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[{"key": "dc.contributor.advisor", "value": "Piirainen-Marsh, Arja", "language": "", "element": "contributor", "qualifier": "advisor", "schema": "dc"}, {"key": "dc.contributor.author", "value": "Saarnijoki, Salla", "language": "", "element": "contributor", "qualifier": "author", "schema": "dc"}, {"key": "dc.date.accessioned", "value": "2022-06-10T09:11:31Z", "language": null, "element": "date", "qualifier": "accessioned", "schema": "dc"}, {"key": "dc.date.available", "value": "2022-06-10T09:11:31Z", "language": null, "element": "date", "qualifier": "available", "schema": "dc"}, {"key": "dc.date.issued", "value": "2022", "language": "", "element": "date", "qualifier": "issued", "schema": "dc"}, {"key": "dc.identifier.uri", "value": "https://jyx.jyu.fi/handle/123456789/81619", "language": null, "element": "identifier", "qualifier": "uri", "schema": "dc"}, {"key": "dc.description.abstract", "value": "Sadut ovat alun perin suullisia, moraalisia opetuksia tarjoavia tarinoita, joita nyky\u00e4\u00e4n esiintyy monessa muussakin muodossa populaarikulttuurissa ja mediassa. Niille on tyypillist\u00e4 varsinkin hyv\u00e4n ja pahan selke\u00e4 vastakkainasettelu, mutta t\u00e4m\u00e4n p\u00e4iv\u00e4n uudet versioinnit tutuista saduista esitt\u00e4v\u00e4t ilmi\u00f6n monesti hyvin kompleksisena. T\u00e4ss\u00e4 tutkielmassa aiheena on hyv\u00e4n ja pahan multimodaaliset representaatiot sadun Kaunotar ja hirvi\u00f6 adaptaatioissa. Tavoitteena oli tarkastella ja verrata kahta teosta t\u00e4m\u00e4n sadun pohjalta ja selvitt\u00e4\u00e4, onko niiden v\u00e4lill\u00e4 eroja tavassa, jolla hyv\u00e4 ja paha esitet\u00e4\u00e4n keskeisten hahmojen puheen ja tekojen kautta. T\u00e4m\u00e4 voi kertoa my\u00f6s kyseisten representaatioiden valta-asetelmasta sek\u00e4 niiden taustalla olevista k\u00e4sityksist\u00e4 my\u00f6s laajemmin tosiel\u00e4m\u00e4ss\u00e4. P\u00e4\u00e4asiallisena aineistona ja analyysin kohteena oli tv-sarja Olipa kerran (2011-2018). Koska sarja yhdistelee monia eri satuja, sit\u00e4 analysoitiin keskittyen kyseiseen satuun ja sen hahmoihin. Disneyn alkuper\u00e4ist\u00e4 animaatioelokuvaa Kaunotar ja hirvi\u00f6 (1991) k\u00e4ytettiin vertailukohtana representaatioita koskevien muutosten k\u00e4sittelemiseksi. Multimodaalisen analyysin lis\u00e4ksi menetelm\u00e4n\u00e4 on hy\u00f6dynnetty kriittist\u00e4 diskurssianalyysia hyv\u00e4n ja pahan v\u00e4listen valtasuhteiden ja niit\u00e4 koskevien k\u00e4sitysten selvitt\u00e4miseksi. Analyysissa l\u00f6ytyi viisi representaatiokategoriaa sek\u00e4 hyv\u00e4st\u00e4 ett\u00e4 pahasta, jotka suurelta osin ovat toistensa vastakohtia. Analyysi osoitti niin \u00e4\u00e4nens\u00e4vyn ja sanojen kuin ilmeiden ja toiminnan keskeisyyden vaihtelevasti eri kategorioissa. Lis\u00e4ksi muodostui hyv\u00e4n ja pahan kompleksisena ja suhteellisena esitt\u00e4v\u00e4 kategoria, joka tuo esiin suurimman eron sarjan ja elokuvan v\u00e4lill\u00e4. Tutkimuksessa selvisi, ett\u00e4 siin\u00e4 miss\u00e4 elokuva esitt\u00e4\u00e4 hyv\u00e4n ja pahan melko selke\u00e4rajaisina ja tiettyihin hahmoihin liittyvin\u00e4, sarjassa ne kuvataan sek\u00e4 hahmojen sis\u00e4ll\u00e4 ett\u00e4 v\u00e4lill\u00e4 vaihtelevina ominaisuuksina. Kuten aiemminkin on havaittu, kulttuurituotteissa ei ole en\u00e4\u00e4 niin tarkkarajaista, kuka tai mik\u00e4 voidaan n\u00e4hd\u00e4 selv\u00e4sti hyv\u00e4n\u00e4 tai pahana. T\u00e4m\u00e4 toi esiin my\u00f6s hyv\u00e4n ja pahan v\u00e4lisen valta-asetelman erityisyyden ja sen vaikutukset my\u00f6s todellisuudessa.", "language": "fi", "element": "description", "qualifier": "abstract", "schema": "dc"}, {"key": "dc.description.provenance", "value": "Submitted by Miia Hakanen (mihakane@jyu.fi) on 2022-06-10T09:11:31Z\nNo. of bitstreams: 0", "language": "en", "element": "description", "qualifier": "provenance", "schema": "dc"}, {"key": "dc.description.provenance", "value": "Made available in DSpace on 2022-06-10T09:11:31Z (GMT). No. of bitstreams: 0\n Previous issue date: 2022", "language": "en", "element": "description", "qualifier": "provenance", "schema": "dc"}, {"key": "dc.format.extent", "value": "69", "language": "", "element": "format", "qualifier": "extent", "schema": "dc"}, {"key": "dc.format.mimetype", "value": "application/pdf", "language": null, "element": "format", "qualifier": "mimetype", "schema": "dc"}, {"key": "dc.language.iso", "value": "eng", "language": null, "element": "language", "qualifier": "iso", "schema": "dc"}, {"key": "dc.rights", "value": "In Copyright", "language": "en", "element": "rights", "qualifier": null, "schema": "dc"}, {"key": "dc.subject.other", "value": "Beauty and the Beast", "language": "", "element": "subject", "qualifier": "other", "schema": "dc"}, {"key": "dc.subject.other", "value": "power", "language": "", "element": "subject", "qualifier": "other", "schema": "dc"}, {"key": "dc.title", "value": "Everything is relative : representations of good and evil in Beauty and the Beast adaptations", "language": "", "element": "title", "qualifier": null, "schema": "dc"}, {"key": "dc.type", "value": "master thesis", "language": null, "element": "type", "qualifier": null, "schema": "dc"}, {"key": "dc.identifier.urn", "value": "URN:NBN:fi:jyu-202206103227", "language": "", "element": "identifier", "qualifier": "urn", "schema": "dc"}, {"key": "dc.type.ontasot", "value": "Pro gradu -tutkielma", "language": "fi", "element": "type", "qualifier": "ontasot", "schema": "dc"}, {"key": "dc.type.ontasot", "value": "Master\u2019s thesis", "language": "en", "element": "type", "qualifier": "ontasot", "schema": "dc"}, {"key": "dc.contributor.faculty", "value": "Humanistis-yhteiskuntatieteellinen tiedekunta", "language": "fi", "element": "contributor", "qualifier": "faculty", "schema": "dc"}, {"key": "dc.contributor.faculty", "value": "Faculty of Humanities and Social Sciences", "language": "en", "element": "contributor", "qualifier": "faculty", "schema": "dc"}, {"key": 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