Cinderella
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Cinderella

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Cinderella Cinderella Presentation Transcript

  • Presented by: Stefphoney Grinage & Rosanna Depaz Galen University ENGL 220
  • A magic storywhich cannot be true
  •  Oral Goodness is rewarded Storytellers Teach valuable lessons Reading as oppose to hearing a tale
  •  Discussion about folktales in general Thompson shows how folktales have been presented throughout the history. Nature of folktales (household tales or any type of story passed on from one generation to the next). More traditional folktales comes from medieval times and India. Oral stories are found in all civilization an they are factored by religion.
  •  Begins with once upon a time Setting is usually in a castle, forest or town Story has good/nice characters Story has mean/bad characters Some characters are animals or members of royalty Story has magic Story has a problem Problem in the story is solved Good wins/outsmarts bad Ends with “happily ever after”
  •  Anthropologists, linguists, educators, psychologists, psychiatrists and literary critics see fairytales as a kind of genetic code – a means by which cultural values are transmitted from one generation to the next. Fairytales may really be ways of inculcating young and impressionable children with culturally approved values. Adults and children use fairytales in complex and subtle ways.
  • Good & Bad sides Religious significance Understand beginnings
  •  The culture played a large role in shaping each Cinderella stories around the world. Example: Perraults Cinderella is from the Medieval French Culture.
  • Cinderella
  •  Vedas (Hindu) Cinderella’s sisters were the powers of darkness. Cinderella waited after her sisters. Mitra (sun) Cinderella cannot linger with Prince in the heavens. Cinderella appeared as evening twilight.
  • Women & The Cinderella ComplexRelationship  Gender divide  Longevity  Single life  First date  Internet  Tolerance
  • Background Characteristics Tales were a way to explain  Young heroine unknown forces. Tales were oral because of  Epitome of beauty low literacy.  Treated poorly by her Oral tales expressed the family ideas that everyone needs to be helpful to survive.  Seen for her true worth by A means to instruct the rising a man of high status. aristocracy as a proper behaviour in the middle ages.
  • Faith or Choices Faith or choices Domestic Violence Labels Weight Plastic surgery Self Esteem Education/rights Aging Labour (authority) Marriage/family
  • Chick flicks Barbie
  •  Sibling Rivalry (Bruno Bettelheim)  It relates to something that ever1 has to go through in their lives..sibling rivalry  Our conscious and unconscious minds  But it also inspires confidence  Relates to those children towards the end of their oedipal stage  The German language to live among ashes Loss of her father’s love (Jacqueline Schectman)  Makes a comparison b/w the four archetypes in Cinderella and the stages of grief families and the children she treats in therapy.  Stepmother : structure and truth  Stepsisters: unacknowledged grief  Father: loss wife She points out for the readers to see how quietly and without notice fathers can be emotionally absent in a fractured family.
  • Love StoryBy: Taylor Swift
  •  Message: justice will prevail, even when it appears the unrighteous are prospering from their evil deeds Theme: Christian Purpose is to teach truth The stepmother and stepsisters represent people who try to prosper through evil deeds. Fairy Godmother: angel from heaven Prince is the reward
  • Bettelheim, B. (1999). Cinderella. In L. Behrens &Rosen (Eds.), Writing and reading across the curriculum. (pp.567-574). New York: LongmanPerrault, C. (1999). Cinderella. In L. Behrens &Rosen (Eds.), Writing and reading across the curriculum. (pp.527-531). New York: LongmanThompson, S. (2005). Universality of Cinderella. Retrieved: March 25th, 2011. Website: http://www.Theuniversalityofcinderella.orgThe London Globe. (1896). Who Cinderella really was? The New York Times. New York.Warner, Marina. Cinema and the Realms of Enchantment: Lectures, Sermons and Essays. London: British Film Institute, 1993.