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Showing 141 to 150 of 151 (0.044 seconds)Spelling suggestions: "subject:"[een] OF FAIRY TALE"" "subject:"[enn] OF FAIRY TALE""
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[en] STORIES OF BYGONE TIMES WITH MORALS: A DIACHRONIC AND SYNCHRONIC ANALYSIS OF REWRITINGS OF THE WORK OF CHARLES PERRAULT IN BRAZIL / [pt] HISTÓRIAS DO TEMPO ANTIGO COM MORALIDADES: UMA ANÁLISE DIACRÔNICA E SINCRÔNICA DAS REESCRITAS DA OBRA DE CHARLES PERRAULT NO BRASILANNA OLGA PRUDENTE DE OLIVEIRA 14 August 2018 (has links)
[pt] Esta tese apresenta uma análise de reescritas brasileiras dos contos de Charles Perrault, sob uma perspectiva diacrônica e sincrônica, com o objetivo de compreender as diferentes formas como os contos do autor francês do século XVII têm sido reescritos no sistema literário brasileiro. Publicada na França, em 1697, a obra Histórias ou Contos do tempo antigo com moralidades ou Contos de Mamãe Gansa, alçada posteriormente à categoria de clássico da literatura infantojuvenil, contém oito contos em prosa, seguidos de moralidades em verso ao final de cada narrativa: A Bela Adormecida no bosque, O Chapeuzinho Vermelho, Barba Azul, O Mestre Gato ou o Gato de Botas, As Fadas, A Gata Borralheira ou A Sapatilha de Vidro, Riquete do Topete e O Pequeno Polegar (títulos dos contos de acordo com a tradução de Mário Laranjeira). Nesses contos, ao mesmo tempo em que recupera histórias populares da oralidade, Perrault insere sua marca autoral, a moralidade em verso, comentário final do autor sobre a história contada em prosa. Considerando que as moralidades possuem uma dupla função - autoral e literária - esta pesquisa se volta para o estudo da transmissão dos contos no Brasil com foco nesse duplo aspecto: a questão da autoria e a questão da literariedade. Tendo como principal pilar teórico os Estudos Descritivos da Tradução e adotando a metodologia de Lambert e Van Gorp, o corpus objeto de análise é composto por reescritas (e seus paratextos) publicadas em livro, desde o momento inicial em que os contos surgem no sistema literário brasileiro, ao final do século XIX, até a contemporaneidade, com a mais recente reescrita publicada em 2016. São também examinados alguns metatextos, tais como cartas e entrevistas, que auxiliam na compreensão das propostas dos reescritores e editores das obras. A partir das noções de André Lefevere acerca de reescrita e patronagem, considera-se que reescritas exercem papel central para o estabelecimento e a manutenção de cânones literários e projetam imagens novas ou distintas de obras e autores, de acordo com concepções ideológicas e poetológicas dos responsáveis pelas publicações (reescritores, prefaciadores, editores). Portanto, esta tese propõe a adoção de uma linha de pesquisa para os estudos literários que atente para a centralidade do fator reescrita, quando são analisadas obras estrangeiras inseridas em sistemas literários alvo. Como será visto no caso de Perrault no Brasil, as reescritas mais recentes, com diferenças relevantes em termos literários em relação às reescritas mais antigas, projetam novas imagens da obra e do autor, possibilitando novas leituras por parte do público leitor contemporâneo. / [en] In this doctoral dissertation, Brazilian rewritings of Charles Perrault s tales are analysed from a diachronic and synchronic perspective with the aim of comprehending the different forms in which this seventeenth-century French writer s stories have been rewritten in the Brazilian literary system. Published in France in 1697, Stories or Tales of Bygone Times, with Morals or Tales of Mother Goose, which was later acknowledged as a classic of children s literature, contains eight tales in prose followed by morals in verse at the end of each narrative: The Sleeping Beauty in the Wood, Little Red Riding-Hood, Bluebeard, The Master Cat or Puss in Boots, The Fairies, Cinderella or The Little Glass Slipper, Ricky of the Tuft and Little Thumb (full translations of the titles from the French source text). In these tales, while drawing on popular stories from the oral tradition, Perrault inserts his trademark morals in verse, offering a final comment on the story told in prose. Considering that the morals have a twofold function - both authorial and literary - the transmission of the tales in Brazil is studied with a focus on this dual aspect: authorship and literariness. Taking Descriptive Translation Studies as the main theoretical perspective and adopting Lambert and Van Gorp s methodology, the corpus under analysis is composed of rewritings (and their paratexts) published in books, ranging from when the tales first appeared in the Brazilian literary system in the late nineteenth century to the current day, the most recent of which having been published in 2016. Some metatexts are also examined, such as letters and interviews, which are helpful for understanding the rewriters and editors objectives. Based on Andre Lefevere s theoretical work on rewriting and patronage, it is suggested that rewritings exert a central role in establishing and maintaining literary canons and project new or distinct images of works and authors, according to the poetological and ideological conceptions of the actors responsible for the publications (rewriters, preface writers, editors). Therefore, a proposal is made for the adoption of an approach for research in literary studies that takes account of the centrality of the rewriting factor, in analyses of foreign works in target literary systems. As seen in the case of Perrault in Brazil, the most recent rewritings, which differ significantly in literary terms from the older rewritings, project new images of the work and the writer, making new readings possible for a contemporary readership.
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Elige tu propia aventura, ¿nudo gordiano para el tratamiento holístico de la expresión escrita? : Una experiencia de escritura narrativa creativa en Español como Lengua Extranjera, a través de trabajo cooperativo con wikis / Choose your own adventure, Gordian Knot for a holistic approach to writing? : A creative writing experience in teaching Spanish as a Foreign Language through cooperative learning based wikis.Migura García, Begoña January 2012 (has links)
El objetivo de la presente investigación es el de aproximarse al potencial que el género de hiperficción explorativa Elige tu propia aventura (ETPA), abordado desde la producción, puede tener de cara al desarrollo de la competencia escritora en ELE. Como muestra, se ha tomado a un grupo multicultural y plurilingüe de 18 estudiantes de la Universidad de Estocolmo, con una competencia comunicativa mínima en español de B2 marco. Se ha llevado a cabo un análisis cualitativo-cuantitativo que, de forma correlativa, abarcaba el estudio del proceso de composición, del producto alcanzado y del impacto de la tarea sobre el componente afectivo de los participantes. La investigación asignó al grupo de control, la composición cooperativa de un cuento tradicional a través de una wiki, y al experimental, la de un ETPA; todo ello en base a una hipotética oposición entre un ejercicio compositivo lineal y uno de tipo recursivo, respectivamente. Los resultados parecen sugerir que, efectivamente, la estructura no secuencial de la ficción hipertextual propicia un proceso de composición marcado por la recursividad que repercute en la consecución de un mejor producto, en especial, con relación a las propiedades textuales de adecuación, coherencia y cohesión. En lo afectivo, la composición de un ETPA también parece constituir una actividad que, por su novedad, incide positivamente en la motivación de los aprendientes y en un sentimiento de autoeficiencia generado por la resolución exitosa de la tarea. / The purpose of this research is to uncover the potential that lies within the explorative genre of hyperfiction entitled Choose Your Own Adventure (CYOA), approached from the student’s final production, and its significance for the development of writing competency in Spanish as a Foreign Language (ELE). As our target sample population, we have chosen a multicultural and plurilingual group of 18 students from the University of Stockholm, all of whom have acquired at least a B2 level of the Common European Framework of References for Languages (CEFR) in communicative competence. This study has carried out qualitative-quantitative research that, in a correlative manner, encompasses the study of the writing process, the final written product, and the impact of the task over the affective component of every participant. The project required the control group to create a cooperative composition of a fairy tale by means of a wiki, and the experimental group to CYOA; all of which was based on the hypothetical opposition between a lineal compositional exercise and a recursive one. Results indicate that the non-sequential structure of hypertextual fiction leads to a recursive writing process. Consequentially, this has an impact on the creation of a better product, especially when related to textual properties of adaptation, coherence and cohesion. Within the affective sphere, the composition of a CYOA could constitute an activity that, due to its novelty, has a positive effect on the learner’s motivation and on his or her sense of self-efficacy generated by the successful resolution of the task.
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Modern Fairy Tales: The New Existence of an Old Genre : Exemplified by the Books of Alan A. Milne, Tove Jansson and Eno RaudYashkina, Svetlana January 2016 (has links)
The aim of this study is to draw new perspectives to the theoretic approach towards the complex nature of the modern fairy tale genre and its transformation. The study is exemplified by two books by Alan A. Milne about Winnie-the-Pooh (1926-1928), Tove Jansson’s eight books about the Moomintrolls (1945-1970) and Eno Raud’s four books about three funny creatures called “Nakstitrallid” in Estonian (1972-1982). In this thesis, I examine the disputable problem of defining the fairy tale genre in modern literature and refer to the history of the genre and storytelling tradition that have indirectly inspired all three authors in their decision to turn for fairy tale as a genre. Applying the poetical analysis, I argue that these authors contributed to the continuity of fairy tales by creating the link between folkloric heritage, novelistic literary expression and children’s imagination. This study can therefore be considered as topological, however it does not pretend to introduce the complete systematic definition of the genre as the thesis’ format does not allow such in-depth investigation. In the first chapter, ‘Archaic world stimulation in modern fairy tale’, I examine the dominating literary categories that refer to the folk fairy tale intertext: Bakhtin’s concept of ‘chronotope’ – category of time and space, system of fictional allegoric characters and category of fantastic. In the second chapter, ‘Modern fairy tales from perspective of children’s literature’, I analyze the books of Milne, Jansson and Raud in the scope of narratological and aesthetic categories of children’s literature. The folkloric laughter intertextually reproduced by naïvism of the Moomins, the Naksitralls, and Winnie-the-Pooh’s friends, while folkloric collective hero is presented by universal harmony of a happy family and child-like protagonists. I came to the conclusion that poetics of folklore fairy tale still exists in these books through the intertextual dialogue. Modernism as literary method re-evaluates folkloric aspects such as nonlinear time, the blurred boarders between individual and cosmos, material and spirit, text and reality. Every new artistically unique fairy tale world resembles the new stage of the genre development. The more innovative is the story, the more sophisticated can be its poetics.
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Figures d'enfance : la représentation de l'enfant dans la littérature française des XVIIe et XVIIIe siècles / Figures of childhood : the representation of child characters in 17th and 18th century French literatureMehrbrey, Sophia 17 May 2019 (has links)
Avec son ouvrage L’Enfant et la vie familiale sous l’Ancien Régime, Philippe Ariès a découvert l’enfant comme objet de recherche interdisciplinaire. Cependant, une étude systématique sur le thème dans la littérature française des XVIIe et XVIIIe siècles n’a pas encore été entreprise. C’est pourtant à cette époque que le regard sur l’enfant change considérablement. La littérature de ces deux siècles ne témoigne pas seulement de cette évolution, mais joue un rôle décisif dans l’élaboration d’une nouvelle conception de l’enfance qui préfigure en bien des points le renouveau rousseauiste. S’appuyant sur un appareil critique interdisciplinaire, qui invite à envisager l’enfant comme une construction de la réalité adulte dont les critères définitoires sont souples, cette thèse se propose d’étudier la représentation des personnages enfants dans un corpus de textes en prose, leur fonction dans l’économie du récit et leur implication dans les débats sociaux et philosophiques de l’époque. Une première partie est consacrée à l’enfant comme objet de la réalité adulte. Suivant la logique de la sociologie de la connaissance, nous avons défini l’enfant comme objet de la réalité sociale et soumis au discours adulte. L’objectif de cette première partie est de montrer dans quelle mesure l’enfant apparaît dans les textes de notre corpus comme objet de représentation, modelé selon le discours adulte. Cependant, l’enfant de la littérature classique ne se laisse pas réduire au seul statut d’objet. Dans tous les textes dans lesquels un personnage enfant occupe plus qu’un instant, les auteurs s’intéressent à sa formation, personnelle, mais surtout sociale. Ainsi, une deuxième partie est consacrée à l’enfant dans son dynamisme car il fascine les auteurs de l’âge classique précisément pour son caractère éphémère. Enfin, la troisième partie rend compte de l’enfant comme sujet, au sens sociologique du terme, c’est-à-dire comme individu doté d’une certaine subjectivité – dans la mesure où l’on peut appliquer ces notions anachroniques aux siècles classiques. Dès le XVIIe siècle, mais surtout à partir du début du XVIIIe siècle, certains auteurs commencent aussi à réfléchir davantage sur les origines de l’être humain, sur sa faculté de raisonnement et sur ce qui le distingue des autres espèces – sujets qui paraissent impossibles sans le détour par l’enfant. / Philippe Ariès’ work, L’Enfant et la vie familiale sous l’Ancien Régime, founded the child as an object of interdisciplinary interest. However, a systematic study of the theme in 17th and 18th century French literature has not up until now been realised, although it appears to be during this period that the perception of the child evolves to a considerable extent. The literature of these two centuries not only shows this evolution, it also plays a major role within the elaboration of a new conception of the idea of childhood, which prefigures in many points the rousseauist renewal. Basing our study on an interdisciplinary corpus of critical works, we endeavour to study the representation of childcharacters within a prose corpus, their function of within the narration and their implication in the social and philosophical debates of the times. Our first chapter focuses on the child as an object of the adult reality. Adopting a sociology of knowledge perspective, we have defined “the child” as an object of social reality and subject to the adult discourse. The objective of this first chapter is to analyse the way the child appears in the writings of our corpus as an object of representation, sculptured according to adult discourse. However, the child as a character in classical French literature cannot be reduced to this status of objectivation. In all the texts in which a childcharacter occupies more than a passing role, the author shows his interest in the child’s personal, and most of all, social, development. For that reason, the second chapter analyses the child’s dynamism, because in 17th and 18th century, the child is considered fascinating due to his fleeting identity. Finally, the third and last chapter focusses on the child as a subject in a sociological meaning, as an individual provided with a certain degree of subjectivity. From the 17th century onwards, but mainly within the first part of the 18th century, some authors also start to think about the origins of the human species, man’s intellectual faculties and the points that enable us to differentiate between human beings and other species – questions that can’t be answered, or even asked, without taking the child as a central question.
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Od lidovosti k fantastice - Proměna lidových motivů a jejich nová funkce na vybraných příkladech z polské literatury od romantismu do konce 20. století / From folksiness to fantasy - Transformation of folk motives and their new function on selected examples from Polish literature from Romanticism to the end of the 20th centuryJilečková, Alžběta January 2019 (has links)
The origin of fantasy motives dates back to the prescriptive era. Although literature itself is constantly developing, it's basic motives such as heroes or the text composition holds on to the classical archetypes, which helps the reader to stay oriented. Fantasy elements are a good representation of these archetypes. It is no secret that the authors of the modern and post-modern fantasy literature are often inspired by ancient mythical literature. On the contrary, these myths and archetypes research these texts and are, consequently, used in new variations. In this thesis, I try to analyze some of these motives such as the hero's journey, or the representation of the mythical characters and demonstrate their transformation from the simple folk archetypes to the complex elements used in modern literature. Apart from modern and postmodern literature, I also focus on the literature of the 19th century, due to the fact that it is the romanticism and the Young Poland era, where I found the first signs of the fantasy works in polish literature.
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Hudební činnosti v mezinárodních mateřských školách v Praze / Musical Activities In The International Pre-Schools in PragueGajdová, Magdalena January 2021 (has links)
This work analyses music activities of English-speaking children of pre-school age, attending international schools in Prague, following the British Curricula. The goal of this work is to develop and to validate teaching materials of musical activities, supporting children with different native languages from the language of the teaching material, those in transition period, and those with communication barriers, and to offer concrete implementation strategies for teachers of music in both Czech and international schools. The theoretical part compares Czech and British music curricula for pre-school children. It defines terms such as transition period and describes its course in Czech and international environments. Furthermore, it addresses the role of music during this stage of development and explains the concepts of project-based learning and music integration project. As theoretical underpinning for the practical portion, the work offers detailed discussion of musical factors, syllabic structure both in English and Czech language, and the variations in interpretation of musical fairy tales. The practical part describes the goals, methods, and procedures of the action research focused on the implementation of the musical fairy tale in Czech and English, as well as reflection and evaluation of...
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L'hybridation dans l'oeuvre de Jeannette Winterson / Hybridization in Jeanette Winterson's worksMihajlovska, Lupka 16 November 2012 (has links)
Nous définissons l’hybridation littéraire comme la combinaison d’éléments a priori disparates aboutissant à la création d’un ensemble à la fois un et multiple, qui garde les traces de ses parties constitutives tout en étant autre, différent, nouveau. L’hybride englobe les sphères de représentation de ses éléments-parents tout en les dépassant. Par conséquent, l’hybridation tend vers l’extension de toutes les frontières, littéraires et culturelles, dans le but de nous offrir une vision du monde et du sujet toujours plus complète. Dans Oranges are not the Only Fruit, Sexing the Cherry, Written on the Body et The PowerBook de Jeanette Winterson, l’hybridation se manifeste à tous les niveaux du texte. L’hybridité physique et sexuelle des narrateurs est ainsi une des manifestations de leurs identités et vies plurielles et paradoxales. Ces hybrides incarnés (monstres, travestis ou androgynes) se construisant au fil de leurs histoires, qui s’inspirent toujours de récits antérieurs, narrateurs et narrations se démultiplient conjointement, s’entremêlent et se redéfinissent sans cesse. Le texte fluctue au gré de l’hybridation générique et de l’intertextualité. De l’entrecroisement de genres réalistes – tels que l’autobiographie, le récit historique ou le discours scientifique – et fictionnels – tels que le conte ou la romance – naît un hybride générique à résonances parodiques représentant la nature du sujet, de sa vie, de la réalité et de la vérité. Enfin, en hybridant des textes préexistants à des motifs personnels, l’auteur élabore une narration originale qui réécrit les schémas sexistes relayés par ses ancêtres et retranscrit sa vision de l’individu, du monde et de l’art. / We understand literary hybridization as the combination of seemingly different elements resulting in the creation of an entity that is simultaneously single and multiple. Indeed, while it is utterly other and new, the hybrid still shows the marks of its constituents. The hybrid incorporates its ‘parents’’ initial fields of representation while reaching beyond them. Consequently, hybridization is a process that pushes all boundaries, be they literary or cultural, to offer an ever more complete vision of the subject and his/her life. In Jeanette Winterson’s Oranges are not the Only Fruit, Sexing the Cherry, Written on the Body and The PowerBook, hybridization permeates every level of the text. Thus, the narrators’ physical and sexual hybridity is a manifestation of their plural and paradoxical identities. These hybrid creatures (monsters, transvestites or androgynous beings) build their identities through the stories they tell and that are always inspired by existing narratives. Therefore, the narrators and their narratives proliferate conjointly, intermix and redefine each other constantly. The shape of the text fluctuates with generic hybridization and intertextuality. Realistic narratives – such as autobiographical, historical or scientific discourses – and fictional ones – such as fairy tales or romances – interact to produce generic hybrids with parodic undertones that represent the nature of the subject, his/her life, reality and truth. Finally, by hybridizing existing texts and personal literary devices, the author elaborates original narratives that rewrite her ancestors’ sexist discourses and reflect how she perceives the individual, the world and art.
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L'hybridation dans l'oeuvre de Jeannette Winterson / Hybridization in Jeanette Winterson's worksMihajlovska, Lupka 16 November 2012 (has links)
Nous définissons l’hybridation littéraire comme la combinaison d’éléments a priori disparates aboutissant à la création d’un ensemble à la fois un et multiple, qui garde les traces de ses parties constitutives tout en étant autre, différent, nouveau. L’hybride englobe les sphères de représentation de ses éléments-parents tout en les dépassant. Par conséquent, l’hybridation tend vers l’extension de toutes les frontières, littéraires et culturelles, dans le but de nous offrir une vision du monde et du sujet toujours plus complète. Dans Oranges are not the Only Fruit, Sexing the Cherry, Written on the Body et The PowerBook de Jeanette Winterson, l’hybridation se manifeste à tous les niveaux du texte. L’hybridité physique et sexuelle des narrateurs est ainsi une des manifestations de leurs identités et vies plurielles et paradoxales. Ces hybrides incarnés (monstres, travestis ou androgynes) se construisant au fil de leurs histoires, qui s’inspirent toujours de récits antérieurs, narrateurs et narrations se démultiplient conjointement, s’entremêlent et se redéfinissent sans cesse. Le texte fluctue au gré de l’hybridation générique et de l’intertextualité. De l’entrecroisement de genres réalistes – tels que l’autobiographie, le récit historique ou le discours scientifique – et fictionnels – tels que le conte ou la romance – naît un hybride générique à résonances parodiques représentant la nature du sujet, de sa vie, de la réalité et de la vérité. Enfin, en hybridant des textes préexistants à des motifs personnels, l’auteur élabore une narration originale qui réécrit les schémas sexistes relayés par ses ancêtres et retranscrit sa vision de l’individu, du monde et de l’art. / We understand literary hybridization as the combination of seemingly different elements resulting in the creation of an entity that is simultaneously single and multiple. Indeed, while it is utterly other and new, the hybrid still shows the marks of its constituents. The hybrid incorporates its ‘parents’’ initial fields of representation while reaching beyond them. Consequently, hybridization is a process that pushes all boundaries, be they literary or cultural, to offer an ever more complete vision of the subject and his/her life. In Jeanette Winterson’s Oranges are not the Only Fruit, Sexing the Cherry, Written on the Body and The PowerBook, hybridization permeates every level of the text. Thus, the narrators’ physical and sexual hybridity is a manifestation of their plural and paradoxical identities. These hybrid creatures (monsters, transvestites or androgynous beings) build their identities through the stories they tell and that are always inspired by existing narratives. Therefore, the narrators and their narratives proliferate conjointly, intermix and redefine each other constantly. The shape of the text fluctuates with generic hybridization and intertextuality. Realistic narratives – such as autobiographical, historical or scientific discourses – and fictional ones – such as fairy tales or romances – interact to produce generic hybrids with parodic undertones that represent the nature of the subject, his/her life, reality and truth. Finally, by hybridizing existing texts and personal literary devices, the author elaborates original narratives that rewrite her ancestors’ sexist discourses and reflect how she perceives the individual, the world and art.
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Prostory vlastní a cizí v pohádkách Karla Jaromíra Erbena, Boženy Němcové, bratří Grimmů a Ludwiga Bechsteina / .The "own" and "foreign" spaces in the fairy tales of Karel Jaromír Erben, Božena Němcová, the Grimm brothers and Ludwig BechsteinLedinská, Šárka January 2020 (has links)
This dissertation has two main aims. The first is to describe or specify the poetics of "own" and "foreign" space in literary work in general and in the fairy tales of K. J. Erben, the Grimm brothers, B. Němcová or L. Bechstein; the second is to analyse and compare the poetics in three spatial pairs the "own" and "foreign" spaces in relation to the main character of the above-mentioned fairy tales representing, namely in the spaces of home and journey, the living and the dead or welfare and poverty. The first part of the thesis is mostly theoretical and is primarily focused on the first set goal, i. e. the description and specification of the poetics of "own" and "foreign" spaces as well as on related phenomena, such as the definition of concepts "space", "own", "foreign", "own and foreign space", "place", "character", "subject of own and foreign space", analysis of the character's relationships to space, evolution of humans relationship to space and their perspective on it in history and literature with a special focus on spatial turn etc. The second, predominantly analytical-comparative part of the thesis, connected mainly with the second set goal of the dissertation, focuses with the help of secondary literature in the field of humanities and specifically selected fairy-tale aspects on the...
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Dr. Eleine MadJacobsson, Madeleine January 2021 (has links)
Dr. Eleine Mad är Madeleine Jacobsssons talesperson för dom vetenskapliga och paranormala upptäckter som uppstår i hennes världar. Hon beskriver innehåll, teknik och estetik utifrån ett kategoriseringssytem där konsten delas upp som olika typer av komponenter och därefter avkodas dessa allteftersom. För att förstå intuitionens inblandning i arbetsprocessen omförvandlas den till tre separata roller av en Sökare, Samlare och Myntare. Med rollerna försöker jag beskriva på vilka sätt som intuitionen är till gagn eller av förödelse för det konstnärliga arbetet. Sagan om M handlar om en grodlik karaktär, Delop, som lämnar sin hemplanet för att uppsöka andra världar. I sitt sökande hittar Delop ett folkslag vars syn och levnadssätt skiljer sig från hennes erfarenheter av “verkligheten” såsom hon lärt sig att överleva i den. / Dr. Eleine Mad is Madeleine Jacobsson's spokesperson for the scientific and paranormal discoveries that arise in her worlds. She describes content, tecniques and aesthetics based on a categorization system where art is divided into different types of components and then decoded as they go. To understand the intuition's involvement in the work process, it is transformed into three separate roles by a Seeker, Collector and a Myntare(In swedish language the one who is a "myntare" -is verbally declaring a concept or term). With these roles I try to describe in what ways intuition is beneficial or devastating to the artistic work. The story of M is about a frog-like character, Delop, who leaves the home planet to seek out other worlds. In her search, Delop finds a world whose views and lifestyles differ from her experiences of "reality" as she learned to survive in it. / <p>Recorded sound and image material of the presentation is available for private use.</p>
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