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Censorship in "Beauty and the Beast", 2008.
A comparison of censorship in "Beauty and the Beast" in one of the original versions by Jeanne Marie Le Prince de Beaumont and a modern re-telling by Angela Carter, entitled "The Tiger's Bride."
1,118 words (approx. 4.5 pages), 4 sources, MLA, $ 38.95
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Abstract
This paper discusses censorship within the fairy tale, "Beauty and the Beast." It compares two versions of "Beauty and the Beast" - one of the original versions by Jeanne Marie Le Prince de Beaumont and a modern re-telling by Angela Carter, entitled "The Tiger's Bride." The paper examines the function of sexual desire and how censorship is employed to either dilute or completely erase representations thereof.
From the Paper
"It is also interesting to note the difference between the depictions of Beauty in the two stories. In de Beaumont's story, Beauty exudes all the quintessentially feminine "virtues" that would go unchallenged for several centuries. She is devoted to her father, submissive to the demands of the two men in her life - namely, her father and the Beast, and completely passive. In Carter's story, Beauty is anything but passive. Rather than "taming" the Beast by submitting to him, she allows herself to be transformed into a beast, and can thus become one with all the typically "masculine" qualities assigned to the creature.
"One important difference between the two stories, however, is that de Beaumont's was written for an audience of children, while Carter's clearly was not. This is also why sexual desire is largely absent from de Beaumont's text. It has not been censored necessarily in order to protect children, but for the simple reason that this form of desire is too complex for children to understand. It thus reduces the relationships among adults to caricature-like renderings, to a polite code that can nevertheless be unscrambled by more mature readers."
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Fairy Tale: "Beauty and the Beast", 2008.
Examines the elements of social and cultural censorship in the fairy tale "Beauty and the Beast".
1,580 words (approx. 6.3 pages), 3 sources, MLA, $ 51.95
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Abstract
This paper explains that the leitmotif of the husban- beast in Madame Du Beaumont's classical version of the fairy tale "Beauty and the Beast" reoccurs in many stories. The paper points out that, in this version of the famous fairytale, the attraction between the sublimely beautiful and the monstrously ugly may hide a fetishist desire at the core of the culture. The paper stresses that the union between a beast and a human being, which forms the plot of the fairytale, obviously hints at the beast-like, sexual desires, which lurk in the human subconscious.
From the Paper
"Another erotic element in the story is the dream Beauty has of the Beast after having delayed her return because of her sisters' wickedness. Thus, Beauty dreams of the dying Beast, longing for her presence and reproaching her for breaking her promise: The tenth night she spent at her father's, she dreamed she was in the palace garden, and that she saw Beast extended on the grass-plot, who seemed just expiring, and, in a dying voice, reproached her with her ingratitude. It is at this point that Beauty actually realizes she has strong feelings for the Beast."
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Disneyfication of "Beauty and the Beast", 2008.
A comparative analysis of Madame Leprince de Beaumont's "Beauty and the Beast" and the Disney film version.
1,898 words (approx. 7.6 pages), 2 sources, MLA, $ 60.95
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Abstract
This paper examines the Disney adaptation of Madame Leprince de Beaumont's "Beauty and the Beast" . The paper contends that an analysis of Belle's character reveals that Disney's treatment of the fairy tale entirely neuters the story, taking away its dramatic, harsh moral lessons, and diminishing its female role model to an idle idiot who should not have survived the first ten minutes. The paper continues to discusses how this is further exacerbated by the introduction of cute, irrelevant animated characters who only serve to trivialize the film further. The paper concludes that, while traditional fairy tales offered chicken soup for the soul, Disney offers canned soup for the soul.
From the Paper
"Beaumont's Beauty has many other good qualities besides, and demonstrates them consistently throughout the story. For example, she is patient when her shrewish sisters berate her. She is considerate when her father offers her gifts, requesting almost nothing for fear it might be beyond his means. She does ask for a rose, not because she wants one, but because she does not want to show her sisters up. Thus, in somewhat Christian fashion, she turns the other cheek, meeting her sisters' insults with kindness and consideration. Disney's Belle gets no such opportunity to show Christian charity - this lucky young woman is an only child, unburdened with mean-spirited sisters! Again, the Disney character is denied the opportunity to model strength of character to viewers, and instead remains comparatively insipid. "
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"Beauty and the Beast", 2002.
A look at the morals and themes of the classic fairy tale, "Beauty and the Beast", with a comparative analysis of the modern Disney film.
1,119 words (approx. 4.5 pages), 3 sources, MLA, $ 38.95
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Abstract
This paper examines how the fairy tale, "Beauty and the Beast", has a touch of realism and, how unlike other fairy tales, brings out the prevalent theme that the two characters live together for a period of time before falling in love. It discusses its various themes, such as family, friendship, love, and the famous rose, in contrast to other fairy tales dealing with love, provides a summary of the tale, and evaluates the Disney film in relation to the original tale.
From the Paper
"Walt Disney transformed Belle into a heroine for a modern generation, leaving the intended moral of the original story unaltered. Jack Zipes argues that ?it would be a great exaggeration to maintain that Disney... totally divested the classical fairy tales of their meaning and invested them with his own? (333). Although the Disney corporation has animated and reworked several classic fairy tales over many years, ?chang[ing] our way of viewing fairy tales? (333), I give them great credit for preserving the original morals and themes, while adding new elements and slight twists to add appeal for a twentieth-century viewing audience. I admire Disney?s effort in ?Beauty and the Beast? especially, for it has always been my favorite fairy tale and Disney animation as I was growing up."
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"Beauty and the Beast", 2003.
An analysis of the film "Beauty and the Beast" directed by Jean Cocteau.
920 words (approx. 3.7 pages), 1 source, MLA, $ 31.95
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Abstract
This paper analyzes the 1946 French film, "Beauty and the Beast" directed by Jean Cocteau, based on an 18th century fairy tale. It begins with a description of the basic storyline. It continues to discuss Cocteau's magical imagery that makes the film visually stunning. The author also compares it to 1991 the Disney cartoon version. In conclusion, it argues that the Cocteau version is truer to the spirit of the original tale and a much better film.
From the Paper
""Beauty and the Beast", the film directed by Jean Cocteau is considered a master piece by critics and viewers alike. Drawing inspiration from the rich world of fairy tales, Cocteau employs stunning cinematography techniques to create a magical and romantic story ..."
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"Beauty and The Beast", 2002.
A comparison of "Beauty and the Beast" by de Beaumont and the Hollywood version of the text.
1,400 words (approx. 5.6 pages), 3 sources, $ 53.95
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Abstract
This paper will compare the original text of" Beauty and the Beast" by de Beaumont and the Disney version that was contrived off of this novel. We can see the similarities in character and plot by examining two scenes from each work.
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Axis disorders from 'Beauty and the Beast', 2006.
A review of 'Beauty and the Beast', recognising the various axis disorders within the characters.
1,350 words (approx. 5.4 pages), 6 sources, $ 53.95
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Abstract
This paper reviews the five axes and associated diagnoses for four characters in the Disney movie 'Beauty and the Beast'. The paper provides associated treatment plans. Diagnoses range from hystrionic as demonstrated by the Beast, to narcissistic as demonstrated by Gaston to Not Otherwise Specified (NOS) for Belle to Dependent as evidenced by LeFou, Gaston's sidekick.
From the Paper
"When Linda Woolverton wrote the screenplay for Walt Disney's movie 'Beauty and the Beast', her grand cast of characters portrayed a wide variety and range of different personality types. Consistent with Disney movies, many of the personalities displayed take various personality traits and portray them as extremes. As such, Disney movies make an excellent source from which to study personality disorders. According to the research, personality disorders are displayed through maladaptive, inflexible and antisocial behavior as evidenced by the way a person thinks, feels or behaves ("Personality Disorders"). "
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"Beauty and the Beast", 2002.
A review of the manner in which the Disney movie portrayal of this fairy tale differed from the original.
1,258 words (approx. 5.0 pages), 4 sources, MLA, $ 42.95
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Abstract
This essay explores the additions and changes to the original fairy tale that Disney Company inserted when they produced the 1992 animated version of "Beauty and the Beast". It explains the advantages that animation has when making changes to book and gives other examples of when the Disney Company has done so.
From the Paper
"The Disney company's animated feature film Beauty and the Beast (1992) tells a well-known folk story in a fresh way, developing personalities for the characters that were not apparent in the fairy tale from which the story is taken. The film added other features and characters, including something feasible only in a fairy tale or an animated film, anthropomorphic furnishings that turn out to be enchanted servants left with their changed master. An animated film is built of abstract images, for no matter how much the artist may attempt to render reality, it is always only an image of reality and thus an abstraction. The abstract images of the animated film are developed so as to serve the needs of the story, to convey not only the details of the story as such but also the underlying meaning which constitutes plot."
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"Beauty and the Beast", 1994.
An examination of the plot, characters, images, symbolism and message of the 1992 Disney animated feature.
1,125 words (approx. 4.5 pages), 1 source, $ 39.95
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From the Paper
"The Disney company's animated feature film Beauty and the Beast (1992) tells a well-known story in a fresh way, developing personalities for the characters that were not apparent in the fairy tale from which the story is taken and adding other characters, including something feasible only in a fairy tale or an animated film, anthropomorphic furnishings that turn out to be enchanted servants left with their changed master. An animated film is built of abstract images, for no matter how much the artist may attempt to render reality, it is always only an image of reality and thus an abstraction. The abstract images of the animated film are developed so as to serve the needs of the story, to convey not only the details of the story as such but also the underlying meaning which constitutes plot.
The story of Beauty and the Beast is well-known, and what..."
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"Beauty And The Beast", 2002.
Analysis of the Disney animated film of the fairy tale.
1,125 words (approx. 4.5 pages), 4 sources, $ 39.95
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Abstract
Analysis of the Disney animated film of the fairy tale. Additional features and characters added. Images of the film, especiallybeauty, and how they shape viewer response. Criticism of Disney's use of folk tales and history in a false way. Learning attitudes and behaviors from movies and the media. Depictions of gender.
From the Paper
"The Disney company's animated feature film Beauty and the Beast (1992) tells a well-known folk story in a fresh way, developing personalities for the characters that were not apparent in the fairy tale from which the story is taken. The film added other features and characters, including something feasible only in a fairy tale or an animated film, anthropomorphic furnishings that turn out to be enchanted servants left with their changed master. An animated film is built of abstract images, for no matter how much the artist may attempt to render reality, it is always only an image of reality and thus an abstraction. The abstract images of the animated film are developed so as to serve the needs of the story, to convey not only the details of the story as such but also the underlying meaning which constitutes plot."
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Daniel Patrick Brown's "The Beautiful Beast", 2005.
A book review and critique of Daniel Patrick Brown's "The Beautiful Beast".
1,356 words (approx. 5.4 pages), 1 source, APA, $ 47.95
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Abstract
This paper summarizes, reviews and critiques "The Beautiful Beast", Daniel Patrick Brown's book about the life and crimes of SS-Aufseherin, Irma Geese.
From the Paper
"Daniel Patrick Brown's "The Beautiful Beast" is a work devoted to the life and crimes of a German woman, known as Irma Grese, who served as an SS-Aufseherin under the Nazi's in Hitler's Germany during the Holocaust. Aufseherin is roughly translated as a matron or overseer of the concentration camp prisoners - a role Grese served with honor and relish. Brown's book traces Grese's life though she only lived until..."
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Inner Beauty, 2002.
An exploration of Jane Eyre's life as a search for value in her inner beauty.
1,235 words (approx. 4.9 pages), 1 source, $ 42.95
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Abstract
This essay details the struggle for recognition of inner beauty over outer beauty as seen in ?Jane Eyre?. The author discusses how Jane?s life is a stage for her education and the building of character and value that goes against the traditional notions of beauty. At each of her homes she gains confidence and strength, challenging societal views of beauty and is rewarded with her marriage to a man who respects her for who she is.
From the paper:
?The notion of beauty, what it is and whether it is an inner or outward quality, has been long debated. For centuries people, and particularly women, have struggled with the concept of their own inner beauty as something as important, if not more important than their outward, physical beauty. This is no less true in literature. The idea of female inner beauty has not always been valued. In Charlotte Bronte?s ?Jane Eyre?, the protagonist, Jane, rejects her own outer beauty in favour of nurturing her intellect, her humility and those other inner qualities that she herself views as beautiful. She respects her wisdom and philosophy before any of her physical attributes, partly because of her need as a child to read; partly from the lessons she is taught.?
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Naomi Wolf's "The Beauty Myth", 2006.
An analysis of the message about the ideal of beauty in Naomi Wolf's book, "The Beauty Myth".
675 words (approx. 2.7 pages), 2 sources, $ 26.95
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Abstract
This paper discusses the message in Naomi Wolf's book, "The Beauty Myth", explaining that Wolf puts forward the provocative argument that the ideal of beauty in modern culture is nothing but the latest method of keeping women in a subservient role within the patriarchy. She sees the ubiquitous images of female beauty that pervade our culture as being part of a vicious backlash against the successes of feminism, arguing that this beauty myth functions to keep women convinced that they are worth less than men, and thus maintains the current economic system.
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Defense of Beauty, 2002.
This paper uses a philosophical approach to answer the question: What is wrong with beauty?
6,655 words (approx. 26.6 pages), 16 sources, MLA, $ 152.95
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Abstract
This paper discusses what is wrong with beauty from the position of its subjectivity, purpose and irrelevance to modern culture and the modern experience. The author believes that the thinker must examine the theory of the sublime, to determine to what degree, if any, it can be reconciled and identified with beauty. The author concludes that beautiful and the sublime, in their roles of enlightenment and revival and purpose give the artist and the art-experienced an added ability to resist the alienation of postmodern culture and its dehumanizing effects.
Table of Contents
Introduction
Defining the Problem
What is Wrong with Beauty?
The Sublime Transcendent
Developing the Sublime and Beautiful
Beauty is the Guiding Morality of the Sublime
Conclusions
From the Paper
"According to Kant, beauty is "a question merely of the form" (Kant 13). It is a matter of composition and form, which insofar as it reveals to the viewer a purposiveness, is beautiful without recompense to banal matters of emotion or even content. ?Thus a work of art, or a beautiful natural object, displays a kind of free play of forms, consistent with the presence of a purpose to which we don't have access.? (Clowney) If it is possible to reconcile Kant and Locke on this matter, one might say that beauty then is defined by form and composition which due to its purposefulness and harmonic nature, in the absence of personal tastes and social definitions, creates sensual pleasure which evolves into intellectual pleasure. However, both Kant and Locke suggest that judgments of beauty, albeit subjective ones, can additionally be made based on personal interpretation, taste, and will. While Kant sees this as barbaric, Locke views it as an important part of the education of the soul."
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Beauty: Is It in the Eye of the Beholder?, 2006.
An analysis of the notion of beauty throughout history.
1,200 words (approx. 4.8 pages), 8 sources, APA, $ 41.95
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Abstract
This paper studies the concept of beauty, examining the views of influential thinkers and society as a whole. The author looks at how beauty has been defined historically, as well as in modern times, and emphasizes the feminine associations with attractiveness. The paper discusses sexuality as it relates to beauty, concluding that, at least today, beauty and sex are intertwined. Finally, the paper investigates the role of emotion -- particularly romantic love -- in perceiving beauty.
From the Paper
"Beauty is seldom an individual opinion. Again, we need to consider beauty as a more or less feminine trait. Men are seldom called "beautiful", except in the statues of the ancient Greeks and Romans, whose admiration for a physical body is timeless (especially when compared to the female body). There is no doubt that, if we can agree that beauty differs according to the desires or gratification of the onlooker or admirer, beauty can not provide a single form. We can fantasize about "beauty" when we see Madonna, perhaps, or Marilyn Molnroe, or Gwyneth Paltrow, in our current thinking. Our parents and grandparents might have preferred a more voluptuous Sophia Loren or Jane Russell. The Arts, for the most part, provide us with examples of what beauty is, or what it should be. Boys now lust for movie actresses such as Cameron Diaz or Alician Silverstone. Girls (and women) might think of handsome men like Harrison Ford or Mel Gibson as "beautiful" because these men arouse them sexually."
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