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Disney princess-women: a dialogical analysis of Mulan (1998) and Brave (2012)

Grant number: 17/25865-5
Support Opportunities:Scholarships in Brazil - Scientific Initiation
Effective date (Start): April 01, 2018
Effective date (End): December 31, 2018
Field of knowledge:Linguistics, Literature and Arts - Linguistics - Philosophy of Language
Principal Investigator:Luciane de Paula
Grantee:Giovana Cristina de Moura
Host Institution: Faculdade de Ciências e Letras (FCL-ASSIS). Universidade Estadual Paulista (UNESP). Campus de Assis. Assis , SP, Brazil


This project seeks to align a bibliographic research, of an interpretative nature, whose purpose is the discourse analysis of two Disney animations, Mulan and Brave, which correspond to two periods of this industry: the Renaissance and the Current. The theoretical basis is based on the studies of the Circle of Bakhtin - especially in the conceptions of dialogue, enunciation, subject and ideology. The Bakhtinian sociological method, understood by Paula et ali (2011) as dialectical-dialogical, provides for the notion of comparison. Provides for the notion of collation. Other Disney works such as Snow White and the Seven Dwarfs, Cinderella, Frozen and Moana, will enter as a comparison in the course of the research, while other animations from the same company will be called up only by way of illustration. The purpose is to analyze the axiological values instilled in the images of women and women constructed in the figures of the princesses of the respective animations. The hypothesis is that the protagonists assume the function corresponding to the canon of servitude and submission, both to the family and to a prince-man, both characterized as providers. The theme of "true love" reigns, reconfigured historically, adapted to the social demands of consumption. Although Mulan and Merida can be understood as oppositions to princesses of more canonical works, they still shape themselves as they reproduce stereotyped values about love and instill axioms that reflect and refract a typical modus vivendi about what Disney's longing for happiness as the ideal of subject in our society. In this aspect, the importance of the study proposed here is justified by a reflection on the relation of life and art, considering the socio-economic, industrial and cultural aspects embodied in animated statements, apparently seen as "harmless", aimed at a and the importance of Disney's work in the world. (AU)

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