The problem with which this thesis is concerned is that of writing and directing an adaptation of the classic fairy tale, Cinderella. This study is a culmination of research on children's theatre, and the writing and producing of children's plays. The research led to the writing of the first draft of Cindy's Feller, an adaptation of Cinderella, beginning with a scenario which utilized a country-western theme. Upon completion of the first draft, the play was produced at North Texas State University during the summer of 1981. Stage directions of the play, a director's log of daily rehearsals, and an evaluation of the final productions were recorded to provide a stimulus for the writing of a final draft of Cindy's Feller and the preparation of this thesis.

This dissertation attempts to shed new light on the value of Sergei Prokofiev’s piano transcriptions from the ballet Cinderella, exploring his distinguished body of work through a comparative analysis of the ballet Cinderella and its piano transcriptions. Prokofiev reproduced his nineteen (19) transcription pieces in three sets—op. 95, op. 97, and op. 102—from the ballet, and they are distinctive in many significant aspects, including the organization within a movement, form, harmony, and textural modifications, when compared to the ballet and its piano reduction. In addition, the characters in his three sets are apparent as they are designed in accordance with the dance suite, character piece, and programmatic music. The ultimate object of the dissertation is, through its close examination and reappraisal of Prokofiev’s transcriptions, to provide piano performers with lasting insight into an authentic interpretation of music. The first chapter provides the foundation for the necessity and importance of this comparative analysis between the ballet and the piano transcriptions from Cinderella, and it proceeds to lay out the overall analytical sequence. The second chapter presents a brief overview of Prokofiev’s biography and compositional background relating to his ballet and transcriptions. In particular, it traces Prokofiev’s compositional philosophy and the surrounding historical contexts during the Soviet era. The third chapter examines the distinctions of all nineteen (19) movements of Prokofiev’s three piano transcription sets in terms of their organization, form, harmony, and textural modifications from the ballet scores for orchestra, investigating the distinguishing features of each transcription by way of numerous illustrative examples. In particular, each section analyzes some of the most notable features of all movements based on its title. Finally, the last chapter concludes with a summary of the comparative analysis, assessing the inherent value of Prokofiev’s piano transcriptions as piano solo works incorporating a choreographic gesture, and with the anticipation and hope that the resulting analytical approach can enable piano performers to play with more authenticity and a well-rounded perspective.

This thesis reexamines the purpose of fairy tales throughout history and explores the effectiveness of a modern alternative to classical methods of telling these stories. To increase interactivity as well as the agency of the female protagonist and players themselves, this thesis reimagines the popular classic, Cinderella, as a visual novel.

Magister Artium - MA (Linguistics, Language and Communication) / Fairy tales have been changing continuously. From the likes of the Greek and Chinese versions of the Cinderella tale, Cinderella has been transformed into other versions. Charles Perrault and The Brothers Grimm had their way with the story of Cinderella with both parties putting their own mark on the tale. Disney made the story notorious as the consumers mostly tend to remember Disney's version and not earlier writers of the story (Zipes, 1999). Since then, various other versions in the current sphere of story-telling, especially through movie-making, have had a series of re-telling of the story. James Finn Garner's "Politically Correct Bedtime Stories" has made its mark in the world of politically correct, versions of fairy tales. He has graced readers with his satire and thereby challenged the more traditional versions of the story of Cinderella (and others) by posing a dry, humorous twist and facing the 'issues' which underlie the social problems in Cinderella such as equality, sexism and patriarchal, inappropriate gender biased terminology. Garner takes it upon himself to remediate the story of Cinderella through transformations of events and socially structured power relations, reworking the plot and characters and reformulation of gender-biased terminology. This results in a witty politically correct remodelling of the story which upholds a general moral in line with the contemporary socio-political ethos, championing usage of politically correct language.

<p>Brazilian politics has for a long time been considered an elitist system, dealing with corruption and social inequalities. In 2002 something unimagined happened when the former industrial worker Luiz Inácio Lula da Silva, was elected President of the Republic of Brazil. This case study examines Lula’s authority role as President by testing the theories Cinderella Complex and Max Weber’s theory of Pure Leadership. It also tries to explain what motivates Lula’s actions and what affect this has on Brazilian politics. The case study reveals that Lula is not driven by any ideology, but is motivated by own personal interests of eliminating hunger and poverty. To realise these wishes he creates alliances in order to get enough support for these policies. Even though his government is designed as a bureaucratic administration, Lula has not proven to use rational ideas to establish new reforms. Instead he is dependent on raising enough support and trust, through his charismatic image. This is visible in his election campaigns. This leadership style has implemented some valuable programmes like the Fome Zero and Bolsa Familia, but his endless travels and commitments abroad joint with his approach to the corruption scandal in 2005 has created a new image of Lula as a negligent person.</p><p>This case study is using qualitative methods to explain the leader and President of Brazil.</p>

Brazilian politics has for a long time been considered an elitist system, dealing with corruption and social inequalities. In 2002 something unimagined happened when the former industrial worker Luiz Inácio Lula da Silva, was elected President of the Republic of Brazil. This case study examines Lula’s authority role as President by testing the theories Cinderella Complex and Max Weber’s theory of Pure Leadership. It also tries to explain what motivates Lula’s actions and what affect this has on Brazilian politics. The case study reveals that Lula is not driven by any ideology, but is motivated by own personal interests of eliminating hunger and poverty. To realise these wishes he creates alliances in order to get enough support for these policies. Even though his government is designed as a bureaucratic administration, Lula has not proven to use rational ideas to establish new reforms. Instead he is dependent on raising enough support and trust, through his charismatic image. This is visible in his election campaigns. This leadership style has implemented some valuable programmes like the Fome Zero and Bolsa Familia, but his endless travels and commitments abroad joint with his approach to the corruption scandal in 2005 has created a new image of Lula as a negligent person. This case study is using qualitative methods to explain the leader and President of Brazil.

Dissertation (Ph.D.)--The University of North Carolina at Greensboro, 2008. / Directed by SallyAnn Ferguson; submitted to the Dept. of English. Title from PDF t.p. (viewed Aug. 27, 2009). Includes bibliographical references (p. 245-273).

Thesis (MA)--University of Stellenbosch, 2008. / Bibliography. Also available via the Internet.

Submitted by Aline Batista (alinehb.ufpel@gmail.com) on 2018-07-17T19:43:06Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_Viviane_Martini.pdf: 1568577 bytes, checksum: 72e41f1d3b7692de6daf74cd82f03229 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2018-07-17T21:26:27Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_Viviane_Martini.pdf: 1568577 bytes, checksum: 72e41f1d3b7692de6daf74cd82f03229 (MD5) / Made available in DSpace on 2018-07-17T21:26:34Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_Viviane_Martini.pdf: 1568577 bytes, checksum: 72e41f1d3b7692de6daf74cd82f03229 (MD5) Previous issue date: 2018-02-27 / Sem bolsa / O processo de construção social do sujeito se estabelece muito cedo, muito antes dele entender que está fazendo parte dele. Assim, os contos de fada, ao serem apresentados, irão auxiliar na construção de identidades, pois neles encontramos uma repetição de normas, que são mantidas pela tradição, favorecendo “as noções patriarcais e reacionárias de gênero, etnia, comportamento, e classe social” (ZIPES, 2006, p. 2). Nesse sentido, percebemos que nessas narrativas há uma falta de representatividade de corpos. Autoras feministas, buscando um meio de repensar ou ressignificar os contos de fada, propuseram processos de rewriting, que fugissem dos estereótipos de gênero e ideologias patriarcais. Esse trabalho, partindo de versões anteriores – Giambattista Basile, Charles Perrault e Jakob e Wilhelm Grimm (Irmãos Grimm), e também da animação dos Estúdios Walt Disney – realiza um estudo comparado de cinco rewritings de Cinderela – Lee, When the Clock Stikes (1983), Donogue, The Tale of the Shoe (1997), Walker, Cinder-Helle (1996), Yolen, Cinder-Elephant (2000), Block, Glass (2000)–, tendo como base os conceitos de identidade feminina, corpo e montaria do feminino. Para tanto, nosso aporte teórico centra-se em conceitos oriundos dos estudos de gênero, principalmente a noção de performatividade de Judith Butler, e dos estudos queer. O foco é, portanto, a representação do corpo feminino na figura da protagonista, visto que analisamos a construção do gênero a partir da montaria para o baile e as relações estabelecidas com o pai, a mãe, a madrasta, as irmãs, e o príncipe. / The process of social construction of the subject is established very early, long before he understands that he is a part of it. Thus, fairy tales, when presented, will assist in the construction of identities, for in them we find a repetition of norms, which are maintained by tradition, favoring "patriarchal and reactionary notions of gender, ethnicity, behavior, and social class" (ZIPES, 2006, p. 2). In this sense, we realize that in these narratives there is a lack of representation of bodies. Feminist writers, seeking ways to rethink or resignify fairy tales, have proposed rewriting processes that avoided gender stereotypes and patriarchal ideologies. This work, starting from previous versions - Giambattista Basile, Charles Perrault and Jakob and Wilhelm Grimm (Brothers Grimm), as well as the animation of the Walt Disney Studios - performs a comparative study of five rewritings of Cinderella - Lee, When the Clock strikes (1983), Donoghue, The Tale of the Shoe (1997), Walker, Cinder-Helle (1996), Yolen, Cinder-Elephant (2000), Block, Glass (2000) -, based on the concepts of female identity, body and feminine impersonation. Thus, our theoretical approach focuses on concepts derived from gender studies, mainly Judith Butler's notion of performativity, and queer studies. The focus is, therefore, the representation of the female body in the figure of the protagonist, since we analyze the construction of the gender from the impersonation to the ball and the relations established with the father, the mother, the stepmother, the sisters, and the prince.

[ES] La utilización de los medios audiovisuales en la educación musical está ampliamente documentada y especialmente desde la implementación de las nuevas tecnologías de la información y la comunicación. Desde su incorporación se han desarrollado multitud de metodologías y recursos tanto para el estudio como para el desarrollo de destrezas y habilidades. La música de bandas sonoras es un recurso que tiene una amplia aceptación entre los docentes por su carga simbólica que, en muchos casos, pertenecen al imaginario popular. Si hay un sello que se ha convertido en un referente universal ha sido Disney que desde el inicio de la década de los veinte ha venido creando largometrajes y cortometrajes de animación, así como películas de imagen real. Probablemente, como material educativo estos productos ofrecen grandes posibilidades de trabajo en el aula. Un ejemplo es el caso de Cinderella, objeto de esta tesis doctoral. Así pues, el objetivo principal de la tesis es descifrar la doble mirada adulto-niño y, al igual que ocurre en el tratamiento del guion y de la imagen, descubrir las características musicales que definen esa doble audiencia. Así mismo conocer su paisaje sonoro y los recursos netamente musicales utilizados en las secciones claramente dedicadas a los niños y niñas. Este análisis se hará atendiendo a dos criterios diferentes. En primer lugar, comprobando el metraje de música utilizado en las tramas principales, del utilizado en las sub-tramas y como éstas pueden ir dirigidas a diferentes públicos. En segundo lugar, comprobando los elementos técnicos que corresponde a cada uno de los lenguajes y por extensión a cada uno de los públicos objetivo. Por otra parte, se analizará la función gramatical y expresiva de los elementos musicales y su utilización. Referente a la pregunta de investigación se parte de la siguiente hipótesis: existen elementos musicales dirigidos a una doble audiencia al igual que existen desde el punto de vista visual y literario. Para los objetivos planteados, se han tenido en cuenta paradigmas de investigación basada en artes en la educación, además de procedimientos metodológicos tanto cualitativos y cuantitativos. Los resultados apuntan que la banda sonora actúa en gran medida como lienzo sobre el que pintar la acción o la trama. Es decir, como paisaje sonoro. Por otra parte, el uso que hacen los compositores de música para cine de las dinámicas y las velocidades durante la denominada "primera época dorada" de Disney muestra que poseían una comprensión intuitiva de cómo las variaciones en velocidad, modo y orquestación podían influir en el estado de ánimo y la percepción de la audiencia. La música de Cenicienta evoca una amplia gama de emociones en los espectadores, desde la felicidad y la esperanza hasta la tristeza y la angustia. La partitura y las canciones capturan y transmiten las emociones de los personajes y las situaciones de manera magistral, creando una experiencia emocionalmente rica y significativa. / [CA] La utilització dels mitjans audiovisuals en l'educació musical està àmpliament documentada i especialment des de la implementació de les noves tecnologies de la informació i la comunicació. Des de la seua incorporació s'han desenvolupat multitud de metodologies i recursos tant per a l'estudi com per al desenvolupament de destreses i habilitats. La música de bandes sonores és un recurs que té una àmplia acceptació entre els docents per la seua càrrega simbòlica que, en molts casos, pertanyen a l'imaginari popular. Si hi ha un segell que s'ha convertit en un referent universal ha sigut Disney que des de l'inici de la dècada dels vint ha vingut creant llargmetratges i curtmetratges d'animació, així com pel·lícules d'imatge real. Probablement, com a material educatiu aquests productes ofereixen grans possibilitats de treball a l'aula. Un exemple és el cas de Cinderella, objecte d'aquesta tesi doctoral. Així doncs, l'objectiu principal de la tesi és desxifrar la doble mirada adult-xiquet i, igual que ocorre en el tractament del guió i de la imatge, descobrir les característiques musicals que defineixen eixa doble audiència. Així mateix conéixer el seu paisatge sonor i els recursos netament musicals utilitzats en les seccions clarament dedicades als xiquets i xiquetes. Aquesta anàlisi es farà atenent dos criteris diferents. En primer lloc, comprovant el metratge de música utilitzat en les trames principals i l'utilitzat en les sub-trames i com aquestes poden anar dirigides a diferents públics. En segon lloc, comprovant els elements tècnics que correspon a cadascun dels llenguatges i per extensió a cadascun dels públics objectiu. D'altra banda, s'analitzarà la funció gramatical i expressiva dels elements musicals i la seua utilització. Referent a la pregunta d'investigació es parteix de la següent hipòtesi: existeixen elements musicals dirigits a una doble audiència igual que existeixen des del punt de vista visual i literari. Per als objectius plantejats, s'han tingut en compte paradigmes d'investigació basada en arts en l'educació, a més de procediments metodològics punt qualitatius i quantitatius. Els resultats apunten que la banda sonora actua en gran manera com a llenç sobre el qual pintar l'acció o la trama. És a dir, com a paisatge sonor. D'altra banda, l'ús que fan els compositors de música per a cinema de les dinàmiques i les velocitats durant la denominada "primera època daurada" de Disney mostra que posseïen una comprensió intuïtiva de com les variacions en velocitat, mode i orquestració podien influir en l'estat d'ànim i la percepció de l'audiència. La música de Cinderella evoca una àmplia gamma d'emocions en els espectadors, des de la felicitat i l'esperança fins a la tristesa i l'angoixa. La partitura i les cançons capturen i transmeten les emocions dels personatges i les situacions de manera magistral, creant una experiència emocionalment rica i significativa. / [EN] The use of audio-visual media in musical education is widely documented, especially since the implementation of new information and communication technologies. Since their incorporation, numerous methodologies and resources have been developed for both study and the development of skills and abilities. Film music is a resource widely accepted by educators due to its symbolic content, which often belongs to the popular imagination. If there is a brand that has become a universal reference, it is Disney, which has been creating animated feature films and shorts, as well as live-action films, since the beginning of the twenties. Probably, as educational material, these products offer great possibilities for classroom work. An example is the case of Cinderella, the subject of this doctoral thesis. Therefore, the main objective of the thesis is to decipher the dual adult-child perspective and, as in the treatment of the script and image, discover the musical characteristics that define this dual audience. Also, to understand its soundscape and the purely musical resources used in sections clearly dedicated to children. This analysis will be carried out considering two different criteria. First, by checking the length of music used in the main plots, that used in subplots, and how these can be directed to different audiences. Second, by checking the technical elements corresponding to each of the languages and, by extension, to each of the target audiences. On the other hand, the grammatical and expressive function of musical elements and their use will be analysed. Regarding the research question, the following hypothesis is assumed: there are musical elements aimed at a dual audience, just as there are from a visual and literary point of view. For the stated objectives, research paradigms based on arts in education have been considered, as well as both qualitative and quantitative methodological procedures. The results indicate that the soundtrack largely acts as a canvas on which to paint the action or plot, that is, as a soundscape. On the other hand, the use by film music composers of dynamics and tempos during the so-called "first golden age" of Disney shows that they had an intuitive understanding of how variations in speed, mode, and orchestration could influence the mood and perception of the audience. Cinderella's music evokes a wide range of emotions in viewers, from happiness and hope to sadness and distress. The score and songs masterfully capture and convey the emotions of the characters and situations, creating an emotionally rich and meaningful experience. / Fernández Maximiano, R. (2023). La doble audiencia en las películas de Disney. Análisis de la música y del paisaje sonoro de la Cinderella [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/202191