Made available in DSpace on 2016-04-18T21:31:42Z (GMT). No. of bitstreams: 3 Nancy Rabello de Barros Trindade1.pdf: 1778814 bytes, checksum: ad461c8e8d6507d5c0843338cb46d6f3 (MD5) Nancy Rabello de Barros Trindade2.pdf: 1968804 bytes, checksum: 02df8902cae1efb70a500dae3393870d (MD5) Nancy Rabello de Barros Trindade3.pdf: 1066617 bytes, checksum: 393823f5c90f9686c3b927def86d8951 (MD5) Previous issue date: 2008-06-26 / Fundo Mackenzie de Pesquisa / This paper´s objective is to focus on the witch of the fairy tales - more specifically on they way witches are perceived by adults and children. In order to better understand and develop this theme, it seeks background on Jung himself and authors as Paz, von Franz, Coelho, Byington - who follow the Analytical Psychology of Jung on their studies about fairy tales. The research is enriched by the perspectives of authors as Darnton, Clark and Nogueira, who analyze the construction of the images of the witch and the woman within the historical context. The structure of the fairy tale was based on Propp's view among other authors who analyze the fairytale through the actions of the characters within it. It was also analyzed the contribution of this character to the development of the children's personality. The main concepts related to fairy tales (archetypes, Great Mother and other archetypical images) were also identified on several chapters. The symbols and images are the focus of the following chapter, as it is through the symbolic language that the fairy tales bring out their meanings to the mankind. The authors used to understand the symbols are Byington, Neumann, Bussato and Kast among others. This study is divided in 2 great moments: theoretic data and interviews conduct among children and adults. For interviews work, 3 stories were chosen: Hänsel and Grethel, Snow white and Rapunzel, which represent the witch in 3 different perspectives. After listening to the stories, the children were invited to draw the witch. Those drawings were analyzed using as a starting point the theories of Arttherapy, supported by authors as Futh, Derdyk, Cox and Mèredieu. The conclusion achieved from the conducted study is that the witches are not perceived by children as being totally mean, and that this character has a fundamental part in order to allow the fairy tales to accomplish its potential of helping children across their childhood. / Esta dissertação visa analisar e estudar a bruxa nos contos de fadas. Busca, no teórico e no prático, a resposta para uma questão principal: como as crianças e adultos da atualidade vêem a bruxa nos contos de fadas? Para melhor entender e desenvolver este tema, busca-se respaldo em Jung e autores como Paz, von Franz, Coelho e Byington, que seguem a linha da Psicologia Analítica de Jung para seus estudos sobre os contos de fadas. A construção da personagem também é vista ainda sob o olhar de historiadores como Darnton, Clark e Nogueira, que analisam a figura da bruxa e da mulher no contexto histórico. Em relação à parte teórica, buscou-se observar a estrutura dos contos sob o olhar de Propp e de outros tantos que fazem análises através das ações e das personagens neles inseridos. Analisaram-se os principais conceitos relacionados aos contos de fadas e suas personagens, como arquétipo, Grande Mãe e imagens arquetípicas, além da contribuição da bruxa na formação da personalidade das crianças. Os símbolos e as imagens são privilegiados ao longo do trabalho, pois é através da linguagem simbólica que os contos transmitem seus conteúdos à humanidade. Os autores usados para entender os símbolos são Byington, Neumann, Bussato e Kast, entre outros. Este estudo está dividido em dois grandes momentos: os dados teóricos e as pesquisas realizadas com crianças e adultos. Para a parte prática foram escolhidos três contos: João e Maria, Branca de Neve e Rapunzel, que apresentam a bruxa de diferentes maneiras. Após ouvirem os contos, as crianças foram convidadas a desenhar a bruxa e, posteriormente, buscou-se analisar estes desenhos a partir das teorias da Arteterapia, com aporte teórico de autores como Futh, Derdyk, Cox e Mèredieu. A partir das atividades conduzidas, chegou-se à conclusão de que as bruxas dos contos de fadas não são percebidas como puramente más, uma vez que a personagem é importante para que os contos de fadas cumpram seu potencial para ajudar as crianças a atravessarem a infância.

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Submitted by Biblioteca Central (biblioteca@unicap.br) on 2017-10-16T21:59:16Z No. of bitstreams: 1 dissertacao_ana_lucia_nascimento.pdf: 668189 bytes, checksum: 14ebd6278b31869f070005cf4b57c5c5 (MD5) / Made available in DSpace on 2017-10-16T21:59:16Z (GMT). No. of bitstreams: 1 dissertacao_ana_lucia_nascimento.pdf: 668189 bytes, checksum: 14ebd6278b31869f070005cf4b57c5c5 (MD5) Previous issue date: 2010-07-06 / It is of fundamental importance to know the process of acquisition and development of language in blind children as that in other children. It is also necessary to use some advisable tolls so as not to impact those children on their way, mainly due to the accumulation of difficulties that interferes in the early stages of their lives. Several stimuli are essential, the most diverse as possible, so that each human being is just like the other, discovering talents and qualities and continually seeking opportunities to exercise the citizenship and nerve feeling different form the others. This research will be submitted with the main purpose of verifying the importance of fairy tales as a facilitator in the process of acquisition and development of language in blind children. The sample will be constituted by blind children who attend public schools in the state of Pernambuco, and are five to six years of age. The stimuli appear in the narrative (or reading) of the fairy tales of the Grimm Brothers. After having completed such activity the uterrance and the communicative exchanges expressed by these children will be observed. Finally the results will be analyzed from a qualitative approach to better match the type of study. The respective investigation may contribute to the science and the social inclusion process, specifically to include school, bringing a more expressive performance of blind children especially with reference to oral communication. / Conhecer o processo de aquisição e desenvolvimento da linguagem de uma criança cega é de fundamental importância, tal qual o das demais crianças. Constata-se que é necessário o emprego de algumas ferramentas para que este sujeito não seja impactado em seu caminho, devido, principalmente, ao acúmulo de dificuldades que se interpõem na fase inicial da sua vida. São indispensáveis vários estímulos, para que cada ser humano constitua-se como os outros, descobrindo talentos e qualidades, além de buscar continuamente as possibilidades para exercer a sua cidadania e jamais sentir-se ”deficiente”. É por acreditar neste conceito que realizamos esta pesquisa, sendo a amostra constituída por três crianças cegas que freqüentam escolas da rede pública de Pernambuco com idade variando entre cinco e seis anos. O objetivo desse estudo foi verificar os efeitos do emprego dos contos de fadas na ampliação da comunicação de crianças cegas. Os estímulos oferecidos foram às narrativas dos contos de fadas dos Irmãos Grimm. Após ser concluída esta atividade, foram observadas as expressões orais, bem como as trocas comunicativas manifestadas por tais crianças. Os encontros foram gravados, transcritos e posteriormente analisados. As análises foram feitas tendo como parâmetro as sugestões da abordagem qualitativa por melhor adequar-se a esse tipo de estudo. Tais análises comprovaram que a utilização das narrativas dos contos de fadas podem se constituir uma ferramenta importante para estimular o processo de aquisição e desenvolvimento da linguagem em crianças cegas, trazendo-lhes um desempenho mais expressivo, no que se refere, especialmente, a comunicação oral, além de se constituir um recurso que promove a interação social no espaço escolar. Uma das aspirações deste trabalho é apontar caminhos alternativos que possam trazer melhor qualidade ao período de escolaridade destas crianças, bem como reforçar a busca de novas pesquisas nesta área de conhecimento.

3rd grade -- Group discussion -- Literary elements (setting, plot development, characterization) -- Comparison charts, study groups, journals -- Shared meaning.

In 1950 Pavel Kohout published under the title O černém a bílém [‘About the black and the white’] a book of fairy tales, which appeared in 1953 in East Germany under the title Dreizehn rote Rosen [‘Thirteen red roses’]. If one can still recognize elements of (literary) fairy tales in the original agitative text, these are largely obliterated in the translation. The fairy tales lose the elements that marked them as fairy tales. In East Germany, the early Soviet fairy tale criticism, which had lost its sharpness at the Soviet Writers’ Congress in 1934, is taken over, while in Czechoslovakia it is still represented only by orthodox criticism.

This essay seeks to explore the relation between Crimson Bound and the fairy tale from which it derives from. Today, it is common to use fairy tales as a base for new literature, movies and tv-series and therefore it is interesting to study these new additions to our media. By applying Vladimir Propps extensive study of fairy tales to Rosamund Hodges Crimson Bound and the Brothers Grimms Little Red Cap I hope to come to an understanding of the differences and similarities that these two holds. Through this analysis I conclude that Hodges utilizes the functions that Propp states are specific to the fairy tale genre. I also conclude that, although Hodges closely follow the initial structure of Little Red Cap, she deviates from the fairy tale towards the ending. Besides the interesting similarities and the effect of the differences, the roles of the protagonist and the antagonist stands out. Therefore, a portion of this essay delves deeper into how the adaption to the fantasy genre affect these roles as well as how the relationship between then protagonist and antagonist alters due to this.

Fairy tales are usually described as short narratives that end with happily-ever-afters, imposing patriarchal ideologies. The Grimm’s fairy tales serve as the foundation of many other stories which promote stereotypes like woman passiveness, submissive beauty, while men are put on a pedestal for being active and violent at the same time. Angela Carter’s collection The Bloody Chamber depicts patriarchal oppression in classic fairy tales by challenging what can be identified as patriarchal binary oppositions with a strategic subversion of gender roles. Through problematizing and critiquing the patriarchal fairy tales, Carter’s texts can be read through the lens of écriture féminine. Following Hélène Cixous’s notion of écriture féminine, outlined in “The Laugh of the Medusa”, this essay explores how Carter’s  “The Lady of the House of Love'' can be read as a narrative that has strong echoes of the kind of female writing Cixous advocates. Moreover, this essay argues that  “The Lady of the House of Love” contradicts the Western myth of femininity by resisting, exploring, even undermining the patriarchal representation of woman as “heroine”-the fairy tale princess who needs a man to save her -and “femme fatale.”

Fairy Tales have been an important part of peoples' cultural heritage since time immemorial. From a very early age on, children hear stories about witches, giants, dwarf's, and magicians which make up their first entry into the literary world. Only recently have scholars begun to research just how much influence these stories have on children and how they might have a different impact on girls than on boys. This thesis will investigate the world of fairy tales in relation to their historical context and their differing relevance for male and female readers. I will examine the fairy tales of the brothers Grimm and of Ludwig Bechstein because these three scholars count among the most important fairy tale narrators in the German-speaking region. I will limit my examination to the witch in fairy tales because of all the figures she seems to have the most impact on the audience.

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