Classic Story Research Articles

The Internal Market: An Historical Perspective

This chapter is an historical perspective on the internal market. It is a challenging enterprise. To distil a narrative flow from 60 years of development necessitates discretion and choice, the very exercise of which perforce shapes the ensuing story. There are doubtless multiple stories that could be told. I have ‘form’ in this respect, having already had one shot at this twenty years ago, when I articulated a relatively straightforward linear trajectory. This chapter is not, however, an updated version of that penned earlier. It is a different view of the cathedral, which is more accurately regarded as historical-conceptual. The narrative consists of three distinct, albeit related, parts. The first part is concerned with negative integration and the four freedoms, and is dealt with in sections II-VI. The analysis begins by setting out the conceptual frame that is used to explore the four freedoms. It draws on Robert Schutze’s three models of integration, the international, the federal and the national, as the lens through which to view the development of the law in the respective areas. It will be argued that the contours of the internal market have been shaped principally by the interplay between the international and federal models; that the balance between the two is not identical across all four freedoms; and that there are interesting differences in the meaning of discrimination and market impediment that underpin the two models when applied in relation to the four freedoms. The focus in the second part of the chapter switches to positive integration and harmonization, which is examined in sections VII-IX. It begins by setting out the classic story of positive integration, which has a Treaty dimension, a legislative dimension and a judicial dimension. There is much in this that withstands scrutiny. It will, nonetheless, be argued that the received wisdom concerning the critique of Article 114 is misplaced in certain respects, when analysed from a constitutional, interpretive and political perspective. It will also be argued that there is excessive concentration on Article 114 TFEU when considering positive integration in the EU. The internal market has been advanced by many regulations and directives enacted pursuant to other Treaty provisions. Some entail harmonization, others do not. It should not, however, be assumed that harmonizing measures are necessarily more efficacious, or more limiting of Member State autonomy, than other legislative provisions designed to advance the internal market. There is, as will be seen, no a priori reason why this should be so. The final part of the chapter considers the tension between the economic and the social in the internal market, which is addressed in section X. The nature of the tension is set out, including the implications for the EU legal order. This is followed by discussion of the ways in which the tension is alleviated, albeit not cured. The factors that are salient in this regard are constitutional architecture, Treaty amendment, judicial interpretation, and the changing conception of the internal market.

Diferencias y similitudes entre películas de princesas Disney y sus orígenes literarios

La productora Disney toma como referencias los cuentos clásicos de los hermanos Grimm y de Charles Perrault, reinventando sus historias y adaptándolas a sus pretensiones como compañía de cine moralizadora que pretende americanizar a la población mundial consumidora de sus productos. Por ello, se analiza de un modo cualitativo a través de un estudio comparativo las similitudes y diferencias de Blancanieves, Cenicienta y Aurora con respecto a la película de animación y el libro en el cual está basada; partiendo de un posicionamiento feminista. Concretamente, la atención se centra en las variables de estudio sobre la belleza occidental, la imposición de la estructura familiar nuclear, los principios del amor romántico, la estructura social de clases de corte estamental y la imposición del dogma cristiano. Consecuentemente, se manifiesta el mensaje originario y de qué manera se modifica a través de una productora de animación.

Words that speak well to pains

Cross-cultural consultation often uses metaphors. These promote narration, facilitate the therapeutic alliance, and allow psychic elaborations that release our patients' pains. The terms and conditions of their use, as well as their purposes, are more and more determined. They draw from imagination and therapists' lived experiences, in classical stories, in tales and fables from various cultures. This gives them real therapeutic potential, which must be learned to use.

COMICAL IN V. FOKIN’S TRANSLATION OF “RUSLAN AND LUDMILLA”

In the late XVIII – early XIX ct. in the Russian empire appeared several poems that used the literary and folklore sources in the humorous way. Some of them become classics, and helped to define the development of the later literary tradition. In Ukrainian literature we see I. Kotlyarevskiy’s “The Aeneid”, that is much more than another travesty of Virgil’s poem. This text became an encyclopedia of Ukrainian culture, and even its “lower registers” paradoxally creates the feeling of the sublime. Russian classical text was “Ruslan an Ludmilla” by A. Pushkin that is much more lyrical (as opposite to epic) and intimate in nature, and where the comical element is mostly seen in the narrator’s gentle humor. The existing Ukrainian translations of the poem are talented, but lacking in some special feeling of naturalness. To achieve the effect of the spontaneity, V. Fokin decided to create not a word-by-word translation, but a retelling, using the authentic material of Ukrainian language and tradition. In this, the heritage of Kotlyarevskiy, especially, his specific comical touch, was of much help. Generally, the new Ukrainian text of “Ruslan and Ludmilla” is a successful retelling of the classical story for the new audience, and a proof that Ukrainian language is much richer and subtler than it is sometimes thought.

SEXUALITY CONSTRUCTION IN CINDERELLA STORY: ASH NOVEL

ABSTRACT
 Recently, there has been a huge increase of sexuality construction studies in literature field including in Young Adult genre. Ash novel is one of young adult genre retelling the classic fairy tale story of Cinderella with the gendering plot twist of the main female character. Instead of construct the main characters to heterosexual, Malinda Lo deconstructs her gender and sexual identity. The aim of this research will focuses on investigating the relationship between the elements of psychosexual development and sexuality construction in the narratives that change the main character’s gender and sexual identity. This research are using 5 stages of development theory by Sigmund Freud and performativity theory by Judith Butler. To analyze the narratives, this research is using deconstruction theory by Jaques Derrida as methodology approach. The gendering process and sexuality construction to lesbian appears in several events that bring the main character questioning the masculine role and construct her identity by the dominant stepmother.
 Keywords: Sexuality Construction; Cinderella; Young - Adult Literature; Lesbian; Psychosexual Development; Performativity, Deconstruction.

Сучасні тенденції розвитку сторітеллінгу у цифровому маркетингу

Сучасні тенденції розвитку сторітеллінгу у цифровому маркетингу

Pride and Prejudice (radio broadcast)

<i>Pride and Prejudice</i> (radio broadcast)

Batman and the Joker analyzed following Derrida and Bajtín

The author applies Derrida’s textual approach to the comic gender in connectionto film language. To do the analysis are taken into account the comicsThe Killing Joke (Allan Moore, 1988), and Arkham Asylum: A serious houseon a serious Earth (Grant Morrison, 1989), as well as the movie The DarkKnight (Christopher Nolan, 2009). A complementary reading from the visionof Bajtín (2003) lets extrapolate the notion of Joker as heir of the Rabelesquetradition, developed by François Rabelais in his classic stories Gargantua(1534) and Pantagruel (1532).

Penggunaan Model Pembelajaran Paired Storytelling untuk Meningkatkan Keterampilan Menceritakan Kembali pada Peserta Didik Kelas II Sekolah Dasar

&lt;em&gt;The purpose of the research is to increase story retelling skill through Paired Stoytelling model in the second grade student of SD Negeri Soropadan. The research was conducted by using Classroom Action Research in three cycles. Each cycle consisted of four steps; plannnig, implementing, observing, and reflecting. The techniques for collecting data were interview, observation, test, and documentation. The techniques for analyse data were comparative, descriptive, and critical analysis. The results of pre test showed that the average classical students’s story retelling skill reached only 54,44 and reached 18,5% classical completeness. In the first cycle, the average value of classical story retelling skill was 62,31 and reached 44,4% classical completeness. In the second cycle, the average value of classical retelling skill was 69,21 on and the classical completeness was 66,7%. In the third cycle, the average value of classical story retelling skill was 73,21 and the classical completeness reached 82,1%. The conclusion based on the results above was the implementation of Paired Storytelling model can increase story retelling skills in the second grade student of SD Negeri Soropadan on the academic year of 2019/2020.&lt;/em&gt;

Fairy tales between transformation and repetition: How audiences rethink the big romantic myth through Disney princess stories

One of the ways in which culture becomes enriched is through reconsideration and reinterpretation of well-known stories, and classic fairy tales provide promising material for investigation of the nature of this complex process. The Walt Disney Company is among the most powerful tellers of classic tales, its line of princess animations being an example of simultaneous development and preservation of the fairy-tale phenomenon in a changing cultural context.&#x0D; We analyse the dialogue among classic and modern princess stories and the discussions that these stories give rise to in English-language academic criticism and English-based participatory culture. We focus on the interaction among authors, texts and readers, showing how traditional tales balance between mythological and nonmythological consciousness, between innovative and canonical art.&#x0D; The diversity of fans’ practices may be seen as a key to possible explanation of why fairy tales exist in culture as a complex, constantly growing web, not as a limited number of selected final versions. Amateur authors demonstrate their interest in the mythopoetics of classic fairy tale plots. They are attracted by the old romantic myth that stands behind princess stories, participate in the creation of the romantic antimyth that is supported by the professional critics, and expect the appearance of new modern myths that might be generated by the new productions of Disney. New fairy tales appear, but this does not result in the disappearance of the old ones. Not only the interests towards the plots themselves, but also discussions and conflict around classic stories keep them topical for contemporary heterogeneous audiences.

Feel the love

Sam McBratney's Guess How Much I Love You is a simple, classic story that provides a safe space for children to explore their feelings and their place in the world. Support them to think about ways to express how they feel.

Tribunas de tiranos: llamada a la soberanía civil en Antígona de David Gaitán y Herodes hoy de Richard Viqueira

There are many adaptations of classical texts in Mexico’s contemporary theater. David Gaitán’s Antígona (2015) and Richard Viqueira’s Herodes hoy (2017) revise classical stories of authoritarianism and injustice while placing them in a similar format to that of public trials or the agón in ancient Greek drama. These plays mirror Mexicans’ frustration with countless cases of human rights violations and impunity in the country. Theater critic Jorge Dubatti’s theory of a “politics of difference” helps us analyze Gaitán’s and Viqueira’s dramatic pieces to show how these “territorialize” their source text. Although the tragic outcomes of the well-known stories persist, the playwrights include rebel acts that invite their audience to imagine the restoration of civil sovereignty. On the other hand, Creon’s and Herod’s megalomaniacal personalities overshadow the defendants’ verdicts, reminding spectators of Slavoj Žižek’s warning about a relapse in public morals provoked by the Trump era. The plays’ court proceedings expose the politicians’ real intentions, evoking actions in today’s world by current (inter)national leaders. Paradoxically, Antígona and Herodes hoy show how tyrants, with the alleged support of reason and oratory, manage to earn spectators’ sympathy.

Moral Early Education – The Pedagogy of Classic Stories

This paper reflects on the moral education at preschool age, focusing on the particularities of teaching moral and social values very early. It starts by rendering problematic the social and moral dimensions of education nowadays in a volatile context in which ideals and values need to be redefined. Learning and teaching are considered in relation to age characteristics and purposes of education. It draws on the ideas of Maria Montessori on the absorbent mind and on the discipline and independence issues. The reflective process has its starting point in two research studies conducted with two groups of preschool children which aimed at investigating the preferences for modern or classic stories, the characters children are fond of and the reasons for their attachment. Surprising results determined us to reflect again on how children learn personal, social and moral ways of being and behaving, on the way traditional and alternative education address this area, and finally on the reasons classic stories are regarded as highly effective on teaching moral and social values to very young learners. It concludes that in order to accept and follow moral rules children need to understand them first. Classic stories offer teachers/parents/educators the chance to present these in an attractive manner, without being scholastic or dogmatic. Characteristics of the stories make them respond to children’s psychological needs, turn into effective tools for moral education and tranced time.

Local Authority of Bugis Oral Literary “Caritana Andi Sessu” and its Emforcement in the Perspective of Character Education

Literary learning is a series of learning that integrated with the teaching of Indonesian and it was taught at all educational levels. The common problem is the lack of learning materials related to literature in the form of stories which are the local wisdom of local students, especially in Wajo Regency. Whereas the existence of these folklore in the community has always existed which incarnated into various forms of oral literature such as Folk song. This study is a qualitative research with data that is the focus of research is the classic Bugis story (literature) contained in the singing of the Buginese people's Pakkacapi. The objective and urgency of the research in this study is the existence of Pakkacapi which has very rarely made the existence of a classic Bugis story contained in it also endangered. Data collection techniques used are interview and documentation techniques as well as data analysis techniques by doing repeated readings that focus full attention on the elements that provide an overview of the local wisdom of the Bugis community contained in the text. The results of this study are (1) Bugis song “Ceritana Andi Sessu” contains forms of local wisdom in it even though there is an implied directly depicted and some are not directly described. (2) The elements of local wisdom basically have accommodated and become part of the values of character education (3) The values of local wisdom in the story of Andi Sessu are in accordance with or relevant to the values of religious character education, honest, loving the motherland, responsible, democratic, nationalism, respect for achievement, and social care. (4). The application of "Andi Sessu's story " as a literary learning material in schools can only be applied at the Middle School and Senior High School levels with the assistance of teachers at the Junior High School level.

La transversalidad del color y su papel comunicador en las imágenes visuales, de la literatura a la imagen actual del cuento clásico Blancanieves.

Este artículo se enfoca en el análisis de la transversalidad como elemento característico en el uso del color como signo-plástico en las imágenes visuales; permitiendo una narrativa más completa en las diferentes versiones y usos del color de un mismo tema. Para lograr este objetivo se utilizará como referente el cuento clásico de Blancanieves, mostrando los diferentes usos del color en el cuento y la transversalidad en ellos. Este análisis hace parte de la investigación “El color como medio narrativo en la ilustración de cuentos clásicos: Blancanieves y Alicia en el país de las maravillas”, donde se trabaja el color como signo-plástico y por lo tanto con valor narrativo dentro de las imágenes visuales, que tiene como objetivo poder identificar las características y rasgos del color que permiten una narrativa visual. Para poder profundizar sobre el tema, uno de los puntos trabajados se centra en la transversalidad del color; del texto a la imagen, donde se pretende establecer si hay relación entre el uso del color en los escritos de los cuentos clásicos y el uso del color como signo - plástico en las imágenes resultantes de los mismos. Este análisis se realizó por medio del diálogo con diferentes autores del medio y análisis bibliográfico, que dieron como resultado final la propuesta de la existencia de la transversalidad del color como una de las características que determina el carácter narrativo del color en las imágenes visuales. Pudiendo ser esta la base para profundizar en el análisis y uso del color como signo-plástico y, por lo tanto, ente narrativo en las artes visuales.

Antipodean Antiquities: Classical Receptions Down Under ed. by Marguerite Johnson

Reviewed by: Antipodean Antiquities: Classical Receptions Down Under ed. by Marguerite Johnson Phillip Zapkin Antipodean Antiquities: Classical Receptions Down Under. Edited by Marguerite Johnson. Bloomsbury Studies in Classical Reception. London, UK: Bloomsbury, 2019. Pp. xi + 293. Hardback, $102.60, eBook, $82.08. ISBN 978-1-350-02123-5. Marguerite Johnson’s edited collection Antipodean Antiquities makes a fantastic contribution to the expanding field of Classics and colonialism or post- colonialism. The authors take various approaches to the role, influence and engagement with Classics in Australian and New Zealand (ANZ) culture—including (among other things) early colonial comparisons with mythical [End Page 124] landscapes, paintings commemorating ANZAC service at Gallipoli, young adult novels reimagining Classical stories and contemporary films/television shot in New Zealand. The volume provides a solid foundation for further focus on Classical reception in Australasia, which has received comparatively little critical attention until recently. As with most Classical reception studies, this book takes a complex approach to the cultural work done by ANZ authors and artists as they deploy Classics. Many of the essays address how Australian and New Zealand values like independence, individuality and freedom intersect with Classical texts, often seen as representing conservative European traditions. For instance, Anne Rogerson argues that Sulari Gentill’s young adult Hero Trilogy “encourages a very Antipodean scepticism towards authority and political leaders” as mythical leaders/heroes are exposed as petty, selfish, and violent (167). At the same time, in Australia and New Zealand’s attempts to define their own cultural places distinct from their British roots, Europe has provided a strong foundation for Antipodean artists to try and engage their world. This was especially true in the early days of Australian colonialism, as Johnson and Rachel White’s essays show. Johnson examines depictions equating Aboriginal peoples with mythical figures, and White follows a pattern of references to Hades in convict descriptions of their prisons. Seeking inspiration from European Classics remains an important aspect of Antipodean reception, as Hannah Parry’s essay about Peter Jackson’s NZ-filmed Lord of the Rings Trilogy shows. Parry argues that “in adapting a text partly influenced by classical epic into an epic of a different kind, the filmmakers engage in an act of Classical Reception, adapting classical themes and motifs for a new audience and a new medium” (224). These concerns about how ANZ artists navigate their relationship with Classical culture and with their British colonial history are central to Antipodean Antiquities; Johnson describes this navigation as “the dual process at the core of Antipodean Classical Reception Studies: the symbiotic action of a subject nation’s gaze ‘upwards’ in mimetic response to the imperial gaze ‘downwards’” (2). The book is organized primarily by genres: Part II is on theatre, Part III on NZ poetry, then fiction, painting and printing, and finally Part XI is about film. Part I, composed of Johnson’s and White’s essays, looks at the earliest classical references from Australia. For those with a particular generic focus, this makes the book extremely easy to navigate, which is a major benefit. However, across these different genre-focused sections, particular themes recur, giving the book an overall unity. For example, several of the authors utilize feminist analysis (Jane Montgomery Griffiths, Anna Jackson, Elizabeth Hale, Leanne Glass, etc.) and [End Page 125] several focus on YA literature (Hale, Babette Pütz, Rogerson, etc.). One weakness of the collection—as Johnson acknowledges in the introduction (4)—is the lack of indigenous voices, either Australian Aboriginal, Maori or from the broader Polynesian community. The only text created by an indigenous person discussed closely in the book is Wesley Enoch’s Black Medea, analyzed by Michael Ewans and Johnson, and there are no essays by indigenous authors. Despite the notable lack of Maori and Aboriginal voices, the collection does include multiple essays focused on or referencing issues of indigenous rights or multiculturalism (Johnson, Ewans and Johnson, Ika Willis, etc.). The range of essays taking up various thematic concerns shows the dynamic engagement of ANZ artists and writers with Classical materials in different times, and for different contexts and purposes. Given its wide temporal, geographic, generic, thematic and theoretical scopes, Antipodean Antiquities is an excellent...

Contamination of the genre of the classic story in “women’s prose”

Contamination of the genre of the classic story in “women’s prose”

Mudaram as Princesas?

Neste artigo discutimos as ressignificações das Princesas Disney em sites de redes sociais, em que perfis são criados de acordo com interesses diversos. O ponto de partida é o imaginário do feminino surgido nos contos clássicos do século XIX (Grimm, Andersen, La Fontaine, Perrault e Lewis Carroll) e originalmente não escritos para o universo infantil, mas metamorfoseados pela indústria da fantasia na forma de uma diversidade de produtos. O debate tem origem na mudança ainda lenta percebida no perfil das princesas nos últimos dez anos: de jovens indefesas, sonhadoras e esperando pelo príncipe encantado a pequenas heroínas idealistas que lutam por uma causa. O objetivo é explorar essas ressignificações, tomando como base perfis de princesas no Facebook, com o intuito de analisar os elementos constituintes em busca de sinalizadores da representação da identidade feminina na contemporaneidade.

The Analysis of the Soundtrack to Baz Luhrmen’s Romeo and Juliet

Ian Inglis states in his book Popular music and film that music is the primary instrument for emotional direction in film. The soundtrack to Baz Lurhmen&amp;rsquo;s Romeo and Juliet includes a spectrum of genres including classical to popular music. The music used in the film both enhanced each scene as well as attract a wider audience. Through this, Luhrmen is able to re-reveal this classic story through a different medium. It is through the direction of the film which includes the music, visuals and plot thatjuxtaposesthe original dialogue that Lurhmen chooses to keep in film. This allows the audience to understand the film better as there are visual and musical cues. This medium also attracts a wider audience and makes the story more accessible and understandable. The objective of this article is to examine the effectiveness of popular music that is used in the film and how it helpsto enhance the storyline as well as make it more accessible to a wider audience.

Ethics in Classical and Contemporary Children’s Short Stories

Children short stories are one way among other literature studies to educate children about moral values and social life around them. In order to be able to socialize with other people, one of the important moral values that an individual must have is ethics. Most of children short stories, both classical and contemporary, are trying to present ethics as the main theme. This paper explores the way ethics is being conveyed in classical and contemporary children short stories. This paper uses Narrative Inquiry of Qualitative Method. This method is used to explore the background of the stories and authors with diverse culture as it is shown through the stories. There are 6 children short stories being analyzed. Three stories are classical, and the other three are contemporary. This paper also shows the results of comparison of ethic in classical and contemporary children short stories.