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Journal articles on the topic 'Fairy tales in maths'

Author: Grafiati
Published: 28 June 2021
Last updated: 10 February 2022

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1

Chesterton, G. K. "Fairy Tales." Chesterton Review 31, no. 3 (2005): 7–9. http://dx.doi.org/10.5840/chesterton2005313/42.

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2

Whitmarsh, Tim. "FAIRY TALES." Classical Review 52, no. 1 (March 2002): 34–36. http://dx.doi.org/10.1093/cr/52.1.34.

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3

Editorial Submission, Haworth. "Fairy Tales." Collection Management 8, no. 3-4 (November 22, 1986): 143–46. http://dx.doi.org/10.1300/j105v08n03_38.

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4

Roediger, Jennifer Renée. "Fairy Tales." English Journal 97, no. 1 (September 1, 2007): 126. http://dx.doi.org/10.2307/30047232.

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5

Bajaj, Arveen. "Fairy tales." British Dental Journal 198, no. 9 (May 2005): 581–83. http://dx.doi.org/10.1038/sj.bdj.4812306.

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6

Silver, Carole G. "English Fairy Tales and More English Fairy Tales (review)." Marvels & Tales 18, no. 1 (2004): 105–7. http://dx.doi.org/10.1353/mat.2004.0018.

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7

McMahon, Brendan. "Grim fairy tales." Nursing Standard 13, no. 29 (April 7, 1999): 24. http://dx.doi.org/10.7748/ns.13.29.24.s38.

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8

Carlson, Allan. "Agrarian Fairy Tales." Chesterton Review 28, no. 3 (2002): 353–59. http://dx.doi.org/10.5840/chesterton200228371.

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9

Лихолат and Tamara Likholat. "True Fairy Tales." Primary Education 3, no. 6 (December 18, 2015): 48–50. http://dx.doi.org/10.12737/17375.

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The article provides the useful information about the plants that are traditionally used by people in food, and their seeds. The information is given in easily understandable for younger schoolchildren and entertaining form. Initial agronomic knowledge presented in cognitive tales, can be easily tested in practice in daily life that not only meets the natural curiosity of children, but also actively encourages it to develop their interest in nature, provides more complete understanding of the processes of interaction with it, attaches to work.
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10

Spitz, Ellen Handler. "Revisiting Fairy Tales." Contemporary Psychoanalysis 52, no. 3 (May 4, 2016): 478–88. http://dx.doi.org/10.1080/00107530.2016.1149416.

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11

Hoffman, David E. "“COMPLETE FAIRY TALES”." Nonproliferation Review 18, no. 3 (October 12, 2011): 591–95. http://dx.doi.org/10.1080/10736700.2011.618666.

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12

Hindmarch, Sonali. "Offensive fairy tales?" 5 to 7 Educator 2008, no. 39 (March 2008): 5. http://dx.doi.org/10.12968/ftse.2008.7.3.28447.

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13

Hedley, Allison. "Fantastic fairy tales." Early Years Educator 4, no. 8 (December 2002): 40–41. http://dx.doi.org/10.12968/eyed.2002.4.8.14772.

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14

Illman, John. "Royal Fairy Tales." British Journalism Review 30, no. 2 (May 28, 2019): 7–9. http://dx.doi.org/10.1177/0956474819855524.

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15

Møllegaard, Kirsten. "Teaching Fairy Tales." Folklore 132, no. 2 (March 24, 2021): 221–22. http://dx.doi.org/10.1080/0015587x.2021.1883876.

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16

Mieder, Wolfgang. "Grim Variations from Fairy Tales to Modern Anti-Fairy Tales." Germanic Review: Literature, Culture, Theory 62, no. 2 (April 1987): 90–102. http://dx.doi.org/10.1080/00168890.1987.9934196.

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17

Khudaverdiyeva, T. "Brief Overview of Semantic Description of Spatial Elements in Azerbaijani Fairy Tales." Bulletin of Science and Practice 6, no. 12 (December 15, 2020): 509–19. http://dx.doi.org/10.33619/2414-2948/61/65.

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In fairy tales, space plays an important role and acts as a structural element of fairy tales, performing a certain function within the fairy tale. Therefore, it is impossible to imagine fairy tales without the elements of space. As it is mentioned in the article, the world of fairy tales consists of numerous transformations and changes of spatial elements. The article gives a brief overview of semantic description of the spatial elements in the Azerbaijan fairy tales on the bases of five volume book of the Azerbaijan fairy tales. The article also identifies the functions of the words describing spatial elements. It investigates the transformations of spatial elements in the fairy tales. It notes that the spatial elements make up the archaic world model and participate in the formation of fairy tales. The article searches the semantic structure of the fairy tales with exact examples from them.
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18

Caldwell, Anne. "Fairy Tales for Politics." Philosophy Today 41, no. 1 (1997): 40–50. http://dx.doi.org/10.5840/philtoday199741117.

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19

Jones, Steven Swann, Bengt Holbek, Wolfgang Mieder, and Jack Zipes. "Interpretation of Fairy Tales." Western Folklore 47, no. 4 (October 1988): 310. http://dx.doi.org/10.2307/1499387.

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20

Christiansen, H. C., Frank G. Ryder, and Robert M. Browning. "German Literary Fairy Tales." Die Unterrichtspraxis / Teaching German 18, no. 1 (1985): 206. http://dx.doi.org/10.2307/3530023.

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21

Bottigheimer, Ruth B., and Bengt Holbek. "Interpretation of Fairy Tales." German Quarterly 62, no. 1 (1989): 121. http://dx.doi.org/10.2307/407061.

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22

Diller, Edward, Frank G. Ryder, and Robert M. Browning. "German Literary Fairy Tales." Modern Language Journal 69, no. 1 (1985): 94. http://dx.doi.org/10.2307/327904.

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23

Jane Donawerth. "SF = Science Fairy-Tales." Science Fiction Studies 38, no. 1 (2011): 199. http://dx.doi.org/10.5621/sciefictstud.38.1.0199.

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24

Chesterton, G. K. "Education by Fairy Tales." Chesterton Review 28, no. 1 (2002): 7–10. http://dx.doi.org/10.5840/chesterton2002281/23.

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25

Padley, Jonathan. "Fairy Tales and Dragons." Chesterton Review 29, no. 1 (2003): 296. http://dx.doi.org/10.5840/chesterton2003291/267.

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26

Chesterton, G. K. "Education by Fairy Tales." Chesterton Review 31, no. 1 (2005): 5–8. http://dx.doi.org/10.5840/chesterton2005311/246.

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27

The Lancet Global Health. "Ending the fairy tales." Lancet Global Health 7, no. 11 (November 2019): e1467. http://dx.doi.org/10.1016/s2214-109x(19)30417-6.

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28

Dieckmann, Hans. "Fairy-tales in psychotherapy." Journal of Analytical Psychology 42, no. 2 (April 1997): 253–68. http://dx.doi.org/10.1111/j.1465-5922.1997.00253.x.

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29

Goldberg,, Robin S. "Fairy Tales and Trauma." American Journal of Psychoanalysis 68, no. 3 (August 14, 2008): 301–2. http://dx.doi.org/10.1057/ajp.2008.17.

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30

Hayes, Sandra K., and Denise M. Childress. "FAIRY TALES OF STORYBOARDING." Journal for Nurses in Staff Development (JNSD) 15, no. 6 (November 1999): 260–62. http://dx.doi.org/10.1097/00124645-199911000-00008.

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31

Farmer, David John. "Froglets or Fairy Tales?" Administrative Theory & Praxis 21, no. 1 (March 1999): 154–56. http://dx.doi.org/10.1080/10841806.1999.11643358.

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32

Storr, Catherine. "Folk and fairy tales." Children's Literature in Education 17, no. 1 (1986): 63–70. http://dx.doi.org/10.1007/bf01126951.

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33

Warren, Noah. "Oscar Wilde’s Fairy Tales." Hopkins Review 14, no. 2 (2021): 266. http://dx.doi.org/10.1353/thr.2021.0041.

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34

Hohr, Hansjorg. "Dynamic Aspects of Fairy Tales: Social and emotional competence through fairy tales." Scandinavian Journal of Educational Research 44, no. 1 (March 2000): 89–103. http://dx.doi.org/10.1080/713696665.

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35

Mehrish Khan, Dr. Zahoor Hussain, and Dr. Muhammad Ahsan. "Motif Analysis of Oscar Wilde’s Fairy Tales." Research Journal of Social Sciences and Economics Review (RJSSER) 1, no. 3 (October 20, 2020): 265–73. http://dx.doi.org/10.36902/rjsser-vol1-iss3-2020(265-273).

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The study was aimed to do the motif analysis of Oscar Wilde’s fairy tales as Wilde’s fairy tales got significant weightage in his life and he in fact wrote the fairy tales for his sons. Wilde’s fairy tales had almost the same tinge of imagination and supernatural atmosphere as found in the oral fairy tales and he exquisitely presented the sketch and plot of characters with a tug of war and finally like all other fairy tales meets the happy endings with some didactic lessons. The researchers used Thompson Motif Index as a theoretical framework and trace almost all types of motifs however the motifs of society were found most as compared to the other types of motifs. Through these motifs, he truly reflected the picture of his age and the current study also helped establish Wilde’s fairy tales along with the oral tradition of fairy tales.
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36

Bazik, Iryna, and Tetiana Korolova. "Translation of Chinese Fairy Tales into English and Ukrainian." Naukovy Visnyk of South Ukrainian National Pedagogical University named after K. D. Ushynsky: Linguistic Sciences 26, no. 27 (February 2019): 20–29. http://dx.doi.org/10.24195/2616-5317-2018-27-3.

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The article is devoted to the study of Chinese fairy tales genre peculiarities and fairy tales translation variants in Ukrainian and English. The cognitive and linguistic features of fairy tales in Chinese compared to fairy tales in Ukrainian and English are presented in the article; the translation operations, tactics and strategies are indicated. Key words: literary translation, Chinese fairy tales, translation operations, typologically general characteristics, specific characteristics in non-closely related languages.
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37

Henderson, Kathryn L., and Stefanie L. Malone. "Ethical Fairy Tales: Using Fairy Tales as Illustrative Ethical Dilemmas With Counseling Students." Journal of Creativity in Mental Health 7, no. 1 (January 2012): 64–82. http://dx.doi.org/10.1080/15401383.2012.660128.

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38

Xiaoyi, Li. "How Fairy Tales Educate and Civilize Us: Ethical Literary Criticism on Fairy Tales." Interlitteraria 22, no. 2 (January 16, 2018): 273. http://dx.doi.org/10.12697/il.2017.22.2.6.

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This article first discusses the history and ideology of fairy tales. As Walter Benjamin said in his essay “The Storyteller”, rumors and information were spread verbally, from person to person. So were fairy tales. Through storytelling, the history and experience is spread from generation to generation. So that audience, especially children, gather to listen to the folks and stories about things “long long ago”, sharing the memories and experience of the storytellers. Based on this idea, the article further analyses the utopian function of fairy tales, which depict the feasibility of utopian alternatives by means of fantastic images. Because in the name of fairy tales, anything is possible. Apart from hope and wish, there was dissatisfaction in fairy tales. Ernst Bloch placed special emphasis on dissatisfaction as a condition which ignites the utopian drive, so that it remains a powerful cultural force among the audience, urges them to resist, to change the unreasonable things in the world. At last, it comes to the ethical use of fairy tales with children. Many scholars, like Bruno Bettelheim and Julius E. Heuscher, have done some psychiatric and psychological research on the meaning and usefulness of fairy tales. Different from those, this article mainly talks about the literary education in fairy tales, how the words, characters and plots play a role in education.
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39

Witkowska-Tomaszewska, Anna. "Therapeutic fairy tale as a tool supporting educational work of the teacher." Problemy Opiekuńczo-Wychowawcze 577, no. 2 (February 28, 2019): 14–26. http://dx.doi.org/10.5604/01.3001.0013.2042.

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Use of fairy tales as a therapeutic tool dates back to ancient times because Greeks already used fairy tales as a tool to impact human emotions, attitudes and behavior. By fairy tales, children make a parallel between themselves and the protagonists and through the protagonists’ experiences they develop their own cognitive, emotional or social competencies necessary to deal with specifi c situations in their own lives. Interestingly – as stressed by B. Bettelheim – children select from fairy tales things they are ready for, what they can handle at a given moment, at the level they need. Fairy tales are therefore an important tool for children to learn about the world and I would even say that they are “tools for social and cultural decoding” which help children to get to know and understand the adult world. On the other hand, they are tools that enables adults to discover what is happening in the children’s minds of. Thus, a question arises, what kinds of therapeutic fairy tales exist. How to prepare a fairy tale? How can they be used in everyday educational work? This article presents a method of preparing a therapeutic fairy tale and examples of using fairy tales in educational work with children.
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40

Fadeeva, G. M. "PROPER NOUNS IN TRANSLATION OF FAIRY TALES." Onomastics of the Volga Region, no. 2 (2020): 293–98. http://dx.doi.org/10.34216/2020-2.onomast.293-298.

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Fairy tales were and are passed down through generations wandering from nation to nation, particularly through translation (often via a relay language - Relaisübersetzen). The translation of proper nouns plays a crucial role in preserving the national identity of fairy tales as a linguacultural phenomenon that reflects the national worldview.A translator should take into account the peculiarities of a new recipient, which raises a question about the cultural adaption of fairy tales. These questions are considered on the basis of Russian-German translations of fairy tales including those of the indigenous peoples of northern Russia and the Siberian fairy tales that comprise nationally specific names and aptronyms.
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41

Bednarek, Magdalena. "Prince Charming na licencji? Totalizacja baśni." Literatura i Kultura Popularna 25 (July 28, 2020): 149–68. http://dx.doi.org/10.19195/0867-7441.25.9.

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The aim of the paper is to present how the culture of convergence has influenced the fairy tale. Jack Zipes stated that since Snow White and the Seven Dwarfs the “sense of wholeness, seamless totality, and harmony” has become a basic experience of the fairy tales’ audience. The totalisation of the fairy tale is both a continuation and a transformation of the described tendency, claims the author. Creating fairy tales’ universes in comics, TV series, movies etc. and building fairy tales’ supersystems are the expressions of the phenomenon. As opposed to Disney productions, contem-porary fairy tales are patchworks, with visible stitches between heterogenic elements. Due to open composition new elements (plots, characters etc.) could be added without end, but creating connec-tions between them is challenging and nowadays one of the most interesting aspects of fairy tales.
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42

Lundskær-Nielsen, Tom. "The Language of Hans Christian Andersen’s Fairy Tales – Compared with Earlier Tales." Scandinavistica Vilnensis, no. 9 (December 20, 2014): 97–112. http://dx.doi.org/10.15388/scandinavisticavilnensis.2014.9.8.

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It is my aim in this article to outline some of the main characteristics of Hans Christian Andersen’s language as used in the fairy tales. I shall concentrate on the earliest tales because this will allow me to focus on the radical linguistic departure from previous fairy tales that Andersen’s early work in this genre represents. Even so, comparisons apply not only to other writers; one of the most illuminating comparisons is with Andersen’s first attempt at fairy-tale writing, published in 1830.
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43

Bolton, Elizabeth. "Meaning-making across disparate realities: A new cognitive model for the personality-integrating response to fairy tales." Semiotica 2016, no. 213 (November 1, 2016): 397–418. http://dx.doi.org/10.1515/sem-2015-0141.

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AbstractThis paper reviews the extant literature on ways readers make meaning from fairy tales, and proposes a new cognitive model for the response to the traditional fairy tale. Much of the available research on literary responses to fairy tales comes from within the boundaries of psychoanalysis (Bettelheim 1975. The uses of enchantment: The meaning and importance of fairy tales. New York: Vintage; Dieckmann 1986. Twice-told tales: The psychological use of fairy tales. Wilmette: Chiron; Miller 1984. Thou shalt not be aware: Society’s betrayal of the child. New York: Farrar, Straus, Giroux), as well as folklore studies and anthropology (Zipes 1983. Fairy tales and the art of subversion: The classical genre for children and the process of civilization. New York: Wildman Press; Zipes 2006. Why fairy tales stick: The evolution and relevance of a genre. New York: Routledge; Zipes 2012. The irresistible fairy tale: The cultural and social history of a genre. Princeton: Princeton University Press.). Although these fields do not often overlap, the therapeutic potential of fairy tales and relatively recent popularization of practices such as bibliotherapy (Jack and Ronan 2008. Bibliotherapy: Practice and research. School Psychology International 29(2). 161–182) have provided a fertile ground for linking the two disciplines. I propose a cognitive model for the emotionally integrating response to the fairy tale by first introducing Rosenblatt’s (1978. The reader, the text, the poem. Carbondale: Southern Illinois University Press) transactional theory of making meaning from literature, and then in light of this theory, reviewing the psychoanalytic and anthropological evidence for fairy tales’ unique effect on readers. Previous theories explaining the emotional benefits of reading fairy tales have failed to consider characteristics of the genre which are unique to it, and which give fairy tales a hierarchically higher status than other genres due to the distance between the reality they depict, and the current reality of the reader. Transactional theory indicates that this higher status may play a crucial role in the genre’s ability to support healthy emotional development, as readers who establish close personal connections with the hierarchically valorized genre actually become active participants in a reading experience which provides them with comforting, indisputable affirmation of the uprightness of their own moral principles.
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44

Lamers, Elizabeth P. "Children, Death, and Fairy Tales." OMEGA - Journal of Death and Dying 31, no. 2 (October 1995): 151–67. http://dx.doi.org/10.2190/hxv5-wwe4-n1hh-4jeg.

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This article examines the evolution and transformation of themes relating to death and dying in children's literature, using illuminating parallels from historical demographics of mortality and the development of housing. The classic fairy tale “Little Red Riding Hood” is used to draw these trends together.
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45

Lewis, Tess, Maria Tatar, Nina Auerbach, and U. C. Knoepflmacher. "Defending Children against Fairy Tales." Hudson Review 46, no. 2 (1993): 403. http://dx.doi.org/10.2307/3851702.

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46

Calderaro, Monica, and Marta Senesi. "Disney: crime in fairy tales*." Rivista di Psicopatologia Forense, Medicina Legale, Criminologia 22, no. 1-2-3 (December 27, 2017): 27–30. http://dx.doi.org/10.4081/psyco.2017.10.

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The screen is colored by a celestial sky and begins to outline a castle under whose white gold stands the "Walt Disney Pictures", a semi-crown crown all and the doors of the fantasy are ready to open to the spectators. This is the classic presentation of a Disney Movie that at least once in a lifetime will happen to each of us to attend and accompany the childhood of millions of children. But what is waiting behind that castle? Charming spells and sparks of magic? Absolutely. Princesses to save and charming princes to dream? Absolutely yes. Speaking animals and an Never Land? All this and much more. But if we looked at that castle from a different perspective, and if we shifted our attention from the precious robe of the protagonist, to what deeply motivates her choices and the dynamics surrounding her, we could notice dark shadows, concealed by glittering jewels and unnatural sunsets, so brilliant to blind. The work will focus on those heaviest nuances, analyzing and deepening scenes and themes of Disney Movies where it will be possible to find criminological and psychopathological aspects, thus trying to connect two worlds so distant that for a moment they will intersect as well as in a palette of a painter you can mix white and black. ---------- Lo schermo si colora di un celeste cielo, e comincia a delinearsi un castello sotto la cui bianca aurea si staglia la sigla “Walt Disney Pictures”, un semiarco corona il tutto e le porte della fantasia sono pronte a schiudersi per gli spettatori. Questa è la classica presentazione di un Film Disney a cui almeno una volta nella vita sarà capitato a ciascuno di noi di assistere, e che accompagna l’infanzia di milioni di bambini. Ma cosa ci aspetta dietro quel castello? Affascinanti incantesimi e scintille di magia? Senz’altro. Principesse da salvare e principi azzurri da sognare? Assolutamente sì. Animali parlanti e un’isola che non c’è? Tutto questo e molto di più. Se guardassimo, però, quel castello da una prospettiva diversa, e se spostassimo l’attenzione dal vestito prezioso della protagonista, a ciò che motiva in profondità le sue scelte e alle dinamiche che la circondano, potremmo notare delle sfumature oscure, celate da sfavillanti gioielli ed innaturali tramonti, tanto brillanti da accecarci. È proprio su quelle sfumature più tetre che si concentrerà il lavoro, analizzando e approfondendo scene e temi dei Film Disney in cui sarà possibile riscontrare aspetti criminologici e psicopatologici, cercando così di connettere due mondi tanto distanti che per un attimo si intersecheranno, cosi come in una tavolozza di un pittore è possibile mescolare il bianco e il nero. ---------- La pantalla es de color azul claro del cielo, y comienza a tomar forma un castillo bajo cuyo blanco de oro se coloca la abreviatura "de Walt Disney Pictures", un semi-arco rodea el todo y las puertas de la imaginación están listos para salir del cascarón para los espectadores. Esta es la presentación clásica de una Película de Disney que al menos una vez en la vida nos ha sucedido a cada uno de nosotros para asistir, y que acompaña a millones de niños. Pero, ¿qué está esperando detrás de ese castillo? Encantadores hechizos y chispas de magia? Absolutamente. ¿Princesas para salvar y príncipes azules para soñar? Absolutamente sí ¿Animales que hablan y una isla que no está allí? Todo esto y mucho más. Si observamos, sin embargo, que el castillo desde una perspectiva diferente, y si a mitad de camino a través de la atención por parte del precioso vestido el personaje principal, lo que motiva profundamente en sus elecciones y la dinámica que lo rodean, se puede notar las sombras oscuras, ocultas por las joyas espumoso y puestas de sol antinaturales, tan brillantes para cegar. Es precisamente en los tonos más sombríos que se centrarán los trabajos, analizando y profundizando escenas y películas temas de Disney, donde se pueden encontrar aspectos criminológicos y psicopatológicas, tratando así de conectar dos mundos tan lejos que un momento se cruzará, así como en una paleta de un pintor puede mezclar blanco y negro.
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47

Syzdykova, G., and A. Sholakova. "Lingvosemiotic Aspect of Fairy Tales." Bulletin of L.N. Gumilyov Eurasian National University. Philology Series 126, no. 1 (2019): 165–72. http://dx.doi.org/10.32523/2616-678x-2019-126-1-165-172.

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48

Chesterton, G. K. "The Ethics of Fairy Tales." Chesterton Review 28, no. 1 (2002): 15–18. http://dx.doi.org/10.5840/chesterton2002281/25.

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49

Annas, George J. "Fairy Tales Surrogate Mothers Tell." Law, Medicine and Health Care 16, no. 1-2 (September 1988): 27–33. http://dx.doi.org/10.1111/j.1748-720x.1988.tb01047.x.

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50

Järv, Risto. "Fairy Tales and Tourist Trips." Fabula 51, no. 3-4 (December 2010): 281–94. http://dx.doi.org/10.1515/fabl.2010.026.

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