This dissertation explores how the concepts of ambivalence, horror, monsters and mise-en-scène can be used to interpret the ambivalent predator-monster/victim relationship of the characters Sonja Daneel, Adele and Maggie Joubert from the film Wolwedans in die Skemer (2012). In doing so, this dissertation investigates how Noël Carroll’s The Philosophy of Horror or Paradoxes of the Heart (1990) and Jeffery Cohen's Monster Theory (1996) can be used as a theoretical foundation to analyse and interpret the characters Sonja, Adele and Maggie. This research argues that within the horror genre, viewers are presented with two classic characters, namely that of the monster (often male) and the victim (often female), each with their own set of characteristics and traits that set them apart. However, I postulate that in Wolwedans in die Skemer these characteristics and traits are often blurred into one character, giving rise to a monster-victim ambivalence. This study also investigates the connection that the characters Sonja, Adele and Maggie have in relation to werewolves and to the characters of the Little Girl and the Wolf from the Red Riding Hood tales. Jones (2012:140) proposes that the wolf is the projection of her own inner predator - this suggests that the Little Girl and the Wolf can be seen as one character, a combination of victim and predator. Red Riding Hood can possibly be interpreted as recognising her inner self as the Wolf or a werewolf. A werewolf is a person who has been transformed, by force of will and desire, from a human (victim) into a predatory and monstrous wolf-like state. When women are werewolves, the traditional coding of horror - monster as male, victim as female, no longer applies. The "female werewolves" of Wolwedans in die Skemer each become, in some way, Little Red Riding Hood, Wolf, and Woodcutter fused into one. By analysing the characters Sonja, Adele and Maggie through the lens of the monster and victim with regards to the concepts of ambivalence, horror, and miseen- scène, it becomes clear that the roles of the monster and the victim in Wolwedans in die Skemer dissolve into one body, creating an ambivalent fluctuation between the two. / MA (History of art), North-West University, Potchefstroom Campus, 2015

This dissertation explores how the concepts of ambivalence, horror, monsters and mise-en-scène can be used to interpret the ambivalent predator-monster/victim relationship of the characters Sonja Daneel, Adele and Maggie Joubert from the film Wolwedans in die Skemer (2012). In doing so, this dissertation investigates how Noël Carroll’s The Philosophy of Horror or Paradoxes of the Heart (1990) and Jeffery Cohen's Monster Theory (1996) can be used as a theoretical foundation to analyse and interpret the characters Sonja, Adele and Maggie. This research argues that within the horror genre, viewers are presented with two classic characters, namely that of the monster (often male) and the victim (often female), each with their own set of characteristics and traits that set them apart. However, I postulate that in Wolwedans in die Skemer these characteristics and traits are often blurred into one character, giving rise to a monster-victim ambivalence. This study also investigates the connection that the characters Sonja, Adele and Maggie have in relation to werewolves and to the characters of the Little Girl and the Wolf from the Red Riding Hood tales. Jones (2012:140) proposes that the wolf is the projection of her own inner predator - this suggests that the Little Girl and the Wolf can be seen as one character, a combination of victim and predator. Red Riding Hood can possibly be interpreted as recognising her inner self as the Wolf or a werewolf. A werewolf is a person who has been transformed, by force of will and desire, from a human (victim) into a predatory and monstrous wolf-like state. When women are werewolves, the traditional coding of horror - monster as male, victim as female, no longer applies. The "female werewolves" of Wolwedans in die Skemer each become, in some way, Little Red Riding Hood, Wolf, and Woodcutter fused into one. By analysing the characters Sonja, Adele and Maggie through the lens of the monster and victim with regards to the concepts of ambivalence, horror, and miseen- scène, it becomes clear that the roles of the monster and the victim in Wolwedans in die Skemer dissolve into one body, creating an ambivalent fluctuation between the two. / MA (History of art), North-West University, Potchefstroom Campus, 2015

This essay examines Angela Carter’s feminist rewritings of classical fairy tales. By examining the original fairy tales and comparing them to what Angela Carter published I aim to highlight a feminism that is subtle and non-binary. In the analysis I draw on ideas presented by Hélène Cixous as well as Simone de Beauvoir. Furthermore, a pedagogical reflection is included to show ways in which these stories could be incorporated in the upper- secondary school.

Nous exposerons dans notre thèse, les éléments déterminants liés à la tradition imagée du Petit chaperon rouge, et aux supports qui lui sont associés, afin de mieux les mettre en perspective avec l'objet de notre étude : voir dans quelle mesure les livres illustrés, albums et autres supports espagnols hébergeant le conte, s’inscrivent à l’intérieur d’une tradition iconographique que nous pourrions qualifier d’européenne,ou en quoi, au contraire, ils rompent avec cette tradition. / We will expose in our thesis, the determining elements related to the pictorial tradition of Little Red Riding Hood, and the media associated with it, to better place them in perspective with the object of our study: to what extent books, illustrated albums and other Spanish media hosting storytelling, enroll in within an iconographic tradition that we might call European, or how, on the contrary, they break with this tradition.

Thesis (M.F.A.)--Rochester Institute of Technology, 2006. / Typescript. Includes bibliographical references (leaves 38-40).

Submitted by Ana Laura Garro dos Santos null (analaura.garros@hotmail.com) on 2016-07-07T14:47:06Z No. of bitstreams: 1 ANA LAURA - DISSERTAÇÃO.pdf: 5189721 bytes, checksum: e04aec45b6143c501db176fdd5837d92 (MD5) / Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-07-11T14:31:18Z (GMT) No. of bitstreams: 1 santos_alg_me_prud.pdf: 5189721 bytes, checksum: e04aec45b6143c501db176fdd5837d92 (MD5) / Made available in DSpace on 2016-07-11T14:31:18Z (GMT). No. of bitstreams: 1 santos_alg_me_prud.pdf: 5189721 bytes, checksum: e04aec45b6143c501db176fdd5837d92 (MD5) Previous issue date: 2016-05-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Este estudo apresenta os resultados da pesquisa As várias Chapeuzinhos Vermelhos: contos e recontos a partir das preferências de um 4º ano do Ensino Fundamental, desenvolvida no programa de Pós-Graduação – Mestrado em Educação – da Faculdade de Ciências e Tecnologia, FCT-UNESP, na cidade de Presidente Prudente. Tal estudo, que está vinculado à linha de pesquisa “Processos formativos, ensino e aprendizagem” e ao Centro de Estudos em Leitura e Literatura Infantil e Juvenil (CELLIJ), é decorrente da inquietação e preocupação da pesquisadora quanto à maneira como os alunos compreendem suas leituras. Por isso, teve como principal objetivo analisar os contos de fadas sugeridos pelas crianças de um 4º ano do Ensino Fundamental e as relações entre paratextos, texto verbal, não verbal e estratégias de leitura. Assim, analisam-se três versões do conto de fadas Chapeuzinho Vermelho: Chapeuzinho Vermelho, na versão de Perrault, o que chamamos de clássico, Chapeuzinho Vermelho – uma aventura borbulhante, identificada como reconto, e Chapeuzinho Vermelho em uma versão resumida, a qual nomeamos de simplificado. Nesse sentido, os objetivos específicos foram: averiguar como os procedimentos para a escolha do livro implicam na compreensão; analisar se e como o texto verbal permite amplo envolvimento do leitor; verificar a função do texto não verbal nos títulos examinados e, por fim, verificar se e como os contos de fadas escolhidos possibilitam relações com estratégias de leitura. Para tanto, a pesquisa foi desenvolvida em uma escola municipal de Presidente Prudente. Os procedimentos metodológicos ocorreram em dois momentos: no primeiro, utilizou-se como instrumento um questionário para conhecer o perfil e o interesse leitor em relação aos contos de fadas, quando se percebeu que os alunos se interessam pela leitura do gênero, porém, muitos desconhecem a estrutura do texto narrativo; ademais, praticam algum tipo de estratégia em suas leituras, mas não têm consciência disso. O segundo momento foi realizado a partir de uma roda de conversa, que buscou saber a forma de acesso dos discentes aos livros (em casa, na sala de leitura, na sala de aula ou em todos ou mais de um desses locais), além da confirmação dos discentes sobre o conto de fadas preferido. Com base nesses pontos, foi delimitado um corpus de análise, cujas obras foram analisadas levando-se em consideração os seguintes eixos temáticos: paratextos, texto não verbal, texto verbal e estratégias de leitura. Os resultados levaram a crer que as versões do conto clássico e o reconto oferecem maiores e melhores condições para que os alunos compreendam o texto e se motivem para lê-lo. Por outro lado, a versão simplificada não tem qualidade estética e depende de um planejamento do professor para que possa ser utilizada com ressalvas. Nesse sentido, reafirma-se a importância de os profissionais da educação conhecerem diferentes aspectos sobre o livro e sobre as estratégias de compreensão leitora, a fim de ensinar seus alunos a ler todas as partes do livro e se tornar críticos e autônomos. / This study demonstrates the results of the research “Several Little Red Riding Hood: tales and retellings from the preferences of a fourth year of elementary school”, developed by the Graduate Program – Master’s in education – from the Faculdade de Ciências e Tecnologia, FCT – UNESP, in Presidente Prudente. This study, that is linked to the research line “Formative processes, teaching and learning” and to the Centro de Estudos em Leitura e Literatura Infantil e Juvenil (CELLIJ), resulting from the researcher’s uneasiness and concern in relation to the way the students understand their reading. Therefore, it aimed to analyze fairy tales suggested by fourth-grade children and the relationship between paratext, verbal text, non-verbal text and reading strategies. Thus, the fairy tale “Little Red Riding Hood” is analysed in three versions: “Little Red Riding Hood”, in Perrault’s version, that we name classic, “Little Red Riding Hood – A Bubbly Adventure”, that we name retelling and “Little Red Riding Hood” in an abbreviated version that we name simplified. In this sense, the specific objetives were: to ascertain how the procedures to choose the book implicate in the comprehension, to analyse if and how the verbal text permits the reader’s extensive involvement, to verify the non-verbal text function in the analysed titles and, finally, to ascertain if and how the chosen fairy tales allow relationship with the reading strategies. For this purpose, the research was developed in a municipally-run public school in Presidente Prudente. The methodological procedures occurred in two moments: first, it was used as instrument a questionnaire to know the reader’s profile and interest in relation to the fairy tales. It was noticed that the students are interested in reading this genre, however, many do not know the structure of narrative text; they practice some kind of strategy in their reading, but they do not have awareness about it. In a second moment, a conversation circle was done to ascertain the form of access of the students to the books (in their house, in reading rooms, in classrooms, in all these places or more than one of them), besides the student’s confirmation about their favorite fairy tale. From this, an analysis corpus was delimited, which titles were analyzed taking into account the following thematic axes: paratexts, verbal text, nonverbal text and reading strategies. The results led us to believe that the classic tale and the retelling versions offer major and better conditions for the students understand the text and motivate theirselves to read them. On the other hand, there is no aesthetic quality in the simplified version and it depends on the teacher´s planning to be used meticulously. In this regard, the importance of the education professionals knowing the aspects about the book and about the reading strategies is reaffirmed, in order to teach the students to read all the parts of the book and to become critics and autonomous.

Creating and writing fairy tales is a literary exercise that was introduced in the salons of the XVII century. Madame d'Aulnoy and Charles Perrault began to write the fairy tales that became fashionable at the court of King Louis XIV. Despite the simplicity of their narrative patterns, the tales carry messages that affect all readers. First addressed to adults, fairy tales dealt with anxieties, fears and desires of the human being. Little Red Riding Hood is one of the most famous tales in the world. Universally loved, this cautionary tale has experienced much evolution through the centuries. There are some differences between the very bloody oral version and the version of Perrault. A century later, the version of the two German brothers, the brothers Grimm, became the best-known version. But the story’s main rudiments have not changed: the little girl, the wolf, the mother, the grandmother and the forest, these elements have not ceased to inspire the authors up to the present day. Today the rewriting of fairy tales has become an art in its own right. If we look at the market of youth literature, we will find hundreds of tales rewritten and modernized. Writers take advantage of the popularity of these tales that fascinate adults as well as children. Little Red Riding Hood has turned into a story about a little girl with a Little Hood of all colors: navy blue or green. Among a long list of rewritten tales we have chosen to study five. The first tale is taken from the collection entitled Contes à l'envers by Dumas and Moissard: Le Petit Chaperon bleu marine (Little Navy Blue Riding Hood) This tale written in 2009 represents a clear illustration of the transfigured tale. The other four tales we have chosen are written by Geoffroy de Pennart. Through the study of these tales, we shall see how the character of the wolf has changed from the wretched wolf of Perrault. Le loup est revenue (The Wolf Has Returned) published in 1994 presents all the animals of the traditional tales that are afraid of the return of the wolf. Le loup sentimental (The Sentimental Wolf) released in 1998, features several famous characters from the classical tales and creates unexpected links between all these characters. The third tale is Chapeau rond rouge (Red Round Hat) published in 2004; this tale is a parody of the classic tale. Finally Le retour de Chapeau rond rouge (The Return of Red Round Hat) released in 2011 is a contemporary tale that refers to three previous tales: The Little Red Riding Hood, Goldilocks and the Three Bears and Red Round Hat. Through the reading of these five modern tales we can follow the course of the evolution of the tale. This study examines the evolution of the classic tale, its rewriting and intertextual correlations in the tale of Little Red Riding Hood. By analyzing adapted and rewritten modern tales, this research attempts to demonstrate that a rewritten tale is read only in light of the knowledge of the original tale. Inverted, transfigured or mixed, these tales offer the reader a great pleasure. The audience enjoys reading these texts full of humor and references winks compared to the classic tale. The role of heroes is often reversed in modern tales and morality does not remain the same. Thanks to this reading of the second degree of the rewritten tale, children discover and deepen their gaze in regards to the modern world.

RÖDLUVAN OCH VARGEN en novell och artistbook. Jag bifogar manuskriptet men även dokumentation. Boken är handbunden. Om- slaget består utav min akvarellmålning, pressad på läder. Boken är varvad med fotografier och illustrationer, tryckt på semitransperant papper. Texten är tryckt på indiskt, handpressat akvarellpapper och jag har även valt att måla direkt i boken på vissa ställen där det föll mig in...  Likt ett drömtillstånd speglar de olika arketyperna i berättelsen varandra. Rödluvan, Mormor, Vargen, Jägaren och den frånvarande modern är olika aspekter inom ett och samma själv. Rollerna är sammanblandade och flytande. Vem är offer? Vem är förövare? Jag har skrivit berättelsen med den intentionen och arbetat fram en bok på samma sätt som jag skulpterar eller komponerar musik på. Berättelsen är inte linjär utan mångdimensionell, likt en skulptur. Jag kan vända och vrida på den och få syn på olika betydelser, for- mer eller formuleringar. Jag använde skrivandet som en metod att tömma ut mig på, tömma ut allt mörkt och förbjudet som lurar i skuggorna av mitt jag. Allt sådant jag vill glömma, gömma, tränga bort eller skäms för. Berättelsen om Rödluvan och Vargen är ock- så ett försök till att tänja på gränserna för hur en bok bör vara strukturerad, och röra mig någonstans bortom olika uppdelningar vi människor annars gärna gör naturligt. Rödluvans verklighet påminner mer om en psykos, eller ett drömtillstånd. Jägaren får repre- sentera det jordade, det som ligger nära något som kanske är läsarens verklighet, ett slags nu. Kanske är det Jägaren själv som skrivit hela berättelsen? Det finns en komplexitet och en paradox med att göra djupgående, psykologiska processer, ju närmare man kommer sanningen om sig själv, sina drifter, sin önskan, sin vilja, sina dolda agendor och känslor, desto svårare blir det att urskilja - död från liv, sant från falskt, rätt från fel, förövare från offer, äckligt från vackert, känsla från tanke, den egna kroppen från omgivningen, jaget från jaget osv osv. Jag ville illustrera detta på många vis kaotiska tillstånd och varande. En grumlig mellanvärld, där jaget smälter samman med sin omgivning, med sina fantasier, med då-tid och en oro inför framtiden. Jag ville porträttera något kladdigt mellan människor, något gränslöst och hur det känns att leva i detta tillstånd. Jag har lärt mig att jag bär på känslor och metoder att hantera dessa på som på många vis gör mig sjuk. Vi ser överenskommelser, myter, normer och språk men är dessa snarare murar, eller barri- ärer mellan vad som sägs och vad som verkligen pågår? Där något kärlekslöst och giftigt kan glida in, under en mantel av godhet och medkänsla, ett självebdrägeri där jag i grunden är min största fiende. På vilket annat mer verklighetstroget vis kunde jag illustrera detta skrämmande fenomen på om inte igenom en saga.  / Imelda

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Submitted by Aline Cristina Sola Orlandi (alineorlandi@yahoo.com.br) on 2016-07-25T17:21:11Z No. of bitstreams: 1 DISSERTAÇÃO - Versão Final.pdf: 1205432 bytes, checksum: 16ecc7a478715ff90bd529382059468e (MD5) / Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-07-28T12:28:58Z (GMT) No. of bitstreams: 1 orlandi_acs_me_arafcl.pdf: 1205432 bytes, checksum: 16ecc7a478715ff90bd529382059468e (MD5) / Made available in DSpace on 2016-07-28T12:28:58Z (GMT). No. of bitstreams: 1 orlandi_acs_me_arafcl.pdf: 1205432 bytes, checksum: 16ecc7a478715ff90bd529382059468e (MD5) Previous issue date: 2016-05-30 / A presente dissertação de mestrado pretende elucidar à luz de teorias feministas e do gênero gótico algumas técnicas de escrita utilizadas por Angela Carter na reescrita do conto de fadas “Chapeuzinho Vermelho”, como forma de subversão de discursos patriarcais e desconstrução de todo um imaginário ocidental de subjugo e vitimização da mulher. Carter revisita os contos de fadas mais populares, na coletânea The Bloody Chamber and other stories, subvertendo padrões estruturais desses contos e também a posição da mulher como vítima passiva recorrente em alguns contos de fadas e na literatura gótica. Através dos contos “The Werewolf” e “The Company of Wolves” presentes na referida coletânea, pretende-se explorar como Carter faz uso de elementos do gótico para construir uma atmosfera de terror, que representa os perigos que a heroína terá que enfrentar para chegar ao final da trajetória e conquistar um prazer total (Jouissance), que ocorrerá através de sua independência econômica, social, sexual e imaginária. E como Carter propõe uma pornografia aliada à mulher, que a empodere e a ajude a descobrir sua identidade, para, assim, retomar seu lugar de igualdade com o homem na sociedade. Além disso, pretende-se elucidar, também, como a autora subverte o Gênero Gótico e os Contos de fadas, bem como a própria Pornografia e os discursos anti-pornografia do movimento feminista. / This master's thesis aims to elucidate through feminist theories and the Gothic genre some writing techniques used by Angela Carter in the rewriting of the fairy tale "Little Red Riding Hood" as a form of subversion of patriarchal discourses and deconstruction of an entire western imaginary subjugation and victimization of woman. Carter revisits the most popular fairy tales in the collection The Bloody Chamber and other stories, subverting structural patterns of these stories and also woman's position as recurring passive victim in some fairy tales and gothic literature. Through the tales "The Werewolf" and "The Company of Wolves", present in said collection, is intended to explore how Carter makes use of Gothic elements to build an atmosphere of terror, representing the dangers that the heroine will have to face to reach the end of the path and win a total pleasure (Jouissance), through its economic, social, sexual and imaginary independence. And how Carter proposes an ally pornography to woman, that empowers and helps her discover her identity, to thus repossess her place of equality with man in society. In addition, we intend to clarify, also, as the author subverts the Gender Gothic and Fairy tale, and the very Pornography and anti-pornography feminist movement speeches.