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Journal articles on the topic 'Fairy tale tradition'

Author: Grafiati

Published: 29 June 2021

Last updated: 1 February 2022

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1

Magnanini, Suzanne, and Ruth B. Bottigheimer. "Fairy Godfather: Straparola, Venice and the Fairy Tale Tradition." Sixteenth Century Journal 35, no. 2 (July 1, 2004): 627. http://dx.doi.org/10.2307/20477028.

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McGlathery, James M. "Fairy Godfather: Straparola, Venice, and the Fairy Tale Tradition (review)." Lion and the Unicorn 28, no. 1 (2004): 157–59. http://dx.doi.org/10.1353/uni.2004.0007.

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Carminati, Clizia. "Fairy Godfather: Straparola, Venice, and the Fairy Tale Tradition (review)." Marvels & Tales 18, no. 2 (2004): 317–20. http://dx.doi.org/10.1353/mat.2004.0026.

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Kozlova, N. K. "The fairy-tale repertoire of A. S. Kozhemyakina collected by Omsk local historian I. S. Korovkin (based on materials of the folklore archive of the Omsk State Pedagogical University)." Languages and Folklore of Indigenous Peoples of Siberia, no. 38 (2019): 5–15. http://dx.doi.org/10.25205/2312-6337-2019-2-5-15.

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The article is devoted to the analysis of fairy-tale material from the folklore collection of the Omsk local historian I. S. Korovkin whose wide collection of folklore materials is stored in the folklore archive of the Omsk State Pedagogical University. The article will focus on the texts of fairy tales written by a collector from a Siberian performer Anastasia Stepanovna Kozhemyakina, manuscripts of these recordings are stored in the folklore archive of the Pedagogical Uni- versity. Of the 40 fairy tales recorded by Korovkin from the performer, the author of the article was able to identify (from archival records and published materials) 36 texts. The repertoire represents the Russian old-time tradition of Siberia. Tales by A. S. Kozhemyakina reflect the process of the existence of a folklore text in the oral tradition (which is typical for the late XIX - early XX centuries). The bearers of the tradition have a certain “baggage” or a set of elements specific for a particular genre (poetic, content) in order to “form” a text from these elements when reproducing it. "Forming" a fairy tale, Kozhemyakina takes out any element, image, plot episode, etc. from her fairy-tale "baggage". It includes not only fairy-tale, but also epic episodes, formulas, elements, as well as images, plot conflicts from adventure stories or novels. Fairy-tale contaminations are also peculiar. They are as well due to the specifics of the oral existence of fairy tales. A special publication of this fairy-tale heritage with scientific commentary on each text is needed.

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Otero, Ellan Bethia. "Fairy Godfather: Straparola, Venice, and the Fairy Tale Tradition (review)." Children's Literature Association Quarterly 28, no. 3 (2003): 180–81. http://dx.doi.org/10.1353/chq.0.1366.

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6

Springman, Luke, and Jack Zipes. "The Oxford Companion to Fairy Tales. The Western Fairy Tale Tradition from Medieval to Modern." German Quarterly 74, no. 3 (2001): 308. http://dx.doi.org/10.2307/3072790.

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Kowalczyk, Kamila. "Transformacje wzorców baśniowych w literaturze dziecięcej obecnej na współczesnym rynku wydawniczym." Literatura i Kultura Popularna 23 (May 31, 2018): 135–51. http://dx.doi.org/10.19195/0867-7441.23.9.10.

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Transformation of fairy tales patterns in children’s literature available on the contemporary publishing marketWhat the contemporary publishing market offers the youngest readers are texts that make various forms of fairy tale characters — a strongly representative group among them consists of texts that are transformations of fairy tale patterns that are deeply rooted in the mass imaginations including children’s imagination, which promote a new version of a well-known story: fairy tale renarrations. Such texts not only constitute evidence of changes in the fairy tale genre, but also prove the continuous updates on fairy tales. The aim of the article is to present and discuss how the authors modify specific characteristics of the fairy tale and play with its tradition. The examples of recognizable fairy tale patterns that are deeply rooted in the culture Little Red Riding Hood, Snow White, Hansel and Gretel, Sleeping Beauty, Cinderella were used to present the primary mechanisms of use and modification of fairy tales in children’s literature on the post-2000 Polish publishing market.The description of intertextual relationships between the fairy tale patterns and their renarrations renarration mechanisms has been supplemented with an analysis of influence of popular culture on children’s literature interpenetrating of cultural and literary circulations and the fashion for fairy tales. The studied works include those that have been written with gender education in mind, promotion of knowledge on rights of a child or the environment and those primary aim of which is to entertain the young audience through reading. The article is also an encouragement to reflection on the genealogy of contemporary fairy tales and the shape, in which the “children’s fabulous fairy-tale-sphere” functions, and the factors that influence it.

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Bosmajian, Hamida. "The Fairy Tale Controversy: Oral Tradition, Texts, "the Text"." Children's Literature Association Quarterly 14, no. 3 (1989): 151–53. http://dx.doi.org/10.1353/chq.0.0777.

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Zańko, Aldona. "”In Memory of the Snow Queen” – Hans Christian Andersen Recalled and Retold." Folia Scandinavica Posnaniensia 27, no. 1 (December 1, 2019): 35–50. http://dx.doi.org/10.2478/fsp-2019-0006.

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Abstract The main focus of the present paper is the so-called “intertextual revision”, explored as one of the most recent and innovative strategies employed while reviving the legacy of the Danish fairy-tale classic Hans Christian Andersen. In order to illustrate this practice, I discuss a short story entitled Travels with the Snow Queen (2001), by an American writer Kelly Link, which is a reworking of Andersen's worldfamous fairy tale The Snow Queen (1844). Link’s take on Andersen’s tale represents one of the leading directions within revisionary fairy-tale fiction, inspired by feminism and gender criticism. The analysis is centered around the narrative strategies employed by the author in order to challenge the gender logic incorporated into Andersen’s account, as well as the broader fairy-tale tradition it belongs to.

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Zahoor Hussain, Iram Rubab, and Muhammad Ajmal. "A Structural Analysis of the Pakistani Fairy Tale the Moon King and Rose Princess." sjesr 3, no. 4 (December 25, 2020): 168–73. http://dx.doi.org/10.36902/sjesr-vol3-iss4-2020(168-173).

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The purpose of this study was to have a structural analysis of fairy tales of Pakistan. Being a part of an old civilization, Pakistan has also the rich and centuries-old oral tradition of storytelling. The fairy tale The Moon King and Rose Princess of the same Pakistani traditional background was recorded and transcribed and analyzed using Propp's structural model. The analysis showed that all the 31 functions were present and these functions occurred in the plot in the same sequential arrangement as was given by Propp. The study had a conclusion that there are the same functions and their occurrences in the plot of the Pakistani fairy tales only with minor differences. The study received great admiration and recognized the Pakistani fairy tales.

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Agapitova, Ekaterina. "ФОЛЬКЛОРНО-СКАЗОЧНАЯ ТРАДИЦИЯ В ТВОРЧЕСТВЕ И. А. ЕФРЕМОВА." Проблемы исторической поэтики 14, no. 2 (December 2016): 211–21. http://dx.doi.org/10.15393/j9.art.2016.3767.

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Mainil, Jean. "The Classic Fairy Tales/The Great Fairy Tale Tradition, from Straparola and Basile to the Brothers Grimm." Féeries, no. 1 (February 1, 2004): 209–12. http://dx.doi.org/10.4000/feeries.91.

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Dan Ben-Amos. "Introduction: The European Fairy-Tale Tradition between Orality and Literacy." Journal of American Folklore 123, no. 490 (2010): 373. http://dx.doi.org/10.5406/jamerfolk.123.490.0373.

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Dan Ben-Amos. "Introduction: The European Fairy-Tale Tradition between Orality and Literacy." Journal of American Folklore 123, no. 490 (2010): 373–76. http://dx.doi.org/10.1353/jaf.2010.0003.

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Amor Barros-del Rio, Maria. "Emma Dononghue’s and James Finn Garner’s Rebellious Cinderellas: Feminism and Satire for Empowerment in Contemporary Fairy Tales." International Journal of Applied Linguistics and English Literature 7, no. 5 (September 1, 2018): 239. http://dx.doi.org/10.7575/aiac.ijalel.v.7n.5p.239.

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The end of the 20th century witnessed a rewriting of traditional tales for children in English. In 1997, Irish writer Emma Donoghue published Kissing the Witch: Old Tales in New Skins, a sequence of re-imagined fairy tales that was shortlisted for the James L. Tiptree Award. In 1994, American writer James Finn Garner had also re-written many well-known stories for children and had them compiled in a single volume: Politically Correct Bedtime Stories. These new versions of Cinderella incorporate formal, structural and ideological alterations that subvert the traditional fairy tale genre. Using intersectionality as a theoretical research framework, the analysis of these works demonstrates that when the matrix of social power is dissected, the existing networks of oppression are exposed. While both versions are centred around gender, Donoghue and Garner employ different strategies, namely queer alliances and parodic scenes respectively, with the aim of overcoming the same structural obstacles. The resulting characters are rebellious and successful women who challenge tradition and open new horizons for female empowerment through the reinvention of the fairy tale genre.

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Stroganova, E. N. "ON M.E. SALTYKOV-SHCHEDRIN’S FAIRY TALE “WILD LANDOWNER”." Culture and Text, no. 44 (2021): 6–13. http://dx.doi.org/10.37386/2305-4077-2021-1-6-13.

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M. E. Saltykov-Shchedrin’s classic fairy tale “Wild Landowner” is considered in two aspects. First, it is viewed from the point of view of satirical tradition in the depiction of the “silly” landowner, which is found in the magazines of N. I. Novikov “Truten” and “Children’s reading for heart and mind.” The article also shows that in his subsequent work, Saltykov repeatedly returns to the intended imagery, which is used not only to denounce noble conservatism, but also in a wider sense.

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Knox, Susanna. "Framing fantasy: Fairy tale and literary tradition in Ramondino'sStorie di patio." Italianist 18, no. 1 (June 1998): 187–212. http://dx.doi.org/10.1179/ita.1998.18.1.187.

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Orlova, Olga Iu. "FOLKLORE MOTIVES AND THEIR REINTERPRETATION IN THE WORK OF AMERICAN WRITER L.F. BAUM." Volga Region Pedagogical Search 34, no. 4 (2020): 30–35. http://dx.doi.org/10.33065/2307-1052-2020-4-34-30-35.

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. It is generally considered that the genre of the literary fairy tale in Europe expressed itself amply in the age of romanticism and used folklore imagery and motifs, as many other literary genres. But the folklore of Native Americans is also known to be ignored by authors in the USA. At the beginning the European folk tales served as the basis for the literary fairytale in the United States. Nonetheless, by the 20th century the authors had decided to create their own national fairy tale tradition. The article deals with the problem of folklore motifs reshaping in the collection entitled “American Fairy Tales” by L.F. Baum. There are some recurrent folklore motifs in the fairy tales: the motif of the forbidden door, the magical object, etc. At the same time, imagery of natural objects typical of North America (corn fields, huge cities with apartment houses) add some new traits to the national variant of the fairytale.

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Algül, Mustafa. "Anlatı İçinde Anlatı: “Into The Woods (Sihirli Orman)” Filminin Peri Masalı Anlatıları İçindeki Gezintisi." Etkileşim 4, no. 7 (April 2021): 128–49. http://dx.doi.org/10.32739/etkilesim.2021.7.121.

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Myths, epics, and tales have survived for centuries in the oral expression tradition and have been permanently transcribed from oral tradition into written form. They are the most frequently recreated narratives in the cinema with their fantastic narrative structures. Hollywood cinema has been using tales as visual narratives for years. Tales, which have been turned into a structure open to the interpretation in accordance with the changing world, on the one hand is being reediting continuously. On the other hand, they gain new appearances along with intertwined narrative structures. In Into the Woods (Rob Marshall, 2014), four different fairy tales were used together. In this study, it is aimed to determine what kind of changes has been carried out in the film in terms of the different stages of the fairy tales. For this purpose, while collecting the data by examining the narrative structure of the fairy tales, the action areas are identified in terms of the “five components” in the Greimas’ ‘canonical narrative’. Briefly, the main object in this paper is to explicate the status of the film within the types of the cinematic narratives.

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20

Ávila, Myriam. "Catarse e final feliz." Aletria: Revista de Estudos de Literatura 8 (March 2, 2018): 127–32. http://dx.doi.org/10.17851/2317-2096.8..127-132.

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Resumo: É a certeza de que nada mais – ou nada importante – pode acontecer após o final de um conto que permite o acontecimento da catarse. Se na maioria das narrativas existe algum tipo de dénouement, em algumas delas isso acontece de maneira especialmente satisfatória e afirmativa. O conto de fadas é uma dessas formas narrativas onde o efeito catártico é extremo e preenche objetivos específicos, de acordo com Bruno Bettelheim. Hollywood mimetizou essa forma como estratégia de sedução, iniciando a tradição do final feliz no cinema. A partir do conto de fadas Cinderela, em diferentes versões, juntamente com a animação homônima da Disney e ainda duas versões do filme Sabrina, será traçada aqui uma relação entre a catarse e o final feliz nos contos de fada, bem como seu uso pela indústria cultural.Palavras-chave: catarse; contos de fada; Hollywood.Abstract: It is the certainty that nothing else – or nothing important – can happen after the closing of a tale that allows catharsis to take place. If in most narratives there is a kind of dénouement, in some forms it will be specially satisfactory and reassuring. The fairy tale is one of those forms in which the cathartic effect is uppermost and fulfills specific aims, according to Bruno Bettelheim. The Hollywood movie mimetized its form as strategy of seduction, starting the tradition of the happy end in film. Taking as a model the fairy tale “Cinderella” in different versions, along with Disney’s homonimous animation and two versions of the film “Sabrina”, a relation will be traced here between catharsis and happy end in fairy tales and its use in the cultural industry.Keywords: catharsis; fairy tales; Hollywood.

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Naumowska, Olesia. "Концепт «Смерть» В Українській Народній Казці." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 49, no. 4 (January 31, 2021): 69–86. http://dx.doi.org/10.36770/bp.546.

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The article analyzes the concept of «death» in folklore (fairy tale) text at three levels: 1) as an object (embodied in a concrete character); 2) as a process (implemented through a motive); 3) as a spatial concept (expressed through the locus). 1) Anthropomorphic image of death in folk fairy prose functions in samples of novels. In the Ukrainian folk fairy tale tradition, the character of death is represented only as feminine gender. Unlike the western European tradition of depicting Death in the form of a skeleton with a scythe, in the Ukrainian tale it is an anthropomorphic character without any signs of decomposition (the scythe as its attribute occurs very rarely in the texts). The fairy tale emphasizes on such features of the death character as inevitability, justice, courtesy and nobility. 2) The motive of the death of the protagonist is frequent for a magic types of fairy tale. The motive of dying are mainly concerns protagonists and is realized through the motives of the hero’s journey to the otherworld. It is noteworthy that such a trip is stratified according to the gender principle: the voluntary journey of the hero, connected with the conflict in which the woman is mostly involved, and the forced journey of the heroine, who often does not suspect its true reason - the intention of the antagonist / evil stepmother who wants to see her perish. The motive of the death of the protagonist is predominantly in the enchanting heroic fairy-tales, where it is realized: a) through the swallowing of the hero by a monster, often a fish; b) petrification of the hero as a result of violation of the prohibition of keeping silence made by demonological beings; c) the murder of a hero by a traitor or antagonist (as a rule, with the further resurrection of the protagonist with the help of «healing and living water»). 3) The analysis of the texts confirms the presence of both vertical and horizontal planes with the semantics of the space of death. The horizontal plane does not have any vector (the fairy tale does not emphasize the eastern, western, southern or northern directions of the hero’s movement to the otherworld), but these planes always belong to the boundary space (the most frequent locus is the forest). The vertical plane of the death locus is located in the underground (lower projection of the vertical vector) and the celestial (upper projection of the vertical vector) worlds with the domination of the lower projection.

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Gavela-Ramos, Yvonne. "Monstrosity and the fairy-tale tradition in El laberinto del fauno and Camino." Studies in Hispanic Cinemas 9, no. 1 (April 1, 2012): 3–18. http://dx.doi.org/10.1386/shci.9.1.3_1.

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Fransiska Jaiman Madu, Mariana Jediut, and Maria Rahayu Anwar. "MELESTARIKAN KEARIFAN LOKAL DAERAH MANGGARAI MELALUI KEGIATAN MENDONGENG PADA ANAK SEKAMI USIA SD DI PAROKI SANTU NIKOLAUS KELURAHAN GOLO DUKALMELESTARIKAN KEARIFAN LOKAL DAERAH MANGGARAI MELALUI KEGIATAN MENDONGENG PADA ANAK SEKAMI USIA SD DI PAROKI SA." JIPD (Jurnal Inovasi Pendidikan Dasar) 4, no. 1 (January 31, 2020): 62–70. http://dx.doi.org/10.36928/jipd.v4i1.360.

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MELESTARIKAN KEARIFAN LOKAL DAERAH MANGGARAI MELALUI KEGIATAN MENDONGENG PADA ANAK SEKAMI USIA SD DI PAROKI SANTU NIKOLAUS KELURAHAN GOLO DUKAL Abstract: Storytelling is a form of oral tradition as a means of communication and recording the events of life or human civilization of the past. Fairy tales are one of the places to preserve local wisdom. As for the fairy tale here is the fairy tale of the Manggarai area. Manggarai fairy tales were chosen with the aim of introducing various local wisdoms contained in these tales. this activity aims to; 1) introducing various local wisdoms in the Manggarai area to children of primary school age; 2) growing love for various local wisdoms in the Manggarai area; 3) grow and develop children's mental and ability to speak in frontother friends.in its implementation, this activity goes through several stages namely; 1) preparation stage which includes coordination of the service team, contacting partners, determining the schedule of activities, and procuring Manggarai folklore books; 2) the stage of implementation of activities which includes mentoring and training fordevelop the ability of children SEKAMI in knowing tales and storytelling.this activity aims to improve the ability of children SEKAMI in knowing more stories and good ways of storytelling; 3) the final stage includes storytelling and evaluation activities related to the effectiveness of service activities. this activity went well and the objectives of the activity were achieved.

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Nesterova, Olga A. "The Chronotope of Fairy Tale in Guzel Yakhina’s Novel “My Children”." Observatory of Culture 16, no. 6 (December 30, 2019): 584–94. http://dx.doi.org/10.25281/2072-3156-2019-16-6-584-594.

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The article examines the chronotope of fairy tale as a basic plot component in the structure of the novel “My Children” by the contemporary Russian writer Guzel Yakhina. The article investigates the ways of archetypical space functioning within the system of mythological time, and analyzes the principal space and time coordinates of the lives of main characters and their interaction. There is shown that Yakhina’s appeal to the genre elements of fairy tale allows her to underscore the universal and all-encompassing nature of the historical processes that shaped the tragic fate of the Volga Germans in Soviet Russia. In the novel “My Children”, the plots and images of German folklore serve as a basic model for organizing different types of space arising from the stable archaic communicative models and cultural archetypes of folk tradition. The novel presents such elements of the space and time continuum of fairy tales as the existence of borders (both open and closed) and the character’s travels within different worlds; the transformative capacity of space and time (extension and compression, appearance and disappearance, plasticity and rigidity, dynamic and static properties, etc.); the link between the “lower” and the “upper” worlds or the “space of giants” and the “space of dwarves”; and the mutual influence of space and time characteristics. The article identifies the semiotic and semantic properties of the underground, underwater, aquatic, terrestrial and aerial spaces presented in the novel. The everyday and socio-historical space and time continua in the novel are a mirror reflection of the space and time characteristics of fairy tale, while archetypes are incarnated in the domain of social interaction. Yakhina’s novel “My Children” presents such chronotopic features as relativism, invariance, and symmetry. The use of the archetypical structure of fairy tale allowed the writer to make a literary analysis of complex socio-cultural and socio-psychological processes.

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Duggan, Anne E. "The Great Fairy Tale Tradition: From Straparola and Basile to the Brothers Grimm (review)." Marvels & Tales 16, no. 2 (2002): 295–98. http://dx.doi.org/10.1353/mat.2002.0016.

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Knox, Susanna. "Framing fantasy: Fairy tale and literary tradition in Ramondino's Storie di patio." Italianist 18, no. 1 (June 1, 1998): 187–212. http://dx.doi.org/10.1179/026143498791967022.

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Добровольская, Варвара Евгеньевна. "The Fairy Tale Finist the Bright Falcon (CIP 432) in the Russian folklore tradition and literature." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 5 (December 10, 2019): 113–27. http://dx.doi.org/10.26158/tk.2019.20.5.009.

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В мировом фольклоре сюжетный тип ATU «The Prince as Bird / Принц-птица» 432 представлен у многих народов. Историю сюжета принято связывать с рыцарской поэзией Средневековья. Сюжет популярен в европейских, американских и азиатских сказочных традициях, однако русская версия имеет ряд особенностей. Помимо зафиксированных в указателе вариантов данного сюжетного типа, автор статьи выявил еще ряд текстов данного сюжетного типа. Выявлены и тексты, ошибочно причисляемые к сюжетному типу 432. Русская версия сюжета «Финист Ясный Сокол» популярна в устной и письменной традиции. Это полностью сформированный сюжет, который практически не подвергался трансформациям с 1795 г., когда один из вариантов сказки был впервые опубликован. Существуя в устном бытовании, сюжет редко соединяется с другими сюжетными типами. В основном такие контаминации являются проявлением индивидуального мастерства сказочника или свидетельством разрушения традиции. Сказка оказалась привлекательной и для авторской литературы, однако только Андрей Платонов сохранил структуру сказочного текста. В своем произведении писателю удалось продемонстрировать тенденции, происходящие с фольклорным текстом в 40 годы ХХ в. Другие авторы (Шестаков, Прокофьева, Токмакова, Шерман, Рубанов) активно использовали мотивы, присущие данному сюжетному типу, но не сохранили в своих произведениях сюжетного каркаса сказки. In world folklore, the plot type ATU “The Prince as Bird / Prince-Bird” 432 is represented in traditions of many peoples. The story is usually associated with the chivalry poetry of the Middle Ages. The plot is popular in European, American and Asian fairy - tale traditions, but the Russian version has a number of specific features. In addition to the variants of this plot type fixed in the index, the author of the article revealed a number of other texts of this plot type. In addition, texts erroneously assigned to plot type 432 were found and excepted. The Russian version of the plot “Finist the bright falcon” is popular in the oral and written tradition. This is a fully formed plot that has not undergone any transformation since 1795, when one of the versions of the tale was first published. While existing in purely oral tradition, the plot rarely connects with other plot types. Basically, such contamination is a manifestation of the individual skill of the storyteller or evidence of the destruction of tradition. The tale turned out to be attractive for the author’s literature; however, only Andrei Platonov retained the structure of the fabulous text. In his work, the writer was able to demonstrate the trends that occur with this folklore text in the 40s of the XX century. Other authors (Shestakov, Prokofiev, Tokmakova, Sherman? Rubanov) actively used the motifs inherent in this plot type, but did not save the fairy - tale story plot in their works.

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Seferova, Esma Enverovna. "Genesis and functions of the motifs of initiation in the Crimean Tatar epic tale." Филология: научные исследования, no. 2 (February 2020): 50–57. http://dx.doi.org/10.7256/2454-0749.2020.2.32062.

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The subject of this research became the examination of genesis and functions of the motif of initiation within the Crimean Tatar magic tale. The ritual of initiation is an important social institute of pre-class society, which serves as the foundation of folk tradition for the peoples of the world. The archaic forms of this motif are associated with the mythological rituals-initiations. The motif of initiation in a magic tale often become the core of the plot and compositional structure. Special attention deserves the concept of the scholar Kerim Camanaqlı, who underlined the role of mythological images in development of the storyline of Crimean Tatar tales, as well as primeval roots of these images. The methodology and theoretical framework of the study is the compilations of Crimean Tatar tales of the early XX century “Tales and Legends of Crimean Tatars” (1936) and “Tales for Children” (1939), dictionaries, scientific writings of the prominent folklorists and literary historians. The novelty consists in revelation of the fact that Crimean Tatar magic tales, containing various compositional elements in their structure, include the pair “dying – rebirth”. The indicated elements of the composition of a magic tale emerged and formed under the influence of mythological rituals. By the specific attributes, the ritual of initiation in the tales can carry different functions and forms. Poetic transformation of the motif of initiation defines the peculiarities of magic tales. The main conclusion consists in the ethnographic ritualistic archaic, which vividly manifests in the Crimean Tatar magic tale, inherent with the formation of fundamentals of the tale, its initial structure, situations, images, system of poetic language and artistic means. Mythical character somewhat alienates from previous mythologicity and comes closer to a fairy image, being included into a fairy civilization.

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Ribeiro Filho, Paulo César. "Sobre a Natureza dos Contos de Fadas." Literartes 1, no. 12 (December 8, 2020): 44–70. http://dx.doi.org/10.11606/issn.2316-9826.literartes.2020.176347.

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A 12ª edição da Revista Literartes, segundo número dedicado a reflexões artísticas, teóricas e críticas acerca do maravilhoso feérico em seus múltiplos suportes e mídias, tem o prazer de entrevistar uma das maiores referências mundiais em termos de pesquisa sobre o conto de fadas: Ruth Bottigheimer, docente junto ao Departamento de Análises Culturais e Teoria da Universidade Pública de Nova York em Stony Brook. Ruth dedicou grande parte de sua formação acadêmica a áreas como Língua e Literatura Germânica, História Medieval, História da Ilustração e História da Bíblia. Formou-se na Universidade de Berkeley, Califórnia, na Universidade de Munique e no Colégio Universitário de Londres. Ao longo de mais de cinquenta anos de magistério, ministrou aulas nas Universidades de Viena, Princeton e Califórnia. É membro da Sociedade Internacional de Pesquisa em Narrativas Folclóricas e da Associação de Literatura Infantil, entre outras. Entre suas principais obras, destacam-se: Grimm’s Bad Girls and Bold Boys: The Moral and Social Vision of the Tales (“As Meninas Más e os Garotos Durões de Grimm: A Visão Moral e Social dos Contos”, Yale University Press, 1987), Fairy Tales and Society: Illusion, Allusion and Paradigm (“Contos de Fadas e Sociedade: Ilusão, Alusão e Paradigma”, University of Pennsylvania Press, 1987), Fairy Godfather: Straparola, Venice, and the Fairy Tale Tradition (“O Padrinho das Fadas: Straparola, Veneza e a Tradição dos Contos de Fadas”, University of Pennsylvania Press, 2002), Fairy Tales: A New History (“Contos de Fadas: Uma Nova História”, State University of New York Press, 2009), Fairy Tales Framed: Early Forewords, Afterwords, and Critical Words (“Contos de Fadas em Moldura: Prefácios, Posfácios e Notas Críticas”, State University of New York Press, 2012) e Magic Tales and Fairy Tale Magic from Ancient Egypt to the Italian Renaissance (“Contos de Magia e a Magia dos Contos de Fadas do Antigo Egito à Renascença Italiana”, Palgrave Macmillan, 2014). Nesta entrevista, exploramos temas como a história do conto de fadas, as fontes modelares do gênero e os contos de fadas de autoria feminina, convidando nossos leitores a refletirem sobre as mais recentes descobertas feitas nesse campo de estudos.

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Dobrovol’skaya, Varvara E. "Russian Fairy Tales from Karelia in the Context of the Russian Fairy-Tale Tradition: the Case of the Plot Type 709, the Magic Mirror (Dead Princess)." Texts and History: Journal of Philological, Historical and Cultural Texts and History Studies 2 (2020): 27–47. http://dx.doi.org/10.31860/2712-7591-2020-2-27-47.

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Nurwicaksono, Bayu Dwi. "FOLKLOR LAPINDO SEBAGAI WAWASAN GEO-CULTURE DAN GEO-MYTHOLOGY BERBASIS KEARIFAN LOKAL DALAM PEMBELAJARAN BAHASA INDONESIA BAGI PENUTUR ASING (BIPA)." Jurnal Pendidikan Bahasa dan Sastra 13, no. 1 (April 1, 2013): 62. http://dx.doi.org/10.17509/bs_jpbsp.v13i1.761.

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Abstrak Kearifan lokal tentang insiden lumpur Lapindo adalah cerita rakyat tentang kejadian di masa lalu yang dapat digunakan sebagai pelajaran pada masa kini dan masa depan, tentang dongeng Candi Tawangalun dan dongeng Emas Ketimun. Terlepas apakah itu sebuah dongeng yang pernah terjadi secara empiris atau hanya realitas-fiksi, kehadirannya dapat digunakan sebagai pijakan untuk memahami peristiwa (bencana) dari perspektif budaya. Wawasan Geo-Budaya dan Geo-Mitologi dalam cerita rakyat Lapindo bisa menjadi alternatif bahan pembelajaran kontekstual berbasis kearifan lokal dalam pembelajaran bahasa Indonesia untuk penutur asing karena kontekstualitas dan substansi nilai-nilai yang terkandung di dalamnya sangat menarik. Praktek pembelajaran bahasa Indonesia untuk penutur asing di Australia diketahui bahwa cerita tradisi lisan tapi cerita hanya sebagai pelengkap tradisi lisan sama pentingnya dengan pengetahuan tentang tata bahasa, bahkan dengan pengenalan tradisi lisan cerita, pembelajar BIPA akan mengetahui tentang budaya Indonesia. Kata-kata kunci: cerita rakyat, Geo-Culture, Geo-Mythology, kearifan lokal, BIPA Abstract Local wisdom about Lapindo mudflow incident is the folklore about the events in the past that can be used as a lesson on the present and future, that fairy tales Tawangalun Temple and fairy tale Golden Cucumber. Regardless whether it's a fairy tale ever happened empirically or just reality-fiction, its presence can be used as a foothold for understanding the events (disasters) from the perspective of the present culture. Insights Geo-Culture and Geo-Mythology in Lapindo folklore can be an alternative contextual teaching materials based on local wisdom in learning Indonesian for foreign speakers because contextuality and substance of the values contained in it very interesting. Practice learning Indonesian for foreign speakers in Australia is known that oral tradition story but the story only as a complement to the oral tradition is just as important as knowledge of grammar, even with the introduction of the oral tradition of story, BIPA learners will know the culture of Indonesia.Keywords: folklore, Geo-Culture, Geo-Mythology, local wisdom, BIPA

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Szargot, Maciej. "Baśnie w Starej baśni Józefa Ignacego Kraszewskiego." Z Teorii i Praktyki Dydaktycznej Języka Polskiego 28 (December 29, 2019): 9–21. http://dx.doi.org/10.31261/tpdjp.2019.28.01.

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The author attempts to interpret the best known work of Józef Ignacy Kraszewski, which, although created outside the chronological boundaries of Romanticism, grew out of the ideas and needs of that epoch. The aim of the article is to analyse the genre pattern of An Ancient Tale and to indicate various references to Hindu mythology. The work under discussion combines features of a fairy tale, a historical (archaeological) novel, an epic, a syncretic romantic novel and a legend. The Eastern tradition can be traced not only in the frame story, but also in the names of deities and beliefs.

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Maratova, Zhamal Zh, and Tatiana V. Nazarova. "W. Morris’s tradition in J.R.R. Tolkien’s epic fantasy." RUDN Journal of Studies in Literature and Journalism 25, no. 3 (December 15, 2020): 497–510. http://dx.doi.org/10.22363/2312-9220-2020-25-3-497-510.

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This article offers a comprehensive review of W. Morris influence on the epic fantasy of J.R.R. Tolkien. The purpose of the research is to reflect how Morris tradition influenced the development of Tolkiens fantastic prose - which later formed a separate subgenre of epic fantasy - and the whole fantasy genre. The objectives of the study include tracing the history of the development of fantastic element in literature - which served as a basis for the works of both authors - and finding poetological similarities and differences between W. Morris and J.R.R. Tolkien. The comparative study is based on the works of V. Gopman and K. Massey as well as on the original writings of Morris and Tolkien. The result of the study is the justification for W. Morris as the natural literary precursor of Tolkien. Based on the influence and partial borrowing of Morris imagery and motifs, Tolkin develops the theoretical foundation for the genre of magical fairy tale, which will later be called fantasy.

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Timberlake, Anicia Chung. "Brecht for Children." Representations 132, no. 1 (2015): 30–60. http://dx.doi.org/10.1525/rep.2015.132.1.30.

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East German music educators developed new children’s operas on the model of Brechtian Lehrstücke to teach critical, “dialectical” thinking, a skill they considered essential for young socialists. This essay examines how the operas offered an alternative political education to the GDR’s official program of state-loyal patriotism and explores the conflicts that arose when Brecht’s theories of gestus and estrangement came into contact with the fairy tale tradition long thought to be the center of German children’s culture.

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Carney, Jo Eldridge. "Preserving the Spell: Basile’s “The Tale of Tales” and Its Afterlife in the Fairy-Tale Tradition. Armando Maggi. Chicago: University of Chicago Press, 2015. 402 pp. $55." Renaissance Quarterly 70, no. 1 (2017): 378–79. http://dx.doi.org/10.1086/691928.

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Vanden Bosch, James. "Language and Gender in the Fairy Tale Tradition: A Linguistic Analysis of Old and New Story Telling (review)." Lion and the Unicorn 29, no. 2 (2005): 268–70. http://dx.doi.org/10.1353/uni.2005.0023.

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Crowley, Ronan. "The Irish Fairy Tale: A Narrative Tradition from the Middle Ages to Yeats and Stephens by Vito Carrassi." James Joyce Quarterly 55, no. 3-4 (2019): 484–87. http://dx.doi.org/10.1353/jjq.2019.0022.

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Jorgensen, Jeana. "Language and Gender in the Fairy Tale Tradition: A Linguistic Analysis of Old and New Story Telling (review)." Marvels & Tales 19, no. 2 (2005): 316–19. http://dx.doi.org/10.1353/mat.2005.0031.

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Borlykova, B. Kh, and B. V. Menyaev. "About Some Plot Types of Xinjiang Khoshut Magic Tales." Nauchnyi dialog, no. 6 (June 29, 2020): 207–20. http://dx.doi.org/10.24224/2227-1295-2020-6-207-220.

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The classification and systematization of some magic tales of the Khoshuts of the Xinjiang-Uigur Autonomous Region of China for the first time is presented on the basis of the Aarne-Thompson-Uther catalog and the “Comparative Index of Plots: East Slavic Tales”. In the “Comparative Index of Plots” the names of thematic sections from the Aarne-Thompson catalog and numbering are stored. For plots that do not have parallels in the Catalog, the authors introduced new numbers. The material for the study was the texts of Khoshut fairy tales published in the Collection of Folklore Works of Khoshut County on the Oirat script “Todo Bichig”. For comparison, the texts of Kalmyk tales published in the collections “Kalmyk Tales”, “Tales of Sanji Butaev” and “Keeper of the Wisdom of People’s Shan Boktaev”, as well as personal field materials of the authors were used. Comparison of fairy tale plots with indicators contributed to the classification and systematization of certain plot types of Xinjiang Khoshut magic tales: “A wonderful spouse (spouse or other relative)” (400-459), “A wonderful task” (460-499), “A wonderful assistant” (500-559), “A wonderful item” (560-649). It is noted that the similarity of plots with Kalmyk tales indicates a single national folklore fund. As a result of the analysis, interpretations and differentiating elements of some plots of Xinjiang Khoshut magic tales related to their local tradition were established.

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Walsh, Clare. "Book Review: Language and Gender in the Fairy Tale Tradition: A Linguistic Analysis of Old and New Story Telling." Language and Literature: International Journal of Stylistics 14, no. 2 (May 2005): 196–99. http://dx.doi.org/10.1177/096394700501400206.

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Fadli, Zaki Ainul. "Konsep Mura Dalam Anime Kasajizou." KIRYOKU 3, no. 2 (June 24, 2019): 77. http://dx.doi.org/10.14710/kiryoku.v3i2.77-83.

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(Title: “Mura ” Concept in Kasajizou Anime) This article aims to uncover the concept of mura in the Kasajizou anime. Mura is one of the traditional Japanese systems, besides ie and kuni. The research method used is the literary sociology approach, namely by revealing one of the anime’s structures (mura ’background) in the anime and relating it to "mura " as a territorial concept in Japanese tradition according to Inagaki's explanation. The results showed that "mura " in the fairy tale anime Kasajizou was similar to the concept of mura which was presented by Inagaki, which is a local organization for the purpose of production and as a community formed naturally for the god who protected the area. In conclusion, the concept of mura in the fairytale anime confirms Inagaki's exposure of mura as one of the elements in the traditional system of Japanese society.

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Tresnasih, Ria Intani. "TRADISI MENDONGENG SEBAGAI UPAYA PEMBUDAYAAN NILAI-NILAI DALAM KELUARGA DI KELURAHAN CISARANTEN WETAN KECAMATAN CINAMBO KOTA BANDUNG." Patanjala : Jurnal Penelitian Sejarah dan Budaya 10, no. 1 (March 4, 2018): 67. http://dx.doi.org/10.30959/patanjala.v10i1.333.

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Dongeng adalah cerita rakyat yang secara lisan diwariskan dari satu generasi ke generasi berikutnya, pengarangnya anonim, ada dalam dunia khayal atau tidak benar-benar terjadi, dan tidak diketahui secara jelas mengenai tempat dan waktunya. Dongeng merupakan salah satu media yang sangat efektif dalam membentuk karakter anak sejak dini. Namun demikian nilai-nilai dalam dongeng tidak akan tersampaikan apabila dari dongeng-dongeng yang ada tidak pernah didongengkan. Padahal banyak sekali pula manfaat yang didapat dari aktivitas mendongeng. Permasalahannya adalah akankah tradisi mendongeng di rumah-rumah itu sekarang ini masih berlangsung. Sehubungan dengan permasalahan tersebut maka penelitian ini bertujuan untuk melihat bagaimana keberlangsungan dari kegiatan mendongeng di rumah-rumah. Penelitian ini menggunakan pendekatan kualitatif dengan paparannya bersifat deskriptif. Hasil dari penelitian menunjukkan bahwa ada korelasi antara tradisi “orang tua” yang gemar mendongeng dengan tradisi mendongeng pada zaman sekarang.The tale is a folktale that is orally inherited from one generation to the next, its author is anonymous, exists in an imaginary or unreal world, and is not known clearly about the place and the time. Tale is one of the media that is very effective in shaping the character of children from an early age. However, the values in the fairy tales will not be conveyed if the tales that have never been told. Though, a lot of benefits also obtained from the activity of storytelling. The problem that still exist, will the tradition of storytelling in these homes be still going on? In connection with these problems, this study aims to see how the continuity of storytelling activities in homes. This study uses a qualitative approach with descriptive arrangemen. The results of the study indicates that there was a correlation between the tradition of "parents" who love storytelling with the tradition of storytelling today.

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Morozov, A. Y. "MORAL AND RELIGIOUS MOTIVES IN THE WORKS OF J.R.R. TOLKIEN: CULTURAL CONTEXT." UKRAINIAN CULTURAL STUDIES, no. 1 (2017): 60–65. http://dx.doi.org/10.17721/ucs.2017.1.13.

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The main moral and religious themes of J. Tolkien`s novels “The Lord of rings” and “The Silmarillion” are observed in the article. It is analyzed that Tolkien followed Christian tradition, sharing st. Augustine`s conception of evil as the absence of good. It is clarified Tolkien`s anti-Nietzschean position where evil is equal to the will to power, while the good is associated with humility and serving. It is shown an author`s interpretation of Socratic classic inquiry: would people live virtuous life if they achieve omnipotence and why moral life is preferable than immoral one. According to Tolkien, human moral obligations are closely connected with the awareness of freedom and mortality which are regarded as a giftto a man, enabling to escape from senseless “badinfinity” (Hegel) of material determinant existence. In its turn, a notion of “gift” refersto metaphysical model of world that assumes divine being and his providential intervention in the course of earthly history. One of this divine providence`s manifestation is so called “eucatastrophe”, unexpected salvation from tragedy, therapeutic consolation that returns to a man the feeling of meaningfulness and joy of being. It is suggested thatsalvation can be interpreted in romantic way as coincidence point of trajectories of art and nature, where fairy tale embodies in life, and life starts to be built according to the laws of fairy tale.

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Grosh, Madeline M. H., Aidan S. McBride, and KJ Ross-Wilcox. "The Cultural Significance of "Jack and the Beanstalk"." Digital Literature Review 4 (January 13, 2017): 53–76. http://dx.doi.org/10.33043/dlr.4.0.53-76.

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“Jack and the Beanstalk” is a widely known fairy tale with a longstanding tradition of rewrites to fit the cultural norm. Andrew Lang’s version from 1890 is just another such version of the classic story. However, his version has distinct influence from the culture around him at the time, namely those of Marxism and British imperialism mindsets, which were wildly influential at the time. It is within these cultural ideologies that Lang’s Jack exists, as Jack the oppressor and Jack the oppressed. Along with other artifacts of the time, this paper seeks to position Lang’s version against the Marxist and British imperialist influences to paint a full picture of the cultural significance of “Jack and the Beanstalk.” Madeline

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Litovskikh, Elena V. "TATTR ABOUT HRAFNA-FLOKI IN ICELANDIC WRITTEN SOURCES." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 1 (2021): 197–205. http://dx.doi.org/10.28995/2686-7249-2021-1-197-205.

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One of the most peculiar stories about the naming of the island, which the introductory chapters of The Book of Settlements (Landnámabók) open with, is the þáttr about Hrafna-Flóki, presented completely differently in the early editions of Sturlubók and Hauksbók. The dynamics of plot development, which are similar to those of a fairy tale, fragments that fully coincide in the different editions, the release of three sacrificial ravens and the three main actors (Flóki Vilgerðarson himself and his two companions who bear the rhyming names Þórólfr and Herjólfr) go back to the oral tradition. In the plot of the ‘magic helper’, Faxi, endowed with a name typical for a magic horse in the Old Norse tradition, direct structural and stylistic analogies can be traced in other hydronymic legends of Landnámabók. The þáttr of Flóki is an alternative socioetiological legend, ignored by Ari fróði Þorgilsson due to its inconsistency with his idealised image of the leader of the Norwegian settlers.

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Arukask, Madis. "Resurrection, revenance, and exhumation: the problematics of the dead body in songs and laments." Scripta Instituti Donneriani Aboensis 23 (January 1, 2011): 28–54. http://dx.doi.org/10.30674/scripta.67379.

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Different types of folklore texts differ from each other by their function. We can distinguish between genres meant to be believed (like legend) and genres recognized in advance as fiction (fairy-tale). At the same time, textual fiction may also have served practical purposes—such as the telling of fairy-tales during the late autumn and early winter for purposes of fertility magic—as used to be the case in the Estonian folk tradition. There are folklore genres that have functioned, among other things, as an accompaniment, comment on, or support to rituals or practices being carried out—for instance, an incantation during a cure, or a lament in death-related procedures, when a person must be separated from his familiar environment. The same textual formulae fulfil different tasks in different genres, which means that they also carry a different meaning. The present paper considers some themes related to the bodily aspect of humanity in various genres of folklore, particularly in songs and laments, as well as in practices related to death and commemoration. As expected, the problems connected with the human body have in these genres undergone transformations of meaning, the understanding and interpretation of which may vary considerably. The material discussed in the article derives mainly from the Balto-Finnic and north Russian cultural area, partly from the author's own experience during his field trips.

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Shkurskaya, E. A. "THE IMAGE OF A MERMAID IN THE DANISH ROMANTIC PROSE OF THE FIRST HALF OF THE XIX CENTURY." EurasianUnionScientists 7, no. 6(75) (July 21, 2020): 58–61. http://dx.doi.org/10.31618/esu.2413-9335.2020.7.75.879.

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The purpose of this work is to study the image of the mermaid in Danish romantic prose of the first half of the XIX century. In accordance with this goal, the following tasks are formulated: to study the elements of romantic poetics that make up the structure of the image of the mermaid; consider the features of the functioning of the image of the mermaid in the Danish literature of the romantic era. To achieve this goal, we used descriptive, comparative, and contextual analysis methods. The image of the little Mermaid in the Danish romantic tradition combines the functioning of mythological, romantic and individual author's motives, the value space of the fairy tale by G. H. Andersen is built in accordance with Christian axiology.

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Dudareva, M. A., and V. V. Nikitina. "NO DEATH, OR EX TENEBRIS LUX: APOTHATIC TRADITION IN APOLLON MAYKOV’S WORKS." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 23, no. 78 (2021): 49–52. http://dx.doi.org/10.37313/2413-9645-2021-23-78-49-52.

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The research object is an apothaticism as a phenomenon of global art culture. The research subject is an apothatic tradition related to the collision between the day and evening light, images-codes “darkness” and “light”. The research material is based on the poetry by Apollon Maykov, and this year it would be 200 years since his birth. A hermeneutic reconstruction applies to the ethos of life and death, a mythologeme of timelessness in the later poetry of the poet, representing the direction of “pure art” in the literature of the 19th century. Much attention is paid to the poem “Ex tenebris lux”, written ten years before the poet’s death. The research methodology is reduced to a holistic ontohermeneutic analysis aimed at highlighting the apophatic paradigm of this text. Parallels are drawn with Persian poetry, the Sufi tradition, in which black color is significant in its ambivalent expression. In Maykov’s works, black color is associated with the threshold state of a speaker and the way out of liminality. The authors also touch upon Russian folklore, aesthetics and poetics of a fairy tale, in which the “three kingdoms” plot is important in this case. The research results are valuable from the cultural-philosophical positions of understanding the apophaticism of the artistic space of culture, but they can also be used in teaching courses on Russian literature of the 19th century and philosophy.

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Szczeglacka-Pawłowska, Ewa. "Wyrafinowany koncept. O miejscu [Królewny Lali] Adama Mickiewicza w historii literatury." Roczniki Humanistyczne 67, no. 1 (July 4, 2019): 95. http://dx.doi.org/10.18290/rh.2019.67.1-7.

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The article attempts to define the place of Adam Mickiewicz’s unfinished work from the last stage of the poet’s artistic life, titled [Królewna Lala] [Princess Lala], in the history of literature, and thus in the history of literary research, and to outline the possible interpretations of the work using the category of Romantic irony and the idea of concept. A fine artistic idea behind [Królewna Lala] consists in using complex contrasts, combining fairy tale with realism, seriousness with comedy, simplicity of language with poetic mastery, dialogue with literary tradition. It is a virtuoso performance of the writer who creates a comic effect that is closer to the poetics of the absurd (pure nonsense) than to pure comedy. The work reveals a new aesthetic quality, unknown to Mickiewicz’s earlier works.

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Cioancă, Costel. "Semiotica dreptului de a visa: dimensiuni mitice ale timpului din basmul fantastic românesc." Anuarul Muzeului Etnograif al Transilvaniei 34 (December 20, 2020): 151–70. http://dx.doi.org/10.47802/amet.2020.34.08.

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"Semiotics of The Right To Dream: Mythical Dimensions of Time From The Romanian Fantastic Fairy Tale A fundamental concept of human existence as a species, Time has always been a defining landmark of the depth of thought of homo sapiens. With religious or scientific character, the ensemble of myths, beliefs, ideas, ideologies, representations and significances given to this concept led, …in time, to the birth of a rich, distinct and complex symbolic imaginary. Both a physical continuum (space-time in which biological, chemical, physical and mechanical processes occur that cause changes in Nature) and a philosophical one (events are perceived and cognitively systematized by man from the past to present towards future), Time it has always aroused peoples interest. We have deities of Time (Cronus, Zurvan, Maku). We have, also, the characteristic concepts that mark the fictional-mythical transfiguration and the triumph of the irreducible search for the truth of meaning. Such as the promise of a (possible) paradisiacal land of eternity, such as the Aion concept of the ancient Greeks (in the sense of cyclical time/eternity), or the existence of specialized divine beings (Moirs of ancient Greece, Roman Parce or Scandinavian Norns) who measure the profane time (past, present, future), and relates it to the celestial, relativistic, perpetual-eternal time. From the area of pure philosophy who approache the subject, inevitably passing through the field of quantum physics that tries to define as precisely as possible the notion of Time (definition, dimensions, units of measurement etc.), we have approaches to this concept at the level of music, literature, art. An true illud tempus, moving the content from metaphysics to myth, and viceversa, there are the many reflections of famous people about the concept of time. Approaching topics about the existence of ,,fashionable” references (billionaires, famous or just controversial politicians, footballers, actors, etc.), we have a post-modern mythological imaginary offered daily by Time Magazine, The New York Times, The Sunday Times etc. As well, being an important landmark in the editing policy, we have a font agreed by more and more magazines, periodicals, publishing houses - Times New Roman. The social life of the traditional Romanian communities, who generates and consumes fantastic fairy tales, tried to reconcile the human activities with the constant phenomena of the environment (terrestrial, cosmic). Starting from certain constants that counted human activity with the cosmic and terrestrial rhythms of Nature (day-night succession; the succession of seasons; the rhythmicity of some manifestations of the vegetal and animal kingdom), the calendars had appeared lunar, solar, solar-lunar, popular, Christian, civil). Their existence and use made that the passage of time to be more easily perceived and memorized. The calendar practices and habits, performed in a predetermined time and in a certain way (= ritual), did nothing but mark in the traditional symbolic thinking the specificity of that human time, to perform in that tradition, in Cosmic Time, trans-human time. This study deal with the valorizations and symbolism given to this concept by the popular imagination from Romanian fantastic fairy tale. The collections of fairy tales offered me some major directions that defines Time, sometimes the traditional imagination being a subtle game of physical constants and mythical-epic variations. Thus, I discovered metaphysical dimensions of time, the reason for linking Time, an optimal time of action, but also the exercise of distance (Time-Space) to be traveled by the hero or realms of eternity, where Time does not even exist as an abstraction… Everything followed, naturally, by a series of conclusions. Keywords: imaginary, phenomenology, hermeneutics, Romanian fairytale, Time "

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