The present article addresses the local and regional impact of oil and gas activities entering the Norwegian periphery. It demonstrates and analyses Hammerfest case within the framework of Norwegian ...development. The paper explores the changes in social and economic development of the town during the Snow White exploitation and the construction of the first european LNG (liquefied natural gas) plant at Melkoya as well as all the supporting infrustructure during 2002-2008. Particular attention is paid to the impact of the above-mentioned factors on the local supplies’ position, employment structure, demography, taxation policy and and local wellfare. The article also addresses the theories concerning the oil and gas sector’s role in building new economic growth poles outside already established economic centers.
The glass coffin, a central motif in 'La Princesse Neigefleur' and 'La Princesse sous Verre,' underpins the relationship of Lorrain's decadent fairy tales to their sources in Perrault and Grimm. This ...magical element is reserved for the female object of desire in Snow White and Sleeping-Beauty type tales, models which the decadent author emulates. Lorrain's stories, however, develop in the ellipses of the well-known narratives. His elaboration on the texts amplifies them without propelling them forward, investing them instead with a wealth of material detail. The glass coffin becomes an ornate reliquary serving as mise en abyme for the fairy tale genre. The author encases his sources in another text, which appeals to the decadent sensibility through decoration, materiality, and idiosyncratic imagery. Constituting Lorrain's original contribution to the genre, this renders the fairy tale a 'matter pool' showcasing the porosity of the literary text to its material subjects.
The article discusses three versions of the Snow White fairy tale by the Brothers Grimm (1810, 1812, and 1857), delving into the meanings of colours and colour names occurring in them as well as ...changes in the names and meanings. The analysis proceeds from the structural method of fairy tale study and explores the symbolic meaning oppositions of colours and their names, such as in/out, light/dark, life/death, logical/mythological. The analysis is also based on the differentiation drawing on the theory of primary colours, according to which black, white, and red are the most fundamental colour names. However, the use of colour names (semantics and symbolism) is complicated in the versions of the Snow White fairy tale, as a colour may have several oppositional meanings. It is not just simple binary oppositions. The Brothers Grimm regarded the colours black, white, and red as beautiful. Jacob Grimm depicted them as the three colours of poetry.
From adults to children, from theaters to television, cartoons are one of the few major popular art forms that have been able to consistently redefine their audience as they experiment and change ...and, as such, have proved their importance in culture and society. This article discusses the social critique that originated with cartoons’ theatrical beginnings, which were met with substantial praise from the intellectual and art community of their time. An exploration into the massification of the medium reveals its role in the marginalization of women in the animation industry as underpaid and unrecognized labor. This article also explores the industry’s creation of a compulsory gender coding associated with the animated female form by investigating Disney’s and Warner Bros.’ competing portrayals of women as a ‘madonna–whore’ duality, and further looks into Disney’s feminine triptych perpetuating heteronormative gender coding in the form of the princess, the witch and the fairy godmother. The massification of the medium, as television programming shaped the industry into children’s programming, was led by Hanna-Barbera who did not consider girl cartoons a priority and continued to marginalize women in the workforce.
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.
In season one, episode 15 of the television show Once Upon a Time, viewers are given a glimpse into the history of Ruby/Red, the series’ version of Red Riding Hood. The episode reveals that, contrary ...to most oral and written versions of the ATU 333 tale, Red herself is the wolf: a werewolf who must wear an enchanted red cloak in order to keep from turning into a monster. The episode also features the beginnings of the close friendship between Red and Snow White. The sisterly bond that quickly forms between the two women, combined with the striking images of their respective red and white cloaks, easily calls to mind a less familiar fairy tale not explicitly referenced in the series: “Snow White and Rose Red” (ATU 426). Taking queer readings of this text as starting points, I argue that this allusion complicates the bond between the two women, opening up space for a compelling reading of Red’s werewolf nature as a coded depiction of her then latent but later confirmed bisexuality.
The animated man Barrier, Michael; Barrier, Michael
2007., 20070331, 2007, c2007., 2007-04-30
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Walt Disney (1901-1966) was one of the most significant creative forces of the twentieth century, a man who made a lasting impact on the art of the animated film, the history of American business, ...and the evolution of twentieth-century American culture. He was both a creative visionary and a dynamic entrepreneur, roles whose demands he often could not reconcile.
Throughout the decades, folklore has proven to be a valuable resource for advertising. There are many folklore motifs, elements and features that are used in ads to enhance their communication with ...customers. Fairy tale heroines, like Snow White, Little Red Riding Hood, Sleeping Beauty and Rapunzel are one example of such folklore use. The aim of this article is to review and analyse such examples in Slovene advertisements in a ten-year period from 2003 to 2013. Most often folklore elements are forced to adapt their content and form to the characteristics of advertising, mainly to the fact that adverts must be short and concise, which leads to a variety of modifications. Stereotyped image of the heroines, unexpected twists and fragments of the most famous fairy tales today still manage to retain a certain degree of recognition and of its original meaning, which is vital to its usage in adverts.
This paper interprets the fairytale Snow White (Bruder Grimm 1857) in terms of the realization of absolute beauty. Jung's understanding that ‘in myths and fairytales, as in dreams, the soul speaks ...about itself’ (Jung 1945, para. 400), underpins such an approach. From this perspective a fantasy image is not about us, not about our unconsciousness, but is essentially about itself. The idea of absolute beauty first arises in the Queen's mind as a wish. Despite the Queen's strong desire to be named as the most beautiful person in the world, her mirror reflects that it is actually her daughter Snow White who is the fairest. Snow White might be regarded in the language of Giegerich as her internal other. Effectively they are separated into the Real that conceives the idea of absolute beauty and the Ideal that embodies it. The exchange that takes place between the two – mediated by mirror and window – generates the corpse of surpassing beauty that never decays but lies inaccessible behind the glass coffin. However the loving and penetrating gaze of the Prince, representing masculinity, succeeds in reanimating Snow White. Thus the Prince as the Other that is completely external and unknown to both the Queen and Snow White, specifically to their femininity, facilitates the realization of absolute beauty as the Ideal in the Real.
Translations of
Cet article interprète le conte de fées Blanche Neige du point de vue de la prise de conscience de la beauté absolue. La compréhension jungienne que « dans les mythes et les contes de fées, comme dans les rêves, l'âme parle d'elle‐même » (Jung 1945, para. 400) étaye une telle approche. Dans cette perspective, une image fantasmatique ne parle pas de nous, ne parle pas de notre inconscience, mais parle essentiellement d'elle‐même. L'idée de la beauté absolue arrive tout d'abord dans l'esprit de la Reine comme un souhait. Malgré le désir intense de la Reine d'être reconnue comme la plus belle au monde, son miroir lui renvoie que c'est en fait sa fille Blanche Neige qui est la plus belle. Blanche Neige peut être considérée, dans le langage de Giegerich, non pas comme l’Autre qui serait complètement extérieur et inconnu de la Reine, mais comme son autre interne. En fait elles sont séparées entre la Réelle, qui conçoit l'idée de la beauté absolue et l'Idéale, qui l'incarne. L'échange qui a lieu entre elles – avec la médiation par le miroir et la fenêtre – génère le corps d'une beauté inégalable et qui ne se dégrade pas, mais reste allongé et inaccessible dans le cercueil de verre. Cependant le regard pénétrant et aimant du Prince, qui représente la masculinité, parvient à ranimer Blanche Neige. Ainsi le Prince représentant l’Autre facilite le retour de l’Idéal mort au Réel, et permet à la beauté absolue de se réaliser.
Dieser Beitrag interpretiert das Märchen Schneewittchen unter dem Aspekt der Erkenntnis von absoluter Schönheit. Jungs Erkenntnis, daß 'in Mythen und Märchen, wie auch in Träumen die Seele über sich selbst spricht' (Jung 1945, § 400), untermauert einen solchen Ansatz. Aus dieser Perspektive bezieht sich ein Phantasiebild nicht auf uns, nicht auf unser Unbewußtes, sondern im wesentlichen auf sich selbst. Die Idee der absoluten Schönheit entsteht zuerst in der Vorstellung der Königin als ein Wunsch. Entgegen dem drängenden Wunsch der Königin, als die Schönste im ganzen Land genannt zu werden, antwortet der Spiegel, daß es tatsächlich ihre Tochter Schneewittchen ist, die die Schönste ist. Schneewittchen dürfte, in der Sprache Giegerichs, nicht als die Andere, die völlig außenstehend und der Königin unbekannt sein soll gesehen werden, sondern als deren innere Andere. Im Effekt werden sie in einem Wirklichen getrennt, das die Idee der absoluten Schönheit und das Ideal, das sie verkörpert, umgreift. Der Austausch, der zwischen beiden – vermittelt durch Spiegel und Fenster – stattfindet, erzeugt die unübertrefflich schöne Leiche, die niemals vergeht, aber unerreichbar im Glassarg liegt. Doch die Liebe und der durchdringende Blick des Prinzen, welcher das Männliche repräsentiert, erreichen die Wiedererweckung Schneewittchens. So unterstützt der Prinz als der Andere die Rückkehr des toten Ideals ins Sein und ermöglicht der absoluten Schönheit, sich ihrer selbst gewahr zu werden.
Questo articolo interpreta la favola Bianca Neve in termini di realizzazione della bellezza assoluta. La comprensione da parte di Jung che in “miti e favole, cosi' come nei sogni l'anima parla di se'” (Jung 1945, para 400), sottolinea un tale approccio. Da questa prospettiva un'immagine di fantasia non riguarda noi o il nostro inconscio, ma riguarda essenzialmente la stessa anima. L'idea della assoluta bellezza compare prima di tutto nella mente della Regina come un desiderio. Nonostante il forte desiderio della regina di essere nominata come la persona piu' bella del mondo, il suo specchio le riflette che in realta' sua figlia Bianca Neve e' la piu' bella. Bianca Neve puo' essere considerata nel linguaggio di Giegerich non come Alterita' che dovrebbe essere completamente estranea e sconosciuta alla Regina ma come la sua alterita' interiore. In effetti sono separati in un Reale che concepisce l'idea di una bellezza assoluta e l'ideale che la esprime. Lo scambio che avviene tra i due – mediato dallo specchio e dal cristallo – genera il corpo che oltrepassa la bellezza che non decade mai, ma giace inacessibile dietro la bara di cristallo. Cio' nonostante lo sguardo amorevole e penetrante del Principe che rappresenta la mascolinita' riesce con successo a rianimare Bianca Neve. Per questo il Principe come Alterita' facilita il ritorno del deceduto Ideale nel Reale e consente all'assoluta bellezza di realizzare se stessa.
B этoй cтaтьe интepпpeтиpуeтcя вoлшeбнaя cкaзкa o Бeлocнeжкe c тoчки зpeния ocущecтвлeния aбcoлютнoй кpacoты. Юнгoвcкoe пoнимaниe тoгo, чтo «в мифax и вoлшeбныx cкaзкax, кaк и в cнoвидeнияx, душa гoвopит o ceбe» (Юнг 1945, пapa 400) пoдкpeпляeт тaкoй пoдxoд. C этoгo paкуpca фaнтaзийный oбpaз нe являeтcя oбpaзoм o нac, o нaшeм бeccoзнaтeльнoм, нo пo cути – o ceбe caмoм. Идeя aбcoлютнoй кpacoты впepвыe вoзникaeт в умe кopoлeвы кaк жeлaниe. Hecмoтpя нa cильную жaжду кopoлeвы быть кpacивee вcex в миpe, ee зepкaльцe гoвopит eй, чтo лучшaя – ee дoчь Бeлocнeжкa. Бeлocнeжку мoжнo paccмaтpивaть, пoльзуяcь языкoм Гигepиxa, нe кaк Дpугую, пoлнocтью внeшнюю и нeизвecтную кopoлeвe, нo кaк ee «внутpeннюю дpугую». Paзумeeтcя, oни paздeлeны нa peaльнoe, coдepжaщee в ceбe идeю oб aбcoлютнoй кpacoтe, и идeaльнoe, вoплoщaющee ee. Bзaимoдeйcтвиe мeжду ними – пocpeдcтвoм зepкaлa и oкнa – пopoждaeт мepтвoe тeлo нeпpeвзoйдeннoй кpacoты, нe пoдвлacтнoe paзлoжeнию и лeжaщee в нeдocтупнocти в xpуcтaльнoм гpoбу. Oднaкo любящий и пpoнзитeльный взгляд пpинцa кaк Дpугoгo cпocoбcтвуeт вoзвpaщeнию мepтвoгo Идeaльнoгo в Peaльнoe и пoзвoляeт aбcoлютнoй кpacoтe ocoзнaть ceбя и пpeтвopитьcя в жизнь.
El ensayo interpreta el cuento Blancanieves en términos de la realización de la belleza absoluta. Dicho abordaje se fundamenta en la comprensión de Jung cuando señala que ‘en mitos y en cuentos de hadas, así como en los sueños, el alma habla sobre sí misma’ (Jung 1945, para. 400). Desde esta perspectiva la imagen de una fantasía no es sobre nosotros, tampoco sobre nuestro inconsciente, sino que es esencialmente sobre sí misma. La idea de belleza absoluta emerge inicialmente en la mente de la Reina como deseo. A pesar del fuerte deseo de la Reina de ser reconocida como la persona más bella del mundo, su espejo refleja que actualmente es su hija Blancanieves, quien es la más bella. Blancanieves puede entenderse, en el lenguaje de Giegerich, no como el Otro que debería ser completamente externo y desconocido para la Reina, sino como su Otro interno. Efectivamente ellas son separadas en el Real que concibe la idea de la belleza absoluta y el Ideal que lo encarna. El intercambio que tiene lugar entre ambas – mediado por el espejo y la ventana – crea el cuerpo de una belleza suprema que nunca decae, pero yace de manera inaccesible detrás del ataúd de vidrio. Sin embargo, la mirada amorosa y penetrante del Príncipe, representando el principio masculino, triunfa en reanimar a Blancanieves. Así, el Príncipe como Otro facilita el retorno del Ideal muerto al Real, y posibilita que la belleza absoluta se realice a sí misma.
本文从实现绝对美的角度,采用荣格的分析方式,对童话故事白雪公主进行了解读。 “与梦境一样,神话和童话也是心灵的自我呈现”(荣格1945,第400段)。从这个角度来说,一个童话形象不代表我们,不代表集体无意识,而是代表它本身。绝对美的想法首先来自皇后的愿望。尽管皇后非常希望自己被称为世界上最美的人,但她的镜子却显示出她的继女白雪公主才是最美的。白雪公主在Giegerich语言中可以被看作,不是对皇后来说完全外在的/未知的存在,而是她内在的他者。即皇后的内在分化成了产生绝对美这一想法的现实,以及代表了美的理想。通过镜子和窗户,这二者之间发生了转变—代表绝对美的、永不衰老的肉体出现了,却因为玻璃馆的存在而无法得到。但透过代表着阳刚之气的王子的爱的注视,白雪公主活了过来。因此,作为外在 ‘他者’ 的王子促进了死去的理想回归到现实之中,并最终让绝对美得到了实现。
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