Thesis (MA (Modern Foreign Languages))--Stellenbosch University, 2008. / It has been widely assumed that the portrayal of women in fairytales subscribes to somewhat outdated and stereotypical modes of representation. Upon closer inspection however, it can be seen that this is a fallacious assumption and that the female roles in these stories are much more multidimensional in nature. One of the most popular fairytales from the Grimm Brothers is Cinderella. The portrayal of women in this story is typical of the weak, subjected woman who needs to be rescued by the prince from her unfavourable and subjugated position. The research presented here aims to show that the Grimm’s specific depiction of Cinderella in the 19th century provides an alternative to the modern myth. Here, she reacts strongly and independently to find the most advantageous resolution to her problematic subject position. To this end the Grimms’ version will be compared to text and filmic versions from the 20th and 21st centuries. By comparing aspects of female representation in the Cinderella-themed portrayals, one can evaluate the extent to which societal expectations have altered over time as well as investigating the modern-day implications of this.

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Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-10-26T13:07:30Z No. of bitstreams: 1 Márcia Silva Pituba Freitas.pdf: 4083398 bytes, checksum: 034a2b5f040402bf64364c42a9affc11 (MD5) / Made available in DSpace on 2017-10-26T13:07:30Z (GMT). No. of bitstreams: 1 Márcia Silva Pituba Freitas.pdf: 4083398 bytes, checksum: 034a2b5f040402bf64364c42a9affc11 (MD5) Previous issue date: 2017-10-10 / This research aims, as main objective, to contribute to the studies of Linguistics. Text through intertextuality. The corpus starts from the examination of some versions of the Cinderella fairy tale, which were retextualized by Perrault (1697), Brothers Grimm (1812) and Silvio Romero (1885). We observed as relationships in the structure of the tale, quoted by Propp ([1997] 2002), as a patch of selected magical components in each of them. It has become necessary to follow a course to analyze an analysis. Therefore, we start with intertextuality and Linguistics, going through the purposes of the text, author, reader, reading and oral literature and for the future, direct the text and make as re-significations. We find theoretical support in Beaugrande & Dressler ([1981] 2005), Fávero and Koch ([1983] 2012), Nobre (2014), Candido (2004), Kleiman (2014), van Dijk (2012) and Kock (2013). Next, we bring the tale: what it is, its origins, the first records and even some of Cinderella, the role of the narrator and the relevance of memory and identity in the process. For the present theoretical foundation in Câmara Cascudo ([1952] 2008, 2011, [1967] 2012, [1999] 2013) Coelho (2010, 2012), Bettelheim (2015), Hueck (2016), Robin (2016) and Hall ([1997] 2015). Upon arriving at the analysis, we prove, through selected magical elements and their symbology, to intertextuality. We find that there are elements present in the intertextuality that are indispensable for their identification: identity, memory and tradition. These elements are a reflection of the context in which each writer retextualizes its version, since it changes according to an epoch and manifests itself as a result of the culture and tradition of the peoples / Esta pesquisa pretende, como objetivo principal, contribuir com os estudos da Linguística Textual por meio da intertextualidade. O corpus parte do exame de algumas versões do conto de fadas Cinderela, que foram retextualizadas por: Perrault (1697), Irmãos Grimm (1812) e Sílvio Romero (1885). Observamos as relações citadas por Propp ([1997] 2002) na estrutura dos contos, considerando as semelhanças e diferenças apresentadas no enredo a partir do recorte de alguns elementos mágicos selecionados em cada um deles. Tornou-se necessário seguirmos um percurso que nos desse esteio até alcançarmos a análise. Por isso, iniciamos pela intertextualidade e Linguística Textual, passando pelas questões do texto, autor, leitor, leitura e literatura oral, que, juntas, dão sentido à investigação e propõem as ressignificações necessárias. Nesse momento, encontramos suporte teórico em Beaugrande e Dressler ([1981] 2005), Fávero e Koch ([1983] 2012), Nobre (2014), Candido (2004), Kleiman ([1989] 2016), Marcuschi ([1983] 2014), van Dijk (2012) e Kock (2013). Em seguida, trazemos o conto: o que é, suas origens, os primeiros registros (e, inclusive, alguns de Cinderela), e discutimos o papel do narrador e a relevância da memória e da identidade no processo de preservação/transformação das narrativas. Para isso, encontramos embasamento teórico em Câmara Cascudo ([1952] 2008, 2011, [1967] 2012, [1999] 2013), Coelho (2010, 2012), Bettelheim (2015), Hueck (2016), Robin (2016) e Hall ([1997] 2015). Chegando à análise, comprovamos, por meio dos elementos mágicos selecionados e de sua simbologia, a intertextualidade. Constatamos ainda que, nesse caso, há elementos indispensáveis para a identificação da intertextualidade, sejam eles: identidade, memória e tradição. Esses elementos são reflexos do contexto em que cada escritor retextualiza a sua versão, pois ela se modifica de acordo com a época e se manifesta como resultado da cultura e da tradição dos povos

Made available in DSpace on 2016-04-27T16:58:51Z (GMT). No. of bitstreams: 1 Marilia Valerio Rocha.pdf: 8276158 bytes, checksum: d505c41608ef75bd40e4dec17fd3873e (MD5) Previous issue date: 2009-02-12 / This dissertation had as its main objective to propose an environment computational to the learning of Hyperbolic Geometry in the training of teachers of mathematics. Based on the Theory of Didactical Situation developed by Guy Brousseau (1986) and studies with the Comprehension of Demonstrations from Raymond Duval (1993), a didactic sequence has been prepared on the subject. The present work is oriented by the question to what extent the dinamic geometry could interfere in the build of hyperbolic geometry s concepts, in the axiomatic study by the professor of mathematics and how this new knowledge could contribute to your formation? This research is founded on some assumptions of Didactic Engieneering, described for Artigue (1988). The relevance of this research is justified by the Nacional Curriculum Guidelines for the courses off Bachelor s Degree in Mathematics, and shortage of teaching-material for the study of this content. Aimed at responding the question of research and gather information that enable the improvement of this didactic proposal, a pilot project was implemented with students of the Professional Master s Degree in Mathematics Education given by PUC-SP University. The results showed that the use of dinamic geometry in the formation of concepts of Hiperbolic Geometry, in the inicial axiomatic proposal, is a resource that contribute to understing these concepts / Esta dissertação teve como principal objetivo propor um ambiente computacional ao aprendizado da Geometria Hiperbólica na formação do professor de Matemática. Com base na Teoria das Situações Didáticas desenvolvida por Guy Brousseau (1986) e nos estudos sobre a compreensão das demonstrações, de Raymond Duval (1993), foi elaborada uma seqüência didática sobre o tema. A presente pesquisa orienta-se pela questão Em que medida a geometria dinâmica pode interferir na construção dos conceitos da Geometria Hiperbólica, no estudo axiomático realizado pelo professor de Matemática e como esse novo conhecimento pode contribuir para sua formação? . É fundamentada em alguns pressupostos da Engenharia Didática, descrita por Artigue (1988). Entende-se que a relevância desta pesquisa justifica-se nas orientações das Diretrizes Curriculares Nacionais para os cursos de Matemática, Bacharelado e Licenciatura (DCN) e na escassez de material didático para o estudo desse conteúdo. Visando a responder à questão de pesquisa e colher informações que possibilitem a melhoria desta proposta didática, aplicou-se um projeto-piloto com alunos do curso de Mestrado Profissional em Ensino de Matemática, ministrado pela Pontifícia Universidade Católica (PUC-SP). Os resultados apontaram que a utilização da geometria dinâmica na formação dos conceitos da Geometria Hiperbólica, em uma proposta axiomática inicial, é um recurso que contribui para a interiorização desses conceitos

本文以解除神話性(de-mythicization) 的概念開啟對童話(fairy tales)的討論，認為必須加入歷史、文化、政治與物質等層面的解說才能擺脫童話中被添加的神話性並豐富童話的閱讀。接著以物質文明的角度切入女性主義經常閱讀的文本—貝侯的《灰姑娘》 (1697) 與電影《麻雀變鳳凰》(1990)，探討物質文明在兩個文本中所扮演的重要角色。 貝侯所擁護的現代主義(modernism)促使其改寫法國民間故事(folktales)，並在文中加入了大量的十七世紀法國當代物質文明，企圖重新塑造出新一代的法國文學。因此，貝侯的《灰姑娘》並非一般人所熟知的麻雀變鳳凰典型，而是一個關於恢復她貴族身分的故事。在貝侯筆下所塑造出來的灰姑娘與當時的時代背景息息相關：一個世故、聰明與積極的女性，試圖脫離她的苦難，並非大家所熟知的好心的、被動的、順從的灰姑娘形象。 電影《麻雀變鳳凰》則提供不同時代灰姑娘形象的對照。延續維多利亞時期在地化的灰姑娘形象，Vivian成為最低下的灰姑娘—流鶯。她由麻雀變鳳凰的經歷除了說明不同時代對美的詮釋與期待亦呈現出八零年代不同的灰姑娘形象：一個同時具有性感與善心的女性。 在美國，男子氣概的研究始於八零年代。因此本文以Edward的男性氣概為出發點，探討八零年代的物質文明，並以此看出對於男性的期待都建構在他的所有物，如轎車、總統套房以及馬球等等。此外，Edward身為男性灰姑娘與神仙教父的身分在本章皆有所探討。 最後必須闡明的是，物質文明並不見得能涵蓋所有的層面，尤其是在集體意識與個人偏好的部分，是無法找到一個平衡點的。本文僅能就現有的資料加以觀察與解析，以期達到較全面的觀察。 / To de-mythicize a fairy tale means to discover its cultural, historical and political aspects and therefore, in my thesis, it helps to distinguish Perrault’s Cendrillon (1697) from other Cinderella variants. My thesis approaches Perrault’s Cendrillon in a materialist method: with the employment of the late seventeenth-century French material culture, Cendrillon is transformed into a modernized literary fairy tale about her restoration to her original social status. This French Cinderella is quite distinct from the traditional rags-to-riches Cinderella story since Perrault champions a modernism with which he intends to change the future of the French literature. The film Pretty Woman (1990) is to serve as a contrast and to elucidate the idea that different eras make different Cinderella stories. The Cinderella in the Anglophone world is getting more and more debased and the Americanized Cinderella is the most debased ever, the street walker. Her rags-to-riches transformation manifests the social expectations toward in the eighties toward what a woman should be and possess. On the other hand, there is another side of the story in the film. On Edward’s part, I am going to approach the material culture via American masculinities in order to illustrate what a man should be and have. Besides, Edward also plays the roles of the male Cinderella and the fairy godfather in the film. The two roles Edward plays will be further developed in my thesis. The materialist approach has its own limits: it cannot include the conformist and the individualist aspects and I thus fail to incorporate it in my thesis.

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This thesis introduces two author's fairy tale musicals called Snow White and Cinderella. These musicals are intended for the early and late school-aged children. To understand the broader context and to provide for more information about this particular genre, the theoretical part discusses how musicals as a musical genre was created and then, it discusses its development, changes, forms and main features. It provides the information about the development of musicals in both the Czech Republic and abroad. Then, it elaborates on the professional musicals production for children (being the performers), again both abroad and in the Czech Republic. This is then followed by a practical part that introduces the two pieces mentioned above. It presents the information about their creation, realisation and motivation. In addition, it presents a critical analysis of their appropriateness for the child performers in light of their musical skills, abilities and the specifics of this age group while focusing on the music components of these pieces, such as melodic and harmonic aspects of the musicals, any key issues and issues of the transition from one key to another, rhythm, tempo changes and any challenges given by the dramatic expression and ability to speak other languages. The analysis was performed...

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Master thesis deals with changes of elements, that constitute a fairy tale of the Cinderella in different times, cultural and media contexts. Therefore, thesis analyzes and compares different literal and film renderings of the story based upon morfological composition of the fairy tale and motives and gender stereotypes present in it. Individual features of tales are then processed and divided on archetypal and changeable. Main character, the Cinderella , is also considered, and her common characteristic is documented within gender analysis for every version of the story. Thesis also deals with fairy tale in general, with its definition, characteristic and theory of origin. Fairy tale is then interpreted as a part of folklore creation and as a literary work.

With the invention of the printing press, fairy tales became limited by the idea of an "original" (Pettitt, 2009; Blamires, 2003). However, in the past century, the retelling and changing of fairy tales has become incredibly popular in all forms of media, such as print, film, ballet, musicals, etc. Despite Western populations' familiarity with these tales, the demand for such retellings continues to rise, with the storytellers finding great financial success with each "new" version they provide. Researchers have many varying opinions on the reasons for such intense responses to retold fairy tales, but there is a gap of research on the actual changes made to the retold tales and what they mean. Through the use of Narrative Criticism, three of the most popularly retold fairy tales (Cinderella, Beauty and the Beast, and Snow White) were analyzed for the biggest alterations, and what those alterations are meant to convey to consumers. Findings revealed that the biggest changes across all three retellings were those of character, narrator, audience, and setting. These changes indicate a switch from the authoritative nature of the first printed versions to an inferential nature with the subsequent retellings, with authors leaning into the Narrative Paradigm and forcing audiences to instead ruminate on the changes made in the familiar tales, and to decide for themselves what those changes mean for their personal lives.