Academic literature on the topic 'Jollie Smith'

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Journal articles on the topic "Jollie Smith"

1

Hostetter, T. H., and T. W. Meyer. "The development of clearance methods for measurement of glomerular filtration and tubular reabsorption." American Journal of Physiology-Renal Physiology 287, no. 5 (November 2004): F868—F870. http://dx.doi.org/10.1152/classicessays.00009.2004.

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This essay looks at the historical significance of four APS classic papers that are freely available online: Jolliffe N, Shannon JA, and Smith HW. The excretion of urine in the dog. III. The use of non-metabolized sugars in the measurement of the glomerular filtrate. Am J Physiol 100: 301—312, 1932 ( http://ajplegacy.physiology.org/cgi/reprint/100/2/301 ). Shannon JA. The excretion of inulin by the dog. Am J Physiol 112: 405—413, 1935 ( http://ajplegacy.physiology.org/cgi/reprint/112/3/405 ). Shannon JA and Fisher S. The renal tubular reabsorption of glucose in the normal dog. Am J Physiol 122: 765—774, 1938 ( http://ajplegacy.physiology.org/cgi/reprint/122/3/765 ). Shannon JA, Farber S, and Troast L. The measurement of glucose Tm in the normal dog. Am J Physiol 133: 752—761, 1941 ( http://ajplegacy.physiology.org/cgi/reprint/133/3/752 ).
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Schafer, James A. "Experimental validation of the countercurrent model of urinary concentration." American Journal of Physiology-Renal Physiology 287, no. 5 (November 2004): F861—F863. http://dx.doi.org/10.1152/classicessays.00020.2004.

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This essay looks at the historical significance of four APS classic papers that are freely available online: Jolliffe N, Shannon JA, and Smith HW. The excretion of urine in the dog. III. The use of non-metabolized sugars in the measurement of the glomerular filtrate. Am J Physiol 100: 301—312, 1932 ( http://ajplegacy.physiology.org/cgi/reprint/100/2/301 ). Shannon JA. The excretion of inulin by the dog. Am J Physiol 112: 405—413, 1935 ( http://ajplegacy.physiology.org/cgi/reprint/112/3/405 ). Shannon JA and Fisher S. The renal tubular reabsorption of glucose in the normal dog. Am J Physiol 122: 765—774, 1938 ( http://ajplegacy.physiology.org/cgi/reprint/122/3/765 ). Shannon JA, Farber S, and Troast L. The measurement of glucose Tm in the normal dog. Am J Physiol 133: 752—761, 1941 ( http://ajplegacy.physiology.org/cgi/reprint/133/3/752 ).
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Trávníčková, Petra. "Portfolios within the preschool environment." Journal of Language and Cultural Education 8, no. 3 (December 1, 2020): 89–98. http://dx.doi.org/10.2478/jolace-2020-0022.

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Abstract The academic community has been discussing the options for using portfolios within the education process for a number of years. Studies looking at this phenomenon often focus on a constructivist concept of portfolios where the child is the main agent in creating the document (Sitz & Bartholomew, 2008; Smith et al., 2003). The alternative to this is the positivist concept of the portfolio. The submitted research study is focused on the use of portfolios specifically within the preschool environment. The research’s main objective was to understand how children’s portfolios are used within the education process in preschools and present the children’s perspective on their own portfolios. Adopting a qualitatively-focused research design, the research methods used were content analysis of portfolios, and interviews with children on their document. The research findings show that within the preschool environment, portfolios are used in a number of ways. These ways are directly linked to the teacher’s belief on the importance of portfolios for preschool-age children. A child’s portfolio can be a concept, a tool, a method or also a means. The results also present the children’s original perspective on their own portfolios. This study is based on a part of my completed rigorosum thesis (Trávníčková, 2019).
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RIGHTMYER, MOLLY G. "A review of the cleptoparasitic bee genus Triepeolus (Hymenoptera: Apidae).-Part I." Zootaxa 1710, no. 1 (February 22, 2008): 1. http://dx.doi.org/10.11646/zootaxa.1710.1.1.

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The cleptoparasitic bee genus Triepeolus is a widespread, species-rich group that has never been revised throughout its geographic range. Herein I review 103 species of Triepeolus, including all but those that belong to the newly defined Triepeolus verbesinae and Triepeolus simplex species groups (these will be the topic of a subsequent paper). I present three keys to the species, which together cover the genus throughout its range in the New World; the keys are to the females of North and Central America, the males and females from Eastern North America, and the males and females from South America and the Caribbean. I propose the following 37 new species: Triepeolus antiochensis, T. argentimus, T. argus, T. bimorulus, T. charlesi, T. circumculus, T. claytoni, T. cruciformis, T. diffusus, T. dilutus, T. edwardi, T. engeli, T. exilicurvus, T. flavigradus, T. fulgidus, T. griswoldi, T. interruptus, T. isohedrus, T. jennieae, T. joliae, T. lateralis, T. margaretae, T. mauropygus, T. melanarius, T. micheneri, T. nayaritensis, T. parkeri, T. partitus, T. parvidiversipes, T. parvus, T. perpictus, T. phaeopygus, T. punctoclypeus, T. quadratus, T. simulatus, T. vernus, and T. warriti, and propose the new combinations Triepeolus laticeps (Friese), Triepeolus tepanecus (Cresson) and Triepeolus zacatecus (Cresson). I newly synonymize 45 of the 169 previously proposed Triepeolus names, for a total of 51 synonymies: T. alachuensis Mitchell under T. rufithorax Graenicher; Epeolus albopictus Cockerell, E. costaricensis Friese, and E. flavocinctus Friese under T. aztecus (Cresson); T. alpestris Cockerell, T. amandus Cockerell, and T. vandykei Cockerell and Sandhouse under T. paenepectoralis Viereck; E. bardus Cresson, T. mesillae Cockerell, and T. pimarum Cockerell under T. distinctus (Cresson); T. brunneus Cockerell under T. balteatus Cockerell; T. charlottensis Mitchell under T. brittaini Cockerell; T. cirsianus Mitchell under T. donatus (Smith); T. concinnus Cockerell under T. townsendi Cockerell; T. coquilletti Cockerell, T. helianthi arizonensis Cockerell, T. helianthi pacificus Cockerell, T. lineatulus Cockerell and Sandhouse, and T. maculiventris Cockerell under T. helianthi (Robertson); T. dichropus Cockerell, T. eldredi Cockerell, T. helianthi grandior Cockerell, T. pallidiventris Cockerell and Sandhouse, T. rectangularis Cockerell, and T. wyomingensis Cockerell under T. texanus (Cresson); T. digueti Cockerell and E. nobilis Friese under T. intrepidus (Smith); T. floridanus Mitchellunder T. georgicus Mitchell; T. fortis Cockerell, T. insolitus Cockerell, and T. trilobatus Cockerell under T. martini (Cockerell); T. foxii Cockerell under T. rufoclypeus (Fox); T. lestes Cockerell under T. subalpinus Cockerell; T. loganensis Cockerell and T. sandhousae Cockerell under T. fraserae Cockerell; T. nautlanus Cockerell under T. lunatus (Say); E. nigriceps Smith under T. robustus (Cresson); E. oswegoensis Mitchell under T. pectoralis (Robertson); T. perelegans Cockerell and T. trichopygus Cockerell and Timberlake under T. penicilliferus (Brues); T. signatus Hedicke under T. ventralis (Meade-Waldo); T. stricklandi Cockerell under T. subalpinus Cockerell; E. superbus Provancher and E. texanus nigripes Cockerell under T. remigatus (Fabricius); and E. utahensis Cockerell under T. heterurus (Cockerell and Sandhouse).
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Pollock, Ross D., Caroline J. Jolley, Nadia Abid, John H. Couper, Luis Estrada-Petrocelli, Peter D. Hodkinson, Steffen Leonhardt, et al. "Pulmonary Effects of Sustained Periods of High-G Acceleration Relevant to Suborbital Spaceflight." Aerospace Medicine and Human Performance 92, no. 8 (August 1, 2021): 633–41. http://dx.doi.org/10.3357/amhp.5790.2021.

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AbstractBACKGROUND: Members of the public will soon be taking commercial suborbital spaceflights with significant Gx (chest-to-back) acceleration potentially reaching up to 6 Gx. Pulmonary physiology is gravity-dependent and is likely to be affected, which may have clinical implications for medically susceptible individuals.METHODS: During 2-min centrifuge exposures ranging up to 6 Gx, 11 healthy subjects were studied using advanced respiratory techniques. These sustained exposures were intended to allow characterization of the underlying pulmonary response and did not replicate actual suborbital G profiles. Regional distribution of ventilation in the lungs was determined using electrical impedance tomography. Neural respiratory drive (from diaphragm electromyography) and work of breathing (from transdiaphragmatic pressures) were obtained via nasoesophageal catheters. Arterial blood gases were measured in a subset of subjects. Measurements were conducted while breathing air and breathing 15 oxygen to simulate anticipated cabin pressurization conditions.RESULTS: Acceleration caused hypoxemia that worsened with increasing magnitude and duration of Gx. Minimum arterial oxygen saturation at 6 Gx was 86 1 breathing air and 79 1 breathing 15 oxygen. With increasing Gx the alveolar-arterial (A-a) oxygen gradient widened progressively and the relative distribution of ventilation reversed from posterior to anterior lung regions with substantial gas-trapping anteriorly. Severe breathlessness accompanied large progressive increases in work of breathing and neural respiratory drive.DISCUSSION: Sustained high-G acceleration at magnitudes relevant to suborbital flight profoundly affects respiratory physiology. These effects may become clinically important in the most medically susceptible passengers, in whom the potential role of centrifuge-based preflight evaluation requires further investigation.Pollock RD, Jolley CJ, Abid N, Couper JH, Estrada-Petrocelli L, Hodkinson PD, Leonhardt S, Mago-Elliott S, Menden T, Rafferty G, Richmond G, Robbins PA, Ritchie GAD, Segal MJ, Stevenson AT, Tank HD, Smith TG. Pulmonary effects of sustained periods of high-G acceleration relevant to suborbital spaceflight. Aerosp Med Hum Perform. 2021; 92(7):633641.
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Prószyński, Jerzy. "REVIEW OF GENERA EVARCHA AND NIGORELLA, WITH COMMENTS ON EMERTONIUS, PADILOTHORAX, STAGETILLUS, AND DESCRIPTION OF FIVE NEW GENERA AND TWO NEW SPECIES (ARANEAE: SALTICIDAE)." Ecologica Montenegrina 16 (March 14, 2018): 130–79. http://dx.doi.org/10.37828/em.2018.16.12.

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The publication contains review of the genera of jumping spiders: Emertonius, Evarcha, Nigorella, Padilothorax, Stagetillus, and delimits five more new genera, provides graphic documentation for species considered recognizable and adds description of four new species. The taxonomic procedures are carried out according to methodology of "pragmatic classification", which stresses importance of graphic diagnostic characters presented in a comparative way (see also review at “Methodological postulates” subchapter). Some new procedures are introduced, testing their acceptability.The following new genera are delimited and described in this paper: Evarcha Simon, 1889 s. s. (a part of Evarcha s. l.), Evacin Prószyński, 2017 gen. n., Evalba Prószyński, 2017 gen. n., Evaneg Prószyński, 2017 gen. n., Evawes Prószyński, 2017 gen. n., Padillothorus gen. n. Genus Emertonius Peckham & Peckham, 1892, misinterpreted twice by the WSC Editors, is reinstated again, with full diagnostic documentation repeated.The following new species are described in this paper - Emertonius koomeni sp. n., Evacin besar sp. n., Evaneg aegiptiaca Prószyński, 2017 sp. n ."Emertonius" palawanensis sp. n.New synonyms documented.Evarcha acuta Wesolowska, 2006 = Evacin acuta (Wesolowska, 2006), comb. n., Evarcha bulbosa Zabka, 1985 = Evacin bulbosa (Zabka, 1985), comb. n., Evarcha cancellata Simon, 1902 = Evacin cancellata (Simon, 1902), comb. n., Evarcha flagellaris Haddad & Wesolowska, 2011= Evacin flagellaris (Haddad & Wesolowska, 2011), Evarcha flavocincta (C. L. Koch, 1846) = Evacin flavocincta (C. L. Koch, 1846) comb. n., Evarcha heteropogon Simon, 1903 = Evacin heteropogon Simon, 1903, comb. n., Evarcha infrastriata (Keyserling, 1881) = Evacin infrastriata (Keyserling, 1881), comb. n., Evarcha karas Wesolowska, 2011 = Evarcha karas (Wesolowska, 2011), comb. n., Evarcha kirghisica Rakov, 1997 = Evacin kirghisica (Rakov, 1997), comb. n., Evarcha kochi Simon, 1902 = Evacin kochi Simon, 1902 comb. n., Evarcha nigrifrons (Koch C.L., 1846) = Evacin nigrifrons (Koch C.L., 1846), comb. n., Evarcha optabilis Fox, 1937 = Evacin optabilis (Fox, 1937), comb. n., Evarcha pococki Zabka, 1985 = Evacin pococki (Zabka 1985), comb. n., Evarcha pulchella Thorell, 1895 = Evacin pulchella (Thorell, 1895), comb. n., Evarcha pseudopococki Peng X., Xie L. & Kim, 1993 = Evacin pseudopococki (Peng X., Xie L. & Kim, 1993), comb. n., Evarcha reiskindi Berry, Beatty, Proszynski, 1996 = Evacin reiskindi (Berry, Beatty, Proszynski, 1996), comb. n., Evarcha simoni[s] (Thorell, 1892)= Evacin simonis (Thorell, 1892), comb. n., Evarcha striolata Wesołowska & Haddad, 2009 = Evacin striolata (Wesołowska & Haddad, 2009), comb. n., Evarcha vitosa Próchniewicz, 1989 = Evacin vitosa (Próchniewicz, 1989), comb. n.Evarcha albaria (L. Koch, 1878) = Evalba albaria (L. Koch, 1878), comb. n., Evarcha coreana Seo, 1988 = Evalba coreana (Seo, 1988), comb. n., Evarcha fasciata Seo, 1992 = Evalba fasciata (Seo, 1988), comb. n., Evarcha paralbaria Song & Chai, 1992 = Evalba paralbaria (Song & Chai, 1992), comb. n., Evarcha selenaria Suguro & Yahata, 2012 = Evalba selenaria (Suguro & Yahata, 2012), comb. n., Evarcha wulingensis Peng, Xie & Kim, 1993 = Evalba wulingensis (Peng, Xie & Kim, 1993), comb. n.Evarcha armeniaca (Logunov, 1999) = Evaneg armeniaca (Logunov, 1999), comb. n., Evarcha darinurica Logunov, 2001 = Evaneg darinurica (Logunov, 2001) , comb. n., Evarcha negevensis (Proszynski, 2000) = Evaneg negevensis (Proszynski, 2000) comb. n., Evarcha nenilini Rakov, 1997= Evaneg nenilini (Rakov, 1997), comb. n., Evarcha nepos ( O. Pickard-Cambridge, 1872) = Evaneg nepos (O. Pickard-Cambridge, 1872), comb. n., Evarcha nigricans Dalmas, 1920 = Evaneg nigricans (Dalmas, 1920), comb. n.,Evarcha pileckii Proszynski, 2000 = Evaneg pileckii (Proszynski, 2000), comb. n., Evarcha praeclara Prószyński & Wesolowska, in Prószyński, 2003 = Evaneg praeclara (Prószyński & Wesolowska, in Prószyński, 2003), comb. n., Evarcha seyun Wesolowska W., van Harten, 2007 = Evaneg seyun (Wesolowska W., van Harten, 2007), comb. n., Neaetha aegyptiaca Denis, 1947 female only = Evaneg aegyptiaca (Prószyński, 2017) ), comb. n., Neaetha aegyptiaca Denis, 1947 male only = Hyllus aegyptiacus (Denis, 1947), comb. n.Evarcha arabica Wesolowska & van Harten, 2007 = Evawes arabica (Wesolowska & van Harten, 2007) comb. n., Evarcha awashi Wesolowska & Tomasiewicz, 2008 = Evawes awashi (Wesolowska & Tomasiewicz, 2008) comb. n., Evarcha bakorensis Wesolowska & Russel-Smith 2011 = Evawes bakorensis (Wesolowska, Russel-Smith 2011) comb.n., Evarcha bicuspidata Peng & Li, 2003 = Evawes bicuspidata (Peng & Li, 2003) comb. n., Evarcha bihastata Wesolowska & Russell-Smith, 2000 = Evawes bihastata (Wesolowska & Russell-Smith, 2000), comb.n., Evarcha carbonaria (Lessert, 1927) = Evawes carbonaria (Lessert, 1927), comb.n., Evarcha chubbi Lessert, 1925 = Evawes chubbi (Lessert, 1925), comb. n., Evarcha culicivora Wesolowska & Jackson 2003 = Evawes culicivora (Wesolowska & Jackson 2003) comb. n., Evarcha denticulata Wesołowska & Haddad, 2013 = Evawes denticulata (Wesołowska & Haddad, 2013), comb.n., Evarcha elegans Wesolowska & Russel-Smith, 2000 = Evawes elegans (Wesolowska & Russel-Smith, 2000), comb. n., Evarcha ignea Wesołowska & Cumming 2008= Evawes ignea (Wesołowska & Cumming 2008), comb. n., Evarcha jucunda (Lucas, 1846) = Evawes jucunda (Lucas, 1846) comb. n., Evarcha longula (Thorell, 1881) = Evawes longula (Thorell, 1881) comb. n., Evarcha maculata Rollard & Wesolowska, 2002 = Evawes maculata (Rollard & Wesolowska, 2002), comb. n., Evarcha madagascariensis Proszynski, 1992 = Evawes madagascariensis (Proszynski, 1992), comb. n., Evarcha mirabilis Wesołowska & Haddad 2009 = Evawes mirabilis (Wesołowska & Haddad 2009), comb.n., Evarcha patagiata (O. Pickard-Cambridge, 1872) = Evawes patagiata (O. Pickard-Cambridge, 1872), comb.n., Evarcha picta Wesolowska & van Harten, 2007 = Evawes picta (Wesolowska & van Harten, 2007), comb. n., Evarcha pinguis Wesołowska & Tomasiewicz, 2008 = Evawes pinguis (Wesołowska, Tomasiewicz, 2008), comb. n., Evarcha prosimilis Wesolowska & Cumming, 2008= Evawes prosimilis (Wesolowska & Cumming, 2008), comb. n., Evarcha zimbabwensis Wesolowska & Cumming, 2008 = Evawes zimbabwensis (Wesolowska & Cumming, 2008), comb. n.Evarcha hirticeps (Song & Chai, 1992) = Nigorella hirticeps (Song & Chai, 1992), comb. n., Evarcha hunanensis Peng, Xie & Kim, 1993 - withdrawal from synonymy = Nigorella hunanensis (Peng, Xie & Kim, 1993), comb. n., Evarcha petrae Prószyński, 1992 = Nigorella petrae (Prószyński, 1992), comb. n., Evarcha sichuanensis Peng, Xie & Kim, 1993 = Nigorella sichuanensis (Peng, Xie & Kim, 1993), comb. n.Hyllus fischeri Bösenberg & Strand, 1906 = Evacin fischeri (Bösenberg & Strand, 1906), comb. n. (separated from synonymy of Evarcha flavocincta).Hasarius simonis Thorell, 1892 = Evacin simonis (Thorell, 1892), comb. n. (separated from synonymy of Evarcha flavocincta).Myrmarachne aureonigra Edmunds, Prószyński, 2003) = Myrmaplata aureonigra (Edmunds, Prószyński, 2003), comb. n.Myrmarachne exasperans (Peckham & Peckham, 1892) = Emertonius exasperans Peckham & Peckham, 1892 (return to original combination),"Myrmarachne" "exasperans": Wanless 1978: 235, f. 1A-F, not f. 2) (male from Palawan only) = "Emertonius" palawanensis sp. n.,Myrmarachne grossa Edmunds & Prószyński, 2003 = Toxeus grossus (Edmunds & Prószyński, 2003) comb. n.Neaetha aegyptiaca Denis, 1947 (in part - female) = Evaneg aegiptiaca Prószyński, 2017, sp. n., Neaetha aegyptiaca Denis, 1947 (in part - male) = Hyllus aegiptiacus (Denis, 1947) comb. n.Stagetillus elegans (Reimoser, 1927) = Padillothorus elegans Reimoser, 1927, comb. n., reinstated original combination, Stagetillus semiostrinus (Simon, 1901) = Padillothorax semiostrinus Simon, 1901, comb. n., reinstated original combination, Stagetillus taprobanicus (Simon, 1902) = Padillothorax taprobanicus Simon, 1902, comb. n., reinstated original combination.Viciria alba Peckham & Peckham, 1903 = Evacin alba (Peckham & Peckham, 1903), comb. n.Correction of the following synonyms (rejecting biologically misleading changes by the WSC) documented in this paper. Colyttus kerinci (Prószyński & Deeleman-Reinhold, 2012) = Donoessus kerinci Prószyński & Deeleman-Reinhold, 2012 (returned to the previous combination), Colyttus nigriceps (Simon, 1899) = Donoessus nigriceps (Simon, 1899) (returned to the previous combination), Colyttus striatus (Simon, 1902) = Donoessus striatus Simon, 1902 (returned to the previous combination),Coryphasia heros (Bryant, 1943) = Dinattus heros Bryant, 1943 (returned to the previous combination), Jollas armatus (Bryant, 1943) = "Oningis" armatus Bryant, 1943 (returned to the previous combination), Jollas crassus (Bryant, 1943) = "Oningis" crassus Bryant, 1943 (returned to the previous combination), Laufeia daiqini (Prószyński & Deeleman-Reinhold, 2012) = Junxattus daiqini Prószyński & Deeleman-Reinhold, 2012 (returned to the previous combination), Laufeia eucola (Thorell, 1890) = Orcevia eucola Thorell, 1890 (returned to the previous combination), Laufeia keyserlingi (Thorell, 1890) = Orcevia keyserlingi Thorell, 1890 (returned to the previous combination), Laufeia kuloni (Prószyński & Deeleman-Reinhold, 2012) = Orcevia kuloni Prószyński & Deeleman-Reinhold, 2012, (returned to the previous combination,), Laufeia minuta (Prószyński, 1992) = Lechia minuta (Prószyński, 1992) (returned to the previous combination), Laufeia proszynskii Song, Gu & Chen, 1988= Orcevia proszynskii (Song, Gu & Chen, 1988) (returned to the previous combination), Laufeia squamata = Lechia squamata (returned to the previous combination)Notice on pending revisions Evaneg praeclara (Prószyński & Wesolowska in Prószyński, 2003) (= "Evarcha praeclara") is a composite species, pending taxonomic revision, "Myrmarachne" kilifi Wanless, 1978 - placement and diagnostic characters pending revision, "Myrmarachne" laurentina Bacelar, 1953 - placement and diagnostic characters pending revision.Removal from Evarcha: Evarcha wenxianensis Tang & Yang, 1995 = Yaginumaella wenxianensis (Tang & Yang, 1995) (Fig, 15R).
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Iordăchescu, Grigore-Dan. "BOOK REVIEW Martyn Hammersley and Andy Hargreaves (Eds.). Curriculum Practice: Some sociological case studies (3rd edition). London and New York: Taylor and Francis, 2012. Pp. 1-280. ISBN: 978-0-415-61517-4 (Print) ISBN: 978-0-203-81617-2 (e-ISBN)." JOURNAL OF LINGUISTIC AND INTERCULTURAL EDUCATION 12, no. 3 (December 27, 2019). http://dx.doi.org/10.29302/jolie.2019.12.3.12.

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The book titled Curriculum Practice: Some sociological case studies brings together various contributions that pertain to all three layers of curriculum: the macro-level, i.e. the level of curriculum and society, the micro-level, i.e. the classroom universe and the meso-level of organizational processes. The volume is organised into three main sections, School Subjects, Gender and the Curriculum, and Examinations, Accountability and Assessment. The first unit of the book, School Subjects, focuses on either the historical development or the forms that subjects take in the classroom. The papers in this section attempt an analysis of the differences between how knowledge is selected, reconstrued and transmitted in schools, looking at various subjects such as English, geography/environmental studies and art/design. Douglas and Dorothy Barnes investigate in their contribution, Preparing to write in further education, different forms that English may take in continuous education. They attempt to provide a complete description of the different English courses taught in a number of schools and college, making comparisons, e.g. school vs college courses, English vs Communications, courses in business departments vs those in technical departments, courses for students of higher vs those for students of lower academic status. Caroline St John-Brooks’ contribution, English: A curriculum for personal development? explores the English taught in schools through a case-study in a comprehensive school. She sadly identifies differentiation between pupils according to their social class, despite the teachers’ apparent commitment to egalitarianism. The third chapter, titled A subject of privilege: English and the school curriculum, by Stephen Ball offers a factual, narrative account of the early efforts involved in establishing English as a distinct and reputable school subject. Moreover, the author tries to validate, through the narrative, a social interaction paradigm for curricular change, along with a series of relevant concepts. Ivor Goodson’s article, Defining and Defending the Subject: Geography versus Environmental Studies tackles the conflict between geography and environmental studies, the former representing an established academic subject while the latter is an aspiring subject. Chapter five, One Spell of Ten Minutes or Five Spells of Two ...? Teacher-Pupil Encounters in Art and Design Education, by Les Tickle examines the way in which middle school teachers of this subject attempt to reconcile the gap between teaching pupils craft skills versus granting them free expression of their creativity. David H. Hargreaves argues in The Teaching of Art and the Art of Teaching: Towards an Alternative View of Aesthetic Learning that the overwhelming emphasis on art production only wastes a crucial opportunity for schools to get involved in the dissemination of cultural capital by means of the teaching and enhancement of art appreciation. The second section starts with Teresa Grafton, Henry Miller, Lesley Smith, Martin Vegoda and Richard Whitfield’s text, Gender and Curriculum Choice: A Case Study. They explore the different effects school subjects have on boys and girls. The authors show that girls and boys are practically channelled into differing patterns of option choice, due to both curriculum differentiation in the craft strand in the first three years of their secondary schooling and to the way in which family and courses is introduced into the option scheme, versus science and the craft subjects which are traditionally the realm of boys. Chapter eight, Gender and the Sciences: Pupil's Gender-Based Conceptions of School Subjects, by Lynda Measor contends that girls have low levels of participation in science courses, starting from middle school, largely based on preconceptions that physical science is quite ‘unfeminine’. Interesting findings revealed that boys’ and girls’ behaviours follow a certain ‘masculine’ or ‘feminine’ pattern and that teachers make little effort to attract girls to physics, chemistry and biology. The third section, Examinations, Accountability and Assessment, starts with the paper The Hidden Curriculum of Examinations by Glen Turner, which tackles the issue of the 'hidden curriculum' of examinations, particularly the effects it has on the attitudes of some high achieving pupils from a large comprehensive school, who were largely interested in examination success, to the detriment of all other classroom activities. Chapter 10, Teachers' School-Based Experiences of Examining by John Scarth explores the attitudes of teachers towards external and internal examinations. For most of the teachers, preparing for examinations represented an important part of their teaching activities. The author refutes the hypothesis that these teachers’ opinions are ideology-based. Richard Bowe and Geoff Whitty’s contribution, A Question of Content and Control: Recent Conflicts over the Nature of School Examinations at 16+ analyse the results of the research on examination boards initiated by Whitty in 1973. The authors claim that none of the macro-theories available could adequately account for the way in which public policy in this respect is presently changing; moreover, they emphasise the political importance of developing a more acceptable theory. Additionally, Bowe and Whitty ascertain that there is a backward trend towards a more centralised control of education in Great Britain. The last chapter, Assessment Constraints on Curriculum Practice: A Comparative Study, by Patricia Broadfoot continues along the the line of education centralisation in the French education system, as compared to the British one. She maintains that even if the way in which control is applied is different from one country to the other, both educational systems exert a similar degree of control over teachers’ activities. All in all, the book affords a sociologically informed empirical insight into the curriculum at classroom level, subject departments or examining bodies which might empower us to test and develop more speculative explanations of curriculum practice as opposed to what sociologists have presented so far, theories rather focusing on concepts such as ideology, hegemony or cultural capital. It is a useful tool for curriculum planners in their attempt to implement possible prescriptive models of curriculum change.
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"Erratum for the Research Article: “The FcRn inhibitor rozanolixizumab reduces human serum IgG concentration: A randomized phase 1 study” by P. Kiessling, R. Lledo-Garcia, S. Watanabe, G. Langdon, D. Tran, M. Bari, L. Christodoulou, E. Jones, G. Price, B. Smith, F. Brennan, I. White, S. Jolles." Science Translational Medicine 9, no. 419 (December 6, 2017): eaar6448. http://dx.doi.org/10.1126/scitranslmed.aar6448.

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Rutherford, Amanda, and Sarah Baker. "The Disney ‘Princess Bubble’ as a Cultural Influencer." M/C Journal 24, no. 1 (March 15, 2021). http://dx.doi.org/10.5204/mcj.2742.

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Abstract:
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.
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