Sleeping Beauty

Diachronic uncertainty, uncertainty about where an agent falls in time, poses interesting conceptual difficulties. Although the agent is uncertain about where she falls in time, this uncertainty can only obtain at a particular moment in time. We resolve this conceptual tension by providing a transformation from models with diachronic uncertainty relations into “equivalent” models with only synchronic uncertainty relations. The

Model of a Film Fairy Tale in the Disney Golden Age (with Later Modifications)

The article attempts to determine the constitutive elements of a model film fairy tale in the so-called Disney Golden Age and to examine how it was used in later works, both these created by the studio and those by unrelated creators. After preliminary remarks, the author analyses three feature-length animated films: "Snow White and the Seven Dwarfs" (1937), "Cinderella" (1950), and "Sleeping Beauty" (1959). In these works, as he notes, one can notice a set of features that make up the classic Disney model of a film fairy tale. Next, the author discusses modifications applied to the pattern during the Disney Renaissance and Revival. Finally, he cites examples of cultural texts polemical to this paradigm which point to the cultural vitality and heterogeneity of the studio's films.

O presente texto consiste em uma breve análise da abertura da Bela adormecida, Op. 66, um Balé em 3 atos do famoso compositor russo Tchaikovsky. A análise abrange sobretudo a questão motívica e formal da obra, passando ainda por uma introdução às questões harmônicas gerais da mesma.

Resumen En Briar Rose, Robert Coover recurre una vez más al repertorio de los cuentos tradicionales, que ya había empleado en los relatos de Pricksong & Descants, para crear su propia versión de la Bella durmiente. Para comprender la complejidad de la materia que converge en Briar Rose, es preciso sumar, a los intertextos que la crítica ha señalado (es decir, los cuentos de los hermanos Grimm, Perrault y Basile), las versiones que los precedieron en la tradición occidental del motivo. Esa ampliación de la perspectiva permitirá apreciar cómo la repetición y la variante-recursos que Coover, así como otros autores posmodernistas, ha utilizado para deconstruir la narrativa tradicional-son, paradójicamente, elementos centrales que han cimentado la pervivencia de ese relato a través de los siglos. Palabras clave: Bella durmiente, Robert Coover, recreación, cuento tradicional, hipertexto. REPETITION AND VARIANT IN THE TIMES OF HYPERTEXT. FROM SLEEPING BEAUTY TO BRIAR ROSE, BY ROBERT COOVER Abstract In Briar Rose, Robert Coover resorts once again to the repertoire of traditional tales, which he had already employed in the Pricksong & Descants stories, to create his own version of Sleeping Beauty. In order to understand the complexity of the matter converging on Briar Rose, it is necessary to add, to the intertexts that the critics have pointed out (that is, the tales of the Brothers Grimm, Perrault and Basile), the versions that preceded them in the Western tradition of the motif. This widening of the perspective will allow us to appreciate how repetition and variant-resources that Coover, as well as other postmodernist authors, has used to deconstruct the traditional narrative-are, paradoxically, central elements that have cemented the survival of that tale through the centuries.

The motif of the competition between the monstrous mother and the young maiden appear both in early European variants of the ‘Sleeping Beauty’ fairy tale as well as in the late 20th-century science fiction movies Alien and Aliens. However, both the fairy tale and the science fiction movies complicate the binary between the good and bad women, and by deconstructing this binary we can see how the evil mothers and the alien queens can be sympathetic while Ripley and Sleeping Beauty also have their monstrous sides.

En 2018 se celebró el bicentenario del nacimiento del gran coreógrafo Marius Petipa (1818-1910), creador de ballets tan emblemáticos como Don Quijote (1869), La Bayadère (1877), La bella durmiente (1890) o El lago de los cisnes (1895), y que además trabajó como bailarín en España entre 1844 y 1847.
El presente volumen recoge un buen número de las ponencias presentadas en el Congreso Internacional Marius Petipa. Del ballet romántico al clásico, que se desarrolló en Madrid en octubre de ese año dirigido por Laura Hormigón y Víctor Sánchez. Los trabajos aquí reunidos abordan temáticas amplias, ricas y diversas desde el punto de vista histórico, musicológico, escenográfico, de la notación coreográfica, y también en torno a la recepción, transmisión, conservación y pervivencia, o no, del legado de Petipa durante el siglo XX y en la actualidad.
Un libro que supone un enriquecimiento fundamental para los estudios académicos del ballet en España y que pone al alcance del público hispanohablante los avances y líneas de trabajo en este ámbito de destacados investigadores tanto españoles como de Rusia, Francia, Inglaterra, EE.UU e Italia.

Este trabajo se propone exponer y analizar los procedimientos utilizados en la traducción-versión actualizada de La belle au bois dormant (1697) de Charles Perrault, para un público infantil. Se trata de una traducción-adaptación en la que se han utilizado técnicas como la elisión, la variación y la amplificación, pero también técnicas de nuevas tendencias como la transcreación. A través de estas técnicas, se aplican recursos del folklore infantil, así como estrategias utilizadas en la literatura infantil moderna y postmoderna. Otros recursos son tomados de la tradición oral, que se encuentra al origen de la creación del cuento. Se trata de una verdadera actualización que hace foco, especialmente, en la literatura y sus elementos, en los tipos de narración, en el dinamismo y la variación del texto, y en las voces que participan en una narración. Todo esto se transmite en la traducción a través del juego, la invitación al descubrimiento y la creación, y el aprendizaje.

The purpose of this work is to expose and analyze the actualized version-translation of La belle au bois dormant (1697) written by Charles Perrault, for a children public. It’s a translation-adaptation that uses technics like elision, variation and amplification; but also new tendencies like transcreation. Through these technics, resources of children folk, but also modern and postmodern children literature are applied. Other resources are taken from oral tradition, which is at the base of creation of short stories. It’s a real upgrade that focalizes specially in literature and its elements, types of narration, dynamics and variation of the text, and in the voices that participate in the narrative. All of this is transferred into the translation through the invitation to play and discover, to create and learn.

The aim of this research is to contextualise and present a contemporary fairy tale heroine who recuperates and re-values traditional aspects of femininity within a feminist context.

Fairy tales existing within the current traditional western fairy tale canon are believed to be imbued with patriarchal ideology which idealises gender stereotypes: men are portrayed as powerful, active, and dominant heroes, while women are seen as weak, submissive and passive heroines. These stereotypes have become a cultural norm, and constant exposure may negatively influence a person’s sense of self and their belief in others’ capabilities or worth. Thus, alternate discourses should be made available to challenge these traditional beliefs. Re-visions aim to challenge dominant discourses by using in this case familiar fairy tales as archetypes upon which to superimpose ulterior narratives to act as a ‘critiquing voice’. “Sleeping Beauty” in its verbal and visual forms is used in this research as an archetype through which to critique patriarchal discourse.

To achieve the aim of this study, an understanding of the term ‘agency’ from a feminist perspective is explored in order to gauge how a lack of agency in Charles Perrault’s “Sleeping Beauty” may be corrected through re-visionist techniques. Re-visions that have attempted to challenge traditional beliefs have sometimes reversed conventionally ascribed gender roles and in so doing have ‘fractured’ feminist ideals. By employing specific re-visionist strategies, such fracturing is avoided by recuperating traditionally regarded ‘feminine’ characteristics such as waiting. These narrative strategies are applied within the studio work “Soliloquy: the untold story of Sleeping Beauty’s dreams”.

Key words: agency, re-vision, traditional ‘femininity’, Sleeping Beauty, fairy tales, art

Nell'articolo si confrontano alcune caratteristiche attestate nelle versioni più antiche della Bella Addormentata con quelle documentate in testi poetici di due lingue indo-europee antiche. Nello specifico, si mostrerà come, in molte versioni della storia, una principessa dormiente e i suoi figli portano nomi che appartengono al campo semantico della 'luce' (Sole e Luna, Aurora e Giorno etc.). Inoltre, la protagonista della storia è 'colei che si sveglia' per antonoma-sia. Questi tratti tipici trovano corrispondenze perfette con due divinità indo-europee dell'aurora, cioè la greca Euruphaessa/Eos e la dea vedica Uṣas. Infi-ne, sia Uṣas sia Euruphaessa commettono incesto, mentre, in una versione medioevale della Bella Addormentata, una principessa di nome 'Sor de Plaser' (Sorella di Piacere) ha un rapporto sessuale non consensuale con 'Frayre de Joy' (Fratello di Gioia). Tali nomi potrebbero costituire un indizio per un mo-tivo di incesto nascosto, che è stato progressivamente rimosso dalla trama del racconto in un modo simile al quale lo stupro della principessa dormiente è stato omesso dalle versioni più recenti della Bella Addormentata (Perrault, Grimm, Pitré).

La Belle au bois dormant est sans aucun doute un des récits d’enfance les plus connus encore aujourd’hui. Mais la fortune de ce conte n’est pas récente. Sur les quelques trois cent contes du dix-neuvième siècle recensés, le personnage le plus récurrent est celui de la Belle endormie. Les premières réécritures de ce conte (1833-1885) se servent de ce personnage comme faire-valoir : sa position léthargique symbolise la fin de la féerie et parodie son attente infinie du Prince Charmant et de l’amour parfait.
C’est avec La Belle au bois rêvant de Catulle Mendès (1885) que ce récit prend une nouvelle tournure : la belle remet en question son adoration pour la figure du Prince Charmant et s’interroge sur ses propres désirs. A la Belle époque, on verra apparaître une multitude de contes dans lesquels la Belle au bois symbolisera deux visions de la femme. Gustave Kahn, Paul Valéry, Jean Lorrain, ou de Jacques Adelswärd-Fersen, sublimeront l’état du sommeil pour faire de la femme endormie un symbole de perfection. La femme deviendra objet d’art, objet-statue, objet sacralisé, et donc femme-objet.
D’autres œuvres préfèrent mettre en avant le caractère immoral de la femme à travers le personnage de la Belle au bois. La duplicité de la femme n’y est que très rarement montrée au premier plan. Seul Mendès inscrira clairement sa Belle au lit dormant (1891) dans la perversité. Les autres (Lorrain, Adelswärd-Fersen, etc.) préféreront dissimuler leur vision négative de la femme sous des symbolismes : la froideur cadavérique de la Belle endormie devient l’emblème de sa frigidité sentimentale et sexuelle.
C’est donc deux visions antinomiques de la femme que la Belle époque nous propose ; d’un côté nous retrouvons des femmes léthargiques symbolisant leur dévouement auprès des hommes, de l’autre nous devinons des femmes si belles et si froides qu’elles en deviennent castratrices.

Actes du colloque "La Belle époque des Femmes ? (1889-1914)" (université d’Orléans, 05 et 06 avril 2012), Paris, L’Harmattan, 2013, p.47-62.

La Bella addormentata nel bosco è una celebre fiaba europea. Il tema della fanciulla addormentata è difatti un elemento ricorrente nel folklore europeo; ciononostante, questo racconto di fate ha una tradizione orale limitata.  Questo saggio indaga le radici storiche de La Bella addormentata nel bosco, per delineare i fondamenti filosofici di una morfologia giuridica della fiaba popolare europea.

Công chúa tham gia vào một thi nghiệm mà trong đó cô sẽ ngủ vào tối chủ nhật, số lần cô ấy thức dậy phụ thuộc vào việc tung một đồng xu công bằng. Nếu đồng xu lật mặt ngửa, cô ấy sẽ chỉ được đánh thức vào thứ hai sau đó ngủ tiếp đến hết thí nghiệm. Nếu đồng xu lật mặt sấp, công chúa sẽ được đánh thức đầu tiên vào sáng thứ hai tiếp theo là sáng thứ ba. Nhưng khi cô ấy ngủ lại vào đêm thứ hai, mọi ký ức về ngày hôm trước sẽ bị xóa sạch. Cho nên khi được đánh thức vào sáng thứ ba cô ấy sẽ có cảm giác như lần đầu mới thức. Vấn đề là làm sao biết được tin của công chúa vào việc đồng xu lật ngửa là bao nhiêu khi thức dậy vào sáng thứ hai

Analyse et histoire du personnage de Maléfique, présente dans le conte "La belle au bois dormant" qui a été écrit par Charles Perrault.
La sorcière de cette histoire a obtenu récemment un nouveau intérêt et différents adaptation cinématographique ont même vu cette figure comme une mère.

Cet article s’attache, d’une part, à mettre en évidence les influences du conte de fées et - plus particulièrement - de "La Belle au bois dormant" de Charles Perrault dans "Le Rêve" de Zola et, d’autre part, à démontrer en quoi ce récit se présente comme un roman-conte de fées renversé mettant à mal les espoirs de jeunesse. Encore naïve, « l’angélique » héroïne ne peut imaginer son salut sans un mariage avec un prince charmant, figure stéréotypée du sauveur. En nous invitant à considérer la léthargie physique d’Angélique, Zola illustre la léthargie sociale des jeunes filles en âge de se marier. Se servant par ailleurs de la symbolique fécondatrice du Printemps développée dès les premières versions du conte de La Belle au bois dormant, Zola fait de Félicien un idéal à mi-chemin entre le prince charmant venu réveiller « la princesse Hiver » et le Christ rédempteur. Or, Félicien a déjà tout de l’anti-héros fin-de-siècle et les rêves d’Angélique ne peuvent cohabiter avec la réalité ; de fait, le conte de fées d’Angélique ne peut qu’échouer.

Cahiers Naturalistes, n°88, septembre 2014, p.115-129.

The analysis of the representations of normativity in literary texts is a main topic of Law and Literature Movement. In the context of this researches, my paper focuses on normative images in fairy tales. The reason for my choice is twofold: first, fairy tales use normative images in a pedagogical function, in order to teach children the normative basics of social life; second, fairy tales are normative representations, because narrative functions have here juridical nature. The aim of my paper is finally to show not only how fairy tales use normative images, but also how normative images used in fairy tales can influence Philosophy of Law and General Theory of Law.

Roman arthurien en prose de la fin du Moyen Age, le Roman de Perceforest propose l’une des premières versions littéraires de l’histoire de la Belle Endormie. Plusieurs figures surnaturelles interviennent à l’occasion de la naissance de l’héroïne et de son fils dans cet épisode. L’imaginaire de la naissance et de la petite enfance s’inspire du folklore et des croyances populaires, mais il participe aussi d’une logique romanesque issue des romans arthuriens antérieurs. Nous montrerons que cette dernière laisse deviner la raison d’être de l’épisode.

An Arthurian romance in prose dating from the late Middle Ages, the Roman de Perceforest offers one of the first literary versions of the tale of Sleeping Beauty. Several supernatural figures are present at the birth of the heroine and her son. Both episodes which draw on popular beliefs about birth and early childhood, as well as on literary sources and romance conventions borrowed from previous Arthurian romances. This article demonstrates that the main purpose of these episodes is informed by the latter.

In: Bugalová, Edita (ed.): Prínos svetových osobností v kontexte historických parkov a tradícia pestovania ruží v Dolnej Krupej. Zborník konferencie. Bratislava: SNM-Hudobné múzeum, 2014, s. 37 – 56.

Fairy Tale Sculpture in Dolná Krupá (Work by Robert Cauer)

The study focuses on identification and art historian analysis of the torso of the sculpture recorded as “The Sitting Lady”. The torso is signed “R. Cauer 1872”. Its author Robert Cauer (1831–1893) comes from German artist family whose fate can be found in German scholarly literature. He was born in Dresden from where he moved with his parents to Bad Kreuznach. He studied painting at Düsseldorf Academy under F. W. von Schadow, but after his return home he became a sculptor, as his father Emil and older brother Karl. His works were made mainly in Neoclassical and Romantic style with the focus on literary and fairy tale figures. In 1860 he made a sculpture “The Sleeping Beauty”, and in 1865 its bigger version in plaster was exhibited at The Dublin International Exhibition of Arts and Manufactures. He offered to make a marble version of the sculpture for £250. Such version of “The Sleeping Beauty” is in Dolná Krupá. It is known, that in 1872 Cauer made two of this statue – one for Grand Duke von Mecklenburg-Schwerin and one for Count von Hohenzollern. The question is if the statue in Dolná Krupá is one of those two or if it is another one. “The Sleeping Beauty” from Dolná Krupá is linked with the rosarium of Countess Marie Henrieta Chotek (1863–1946), but she was only nine years old when the sculpture was made, so if, she came to it later.
Only preserved piece (in full) of “The Sleeping Beauty” is nowadays in Schlossparkmuseum in Bad Kreuznach. This piece can serve as a model for restoration even though it is not exactly the same in detail as the piece in Dolná Krupá.
Cauer’s statue is following the Neoclassical canon, it can be compared with e. g. “The Dying Lucretia” by Canova’s pupil Damian Campena y Estany (1834). The touch of Romanticism can be seen in the Gothic elements (the dress, the chair). The story of Sleeping Beauty is very old. Its versions can be found in French romance Perceforest (around 1330), in the books written by G. Basile (1634) and Ch. Perrault (1697) and all above by Grimm brothers (1812). In Germany the story was connected with Northern mythology that was, unfortunately, misused in Nazi propaganda. The Sleeping Beauty and her Prince were compared to Brunhild and Siegfried from Nibelungenlied
and to Brunichild and Sigibert I of Merovingian from the history of Franks. In the 19th century the Grimm brothers version of the story was translated to English (sir E. Taylor, 1823), to Czech (F. B. Tomsa, 1833) and to other languages. Nonetheless The Sleeping Beauty story was not a part of the first collections of Slovak fairy tales.
Before Cauer’s statue was made, the story become a theme for illustrations (L. E. Grimm, 1819; E. H. Wehnert, 1853; G. Doré, 1861), ballet pantomime (J. P. Aumers and F. Hérold, 1829), live act photography (J. Albert, 1869), graphics (G. Krüll, M. Michael, W. Simmler, 1869) or oil paintings (F. E. Meyerheim, 1870; R. Risse). The late 19th century works were even better from the artistic point of view, e. g. the paintings by H. Wislicenus (1877–1890), Th. R. Spence (1886), H. M. Rheama (1899), statue by L. Sussmann-Hellborn (1878); paintings by Pre-Raphaelites as E. Burne-Jones (1885 – 1890) and W. Crane (around 1880); or ballet by P. I. Tchajkovskij (1889).
In various pieces from Symbolism and Art Nouveau style this fairy tale became an excuse for visual display of beautiful femme fatal as well as of floral motives. Cauer’s statue in Dolná Krupá is unique in Slovakia because there is no other historical sculpture (or painting) of The Sleeping Beauty known here.

[the full article in http://www.engramma.it/eOS/index.php?id_articolo=3579]

Around 1515, Titian (Tiziano Vecellio) was called by Alfonso d'Este to complete his “Camerino delle pitture”: Titian found the cycle begun by Giovanni Bellini with the so-called Feast of the Gods – a painting that Titian himself retouched heavily to satisfy the client's tastes. The other three paintings in the series were inspired, in varying degrees, by the text of Imagines by Philostratus that Demetrius Mosco had recently vulgarised for Alfonso's sister, Isabella.

Titian drew inspiration from the ekphrasis of ancient paintings and yet interpreted them freely, going as far as inventing, for the image that concludes the cycle The Bacchanal of the Andrians (1523-1524), the figure of sleeping maenad that had as its model a statue that just recently had entered the collection of Julius II: the Vatican Ariadne. It should be noted, however, that at the time, the sculpture was identified as Cleopatra. But Titian, with brilliant artistic intuition, sees in that Sleeping Beauty the bacchante par excellence, Dionysus’ bride: Ariadne.

The essay also presents, in an Appendix, the excerpts from Imagines by Philostratus ((I.24 ΑΝΔΡΙΟΙ, I.6 ΕΡΩΤΕΣ, I.16 ΑΡΙΑΔΝΗ), which inspired the painter for the cycle: a Greek text, with Italian translation and the vulgarisation by Demetrio Mosco that Alfonso (and therefore Titian) had at his disposal.

This paper  challenges a longstanding consensus on the need to foreground the homogeneity, purity, and simplicity of fairy tales. It argues that the core of fairy tales is enchantment,  a phase ruled by lunar time. The discussion examines a transmedial string of variants of “The Maiden in the Tower” (ATU 310) and “Sleeping Beauty” (ATU 410)—stories about girls in the dark forest, suspended between heaven and earth, who are ushered by ambivalent witches/fairies into a fateful transition. As girls spin a spindle, they cycle along with the moon; as they prick a finger, they mark with blood the thread of their lives. Cyclic time, which straddles opposites, breeds pervasive fairy-tale hybridity.
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A historia do estudio Walt Disney Pictures non sería a mesma sen as adaptacións literarias. Dos cincuenta e catro filmes considerados “clásicos Disney”, corenta e seis (o 85%) parten dunha base escrita que a compañía versionou. E dentro destas adaptacións, especial importancia teñen os contos de fadas. Ao longo do tempo, a empresa viviu catro etapas particularmente brillantes: a finais dos anos trinta, a década dos cincuenta, o último decenio do século XX e o momento presente. Todas elas se iniciaron, sen excepción, levando á pantalla grande un conto protagonizado polas que pasaron a converterse en princesas disneysianas. O éxito destas películas foi tal que devoraron as versións anteriores -moitas delas mundialmente coñecidas- e as que prevalecen na actualidade son as que o estudio contou. E como son esas versións? Edulcoradas, dulcificadas, simplistas e americanizadas son algúns dos adxectivos que os críticos empregan para definilas. Blancanieves, Pinocho, Bambi, Cenicienta e La bella durmiente son exemplos nos que podemos atopar estas características.

With the notable exception of David Lewis, most of those writing on the Sleeping Beauty problem have argued that 1/3 is the correct answer. Terence Horgan has provided the clearest account of why, contrary to Lewis, Beauty has evidence against the proposition that the coin comes up heads when she awakens on Monday. In this paper, I argue that Horgan’s proposal fails because it neglects important facts about epistemic probability.

O presente trabalho tem como objetivo geral investigar a possível suavização de conteúdos originalmente violentos em uma versão mais antiga e uma mais recente do conto A Bela Adormecida, sendo elas: 1) Sole, Luna e Talia (1634), escrito pelo italiano Giambattista Basile (1575-1632) e a releitura do mesmo conto, intitulada La Belle au bois dormant (1697), escrita pelo francês Charles Perrault (1628-1703). Ademais, temos como objetivos específicos explorar o contexto sócio-histórico das duas versões do conto em questão, identificar eventuais modificações realizadas, assim como levantar variáveis que possam ter contribuído para a eventual ressignificação dos dados referentes à violência. Como procedimentos metodológicos, primeiramente foi feita a leitura da tradução do conto mais antigo, com o intuito de identificar e coletar as manifestações de violência e, em seguida, realizamos a leitura da versão mais recente, a fim de explorar a eventual ressignificação das manifestações de teor violento. Na sequência, foi feita a exposição de modificações identificadas a partir da leitura das duas versões do conto e, por fim, fizemos a revisão da literatura a fim de explorar o panorama sócio-histórico em busca de variáveis que possam ter contribuído para a eventual suavização de tais conteúdos de teor violento. De acordo com Darnton (1988, p. 26), "os contos populares são documentos históricos, surgiram ao longo de muitos séculos e sofreram diferentes transformações, em diferentes tradições culturais". Em vista disso, é relevante que haja estudos exploratórios que busquem explicações para modificações nos elementos que compunham os contos originais fazendo relações com os momentos históricos a que as diferentes versões dos contos pertencem. Esperamos por meio desse trabalho estimular a reflexão sobre a relação entre sociedade e produção literária em diferentes momentos da história.

This paper aims to investigate the possible softening of originally violent content in an earlier version and in a more recent one of the tale Sleeping Beauty: 1) Sole, Luna e Talia (1634), written by Giambattista Basile (1575-1632) and the retelling of the same tale, entitled La Belle au bois dormant (1697), written by Charles Perrault (1628-1703). In addition, we aim to explore the social-historical context of the two versions of this tale to identify possible modifications as well as to raise variables that may have contributed to the eventual redefinition of data regarding violence. According to Darnton (1988, p. 26), “folktales are historical documents, have emerged over many centuries and have undergone different transformations in different cultural traditions”. Therefore, it is relevant to seek explanations for the modifications in the elements that made up the original tales, while making connections with the historical moments to which the different versions of the tales belong. We hope, hereby, to stimulate reflection on the relationship between society and literary production at different moments in history.

The Sleeping Beauty (SB) element is a useful tool to probe transposon-host interactions in vertebrates. We investigated requirements of DNA repair factors for SB transposition in mammalian cells. Factors of nonhomologous end joining (NHEJ), including Ku, DNA-PKcs, and Xrcc4 as well as Xrcc3/Rad51C, a complex that functions during homologous recombination, are required for efficient transposition. NHEJ plays a dominant role in repair of transposon excision sites in somatic cells. Artemis is dispensable for transposition, consistent with the lack of a hairpin structure at excision sites. Ku physically interacts with the SB transposase. DNA-PKcs is a limiting factor for transposition and, in addition to repair, has a function in transposition that is independent from its kinase activity. ATM is involved in excision site repair and affects transposition rates. The overlapping but distinct roles of repair factors in transposition and in V(D)J recombination might influence the outcomes of...