Disney Characters A timeline of character debuts Before Mickey 1924 Alice (of The Alice Comedies, a series of 56 silent cartoons) 1927 Oswald the Lucky Rabbit (star of 26 silent cartoons) Recurring Characters: Mickey and Friends 1928 Mickey Mouse and Minnie Mouse, in Steamboat Willie 1929 Peg-Leg Pete, in The Barn Dance 1929 Clarabelle Cow and Horace Horsecollar, in The Plow Boy 1930 Pluto (AKA "Rover"), in The Chain Gang 1932 Goofy (AKA "Dippy Dawg,""George Geef"), in Mickey's Revue 1934 Donald Fauntleroy Duck, in The Wise Little Hen 1937 Huey, Dewey, and Louie Duck, in the Donald Duck Sunday comics 1937 Daisy Duck (AKA "Donna Duck"), in Don Donald 1943 Chip 'n' Dale, in Private Pluto Stars of Disney Feature Films 1937 Snow White, in Snow White and the Seven Dwarfs 1940 Pinocchio and Jiminy Cricket, in Pinocchio 1941 Dumbo, in Dumbo 1942 Bambi, in Bambi 1950 Cinderella, in Cinderella 1951 Alice and the White Rabbit, in Alice in Wonderland 1953 Peter Pan and Tinkerbell, in Peter Pan 1955 Lady and Tramp, in Lady and the Tramp 1959 Aurora, in Sleeping Beauty 1961 Pongo, Perdita, and the pups, in 101 Dalmatians 1967 Mowgli and Baloo, in The Jungle Book 1974 Robin Hood and Maid Marian, in Robin Hood 1986 Basil, in The Great Mouse Detective 1989 Ariel, in The Little Mermaid 1991 Belle and Beast, in Beauty and the Beast 1992 Jasmine and Aladdin, in Aladdin 1994 Simba, Timon, and Pumbaa, in The Lion King 1995 Buzz Lightyear and Woody, in Toy Story 1995 Pocahontas, in Pocahontas 1996 Esmerelda, in The Hunchback of Notre Dame 1998 Hercules and Megara, in Hercules 1998 Mulan and Mushu, in Mulan 2001 Milo Thatch, in Atlantis: The Lost Empire 2001 Lilo and Stitch, in Lilo And Stitch 2002 Sulley, in Monsters, Inc.

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The first part states in a comprehensive way the research on Zhou Zuoren so as to define the purpose, methodology and significance of the dissertation. The second part analyzes the experience of Zhou's self-culture creation from a personal angle-Yue culture in Zhejiang gave Zhou a perceptual knowledge of folklore, while the idea of world folklore gave him a rational cognition of folk' culture. The combination forms a dual folklore. The third part observes Zhou Zuoren's examination of literarure from folklore's perspective as well as its pioneering significance. The fourth part explores in a further way Zhou's perspective of folk culture, and analyzes the method he has established to conduct literary criticism from the angle of folklore as well as his research on Chinese Culture. The fifth part analyzes the impacts folklore theory and folk culture have on the formation of Zhou' literary ideas, focusing more his folklore interpretation and humanism perspective about the origin and hist ory of literature, also his literary aesthetic standards about "ordinary humanism" and "loving amusement" from the position of folklore. The sixth part expounds Zhou's achievement in combining literature and folklore and explores the consistency of their focus on human, thereby presenting a complete picture of Zhou's literature. The last part generalizes the revelation drawing from the research done in this dissertation.

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The shoes also had a two-tone effect, and the swell of celestial voices in David Motion's "Buoyancy" on the soundtrack underscored the twisted religiosity. The bi-collar was a foretaste of what can only be described as a male bikini, which combined a bib front with what appeared to be a visible jockstrap (or maybe male garter belt?) and closed at the back like a waistcoat. Wags instantly dubbed the look "wedgie chic," but it was more disturbing than that—as if traditional concepts of masculinity had been turned inside out. Of course, this is something Miuccia's talked about for years, but it was still striking to see it rendered so graphically. Even more so when a couple of back-buttoning blouses walked past—male vulnerability wrapped up in a shirt.

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I'm talking about something more substantial. It's the hope of slaves sitting around a fire singing freedom songs; the hope of immigrants setting out for distant shores; the hope of a young naval lieutenant bravely patrolling the Mekong Delta; the hope of a millworker's son who dares to defy the odds; the hope of a skinny kid with a funny name who believes that America has a place for him, too.Hope — Hope in the face of difficulty.

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It's the hope of slaves sitting around a fire singing freedom songs; the hope of immigrants setting out for distant shores; the hope of a young naval lieutenant bravely patrolling the Mekong Delta; the hope of a millworker's son who dares to defy the odds; the hope of a skinny kid with a funny name who believes that America has a place for him, too.

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In this thesis, the comic art of David Ives, one of the most famous contemporary American playwrights, is looked into with reference to the development of comedy and universal comic devices, and a comparison and contrast between Ives" artistic creation and Chinese comedies is made in a hope that Ives" one-act plays may be of use for reference to Chinese comic drama. The thesis concludes that Ives can be of advice to Chinese playwrights in their understanding of the nature of comedy as an artistic genre and their selection and treatment of the subject matters in their comedies.

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