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Puss n Boots ist eine amerikanische Alternative-Country-Band aus Brooklyn, New York, die gegründet wurde und aus den Mitgliedern Norah Jones, Sasha Dobson und Catherine Popper besteht. Ihr Debütalbum No Fools, No Fun wurde am Juli Mit Sister legen Puss N Boots ihr lang erwartetes zweites Album vor. Auf ihm zeigen Norah Jones, Sasha Dobson und Catherine Popper, was. Shop Puss N Boots - No Fools, No Fun [Japan LTD SHM-CD] UCCQ Everyday low prices and free delivery on eligible orders. Hol Dir alle Videos, News und Tourdaten von Puss N Boots, lies die Biografie, hör in die neuesten Tracks rein und sei immer topinformiert über. Puss n Boots. Gefällt Mal · 29 Personen sprechen darüber. Sasha Dobson, Norah Jones, Catherine Popper.
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The songs and dance provide great entertainment too. Adults will find "Puss in Boots" entertaining too, as the plot is filled with proper adventure that is appropriate for both adults and children.
The brotherhood subplot is strong and gripping, and provide the emotional elements to make "Puss in Boots" even more credible as a film for the whole family.
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Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. An outlaw cat, his childhood egg-friend and a seductive thief kitty set out in search for the eggs of the fabled Golden Goose to clear his name, restore his lost honor and regain the trust of his mother and town.
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Nominated for 1 Oscar. Edit Cast Cast overview, first billed only: Antonio Banderas Puss in Boots voice Salma Hayek Kitty Softpaws voice Zach Galifianakis Jack voice Amy Sedaris Jacques Barchilon and Henry Pettit note in their introduction to The Authentic Mother Goose: Fairy Tales and Nursery Rhymes that the main motif of "Puss in Boots" is the animal as helper and that the tale "carries atavistic memories of the familiar totem animal as the father protector of the tribe found everywhere by missionaries and anthropologists.
Folklorists Iona and Peter Opie observe that "the tale is unusual in that the hero little deserves his good fortune, that is if his poverty, his being a third child, and his unquestioning acceptance of the cat's sinful instructions, are not nowadays looked upon as virtues.
The success of Histoires is attributed to seemingly contradictory and incompatible reasons. While the literary skill employed in the telling of the tales has been recognized universally, it appears the tales were set down in great part as the author heard them told.
The evidence for that assessment lies first in the simplicity of the tales, then in the use of words that were, in Perrault's era, considered populaire and du bas peuple , and finally, in the appearance of vestigial passages that now are superfluous to the plot, do not illuminate the narrative, and thus, are passages the Opies believe a literary artist would have rejected in the process of creating a work of art.
One such vestigial passage is Puss's boots; his insistence upon the footwear is explained nowhere in the tale, it is not developed, nor is it referred to after its first mention except in an aside.
According to the Opies, Perrault's great achievement was accepting fairy tales at "their own level. Perrault would be revered today as the father of folklore if he had taken the time to record where he obtained his tales, when, and under what circumstances.
Bruno Bettelheim remarks that "the more simple and straightforward a good character in a fairy tale, the easier it is for a child to identify with it and to reject the bad other.
If the character is a very good person, then the child is likely to want to be good too. Amoral tales, however, show no polarization or juxtaposition of good and bad persons because amoral tales such as "Puss in Boots" build character, not by offering choices between good and bad, but by giving the child hope that even the meekest can survive.
Morality is of little concern in these tales, but rather, an assurance is provided that one can survive and succeed in life. Small children can do little on their own and may give up in disappointment and despair with their attempts.
Fairy stories, however, give great dignity to the smallest achievements such as befriending an animal or being befriended by an animal, as in "Puss in Boots" and that such ordinary events may lead to great things.
Fairy stories encourage children to believe and trust that their small, real achievements are important although perhaps not recognized at the moment.
In Fairy Tales and the Art of Subversion Jack Zipes notes that Perrault "sought to portray ideal types to reinforce the standards of the civilizing process set by upper-class French society".
Therefore, Perrault's composite heroine passively waits for "the right man" to come along, recognize her virtues, and make her his wife. He acts, she waits.
If his seventeenth century heroines demonstrate any characteristics, it is submissiveness. A composite of Perrault's male heroes, however, indicates the opposite of his heroines: his male characters are not particularly handsome, but they are active, brave, ambitious, and deft, and they use their wit, intelligence, and great civility to work their way up the social ladder and to achieve their goals.
In this case of course, it is the cat who displays the characteristics and the man benefits from his trickery and skills. Unlike the tales dealing with submissive heroines waiting for marriage, the male-centered tales suggest social status and achievement are more important than marriage for men.
The virtues of Perrault's heroes reflect upon the bourgeoisie of the court of Louis XIV and upon the nature of Perrault, who was a successful civil servant in France during the seventeenth century.
According to fairy and folk tale researcher and commentator Jack Zipes, Puss is "the epitome of the educated bougeois secretary who serves his master with complete devotion and diligence.
Puss's career is capped by his elevation to grand seigneur  and the tale is followed by a double moral: "one stresses the importance of possessing industrie et savoir faire while the other extols the virtues of dress, countenance, and youth to win the heart of a princess.
The renowned illustrator of Dickens ' novels and stories, George Cruikshank , was shocked that parents would allow their children to read "Puss in Boots" and declared: "As it stood the tale was a succession of successful falsehoods—a clever lesson in lying!
Another critic, Maria Tatar , notes that there is little to admire in Puss—he threatens, flatters, deceives, and steals in order to promote his master.
She further observes that Puss has been viewed as a "linguistic virtuoso", a creature who has mastered the arts of persuasion and rhetoric to acquire power and wealth.
The morals Perrault attached to the tales are either at odds with the narrative, or beside the point. The first moral tells the reader that hard work and ingenuity are preferable to inherited wealth, but the moral is belied by the poor miller's son who neither works nor uses his wit to gain worldly advantage, but marries into it through trickery performed by the cat.
The second moral stresses womankind's vulnerability to external appearances: fine clothes and a pleasant visage are enough to win their hearts.
In an aside, Tatar suggests that if the tale has any redeeming meaning, "it has something to do with inspiring respect for those domestic creatures that hunt mice and look out for their masters.
Briggs does assert that cats were a form of fairy in their own right having something akin to a fairy court and their own set of magical powers.
Still, it is rare in Europe's fairy tales for a cat to be so closely involved with human affairs. According to Jacob Grimm, Puss shares many of the features that a household fairy or deity would have including a desire for boots which could represent seven-league boots.
This may mean that the story of "Puss and Boots" originally represented the tale of a family deity aiding an impoverished family member. Stefan Zweig, in his novel, Ungeduld des Herzens , references Puss in Boots' procession through a rich and varied countryside with his master and drives home his metaphor with a mention of Seven League Boots.
From Wikipedia, the free encyclopedia. Italian-French fairy tale about a cat. This article is about the Italian-French fairy tale.
For other uses, see Puss in Boots disambiguation. Main article: Adaptations of Puss in Boots. Written in French by M.
Perrault, and Englished by G. Gent bore the publication date of , thus casting doubt upon Samber being the first translator. In , however, the date was proven to be a misprint for and Samber's distinction as the first translator was assured.
Leithart, July 9, The Great Cat Massacre. The Folktale. University of California Press. European Folk and Fairy Tales. New York, London: G.
Putnam's sons. The Disney Encyclopedia of Animated Shorts. Archived from the original on Retrieved Puss in Boots.