Journal articles on the topic 'Folktale adaptation'
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Taiwo, Adekemi Agnes. "New Media, Old Artistry: The Adaptation of Yorùbá Folktale Narrative Strategies in Video Films." Afrika Focus 32, no. 1 (February 27, 2019): 35–50. http://dx.doi.org/10.1163/2031356x-03201004.
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The argument of this study is that Yorùbá people continue to keep alive and sustain their society’s oral folkloric tradition and verbal art despite the changes undergone by Yorùbá folktales that have passed into written form and other (new) media. Verbal arts educate, reflect and promote culture, as well as, their well-known capacity to instil moral decency in a young audience. This paper explores the adaptation of Yorùbá folkloric form in film. The audience memory is reawakened through the conservation and propagation of folktale into drama form in the film, Ijàpá and Àjàntálá. Ìjàpá (tortoise) is well known for its trickish behaviour and nature while Àjàntálá is also known for his vicious behaviour. Their character was worn into human beings (artiste) to teach society moral lessons. These Yorùbá movies Ìjàpá and Àjàntálá were adapted from Yorùbá folktales to examine issues and themes that are germane to contemporary society. Ìjàpá was produced in 2011 while Àjàntálá was produced in 2015. The theory of intertextuality which is the way books, songs, films are linked or associated to one another is adopted for the research.
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Sobol. "Adaptive Occasions: Synchronic Correlatives in Traditional Folktale Adaptation." Journal of American Folklore 132, no. 525 (2019): 310. http://dx.doi.org/10.5406/jamerfolk.132.525.0310.
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SIREGAR, CHRONIKA ROSIANNA, Fauziah Khairani Lubis, and Feriyanti Elina Gultom. "THE TRANSLATION METHODS USED IN AN INDONESIA FOLKTALE ‘PUTRI LOPIAN’." LINGUISTICA 9, no. 2 (July 3, 2020): 287. http://dx.doi.org/10.24114/jalu.v9i2.18946.
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This study was conducted by applying descriptive qualitative method. The source of data was taken from the folklore book and interviews with the translator of the folktale Putri Lopian. The technique for analyzing the data is descriptive qualitative research. The results of this research showed that there were 9% sentences by literal translation, 10 sentences by semantic translation, 5% sentences by adaptation translation, 31% sentences by free translation, 1% sentence by idiomatic translation and 10% sentences by communicative translation. The total number of sentences from the data consisted of 76% sentences. It was found there were seven out of eight types of translation methods Literal, Faithful, Semantic, Adaptation, Free, Idiomatic and Communicative uses based on the text in the Folktale. The reason why the translator used free translation as the dominant method was that he did not follow any theories or approaches of translation when he was translating the text; he thought that the audience was a child. so that he arranged the language to be easy to understand. Keywords: folktale book; translation methods; text
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Kwami, Robert. "A West African Folktale in the Classroom." British Journal of Music Education 3, no. 1 (March 1986): 5–18. http://dx.doi.org/10.1017/s026505170000509x.
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The author describes an investigation into the use of West African folklore in the school curriculum by means of an African folktale which became the basis for a project in the class music lessons. Starting with research into West African folklore, particularly children's stories and songs, in Ghana and Nigeria between 1979 and 1983, music was composed in a basically African style to go with an adaptation of one of the stories.The practical work in a London primary school investigated ways of minimising the apparent dichotomy between African and Western musics in the curriculum.
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Small, Jean. "Doing Theatre: Theatre Pedagogy through the Folktale." Cultural and Pedagogical Inquiry 11, no. 3 (January 6, 2020): 80–91. http://dx.doi.org/10.18733/cpi29505.
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Theatre Pedagogy holds that cognition is body-based. Through performance the body’s unconscious procedural memory learns. This information learned through repeated interaction with the world is transmitted to the brain where it becomes conscious knowledge. Theatre Pedagogy in this case study is based on the implementation of a Caribbean cultural art form in performance, in order to teach Francophone language and literature at the postsecondary level in Jamaica. This paper describes the experience of “doing theatre” with seven university students to learn the French language and literature based on an adaptation of two of Birago Diop’s folktales. In the process of learning and performing the plays, the students also understood some of the West African cultural universals of life which cut across the lives of learners in their own and in foreign cultural contexts.
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Osman, Sharifah Aishah. "Addressing Rape Culture through Folktale Adaptation in Malaysian Young Adult Literature." Girlhood Studies 14, no. 1 (March 1, 2021): 117–33. http://dx.doi.org/10.3167/ghs.2021.140110.
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Rape culture is a provocative topic in Malaysia; the public discourse on it is plagued by gender stereotyping, sexism, misogyny, and rape myths. Recent literary works aimed at Malaysian adolescent girls have interrogated rape culture more pointedly as a means of addressing gender-based violence through activism and education. In this article, I discuss two short stories, “The Girl on the Mountain” and “Gamble” as retellings of Malaysian legends and feminist responses to the normalization and perpetuation of rape culture in this society. Through the emphasis on female agency, consent, and gender equality, these two stories reflect the subversive power of Malaysian young adult literature in dismantling rape culture, while affirming the significance of the folktale as an empowering tool for community engagement and feminist activism.
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Bortolini, Eugenio, Luca Pagani, Enrico R. Crema, Stefania Sarno, Chiara Barbieri, Alessio Boattini, Marco Sazzini, et al. "Inferring patterns of folktale diffusion using genomic data." Proceedings of the National Academy of Sciences 114, no. 34 (August 7, 2017): 9140–45. http://dx.doi.org/10.1073/pnas.1614395114.
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Observable patterns of cultural variation are consistently intertwined with demic movements, cultural diffusion, and adaptation to different ecological contexts [Cavalli-Sforza and Feldman (1981)Cultural Transmission and Evolution: A Quantitative Approach; Boyd and Richerson (1985)Culture and the Evolutionary Process]. The quantitative study of gene–culture coevolution has focused in particular on the mechanisms responsible for change in frequency and attributes of cultural traits, the spread of cultural information through demic and cultural diffusion, and detecting relationships between genetic and cultural lineages. Here, we make use of worldwide whole-genome sequences [Pagani et al. (2016)Nature538:238–242] to assess the impact of processes involving population movement and replacement on cultural diversity, focusing on the variability observed in folktale traditions (n = 596) [Uther (2004)The Types of International Folktales: A Classification and Bibliography. Based on the System of Antti Aarne and Stith Thompson] in Eurasia. We find that a model of cultural diffusion predicted by isolation-by-distance alone is not sufficient to explain the observed patterns, especially at small spatial scales (up to∼4,000 km). We also provide an empirical approach to infer presence and impact of ethnolinguistic barriers preventing the unbiased transmission of both genetic and cultural information. After correcting for the effect of ethnolinguistic boundaries, we show that, of the alternative models that we propose, the one entailing cultural diffusion biased by linguistic differences is the most plausible. Additionally, we identify 15 tales that are more likely to be predominantly transmitted through population movement and replacement and locate putative focal areas for a set of tales that are spread worldwide.
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박재인 and Han sanghyo. "A Study on the North Korean’s Modern Adaptation of the Classic Folktale." Classical Literature and Education ll, no. 32 (June 2016): 193–224. http://dx.doi.org/10.17319/cle.2016..32.193.
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Adeoye, EA, AO Okeowo, AF Yusuf, and O. Rotimi. "Proposing an Indigenous Nigerian Folktale Therapy as a Counselling Model for Character Training and Behaviour Change among School Children." Journal of Science and Sustainable Development 5, no. 1 (June 12, 2013): 29–35. http://dx.doi.org/10.4314/jssd.v5i1.3.
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Using the Yoruba race of Nigeria as fulcrum for the study, this paper examines the universality and didactic significance of archetypes in African folklore. The authors contend that Africa folklore, by virtue of its highly moralizing and didactic elements made possible by an embedded commonality of instructive archetypes, offers a lifeline that counsellors andpsychologists can use in combating the moral decay in the Nigerian society. Based on this premise the paper goes on to present a counselling model for character training and behaviour change through the use of an indigenous Nigerian Folktale Therapy (I.N.F.T). The model is a response to the needed paradigm shift in the counterproductive traditional punitive method of combating undesirable behaviours that seem to have become rampant currently in Nigerian society. This model could indeed serve as springboard for adaptation in other African settings which are very rich infolklores.Keywords · Folktale · Therapy · Counselling psychology
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Inggs, Judith. "What is a South African Folktale? Reshaping Traditional Tales through Translation and Adaptation." Papers: Explorations into Children's Literature 14, no. 1 (January 1, 2004): 15–23. http://dx.doi.org/10.21153/pecl2004vol14no1art1273.
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Sumiyadi, Tedi Permadi, Yulianeta, and Een Nurhasanah. "EDUCATIONAL VALUE DEVIATION IN THE MOVIE ADAPTATION OF MALIN KUNDANG LEGEND." Journal of Southwest Jiaotong University 57, no. 3 (June 30, 2022): 60–70. http://dx.doi.org/10.35741/issn.0258-2724.57.3.5.
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In different folktale-transformation films, there is an energizing marvel from the Legend of Malin Kundang of the Minangkabau area, West Sumatra, Indonesia. The legend advises a child who is sentenced to stone by his mom. This study describes the deviation of educational values in the Malin Kundang legend movie adaptations. This comparison refers to educational value deviation from text to a movie leading to the spread of the deviations in society. This study used a descriptive comparative analysis with a semiotic narrative analysis model from Greimas. The results showed that all three movies had similar action schemes to the legend, indicating their faithfulness to the legend's plot. This study concluded that the deviation increased the decadence of educational values in the film. Malin Kundang's character did the educational decadence in the legend. However, the Film Television (FTV) and animation added the decadence of Malin Kundang's wife's character, who lost her empathy for the poor. Strengthening the decadence in the movie also proved that movies, as popular culture products, were different from legends that are part of didactic literature. The novelty of this study is related to efforts to contribute to the skills of the 21st century, namely expanding verbal and nonverbal literacy or multimodality. So, this article examines not only legends as verbal texts but also legends that have been transformed into multimodality texts, that is, films with various variations.
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Wood, Donald Walter. "“Tengo Feuza en la Piyadad de Allāh”: Piety and Polemic in an Aljamiado-Morisco “Companion in Paradise” Narrative." Medieval Encounters 26, no. 1 (May 4, 2020): 22–48. http://dx.doi.org/10.1163/15700674-12340059.
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Abstract The subject of this study is the Aljamiado-Morisco narrative, the Alḥadix đe Musā kon Yako el-karniçero, found in Madrid, BNE, MS 5305; an adaptation of the popular “Companion in Paradise” folktale type. Through a comparative reading of this and similar renderings of this tale, I will demonstrate that the Aljamiado narrative develops a detailed exemplification of ritual-like domestic practices that, within a Morisco context of use, served as a model for the proper care of one’s parents. For his fulfillment of these practices, the protagonist Jacob, condemned by the members of his community identified collectively as Banī Isrāʾīl, is promised a privileged place in Paradise alongside the prophet Moses. Contextualized within an Aljamiado-Morisco manuscript, Jacob’s reward is reframed as a polemical victory for Islam over other monotheistic traditions; a recurrent theme linking several of the texts contained in this manuscript.
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Savitri, Ayu Ida, and R. A. J. Atrinawati. "PENERJEMAHAN CERITA RAKYAT DI OBYEK WISATA TRADISI RELIGI DI PEKALONGAN." Sabda : Jurnal Kajian Kebudayaan 13, no. 2 (December 31, 2018): 110. http://dx.doi.org/10.14710/sabda.13.2.110-121.
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Translation is process of transferring text from source language (SL) into target language (TL). The process can be challenging when there are no translation found on the TL as a result of different politics, economy, social, cultural, historical and religious backgrounds. A text containing folklore is one of the difficult texts to be translated as it contains legend, tradition, art or folktale. When untranslability happens, Venuti (2000: 427) suggests translator to use the original text by adding footnote or glossary. To avoid a shift in translation, Vinay and Dalbernet (1958) suggests two translation methods namely direct translation along with three translation techniques, these are Calque, and literal translation and oblique methods along with four translation techniques named transposition, modulation, equivalence or reformulation, and adaptation. This research applies those model, methods and techniques of translation along with folklore research method from Dundes (2007) to promote tourism at Pekalongan Regency area.
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Kwon, Nayoung Aimee. "Conflicting Nostalgia: PerformingThe Tale of Ch'unhyang(春香傳) in the Japanese Empire." Journal of Asian Studies 73, no. 1 (January 3, 2014): 113–41. http://dx.doi.org/10.1017/s002191181300168x.
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In the Japanese empire in 1938, an imperial-language theatrical adaptation of a folktale from colonial Korea,The Tale of Spring Fragrance (Ch'unhyang chŏn)opened to rave reviews in major metropolitan cities throughout Japan. The performance's popularity ignited an encore run later the same year throughout colonial Korea. The play was commissioned by Murayama Tomoyoshi and his Shinkyō Theater Troupe in Japan. The script was penned in Japanese by Chang Hyǒkchu, a bilingual writer from the colony. This article examines a forgotten moment of colonial “collaboration” between Korea and Japan when the two countries’ literary histories converged in a widely publicized performance across the empire. By reading the tensions between parallel yet unbridgeable nostalgic desires between Japan and Korea, and measuring the gap between the consumption of the tale as trendy “colonial kitsch” and timeless “national tradition,” the performance can be read not as the embodiment of harmonious imperial assimilation as touted at the time, but as performing its anxieties and breakdown. This article further considers the significance of the failed collaboration and translation across colonial divides for postcolonial relations.
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Jinanto, Damar. "Belle Dalam Dua Dunia: Animasi Beauty And The Beast Tahun 1991 dan Film La Belle Et La Bête Tahun 2014." Urban: Jurnal Seni Urban 1, no. 2 (April 3, 2018): 133–48. http://dx.doi.org/10.52969/jsu.v1i2.9.
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The ideology of a text can be seen in a story, and one can see the message behind a story, even though the story is a popular one that can be reused in many versions. Theories within the framework of media adaptation can be used to interpret changing ideologies behind a text that transformed alongside developing issues, even if the story is only told in a different medium. This is visible on the French popular folktale, La Belle et La Bête (Beauty and the Beast), that was adapted into animation film by Walt Disney Pictures (1991), and the live action French film by Christophe Gans (2014). The battle of ideologies can be seen through the reconstruction of Belle’s story by Walt Disney Pictures, through Belle’s leitmotif, and Christophe Gans’s deconstruction that he did by removing, changing, or adding narrative and cinematographic materials that were present in the Disney version. Ideologi teks dapat tampak di sebuah karya agar mampu ditemukan pesan yang ingin disampaikan walaupun ceritanya merupakan sebuah cerita populer yang dapat dibuat berulang kali dalam berbagai versi. Kajian alih wahana untuk membaca ideologi teks yang berbeda dapat dikaitkan dengan isu yang sedang berkembang di zamannya, walaupun dengan cerita yang diangkat dari sumber yang sama. Hal ini terjadi pada dongeng populer Prancis, La Belle et La Bête (Beauty and the Beast) yang dialihwahanakan menjadi animasi oleh Walt Disney Pictures tahun 1991 dan film Prancis versi live action karya Christophe Gans tahun 2014. Pertarungan ideologi terlihat dari rekonstruksi kisah Belle oleh Walt Disney Pictures melalui leitmotif karakter Belle dan dekonstruksi yang dilakukan Christophe Gans dengan menghilangkan, mengubah, atau menambahkan materi naratif dan sinematografis yang sudah dibangun di versi animasi Disney.
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Ulanowicz, Anastasia. "“We are the People”: The Holodomor and North American-Ukrainian Diasporic Memory in Marsha Forchuk Skrypuch’s “Enough”." Miscellanea Posttotalitariana Wratislaviensia 7 (April 13, 2018): 49–71. http://dx.doi.org/10.19195/2353-8546.2(7).4.
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“We are the People”: The Holodomor and North American-Ukrainian Diasporic Memory in Marsha Forchuk Skrypuch’s Enough. Although the Holodomor — the Ukrainian famine of 1932–1933 — has played a major role in the cultural memory of Ukrainian diasporic communities in the United States and Canada, relatively few North American children’s books directly represent this traumatic historical event. One exception, however, is Marsha Forchuk Skrypuch’s and Michael Martchenko’s picture book, Enough 2000, which adapts a traditional Ukrainian folktale in order to introduce young readers to the historical and political circumstances in which this artificial famine occurred. By drawing on what scholar Jack Zipes has identified as the “subversive potential” of fairy tales, Skrypuch and Martchenko critique the ironies and injustices that undergirded Soviet forced collectivization and Stalinist famine policy. Additionally, they explicitly set a portion of their fairy tale adaptation in Canada in order to gesture to the role played by the Holodomor in structuring diasporic memory and identity, especially in relation to post-Independence era Ukraine.«Мы — народ»: Голодомор и североамериканско-украинская диаспорная память в книге Enough Марши Форчук Скрыпух. Несмотря на то, что Голодомор — голод в Украине 1932–1933 гoдов — сыграл важную роль в культурной памяти украинских диаспорных общин в Соединенных Штатах и Канаде, относительно мало североамериканских детских книг описывает это травматическое событие. Важное место в этом контексте является книга Марши Форчук Скрыпух и Майкла Мартченко «Достаточно» 2000, которая адаптирует традиционную украинскую сказку для того, чтобы познакомить молодых читателей с историческими и политическими обстоятельствами этого искусственного голода. Опираясь на то, что ученый Джек Зайпс назвал «подрывным потенциалом» сказок, Скрыпух и Мартченко критикуют иронию и несправедливость советской принудительной коллективизации и политики сталинского голода. Кроме того, они установили часть своей сказочной адаптации в Канаде, чтобы показать роль Голодомора в структурировании диаспорной памяти и самобытности, и связи последних с независимой Украиной.
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Mohd Shuib, Ahmad Sofiyuddin, and Wan Nurfathiyyah Wan Abdul Hamid. "Promoting The Forgotten Local tales of Terengganu “Tujuh Puteri” in digital Interactive Comic Book for Teenager." Idealogy Journal 7, no. 2 (September 1, 2022): 139–45. http://dx.doi.org/10.24191/idealogy.v7i2.374.
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Folktales is considered as a representation of our local cultural that plays an important role in delivering our image and identity in society. Preserving our local folktales is crucial to avoid from being forgotten or fade away, especially in this modern era where local folktales may face difficulties in adapting in the society. In this current society, Malaysian particularly lack of awareness regarding traditional Malaysian folktales. The development of modern technologies and sufficient gadgets that are primarily used by teenagers had affected their interest towards the local heritage of folktales and it has become an issue that Malay folktales are being swallowed by modernization, thus becoming less popular among teenagers. The main purpose of this research is to seek the effectiveness of forming an interactive comic book with adaptation of AR application into one of Terengganu local folktales ‘Tujuh Puteri’ as a preference for this research. The aim of this paper is to develop interest among teenagers towards the Malay local folktales.
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Gogiashvili, Elene. "Translations of the Thousand and One Nights in Georgia and Their Adaptations in Georgian Folklore." Translation Studies: Theory and Practice 1, no. 1 (June 30, 2021): 65–72. http://dx.doi.org/10.46991/tstp/2021.1.1.72.
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Translation is one of the ways in a process of adaptations of fairytales of foreign origin. From this perspective, it is very important to consider literary sources in the study of oral narrative materials. The large numbers of the folktales has a rich literary tradition and some plots of the folktales come from the literature, spread and interpreted by folk narrators. This article focuses on Georgian folktales related to the stories from “The Thousand and One Nights”, and compares the types of international folktales, such as ATU938 The Tale of the King Who Lost His Kingdom, ATU976 Which was the noblest act?, ATU930A The Predestined Wife, ATU561 Aladdin, ATU35 Ali Baba. The review of these tales reveals to us information about not only Georgian folktales related to “The Thousand and One Nights” but also the unique relationship between oral tradition and literate production.
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Arndt, Susan. "Trans*textuality in William Shakespeare’s Othello: Italian, West African, and English Encounters." Anglia 136, no. 3 (September 6, 2018): 393–429. http://dx.doi.org/10.1515/ang-2018-0045.
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Abstract William Shakespeare’s Othello (1604) displays a critical agenda towards the emerging colonialist discourse of his time and may have encountered, or even been influenced by, African oral literature. This thesis will be probed in this article by comparing Othello with the folktale “The Handsome Stranger” and the Trickster character, well known all across Western Africa, touching lightly on Leo Africanus’s The History and Description of Africa (1550) in the process. In doing so, Othello’s most acknowledged source text, “Un Capitano Moro” by Giovanni Battista Giraldi (1565), will be involved, thus complementing earlier comparative readings of “Un Capitano Moro” and Othello. This postcolonial comparative reading will finally embrace Ahmed Yerima’s adaptation of Othello, entitled Otaelo (2002). In doing so, the article will discuss striking parallels among all four texts, as well as differences and diversions. The latter are, however, not read as counter arguments to the possibility of an encounter; rather, discursive diversions are contextualised historically and trans*textually. Before delving into this analysis, the article will explore both historical probabilities and methodological challenges of reading African oral literature as possible sources of Shakespeare’s Othello, as well as theorise trans*textuality (as related to and yet distinct from Kristeva’s intertextuality and Genette’s transtextuality).This article has developed from two papers, one held in 2015 at a symposium dedicated to Michael Steppat in Bayreuth, who, ever since, accompanied this project with most helpful critical input; I owe him my sincerest gratitude. A second workshop on this topic was held in 2016 in Berlin in the presence of Shankar Raman, Christopher Joseph Odhiambo, and a student research group from Bayreuth with Taghrid Elhanafy, Weeraya Donsomsakulkij, Samira Paraschiv, and Mingqing Yuan. Taghrid Elhanafy dedicates her MA and PhD thesis to comparing Romeo and Juliet with several Arabic and Farsi versions of Layla and Majnun (Cf. Elhanafy 2018). Moreover, this article owes sincere gratitude to a most challenging and expert editing by Shirin Assa, PhD candidate at Bayreuth University, as well as Omid Soltani. Moreover, I wish to thank Dilan Zoe Smida and especially Samira Paraschiv for supporting me while doing research and working on notes and bibliography.
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Neba, Wanchia T., and Tabitha Boghema Samje. "Resolving Constraints in Translating Modifiers in Mungaka Oral Folktales into English." International Journal of Linguistics, Literature and Translation 5, no. 2 (March 1, 2022): 145–52. http://dx.doi.org/10.32996/ijllt.2022.5.2.18.
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A major challenge encountered when translating Mungaka oral folktales into English centres on the use of modifiers, precisely adjectives and adverbs. The manner in which these grammatical categories are employed in Mungaka oral folktales engenders numerous constraints that render their translation into English difficult. This paper sets out to identify the specific translation constraints that originate from the use of modifiers in Mungaka oral folktales and establish methods to resolve them when translating from Mungaka into English. With the help of unstructured interviews, five Mungaka oral folktales are recorded, transcribed and analyzed qualitatively to identify excerpts that pose translation problems. The use of modifiers in Mungaka gives rise to 16 translation problems (problematic excerpts). The study uses mainly Descriptive Translation Studies (DTS), buttressed by the linguistic, interpretative and aesthetic communication theories of translation, employed to resolve the translation problems in the excerpts. Findings reveal that the translation of Mungaka modifiers is stymied by lexical, semantic and syntactic constraints, and strategies such as transposition, amplification, modulation, omission, substitution, adaptation and reformulation can help in resolving these translation constraints. These strategies are thus recommended for the translation works from Mungaka into English.
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Koshy, Minu Susan. "“Little Glass Slippers” on the American Silver Screen: An Inquiry into Hollywood Adaptations of Charles Perrault’s “Cinderella”." Education, Society and Human Studies 1, no. 1 (May 7, 2020): p20. http://dx.doi.org/10.22158/eshs.v1n1p20.
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Considered as a form of translation, adaptations involve intersemiotic transfers of stories, novels and poems into the symbolic system of the cinema. This process could be construed as an attempt on the part of the “translators” to “consume and erase the memory of the adapted text or to call it into question” as also “pay tribute by copying” (Hutcheon, p. 7). Adaptations of folktales present a particularly challenging and at the same time, interesting task in that unlike novels or short stories, which are mostly in the written form and hence possess a fixed plot, folktales are mostly in the oral tradition and thus present regional and chronological variations. This accounts for the multiple adaptations of “Cinderella” or “The Little Glass Slipper”, one of the most popular tales by Charles Perrault, across and more importantly, within cultures, during different historical periods. In this paper, I attempt a diachronic comparative study of multiple adaptations of “Cinderella”, focusing on different ‘versions’ of the tale embodied in films produced in the USA, from the early 20th century to the contemporary times. The study would take into account the issues of race, gender, class as also the varying themes, keeping in mind the historical conditions under which the films were produced.
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Indrayati, Refita Ika, Pindi Setyawan, and Acep Iwan Saidi. "Narasi Visual Kematian Pada Ilustrasi Buku Cerita Rakyat Anak Indonesia." Jurnal Budaya Nusantara 2, no. 1 (September 1, 2018): 203–9. http://dx.doi.org/10.36456/b.nusantara.vol2.no1.a1713.
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Folklore used as a tool to transfer life lesson from generation to generation. In the midst of modern children'sbooks that carry moral as a main theme, folklore must comes with a new adaptation to compete with other stories. Thisadaptation forced to change how sensitive theme must be delivered, such as death. This study aims to explore howIndonesian folklore books that narrated death in terms of images, texts, and relationships built between the twoelements. Using content analysis, this research takes an example of story containing subtheme as story line from fourprinted books of Indonesian children ’s folktales that published between 2015-2017.
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Barbee, Matthew. "Page to Stage: An Empirical Study of Foreign Language Learning (FLL) and Motivation Through Playwriting, Readers Theatre, and Stage Production." JALT PIE SIG: Mask and Gavel 10, no. 1 (February 7, 2022): 7–33. http://dx.doi.org/10.37546/jaltsig.pie10.1-1.
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This article describes a set of lessons used in a university EFL course and presents empirical, classroom-based research. The set of lessons, Page to Stage, was designed to teach English through the use of drama, dramatic activities, and theatre production—more specifically: dramatic adaptation of Japanese folktales, playwriting, readers theatre, and the rehearsal, memorization, and performance of original, student-written plays. At the end of the lesson and course, students were surveyed on their beliefs regarding the lesson’s effects on their motivation, level of English, use of prosody, and confidence when speaking in public. The students’ enjoyment of certain aspects of the lesson as well as the lesson as a whole was also surveyed. Results showed that the students saw self-improvement along all points, while they feel that their motivation and use of prosody improved most. Regarding enjoyment, students most enjoyed (from most enjoyable to least enjoyable) watching other students perform, working together in groups, using Japanese folktales as reference for the playwriting, the readers theatre, the final performance, and playwriting. Students least enjoyed memorizing the scripts in preparation for the final performances. Based on the results, a case is made for the benefits of drama, readers theatre, and theatre production in the EFL classroom.
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Balakirsky Katz, Maya. "Bambi Abroad, 1924–1954." AJS Review 44, no. 2 (October 22, 2020): 286–316. http://dx.doi.org/10.1017/s0364009420000070.
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AbstractThis paper explores the visual sources that inspired Felix Salten's Bambi, Eine Lebensgeschichte aus dem Walde (1923), and its postpublication legacy in America, Poland, India, Israel, and Russia. While both Jewish and non-Jewish artists embraced the hunted deer motif as their own “national folktale,” the Jewish roots of the visual motif are critical to understanding the revisions and adaptations of the tale in the mid-twentieth century. The case of the myriad revamps of Bambi demonstrates that the nationalist idiom was so elastic in the mid-twentieth century that it functioned as an aesthetic mode rather than an a priori category of identity. At the center of the analysis is the contention that Jewish artists, filmmakers, and writers used the aesthetic properties of the nationalist idiom not only to forge a path to political agency but also to build a shelter from the nation-state.
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Manna, Anthony L. "The Americanization of the Brothers Grimm, or Tom Davenport's Film Adaptations of German Folktales." Children's Literature Association Quarterly 13, no. 3 (1988): 142–45. http://dx.doi.org/10.1353/chq.0.0364.
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Makaudze, Godwin. "TEACHER, BOOK AND COMPANION: THE ENVIRONMENT IN SHONA CHILDREN’S LITERATURE." Commonwealth Youth and Development 13, no. 2 (June 1, 2016): 100–109. http://dx.doi.org/10.25159/1727-7140/1150.
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Contemporary society has had running battles with citizens, trying to force them to be aware and appreciative of the importance of relating well with, and also safeguarding the environment. Modern ways of child socialisation seem in mentoring youngsters about the being, nature and significance of the environment (both natural and social) in life. Today, society it has largely become the duty of non-governmental organisations and law enforcement agents to educate and safeguard against the abuse of the social environment and the degradation, pollution and extinction of crucial facets of the natural environment. Using the Afrocentricity theory, the article explicates the position of the environment in Shona children’s oral literature (folktales, songs, riddles and taboos), showing that it was presented, viewed and taken as a teacher, book and close companion whose welfare was to be guarded jealously. The article advocates the adoption and adaptation of African ways of child socialisation, which subtly but effectively build a positive and healthy relationship between people and their environment.
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Duttagupta, Suchismita. "Reading Hair as a Symbol to Understand Changing Gender Roles in “Rapunzel” and Rapunzel’s Revenge." Artha - Journal of Social Sciences 17, no. 3 (July 1, 2018): 53–72. http://dx.doi.org/10.12724/ajss.46.4.
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Fairy tales have always been captivating for young readers. Since most of the fairy tales have their source in oral folktales, they highlight traditional gender roles and create stereotypes. As Maria Nikolajeva (2003) states, fairy tales reflect its own time and society. Evolution in readership has led to a change in these reflections. “Rapunzel” is one of the most iconic fairy tale characters and she is known for her long golden hair. Hair carries symbolic implications and is often associated with femininity, and exhibits how societal control influences how she/he wears their hair. By the transformation of her hair in the adaptations, the authors depict a change in the traditional gender roles. Rapunzel’s Revenge by Shannon and Dean Hale will be read as a counter-narrative to Grimm‟s “Rapunzel” to investigate the changes in the fairy tale genre and enable a reading of the changing hair symbolism in order to understand the change in gender roles and identity.
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Lee, Sung-Ae. "Lures and Horrors of Alterity: Adapting Korean Tales of Fox Spirits." International Research in Children's Literature 4, no. 2 (December 2011): 135–50. http://dx.doi.org/10.3366/ircl.2011.0022.
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Core incidents and motifs in retellings and adaptations of Korean folktales about supernatural foxes, known as Gumihos, have coalesced into a common, readily recognised fox-woman script. Since the end of the 1980s, the fox-woman script has become a focus for cultural conflict. The traditional stories are acknowledged to be part of Korea's intangible cultural heritage, and as such have been retold conservatively to preserve that heritage (especially in picture books) or have undergone major reinterpretation in attempts to reshape that heritage and imbue it with contemporary significance. According to the fox-woman script, the Gumiho is humankind's monstrous other, but a variety of works in film or television drama have challenged the assumptions about alterity and monstrosity. This challenge first emerged when moral awareness was attributed to the Gumiho character, especially in conjunction with the narrative strategy of aligning perspective with her, of transforming her from object to subject, and demonstrating that humanity is evidenced by behaviour and not by race or social privilege. Subsequently, general audience television drama and children's film have explored homologies between a reworked fox-woman script and ethnic otherness, and have transformed the script into a narrative about cultural otherness that advocates an open and other-embracing society.
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Apandi, Apandi, and Devi Siti Sihatul Afiah. "PROJECT BASED LEARNING IN TRANSLATION CLASS." Academic Journal Perspective : Education, Language, and Literature 7, no. 2 (December 1, 2019): 101. http://dx.doi.org/10.33603/perspective.v7i2.2656.
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PROJECT BASED LEARNING IN TRANSLATION CLASSApandiProdi Pendidikan Bahasa Inggris, FKIP Unswagati CirebonEmail: aapandi5@gmail.comDevi Siti Sihatul AfiahProdi Pendidikan Bahasa Inggris, FKIP Unswagati Cirebon  AbstractThis study aims to identify student learning experiences in the Indonesian-English translation class. This study uses a case study approach with data collection methods in the form of observations, interviews and questionnaires. Observations are made to obtain data sources from direct sources. Interviews were conducted to find out whether the places visited had historical stories, legends or folktales that could be translated into English, and also to find out the obstacles or challenges faced during learning using PBL. A questionnaire was used to identify learning experiences in the Indonesian-English translation class using PBL. Respondents were students of the 6th semester of the English language education program who took part in the English-Indonesian translation course. Data is presented in the form of descriptive explanations and also supported by graph data to facilitate the presentation. This study shows that the use of PBL provides benefits in forming independent learners, improving critical thinking and can improve attitudes in collaboration with peers. However, there are still obstacles and challenges in translation courses using PBL, namely at the beginning of the lecture in the form of less preparation time, adaptation with group mates and also the location of observations that are located some distance from the campus or where students are, and there are difficulties in translating cultural words found.Key words: PBL, Translation, Learning Experience
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Попович Николич, Даниела. "Serbian Oral Tales of the AaTh 505-508 Type." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 3 (September 25, 2021): 86–93. http://dx.doi.org/10.26158/tk.2021.22.3.007.
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Рассказ о благодарном мертвеце (AaTh 505-508) широко распространен в прозаическом фольклорном фонде многих народов мира. В его основе находится повествование о человеке, хоронящем мертвеца, который потом становится помощником и спутником, помогающим герою рассказа в женитьбе и приобретении богатства. В многочисленных исследованиях выделяются, среди прочего, разные варианты этого рассказа, определяются типы, модификации типов и их сложные взаимосвязи, регистрируются мотивы и сюжеты в письменных текстах, анализируются их сходства и отличия в рамках поэтических систем, к которым они относятся. В настоящей работе автор уделяет внимание тем вариантам этого рассказа, которые существуют в сербском прозаическом фонде, их тематическо-мотивной структуре, основным характеристикам главных персонажей в повествовательных ситуациях и событиях, а также сравнению с литературными источниками и элементам взаимопроникновения устных текстов разных жанров: сказки, легендарного рассказа и предания. Сербские устные рассказы о благодарном мертвеце записывались с первой половины XIX в., имеются и записи более позднего времени - второй половины XX в. Зафиксированные в самых ранних перечнях вариантов, эти рассказы свидетельствуют о наличии определенных международных моделей, а также о примерах их модификации в разных масштабах, в зависимости от территории и рамок традиции. The tale of the grateful dead man (AaTh 505-508) is widely known in the folklore of many nations of the world. In it the protagnist buries a dead man who comes alive and turns into the protagonist’s ally and companion and who helps the hero marry and acquire wealth. In this article, the author concentrates on the variants of this folktale type in Serbian, examining their theme-motif structure and the essential characteristics of the main protagonists. She also analyzes their literary sources and the interpenetration of oral texts of different genres (fairy tales, legendary stories and legends). Serbian oral stories about the grateful dead have been recorded since the first half of the nineteenth century; there are also accounts from the second half of the twentieth century. These stories, for which their earliest variants are preserved, reveal the existence of particuar international types as well as of adaptations to particular locations and traditions.
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Ortabasi, Melek. "From Dog Bridegroom to Wolf Girl: Contemporary Japanese Fairy-Tale Adaptations in Conversation with the West by Mayako Murai, and: Japanese Animal-Wife Tales: Narrating Gender Reality in Japanese Folktale Tradition by Fumihiko Kobayashi." Monumenta Nipponica 71, no. 2 (2016): 477–83. http://dx.doi.org/10.1353/mni.2016.0061.
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Taiwo, Adekemi Agnes. "New Media, Old Artistry: The Adaptation of Yorùbá Folktale Narrative Strategies in Video Films." Afrika Focus 32, no. 1 (September 5, 2019). http://dx.doi.org/10.21825/af.v32i1.11783.
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The argument of this study is that Yorùbá people continue to keep alive and sustain their society’s oral folkloric tradition and verbal art despite the changes undergone by Yorùbá folktales that have passed into written form and other (new) media. Verbal arts educate, reflect and promote culture, as well as, their well-known capacity to instil moral decency in a young audience. This paper explores the adaptation of Yorùbá folkloric form in film. The audience memory is reawakened through the conservation and propagation of folktale into drama form in the film, Ijàpá and Àjàntálá. Ìjàpá (tortoise) is well known for its trickish behaviour and nature while Àjàntálá is also known for his vicious behaviour. Their character was worn into human beings (artiste) to teach society moral lessons. These Yorùbá movies Ìjàpá and Àjàntálá were adapted from Yorùbá folktales to examine issues and themes that are germane to contemporary society. Ìjàpá was produced in 2011 while Àjàntálá was produced in 2015. The theory of intertextuality which is the way books, songs, films are linked or associated to one another is adopted for the research.
KEYWORDS: YORÙBÁ ORAL FOLKTALE, ADAPTATION, INTERTEXTUALITY, FILM
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Arnita Yanti, Ni Made. "PROCEDURES OF TRANSLATION ON MALIN KUNDANG’S FOLKTALE FROM WEST SUMATRA." Lingual: Journal of Language and Culture 2, no. 1 (May 1, 2014). http://dx.doi.org/10.24843/ljlc.2014.v02.i01.p04.
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The objective of this study was to examine the procedures of translation on the Malin Kundang folktale translated into English. The data was collected in several steps, the first step was note taking, the further step was identifying the data and the last step was arranging the data and classifying it in the table. The analyzing method of the data through documentation method and it was randomly selected in the discussion session. Result for the procedures in the folktale revealed based on the procedures in translation, only five out of seven procedures were obtained from the text such as Literal Translation, Transposition, Modulation, Equivalence, and Adaptation.
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Kloda, James. "The final girl on the freeway: Adaptation and appropriation of a fairy tale." Issues in Ethnology and Anthropology 11, no. 2 (June 20, 2016). http://dx.doi.org/10.21301/eap.v11i2.4.
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Fairy tales and their adaptations transgress established social, cultural and temporal boundaries. This paper examines Matthew Bright’s Freeway (1996), an adaptation of Little Red Riding Hood that deliberately mirrors this transgression by setting the film within the generic type of horror cinema. In choosing this mode, Bright partly restores the fairy tale to its original purpose, once existing as a folktale full of high melodrama, but goes further, criticising the text of ‘known pattern’ and overhauling it to a story in which an innocent female under attack restores her own equilibrium: in effect, deploying the ‘final girl’ trope that is common in slasher movies.
Freeway uses its adaptive status to radically reinterpret the source text, fomenting its oppositional assault through a genre most suited to subversion. Through textual analysis, the paper examines how Bright harnesses the potential of the cinematographic medium through a double interaction, one that not only allows a coded opening of the internal, intertextual space of the adaptation, but also an antagonistic encounter rooted in the context of horror cinema.
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Ernest-Samuel, Gloria Chimeziem. "Igbo Language and Literature in Classroom Discourse: a pedagogical experimente." Revista Brasileira de Estudos da Presença 9, no. 1 (2019). http://dx.doi.org/10.1590/2237-266081831.
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Abstract: This paper shares a pedagogical experiment of Igbo language instruction using a folktale literature and its film adaptation. The ethnographic study reveals that film viewership affects the students’ appreciation of the literature and the language and enhances students’ cooperation in sharing and contributing in the learning exercise. The study emphasizes the importance of interactive teaching methods and argues that with globalization and persistent technological invasion, African and cultural studies’ scholars need to reflect on innovative approaches to the instruction of local languages and literature to sustain youth interest in African culture/cultural studies in a technological era.
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Mpofu, Phillip. "Indigenous Media and Social Media Convergence: Adaptation of Storytelling on Twitter, SoundCloud and YouTube." Journal of Asian and African Studies, October 5, 2021, 002190962110491. http://dx.doi.org/10.1177/00219096211049176.
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Storytelling is ordinarily trivialised as an antiquated oramedia genre, and of less significance in Zimbabwean mainstream media and communication studies, hence it is understudied. Recent studies largely take a literary gaze on storytelling, and do not theorise it from an indigenous media viewpoint or appreciate its convergence with social media. Drawing on concepts of media convergence and the digital public sphere, this netnographic study examines the adaptation of storytelling on Twitter, SoundCloud and YouTube, focusing on patterns of production, delivery, participation, language forms, reception and audiences. The article shows inventive re-embodiment and adaptation of storytelling on online spaces, that is, the endurance and remaking of indigenous media in the context of new media and communication technologies. The manifestation of the folktale narrative style on social media exhibits the rise of a secondary form of orality recreated, reproduced and applied in the digital form and on social media. While digital and social media are perceived as threatening the continued existence of indigenous media, this article attests social media as breathing spaces for indigenous media.
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"Isao Takahata : Inspiring Visual Styles of Japanese Film & Anime Aesthetics." International Journal of Innovative Technology and Exploring Engineering 8, no. 11S2 (October 26, 2019): 198–209. http://dx.doi.org/10.35940/ijitee.k1032.09811s219.
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The Tale of Princess Kaguya is an adaptation from The Tale of the Bamboo Cutter, a classical Japanese folktale, directed by Isao Takahata in Studio Ghibli productions. Isao Takahata is a director who has long been overlook by his longtime colleague and Studio Ghibli co-founder Hayao Miyazaki. The purpose of research about cinematography techniques or style of Isao Takahata animated film in The Tale of Princess Kaguya. The Princess Kaguya animated film is like an old Japanese painting that is similar to traditional sumi-e. The focus of this research will look into several aspects such as impressionistic style and the character design in Princess Kaguya animated film. Impressionistic art is an art style when an artist looks into situation or things with a short glimpse and paint it back using bright and vibrant colors. Most of the pictures are outdoor scenes. The concept character of Princess Kaguya created with amazing work of art using hand-drawn animation to new heights of fluidness.
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Biswas, Sneha. "Jungle Nama: Ghosh’s adaptation of a mystic folktale from the Sundarbans Amitav Ghosh, Salman Toor, Jungle Nama, HarperCollins Publishers India, 2021, 88 pp., ISBN 978-9353579128 (Hardcover)." Journal of Social and Economic Development, March 4, 2022. http://dx.doi.org/10.1007/s40847-022-00178-0.
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Hussain, Farddina. "Filming Folktales: The ‘Uncanny’ in Bhaskar Hazarika’s Kothanodi (“The River of Fables”)." Rupkatha Journal on Interdisciplinary Studies in Humanities 14, no. 2 (June 7, 2022). http://dx.doi.org/10.21659/rupkatha.v14n2.ne12.
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The affinity between Assamese literature and cinema has only grown over the years since its inception in 1935; in the history of Assamese cinema, film adaptation had begun with Jyoti Prasad Agarwala’s Joymoti and Padum Baruah’s Gonga Silonir Pakhi. It is no surprise that Bhaskar Hazarika too turned towards the well-known collection of folktales Burhi Air Sadhu by Lakshminath Bezbaroa for the subject of his debut feature film Kothanodi, The River of Fables in 2015. Bezbaroa in the book mentions his views on folktales as markers of cultural identity of Assamese community and wanted his anthology to strengthen the feelings of Assamese nationalism among the people of the land. The paper proposes to reflect on this take of Bezbaroa on identity and culture, and go ahead to analyse the gaze of Bhaskar Hazarika as an auteur. With two successful feature films to his credit, the filmmaker is known for his depiction of the ‘uncanny’ (Freud) and horror to delve deep into the dark recesses of the mind, and society simultaneously. Whereas Bezbaroa’s folktales have been regarded as bedtime stories for children, the paper would like to argue that the viewing of these tales in the film by young children evokes horror and dismay. The dialectical simulation of images created by the auteur resonates more with the adult minds as he offers the contours of his film-philosophy with an Amazonian cosmology.
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Usman, Joshua. "Indigenous Narratives as Experimental Cinematic Texts in Nigerian Films." Southern African Journal for Folklore Studies 29, no. 2 (November 22, 2019). http://dx.doi.org/10.25159/1016-8427/4228.
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The paper seeks to consider the employment of folkloric tales (traditional stories) in indigenous Nigerian films as stimuli for establishing a definitive film industry. The integration of oral features into Nigerian films dates back to the era (1980–1990s) of early films in Nigeria: consider Ajani Ogun (1976), Daskin da Ridi (1990), Egg of Life (2003), Festival of Fire (1999) etcetera. Studies on Nigerian film and oral culture established that the strong narratives of Nollywood films are drawn from indigenous folk stories; indeed, the films are mostly adaptations of folktales. This article demonstrates Nigeria’s cultural history through investigating the role of culture as a strong contributor to media development in Nigeria. The research is based on textual analysis of three Nigerian films, namely The Fish Girl (2016), Hypocrisy (1992) and Daskin da Ridi (1990) as primary texts. The methodology is primarily textual. The study draws on a textual analysis of selected Nigerian films to determine their sources. The study adopts the African film theory which juxtaposes the pre-modern with modernity where the oral tradition and filmmakers are fused together, as highlighted by Tomaselli (1992). The hypothesis is that traditional folktales play an important role in the development of the Nigerian film industry (Nollywood). The study reveals that folktales and other oral genres set a footprint for film texts in Nollywood movies. Therefore, this indicates that there is a clear (although thus far, often ignored) bond between indigenous folk narratives and modern Nigerian films.
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"From an African Oral Tale to an English Picture Book: Rwandan Teachers’ Experience with Online Translation of South African Institute of Distance Education’s African Storybooks." Teacher Education Through Flexible Learning in Africa 1, no. 1 (December 18, 2020). http://dx.doi.org/10.35293/tetfle.v1i1.66.
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Research findings pertaining to language education and distance education point to the lack of online reading materials written in African languages and reflecting African contexts. Such a shortage is a challenge to literacy skills development in Africa. In Rwanda, although there are some graded readers to support the teaching of reading in Kinyarwanda, there is a shortage of enjoyable storybooks on which children can practice their reading skills. This paper contributes to addressing this challenge by investigating the partnership between the University of Rwanda-College of Education and South African Institute of Distance Education’s (Saide) African Storybook Initiative, which provides a website of digital storybooks in Kinyarwanda and other languages for early grade reading. Data were collected from 32 Rwandan teacher educators who participated in a workshop. Participants created online picture storybooks in Kinyarwanda, translated some from other languages and published them on the African Storybook website. The researchers firstly observed their activities during the workshop, then, all participants filled in the questionnaire and ten teachers were interviewed on opportunities offered and challenges encountered during the translation process. The key finding is that teachers’ experiences with translation revealed differences in story reading levels between the original Kinyarwanda folktales and English translated versions. They found special features of African agglutinating languages in determining reading levels, and foreignization of translated stories based on cultural clashes. Differences in length between the original and the translated stories were observed, as well as the specificity of English versions in reinforcing more critical thinking than the translated Kinyarwanda versions. The paper recommends teacher educators and translators to bear in mind that adaptation to African languages requires care and a high level of ability to maintain the meaning and moral lesson of the original tale and make it enjoyable for children. Translating and adapting stories from English into agglutinative African languages have implications for early grade reading interventions in African schools since children stories on African storybook website are available in more than 100 African languages.