Snow White Research Articles

Desde los cuentos tradicionales hacia la escritura creativa 2.0. Propuesta didáctica

<p>Érase una vez... cuando los cuentos no eran siempre felices sino en ocasiones llenos de violencia y de se-xualidad. En este artículo se profundiza en esos cuentos antiguos para aprender sus orígenes (incluso antes de las versiones de Perrault y Grimm) y utilizarlos en educación Primaria y Secundaria, también para adolescentes y adultos mediante la escritura creativa digital. Se empieza con tres de los cuentos tradicionales más conocidos: Caperucita Roja, Blancanieves y El soldadito de plomo. Los resultados de la investigación incluyen estrategias didácticas que implican a los estudiantes de una forma activa en el proceso de aprendizaje a través de la escritura creativa 2.0 a partir de cuentos tradicionales.</p>

The Visible Aspect of Things: Towards a Synchronic Reading of Donald Barthelme1

This essay seeks to address a distinct lacuna in criticism regarding the American author Donald Barthelme, one comprised of two dimensions. First, there is a scarcity of analysis of fragments in works apart from Snow White. Second, almost no attention has been paid to the formal intricacies of Barthelme’s fragments, nor to why their visible aspects might be significant. Arguing that Barthelme is an unusually visually-minded writer, this essay examines the use of fragments in a range of his short stories. A Saussurean framework is used to argue that Barthelme’s writing demands we shift the act of reading away from its diachronic conventions and towards a synchronic approach. I analyze such apparently unremarkable textual aspects as dashes, hyphens, and lists, showing that they are used by Barthelme in a way that demands a visual mode of reading. In questioning the significance of causality, this mode of reading has wider implications insofar as it challenges the typical view that the short story should be approached as a form that is driven by narrative.

Transformacje wzorców baśniowych w literaturze dziecięcej obecnej na współczesnym rynku wydawniczym

Transformation of fairy tales patterns in children’s literature available on the contemporary publishing marketWhat the contemporary publishing market offers the youngest readers are texts that make various forms of fairy tale characters — a strongly representative group among them consists of texts that are transformations of fairy tale patterns that are deeply rooted in the mass imaginations including children’s imagination, which promote a new version of a well-known story: fairy tale renarrations. Such texts not only constitute evidence of changes in the fairy tale genre, but also prove the continuous updates on fairy tales. The aim of the article is to present and discuss how the authors modify specific characteristics of the fairy tale and play with its tradition. The examples of recognizable fairy tale patterns that are deeply rooted in the culture Little Red Riding Hood, Snow White, Hansel and Gretel, Sleeping Beauty, Cinderella were used to present the primary mechanisms of use and modification of fairy tales in children’s literature on the post-2000 Polish publishing market.The description of intertextual relationships between the fairy tale patterns and their renarrations renarration mechanisms has been supplemented with an analysis of influence of popular culture on children’s literature interpenetrating of cultural and literary circulations and the fashion for fairy tales. The studied works include those that have been written with gender education in mind, promotion of knowledge on rights of a child or the environment and those primary aim of which is to entertain the young audience through reading. The article is also an encouragement to reflection on the genealogy of contemporary fairy tales and the shape, in which the “children’s fabulous fairy-tale-sphere” functions, and the factors that influence it.

AN ANALYSIS OF ILLOCUTIONARY FORCES IN SNOW WHITE AND THE HUNTSMAN MOVIE

The aim of the analysis of illocutionary forces in snow white and the huntsman movie is to pertain the importance of knowing the real meaning and function behind utterances in the movie, it means this analysis help students get the ways how to comprehend other movies by this movie as an example. Illocutionary forces in SnowWhite and the Huntsman movie directed by Rupert Sanders with involving a study oflinguistic. This research is to answer what the illocutionary forces based on Searle's category are found in Snow White and the Huntsman movie directed by Rupert Sanders and what the dominant type is. Descriptive method is used in this research. There are twenty four data as substance to be analysed. The data are analysed using the theory of illocutionary forces based on Searle. The result indicates that there are five types of illocutionary forces based on Searle's category. There are assertives, directives, commisives, expressives, and declaratives. First is assertives, which occur four times. Second is directives, which occur eleven times. Third is commissives, which occur two times. Fourth is expressives, which occur six times. Fifth is declaratives, which occur one time. From these illocutionary forces, it shows that each type of illocutionary forces has different frequency of occurrence, which directives are the dominant type due to the condition of the palace in the movie. In the palace, there are various positions such as Queen, Princess, and the Huntsman. It is great possibility of them to get hearer to do something as what they want. All data has a meaning as substantiation for people that every utterances in a movie have its own function. Keyword: Hearer, Illocutionary Forces, Speaker, Utterance

Film - Biography: Hedy Lamarr - Film star or scientist?

KNOWN AS the ‘most beautiful woman in the world’ and a Hollywood film star, she was cast by Louis B Meyer and Cecil B DeMille. She married seven times and had even more lovers, including actor Spencer Tracy and JFK before — she insisted — he was President. Disney's Snow White and Cat Woman were both based on her iconic dark-haired, pale-skinned look. But Hedy Lamarr (1914–2000) didn't want to be celebrated for her acting nor her appearance. She wanted to be called an inventor and scientist.

Snow White and the Seven Dwarfs, Cinderella and Sleeping Beauty: The Components of Costume Design in Disney’s Early Hand-Drawn Animated Feature Films

Costumes in feature films can be deliberately used for narrative purposes to reveal or conceal something related to the plot, functioning as a key element for cinematic storytelling. Costume design in animation is an integral part of character creation; however, relatively little is known about the design process. Previous research concentrates on either the history of hand-drawn animation, the principles of making animated films or character construction. This article presents several key components of the animators’ costume design process in Walt Disney’s animated feature films Snow White and the Seven Dwarfs (1937), Cinderella (1950) and Sleeping Beauty (1959). The author demonstrates that the costume design in these films was a multi-layered process. For example, for Snow White, the costume silhouette of the final animation is visible in the early conceptual designs whereas, for Cinderella or Princess Aurora, the principal character animators designed the final costume. Additionally, the slow production time influenced the style of the costumes: small details on costumes and complex constructions were not used as it would have taken too long for them to be drawn. The article also reveals that animators used live-action filming and rotoscoping as tools for designing costumes. Furthermore, costumes that were used in pre-production filming for rotoscope were different in their construction from everyday garments. The work of a costume designer existed in the character design process, although not as a separate profession. This article aims to highlight the importance of characters’ costumes in Disney’s early hand-drawn animated films and the different ways costumes have been designed for animated characters.

Overexpression of Chrysanthemum lavandulifolium ClCBF1 in Chrysanthemum morifolium ‘White Snow’ improves the level of salinity and drought tolerance

This paper reports the first study on plant CBF transcription factors (TF) in salt and drought stress responses in Chrysanthemum lavandulifolium. A CBF homolog gene, named as ClCBF1, from C. lavandulifolium was isolated using rapid amplification of cDNA ends (RACE). The deduced peptide is comprised of 210 amino acids (AA) containing an AP2 structural domain characteristic of the AP2 gene family. Quantitative real-time PCR revealed that ClCBF1 gene exhibit differential expression patterns across root, leaf and stem tissues, and it was strongly induced under salt and drought treatments of C. lavandulifolium. Overexpression of ClCBF1 in C. morifolium ‘White Snow’ resulted in stronger tolerance to salt and drought stresses. The ClCBF1 expression level, enzymatic activities of superoxide dismutase and peroxidase, and contents of proline and soluble proteins were enhanced in these transgenic lines, they were repressed in the antisense transgenic lines under the same stress conditions. Results indicate that ClCBF1 represents a promising candidate gene in improving abiotic stress tolerance among ornamental plants.

The Concept of Folklore: An Overview of the Psychoanalytic Reading of Folklores

Stories have always found a special place in every society and a story teller has had listeners hung on to his or her every word breathlessly for ages . These stories were of myriad quality ranging from comic to heroic, from fables featuring animal as anthropomorphic to fantasy with goblins and fairies. The term folk lore or folk tale is used in English to refer to fairy tales in English such as Cinderella or snow White ,Folk Tales in the broader sense of the term includes all forms of prose narrative , written or oral which are handed down through generations. The modern story telling differs from the traditional folk tale in one important aspect. The modern storyteller emphasizes on the originality of the material. Whereas the teller of the folk tale prides on the fact that he 0r she can pass down the folklores almost verbatim. The folk teller can also uses their own embellishment in the tale in order to mesmerize their audience .It is therefore difficult to separate the oral from the written in folk tale because it travels mostly orally and no folk tale can be traced back to any one writer. Which is to say that maybe the oral stories need not have been always oral . But once the story teller or the raconteur recites it in the public, it becomes more of something to tell to the listener and not something to be read. Historically these public spaces where raconteur and poets recited the popular tales, been the major source of entertainment for the general public. Ancient Greek performed popular plays for the public and there was a stress on the oral recitation and the concept of catharsis or the purgation of the feelings of pity and fear. This art of story telling is not bound by any segment of the society or civilization but is ubiquitously present . It is older than history itself and it travels orally through continents and through space and time. It may differ from place to place but it exists to fulfill one social function and an important human need, which is entertainment. There also exist a curiosity about history or the legends. The oral recitation of heroic tales and legends lend an almost pride like quality among the listeners. The legends of the heros are mostly about their tribes or society and they represent the ideals of honour, pride and virtue for the entire tribe. India as a diverse and culturally rich county has written literature going thousands of years back before Homer .

Belle comme un rêve de Pierre: La condesa sangrienta de Alejandra Pizarnik como reescritura de cuentos de hadas

The fairy tale is key to analyzing Alejandra Pizarnik’s writing. Specifically, in the translation/rewriting of Valentine Penrose’s La comtesse sanglante (1962) to La Condesa sangrienta (1965), this genre is central because it works as an appropriation matrix. This matrix models Pizarnik’s version through revisiting a series of themes and elements specific to the genre, as well as a way to narrate, characterized by the presentation of vignettes or fragments of highly symbolic and visual density, and by a cut with the causality and linearity of a realistic tale. First, we will analyze the intertextualities between Pizarnik’s work and a corpus of two classical children’s stories: The Snow Queen (1845), by Hans Christian Andersen, and Snow White (1812) by the Brothers Grimm. Second, we will focus on the relation of Pizarnik’s work with its explicit hypotext, Valentine Penrose’s La comtesse sanglante, considering the aforementioned, that is, the way fairy tales operate as a matrix in this transfer.

Tales of Wonder: Retelling Fairy Tales Through Picture Postcards by Jack Zipes

Reviewed by: Tales of Wonder: Retelling Fairy Tales Through Picture Postcards by Jack Zipes JoAnn Conrad (bio) Jack Zipes. Tales of Wonder: Retelling Fairy Tales Through Picture Postcards. U of Minnesota P, 2017. Jack Zipes's latest omnibus is a lusciously colorful coffee-table book that (re-) unites fairy-tale themed postcards with their textual inspirations. Seeking to redress the "neglect" (xiv) of such fairy-tale postcards "by collectors, scholars of cultural studies and folklore, and the general public" (xiii), Zipes's stated mission is to examine these "incredibly exotic" (xiii) postcards in order to provide a new "optique" (xx) on fairy tales, forcing us to rethink them through different perspectives. Indeed, the field of fairy-tale studies has been slow to analyze the role of mass-mediated illustrations as semiotic markers, circulating, as do these postcards, disconnected from their tales while tethered to them through their iconization. As a result, illustrations have mostly been treated as complementary and ancillary to the tales themselves, and Zipes's promise of a new integrative analytic approach is as welcome as it is long overdue. Unfortunately, in terms of the material, organization, and analysis, this book fails to deliver on its ambitious goals. The publisher's webpage describes the book as "a pictorial history of fairy-tale postcards throughout the world" ("Tales"), and yet the organization of the material is neither chronological nor historically contextualized. Instead, the organizing principle is the classic European fairy tale, with the images on the postcards receiving slight mention or analysis. Despite the subtitle's promise to "retell" the tales through the postcards, the cards are merely appended to a reiteration of the classic tales. [End Page 387] The book is organized into two lopsided parts: "The Tales" comprising roughly ninety percent of the book, and "The Art" making up the remaining ten percent. The first group introduced, by far the largest, is what Zipes calls "Classical Tales"—Little Red Riding Hood, Little Tom Thumb/Hansel and Gretel, Cinderella, Snow White, Sleeping Beauty, and Puss in Boots, but also incongruously The Pied Piper and Rip Van Winkle, both more appropriately categorized as (local) legends, not fairy tales. For all these "Classic Tales" Zipes also provides full texts, and for the first six he lists the versions from both Charles Perrault and the Grimms, although with no other reference to source material, editions, or translators. Additionally, Zipes includes Robert Browning's poem of the Pied Piper as well as Washington Irving's full story of the supernatural encounter in the Catskills. Taking up a good two-thirds of this large book, the inclusion of such readily available texts begs the question: Why include them again here? The presentation of tales and accompanying illustrated postcards proceeds with a series of shorter sections: "A Mélange of the Brothers Grimm," "Stories by Hans Christian Andersen," "Russian Fairy Tales," and "Fairy-tale Novels." In most of these sections, the accompanying postcards are at most described, and often unremarked upon, as if the images are self-evident and ahistorical, their presence bearing witness to the timeless and transcultural nature of the tales themselves, despite the fact that the majority are from the French and German literary canon. The section on Andersen demands a deeper look in that it represents a missed opportunity to truly investigate the dynamic relationship between published tales and their illustrations. Andersen courted magazine editors and publishers who traded in illustrations, and his stories were the subject of hundreds of different visual interpretations during the "Golden Era" of book illustration. Those images, owned by the publishers, were reprinted in a host of media—cards, postcards, calendars, coloring books, paper dolls, and die-cut trade cards, for example. However, rather than focusing on this intersection of the tales and their industrially produced images and mass distribution, Zipes instead relies on his previous biographical and psychoanalytical analysis of Andersen the man. This inattention to historical context coupled with a set of images that comes almost exclusively from German postcards sets the stage for such pronouncements as: "there are not many fairy-tale postcards of ["The Little Mermaid"], perhaps because Andersen was somewhat of a misogynist" (159). Putting aside the impossibility of extrapolating...

The Aged Woman as Specter in Two Filmic Adaptations of “Snow White”

The Aged Woman as Specter in Two Filmic Adaptations of “Snow White”

The Image of the Invisible Cross in the Russian Lyrical Poetry of the 20th Century: From The Twelve by Blok to the Roman Diary by Vyacheslav Ivanov

Referring to works of four poets, the author analyses a special image of the “invisible cross” that appears when horizontal and vertical poetic images come into contact. In Boris Pasternak’s poem Winter Night, it is formed by the image of windstorm and candles in the first stanza, in Blok’s The Twelve by crossing the lines from the “black sky” to the “white snow” with the “wind line”. In Georgy Ivanov’s poem, the image of the “invisible cross” appears from the troika’s movement and the image of the falling “black music by Blok”. The image of “windstorm” in Pasternak’s poem and that of “Blok’s music” in Ivanov’s poem allude to The Twelve . All the three works refer to the same historical reality: the collapse of former Russia and the uncertainty of human destiny in the tragic period of history. In Vyacheslav Ivanov’s poem written in Rome on 23 May 1944, the image of the “invisible cross” is also present. However, it appears when comparing the first and second stanzas of the poem. The first stanza represents the European image of the world, which is characterised as “vertical” which is accentuated by the images of “Gothic churches” and “cyclopic hammer”. The second stanza represents the “horizontal” image of the world, characteristic for Russia, accentuated by the images of “ways”, and “rails”. Every stanza contains details adding to the sensation of instability of both historical entities. The third verse is like looking from space at the earth and at the historical path of humanity, which has led it to the current war. The image found by Ivanov could emerge as a result of his life in Rome and his memory of Russia. At the same time, the perseverance with which the “invisible cross” appears in works of different authors at different times makes the image typical of the entire twentieth century.

Еще раз о пушкинской записи народной сказки о мертвой царевне

Еще раз о пушкинской записи народной сказки о мертвой царевне

First-Person Narrators in the Postmodern Fairytale Retellings of ‘Snow White

First-Person Narrators in the Postmodern Fairytale Retellings of ‘Snow White

Strategic, stylistic and notional intertextuality: Fairy tales in contemporary Australian fiction

While Canadian scholar Lisa M Fiander argues that fairy tales are ‘everywhere’ in Australian fiction, this paper questions that assertion. It considers what it means for a fairy tale to be ‘in’ a work of contemporary fiction, and posits a classificatory system based on the vocabulary of contemporary music scholarship where a distinction is made between intertextuality that is stylistic and that which is strategic. Stylistic intertextuality is the adoption of features of a style or genre without reference to specific examples, while strategic intertexuality references specific prior works. Two distinct approaches to strategic fairy-tale revision have emerged in Australian writing in recent decades. One approach, exemplified in works by writers including Kate Forsyth, Margo Lanagan and Juliet Marillier, leans towards the retelling of European fairy tales. Examples include Forsyth’s The Beast’s garden (‘Beauty and the Beast’), Lanagan’s Tender morsels (‘Snow White and Rose Red’) and Marillier’s short story ‘By bone-light’ (‘Vasilisa the Beautiful’). The other, more fractured, approach is exemplified in works by writers including Carmel Bird and Murray Bail, which do not retell fairy tales but instead echo them and allude to them. This paper proposes that recent Australian works that retell fairy tales are less likely to be set in a recognisably Australian context than are works which take a more fractured approach to fairy tale. It also explores the notion that, presently, transporting European fairy tales, whole, into an Australian setting, seems to be a troubling proposition for writers in a post-colonial settler society that is highly sensitised to, but still largely in denial about, its colonial past.

CharlesClover, Black Wind, White Snow: The Rise of Russia's New Nationalism. New Haven: Yale University Press, 2016, 384pp. £19.99 (hbk).

Nations and NationalismVolume 23, Issue 4 p. 1003-1004 Book Review Charles Clover, Black Wind, White Snow: The Rise of Russia's New Nationalism. New Haven: Yale University Press, 2016, 384pp. £19.99 (hbk). Joseph Larsen, Joseph Larsen Georgian Institute of PoliticsSearch for more papers by this author Joseph Larsen, Joseph Larsen Georgian Institute of PoliticsSearch for more papers by this author First published: 06 September 2017 https://doi.org/10.1111/nana.12339Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinkedInRedditWechat No abstract is available for this article. Volume23, Issue4October 2017Pages 1003-1004 RelatedInformation

Organizational Readiness: Culturally Mediated Learning Through Disney Animation

We develop the notion of organizational readiness, a construct that describes the anticipatory expectations about future organizational life that children develop as they absorb the cultural influences to which they are exposed. We conduct our analyses through an exploration of the depictions of work in Disney’s 56 “Classic” feature-length animations (from Snow White and the Seven Dwarfs [1937] to Moana [2016]). We can, of course, make no direct cause and effect claims about the effects of the animations. However, we argue that Disney animations are likely to significantly shape children’s learning about organizations. This is because the Disney animated canon regularly provides children with consistent and vivid impressions of the nature of working life—impressions that will have important implications for them and the staff who teach them, when they eventually enter business schools as undergraduates.

BEAUTY AS FAIRY TALE IN FAY WELDON’S NOVEL THE LIFE AND LOVE OF A SHE-DEVIL

The contemporary fiction reveals a great interest in the representation of fairy tale motifs and structures. Fay Weldon’s novel, The Life and Loves of a She-Devil, attempts topresent the power of resurgence of fairy tale by depicting and revising several of fairy tale motifs and structures. This article focuses on the motif of beauty, as it is one of the central paradigms of most fairy tales, and emphasises that beauty continues to be one of the most stringent preoccupations of individuals living in the contemporary culture of appearances. Not only in fairy tales but in today’s world as well the oppressive beauty norms and the struggle to achieve perfection become a problematical concern for most women.By employing many popular fairy tale motifs like jealousy, desire and craving of the stepsisters (in Cinderella ), stepmothers (in Snow White and Rapunzel ), rivals (in Little Mermaid ), antagonists (like Maleficent in Sleeping Beauty ), the novelist tries to question virtue implied in beauty. This study shows that Fay Weldon’s novel depicts the dominant ideology of beauty which is inserted in the fairy tales, questions the excessive interest in beauty and female body in the mainstream culture, divulges the artificiality of such preoccupations,illustrates the abusive and deluding nature and presents their damaging impact upon individual’s identity.

Drawing Snow White and Animating Buzz Lightyear: Technological Toolkit Characteristics and Creativity in Cross-Disciplinary Teams

The use of technological tools to execute creative tasks is pervasive within cross-disciplinary teams, yet little attention has been paid to their role in influencing team creativity. In particular, no research has focused on how the characteristics of a team’s technological toolkit—the set of technological tools a team can draw upon to construct its actions—can affect team creativity. I propose that considering the toolkit, rather than just isolated tools, and the multiple functions played by tools is critical to understanding how technology characteristics influence team creativity. I hypothesize that creativity in cross-disciplinary teams is influenced by the size and field diffusion of the team toolkit, with size having a curvilinear relationship with creativity, and diffusion having a positive relationship. Moreover, I hypothesize that these effects will be attenuated when the number of team members who are experts with the focal tool is high. I test and find support for these hypotheses in a study set in the context of the Hollywood animation industry, a knowledge-intensive industry characterized by the presence of cross-disciplinary teams using a variety of technological tools. Theoretical and practical implications of the results are discussed.

バーセルミの処女雪の探求 : Snow Whiteと1960年代アメリカ文化

バーセルミの処女雪の探求 : Snow Whiteと1960年代アメリカ文化