real world without realizing their own culpability. This paper will discuss Badlands from the standpoint of formalism, realism, editing and sound in order to show how Malick approaches the horrifying story of a serial-killing couple in a fresh, imaginative, sympathetic, subjective and yet amazingly objective way.
The sound of the film is guided by a score that repeatedly uses the "Gassenhauer" of Orff's Schulwerk (German for "school…
Malick, Terrence, dir. Badlands. Los Angeles: Warner Bros., 1973. Film.
These are some of the arguments that Ingraham deploys to illustrate the gender, race, and ethnic nuances of wedding advertisement and the wedding industry.
ccording to Furstenberg (2003), the problem regarding teenage childbearing is misplaced. Instead of seeking ways to limit it, one should ask why it is problematic. Shattering many of the myths of teen childbearing -- showing, for instance, that many of the mothers do go on to become productive members of society (sometimes on a footing with 'regular mother), and that these mothers ultimately acted better for themselves than had they married the person who would have, likely, ruined their lives, as well as that there is little statistical numerical difference between the numbers of white and black premarital birth, and that teenage birth was always common but only became problematic when it occurred outside marriage (starting off first with the Blacks and then progressing to Whites)…
According to Furstenberg (2003), the problem regarding teenage childbearing is misplaced. Instead of seeking ways to limit it, one should ask why it is problematic. Shattering many of the myths of teen childbearing -- showing, for instance, that many of the mothers do go on to become productive members of society (sometimes on a footing with 'regular mother), and that these mothers ultimately acted better for themselves than had they married the person who would have, likely, ruined their lives, as well as that there is little statistical numerical difference between the numbers of white and black premarital birth, and that teenage birth was always common but only became problematic when it occurred outside marriage (starting off first with the Blacks and then progressing to Whites) - Furstenberg shows that disapproval is relegated solely to America's evangelical Christian minority views. In this way, the entire issue of pre-martial teen motherhood it serves as social construction fueled by a nation's ideology, and that in basis there should be hardly any problem whatsoever. The problem, Furstenberg asserts, is not that teens are having children -- teens always did -- but that this is happening outside wedlock and this contravenes with the Evangelical (not Puritan (as popularly thought) mindset of contemporary America.
Research limitations with Furstenberg's study are that no comparative research was conducted on other cultures, and that, as he himself notes in regards to his Baltimore study, many other differences between the subjects and their former classmates should have been taken into effect. Also noticeable is the fact that whilst significant and remarkable longitudinal attention was dedicated to the cohort of Black pre-marital teenage mothers, no corresponding attention was accorded their former classmates. Interesting, too, would have been research on the contrast between children born in a non-marital nurturing marriage to those born in a conventional (stable) and unhappy marital structure.
Furstenberg's main point is that concern of pre-marital teen childbearing is misplaced; that much of the findings are erroneous; that concern of problem is a social construction, and that research should be better placed on other aspects.
In his novel Hard Times, Charles Dickens is not shy in confronting what he sees as the paramount social evils of his day, particularly when those evils come in the form of ostensibly beneficent social movements themselves. In particular, Dickens satirizes Jeremy Bentham's Utilitarianism through the characterization of Thomas Gradgrind and Josiah Bounderby as men of cold reason and hard facts, and uses the fates of the various characters to demonstrate the destructive potential of Utilitarian ethics when applied without a comprehensive, objective standard for determining good and bad. The city of Coketown represents the physical embodiment of the cruel, alien world produced by the enactment of Utilitarian policy, and contrasts with its creators expressed dedication to facts and reason. By considering the characterization of Gradgrind and Bounderby, the setting of Coketown, and the narrator's particular use of language throughout the novel alongside the philosophy of Utilitarianism as…
Bentham, Jeremy. The principles of morals and legislation. Oxford: University of Oxford Press,
Dickens, Charles. Hard Times. London: Bradbury & Evans, 1854.
SOCIOLOGICAL TERMS (Terms in Italics)
Varsity Jackets, Subcultures, and the Function of Sports in Society
In sociological terms, the varsity letter jackets worn by the students would be considered status symbols because they have specific social connotations that correspond to achievements that are valued by the group. They represent group identity in high school based on membership in sports teams. In many cases, sports teams also feature subcultures in which group norms and values are used by members of the group to maintain a degree of exclusivity to membership in their group as well; in the high school setting, these would typically be referred to as cliques.
In general, competitive sports can be viewed from the structural-functional sociological approach or from the symbolic-interaction approach. In the former, sports would be viewed primarily in connection with their functions, such as a means through which participants maintain physical fitness or pursue enjoyment;…
The plot of the fairytale of Rip Van Winkle is such that it moves from the current time in the tale, then skips twenty years ahead all crumped up in one night and back to the present time. RIP goes out into the woods and gets attracted by the spirits into their cave in the rocks where he gets drunk and passes out for the whole night. When he wakes up he finds himself not in the cave of the bearded and strange men but in the woods, in his hand a rusted gun and his Wolf dog missing, his clothes are tattered and his beards overgrown. When he returns to the village, things have changed, many buildings he knew yesterday were strange and the people in the village are all strange. It was upon enquiry and interacting with the people that he realizes he had actually…
The movie 'El Laberinto del Fauno' with 'Pan's Labyrinth' as English translation of the title directed by Del Toro revolves round the issue of the reason behind story telling. Although it is fact that in traditional fairy tales the validity and authenticity of magic and wonder is not questioned yet many characters in modern fairy tales fiction as well as movies are shown arguing that magic does not exist. Why it is so that several stories conclude at the end that magic that the character and audiences experience while going through a story either reading it or watching in the form of a film is dismisses like a dream? is it so that some characters insist to privilege truth upon lies in the fiction fairy tale and films is merely setting up the corny argument that some lies tell a greater truth than just facts?
The current essay…
Lanser, Susan S (1996). Querring Narratology. Ambiguous Discourse: Feminist Narratology & British Women Writers. Ed. Kathy Mezei. Chapel Hill: U. Of North Carolina P, 1996. 250-261. Print
Pan's Labyrinth (El Laberinto del fauno).(2006 ) Dir. Guillermo del Toro. Perf.Ivana Baquero, Sergi Lopze. New Line Home Video, 2006. DVD
Propp, Vladimir.(1968) Morphology fo the Folklore. Trans. Laurance Scott. 2nd ed. Austin: U. Texts P. Print
Shepard, Lucius. (2008). Supercalifragilisticexpialimonstrous Rev. Of Pan's Labyrinth. Dir. Guillermo Del Toro. The Magzine of Fantasy and Science Fiction. 113.1(2007): 135-140.
ob einer's 1987 film The Princess Bride enjoyed only moderate box office revenues, but developed popular underground appeal and has become a cult classic. The enduring respect for einer's quirky romantic comedy is immediately apparent: it is far from formulaic, and does not truly fit in either to the "rom com" designation or that of a fantasy. The Princess Bride also includes a cast filled with luminaries like Peter Falk, Andre the Giant, and Christopher Guest. Its cast and celebrity director therefore enhances the credibility of The Princess Bride. Ultimately, though, the script and the overall tone of the film make The Princess Bride classically compelling. William Goldman's eponymous novel, upon which the film is based, transforms seamlessly into a film that capitalizes on the clever story-within-a-story concept. Peter Falk reads The Princess Bride to his grandson, who is staying home sick from school. At first, the grandson balks at…
Berardinelli, J. (2003). The Princess Bride. Retrieved online: http://www.reelviews.net/movies/p/princess_bride.html
Ebert, R. (1987). The Princess Bride. Retrieved online: http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19871009/REVIEWS/710090301/1023
Ecroyd, C.S. (1991). Motivating students through reading aloud. The English Journal 80(6).
Henry, R. And Rossen-Knill, D.F. The Princess Bride and the parodic impulse: The seduction of Cinderella. International Journal of Humor Research 11 (1): 43 -- 64, ISSN (Online) 1613-3722, ISSN (Print) 0933-1719, DOI: 10.1515/humr.1918.104.22.168, / / 1998
In fact, he stresses that these stories should be read without any commentary about the possible unconscious content. "Fairy tales can and do serve children well, can even make an unbearable life seem worth living, as long as the child doesn't know what they mean to him psychologically" (Bettelheim 57). This destroys the story's enchantment.
More recently, different authors have returned to the earlier usage of fairy tales, or conveying a message about society perspectives. Catherine Storr, for example, emphasizes a feminist viewpoint. In "Little Polly iding Hood." Polly does not become a victim to the cunning of the male wolf. In fact, she outsmarts him and refutes the stereotype of men being smarter than women. Polly does not even live in a forest but in a city. She deceives the wolf by taking the bus or getting a ride to her grandmother's house. Finally, the story ends with the…
Bettelheim, Bruno. The Uses of Enchantment: The Meaning and Importance of Fairy Tales. New York: Vintage, 1977.
Cashdan, Sheldon. The Witch Must Die: The Hidden Meaning of Fairy Tales. New York:
Basic Books. 1999.
Dumas, Philippe. Little Navy Blue Riding Hood. In Recycling Red Riding Hood.
Yeats' "The Stolen Child"
An Analysis of the Temptation to Flee Reality in Yeats' "The Stolen Child"
Yeats' "The Stolen Child" depicts a world in which fantasy and reality are in contention with one another. The conflict is between the sense of reality (barely perceptible and inundated by a flood of dreamlike perceptions) and the flight of fantasy. A parallel might be drawn between the poem and the social problem of addiction. If the poem on one level is about a child's escape/flight from reality into fantasy, it might also be said that the poem on a deeper level is about those who suffer from addiction are unable to face reality and must fly from it. Indeed, the imagery used by the fairy narrator evokes scenes comparable to states of inebriation or drunkenness. While fear and the ominous sense of death both appear to be underlying factors in the poem,…
Legacy of Hans Christian ndersen
If you want children to be intelligent, read them fairy tales. If you want them to be more intelligent, read more fairy tales. lbert Einstein
Biographical Background- Hans Christian ndersen was a Danish author who is best known for his children's stories, many of which have become archetypes of popular culture and, in the 20th century, made into iconoclastic films, musicals, and ballets. While he was concerned about his legacy, he need not have worried for his poetry and stories have been translated into more than 150 languages and even spurred a whole generation of children's names (Bredsdorff 1975).
ndersen did not start off as an author, instead he moved at age 14 to Copenhagen to become an actor. While he had a great voice, and was accepted into the Royal Danish Theater, once his voice changed he had to find other work. fellow student…
Analysis -- Dilemmas and Dichotomies of the Artist- In the world of art, music and literature it is sometimes the truth that the genius of the artist comes before its time, and not until after the artist is dead is the work given the appreciation it is due. We can certainly see this in characters like Mozart, artists like Van Gough, and in some ways, Hans Christian Andersen. Art is difficult, it is a calling, and there are dilemmas and dichotomies that have plagued artists for years:
Art as a profession -- As much as we might want to romanticize artists, the life of the artist is usually far from luxurious. Andersen, for instance, did not support himself nor was he primarily known for his Fairy Tales until somewhat his later years, not globally until after his death (Life Timetable 2011).
Art as social norms -- For the artist, at least the inspired, there is the dichotomy of whether
Clip: Oberon and Titania 1935 (clip available on You Tube)
Foolish fairies and mortals: Multiple interpretations of Shakespeare's a Midsummer Night's Dream
Shakespeare's A Midsummer Night's Dream has been interpreted and reinterpreted many times. One of the most popular cinematic versions, directed by Max Reinhardt in 1935, depicts the play as a fantastic spectacle. The fairy king Oberon and the fairy queen Titania are shown as otherworldly beings, flitting through the air, shimmering and transparent. Oberon is manly and aggressive, while Titania is shy, retiring, and feminine in her tenderness.
However, the actual text of the play seems to belie such an interpretation. Shakespeare's words stress the humanness of the fairy characters as well as their fantastical nature. Oberon is frustrated with his inability to control Titania on their first meeting. He wants a young boy in her entourage, the child of a woman whom Titania loved. Although the fairy…
Shakespeare, William. A Midsummer Night's Dream. Shakespeare Homepage.
http://shakespeare.mit.edu/midsummer / [30 Aug 2012]
Those who watch the play make comments about how silly the play is and the play becomes more and more ridiculous, adding the parts of a Lion and Moonshine, played by two more rustics. In the play, the principle actors, Thisby and Pyramus kill themselves, as Romeo and Juliet did, then Pyramus rises to sing about his death, slumps into death, and then rises again to ask the audience if they would like to see an epilogue. Being refused an epilogue, the rustics leave and four fairies come in to dance and Puck chases them away with a broom before Oberon and Tytania appear with the other fairies, who claim they are off to bless lovers, as they themselves are in love.
The ending shows that purity and innocence win out, and that the ideal is the goal for all. Puck has the final say as he declares "all is…
Britten-Pears Foundation. A Midsummer Night's Dream, 2007. http://www.brittenpears.org/?page=britten/repertoire/opera/midsummer.html .
Karadar Classical Music. "Benjamin Britten's a Midsummer Night's Dream." Composer's BiographyComposer's Biography. http://www.karadar.com/Librettos/britten_dream.html.
Britten, Benjamin. A Midsummer Night's Dream (the recording). February 6, 1990 http://www.amazon.com/Midsummer-Nights-Dream-Britten-London/dp/B0000041WB .
With the help of Salome, she discovers Jamie's dual nature, and when he, offended by her lack of trust, leaves her, Rosamond goes after him. Her journey is the hero's quest, usually a male activity in myths and legends. It takes her through the wilderness where she suffers hardship and trials but emerges transformed, reconciled with Jamie's duality and enlightened (Carson). Rosamond's heroic journey also results not only with her achievement of knowledge, love, and happiness, but in the end she rescues the man Lockhart from his divided self and double life.
Welty's portrayal of the relationship between Salome and Rosamond reverses the typical stepmother-daughter antagonism found in fairy tales. Although Salome is hateful toward Rosamond early on in the story, she changes and becomes the girl's ally in her heroic quest. Salome gives Rosamond a recipe to remove the stain on Jamie's face so she can learn who he…
She bites the forbidden fruit and brings to life a monster who bites the heads off two of the fairies who served as her guide. Here, again, del Toro overlays fantasy with reality as Ofelia demonstrates remorse for having disobeyed and caused the death of the two fairies.
Del Toro says that it is the simplicity of the myth that makes the myth so intriguing. The director does not believe that it is necessary to reveal the source of magic, that it is enough to demonstrate the magic without explaining it that makes it magic. To explain the magic, which is what Del Toro says Hollywood has a tendency to do today; is to take the magic out of the myth, and it is the myth and the magic, the origin of which is not known to the viewer, that makes the myth so interesting.
The other simplicity…
Detenber, Benjamin H., Robert F. Simons, and Gary G. Bennett. "Roll 'Em!: The Effects of Picture Motion on Emotional Responses." Journal of Broadcasting & Electronic Media 42.1 (1998): 113+. Questia. 18 Mar. 2008
Insightful Critical esponse, Demonstrating an Understanding of the Effect of Medium on Meaning
The story of "Briar ose" uses one story to describe and relate another deeper meaning. The details of one story parallel or overshadow this hidden story now being revealed. The use of the story of a variation of "Sleeping Beauty" is retold by Gemma, a character in the novel, her own personal story is retold and given shape through the fable. She has replaced the horror of Holocaust memories with a fairy tale in the attempt to share her history with her grandchildren. The retelling is a mirror into her past an reflects an actual recorded human history. According to a writer from Britain, David Lodge, the use of the medium of the fairy tale "Sleeping Beauty" in this case, resonates to the impression or memory of her present life (Yolen, 1992).
Briar ose" tells a story…
Yolen, J. (1992). Briar rose. The Endicott Studio. Terri Windling.
But courage shown by the two is different. Irene's courage comes from her belief and faith in something higher and nobler, Curdie's courage comes from her brave heart. Irene is thus able to see the grandmother while Curdie cannot because he simply doesn't believe in something magical and bigger than what he has experienced so far. Irene on the other hand is able to demonstrate faith in grandmother's thread which is a true test of her belief in something bigger than herself. Irene is frustrated when Curdie cannot see her grandmother but she is told that Curdie was still not spiritually mature enough to believe and seeing doesn't mean believing: "Curdie is not able to believe some things. Seeing is not believing- it is only seeing." (p.227)
The story thus contains important spiritual, moral and even emotional practical messages for children. When Irene is frustrated and feels misunderstood, grandmother calms…
George MacDonald. The Princess and the Goblin. Puffin Classics. 1997
She finds herself in a strange entanglement with her husband's ex-lover, the friendly man, and the young woman who wants "to hold him fast in a re-enactment of the Old Scottish ballad that re-echoes throughout the story" (aterston, 262). However, neither one of these women is able to hold the man fast; "I can't make two women happy," he says (Munro, 103).
The whole idea of "holding someone fast" resonates in different ways throughout the story. Hazel was not able to hold her husband fast and she must come to terms with the fact that she, in some ways, abandoned him before he died -- not "striving toward him" in the past or in the present in memory (Munro, 104).
The song sang in the story is about a young man who is captured by fairies and wants more than anything to go back to human life. The young man…
Kakutani, Michiko. "Book of The Times; Alice Munro's Stories of Changes of the Heart." New York Times. August 19, 2010
Munro, Alice. Friend of My Youth. New York: Vintage; First Vintage Contemporaries
Edition Edition, 1991.
tales we know to be true. They begin with "once upon a time." They end with "happily ever after." And somewhere in between the prince rescues the damsel in distress.
Of course, this is not actually the case. Many fairytales omit these essential words. But few fairytales in the Western tradition indeed fail to have a beautiful, passive maiden rescued by a vibrant man, usually her superior in either social rank or in moral standing. Indeed, it is precisely the passivity of the women in fairy tales that has lead so many progressive parents to wonder whether their children should be exposed to them. Can any girl ever really believe that she can grow up to be president or CEO or an astronaut after five viewings of Disney's "Snow White"?
Perhaps, perhaps not. But certainly it is true that modern popular culture contains a number examples of characters and stories…
Bacchilega, C. (1997). Postmodern Fairytales: Gender and Narrative Strategies. Philadelphia: University of Pennsylvania.
Rohrich, L. (1970). Folktales and Reality. Bloomington, IN: Indiana University.
Waddell, Terrie. "Revelling in Dis-Play: The Grotesque in Absolutely Fabulous" in Seriously Weird: Papers on the Grotesque, Alice Mills, ed. New York: Peter Lang, 1999 (207-223).
Tales and Nursery hymes
Children's rhymes and fairy tales serve as a fun and interesting way to teach children moral lessons At least, that's the modern interpretation of what nursery rhymes and fairy tales are meant for. The history of nursery rhymes and fairy tales is a lot darker than their modern use suggests. They are filled with violence and abuse. These relics of the middle ages and renaissance are filled with references to death, plague, and in some cases, even torture. This paper will take a look at several nursery rhymes and classic fairy tales and evaluate their hidden meaning.
A beloved children's nursery rhyme is the old woman who lived in a shoe. The first image that comes into one's head when this rhyme is mentioned is that of a kind old lady chasing after her myriad of children. But closer analysis of the rhymes reveals something more…
Alchin Linda. (2009). Nursery Rhymes lyrics, origins and history. Retrieved 04 February 2014 from http://www.rhymes.org.uk/index.htm
Davies, P., Lee, L., Fox, A., & Fox, E. (2004). Could nursery rhymes cause violent behaviour? A comparison with television viewing. Archives of Disease in Childhood. 89(12), 1103-1105.
" Creating this intermediary set of characters is one of the main techniques Shakespeare uses to confound appearance and reality in a Midsummer Night's Dream.
Act II reveals yet another layer of Shakespeare's reality in a Midsummer Night's Dream. In Act II, the central human drama is shifted from the realistic and familiar world of Athenian reality to the world of the woods in which fairies dwell. Even the fairies allude to yet another layer of reality, when Puck recalls the story of Oberon and Titania fighting over the Indian prince: "Oberon is passing fell and wrath, / Because that she as her attendant hath / a lovely boy, stolen from an Indian king," (Act II, scene i). Moreover, it is soon revealed that the alternative forest reality is filled with different laws of physics than the familiar worlds. Shakespeare shows that these two worlds are well-integrated and blend seamlessly…
Shakespeare, William. A Midsummer Night's Dream. Retrieved online: http://shakespeare.mit.edu/midsummer /' target='_blank' REL='NOFOLLOW'>
Theseus reminds Hermia that the person she is, with her beauty as an asset that is so appreciated by Lysander, is because she is the product of her father. She is "but as a form in wax (Shakespeare online), a reproduction of her father, "By him imprinted within his power (Shakespeare online).
Johnnie Patricia Mobley resolves the conflict between the characters of Hermia and Helena (on whose behalf Oberon intercedes with his good intentions of administering the magic potion). Hermia and Lysander do this by sharing with Helena their plan to run away beyond the authority of Hermia's father so that they can be together (Mobley 16). This is Shakespeare's way of addressing the love triangle, which must have often come up in the lives of people whose marriages were arranged. It also looks at the solution for Hermia and Lysander, and Oberon's intervention gives the audience, and Hermia, time…
Kehler, D. A Midsummer Night's Dream: Critical Essays, Routledge (1998), London,
Mobley, J.P. A Midsummer Night's Dream: A Facing Pages Translation Into
Contemporary English, Lorenz Educational Publishing (2000), Chicago, Il.
However, Conan was not ignoble. The Fianna mocked Conan, thrusting him into a battle as a joke. The joke seemed to have backfired, as Conan "won the victory by a trick," meaning he waited until his opponent turned around to chop his head off (Rolleston 260). In spite of his cowardly behavior, Conan fits the profile of the Fianna better than mac Luga did. Conan the Bald nevertheless fails to live up to the inherently strong and valorous nature deserving of membership in the Fianna.
Keelta seems an admirable Fianna, even though Keelta converted to Christianity after meeting Saint Patrick. Keelta came to the rescue of the Fairy Folk and was wounded in the process. His bravery and courage earns him deep respect not just among the Fianna but also among the Fairy Folk. Keelta, like all true Fianna, stuck to his word. For example, the Fairy Folk offer Keelta…
Rolleston, T.W. Celtic Myths and Legends. Courier Dover Publications, 1990.
In both stories, Peter has an air of childish innocence and enthusiasm about him, and a bit of an ego, as well. He is rarely sad, and he learns how to make his own entertainment and fun, but he is lonely, and wishes he could play with other boys and girls in the first book. In both books, he ends up alone, although Mamie does bring him gifts until she grows up, and Wendy does come back for "spring cleaning," at least for a few years. In this, Peter is really a sad character, because he cannot give up his desire to always be a boy and have fun no matter what happens, and so, he is his own worst enemy. Never growing up means that he will always be alone, which is a sad way to go through life. In the play, Peter really becomes a "Betwixt and Between,"…
Barrie, J.M. Peter Pan: Or the Boy Who Would Not Grow Up. New York: Charles Scribner's Sons, 1928.
Barrie, J.M. The Little White Bird. New York: Scribner, 1913.
Birkin, Andrew. "Introduction." JMBarrie.co.uk. 2007. 15 April 2008. http://www.jmbarrie.co.uk/index.html
Editors. "J.M. Barrie." Kirjasto.sci.fi. 2002. 15 April 2008. http://www.kirjasto.sci.fi/jmbarrie.htm
As Connie grows more frightened of Arnold's escalating threats, she eventually allows her own imagination to run wild, to the point where she can neither think clearly anymore, nor even manage to use her own telephone to call the police.
The fright-inspiring actions of the fearsome Arnold, are foreshadowed early on, when he warns Connie, the night before, after first noticing her outside a drive-in restaurant: "Gonna get you, baby" (p. 2279). From then on, Arnold's quest to "get" Connie feels, to Connie and the reader, in its dangerous intensity, much like the predatory evilness of malevolent fairy tale characters, e.g., the ig ad Wolf, or the evil stepmothers (and/or stepsisters) that fix on Snow White, Sleeping eauty, Cinderella, and other innocent young female characters as prey.
The shaggy-haired man who drives "a jalopy painted gold" (p. 2279) first notices Connie at a "drive-in restaurant where older kids hung out"…
Bender, Eileen T. "Joyce Carol Oates, b. 1938." Retrieved November 16, 2006, at http://www.georgetown.edu/faculty/bassr/heath/syllabuild/iguide/oates.html .
Celestial Timepiece: A Joyce Carol Oates Home Page. Retrieved November 16, 2006, from: http://www.usfca.edu/facstaff/southerr/wagner.html#preface html>.
Friedan, Betty. The Second Stage. New York: Summit, 1981. 341.
Gilbert, Sandra M., and Susan Gubar. "Joyce Carol Oates 1938-." The Norton
Supernatural in Renaissance Drama
There are things in heaven and earth, not dreamt of in the philosophy of Horatio, not simply in "Hamlet" but also in the "Midsummer's Night Dream" of Shakespeare, and the "Dr. Faustus" of Christopher Marlowe. But while all of these plays deal with the theme of human aspirations in a world with a permeable, rather than an impermeable wall between humanity and the supernatural, "Dr. Faustus" suggests that breaking down this wall is initially fun and playful, although it has dire consequences at the end for the play's protagonist. Marlowe's cartoon characters and images of conventional morality, combined with heightened language convey humor rather than horror, until Faustus is condemned to hell for all eternity. The even lighter "Midsummer's Night Dream" also suggests in its early language an initial playfulness for the human and supernatural lovers who engage in transgressing sensual activities. But this comedy set…
Marlowe, Christopher. "Dr. Faustus." Text B. Edited by Hilary Binder. Tufts Classics Edition online. Last updated 2003. Retrieved from Perseus. Database at 8 December 2004 at http://www.perseus.tufts.edu/cgi-bin/ptext?doc=Perseus%3Atext%3A1999.03.0011& ; layout=norm%3Dreg& query=act%3D%235
Shakespeare, William. "A Midsummer's Night's Dream." MIT Complete Shakespeare. Retrieved 8 Dec 2004 at http://www-tech.mit.edu
Shakespeare, William. "A Midsummer's Night's Dream." MIT Complete Shakespeare. Retrieved 8 Dec 2004 at
A Midsummer Night's Dream is a piece of literature that incorporates the use of various writing styles for various characters. Some of these writing styles include prose and complex form of poetry. While prose enables Bottom and his friends to have a simple, rustic quality, the complex form of poetry presents a superb beauty and magic of the fairy kingdom. The audience laughs at the take of mistaken identity and frustrated love in which lovers change their object of love while believing their feelings are totally sincere. Based on the three themes presented in the play, a Midsummer Night's Dream provokes certain profound and difficult questions.
Davis, H.K., Ellis, W.G. & eed, a.J.S. (n.d.). A Teacher's Guide to the Signet Classic Edition
of William Shakespeare's a Midsummer Night's Dream. etrieved June 12, 2013, from http://www.us.penguingroup.com/static/pdf/teachersguides/midsummer.pdf
Loutro, G. & Shurin, a. (1985). William Shakespeare's a Midsummer Night's Dream.
Davis, H.K., Ellis, W.G. & Reed, a.J.S. (n.d.). A Teacher's Guide to the Signet Classic Edition
of William Shakespeare's a Midsummer Night's Dream. Retrieved June 12, 2013, from http://www.us.penguingroup.com/static/pdf/teachersguides/midsummer.pdf
Loutro, G. & Shurin, a. (1985). William Shakespeare's a Midsummer Night's Dream.
Hauppauge, NY: Barron's Educational Series, Inc.
Yeh-Shen: A Cinderella story from China (Louie, 1982); (Carr, 2012); (Snuggs, 2007).
Chinye: A West African folk tale (Onyefulu & Safarewicz, 1994); (Nigeriaworld, 2012); (Snuggs, 2007),
The Korean Cinderella (Climo, 1993); (Shapiro, 1993); (Snuggs, 2007).
Tattercoats: An old English tale (Webster Steel, 1976); (Advameg, 2012); (Snuggs, 2007).
The rough-face girl (Martin, 1992); (Native Languages of the Americas, 2011); (Snuggs, 2007).
Names of Cinderellas
"In the dim past," according to first publication in 850-860 AD
"Long ago," according to the book published in 1994.
"Long ago," according to the 1993 book.
"…there once dwelt"
"Once, long ago" according to the 1992 book.
"Treated roughly and not allowed to go to the springtime festival to choose her marriage partner."
"Chinye must run a dangerous errand through the forest…
Theseus and Hippolyta are two characters from ancient Greek legends and their presence in the play A Midsummer Night’s Dream by William Shakespeare serves to ground the action of the play in a certain time and place in history—or at least in myth, as Forey, Panoksky and Saxl show. The myth aspect of these two characters also allows Shakespeare to play up the other myth quality of the play—that is, the woodland spirits and fairies who lead the four Athenian youths into so much trouble as they seek to engage in wooing and romance. Theseus and Hippolyta may not be very active in the play, but they certainly do provide the comedy with sufficient backdrop to give it a playful, mythological, fun-filled dynamism that brings the action full-circle and caps it off with a few pleasant reminders for newlyweds (which is what Theseus and Hippolyta are at the end of…
This is a well planned and conceived event, invitations, limousines for transportation of guests to the hanging tree and all the necessary accoutrement's including drinks (Some of Us). It becomes ghoulish and obscene when one reflects that these people are Colby's friends! hat could he have possibly done to deserve such animosity from his own friends? One is left to dangle precariously since no answer to that question is revealed. But the narrator does point out that no one ever went too far again.
The most egregious part of the discussion occurs in contemplating whether rope or wire should be used for the hanging. One friend who has been quiet all along suddenly advocates the wire. A wire? Surely not, Colby would assuredly suffer to excess by choking and likely decapitation. His friends cannot be serious and Colby's luck at last wins him some solace as he is granted a…
Agresta, Michael "City of Surfaces" The Texas Observer, Mar 5, 2010 Web. 19 July 2010.
Barthelme, Donald. "A City of Churches" Web.
Barthelme, Donald. "Some of Us Have Been Threatening Our Friend Colby." Web.
And it was rightly found in a life form which we encounter daily in our real lives- insects. ightly, insects possess the shape, form as also the texture that aligns perfectly within the realm of computer technology and the restricted movement was also not a vital challenge to the evolving medium of animation. This started with "A Bug's Life." From then onwards, the Pixar Studio has gone even more into the details of character design which were not believed to be possible till that period, like fantasy monster, fishes and cartoon superheroes. Like the 2D animation prior to that, 3D is yet to defeat the human form in any means in which the characters are able to act in a natural manner and no look like models made of plastic or wooden sculptures in the absence of the life form inside them. (White, 33)
The initial stage of…
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