391 research outputs found
Winnie-the-Poohsical: a musical
No full textMusical numbers for a hypothetical musical based on the Winnie-the-Pooh series by author A.A. Milne. The plot is based on “In Which Piglet Is Entirely Surrounded by Water,” the 9th chapter of the series’ first book, Winnie-the-Pooh, first published in 1926
Traditional literature in Winnie the Pooh novel by A.A. Milne
No full textENGLISH :
This undergraduate thesis discusses about traditional literature as one of the focuses of the elements of children’s literature found in Winnie the Pooh novel. The author will discuss traditional literature in depth. The writer formulated two research questions in this research. The first question is what elements of traditional literature are found in A.A.Milne’s Winnie the Pooh. The second question was about what are the features of fable contained in A.A.Milne’s Winnie the Pooh. In this undergraduate thesis the author used several theories put forward by Lukens (2003). Lukens classifies children's literature into genres six kinds, namely realism, formula fiction, fantasy, traditional literature, poetry, and nonfiction with each has several more types. The methodology of this research was descriptive qualitative. Then the writer analyzed the traditional literature contained in Winnie the Pooh novel and fable features in it.
INDONESIA :
Skripsi ini membahas tentang sastra tradisional sebagai salah satu fokus dari unsur sastra anak yang terdapat dalam novel Winnie the Pooh. Penulis akan membahas sastra tradisional secara mendalam. Penulis merumuskan dua pertanyaan penelitian dalam penelitian ini. Pertanyaan pertama adalah unsur sastra tradisional apa yang ditemukan dalam Winnie the Pooh novel karya A.A.Milne. Pertanyaan kedua adalah tentang ciri-ciri fable apa saja yang terdapat dalam Winnie the Pooh karya A.A.Milne. Dalam skripsi ini penulis menggunakan beberapa teori yang dikemukakan Lukens (2003). Lukens mengklasifikasikan sastra anak ke dalam enam genre, yaitu realisme, formula fiksi, fantasi, sastra tradisional, puisi dan nonfiksi dengan masing – masing memiliki beberapa jenis lagi. Metodologi penelitian ini adalah deskriptif kualitatif. Kemudian peneliti akan menganalisis sastra tradisional yang terdapat dalam novel Winnie the Pooh dan unsur fabel di dalamnya
The Stories of Winnie-the-Pooh in Winnipeg: A Narrative Inquiry
No full textWinnie-the-Pooh is a world-famous children’s literature character with a unique relationship to the city of Winnipeg. Though much literature exists about Winnie-the-Pooh, the relationship between Winnie-the-Pooh and Winnipeg is much less known. The purpose of this narrative inquiry was to reveal the stories of Winnie-the-Pooh as a cultural phenomenon in Winnipeg. Braiding multiple strands of narrative research genres, historical and current connections between Winnie-the-Pooh and Winnipeg were thematically analyzed to generate these stories. A timeline presents an overview of collected and generated data in chronological order. Additionally, a visual presentation was created to display the photographic narratives of Winnie-the-Pooh as a cultural phenomenon in Winnipeg. The original stories of the world’s most beloved bear are written and portrayed from the perspective of a lifelong Winnie-the-Pooh fan who was born and raised in Winnipeg. The publication of this study is timely because of the forthcoming 100th anniversary of A. A. Milne and E. H. Shepard’s original Winnie-the-Pooh (1926), in 2026.Betty A. Nicks Fellowship - Fall 2020/Winter 2021
Graduate Students' Association Awards (Part-time Students) - Fall 2020/Winter 2021
Betty A. Nicks Fellowship - Fall 2021/Winter 2022February 202
Winnie the Pooh in the classroom
No full textIn this master’s thesis, I have chosen to write about Winnie the Pooh, and the main characters of four children’s books written by Alan Alexander Milne and illustrated by E.H. Sheppard. The statement of hypothesis is: Can the characters in Winnie the Pooh be argued to be personifications of the various traits of Christopher Robin? And what can these traits tell us, when shown, in a pupil? To answer this hypothesis I have made use of Glynis Hannell's book Identifying Children with Special Needs in reference to the characters and students. The discussion sets out to show that the traits of the characters in Winnie the Pooh can be found in every classroom and that some of the traits may, or may not, be a symptom of a disorder. In the cases where the trait may have a connection to a disorder, the disorder in question is also addressed. Further, the thesis contains chapters about the author, A. A. Milne, his son, the real Christopher Robin, and various critic’s views and interpretations of the Winnie the Pooh stories
A production of A. A. Milne's Winnie-The-Pooh
No full textA. A. Milne's Winnie-the-Pooh is a classic known the world over as a collection of delightfully appealing stories for children and adults alike. These stories have been adapted into play form for children by Kristin Sergei and set to music by Allan Jay Friedman. Within the contents of this thesis, the author purports to present a pre-production analysis of the play, a prompt book as a record of the production and a post-production evaluation and summary. Discussion of the life of A. A. Milne, his writing style and pertinent critical comments about it, his creation of Winnie-the- Pooh and discussion of the Pooh books themselves is essential to an understanding of the play, Winnie-the-Pooh. Its characters, although well-defined, cannot be adequately assessed without study of the Milne originals. Therefore, a sizeable portion of Chapter I in this thesis is devoted to the aforesaid discussion and study
From Book to Movie. What is Lost in the "Disneyfication” of Winnie-the-Pooh?
No full textWinnie-the-Pooh is a universally known character. His friendly and cuddly appearance makes it easy for children and their parents to fall in love with him.
The stories about Winnie-the-Pooh are written in the 1920’s by the British author A. A. Milne. What he originally intended to be bedtime stories for his son ended up being bedtime stories for millions of children all over the world. The stories are about the young boy Christopher Robin and his stuffed animals and the wonderful adventures they enjoy together in an imaginary place in the Forest.
In 1961 the Walt Disney Corporation acquired the movie rights to Winnie-the-Pooh. Over the years the Disney Corporation has marketed Winnie the Pooh globally and still to this day he is one of the most popular characters in the Disney Parks and a renowned trademark realized in all sorts of merchandise. The question that will be explored in this essey is whether Disney has changed Winnie-the-Pooh from the bear that Milne originally wrote about? If so, what has been lost in the “Disneyfication” of Winnie the Pooh: The transformation from Milne’s version of Winnie-the-Pooh to the Disney version of Winnie the Pooh.
In order to do this it is necessary to explore the book and its background and compare it to the movie made by Disney. This involves looking at the author, his background and motivation, secondary literature on the subject and contemporary and present day critique. Having explored the aforementioned, the essay will be concluded by answering the thesis question and supportive argument to that effect put forward
Translating Winnie-the-Pooh into Greek
No full textΜεγάλος αριθμός μελετών έχει γίνει στον κλάδο της μεταφρασμένης παιδικής λογοτεχνίας (Oittinen 2000, O’Sullivan 2005, Lathey 2010) όμως δεν υπάρχουν αρκετές έρευνες που να συνδυάζουν και την πραγματολογία στην μετάφραση της παιδικής λογοτεχνίας. Η διαδικασία μετάφρασης της παιδικής λογοτεχνίας συνήθως χειρίζεται πραγματολογικά φαινόμενα τα οποία μπορούν να επηρεάσουν σημαντικά τις μεταφραστικές στρατηγικές ενός μεταφραστή και επίσης να προσδιορίσουν τον τρόπου του/της με τον οποίο απευθύνεται στο ακροατήριο-υποδοχής. Η εργασία παρουσιάζει ανάλυση των μεταφραστικών προκλήσεων της γλώσσας-αφετηρίας εν προκειμένω της αγγλικής με την γλώσσα- υποδοχής που είναι η ελληνική εκδοχή του κλασσικού παιδικού έργου Winnie-the-Pooh (1926) του συγγραφέα Alan Alexander Milne. Πρώτα, η συγγραφέας της ΔΕ μετέφρασε το πρώτο βιβλίο του Winnie-the-Pooh μη μπορώντας να βρει την μετάφραση του έργου στην ελληνική. Θα δικαιολογούσε κάπο¬ιες μεταφραστικές της επιλογές με τις οποίες σχετίζονται κάποια πραγματο-λογικά φαινόμενα. Τελικά, βρέθηκε η μετάφραση του βιβλίου (1996, σε κάποιο παλαιο¬πωλείο), οπότε η συγγραφέας έκανε και συγκριτική ανάλυση των δύο μεταφράσεων ως προς πραγματολογικά υπονοήματα που φέρουν. Η εργασία συγκρίνει τρία κεφάλαια των δύο ελληνικών εκδοχών του Winnie-the-Pooh με βάση τις μεταφραστικές στρατηγικές οικειοποίηση/ξενισμός και αναδεικνύει διαφορετικές πραγματολογικές προσεγγίσεις στην κατασκευή της προσωπικότητας του Pooh και στον τρόπο προσέγγισης του αναγνώστη. Η έρευνα έλαβε υπόψη της την γνώμη αναγνωστών απευθύνοντας ερωτηματολόγιο σε πενήντα δίγλωσσους ομιλητές ελληνικής-αγγλικής, για να ελέγξει την μεταφρα-στική άποψη της ερευνήτριας. Τα ευρήματα δείχνουν ότι η πρώτη μετάφραση (1996, της Παυλίνας Παμπούδη) απευθύνεται σε νεότερο ακροατήριο, ενώ η δεύτερη (2021, της συγγραφέως της παρούσας ΔΕ) απευθύνεται σε πιο ώριμο ακροατήριο και σκιαγραφεί μια πιο δυναμική και με αυτοπεποίθηση ταυτότητα του Winnie-the-Pooh. Η έρευνα δείχνει τη σημασία της μελέτης της σκιαγράφησης ταυτοτήτων μέσω του λόγου για την διδασκαλία της αγγλικής ως ξένης γλώσσας και αναδεικνύει τη δυνατότητα των μεταφραστών να σκιαγραφούν ταυτότητες υποδοχής κατά βούληση.A great number of scholars have focused on the translation of children’s literature (Oittinen 2000, O’Sullivan 2005, Lathey 2010) but little research has been conducted on pragmatics in children’s translation discourse. Translating children’s literature often involves pragmatic clue processing. Pragmatic preferences may change cross-culturally affecting translators’ rendition of phenomena. The study explores challenges in translating the English classic children’s fiction Winnie-the-Pooh, written by A. A. Milne (1926), into Greek. It examines socio-cultural norms and conventions revealing perception of children’s identity, preferred ways of fictional character representation and of intended target readers. First, the author translated the first book of Winnie-the-Pooh unable to locate a translation of it on the market. She intended to explain why she made certain choices in Greek and explain which pragmatic phenomena the choices were related to. However, a first Greek translation of the book (1996) was finally traced in a bookstore of old books, so the author contrasted her own translation to the one on the market. The study compares three chapters of two Greek versions of Winnie-the-Pooh in terms of such translation strategies as domestication and foreignization and reveals varying treatment of pragmatic phenomena contributing to Pooh’s identity construction and preferred ways of approaching an intended target reader. The study took an emic approach to the data, by distributing a questionnaire to fifty English-Greek bilingual speakers, for testing the validity of the analyst’s etic view. Findings suggest that, TTa (1996, Pavlina Pampoudi’s translation) rather addresses a younger audience, whereas TTb (2021, the author’s translation) has had a fairly older audience in mind. Moreover, TTb depicts Pooh’s identity as more confident and dynamic. The study emphasizes the significance of exploring identity formation patterns through discoursal options for the teaching English as a foreign language, and for highlighting the potential of translators to shape target identities in intended ways
BEYOND THE HUNDRED ACRE WOOD: POSTHUMANISM IN A. A. MILNE’S WINNIE-THE-POOH
No full textChildrenâs literature is a field of study that contributes to the evolution of the posthuman. English author A. A. Milneâs prominent book, Winnie-the-Pooh (1926), is set in a posthuman space, the Hundred Acre Wood, inhabited by the human character, Christopher Robin and his animal friends in harmony. The book sets a balance between the human and the nonhuman, culture and nature, reason and sensation. The study analyses how Winnie-the-Pooh exemplifies the exercise of posthumanism in a childrenâs work to enlighten how the boundaries between the human and the nonhuman are blurred, animal agency and nonhuman subjectivity are constructed in the book, and how communication and nonhuman expressivity transgress anthropocentric language and rationalist discourse by adopting a posthuman approach. Thus, the study reveals that Winnie-the-Pooh contributes to the comprehension and exercise of posthumanism through stories for child readers, transgressing the boundaries set by anthropocentricism in the Disney production of the book
Happy birthday Mama Winnie! The cultural politics of nostalgic portraits on the Twitter feed of @WinnieMandela
No full text This article examines the Twitter feed of @WinnieMandela (purportedly the official profile of Winnie Madikizela-Mandela), in particular the trend that sees iconic portraits of her being shared by her admirers on meaningful days, such as her birthday. A notable practice on the feed is the regular sharing of historical images of Madikizela-Mandela, tweeted by some of her 69,000 followers, often on her birthday. Juxtaposing these images are current photos tweeted from her own account as well as those shared by fans who meet her and take pictures together. The article presents a visual typology of the narratives of womanly identity that are captured in the historical portraits of Madikizela-Mandela that fans share. The analysis is contextualized within scholarship on gender and politics, the representation of women politicians in the media, and the use of social media by politicians. The article theorizes the fan photo-sharing on Winnie Mandela’s Twitter feed as a process that partially constructs her public image in opposition to negative mainstream media coverage. It concludes by reflecting on what an attachment to nostalgic images of Winnie Mandela mean in the current moment in South African politics, as well in relation to communication on social media. </jats:p
Winnie Li on Finding That Elusive Thing: A Perfect Writing Space
No full textThe author of Complicit reflects on the cozy writerly dream, motherhood, and making peace with a messier realit
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