Zeitschriftenartikel zum Thema „Inre motiv“

The old sun, or senilia pekicianaThis paper deals with the motif of aging in the works of the Yugoslav writer Borislav Pekić 1930–1992. Pekić dedicated both an essay 1987 and the drama Five O’ Clock Tea to the theme of aging, – in both works aging is shown in a very negative light, and old people are seen in an antagonistic position towards young people. The motif of aging, however, in Pekić’s work has other connotations such as creativity “Megalos Mastoras”, uncertainty and the natural inevitability of the passage from one phase of life to another 1999, eternity The Golden Fleece, and wisdom Atlantis.Stare słońce albo Pekiciowskie seniliaProponowany tekst dotyczy motywu starości w twórczości jugosłowiańskiego pisarza Borislava Pekića 1930–1992. Zarówno w zbiorze Pisma iz tuđine, jak i dramacie Five O’ Clock Tea pisarz poświęcił tej tematyce wiele miejsca. W utworach tych starzenie się ma konotację wyraźnie negatywną, gdyż osoby sędziwe przedstawione zostały tu w sposób antagonistyczny w stosunku do osób młodych. Motyw starości w twórczości Pekicia ma jednak także inne konotacje, takie jak kreatywność „Megalos Mastoras”, niepewność i naturalną nieuniknioność przechodzenia od jednej fazy życia do drugiej 1999, wieczność Złote runo, jak również mądrość Atlantyda.

English Abstract: This paper deals with dirt, anomic behaviour, death and decay as productive and redemptive means within four very different traditional religions: Shinto, ancient Egyptian religion, classical Indian religion and Greek religion. In all four contexts, the motif is somehow anchored in mythology and makes sense first and foremost in ritualization, i.e. as part of the symbolic accompaniment of ritual metamorphosis. As others have demonstrated, the motif makes equally good sense in so-called post-axial religions, in which redemption is much more a matter of an inner, subjective breakthrough – but it is by no means a prerogative of such religions. Dansk resumé: Artiklen behandler eksempler på snavs, anomisk adfærd, død og råddenskab som religiøst produktive og forløsende i fire vidt forskellige traditionelle religioner: Shinto, oldtidens ægyptiske religion, klassisk indisk religion og græsk religion. I alle fire sammenhænge er motivet mytologisk forankret, og det giver først og fremmest mening som et rituelt virkemiddel, en del af det symbolske akkompagnement til rituelle forvandlinger. Som andre har vist, giver motivet også god mening i såkaldt post-aksiale religioner, hvor forløsning i højere grad forstås som et indre, subjektivt gennembrud – men det er altså ikke forbeholdt disse.

Famines and food scarcities in the Highlands and Islands, apart from those of the 1690s and 1847, have been under-examined in Scottish historiography. This article considers an aspect of the serious famine of 1836–7: the public response to the famine as reflected by the committees set up to solicit public subscriptions, principally in Edinburgh, Glasgow and London and by the contemporary newspaper reportage. Three themes in particular are examined: the motive and role of the proprietors in seeking subscriptions; the extent to which the evangelical ethos of the day – that the most potent weapon of God's wrathful providence was famine – influenced the public response; and the highlander as a suitable recipient of public aid. The public response was generous, driven by a strong belief in Christian charity, benevolence, divine direction and philanthropic duty. The highlanders were seen as an object of charity for the debt owed to them by the nation for war time services rendered. The proprietors never shook off the criticism that their appeals to the public were self-serving.

The article is an analysis of the images of magic-wielding characters in Russian magic fairy tales. The basis of this analysis is a set of fairy tales collected by Alexander Afanasyev. The author focuses primarily on the characters of Baba Yaga and Koschei the Immortal, pointing in particular to the ambiguity of the former. She can be seen as a witch, a demon and deity, as an antagonist — just like other fairy tale witches — but also as a donor, tester, and catalyst of the protagonist’s evolution. In the case of Koschei, although he always turns out to be an antagonist, what deserves attention is the level of his power — much higher than in the case of “lower-order” sorcerers — and the motif of the seven-stage soul hiding as the source of immortality. Also considered is the image of dragons, characteristic of Slavic fairy tales — perceived in this cultural circle as chthonic beings, related to snakes and in opposition to birds, i.e. uranic beings. In the course of the analysis, the author also compares the images of magic-wielding characters in Afanasyev’s collection with those gathered by the Brothers Grimm.

Auroville, ville internationale située en Inde du Sud et fondée sur une utopie spirituelle, a récemment fêté un demi-siècle d’existence. Cette ville met en relief les différentes facettes de la catégorie de « terre », notamment ses usages et significations dans les mouvements spirituels néo-orientaux : la terre comme site (résidentiel) d’une communauté qui a dû engager une lutte pour ses droits fonciers au sein de la Nation indienne et qui souscrit aux principes du collectivisme interne ; la terre comme cadre (environnement) anthropomorphisé et agencé selon les principes de la philosophie spirituelle qui a motivé la création de la ville ; la terre comme espace-laboratoire de nouvelles technologies développées avant la vague environnementaliste mais aussi « laboratoire spirituel » des nouvelles manières de transcender les traditions religieuses ; la terre comme modèle cosmique et architectural, puisqu’Auroville représente une galaxie et que son seul « temple » a la forme d’un globe terrestre ; et enfin, la terre comme planète puisque Auroville est supposée irriguer le monde de ses découvertes techniques et de ses avancées philosophiques. Idéal de cité et cité idéale ancrée dans une matérialité concrète, Auroville offre à l’analyse un cas d’étude qui révèle la complexité des aspects d’un retour (théorique et pratique) à la « Terre » dans les mouvements spirituels.

It is well established that the gene encoding the hormone secretin is expressed in a specific enteroendocrine cell, the S cell. We now show that the secretin gene is transiently expressed in insulin-producing B cells of the developing pancreatic islets in addition to the intestine. Furthermore, secretin is produced by most established islet cell lines. In order to identify and characterize the regulatory elements within the secretin gene that control tissue-specific expression, we have introduced secretin reporter gene constructions into the secretin-producing HIT and STC-1 cell lines as well as the nonexpressing INR1-G9 glucagonoma line. Analysis of deletion mutants revealed that sequences between 174 and 53 bp upstream from the transcriptional start site are required for maximal expression in secretin-producing cells. This positive element functioned independently of position and orientation. Further deletions into the enhancer resulted in a stepwise loss of transcriptional activity, suggesting the presence of several discrete control elements. The sequence CAGCTG within the secretin enhancer closely resembles that of the core of the B-cell-specific enhancer in the insulin gene. Point mutations introduced into this putative element led to greater than 85% reduction in transcriptional activity. Gel mobility shift assays suggested that a factor in B cells closely related or identical to proteins that bind to the insulin enhancer interacts with the CAGCTG motif in the secretin gene.

It is well established that the gene encoding the hormone secretin is expressed in a specific enteroendocrine cell, the S cell. We now show that the secretin gene is transiently expressed in insulin-producing B cells of the developing pancreatic islets in addition to the intestine. Furthermore, secretin is produced by most established islet cell lines. In order to identify and characterize the regulatory elements within the secretin gene that control tissue-specific expression, we have introduced secretin reporter gene constructions into the secretin-producing HIT and STC-1 cell lines as well as the nonexpressing INR1-G9 glucagonoma line. Analysis of deletion mutants revealed that sequences between 174 and 53 bp upstream from the transcriptional start site are required for maximal expression in secretin-producing cells. This positive element functioned independently of position and orientation. Further deletions into the enhancer resulted in a stepwise loss of transcriptional activity, suggesting the presence of several discrete control elements. The sequence CAGCTG within the secretin enhancer closely resembles that of the core of the B-cell-specific enhancer in the insulin gene. Point mutations introduced into this putative element led to greater than 85% reduction in transcriptional activity. Gel mobility shift assays suggested that a factor in B cells closely related or identical to proteins that bind to the insulin enhancer interacts with the CAGCTG motif in the secretin gene.

As mudanças no uso e cobertura da terra são tidas como causadoras de grande degradação ambiental à medida que a floresta é convertida em outros usos. No Estado do Pará a principal atividade responsável pelo desmatamento é a pecuária, logo deve-se realizar estudos visando a identificação das mudanças no uso da terra devido a proteção do meio ambiente. Por esse motivo, o objetivo desse estudo foi analisar o desmatamento no município de São Felix do Xingu/Pará. Para o desenvolvimento do estudo foram utilizados dados fornecidos do Instituto Nacional de Pesquisas Espaciais – INPE que disponibiliza dados diários, mensais e anuais sobre os índices de desmatamento e degradação nas regiões brasileiras e quais atividades são exploradas. A partir disso, identificou-se que nos últimos anos a taxa de desmatamento só cresce de forma variável e rápida ao longo da temporalidade, sendo 54.167,5 km² de área devastada entre os anos de 2010 a 2019. Apenas em 2010 o território xinguense obteve 20,18% de destruição causada nas áreas florestais. Percebe-se que em 2015, os números saltaram para 21,23% comparado a 2010 e, assim os valores continuam maximizando em 2019 girando em torno de 22,88%. Com a análise temporal foi possível observar novas frentes de desmatamento que estão se dirigindo para Nordeste, Noroeste (paralelas ao rio Xingu) e Oeste (adentrando-se para a Terra do Meio). Logo, deve-se ter uma maior fiscalização por parte dos órgãos públicos nessas áreas, uma vez que a exploração ilegal e a pressão pelos recursos naturais estão aumentando com o passar dos anos.

The theme of death in the works of Leonid ZurovThe article deals with the theme of death in the works of the writer of young emigration Leonid Zurov based on short stories and novels: Cadet, Ancient Path, Field, Blue Cow-wheat, Stage in Narva, Dagmar Forest. The presentation of this motif in the writer’s work has a cross-sectional character. The theme of death is central in the works of Zurov. In his works he represents events from the times of the Russian Revolution, World War I and the civil war in Russia — shows the tragedy of armed conflicts, which entail the death of many people. Wars, revolutions and other social cataclysms, according to Zurov, break the natural course of life and contradict laws of natural being. In order to artistic expression of his ideas, the writer uses mythological images and motifs related to death folklore, evangelical, eschatological writings. Tragedy in revealing the theme of death is removed due to the writer’s artistic philosophy, in which the world appears as a harmonious and expedient unity of existence. The teleological nature of being in the artistic world of Zurov is based on two most important ideas: the idea of the inclusion of a person in the circle of natural existence and the humanistic idea of the self-worth of each human life.Temat śmierci w twórczości Leonida ZurowaW artykule autorka analizuje temat śmierci w twórczości pisarza młodej emigracji rosyjskiej — Leonida Zurowa na podstawie opowiadań i powieści: Kadet, Dawna podróż, Pole, Ivan-da-marya, Poziom w Narwie, Dagmarski las. Przedstawienie tego motywu w twórczości pisarza ma w pracy charakter przekrojowy. Zurow opisuje w swoich dziełach wydarzenia z czasów rewolucji rosyjskiej, I wojny światowej oraz wojny domowej w Rosji — pokazuje tragedię konfliktów zbrojnych, pociągających za sobą śmierć wielu osób. Według pisarza wojny, rewolucje i inne kataklizmy społeczne naruszają bieg życia i są sprzeczne z prawami naturalnej egzystencji. W celu artystycznej ekspresji swoich idei pisarz ucieka się do mitologizacji obrazów i motywów związanych ze śmiercią folklor, ewangelia, pisma eschatologicze. Odsuwa tragedię na bok dzięki swojej filozofii, według której świat to harmonijna jedność wszystkich rzeczy. Zdaniem autorki opracowania teleologiczny charakter istnienia w literackim świecie Zurowa opiera się na dwóch najważniejszych ideach: idei włączenia człowieka do kręgu naturalnej egzystencji i humanistycznej idei godności każdego życia ludzkiego.

Background:The morbidity and mortality of systemic sclerosis (SSc) are largely determined by vascular and fibrotic pathologies. Levels of autoantibodies (ab) against G protein-coupled receptors (GPCR), growth factors (GF) and growth factor receptors (GFR) are altered in SSc compared to healthy controls (HC) 1. Thus, higher angiotensin II receptor type 1 - (AT1R) and endothelin receptor type A - (ETAR) ab levels are associated with severe disease and SSc-related mortality 2. CXC motiv chemokine receptor 3 - (CXCR3) and 4 - (CXCR4) ab have predictive value for deterioration of pulmonary fibrosis (PF) 3.Objectives:We used statistical methods to identify associations between disease manifestations and 28 new ab directed against GPCR, GF and GFR in SSc.Methods:Ab against the following targets were measured in sera from SSc patients (n = 177) and HC (n = 88): Adrenoceptors alpha-1 (ADRA1), alpha-2 (ADRA2), beta-1 (ADRB1), beta-2 (ADRB2); muscarinoceptors 1-5 (M1R - M5R); AT1R, ETAR, endothelin B receptor (ETBR); CXCR3, CXCR4; complement receptors 3a (C3aR) and 5a (C5aR); protease-activated receptors 1 (PAR1) and 2 (PAR2); vascular endothelial growth factor A (VEGFA) and its receptors 1 (VEGFR1) and 2 (VEGFR2), epithelial growth factor (EGF)/ - receptor (EGFR); hepatocyte growth factor (HGF)/ - receptor (HGFR), platelet-derived growth factor-AA (PDGFAA), placental growth factor (PlGF).The organ involvement (PF, cardiac involvement, PAH, gastrointestinal tract) and quantitative markers (modified Rodnan skin score, SSc activity score, pulmonary function, cardiac enzymes and echocardiography, routine laboratory, autoimmune diagnostics) as well as demographic data were recorded retrospectively at the time of sample collection. Statistical analysis was performed using the Mann-Whitney U test (MWU), Pearson correlations, ROC analysis, and age-adjusted logistic regression models.Results:In SSc 20 of 28 measured ab levels are significantly altered compared to HC. According to the Pearson correlation matrix, the ab-levels are highly correlated and build a network that differs between HC and SSc. Furthermore, altered network signatures are formed in the differentiated analysis of several disease manifestations of SSc such as SSc-subtype or PF. Based on ROC analysis, FGF-ab, ADRB1-ab and PlGF-ab are well suited to predict SSc (Figure 1).In addition, limited cutaneous SSc (lSSc) patients displayed lower levels of most ab than diffuse cutaneous SSc patients, whereas cardiac and pulmonary involvement are associated with higher ab levels. In the logistic regression lSSc is associated with lower levels of ab against M1R, M2R, C5aR, ETAR, AT1R, PAR1, EGFR. Higher levels for ab against M1R, M2R, ETBR, C5aR are associated with PF, higher levels of ab against complement receptors, adrenoreceptors and EGF with NT-proBNP elevation.Conclusion:The newly described antibodies against GPCR, GF and GFR are highly correlated. Associations with morbidity- and mortality-determining organ involvement indicate their possible functional relevance and novel pathophysiological mechanisms. As new biomarkers, some of the ab have prognostic value for SSc; for other manifestations, their value should be evaluated in further studies.References:[1]Cabral-Marques, O., Marques, A., Giil, L.M. et al. GPCR-specific autoantibody signatures are associated with physiological and pathological immune homeostasis. Nat Commun9, 5224 (2018). https://doi.org/10.1038/s41467-018-07598-9[2]Riemekasten G, Philippe A, Näther M, et al. Involvement of functional autoantibodies against vascular receptors in systemic sclerosis Annals of the Rheumatic Diseases 2011;70:530-536.[3]Weigold, F., Günther, J., Pfeiffenberger, M. et al. Antibodies against chemokine receptors CXCR3 and CXCR4 predict progressive deterioration of lung function in patients with systemic sclerosis. Arthritis Res Ther 20, 52 (2018). https://doi.org/10.1186/s13075-018-1545-8Disclosure of Interests:Kristina Sterner: None declared, Césaire J. K. Fouodo: None declared, Inke König: None declared, Axel Künstner: None declared, Hauke Busch: None declared, Harald Heidecke Shareholder of: Owner of CellTrend, Anja Schumann: None declared, Antje Müller: None declared, Gabriela Riemekasten: None declared, Susanne Schinke Grant/research support from: UCB sponsors EULAR registration fees

Il faut remonter loin dans les archives de l’INRA, et plus précisément au numéro spécial du « Bulletin du CRZV de Theix » datant de l’année 1974 pour trouver un ouvrage entièrement dédié aux « vaches allaitantes »1. Quarante-trois ans plus tard, c’est avec plaisir que nous présentons ce nouveau dossier dans la revue INRA Productions Animales qui leur est entièrement consacré. Un tel regroupement d’articles sur cet animal et ce système d’élevage est donc assez rare et nous remercions chaleureusement les animateurs de la revue de l’avoir initié. Le numéro de 1974 constatait le développement soutenu des troupeaux allaitants en France qui accompagnait la tendance à la spécialisation des systèmes de production tant vers le lait que vers la viande. Les travaux de recherches engagés mettaient en avant les spécificités de ce système peu étudié jusque-là : la productivité de la femelle, biologiquement limitée à un veau par an, impose une stratégie générale de réduction des charges et des coûts de production et par là une maximisation de l’utilisation de l’herbe dans le système fourrager. Ils se démarquaient alors des travaux réalisés sur les vaches laitières. Et pour produire efficacement de la viande, disposer d’animaux tardifs de grands formats est un atout important par la capacité qu’ils ont à déposer efficacement de la masse musculaire. Les objectifs de sélection proposés alors ont ciblé le potentiel de croissance des veaux tout en améliorant les facilités de vêlage des vaches et le format des carcasses des vaches de réforme. Ces connaissances, développées par des chercheurs de renommée2, ont porté leurs fruits et accompagné la transformation constante du cheptel Français : le nombre de vaches allaitantes a presque été multiplié par deux (4,2 millions actuellement en France). Il est supérieur à celui des vaches laitières depuis l’année 2005 et la production de viande qui en est issue avoisine désormais 65% de la production nationale. Les vaches ont grandi et grossi (+ 5kg /an en moyenne), mais les troupeaux également. La productivité par travailleur a plus que doublé (Veysset et al 20153) sans que la productivité numérique des vaches n’en pâtisse trop. Mais cette réussite quantitative flagrante marque le pas, et ne suffit plus pour aborder sereinement l’avenir de la production. Au niveau des exploitations de nombreux signaux défavorables se sont allumés. Les revenus des éleveurs stagnent et restent parmi les plus bas des professions agricoles. L’image de l’élevage se dégrade dans notre société urbanisée. Les bovins en général sont aussi interrogés sur leur bilan environnemental qui est sujet à controverses, et désormais c’est la finalité première de production de viande de ces troupeaux allaitants qui est en débat. Ces constats sont maintenant bien connus, et rappelés brièvement dans les introductions des articles de M. Lherm et al, et d’A. Cerles et al. Ils provoquent des inquiétudes grandissantes à tous les niveaux de la filière. Que peuvent apporter aux débats en cours les recherches récentes ciblées vers les vaches allaitantes ? C’estce qui a motivé la réalisation de ce dossier qui vise à rassembler et synthétiser les connaissances récentes acquises, d’une part, à l’échelle de l’animal, et, d’autre part à celle du système de production.Pour introduire ce dossier, l’article de M. Lherm et al met en perspective les évolutions des « élevages allaitants » dans les quatre principaux pays européens producteurs : France, Royaume-Uni, Irlande et Espagne. L’analyse des trajectoires technico-économiques des élevages allaitants au cours des dernières décennies dans ces quatre pays montre que les choix d’investissements, de mécanisation, et d’agrandissement des structures n’ont pas été partout semblables. Ensuite, ce dossier fait le point des avancées dans les disciplines et dans les onnaissances zootechniques de base pour la conduite des élevages bovins allaitants : l’amélioration génétique, la physiologie de lareproduction, les facteurs de variation de la production de lait des mères, la quantification de leurs besoins nutritionnels et de leur efficience alimentaire. L’article de L. Griffon et al discute de ce que l’on peut attendre des nouveaux outils génétique comme la génomique, et comment ils vont s’intégrer dans les nouveaux schémas d’amélioration. Les nouvelles connaissances physiologiques pour la maîtrise de la reproduction, pour la prévision de la courbe de lactation et pour la maîtrise de l’alimentation des vaches allaitantes sont détaillées successivement dans les articles de B. Grimard et al, de B. Sepchat et al et d’A. De La Torre et J. Agabriel. Ils fournissent de nouveaux indicateurs sur les aptitudes des animaux dont l’élevage du futur a besoin : robustesse, autonomie, efficience. Autant de propositions pour de nouvelles mesures de routine qui participeront à la détermination des nouveaux phénotypes. L’article de M. Doreau et al éclaire le débat sur l’empreinte environnementale de l’élevage allaitant en synthétisant les connaissances actuelles permettant d’établir le bilan de ses impacts positifs et négatifs. Les controverses sur le besoin en eau, les rejets de gaz à effet de serre ou d’azote pour produire un kg de boeuf par exemple, sont encore très fortes et nécessitent des apports scientifiques de fond pour les apaiser. Même s’il est acquis qu’élevage allaitant et prairie sont liés, et que ce lien conforterait une image favorable auprès des citoyens comme auprès des consommateurs, les interrogations sociétales demandent des réponses. Les travaux en cours permettent de les affiner. Enfin, l’article d’A. Cerles et al qui clôt ce dossier pose les fondements des futurs possibles pour l’élevage bovin allaitant à partir d’un travail de prospective pour les filières viandes réalisé sur le territoire du Massif central qui analyse les conséquences de cinq scénarios contrastés prenant en compte de puissants déterminants comme le changement climatique, l’évolution de la consommation de viande, les politiques agricoles et environnementales4. La bonne utilisation des surfaces herbagères, la maîtrise complète de la qualité des viandes sont de points incontournables à travailler dans les années à venir, et les acteurs devront faire émerger ensemble les opportunités de projets qui les aideront à avancer. Nous sommes persuadés que ces divers sujets par la manière exhaustive et synthétique dont ils ont été traités dans ce dossier, aideront les lecteurs dans leurs recherches personnelles et à se forger leur propre expertise. Nous remercions encore tous les auteurs, les relecteurs et le secrétariat de la revue pour leurs investissements qui ont permis de mener ce travail à son terme. J. Agabriel, R. BaumontInra, UMR Herbivores------------1 L’exploitation des troupeaux de vaches allaitantes. 6ème journées du Grenier de Theix. Supplément du Bulletin Technique du CRZV Theix. Numéro spécial 1974 : 398pp.2 On peut ainsi citer Claude Béranger, Michel Petit, Gilbert Liénard, François Ménissier et toutes leurs équipes d’alors.3 Veysset P., Lherm M., Roulenc M., Troquier C., Bebin D., 2015. Productivity and technical efficiency of suckler beef production systems: trends for the period 1990 to 2012. Animal 9, 2050-2059.4 Cerles A., Poux X., Lherm M., Agabriel J., 2016. Étude prospective des filières viandes de ruminants du Massif central, horizon 2050. INRA Centre Auvergne-Rhône-Alpes. http://www.ara.inra.fr/Le-centre-Les-recherches/projets-et-actualites/ProspectiveViande

<p>Bolesław Wallek Walewski był jedną z czołowych postaci krakowskiego życia muzycznego w okresie międzywojennym. Do jego najwybitniejszych dzieł należy opera <em>Pomsta Jontkowa</em>, której libretto jest kontynuacją <em>Halki</em> Stanisława Moniuszki. W artykule scharakteryzowano muzyczne związki pomiędzy obu operami, widoczne m.in. we wprowadzeniu przez Wallek Walewskiego cytatów motywów z <em>Halki</em>, a także wskazano różnice stylistyczne między obydwoma dziełami. Wyznaczają je trzy elementy: warstwa językowa librett, główne założenia dramaturgiczne oraz styl muzyczny. Libretto <em>Halki</em> napisane zostało przez W. Wolskiego bez aluzji do elementów gwarowych, natomiast B. Wallek Walewski w libretcie <em>Pomsty Jontkowej</em> wykorzystał w szerokim zakresie gwarę podhalańską. W przeciwieństwie do <em>Halki</em>, osią dramatu Wallek Walewskiego jest motyw zemsty górala na możnych panach. Styl muzyczny opery Walewskiego wykazuje pokrewieństwo z muzyką Wagnera, z nurtem muzycznego folkloryzmu (poprzez nawiązanie do folkloru podhalańskiego), oraz impresjonizmu. W artykule poruszono ponadto problem recepcji dzieła. <em>Pomsta Jontkowa</em> była najbardziej znanym i często wystawianym w Polsce dziełem operowym krakowskiego kompozytora. Jej prapremiera odbyła się w Teatrze Wielkim w Poznaniu w 1926 roku. Na przełomie lat dwudziestych i trzydziestych opera ta cieszyła się w Polsce dużą popularnością, wystawiły ją także inne teatry operowe w kraju (z wyjątkiem sceny warszawskiej). Po II wojnie światowej <em>Pomstę Jontkową</em> wystawiła Opera Wrocławska.</p><p>SUMMARY</p><p>Born in Lvov but fi rst of all associated with the musical circles in Krakow, Bolesław Wallek Walewski (1885-1944) referred to one of Stanisław Moniuszko’s most famous operas – <em>Halka</em> [Helen] – when composing his own opera Pomsta Jontkowa [Jontek’s Vengeance] (1924). The contemporaries regarded Halka and Pomsta Jontkowa as a series. Both operas share common elements: <em>Halka</em> (Warsaw version) and <em>Pomsta Jontkowa</em> are four-act operas, the same characters appear in their librettos (Jontek, Zofia), and in both works the confl icts between the gentry and the peasants are highly important. The musical connections between the operas are evidenced by Walewski’s use of the leading motifs. Moreover, both in <em>Halka</em> and in <em>Pomsta Jontkowa</em>, there are highlanders’ dances. Walewski also includes melodies from Halka into his work.</p><p>The principal difference between the two operas is determined by three elements: the language of the librettos, the main dramatic assumptions, and the musical style. The libretto of <em>Halka</em> was written by Włodzimierz Wolski (1824-1882) without references to dialectal elements whereas Walewski liberally used the Podhale highlanders’ dialect in his libretto. Moreover, unlike <em>Halka</em>, which emphasizes the personal experiences of the main heroine and social confl icts, the axis of Walewski’s drama is the motif of the highlander’s revenge on the wealthy lords. The musical style of <em>Pomsta Jontkowa</em> shows, on the one hand, a similarity with Richard Wagner’s music (harmony, instrumentation, and the way of treatment of leitmotifs), while on the other – a similarity to the trend of musical folklorism and impressionism. An innovative idea is the combination of impressionist features with the stylization of highlanders’ folklore.</p><p><em>Pomsta Jontkowa</em> was the best known opera of the Krakow composer in Poland in the nineteen-twenties and thirties, and at the same time it was one of the most original Polish operas of the interwar period. It combines traditional elements with modern ones, and it is an expression of the late inspirations by Wagnerian music and esthetics in Polish music, as well as referring to the best traditions of the Polish national opera.</p>

REFLEXIONES Y PROSPECTIVAS Dr. Gerardo Cedeño y Fanny Osorio NIGECEl recorrido historiográfico del Departamento de Educación Técnica, se inicia con el Proyecto IPE-DARINCO-EDUPLAN. DARINCO: dirección ministerial para la Educación Media Nacional, presenta la situación profesoral y la demanda nacional de más y mejor Educación Técnica.EDUPLAN: oficina ministerial para el planeamiento nacional, divulga indicadores y expectativas del desarrollo nacional, así como perfiles y cuantías de recursos humanos para los sectores primario, secundario y terciario; y describe la calidad y cantidad de docentes para abordar la expansión democrática - demográfica de la educación.IPE, Instituto Experimental Pedagógico, exponía competencias para abordar la complejidad secuencial entre demanda ocupacional, gestión de Escuelas Técnicas y competencias para docentes Técnicos a nivel superior, así como la necesidad de talentos, bienes y servicios, creadoras de escenarios de calidad para enfrentar lo situacional y prospectivo de la Educación Técnica Universitaria.El primer acercamiento del Perfil del Departamento de Educación Técnica fue ampliamente consultado con sectores educacionales, empresariales, laborales del País, y fue validado internacionalmente.El Departamento asumía una cultura de consulta y acompañamiento para abordar especialidades en artes industriales, agricultura, comercio, educación industrial, educación para el hogar. La Filosofía de Gestión, la Ética Organizacional, la Planificación y desarrollo con significativa autonomía, la Institucionalidad y Competitividad del personal Docente, las asociaciones estratégica fueron explicitadas a la comunidad Pedagógica lo cual permeó la Modernización Institucional.El instituto Pedagógico liderizó el acompañamiento Interinstitucional al Departamento de Educación Técnica. El Centro Superior de Educación y el Politécnico; asociaban Docentes, talleres y laboratorios; las Escuelas Técnicas de Comercio, enfermería, industrial, así como la escuela de Artes y Oficios y el INCE facilitaban laboratorios, máquinas, equipos.FUDECO valoraba pertinencia programática con el desarrollo regional; las organizaciones empresariales y laborales apoyaban pasantías.La Cultura de Asociación Estratégica institucionalizó proyectos diversificados.El Pedagógico capacitaba en Docencia al personal del CES - - y el PolitécnicoLa Comisión de Educación Superior planificaba, asesoraba en Educación y Desarrollo Regional.La Empresa Regional de Computación apoyaba la sistematización administrativa inter institucional.El Ciclo Básico Superior, como primer año universitario, asumía todos los egresados de Educación Media.El Departamento de Educación Técnica Gerenciaba con Autonomía plena al Proyecto IPE-DARINCO-EDUPLAN.La OEA, lo declaró Centro Multinacional para la Educación Técnica del Caribe y América CentralUNESCO le asignó la formación de Directores Polivalentes para la Educaciónde la República Dominicana. El desarrollo y gestión Departamental impulsó:La edificación de la Ciudad Pedagógica con espacios especiales para la Educación Técnica, con Biblioteca Universitaria Inter Institucional, Zona Rental Profesoral y Estudiantil.Procesos de autoevaluación institucional con toda la comunidad pedagógica, para valorar y mejorar funciones, programas, organización y gestión. Se inició una cultura de mejora continua.La formación de Directores para Planteles de Educación Técnica, a través de Acreditación de Aprendizajes, estudios Superiores inconclusos y Competencias por Experiencia.El Diseño del Sistema Regional de Educación para el Desarrollo Diversificado del Municipio Caroní del Estado Bolívar. El Factor Humano Departamental creó una comunidad Espiritual para el abordaje creativo de la complejidad, la diversidad, la inter institucionalidad, la intersectorialidad con ética de gestión relacional entre problemática, competencias, gestión de calidad y pertinencia de resultados; lo cual conformó cultura, comportamiento, salud organizacional para estar y vivir en el mundo institucional de la Educación Técnica.La creación de la Universidad Pedagógica Experimental Libertador, con bases fundamentales en la construcción colectiva de autonomía plena para asumir valores, fortalecer creatividad, construir conocimiento, socializar saberes, modelar comportamiento transcendente para atender:La Doctrina y Responsabilidad Social de la EducaciónLa Calidad del Sistema EducativoLa Responsabilidad y Bienestar Profesional de la EducaciónLa Gestión Escolar para la Calidad Educacional. El Departamento de Educación Técnica institucionócompetencias estratégicas, técnicas y genéricas para la competitividad Institucional. Los factores asociados a la historicidad de la Educación Técnica, transitan permanentemente en diferentes complejidades concurrentes a formación de educación y trabajo para el proyecto Constitucional y Social de País. El desarrollo de la temática del II congreso Internacional de Educación TécnicaI Jornada de Investigación y Producción Intelectual en Educación Técnica, permitió visualizar:El liderazgo Departamental fundamentado en su capital organizacional que moderniza sistemas, normas, procedimientos; en su capital social que facilita asociaciones con sectores escolares, universitarios, empresariales, interdepartamentales e interinstitucionales; con su capital intelectual estructurado con valores, conocimientos, haceres para competitividad de gestión educacional y asesoramiento global para el desarrollo de la Educación Técnica Escolar y Universitaria. La Educación Técnica en Tiempos de Incertidumbre motivó reflexiones situacionales, creativas, transculturales en los participantes sobre:La transmodernidad científica y tecnológica y sus impactos en el humanismo laboralLa visión del trabajo y la movilización social en búsqueda de más y mejor calidad de vidaLas tendencias mundiales sobre la formación profesional.El Proyecto Constitucional y Social de País, las políticas públicas educacionales y la ética pública y privada para su desarrollo.La investigación, las experticias, el liderazgo resilente para conformar saberes; actuar en escenarios de incertidumbre, conflictividad, movilidad, rectorales, ministeriales; y generar acercamientos a perfiles laborales que posibiliten visualizar empleabilidad, humanismo laboral, bienestar social.La validación de propuestas de formación, decurrículo para Educación Técnica, con sectores educativos, laborales, comunitarios y empleadores. La incertidumbre siempre será aliado de la Educación Técnica, para visualizar futuro y crear saberes para más mentalidad de valores, saberes, y haceres y más movilidad social para calidad de vida. Igualmente, se creó un ambiente de reflexiones problematizadoras sobre:La propuesta curricular para la Educación Técnica Media.Viabilizar la competitividad departamental para orientar diseño y desarrollo con eficacia de recursos, eficiencia de procesos, efectividad de resultados con procesos de mejora continua.La reflexión situacional y perspectiva de factores concurrentes a la calidad de la Educación Técnica, relacionada con:- Desarrollo comunitario, ambiental, social.- Políticas públicas y Ética pública y privada en la gestión de la Educación Técnica- Tecnología innovación, emprendimiento- Interdisciplinaridad e Intersectorialidad de la Educación Técnica- Mercado laboral y empleabilidad- Didáctica de la Educación Técnica- Humanismo laboral.Se asociaron al capital cognitivo de la Educación Técnica para procesos de sustanciación y operatividad. Las percepciones y expectativas sobre la propuesta Universitaria para el currículo de las especialidades del Departamento de Educación Técnica y la sabiduría Departamental sobre diseño y desarrollo curricular podrían asegurar secuencias entre el INCE, las Escuelas Técnicas, las especialidades de Educación Técnica Universitaria para atender la declaratoria Educación y Trabajo, son los procesos fundamentales para alcanzar la promoción de la prosperidad y bienestar del pueblo … artículo 3 de la CRBV …y promover ética de gestión pública y privada para la calidad y responsabilidad social del Departamento de Educación Técnica.El capital intelectual de la Educación Técnica facilitará la comprensión de las reflexiones derivadas de las temáticas del Congreso para automáticamente validar, proponer, motivar las propuestas perfeccionadoras de la Educación Técnica Escolar y Universitaria.El Núcleo de Investigación del Departamento de Educación Técnica Dr. Gerardo Cedeño Fermín-NIGEC-expuso la producción intelectual de apoyo a la Gerencia de factores que promueven y aseguran el desarrollo y éxito de la calidad de organización, gestión y resultados Departamentales. Se visualizó la búsqueda de principios, modalidades, procesos de creación, producción y gerencia de nuevos conocimientos que institucionalicen la Investigación apropiada a la complejidad Social y Universitaria de la Educación Técnica.El Desarrollo del II Congreso Internacional y I de Investigación de Educación Técnica, promovió reflexiones sobre:- Competencias Departamentales para la Calidad y Responsabilidad Social del Currículo de las Escuelas Técnicas.- Competencias Estrategias y Técnicas para validar la propuesta curricular para la Educación Técnica Universitaria.- Competencias Estrategias y Técnicas para validar la propuesta curricular para la Educación Técnica implantada por el Ministerio del Poder Popular para la Educación – MPPE- año escolar 2017-2018, así como la del año escolar 2015-2016. - Las bondades y desaciertos de las propuestas curriculares del ministerio para los Liceos Bolivarianos y las escuelas Técnicas en sus diversas versiones.- Las bondades de la Educación Técnica para el desarrollo sustentable, endógeno de las instituciones educativas Media Técnica y Media Profesional para el buen vivir. - Las bondades de la Educación Técnica para el desarrollo sustentable, endógeno de las instituciones educativas Media Técnica y Media Profesional para el desarrollo Social y crecimiento de la Nación. - Liderazgo social Departamental para determinar la calidad de la Educación Técnica de la Nación.- Calidad de gestión de la Educación Técnica- Salud Organizacional Departamental.Las acumulaciones de valores, saberes, haceres del Departamento de Educación Técnica, expresados en los diversos escenarios del Congreso, motivan el arbitraje de los Principios de la Responsabilidad Social de Entes Públicos, Privados, Instituidos en el Sistema Venezolano para la calidad y que se relacionan con la socialización de las fortalezas departamentales en beneficio comunitario, como es: - Buenas prácticas de organización, gestión y resultados Departamentales. - Promoción y Gestión de Derechos Humano para fortalecer ciudadanía en valores, deberes y derechos. - Gestión de Calidad de Bienes y Servicios. - Involucramiento en la calidad ambiental. - Participación en la construcción de Comunidades Saludables.El II Congreso Internacional de Educación y I Jornada sobre Investigación y Producción Intelectual en Educación Técnica, demostraron la línea secuencial de la historicidad, de la contemporaneidad, para la trascendencia educacional.La condición humana de la Comunidad Departamental, como sustrato motivador de desarrollo personal y profesional expresó el ESTAR en proceso de calidad y mejora continua para fortalecer competitividades, asesoramiento, credibilidad y vivir la plenitud del desarrollo y responsabilidad social de toda la Educación Técnica de la Nación.El escenario de conferencias y ponentes que nutrieron las área temáticas del congreso, se mencionan a continuación: AUTOR(ES) TITULO DE LA PONENCIADenisse Maduro - ArgentinaLA ORGANIZACIÓN Y EXPANSIÓN DE LA ESCUELA TÉCNICA EN BRASIL Y EN ARGENTINA EN LA ÚLTIMA DÉCADAPatricia Cecilia Quiroga PachecoFanny Sánchez de Varela EL APRENDIZAJE, SUS MOMENTOS Y ESTRATEGIAS: UNA CONSTRUCCIÓN SOCIAL INTERSUBJETIVA DE LOS ESTUDIANTES DE EDUCACIÓN COMERCIALAmílcar Arenas Arredondo, VINCULACIÓN ENTRE LAS ESCUELAS TÉCNICAS INDUSTRIALES Y EL SECTOR PRODUCTIVO ARAGÜEÑO.Nelson WilkieLA AGROECOLOGÍA COMO ESTRATEGIA TRANSFORMADORA EN EL CURRÍCULUM DE LAS ESCUELAS DEL MUNICIPIO GUACARA.Juan Marco OviedoAlbany García Evaluación de dos medios de cultivo: Aloe Vera (Aloe Barbadensis Miller) y la Pulpa de Papel como gelificantes alternativos del agar-agar para la propagación in-vitro de la variedad de papa Andinita (Solanum Tuberosum L)Johana TorresKarla Flores ENTORNO VIRTUAL DE APRENDIZAJE (EVA) PARA LA ADMINISTRACIÓN B-LEARNING DEL CURSO TECNOLOGÍA Y PRÁCTICA DE MERCADEO I Marycarmen Rodríguez Santos GESTIÓN DOCENTE A LA LUZ DE LOS CAMBIOS CURRICULARES EN LA E.T.C. “DR. AMBROSIO PERERA”.Martín Alfredo AmaroPROGRAMA SOBRE MANEJO AGROECOLÓGICO DE PLAGAS DIRIGIDO A DOCENTES DE EDUCACIÓN AGROPECUARIA DE LA UPEL-IPB.Jenny Cecilia Terán Figueroa LA INTERSUBJETIVIDAD ORIENTADA HACIA EL PROCESO DE TRANSFORMACIÓN CURRICULAR EN EDUCACIÓN TÉCNICAAlirio TuaFrancia Becerra Hernández GUÍA DIDÁCTICA DE INSTALACIONES ELÉCTRICAS RESIDENCIALES BASADA EN LOS ESTILOS DE APRENDIZAJE

O desenvolvimento da atividade pecuária dentro de Reservas Extrativistas na Amazônia tem sido motivo de polêmicas e debates inflamados na área ambiental desde o estabelecimento da Lei do SNUC. O histórico do movimento extrativista teve nos empates sua principal bandeira de luta, como estratégia de combate ao avanço da fronteira agropecuária. Independentemente dos avanços do movimento, é fato que a pecuária bovina se configurou, ao longo dos últimos 20 anos, como o uso predominante nas áreas desmatadas na Amazônia, inclusive dentro das Reservas Extrativistas. Este trabalho buscou dimensionar o atual impacto ambiental causado pela conversão de florestas para formação de pastagem em Reservas Extrativistas Federais, sob gestão do ICMBio, a partir da análise dos dados fornecidos pelo INPE/Projeto TerraClass, dos anos de 2004, 2010 e 2014, em especial na Reserva Extrativista Tapajós-Arapiuns, uma das mais populosas do estado do Pará, além de promover uma análise socioambiental deste caso frente aos desafios de gestão da Unidade de Conservação-UC. Entre os principais resultados, observou-se que a contribuição das pastagens se configura abaixo de 3% do uso do solo em 28 das 30 Resex terrestres da Amazônia. Destaca-se que a Tapajós-Arapiuns mantém mais de 90% de sua área preservada e com apenas 0,35% destinada às pastagens, suportando um rebanho de cerca de 3 mil cabeças e média de 14 cabeças por criador. Outro aspecto relevante está relacionado com a importância financeira e social da atividade, pois 60% dos criadores informaram que seus rebanhos abastecem as comunidades da Resex, ou seja, são comercializados dentro da própria UC. Conclui-se que a atividade de criação de gado na Reserva Extrativista Tapajós-Arapiuns pode ser considerada de subsistência, devido ao porte e modos de produção identificados e, finalmente, não se configura como o principal vetor do desmatamento na UC, podendo sua contribuição ser considerada praticamente irrelevante.

The Walt Disney Company has been creating magical fairy tales since the early 1900s and is a trusted brand synonymous with wholesome, family entertainment (Wasko). Over time, this reputation has resulted in the Disney brand’s huge financial growth and influence on audiences worldwide. (Wohlwend). As the largest global media powerhouse in the Western world (Beattie), Disney uses its power and influence to shape the perceptions and ideologies of its audience. In the twenty-first century there has been a proliferation of retellings of Disney fairy tales, and Kilmer suggests that although the mainstream perception is that these new iterations promote gender equity, new cultural awareness around gender stereotypes, and cultural insensitivity, this is illusory. Tangled, for example, was a popular film selling over 10 million DVD copies and positioned as a bold new female fairy tale character; however, academics took issue with this position, writing articles entitled “Race, Gender and the Politics of Hair: Disney’s Tangled Feminist Messages”, “Tangled: A Celebration of White Femininity”, and “Disney’s Tangled: Fun, But Not Feminist”, berating the film for its lack of any true feminist examples or progressiveness (Kilmer). One way to assess the impact of Disney is to look at the use of shape shifting and transformation in the narratives – particularly those that include women and young girls. Research shows that girls and women are often stereotyped and sexualised in the mass media (Smith et al.; Collins), and Disney regularly utilises body modification and metamorphosis within its narratives to emphasise what good and evil ‘look’ like. These magical transformations evoke what Marina Warner refers to as part of the necessary surprise element of the fairy tale, while creating suspense and identity with storylines and characters. In early Disney films such as the 1937 version of Snow White, the queen becomes the witch who brings a poison apple to the princess; and in the 1959 film Sleeping Beauty the ‘bad’ fairy Maleficent shapeshifts into a malevolent dragon. Whilst these ‘good to evil’ (and vice versa) tropes are easily recognised, there are additional transformations that are arguably more problematic than those of the increasingly terrifying monsters or villains. Disney has created what we have coined the ‘princess bubble’, where the physique and behaviour of the leading women in the tales has become a predictor of success and good fortune, and the impression is created of a link between their possession of beauty and the ‘happily-ever-after’ outcome received by the female character. The value, or worth, of a princess is shown within these stories to often increase according to her ability to attract men. For example, in Brave, Queen Elinor showcases the extreme measures taken to ‘present’ her daughter Merida to male suitors. Merida is preened, dressed, and shown how to behave to increase her value to her family, and whilst she manages to persuade them to set aside their patriarchal ideologies in the end, it is clear what is expected from Merida in order to gain male attention. Similarly, Cinderella, Aurora, and Snow White are found to be of high ‘worth’ by the princes on account of their beauty and form. We contend, therefore, that the impression often cast on audiences by Disney princesses emphasises that beauty = worth, no matter how transgressive Disney appears to be on the surface. These princesses are flawlessly beautiful, capable of winning the heart of the prince by triumphing over their less attractive rivals – who are often sisters or other family members. This creates the illusion among young audiences that physical attractiveness is enough to achieve success, and emphasises beauty as the priority above all else. Therefore, the Disney ‘princess bubble’ is highly problematic. It presents a narrow range of acceptability for female characters, offers a distorted view of gender, and serves to further engrain into popular culture a flawed stereotype on how to look and behave that negates a fuller representation of female characters. In addition, Armando Maggi argues that since fairy tales have been passed down through generations, they have become an intrinsic part of many people’s upbringing and are part of a kind of universal imaginary and repository of cultural values. This means that these iconic cultural stories are “unlikely to ever be discarded because they possess both a sentimental value and a moral ‘soundness’” (Rutherford 33), albeit that the lessons to be learnt are at times antiquated and exclusionary in contemporary society. The marketing and promotion of the Disney princess line has resulted in these characters becoming an extremely popular form of media and merchandise for young girls (Coyne et al. 2), and Disney has received great financial benefit from the success of its long history of popular films and merchandise. As a global corporation with influence across multiple entertainment platforms, from its streaming channel to merchandise and theme parks, the gender portrayals therefore impact on culture and, in particular, on how young audiences view gender representation. Therefore, it could be argued that Disney has a social responsibility to ensure that its messages and characters do not skew or become damaging to the psyche of its young audiences who are highly impressionable. When the representation of gender is examined, however, Disney tends to create highly gendered performances in both the early and modern iterations of fairy tales, and the princess characters remain within a narrow range of physical portrayals and agency. The Princess Bubble Although there are twelve official characters within the Disney princess umbrella, plus Elsa and Anna from the Disney Frozen franchise, this article examines the eleven characters who are either born or become royalty through marriage, and exhibit characteristics that could be argued to be the epitome of feminine representation in fairy tales. The characters within this ‘princess bubble’ are Snow White, Cinderella, Aurora, Ariel, Belle, Jasmine, Tiana, Rapunzel, Merida, Elsa, and Anna. The physical appearance of those in the princess bubble also connects to displays around the physical aspects of ethnicity. Nine out of eleven are white skinned, with Jasmine having lightened in skin tone over time, and Tiana now having a tanned look rather than the original dark African American complexion seen in 2009 (Brucculieri). This reinforces an ideology that being white is superior. Every princess in our sample has thick and healthy long hair, the predominant colour being blonde. Their eyes are mostly blue, with only three possessing a dark colour, a factor which reinforces the characteristics and representation of white ethnic groups. Their eyes are also big and bulbous in shape, with large irises and pupils, and extraordinarily long eyelashes that create an almost child-like look of innocence that matches their young age. These princesses have an average age of sixteen years and are always naïve, most without formal education or worldly experience, and they have additional distinctive traits which include poise, elegance and other desired feminine characteristics – like kindness and purity. Ehrenreich and Orenstein note that the physical attributes of the Disney princesses are so evident that the creators have drawn criticism for over-glamorising them, and for their general passiveness and reliance on men for their happiness. Essentially, these women are created in the image of the ultimate male fantasy, where an increased value is placed on the virginal look, followed by a perfect tiny body and an ability to follow basic instructions. The slim bodies of these princesses are disproportionate, and include long necks, demure shoulders, medium- to large-sized perky breasts, with tiny waists, wrists, ankles and feet. Thus, it can be argued that the main theme for those within the princess bubble is their physical body and beauty, and the importance of being attractive to achieve success. The importance of the physical form is so valued that the first blessing given by the fairies to Aurora from Sleeping Beauty is the gift of physical beauty (Rutherford). Furthermore, Tanner et al. argue that the "images of love at first sight in the films encourage the belief that physical appearance is the most important thing", and these fairy tales often reflect a pattern that the prince cannot help but to instantly fall in love with these women because they are so striking. In some instances, like the stories of Cinderella and Snow White, these princesses have not uttered a single word to their prince before these men fall unconditionally and hopelessly in love. Cinderella need only to turn up at the ball as the best dressed (Parks), while Snow White must merely “wait prettily, because someday her prince will come" (Inge) to reestablish her as royalty. Disney emphasises that these princesses win their man solely on the basis that they are the most beautiful girls in the land. In Sleeping Beauty, the prince overhears Aurora’s singing and that sets his heart aflame to the point of refusing to wed the woman chosen for him at birth by the king. Fortunately, she is one and the same person, so the patriarchy survives, but this idea of beauty, and of 'love at first sight', continues to be a central part of Disney movies today, and shows that “Disney Films are vehicles of powerful gender ideologies” (Hairianto). These princesses within the bubble of perfection have priority placed on their physical and sexual beauty (Dietz), formulating a kind of ‘beauty contest motif’. Examples include Gaston, who does not love Belle in Beauty and the Beast, but simply wants her as his trophy wife because he deems her to be the most beautiful girl in the town. Ariel, from The Little Mermaid, looks as if she "was modeled after a slightly anorexic Barbie doll with thin waist and prominent bust. This representation portrays a dangerous model for young women" (Zarranz). The sexualisation of the characters continues as Jasmine has “a delicate nose and small mouth" (Lacroix), with a dress that can be considered as highly sexualised and unsuitable for a girl of sixteen (Lacroix). In Tangled, Rapunzel is held hostage in the tower by Mother Gothel because she is ‘as fragile as a flower’ and needs to be ‘kept safe’ from the harms in the world. But it is her beauty that scares the witch the most, because losing Rapunzel would leave the old woman without her magical anti-aging hair. She uses scare tactics to ensure that Rapunzel remains unseen to the world. These examples are all variations of the beauty theme, as the princesses all fall within narrow and predictable tropes of love at first sight where the woman is rescued and initiated into womanhood by being chosen by a man. Disney’s Progressive Representation? At times Disney’s portrayal of princesses appears illusively progressive, by introducing new and different variations of princesses into the fold – such as Merida in the 2012 film Brave. Unfortunately, this is merely an illusion as the ‘body-perfect’ image remains an all-important ideal to snare a prince. Merida, the young and spirited teenage princess, begins her tale determined not to conform to the desired standards set for a woman of her standing; however, when the time comes for her to be married, there is no negotiating with her mother, the queen, on dress compliance. Merida is clothed against her will to re-identify her in the manner which her parents deem appropriate. Her ability to express her identity and individuality removed, now replaced by a masked version, and thus with the true Merida lost in this transformation, her parents consider Merida to be of renewed merit and benefit to the family. This shows that Disney remains unchanged in its depiction of who may ‘fit’ within the princess bubble, because the rubric is unchanged on how to win the heart of the man. In fact, this film is possibly more troublesome than the rest because it clearly depicts her parents to deem her to be of more value only after her mother has altered her physical appearance. It is only after the total collapse of the royal family that King Fergus has a change of patriarchal heart, and in fact Disney does not portray this rumpled, ripped-sleeved version of the princess in its merchandising campaign. While the fantasy of fairy tales provides enthralling adventures that always end in happiness for the pretty princesses that encounter them, consideration must be given to all those women who have not met the standard and are left in their wake. If women do not conform to the standards of representation, they are presented as outcasts, and happiness eludes them. Cinderella, for example, has two ugly stepsisters, who, no matter how hard they might try, are unable to match her in attractiveness, kindness, or grace. Disney has embraced and not shunned Perrault’s original retelling of the tale, by ensuring that these stepsisters are ugly. They have not been blessed with any attributes whatsoever, and cannot sing, dance, or play music; nor can they sew, cook, clean, or behave respectably. These girls will never find a suitor, let alone a prince, no matter how eager they are to do so. On the physical comparison, Anastasia and Drizella have bodies that are far more rounded and voluptuous, with feet, for example, that are more than double the size of Cinderella’s magical slipper. These women clearly miss the parameters of our princess bubble, emphasising that Disney is continuing to promote dangerous narratives that could potentially harm young audience conceptions of femininity at an important period in their development. Therefore, despite the ‘progressive’ strides made by Disney in response to the vast criticism of their earlier films, the agency afforded to their new generation of princesses does not alter the fact that success comes to those who are beautiful. These beautiful people continue to win every time. Furthermore, Hairianto has found that it is not uncommon for the media to directly or indirectly promote “mental models of how a woman should look, speak and interact with others”, and that Disney uses its pervasive princess influence “to shape perceptions of female identity and desirability. Females are made to measure themselves against the set of values that are meted out by the films” (Hairianto). In the 2017 film Beauty and the Beast, those outside of the princess bubble are seen in the characters of the three maidens from the village who are always trying to look their very best in the hope of attracting Gaston (Rutherford). Gaston is not only disinterested but shows borderline contempt at their glances by permitting his horse to spray mud and dirt all over their fine clothing. They do not meet the beauty standard set, and instead of questioning his cruelty, the audience is left laughing at the horse’s antics. Interestingly, the earlier version of Disney’s Beauty and the Beast portrays these maidens as blonde, slim, and sexy, closely fitting the model of beauty displayed in our princess bubble; however, none match the beauty of Belle, and are therefore deemed inferior. In this manner, Disney is being irresponsible, placing little interest in the psychological ‘safety’ or affect the messages have upon young girls who will never meet these expectations (Ehrenreich; Best and Lowney; Orenstein). Furthermore, bodies are shaped and created by culture. They are central to self-identity, becoming a projection of how we see ourselves. Grosz (xii) argues that our notions of our bodies begin in physicality but are forever shaped by our interactions with social realities and cultural norms. The media are constantly filled with images that “glorify and highlight some kinds of bodies (for example, the young, able-bodied and beautiful) while ignoring or condemning others” (Jones 193), and these influences on gender, ethnicity, sexuality, race, and religion within popular culture therefore play a huge part in identity creation. In Disney films, the princess bubble constantly sings the same song, and “children view these stereotypical roles as the right and only way to behave” (Ewert). In The Princess and the Frog, Tiana’s friend Charlotte is so desperate to ‘catch’ a prince that "she humorously over-applies her makeup and adjusts her ball gown to emphasize her cleavage" (Breaux), but the point is not lost. Additionally, “making sure that girls become worthy of love seems central to Disney’s fairy tale films” (Rutherford 76), and because their fairy tales are so pervasive and popular, young viewers receive a consistent message that being beautiful and having a tiny doll-like body type is paramount. “This can be destructive for developing girls’ views and images of their own bodies, which are not proportioned the way that they see on screen” (Cordwell 21). “The strongly gendered messages present in the resolutions of the movies help to reinforce the desirability of traditional gender conformity” (England et al. 565). Conclusion The princess bubble is a phenomenon that has been seen in Disney’s representation of female characters for decades. Within this bubble there is a narrow range of representation permitted, and attempts to make the characters more progressive have instead resulted in narrow and restrictive constraints, reinforcing dangerous female stereotypes. Kilmer suggests that ultimately these representations fail to break away from “hegemonic assumptions about gender norms, class boundaries, and Caucasian privileging”. Ultimately this presents audiences with strong and persuasive messages about gender performance. Audiences conform their bodies to societal ‘rules’: “as to how we ‘wear’ and ‘use’ our bodies” (Richardson and Locks x), including for example how we should dress, what we should weigh, and how to become popular. In our global hypermediated society, viewers are constantly exposed to princesses and other appropriate bodies. These become internalised ideals and aid in positive and negative thoughts and self-identity, which in turn creates additional pressure on the female body in particular. The seemingly innocent stories with happy outcomes are therefore unrealistic and ultimately excluding of those who cannot or will not ‘fit into the princess bubble’. The princess bubble, we argue, is therefore predictable and restrictive, promoting female passiveness and a reliance of physical traits over intelligence. The dominance of beauty over all else remains the road to female success in the Disney fairy tale film. References Beauty and the Beast. Dirs. Gary Trousdale and Kirk Wise. Walt Disney Productions, 1991. Film. Beauty and the Beast. Dir. Bill Condon. Walt Disney Pictures, 2017. Film. Best, Joel, and Kathleen S. Lowney. “The Disadvantage of a Good Reputation: Disney as a Target for Social Problems Claims.” The Sociological Quarterly 50 (2009): 431–449. doi:10.1111/j.1533-8525.2009.01147.x. Brave. Dirs. Mark Andrews and Brenda Chapman. Walt Disney Pictures, 2012. Film. Breaux, Richard, M. “After 75 Years of Magic: Disney Answers Its Critics, Rewrites African American History, and Cashes in on Its Racist Past.” Journal of African American Studies 14 (2010): 398-416. Cinderella. Dirs. Clyde Geronimi, Wilfred Jackson, and Hamilton Luske. Walt Disney Productions, 1950. Film. Collins, Rebecca L. “Content Analysis of Gender Roles in Media: Where Are We Now and Where Should We Go?” Sex Roles 64 (2011): 290–298. doi:10.1007/s11199-010-9929-5. Cordwell, Caila Leigh. The Shattered Slipper Project: The Impact of the Disney Princess Franchise on Girls Ages 6-12. Honours thesis, Southeastern University, 2016. Coyne, Sarah M., Jennifer Ruh Linder, Eric E. Rasmussen, David A. Nelson, and Victoria Birkbeck. “Pretty as a Princess: Longitudinal Effects of Engagement with Disney Princesses on Gender Stereotypes, Body Esteem, and Prosocial Behavior in Children.” Child Development 87.6 (2016): 1–17. Dietz, Tracey, L. “An Examination of Violence and Gender Role Portrayals in Video Games: Implications for Gender Socialization and Aggressive Behavior.” Sex Roles 38 (1998): 425–442. doi:10.1023/a:1018709905920. England, Dawn Elizabeth, Lara Descartes, and Melissa A. Collier-Meek. "Gender Role Portrayal and the Disney Princesses." Sex Roles 64 (2011): 555-567. Ewert, Jolene. “A Tale as Old as Time – an Analysis of Negative Stereotypes in Disney Princess Movies.” Undergraduate Research Journal for the Human Sciences 13 (2014). Grosz, Elizabeth. Volatile Bodies. London, Routledge, 1994. Inge, M. Thomas. “Art, Adaptation, and Ideology: Walt Disney's Snow White and the Seven Dwarfs.” Journal of Popular Film and Television 32.3 (2004): 132-142. Jones, Meredith. “The Body in Popular Culture.” Being Cultural. Ed. Bruce M.Z. Cohen. Auckland University, 2012. 193-210. Kilmer, Alyson. Moving Forward? Problematic Ideology in Twenty-First Century Fairy Tale Films. Central Washington University, 2015. Lacroix, Celeste. “Images of Animated Others: The Orientalization of Disney's Cartoon Heroines from The Little Mermaid to The Hunchback of Notre Dame.” Popular Communications 2.4 (2004): 213-229. Little Mermaid, The. Dirs. Ron Clements and John Musker. Walt Disney Pictures, 1989. Film. Maggi, Armando. Preserving the Spell: Basile's "The Tale of Tales" and Its Afterlife in the Fairy-Tale Tradition. Chicago: University of Chicago Press, 2015. Orenstein, Peggy. Cinderella Ate My Daughter: Dispatches from the Front Lines of the New Girlie-Girl Culture. New York: HarperCollins, 2011. Parks, Kari. Mirror, Mirror: A Look at Self-Esteem & Disney Princesses. Honours thesis. Ball State University, 2012. Pinocchio. Dirs. Hamilton Luske, Ben Sharpsteen, Wilfred Jackson, Jack Kinney, Norm Ferguson, Bill Roberts, and T. Lee. Walt Disney Productions, 1940. Film. Princess and the Frog, The. Dirs. Ron Clements and John Musker. Walt Disney Pictures, 2009. Film. Richardson, Niall, and Adam Locks. Body Studies: The Basics. Routledge, 2014. Rutherford, Amanda M. Happily Ever After? A Critical Examination of the Gothic in Disney Fairy Tale Films. Auckland University of Technology, 2020. Sleeping Beauty. Dirs. Clyde Geronimi, Eric Larson, Wolfgang Reitherman, and Les Clark. Walt Disney Productions, 1959. Film. Smith, Stacey L., Katherine M. Pieper, Amy Granados, and Mark Choueite. “Assessing Gender-Related Portrayals in Topgrossing G-Rated Films.” Sex Roles 62 (2010): 774–786. Snow White and The Seven Dwarfs. Dirs. David Hand, Wilfred Jackson, Ben Sharpsteen, William Cottrell, Perce Pearce, and Larry Morey. Walt Disney Productions, 1937. Film. Tangled. Dirs. Nathan Greno and Byron Howard. Walt Disney Pictures, 2010. Film. Tanner, Litsa RenÉe, Shelley A. Haddock, Toni Schindler Zimmerman, and Lori K. Lund. “Images of Couples and Families in Disney Feature-Length Animated Films.” The American Journal of Family Therapy 31 (2003): 355-373. Warner, Marina. Fantastic Metamorphoses, Other Worlds. London: Oxford UP, 2002. Wasko, Janet. Understanding Disney: The Manufacture of Fantasy. Polity Press, 2001. Wohlwend, Karen E. “Damsels in Discourse: Girls Consuming and Producing Identity Texts through Disney Princess Play.” Reading Research Quarterly 44.1 (2009): 57-83. Zarranaz, L. Garcia. “Diswomen Strike Back? The Evolution of Disney's Femmes in the 1990s.” Atenea 27.2 (2007) 55-65.