This thesis interrogates the historical, philosophical, and existential implications of the Black Arts Movement and its major artists on the recurring themes of social injustice, Western hegemony, and the fight for aesthetic authenticity to reimagine fairy tales for the youth Black Aesthetic. As a personal reflection and foundational document for a larger project, this work weaves these implications through the practical application of the varied stages of program development for youth artists. This project also is a handbook that encompasses scholarly research, reflective analysis and anecdotal journal evidence. The subsequent chapters explore the theological and theatre pedagogical educational influences that informed the phases of inception through completion of the 2015 Courage Summer Workshop (a six-week devised theatre workshop for middle school students) to include its two-year program history, curriculum design, and weekly program overviews.

My Diploma Thesis has a theoretical character. I dealt with fairy tales as a genre. I worked only with the folkloric fairy tales that are different from the modern ones in the way of universality. In the first part I looked for characteristic features of these stories from the literary and psychological point of view. I focused on time and place expression and how the fairy tale deals with the identity of characters and typical phenomenon of the good and the bad. Through these principles children can easily identify with the heroes of stories and therefore they help to solve specific developmental crisis and also to reach individual autonomy and integrity. For me, the theoretical basis was psychoanalysis and thus I followed the fairy tales theory of Bruno Bettelheim. I used this theory in the second part of my thesis as well. The interpretation of four fairy tales: Litte Red Riding-hood (Červená Karkulka), Jack an Jill (Perníková chaloupka), The Snow White and the Seven Dwarfs (Sněhurka) and Hrnečku, vař! are given. It is about the determination of the main topic and the interpretation of individual motives. Besides the different options how to interpret it I also compared the different versions of these stories. At the end I tried to have a critical view on Bettelheim's approach and also to find...

Theatre performance for children of preschool age Thesis 2012 The central themes of the thesis are theater performances for children. Specifically focuses on young preschool children. Theoretical part outlines the basic terms of theater. It takes into account the personality of preschool age child, its development and influence of theater on children's psyche. The practical part contains the research, based on the testimony of teachers in kindergartens, compared with the responses of parents of children in this age group. The aim is to explore views on the importance of theater as a part of children's lives. Essential parts of the thesis are videos of performances focusing on the child spectator as performance consumer in the presence of family members, or kindergarten. More specifically the aim is to highlight the use of theatrical performances, attended by children of preschool age, not only as part of educational activities in kindergarten, but also nurture in the family. Keywords: theater, theater performance, preschool spectator, fairy tale

This study investigates the responses of contemporary South African, Grade one children to threshold experiences in Grimm fairy tales and African Zulu folk tales. Thresholds involve an exciting or challenging experience, or a transformation in stories. Three stories from each genre were read over six sessions, to ten diverse black and white children, from one school. The children’s enjoyment was assessed, with focus on their backgrounds and previous knowledge, to help find beneficial reading for them. Results suggested that while gender of characters and story origins did not seem important, story length, humour, entertainment and educational ability, as well as personal involvement, were useful. The study supported the notion that stories are generally universal and could help bridge our cultural divide. Reader-Response theory was used and its principles helped to structure questions for the interviews, and to analyse data. Hopefully, the findings will help to select appropriate texts for all children beginning school in present-day South Africa.

É de conhecimento geral o fato de que os contos de fada transmitem importantes mensagens carregadas de ideologia que, às vezes, diferem de maneira significativa. Isso ocorre em razão da época ou localidade em que a produção é contextualizada, como podemos bem ver nas variações do conto Chapeuzinho Vermelho, seja aqueles da tradição oral medieval, os adaptados por Perrault ou pelos Irmãos Grimm, ou mesmo as versões da contemporaneidade. Traçando um percurso histórico das transformações dos contos de fada de origem popular partindo da França, percorrendo Alemanha, Portugal e culminando no Brasil o presente estudo busca verificar as transformações ocorridas nessas sociedades, mostrando como elas foram representadas nos contos e quais mensagens transmitem. Para o presente estudo, serão utilizados o Comparatismo Literário e elementos de Teoria Literária por meio de um olhar sociológico e histórico. Após a definição do quadro teórico-metodológico e da base conceitual, partiremos para uma breve análise de algumas sociedades e como sua prática social pode, de certo modo, ser representada nos contos de fada. / It is of general knowledge that the fairy tales transmit important messages filled with ideology that, sometimes, differ significantly from one another. This happens due to the time or place where the production is contextualized, as it is possible to be seen in the variation of the Little Red Riding Hood tale, those from the medieval oral tradition, to those adapted by Perrault or brothers Grimm, and even the contemporary versions. Tracing a historic profile of the changes in the fairy tales of popular origin starting in France, passing through Germany, Portugal and culminating in Brazil the present study aims to verify the transformations that happened in these societies, showing how they were represented in the tales and what messages they pass on. For the present study, Literary Comparatism and elements of Literary Theory will be used through a sociological and historical look. After the definition of a theoretical-methodological picture and a conceptual basis, we will move on to a brief analysis of the different societies and how their social practice can, in a certain way, be represented in the fairy tales.

Este trabalho é uma proposta de tradução estrangeirizadora para a coletânea Tree and leaf, de J.R.R. Tolkien. Argumento que, adotando a perspectiva filológica que norteou o trabalho do autor britânico, bem como as idéias sobre as possibilidades da tradução propostas por Antoine Berman e Walter Benjamim, é viável recriar em português as conexões singulares entre língua, história e mito que marcam o trabalho de Tolkien. Apresento também minha tradução comentada dos quatro textos que compõem a coletânea - On-fairy stories, Mythopoeia, Leaf by Niggle e The homecoming of Beorhtnoth Beorhthelm\'s son, os três primeiros na versão completa - de maneira a demonstrar como essa possibilidade pode tomar forma na tradução em si / This work is a proposal of a foreignizing translation for the anthology Tree and leaf, by J.R.R. Tolkien. I argue that, by adopting the philological perspective that informed the work of that British author, as well as the ideas on the possibilities of translation put forward by Antoine Berman and Walter Benjamim, it is feasible to recreate in Portuguese the unique conexions between language, history and myth that are a trademark of Tolkien\'s work. I also present my translation and commentary of the four texts that make up the anthology - On-fairy stories, Mythopoeia, Leaf by Niggle e The homecoming of Beorhtnoth Beorhthelm\'s son, of which the first three are presented in their entirety - in order to demonstrate how this possibility may develop in an actual Portuguese translation

Made available in DSpace on 2015-03-05T19:35:30Z (GMT). No. of bitstreams: 0 Previous issue date: 5 / Nenhuma / O estudo das manifestações psicossomáticas decorrentes de uma relação mãe-bebê conturbada vem despertando crescente interesse na comunidade científica. Conjugando a essa idéia à visão psicanalítica winnicottiana do potencial curativo existente na arte, a presente pesquisa objetivou desenvolver a oficina de contos de fadas como intervenção terapêutica com crianças asmáticas, tendo como enfoque as contribuições de Donald Winnicott em seus escritos sobre o desenvolvimento humano. Os dispositivos clínicos utilizados para o entendimento do funcionamento psicodinâmico das cinco crianças participantes foram: a realização de uma hora do jogo diagnóstica, a aplicação dos instrumentos projetivos H-T-P e o Teste das Fábulas, além da realização de entrevistas com os pais e professores. Após esse contato inicial com os protagonistas da pesquisa, foram desenvolvidas nove oficinas de contos de fadas com as crianças e uma oficina com os pais e o pediatra. A análise dos resultados, em sua dimensão qualitativa, focalizou os f / The study of psychosomatic manifestation due to a troublesome baby-mother relation is raising scientific community’s interest. Associating this idea to the Winnicotttian healing potential psychoanalytic view found in art, this survey’s objective is to develop the fairy tales workshops, as a therapeutic intervention for asthmatics children, focusing on Donald Winnicott’s writings about human development. The clinic device used to understand the five children taking part on a psychodynamic work were: carrying out one hour of diagnostic game, applying H-T-P projected instruments and the fable’s test, as well as interviewing parents and teachers. Following this initial contact with the survey’s protagonists were developed nine fairy tales workshops with the kids and one with the parents and pediatrician. The analyses result in a qualitative view, focused the clinic fragments taken out of these kids life’s story and the reports brought/ produced by them on the workshops. Those are added to the information collec

Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2018-12-20T12:44:41Z No. of bitstreams: 1 Evelin de Oliveira Haslinger_.pdf: 5046631 bytes, checksum: 8e3756ab9ff98b285790f47a98bc7469 (MD5) / Made available in DSpace on 2018-12-20T12:44:41Z (GMT). No. of bitstreams: 1 Evelin de Oliveira Haslinger_.pdf: 5046631 bytes, checksum: 8e3756ab9ff98b285790f47a98bc7469 (MD5) Previous issue date: 2018-09-10 / CNPQ – Conselho Nacional de Desenvolvimento Científico e Tecnológico / Esta pesquisa é um estudo sobre as transformações dos contos de fadas na sociedade em vias de midiatização. Nosso objetivo central é investigar estas transformações a partir do processo de circulação dos contos de fadas, tomando como referência seu percurso histórico. Trata-se da circulação dos contos de fadas, suas atualizações e permanências inscritas em circuitos, isto é, no fluxo adiante (BRAGA, 2012) por meio de multidispositivos que reiteram a valorização e agenciam novas formas de contato, modificando o próprio público e seu papel. Para tal, selecionamos um conto de fadas para a constituição do nosso caso de pesquisa, sendo ele: a animação “Frozen: uma aventura congelante” (Disney, 2013). Esta obra se destaca como um dos contos de fadas mais populares na atualidade e está entre os que mais geram produtos midiáticos e não midiáticos. O problema de pesquisa que guia nosso estudo é: Como os sentidos sobre Frozen são construídos a partir da tensão entre gramáticas de produção e reconhecimento? Tendo este problema como eixo, voltamo-nos para a análise da animação Frozen a partir de três instâncias: do livro para a animação; da animação e sua circulação e, por fim, a inscrição do conto em uma lógica de consumo. Como aportes teóricos, mobilizamos em especial os conceitos de sociedade dos meios, midiatização e circulação, com atenção aos autores latino-americanos. O trabalho dá pistas não apenas de transformações de meio (do livro para o digital), mas do próprio sentido do conto, cada vez mais cogerido pelos atores sociais. / This research is a study about the transformations of fairy tales in the society in process of mediatization. Our central objective is to investigate these changes from the movement of fairy tales, referring to their historical course. It means the flow of fairy tales, their updates and stays inscribed in circuits, namely in the flow forward (BRAGA, 2012) through multi-devices that reiterate the valorization and organize new forms of contact, modifying the public itself and its role. To that end, we selected a fairy tale for the formation of our survey, being: the animation "Frozen: a freezing adventure" (Disney, 2013). This piece of work stands out as one of the most popular fairy tales nowadays and is among the ones that generate the most media and non-media products. The research problem guiding our study is: How the meanings about Frozen built from the tension among grammars of production and recognition? Highlithing this problem, we return to the analysis of Frozen animation based on three instances: from book to animation; on animation and its circulation and, finally, the inscription of the fairy tale in a logic of consumption. As theoretical contributions we mobilize in particular the concepts of media society, mediatization and circulation with attention to Latin American authors. The work gives clues not only of changes in the media (from the printed to the digital book), but also in the very meaning of the story, which is increasingly co-managed by the social actors.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-09-28T17:28:50Z No. of bitstreams: 1 Karina Bousso.pdf: 4880886 bytes, checksum: b425b5ddc0b84c7ba66d578a88b55408 (MD5) / Made available in DSpace on 2016-09-28T17:28:50Z (GMT). No. of bitstreams: 1 Karina Bousso.pdf: 4880886 bytes, checksum: b425b5ddc0b84c7ba66d578a88b55408 (MD5) Previous issue date: 2016-06-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Pontifícia Universidade Católica de São Paulo / The purpose of this research is to study the creative processes of narrative productions in the television series Once Upon a Time. In this series, created by Edward Kitsis and Adam Horowitz, we face a new format to narrate the fables and tales that belong to the fictional tradition. The authors extend the biography of the characters and reconstitute the myth of Happily Ever After. It is believed that by using the methodology of the process of creation presented by Salles (2008, 2011), it will be possible to investigate the characteristics of the creative actions of appropriation of the roots of fairy tales, in order to determine the audiovisual procedures used in the adaptation for television media. The focus of the study is the analysis of versions of Charles Perrault, Jacob and Wilhelm Grimm, as well as the archives available regarding the production of the show, to examine the course of the authors in the creation and production of this form of entertainment. The theoretical basis of the thesis is based on three center lines: the reflections on the process of creation as a network construction based on a semiotic approach (Salles); thinkers discussing the imaginary of myths, fairy tales, legends and fables (Propp, Zipes); and finally, discussions related to postproduction (Bourriaud). Thus reflections and analyses concerning the process of creation of the co-creators are presented in The Cultural Networks of Fairy Tales: a look at Once Upon A Time; the way in which the image of the characters is built in Audiovisual Resources of Appropriation on the Construction of Characters; and finally, how all these points come together to create the magical environment within the show, in the chapter Audiovisual Resources of Appropriation on the Construction of Magic / A proposta da presente pesquisa é estudar os processos criativos das produções narrativas no seriado televisivo Once Upon a Time. Nesta série, criada por Edward Kitsis e Adam Horowitz, nos deparamos com um novo formato de narrar as fábulas e os contos que pertencem à tradição ficcional. Os autores ampliam a biografia dos personagens e reconstituam o mito de felizes para sempre. Acredita-se que ao utilizar a metodologia da crítica de processo apresentada por Salles (2008, 2011), será possível investigar as características do ato criador ao se apropriar das raízes dos contos de fadas, a fim de averiguar os procedimentos audiovisuais usados na adaptação para a mídia televisiva. O foco do estudo estará na análise das versões de Charles Perrault, Jacob e Wilhelm Grimm, assim como nos arquivos disponíveis relativos à produção do seriado, para examinar o percurso dos autores na criação e produção desta forma de entretenimento. A fundamentação teórica da dissertação se sustenta em três eixos: as reflexões sobre o processo de criação como rede em construção de base semiótica (Salles); os pensadores que discutem o imaginário dos mitos, contos de fadas, lendas e fábulas (Propp, Zipes); e por último as discussões de pós-produção (Bourriaud). Assim são apresentadas reflexões e análises relativas ao processo de criação dos criadores em As redes culturais dos contos de fadas: um olhar sobre Once Upon A Time; a maneira pela qual a imagem dos personagens é construída em Recursos Audiovisuais de Apropriação na Construção de Personagens; e por fim, a forma como todos estes pontos se juntam para criar o ambiente mágico presente no seriado no capítulo Recursos Audiovisuais de Apropriação na Construção da Magia

While fantasy as a genre is often dismissed as frivolous and inappropriate, it is highly relevant in representing and working through trauma. The fantasy genre presents spectators with images of the unsettled and unresolved, taking them on a journey through a world in which the familiar is rendered unfamiliar. It positions itself as an in-between, while the consequential disturbance of recognized world orders lends this genre to relating stories of trauma themselves characterized by hauntings, disputed memories, and irresolution. Through an examination of films from around the world and their depictions of individual and collective traumas through the fantastic, this thesis outlines how fantasy succeeds in representing and challenging histories of violence, silence, and irresolution. Further, it also examines how the genre itself is transformed in relating stories that are not yet resolved. While analysing the modes in which the fantasy genre mediates and intercedes trauma narratives, this research contributes to a wider recognition of an understudied and underestimated genre, as well as to discourses on how trauma is narrated and negotiated.