Ce travail aborde les relations existant entre l’amour platonicien et l’amour présent dans les films d’animation de Walt Disney. Disney étant l’un des plus grands médias culturels occidentaux, si ce n’est mondiaux, retrouver Platon chez Disney, c’est voir l’influence de la philosophie grecque sur l’Occident actuel et son héritage. La comparaison sera déployée selon quatre grands thèmes : le rôle du beau dans l’amour, ἔρως comme intermédiaire, l’amour comme folie divine, l’amour comme méthode éducative. Nous commencerons par exposer les mœurs en Grèce antique, pour présenter adéquatement la position de Platon. Nous nous demanderons ensuite les causes pouvant expliquer l’apparition de la théorie platonicienne de l’amour chez Disney. Nous présenterons par la même occasion les contes qui ont inspiré Disney et qui peuvent parfois avoir des racines platoniciennes. Finalement, nous comparerons les films de Disney avec la pensée de Platon au sujet de l’amour. / This paper presents the existing correlations between the concept of platonic love and the love displayed in Walt Disney's animated movies. Disney being one of the biggest media in Occident, if not in the world, finding Plato's theory in Disney movies means seeing the traces of Greek philosophy in today’s occidental world, and its heritage. We will ask ourselves why there is an existing relationship between Plato’s theory and Disney. The comparison will be made around four themes: the role of beauty in love, ἔρως as intermediary, love as divine foolishness, love as educational method. We will first expose the customs of ancient Greece in order to present adequately Plato’s position. We will present the fairy tales that inspired Disney, which sometimes find their origin in Platonism. Finally, we will compare Disney movies with Plato’s reflections about love.

University of Macau / Faculty of Social Sciences and Humanities / Department of Communication

The objective of this study is to examine the emotional regulation strategies used by Walt Disney World on-stage employees as a way to fulfill requirements set forth by the company. Ten Disney on-stage employees were interviewed off-property in Orlando. The emotional regulation framework was divided into several categories: (1) a distinction between deep acting and surface acting, (2) emotional deviance, and (3) emotional exhaustion. “Surface acting” is a strategy by which employees display company-imposed emotions not genuinely felt, whereas “deep acting” occurs when employees do feel the emotions that they are required to express (Hochschild, 1983). Throughout the data reduction process, five key themes surfaced as the most relevant to the initial research questions: (1) Self-Motivated Deep Acting, (2) Organizational Expectations for Surface Acting, (3) “Back-Stage” vs. “Front-Stage” Dichotomy, (4) Benefits of Emotional Training, and (5) Negative Effects of Emotional Regulation. Overall, the researcher found that a key strategy of emotional regulation that Disney employees use frequently is surface acting, although deep acting was found to be more successful. In addition, while emotional exhaustion was a common problem among employees, very few of them will actually engage in emotional deviance in order to avoid the negative consequences of surface acting. Lastly, it was found that highly skilled Walt Disney World employees will have already internalized emotional regulation training and display rules that manage emotional behavior. Therefore, it becomes less essential for the Disney Company to formally monitor its employees’ facial expressions and emotional behavior in the future