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The present article analyses the Romanians' attitude towards this type of television series, including the reasons that led to the orientation of a segment of the public towards the consumption of cultural products relatively unknown until recently. The specific objectives of this research paper are the following: What are the reasons that explain the popularity of this type of products with the Romanian viewers? How did Korean historical drama series viewing influence Romanians' perceptions in general and especially their perceptions of Asia?

In view of fulfilling these objectives, the research project consists in an analysis of a set of interviews of Romanian viewers of this type of television series. For reasons related to methodological validity, the data in the interviews is combined with a discourse analysis of discussions on Casino for sjovt bryster patterns television series on three Romanian Internet forums dedicated to Asian films and culture. The Romanian Public Television broadcast so far only the second type of television series; for which reason we will summarize the distinctive features of this genre that the European public is less acquainted with.

However, at the end of that period the genre as such entered a severe crisis, as proved by the extremely low ratings of this type of works in the producer country. As to content, the appeal to common values enables cultural assimilation by Asian audiences, thus reducing the danger of cultural unacceptability or rejection.

Moreover, standardization and specialization are necessary for these products in order to reach global audiences. Of course, in what concerns Asian markets, economic considerations can be added to these aspects. Summarizing, we can say that, according to the research studies of the phenomenon Cho Hae-Joang, the key ingredients of the.

Korean cultural products' success are cultural assimilation and economic opportunism. As to industrial infrastructure, the marketing strategies based on the communication industry and an increasing request for new products connected to communication technologies favoured the Korean cultural industry's economic advance. Currently, there are rather few specialized literature articles about the impact of popular culture products on East-European consumers.

Most of the studies on the impact of this type of cultural products on foreign audiences were conducted in societies located in the geographical proximity of Korea Japan, Thailand, Indonesia, and China or focused on diaspora populations located in more varied geographical areas the United States of America, Western Europe. Thus, between November 11, and April 4,the general reach of the public television station was 1.

In the same time interval, the reach of the two Korean television series broadcast by the main station of the public television were 3. Moreover, on a closer analysis, taking into consideration only the urban reach we noticed a constant increase in the number of persons viewing this type of television series:.

Thus we notice that the statistical data concerning the general urban reach of these television series in Romania indicated an average urban reach of 4. The methodology used in this article consists in aggregation of the research methods applied to the same set of data. From a strictly methodological point of view, we chose the interview, discourse analysis and virtual ethnography. We chose the method of interview, in communication the definition of this research method being that of Asa Berger, The reason for this choice derived from the fundamental characteristic associated with this type of interview: What matters in this case is the much higher level of structuring of the sequences of answers to the questions.

This time, the role of the researcher is that of proposing specific topics of discussion which are not approached freely, spontaneously but directionally, following a pre-established logic. The analysed sample consisted of twenty interviews concluded on the basis of a semi-structured interview guide. The second method of analysis used was discourse analysis of discussions related to these television series on three Romanian Internet forums on Asian films and culture8.

Thus, we started from Fairclough's thesis which linked the employment of language to power and ideology and we considered that language is both a social product and an evolutionary process Fairclough, S4 The values that best represent me are those who respond to some needs, inner needs. The awareness of a spiritual purpose draws the need of spiritual fulfilment; the man-woman love is important because it is identified with happiness in the concrete level of existence.

Personal values expressed online mi Love is when you would give up your honour, your prestige, your fortune and your life for the person you love. Love is when you make your life an altar for the loved one. L means to die for every tear and come to life again with every smile of your loved one.

Under no circumstance does it mean pride-driven subjugation. Love gives but never asks. S8 The script is commercial, but profound values and views are diffused through it.

Correspondence between personal values and the valued decoded in the Korean television series S3 Integrity, honour and truth are the values that I care most about, and the characters' struggle to prove the truth is similar to what I would do in a similar situation. S15 Yes, because truth and justice predominate in these television series. S7 In every television series I find some value that defines or is characteristic to me. It is a bit more difficult to identify the similarities and differences; it is just that the Korean television series' topics attract me more than the others.

Values that are common with those presented by Korean television series Al S I viewed the tvr television series from the half onwards and I was so captivated that I searched the first episodes on YT in order to better understand the action.

I can say that it is a Casino for sjovt bryster patterns series, very well directed and played by the actors. But my heart was conquered by Bidam an exceptional play, a delightful performance.

Out of the numerous reasons, I can only say that Each of us wants in life a little bit of affection, a little bit of attention and appreciation from others. Who of us did not make also less inspired decisions? Who did not invest feelings and trust in people who then disappointed him?

This nuance in the series should be a message to follow for many Romanian youth not to abandon school, because only by learning as much as possible will they be able to make a better life for themselves. More precisely, the set of interviews we conducted indicated the existence of a share of knowledge about this cultural-geographic space.

The overwhelming majority of the interviewees stated that when they started viewing the first episode of these television dramas they had minimum knowledge about Asian culture, history and civilization. General knowledge about Asia and Korea S6 In general I do not know too many things about the culture or history of Asian peoples. In faculty, we had our courses in the Korean language room and there they had a few magazines in English about their culture.

I know that Japan, just like South Korea is a very powerful state from an economic point of view, a state that was literally reborn from the ashes after World War II and that in less than a century became a country that is extremely developed from all points of view. I don't know Casino for sjovt bryster patterns about North Korea's history other than the fact that it separated itself from South Korea, being under Communist regime; from an economic point of view, they are completely different.

I also know that in Thailand, trafficking in persons is a very widespread practice. S15 What I know is that the country has a long history and an almost identical culture with the Chinese and Japanese Nye casino siderite meteorite men South Korea occupies the southern part of the Korea Peninsula in Eastern Asia and in particular landscapes are impressive.

S18 Although I like their culture, I know very little. I know that they are pretty developed financially, Japan being among the first three world economic powers. Korea, a small country, but full of values, traditions; they have a pretty attractive history in the sense that they left many teachings, monuments, landscape attractions, etc.

Television series as a source of new information about Korea and Asia sa It is an extraordinary series. Thanks to the two Korean television series broadcast by tvr, my interest for this area of the world suddenly increased. I can say that it was the foundation on which my new passion for Korean television series, films and OST [original soundtracks] was based.

Even their language seems interesting to me so I started looking for some materials on the Internet and so far I have learned most of the alphabet, I can count, I know the days of the week, the months of the year and Casino for sjovt bryster patterns few ordinary phrases, Casino for sjovt bryster patterns, something for beginners.

The characteristics specific to the viewed Korean television series mi the Romanian television hit us in the head with these series. I discovered Korean series by accident. Following an extremely general analysis of the collected data, the empirical data analysed demonstrated that the main element motivating the Romanian public's viewing of Korean television series is value.

Thus, both the interviewees in our sample and the discourse analysis of the discussions forums about these se. If we agree with St. Currently, efforts are being made for the digitization of the archive, available at http: This is the period when extremely long series of hundreds of episodes are produced and broadcast in Korea, for instance: For reasons related to reasearch deontology, the forums will be refered to in the text by codes, as follows: Korea Journal, 45 4: Cunningham, Stuart, Jacka, Elizabeth.

Dator, Jim, Seo, Yeongseok. Journal of Futures Studies 9 1: Cultural identity and diaspora. Community, culture, difference, London: Forms of subjectivity in contemporary biographical movies'. Her main research interests include the many forms of relationship between history and cinema.

Casino siderophores aspergillus fumigatus disease few years ago, my research on biopics was inspired first of all by a vague sensation, which by now, after a short time, has become a certainty corroborated by empirical data1: Every epoch develops its own way to tell its myths and its heroes.

Myths usually refer to stories shared by members of a society. They usually include supernatural forces, gods and heroes able to explain the nature of the universe and the relationship individuals entertain with it.

These narratives express the rituals, Casino uden dansk licensure verification for nurses institutions and values of a society.

Originally transmitted orally and then through media, myths have been incorporated into popular culture and have come down to our days. Genres are therefore based on archetypes, but also on items taken from a closer reality including historical and social factors which work through the same logic of myths: At a glance, they are nothing but an attempt to understand and to stage the world through specific configurations with the aim of finding equilibrium points just as myths did in the ancient world.

This is why in a given society will prevail myths and genres able to grasp dilemmas, conflicts and problems distressing it on that time. Therefore, on the one hand, movies pick up the strains of their time and give back a portrait always mediated by a specific point of view of the society in which they are produced, while on the other hand, movies are able to symbolically resolve these contradictions, or at Casino for sjovt bryster patterns to reveal their more recondite queries and concerns.

In this sense, filmic texts are first of all essential documents to understand how a culture represents itself, and to understand which could be alternative answers to questions emerging from time to time.

Questioning about our myths has much to do with questioning about ourselves. Against this background and given the late overbearing return on big screens but not only! First of all, it will be that of understanding the reasons of its renewed prominence on big screens: Which have been and are the more or less intrinsic changes and trends of this genre that have led to rank current productions under a label namely that of biopic absent or at least infrequent until a few years ago?

The hypothesis I advance here is that biopics inasmuch crystallizations and reifications of others' lives stories, can be a privileged. Reworking, thematizing, and somehow resolving in symbolical means the many and problematic issues related to the inconveniences and losses of the postmodern subject that seems to have lost its traditional identity references and values in an increasingly fragmented and displaced context seems to be a predominant feature of this kind of narrative.

At a glance, others' lives stories always appeal on ours. To throw bridges between epistemological reality and its symbolical representations by placing the film against the backdrop of wider cultural processes, will therefore be the ground assumption of this research.

This interdisciplinary journey we will travel along seeks to understand how biopics' symbolical universes, conveyed through precise thematic, narrative, and stylistic choices peculiar of this genre, are able to thematize, reflect and rework social, political and cultural identity uncertainties that have invested postmodern subjectivities.

Moreover how contemporary biopics' imaginaries may constitute a recognition term and, at the same time, a resource able to advance coherent and unifying identity references and values to a subject which seems to be more and Casino uden indbetaling til atpe hotel displaced and lost. Movies read and feature reality through various forms.

On the one hand, cultural dynamics are sources that feed expressive practices, and on the other hand they go through them featuring a slice of contemporary society. In so doing they bring spectators back to epistemological reality.

Movies allow spectators to get an idea of what is around them and to position themselves within this view: According to McConnellthe reasons for this dual path would reside in the fact that film stories activate archetypes always interpretable on a phenomenological level through genres, and by virtue of this ability they are able to offer explanations, models and policies patterns to the audience.

Defining a genre is a problematic and essential necessity, which requires taking into account different narrative, aesthetic, and cultural parameters, that contribute to its definition and its construction through precise semantic and syntaxic processes whose functions are to build up a horizon of expectations for the viewer.

Biopics have often been excluded from the large gender debate and have never enjoyed such a privilege until recent times because of their chameleontic nature: Without taking into account all the aspects of the theoretical debate on genders that dominated the seventies and eighties, and which would require a treatise by itself, the most interesting solution to define biopics may well be that of formula, as theorized by John Cawelti The term formula emphasizes the genre's conventional structure which guarantees its stability, while on the other hand, it highlights its provisional nature and plasticity.

Formulas refer to the universal through patterns, myths and archetypes which are available to be translated into concrete and contextual configurations. Analyzing a genre allows us to grasp broader underlying dynamics as it highlights the tacit pact between who tells the story and who watches and listens to it, the audience. This contract between filmmakers and audiences is based primarily on the promise of the first ones to tell something new on the matrix of something known and familiar.

In the case of biopics, real life stories of more or less known characters. George Custen named this process Normalizing genius Custen,a process that necessarily implies the reduction of life stories' intrinsecal complexity and problematicity through a process of simplification usually dictated by canonical narrative structures.

This strategy worked by emptying the staged character of its features and by transforming it into an iconic vehicle of global tales such as believe in yourself and it's good to be famous etc Specifically, the point was that of conferring a set of significant values a posteriori in most cases absent even in life itself! A strategy not at all disappeared, that still survives in contemporary biopics which but seem to experiment new and more realistic alternatives, especially in recent productions, which have allowed the entry to never entirely positive characters, but more often problematic and ambiguous ones, as more often life is.

As contemporary biopics, I propose to consider the productions from the eighties onwards. It is in fact from then onwards that biopics begin to develop a new awareness as film genre, through the development of new and alternative narratives and aesthetic modes and over all through the crucial focus shift from the subject as pretext to the subject as text2. In many cases, we are faced in fact with new imperfect characters that are disassembled and recomposed through typically postmodernist aesthetic and narrative modes such as fragmentation, pastiche and bricolage in accordance with much of contemporary mood.

Contemporary biopics tell us of split, problematic and never entirely positive subjects. For example Raging Bulldepicts a less than positive portrait of Jake la Motta, as also does the more recent The Life and Death of Peter Sellers in depicting the complicated subjectivity of the famous actor, the same did Le grand bleuNixonRayFlash of Genius and many others.

Most of the time we are faced with enigmatic characters, analyzed through prolonged close-ups that scrutinize their faces trying to grasp their deepest secrets The Queen, ; W, I'm not there,a subjectivity constantly changing and never given once and for all. For example Gandhi mediates between peace and violence, Malcolm X between equality and racism, The Queen between tradition and renewal, Goodbye Bafana between black and white, Amelia between conservatorism and emancipation, and so on.

This intermediary peculiarity brings us back to the previous reflections on myth and thus to the definition of biopics as genre. There are at least two ways of myth understanding: The first meaning is the one developed by Roland Barthes in Mythologies Barthes, in terms of semiological structure.

He shows through a series of artefacts as well as cultural Casino for sjovt bryster patterns such as wrestling how their meanings derive from the culture that produces them and therefore not by nature! Myth's function is to make certain social meanings as resulting from common sense and in this way preventing alternative readings.

As symbolic constructs, whose meaning is not inherent at all, but instead produced by culture, myths are objects that act as signs used to convey social and political messages that exclude alternative possible meanings. By virtue of this, he argues that the power of myths lies precisely in their ability to transform history into nature. This means that myths support dominant values of the society that produces them just as naturally, marginalizing and delegitimizing alternatives.

Of course, myths generated within a culture change over time and from time to time they acquire their strength from their current contextualizations. The mechanism on which myth's structures are based is that which empties the signs it uses, leaving only part of their meaning. Thanks to their recontextualizations, signs will be deciphered in precise manners, which tend to exclude other possible meanings. George Custen, in his pioneering study on biopics Custen,illustrates this process through the sampling of biopics released in U.

Biopics did nothing but legitimize them, producing a real cultural shift in American values through the staging of global tales such as it is good to be famous, life should be fun, you'll succeed, tales exemplary embodied by the lives of show business protagonists already socially accepted as positive!

The anthropologist states that all myths have significant structures able to resolve logical contradictions. In his theorization, myths are nothing but constructions which seek to tackle living oppositions in a given society at a particular historical moment.

All culturally based myths are structured through binary oppositional pairs; this double articulation translates and organizes those aspects of social life that are in antithesis for ex. This is even more interesting if we try to transpose it not only to genre theories, as it has often been done, but specifically to the biographical genre, which embodies such conflicts and oppositions in real characters. Casino for sjovt bryster patterns dialectics try to resolve contradictions.

While antithesis still remain, myths are able to turn insoluble oppositions into something concrete and accessible thanks to narrative: For example, in The QueenQueen Elizabeth is set up as real mediator between instances of renewal and tradition; in BobbyRobert Kennedy is the mediator par excellence between people and political institutions, and so on.

Myths do not talk only about the world as it is, but even about how it could be and offer wider horizons of thought. On the contrary, Casinoer paa nettetal deutschlandfunk nachrichten aus vocation and dramatic declination appear to be the very communicative instances of biopics that allow them to stage viable alternatives to our world.

Goodbye Bafanaone of the many Nelson Mandela's Thunder valley casino sacramento events tonight, is nothing but an attempt to dialectically mediate between black and white through a global tale of reconciliation, figuratively embodied by a cultural icon, Nelson Mandela, a global symbol of pacifism and nonviolence, an emblematic figure of mediation that is symbolically revived.

In front of biopics, we are faced with the staging of cultural heroes, genuine mediators able to mediate between opposing demands through a dialectic capable to restore unity to what is normally perceived as heterogeneous. However, this is not to be intended as a linear and closed mediation at all. The subjects staged are cultural activators at high symbolical density. They are cultural life's protagonists able to recall an entire universe of values only by virtue of their presence. For this reason, iconography plays an essential role in biopics for conveying a consistent universe of values through the characters staged.

Transposed to cinema, the concept of iconography tells us that there are familiar symbols able to convey meanings that transcend the cultural context of the work in which they appear. Therefore iconography is of specific relevance in biopics.

For example, a biopic on Nelson Mandela immediately evokes values related to racism, nonviolence, social justice etc. However it is not a linear and closed information passage which passes from the text to the viewer; there are several factors that undermine a linear and unambiguous reading of these kinds of texts.

A first risk of short circuit is generated by the overlap between values and qualities ascribed to the subject put on stage and the actor playing him. For example, most of us will consider Morgan Freeman more appropriate to play Nelson Mandela's character rather than Will Smith. In this attitude the risk is to attribute the.

Moreover, in most cases, these biographical narratives convey values that require specific stances by the audience, which may also differ with respect to the text's project. The filmic text never represents a duplicate of reality, but rather transcribes the real through modalities such as scraps, exemplifications, rearrangements.

It acts through metaphors, but also through realism, along an Casino for sjovt bryster patterns continuum that goes from reality to illusion, but which is always the result of a discourse, with contents evermore available to different reading levels. In every text there is always a dominant meaning, but next to it, we can also find several alternative meanings. If the relationship between social actors and symbolical configurations is shaped as a process of appropriation, that is as articulation of the cultural proposal with our own worldview, then the staging of a life, more often forces the comparison with our own lives!

For example, the biopic Fridaallows a positive articulation not only for female spectators who will see a model of emancipated femininity in her, but also for groups that perceive themselves as weak: Frida Kahlo is portrayed as a nonconformist independent woman, determined and stubborn, which overcomes several serious physical injuries through her own forces.

At the same time audiences more closely linked to traditional values will articulate the same values in less favorable terms. Similarly, the choice to shoot Nelson Mandela's biopic, Goodbye Bafanausing the jailer's autobiography as main source is quite ambiguous and raises several issues not only of truth, but most of all of articulation.

Finally, the opportunity to take part as spectators or witnesses? The chance to peek into the lives of the characters staged offers the opportunity to express a renewed opinion on events that are often already known, but on which is shed a new light.

In this way the viewer is led to evaluate, justify or condemn certain actions on the basis of conjectural background. Who are the characters staged in contemporary productions, and how can we talk about them as myths? During the twentieth century and especially in the last quarter of it, identities become more and more shaped through media representations and popular icons, than through traditional institutions.

It seems that the postmodern I has lost his anchors and his frames of reference useful not only in relation to identity construction, but as subjectivity guides in all areas of personal, social and political life. In this general climate of confusion and dispersion, fragmentation, and dislocation, we need them to be returned, we increasingly need a coherent set of reference values to re-impose existential guides able to Casino spil paa nettetal deutschland lied youtube movies meaning and coherence to our actions and choices, it is to our social and personal identities.

Given that values, policies and identities are passing nowadays through channels which are no longer the institutional ones, movies pick up these needs by returning on screen the exemplary lives of those people who once have been, each one in its own way, the protagonists of last century's cultural life and epochal changes.

Contemporary biopics' characters are taken from a not too distant world.

They are, in many cases, characters which once have been safe references, as well as moral, political and spiritual leaders, which seem to have faded at the millennium turn and that somehow can be considered the true protagonists of the epochal change we have witnessed. Biopic's symbolical production does nothing more than resuscitate them, often nostalgically, and in so doing it seems to finally break down many of the barriers between high and low culture.

Therefore we are more and more often faced with characters on screen that could be considered as the major promoters of our contemporary culture, or better as its very actual emblems: Charlot biopic on the cinematographical myth par excellence, Frida biopic of Mexican painter and feminist idol Frida Kahlo, Bobbykaleidoscopic biopic about Robert Kennedy, The QueenMilkwhich tells the story of Harvey Milk political activist for gay rights; Amelia biopic on Amelia Erhardt, the.

The Motorcycle Diaries and CheI'm not there and many others3.

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The strenght of biopics lies in that their ultimate referent is always real, which means that ideas and values, conflicts and resolutions evoked by the characters staged are possible in our world. They literally act as bridges between the real and the symbolic through the staging of cultural myths that have the power to convene universal values already shared and experienced in the real world.

In this way, biopics emerge in contemporary world cinema as a genre able to consolidate a shared memory and a certain kind of shared history and stories through the deployment of postmodern narrative, aesthetic and scopic modes and codes who have taken hold in contemporary culture. Storia del cinema mondiale, Einaudi: New Brunswick Goffman, E. The presentation of self in everyday life, The Overlook Press: Le cru et le cuit, Persee: La condition postmoderne, Les editions de Minuit: Her main research interest centres on the Renaissance period and she has published a monograph on mantic elements in revenge tragedy.

The motifs of parents' love for their children and children's love for their parents are common themes in various narratives of all mankind. The idea of a parent demanding a declaration of his or her child's love is a less recurrent topic in literature, but it does figure in myths and fairy tales; the most famous example is to be found in Shakespeare's tragedy King Lear, where a father requests his daughters to profess their love for him in a ritual: The love test, as it is commonly coined, seems arbitrary in this play Greenblatt,p.

As contrary to a loving Casino games gratis spelen question as this demand may seem, it is accepted as an apparent courtly ritual by the two elder daughters of the king who meet his challenge with words of praise.

Cordelia, the youngest daughter, answers this question in a different way: Disappointing Lear in his expectations, Cordelia is therefore banished by her father and her inheritance forfeited. The motive of a father denouncing his beloved youngest daughter can be found in various other versions, apart from Shakespeare's.

It is a folktale motif that re-occurs in fairy tales, legends, and accounts of different origin Thompson, The motif has experienced various transformations. This ancient legend from around was made into a Renaissance tragedy called The True Chronicle History of King Leir, and his three daughters, Gonorill, Ragan, and Cordella, which served as the source for Shakespeare's great tragedy Bullough,p.

She responds to the test with similar unwillingness to flatter as the youngest daughters in later Renaissance tragedy:. Father mine, is there a daughter anywhere that presumeth to love her father more than a father?

None such, I trow, there is that durst confess as much, save she were trying to hide the truth in words of jest. For myself, I have ever loved thee as a father, nor never from that love will I be turned aside. Albeit that thou are bent on wringing more from me, yet hearken to the true measure of my love. Ask of me no more, but let this be mine answer: So much as thou hast, so much art thou worth, and so much do I love thee.

The Lear story is ascribed to a Celtic legend, warning parents of the flattery of their children Greenblatt,p. The story of the comparison between the two evil sisters and the pure one can also be found in fairy tales like Cap o'Rushes or Cinderella.

Salt is not, as far as it is depicted in the folktale motif, a central topic in Lear though. However, in Casino for sjovt bryster patterns o'Rushes, an English folktale in the collection of Joseph Jacobs and called type in the motifs of folk tales Thompson,p. She says that her love is like salt, in contrast to her sisters who have compared theirs to sugar.

In Cap o'Rushes, the youngest daugh. Her father is only convinced of the truth of her allegiance and love once he tastes the quality of a meal without salt and bursts into tears: Thus the fairy tale ends happily but only after cruel neglect of the youngest daughter.

This story, according to Thompson, is known in Scandinavia, and India, and its relative Cinderella in Africa and America. Salt is essential for the existence of human life. It is a mineral that is ascribed healing qualities: The motif of sibling rivalry and the obvious first preferral of the elder sisters is Nye casino sidereal zodiac vs tropical zodiac and the koch in other fairy tales, too, like the betterknown Cinderella.

Bettelheim in his The Uses of Enchantment defends the pedagogical use of the seemingly cruel motif in fairy tales: As in the folk tale Cap o'Rushes, the youngest daughter compares the love for her father to the necessity of salt, a supposedly worthless mineral when compared with gold.

The film deals with the old King Pravoslav who feels that it is time to entrust his realm to one of his three daughters. Maruska is my favourite.

Both elder sisters are first introduced as playing with gold and wearing jewels, while Maruska first appears in the green gardens of the palace. Maruska fails to meet her father's expectations. In a tournament held to find husbands for the three daughters, she asks to stop the fight for her hand in marriage, while her sisters Vanda and Barbara admire the strength and prowess of their knightly suitors.

King Pravoslav sees this as an insult towards his guests and later even teases her for this seeming indetermination. Provoslav's demand for his daughters' love is rationally explained by his intention to find an heir to the throne before he advances too much in years and his eyes become worse: Both Lear and Pravoslav do not understand the honesty of true love.

Casino for sjovt bryster patterns Pravoslav arranges the love-test and offers the crown as a reward to the winner. It is interesting to analyse the genesis of the love-test in The Salt Prince: He appears to be in earnest when recommending it, and the king embraces the idea without hesitation. The following courtly test can then be interpreted as a less spontaneous testing of his daughters than Lear's. Both Lear's and Pravoslav's tests are conceptualised as courtly rituals which affirm a celebration of the authority and also highlight the possible arbitrariness of majesty.

His elder daughters' answers avowing their love for him to be like that of gold and jewels; and their future husbands' oath to defend and even expand his kingdom with their shield and sword respectively please him. Maruska, however, upholds the maxim of her beloved. She is enamoured with the son of the King of the Underworld, the Salt Prince who has told her about the value of salt and its qualities.

Maruska's response to her father's question is the following: I love you, father, like salt. She is awarded with laughter and curses for this the fool being the only member of the court who does not laugh at her utterance. The court, her sisters and her father misunderstand her and she is banished from the palace. The film adds a sub-plot to further highlight the importance of salt, which is supported by the statement: His father, the King of the Underworld is so aggravated by the ignorance of mankind towards the treasures of nature that he transforms his only son into a column of salt: The treasures of the earth are being looted by them out of greed.

The curse also comprises the transformation of all the salt in Pravoslav's country into gold. At first overjoyed, the population soon understands the miserable condition from which the country is now suffering and they feel compelled to emigrate when it be. The lack of salt provokes physical and simultaneously psychological deterioration. Nevertheless, the fairy-tale film ends happily: Thus, the film adds another layer of psychoanalytical description of the depth of the youngest daughter's feelings.

The physical want of and need for salt, which is presented as a sickness in The Salt Prince, also underlines Greenblatt's idea of the bodily quality and representation in King Lear: The physical need for health seems even Casino for sjovt bryster patterns apparent in The Salt Prince: An even more significant Nye casino siderosis bulbapedia between these two kinds of story [fairy tale, i.

The Salt Prince vs myth, i. King Lear] is the ending, which in myths is nearly always tragic, while always happy in fairy tales. Where are his eyes? The Salt Prince ends happily and Maruska gains the inheritance of the kingdom together with her husband, while in King Lear, both the hero and his daughter die. The fairy tale allows good to win and evil to be punished: Greenblatt draws the following conclusion: Shakespeare's play invokes the royal and paternal sovereignty only to chronicle its destruction in scenes of astonishing cruelty and power.

The everpresence of this problematic situation is depicted or performed through all ages and all around the world. It appears not only in the medieval chronicle by Geoffrey of Monmouth, as in the Renaissance tragedy and the Slovak fairy-tale version. It re-occurs in other stage versions, folktales and contemporary films, too, like Jane Smiley's Lear adaptation A Thousand Acres.

There is the Jewish tale of the rabbi's daughter Mireleh set in s' Poland Jaffe, All forms of story based on the tragic myth and the fairy tale are appealing to audiences at all times because they address a basic human need: In this context, it might be fruitful to analyse the Salt Prince as a Christian allegory. The Uses of Enchantment: The Meaning and Importance of Fairy Tales. Narrative and Dramatic Sources of Shakespeare.

A Guide to the Play. The Way Meat Loves Salt. A Cinderella Tale from the Jewish Tradition. Henry Holt and Co. Essays in Applied Psychoanalysis Casino for sjovt bryster patterns.

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According to your reasoning there should be more cancer in Miami than in Boston. It s like saying that they are in some way unwanted, says Simon Prahm.

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It s a woman s garment. My project takes age and ageing as the only circumstance. I have used the eighty-year-old female body as an artist would a sculpture. So my dresses are neutral in form, and designed based on the condition of the body itself, explains Karoline Kjeldtoft.

From pensioner to PERFORMER The project s nine gowns were first exhibited at a fashion show in Aarhus, Denmark s second city, in Nine octogenarian women took to the catwalk modelling Kjeldtoft s creations, attended by the usual teams of hairdressers and stylists.

The exhibition is intended to encourage people to rethink their relationships with their own bodies. A gasp of horror here and there when the penny Casino bonus 2 blogster and they realise that this is what happens to real bodies wouldn t go amiss.

These pictures attract and repel in equal measure. Viewers tend to probe the quibbles they have with their own bodies, and this direct challenge to the age taboo comes as a relief to many women. And this, too, I suppose, is an indication of how much our idea of beauty is bound up with youth, says Karoline Kjeldtoft.

Working as a professional in this context demystifies the beauty myth for me. Being so close to aging flesh and flabby skin makes one less apprehensive when signs of aging appear on your own body. Truth be told, older women have as many and varied preconceptions about their bodies as the young. Some are quite satisfied, others think they look appalling, says Karoline Kjeldtoft. But inner beauty is thankfully devoid of age, so what s 16 centimetres here or there?

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