Long standing vitamin D deficiency in children causes rickets with growth impairment. We investigated whether sub-ischial leg length (SLL) is shorter, and cephalo-caudal length:length (CCL:L) ratio ...and sitting height:height (SH:H) ratio larger, with lower cord s-25-hydroxyvitamin D (25OHD) in the population-based prospective Odense Child Cohort, Denmark.
We included healthy singletons born to term with available measures of cord 25OHD and anthropometrics up to three years' age. Linear regression was stratified by sex a priori and adjusted for maternal ethnicity, pre-pregnancy body mass index and smoking during pregnancy, season of blood sampling and child age.
Median (IQR) cord 25OHD was 48.0 (34.0-62.4) nmol/L. At mean age 19.1 months, n = 504, mean (SD) SLL was 31.7 (1.7) cm; CCL:L-ratio 0.62 (0.01). At 36.3 months, n = 956, mean SLL was 42.9 (2.0) cm; SH:H-ratio 0.56 (0.01). No participants had rickets. In adjusted analyses, 19-months-old boys had 0.1 cm shorter SLL (p = 0.009) and 0.1% higher CCL:L-ratio (p = 0.04) with every 10 nmol/L increase in cord 25OHD. Similar findings were seen for late pregnancy 25OHD. In the highest cord 25OHD quartile (>60.7 nmol/L), SLL was 0.8 cm shorter (95% C.I.: 1.36;-0.29, linear trend, p = 0.004), and CCL:L-ratio 0.8% higher (95% C.I. 8.0x10-05;0.01, linear trend, p = 0.01), compared to lowest quartile (<30.7 nmol/L). Similar associations with cord 25OHD were observed in 3-year-old boys. No consistent associations between 25OHD and anthropometrics were seen in girls at either age.
No leg shortening was found with decreasing cord s-25OHD in a healthy population of infants. A small, yet significant inverse association between cord 25OHD and SLL in boys 1½-3 years warrants further investigations.
In fairy tales and folklore, she represents conflicting values: fertility and barrenness, life and death, erotic seduction and fatal rejection. ...the witch, broadly defined as a female1 human or ...human-like creature capable of magic feats, often embodies conflict. Cristina Bacchilega observes that such re-imaginings break the reader's horizon of expectation, creating an effect that is dependent on the reader's or viewer's acquaintance with the source text3 or the standard formulas and tropes of the genre (1997, 22-3). ...tales highlight, and potentially change or subvert, the content of the specific source text and the norms of the fairy-tale genre. In this postmodern trend of retellings, several adaptations attempt to rehabilitate the wicked fairy-tale witch. Besides Frozen, one might mention Gregory Maguire's 2007 novel Wicked, which has been adapted into an extremely successful Broadway musical, and the Disney liveaction movie Maleficent, an adaptation of Disney's animated classic Sleeping Beauty as other contemporary examples. ...only in the closing credits of Frozen is the adaptation peritextually acknowledged, as a "Story Inspired by 'The Snow Queen' by Hans Christian Andersen" (Frozen 2013).
This article considers the role genre expectations have played in shaping the process by which the medieval Latin folktale of the swan children, Cygni, was translated and adapted first into different ...Old French versions and then into the Middle English prose romance Chevalere Assigne. I argue that the differences in characterization, plot, and tone between the French and English versions should be read as completing the transformation of the narrative from its original folktale form into the form of a chivalric romance.
The Chinese translations of H. C. Andersen's tales date back more than 100 years. His tales have been extensively read by Chinese readers and have provided rich resources and inspiration for Chinese ...authors. Ultimately, Andersen's tales have achieved various forms of afterlife in China through translation and the reading of translated texts. At the same time, this afterlife has also enriched meanings of Andersen's tales that were not carried in their original texts. The original texts, their translations and the Chinese modern literary works as post‐texts have thus woven a net that meshes various types of intertextual relation created by translation practices. The present study will try to present these relations through textual analysis. In addition, through analysing the intertextual relations created by literary translation, this study also attempts to stimulate greater academic interest in the cultural and literary functions of translation, which are two of the important social functions that translation practices may fulfil.
Nowadays, although the cinema is seen as a way of entertaining the masses, of keeping people abreast of what is going on outside their homes, we sometimes fail to notice that, like any mass media, it ...‘injects’ certain values, ideas, even feelings and reactions. Speculating on the conscious and unconscious state of the millions towards which they are directed, the cinematic representations are social constructions rather than value-neutral reflections of the ‘real’ world. Although seen as being essentially visual, because it mimics our mental constructions of life, and the way our consciousness shapes the world, the film ‘touches’ deeper aspects of our inner world, such as emotion, attention, and imagination. The aim of this study is to put forward the idea that music plays a central role in film contexts. Being an all-encompassing and organic tool, music has the power to convey meaning and emotions, at times even more efficiently than images. An analysis of the soundtrack of Disney’s Frozen was attempted in order to highlight music’s potential to influence one’s perception and interpretation of the film.
Endüstri Devrimi sonucu giderek makineleşen ve doğa ile özlerinden ayrı düştüklerine inanan insanlar,
her şeyin daha basit olduğu bir dünyaya sığınma eğiliminde olmuşlardır. Bu nedenle, XIX. yüzyıl ...Britanya’sında
geçmişe özlem ve egzotik olana ilgi artmıştır. Aynı dönemde, ekonomik kaygılarla yozlaştığına
inanılan toplumda, ahlaki değerlerin çocuklara aktarımı sırasında, dünyanın çeşitli yerlerinden toplanan ve egzotik
olduğu düşünülen halk hikâyeleri ve peri masalları Viktorya Dönemi çocuk edebiyatında oldukça popüler
olmuştur. Halk hikâyeleri ve peri masallarına gösterilen ilgide Giovanni Francesco Straparola, Charles Perrault,
Jacob ve Wilhelm Grimm ile Hans Christian Andersen gibi Avrupalı folklor araştırmacıları ve çocuk hikâyeleri
yazarlarının önemi yadsınamaz. Bu isimlere ek olarak, İskoç şair, yazar, halkbilimci ve eleştirmen Andrew Lang
(1844-1912), 1899 ve 1910 yılları arasında yayımlanan ve renklerden esinlenerek adlandırdığı, dünyanın değişik
yerlerinden derlediği on iki kitaptan oluşan halk hikâyeleri ve peri masalları koleksiyonuyla folklor ve antropoloji
alanlarına önemli katkılar yaparak söz konusu yazarlarla benzer bir konuma gelir. Bir dönem Londra’da
kurulan Folk-Lore (Halk Bilim) Derneği’nin Başkalığını da yürüten Andrew Lang, ilk kitabının gördüğü yoğun
ilgi üzerine sürdürdüğü bu projeyle dünyanın en uzak köşelerindeki hikâyeleri derleyerek anavatanına getirip
meraklı okuyucularının bilinmeyen yerler hakkında bilgi sahibi olmalarına katkıda bulunmuştur. Böylece, eleştirmenlerce,
her gün toprakları genişleyen imparatorluğun halkbilimcisi olarak adlandırılan Lang’in koleksiyonu,
sömürgecilik söylemlerini, sömürgeci ve sömürülen açısından incelemeye oldukça elverişlidir. Anavatanlarından
koparılıp Lang’in koleksiyonunun bir parçası hâline gelen hikâyeler, Britanyalı çocukların evlerinden
dışarı adım dahi atmadan, satın alma yoluyla, tüketimine sunulmuştur. Bu şekilde beyaz Anglo-Sakson
Protestanların beğeneceği şekilde yeniden yazılan hikâyelerin orijinal kültürleri, yeniden yerleştirildikleri bağlama
göre, ikincil kalmıştır. Sondan bir önce yazdığı The Olive Fairy Book’a (1907) Lang, hedef okur kitlesinin
yaşlarını ve psikososyal gelişimlerini göz önüne alarak, üç tane Türk hikâyesini dâhil eder. Lang kitabın önsözünde
Türk masallarını Macar araştırmacı Dr. Ignác Kúnos’un 1905 yılı tarihli Türkische Volksmärchen aus
Stambul (İstanbul’dan Türk Masalları) adlı kitabından aldığını belirtir. Hikâyeleri olduğu gibi çevirmek yerine
ise kendi okur kitlesine uygun biçimde uyarlar. Hikâyeler toplu olarak ele alındığında, Kúnos’un Türk kültürüne
olabildiğince sadık kalmaya çalışırken Lang’in Britanyalı çocukların anlayamayacağını düşündüğü şeyleri İngiliz
kültürüne uyarlayıp peri diyarını sömürgeleştirdiği görülür. Bu çalışmanın amacı, “Madschun” (“Macun”),
“The Boy Who Found Fear at Last” (“Sonunda Korkuyu Bulan Çocuk”) ve “The Silent Princess” (“Suskun
Prenses”) adlı hikâyelerde, Andrew Lang’in Türk hikâyelerini uyarlamalarında, bugüne kadar yapıldığı gibi
yerleşik “doğuculuk” (Edward Said’in Oryantalizm adlı kitabındaki tutumuna koşut bir biçimde) söylemine
uygun bir biçimde egzotik ve oryantal beklentileri karşılarken nasıl güncellediği, ayrıca özgün hikâyeleri dilsel
(dolayısıyla biçimsel) ve içeriksel (izleksel) olarak nasıl dönüştürerek yeniden yazdığı üzerinde durmaktır.
“Fairy Tales and the Transmission of Prejudice” is a unit in a lecture course on fairy tales that draws on research on anti‐Semitism in 18th‐ and 19th‐century German literature and culture, mapping ...questions raised in 18th‐ and 19th‐century tales onto contemporary issues: The unit traces a trajectory from the Enlightenment to the present, and from Germany to the United States, analyzing a variety of texts, including Lessing's drama Nathan the Wise (1779), the three Grimms’ tales about Jews – “The Clear Sun Will Bring it to Light” (1815), “The Jew in Thorns” (1815), and “The Good Bargain” (1819) –, Spiegelman's graphic Holocaust narrative Maus (1980), and Sendak's illustrations for Wilhelm Grimm's Dear Mili (Grimm & Sendak, 1988). This article outlines the course, its background, and how the texts and their contexts are implemented in class. Throughout the course unit, the discussion of anti‐Semitism in the fairy tales is broadened to one of prejudice in general. The article concludes with a brief discussion of student reactions to this unit.
Fairy tales have often been controversial, and today much of the controversy appears to revolve around gender issues. With a focus on gendered appearances and relationships, this article examines ...Hans Christian Andersen’s ‘Tommelise’ and ‘The Snow-Queen’ as well as Adventures in Fairyland (1853), a book of fairy tales written by one of Andersen’s admirers and promoters in nineteenth-century USA, Richard Henry Stoddard. Depictions of female characters in these tales are varied, with protagonists not always adhering to the feminine beauty ideal. The portrayal of both girls and boys are sometimes influenced by the notion of the Romantic child, which seems to tone down gender differences in descriptions of characters. Some of Stoddard’s fairy tales have a masculinist bias, but on the other hand his tales often go beyond the happily-ever-after ending. Indeed, a few of his fairy tales are remarkably explicit about adult erotic love, physical attraction, and sexual desire. So, when viewed through the lens of gender, both Andersen’s and Stoddard’s nineteenth-century literary fairy tales offer a twenty-first-century reader quite a few surprises and much food for thought and discussion.
Chatting about Fairy Tales Yan, Ho Fuk
Chinese literature today,
01/2019, Letnik:
8, Številka:
1
Journal Article
Recenzirano
Introduction This is a series of conversations on literature, ranging from Xi Xi's own fiction and poetry, to a discussion of reading and writing in general, and her views on this and that. Because I ...felt that our exchange was rather interesting, I picked up my pen to write down what Xi Xi had to say about her writings, as well as some other topics. Sometimes it was a dialogue, although I did not say much; sometimes it was like her monologue, and I was merely listening. Because the conversation was very long (it started in March 1982), continuing on and off, and the topics covered were quite broad, I ended up writing, reading, and thinking at the same time. Because they trust the foot samples, and not the feet. ...what is fictionlike style? HFY: ...let's return to "The Frying Pan" and "The Bowl."
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