Thesis (M.S.) in Human Development--University of Maine, 2008. / Includes vita. Includes bibliographical references (leaves 47-48).

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This thesis investigates the representation of femininity within a variety of cultural sources including the earlier novels of Jeanette Winterson and the films of Walt Disney. This juxtaposition parallels images of female development and ego formation bringing to the fore the adolescent heroine's ancient roots in mythology, horror and the fairy story. As a cultural studies project, the thesis deploys the critical techniques of poststructuralism in conjunction with psychoanalysis, feminist theory and film analysis. This is necessary to demonstrate to full potential the heterogeneous quality of the revisioned models of heroinism. My analysis is focused on both popular and literary texts, with Winterson's early fiction in particular selected as a sophisticated and developed example of the ways in which current theory can chart the evolution of a contemporary female literary voice. This thesis carefully scrutinises traditional strategies concerned with literary discourse in order to show how phallocentric structures infiltrate and reflect postcolonial, popular culture. This is achieved through an initial concentration upon mass representation of the female form. This is a necessary analysis as one cannot demonstrate how contemporary women authors revise traditional models of heroinism without first defining what has gone before. Building on the work of Elisabeth Bronfen, this thesis examines how contradictory narratives construct a double opposition, overlapping the dead and the feminine against the living and the masculine, to defend against the knowledge of an incommensurable difference at the origin of life. By representing the narrative of double castration, this is a thorough examination of a movement away from biologically scripted models of castration anxiety, as with Freud, relocating identity at the site of the navel. This enables the subject to move beyond the division of sexuality as presented within patriarchal, heterosexual orthodoxies and to allow for a notion of femininity which is subversive because of its very willingness to explore and inhabit abject/deject states. For the purposes of my investigations, these tradtionally disturbing 'liminalities' will be understood in both psychic and cultural terms, but will focus, in particular on female adolescene. In conclusion, the revisionary heroine marks the dissolution of the certainty once associated with the ancient constructed ideal of femininity. She does not place herself in opposition to the traditional figure, more than that, she surfaces within the broader frame of Western culture as something different, some 'thing' else in the psychoanalytical sense to the 'Other'. My analysis of the figure of the revisionary heroine demonstrates the ways in which both the creation and the interpretation of art and theory can be inflected towards an inversion of the dominant structures of knowledge and power without simply reproducing them.

Submitted by Mário Sérgio Teodoro da Silva Junior null (junior.marioteodoro@gmail.com) on 2017-05-25T00:58:46Z No. of bitstreams: 1 Dissertação final.pdf: 9753174 bytes, checksum: 649b1383345da9cedc633ecc820e5c23 (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-05-30T16:09:48Z (GMT) No. of bitstreams: 1 silvajunior_mst_me_arafcl.pdf: 9753174 bytes, checksum: 649b1383345da9cedc633ecc820e5c23 (MD5) / Made available in DSpace on 2017-05-30T16:09:48Z (GMT). No. of bitstreams: 1 silvajunior_mst_me_arafcl.pdf: 9753174 bytes, checksum: 649b1383345da9cedc633ecc820e5c23 (MD5) Previous issue date: 2017-04-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Devido ao amplo interesse dos estudos da linguagem pelo texto sincrético e midiático, seus mecanismos de produção de sentido e uma metodologia de análise desse tipo de texto, este trabalho dedica-se a aprofundar a discussão do assunto. Como corpus, selecionam-se os filmes de animação dos estúdios da Walt Disney, uma vez que esses textos possuem grande popularidade e circulam com intensidade no meio social, figurando como discursos que, naturalmente, refletem muito características caras à vida cultural do mundo de hoje e das últimas décadas. Unem-se, assim, um assunto precioso à semiótica discursiva – o texto sincrético – e um assunto de interesse peculiar aos estudos do discurso em geral – o estilo no meio social. Como recorte no corpus, são escolhidos apenas quatro filmes, que obtiveram maior destaque dentre a produção dos estúdios. Três deles, A pequena sereia, A bela e a fera e Aladim, lançados, respectivamente, em 1989, 1991 e 1992, fazem parte de uma geração de títulos musicais da era conhecida como renascença Disney. O quarto filme, Frozen: uma aventura congelante, de 2013, parece retomar o estilo musical e conquistar o público em larga escala, pondo a companhia em evidência novamente. Como tópicos teóricos do trabalho, ao lado de questões da imanência do sentido e de articulações internas da expressão e do conteúdo, há também questões relativas à enunciação como uma totalidade concisa de enunciados, no tocante à ligação existente entre os títulos selecionados. Dessa forma, adentra-se o campo da autoria, procurando a definição do que se entende como um estilo próprio da Disney de enunciar, com isotopias discursivas e textuais que circulam com mais força em torno da questão musical. Recorre-se à teoria de estilo de Norma Discini, em O estilo nos textos (2013) e Corpo e estilo (2015), adicionando-se o conceito de ethos discursivo que Dominique Maingueneau discute ao longo de toda a sua obra científica. Quanto à análise semiótica, prestigia-se o plano da expressão, com base, essencialmente, na obra organizada por Lúcia Teixeira e Ana Cláudia Oliveira, Linguagens na comunicação (2009), e na obra de Pietroforte, A significação musical (2015), além de trabalhos mais específicos que dão método à análise da dimensão plástica, musical do conteúdo dos filmes. Por fim, pudemos concluir um estilo Disney essencialmente estadunidense, ligado intimamente à ideologia do Sonho Americano, e que mobiliza seus formantes em um regime de tonificação atenuação da disposição sensível e da retenção material. / Given the wide interest addressed to the study of syncretic texts and media in general by Linguistics and other language fields that discuss how those texts signify and how to systematize their inner mechanisms, we have decided to mature that debate in the present work. Our corpus is composed by animated films by Walt Disney due their popularity and the intensity with which they relate to society and, therefore, can present many characteristics of nowadays and previous decades culture. Thus, we present both a precious subject to discursive semiotics – syncretic text – and another one common to all discourse theories – style and society. We selected four famous titles from the Studios. Three of them – The little mermaid, Beauty and the beast and Aladdin, released, respectively, in 1989, 1991 and 1992, belong to the musical generation known as Disney Renascence. The fourth film, Frozen, 2013, seems to reclaim the musical style and conquer positively the public, putting Disney on the spotlight once more. Besides meaning’s immanent aspects that come the way, the main challenge is to deal with questions relating to enunciation as a totality of enunciates, establishing the relation among them. Hence, the only way is to go through authorship subject, searching for a definition for the Disney enunciative style, with its own discursive and textual isotopies that round the musical issue. At last, we can define a strongly American Disney style, closely linked to the American Dream ideology, that mobilizes its formants by a general structure of amplification and attenuation in the Subject’s sensibility and material retention. / FAPESP: 2014/17482-0

This study contributes to the discourse of the body and the voice in feminist psychoanalysis and psychoanalytic film theory by exploring the currently under-theorised notion of the singing body in particular, as this notion finds manifestation in Disney's Singing Princess. Analyses of musical coding and other filmic tropes follow the trajectory of the Singing Princess across thirteen Disney Princess films - from her first appearance in Snow White and the Seven Dwarfs (1937) through to her most recent manifestation as Elsa in Frozen (2013) - to reveal deeper insight into what she sings, how she sings and why she sings.

The Walt Disney Company has been incomparably successful in a wide array of product and experience markets. In the fall of 2019, Disney will launch a new branded streaming service, Disney+. This research will examine and analyze, by means of SWOT and PEST analyses, the marketing strategy and managerial implications for Disney+ as well as the internal and external conditions facing the company that may affect, either directly or indirectly, the platform’s success.

Denna studie avser att studera hur genussystemet och genuskontraktet gestaltar sig och förändras över tid i disneyfilmer. Syftet är att studera vilka normer och mekanismer som disneyfilmer innehåller utifrån ett genusperspektiv, med hjälp av observation och innehållsanalys som metod för att besvara studiens syfte och frågeställningar. Sex disneyfilmer från tre olika tidsaspekter ligger till grund för studien, Askungen och Törnrosa från 1950-talet, Den lilla sjöjungfrun och Skönheten och odjuret från 1990-talet samt Frost och Vaiana från 2010-talet. Disney har kritiserats för sina stereotypiska karaktärer men resultatet i denna studie visade dels att Disney stegvis har börjat bryta sig loss från genussystemet. De stereotypiska karaktärerna visades främst i filmerna från 1950-talet, på 1990-talet blev kvinnorna mer självständiga samt modiga och på 2010-talet sker det ytterligare förändringar med en naturligare framställning av könen.

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Walt Disney Studios possesses a checkered past in how its films dealt with racism and representation. Some of the earliest films involved songs and characters that go against modern sensibilities. In recent years, the studio's films have attempted to go against their forebears' racist connotations. Racism, however, proved a constant problem for the company. This paper shall explore the various ways Disney feature films addressed (or did not address) themes of racism and discrimination in its films from 1990 to 2018. The first chapter discusses the business reasoning behind Disney's continued reluctance to address race issues adequately, chiefly fear of losing monetary revenue from alienated whites. The second chapter explores the different types of coding filmmakers employed to keep from directly address race, coding all characters as white in the process. This method lasted until the Princess and the Frog's release because the film's blatant use of Jim Crow imagery caused a considerable amount of backlash. The final chapter concerns how the corporation's current method of dodging race in its films. Dubbed the "Fantastical Reality," this method relies on leaning into the fantastic aspects of a setting (magic or otherness) to explain why race and racism do not appear in a film. This method came under heavy scrutiny with Zootopia and Black Panther's release, both of which make race a significant theme.