Submitted by Caroline Xavier (caroline.xavier@pucrs.br) on 2017-06-27T17:04:58Z No. of bitstreams: 1 TES_LARISSA_LAUFFER_REINHARDT_AZUBEL_COMPLETO.pdf: 10660852 bytes, checksum: 4e8a52c3c117a4f6147e315dbfd4baf9 (MD5) / Made available in DSpace on 2017-06-27T17:04:58Z (GMT). No. of bitstreams: 1 TES_LARISSA_LAUFFER_REINHARDT_AZUBEL_COMPLETO.pdf: 10660852 bytes, checksum: 4e8a52c3c117a4f6147e315dbfd4baf9 (MD5) Previous issue date: 2017-03-24 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / Conselho Nacional de Pesquisa e Desenvolvimento Cient?fico e Tecnol?gico - CNPq / This research seeks to comprehend the manifestation of the postmodern imaginary in the feeric serial narrative Once Upon a Time. Moved by this purpose, it goes through a path in which plots and characters suffer metamorphoses, to understand how the spirit of time shows itself up in the first season of this series. The key notions that guide it are of imaginary (and its technologies) and of postmodernity. But it also counts on the theoretical contribution of the fairy tales and of the television series. Through them, the Comprehensive Sociology, as method, and the Comprehensive Film Analysis of Serialized Narrative, as research technique, it launches into the cartography of Once Upon a Time in the field of Sociology Communication. With this theoretical and methodological basis, it deciphers the living imaginary micromuseum of this series, which reveals itself as a metaphor (if not, a caricature) of contemporary sociality. In addition, in the anthropological path of this research, it is proposed, among other theoretical advances, its own notions of imaginary, regime of contemporary images, postmodernity, communication and fairy tales. It is also suggested a new way of analyzing television series. / Esta pesquisa busca compreender a manifesta??o do imagin?rio p?s-moderno na narrativa fe?rica seriada Once Upon a Time. Movida por esse intuito, percorre o trajeto em que tramas e personagens passam por metamorfoses, para entender como o esp?rito do tempo se apresenta na primeira temporada da s?rie. As no??es-chave que a guiam s?o as de imagin?rio (e suas tecnologias) e de p?s-modernidade. Mas conta tamb?m com o aporte te?rico sobre contos de fadas e s?ries televisivas. Por meio delas, da Sociologia Compreensiva como m?todo e da An?lise F?lmica Compreensiva da Narrativa Seriada como t?cnica de pesquisa, lan?a-se ? cartografia de Once Upon a Time no ?mbito da Sociologia da Comunica??o. Com essa base, te?rica e metodol?gica, interpreta o micromuseu imagin?rio vivo da s?rie, o qual revela-se met?fora (sen?o, caricatura) da socialidade contempor?nea. Al?m disso, no trajeto antropol?gico desta pesquisa prop?e-se, entre outros avan?os te?ricos, no??es pr?prias de imagin?rio, regime das imagens contempor?neas, p?s-modernidade, comunica??o e contos de fadas. Sugere-se, ademais, uma nova forma de analisar s?ries televisivas.

Although many feminist fairy-tale scholars have theorized how the tales shape the lives of their readers, few have explicitly examined what readers themselves have to say about how fairy tales impacted their choices and expectation. This article turns to fanfiction written by fans of ABC's Once Upon a Time television series to discover how these fans challenge or reify fairy-tale expectations, particularly in terms of gender. After outlining the brief history of fairy-tale reception studies concerned with gender, the article then turns to a close reading of three OUAT fanfiction retellings of Beauty and the Beast that show the couple in contemporary settings dealing with ordinary and magic-less problems, such as a loveless marriage, sexual violence, and the stillbirth of a child. The close reading of these stories reveal that even as they challenge the passive princess ideal seen in many early Disney retellings, they also challenge the ideal of the handsome prince who can ensure a happily ever after. Instead of saving the heroine from impending trauma, the hero must support her as she copes after trauma has already struck. In each of these stories, the couples must empathetically relate to each other's pain, support rather than force the recovery process, and redefine happily ever after as dynamic, peaceful moments rather than an absolute, static ending. The analysis of fanfiction writer and reader interactions reveals that these stories are also used as models for the readers' and writers' own experiences in supporting friends who have gone through trauma, emphasizing that fairy tales are still relevant to their readers' lives.

No description available.

<p>Tillskillnad mot de flesta Västernfilmerna valde manusförfattarna till C'era una volta il West att införa en kvinnlig karaktär i en av de större rollerna. Uppsatsen undersöker utifrån ett feministiskt perspektiv med texter av Laura Mulvey och Mary Ann Doane som utgångspunkt representationerna av filmens fyra huvudkaraktärer. I den första delen av uppsatsen diskuteras Västernfilmen i stort med extra fokus på Sergio Leones filmskapande. Därefter följer en redogörelse av de utvalda texterna vilka sedan används under läsningen av filmen i analysdelen.</p>

Tillskillnad mot de flesta Västernfilmerna valde manusförfattarna till C'era una volta il West att införa en kvinnlig karaktär i en av de större rollerna. Uppsatsen undersöker utifrån ett feministiskt perspektiv med texter av Laura Mulvey och Mary Ann Doane som utgångspunkt representationerna av filmens fyra huvudkaraktärer. I den första delen av uppsatsen diskuteras Västernfilmen i stort med extra fokus på Sergio Leones filmskapande. Därefter följer en redogörelse av de utvalda texterna vilka sedan används under läsningen av filmen i analysdelen.

This thesis analyses 21st century filmic, televisual and comic “Snow White” adaptations. The research is interdisciplinary, bringing together scholarship on gender, childhood, ageing, adaptation, media and fairy tales. The first half of the thesis contextualises the broader historical and sociocultural conversation “Snow White” tellings are immersed in by nature of their shared culture and history. It also identifies the tale’s core and traces the tale’s formation as a tale type from the seventeenth to the twenty–first century. The second half of this thesis moves to an analysis of two films (Mirror Mirror, 2012; Snow White and the Huntsman, 2012), a television series (Once Upon a Time, 2011–present) and a comic book series (Fables, 2002–2015). It considers the kinds of stories about female growth and ageing different media adaptations of “Snow White” enable, and contemplates how issues of time and temporality and growth and ageing play out in these four versions. In analysing the relationship between form and content, this thesis illustrates how a study of different media adaptations of “Snow White” can enrich fairy–tale scholarship and the fairy–tale canon. It also details the imaginative space different media adaptations of “Snow White” provide when engaging with dominant discourses around female growth and ageing in the West. Using “Snow White” as a case study, this thesis centrally facilitates a dialogue between ageing, childhood, fairy–tale and adaptation studies.

No description available.