Journal articles on the topic 'Modern literary fairy tales'
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1
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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Citton, Yves. "Fairy Poetics: Revisiting French Fairy Tales as (Post)Modern Literary Machines." Eighteenth-Century Studies 39, no. 4 (2006): 549–55. http://dx.doi.org/10.1353/ecs.2006.0018.
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Karp, Marta. "GRAMMATICAL MEANS OF CONTAMINATED COHESION IN ENGLISH MULTIMODAL LITERARY FAIRY TALES: DYNAMICS OF PRAGMATIC PROPERTIES." Studia Linguistica, no. 17 (2020): 75–84. http://dx.doi.org/10.17721/studling2020.17.75-84.
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The relevance of the study is due to the need for comprehensive disclosure of grammatical means of cohesion in the organization of English multimodal literary fairy tales from the standpoint of the functional paradigm of modern linguistic studies and taking into account the achievements of semiotics, narratology, text linguistics, discourse stylistics. The object of research concerns the contaminated cohesion of the English multimodal fictional text of the literary fairy tales written by Philip Ardagh. The subject of the research deals with the grammatical means of cohesion in the multimodal organization of modern English literary fairy tales by Philip Ardagh. The aim of the study is to identify and characterize the structural, semiotic and narrative aspects of the category of cohesion of English multimodal literary fairy tales that determine its text-forming nature. Stated aim implies the need to solve the following tasks: to develop semiotic and narrative approach to the analysis of grammatical means of cohesion in English multimodal literary fairy tales by Philip Ardagh; to analyze the verbal and nonverbal interaction of the components of contaminated cohesion in the structure of the analyzed literary fairy tales; to establish the dominant structural, semiotic and narrative features of the creation of contaminated cohesion in literary fairy tales. The scientific novelty of the obtained results is determined by the fact that for the first time a comprehensive analysis of the text-forming category of cohesion in a modern English multimodal literary fairy tale based on the methodological paradigm of functionalism, which covers structural, semiotic and narrative aspects has been carried out.
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Kaliszewska-Henczel, Magdalena. "Fairy Tale Protagonists in the Early Childhood Education Field in the Perspective of Children." Yearbook of Pedagogy 43, no. 1 (December 1, 2020): 137–52. http://dx.doi.org/10.2478/rp-2020-0008.
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Summary The paper explores the nature of fairy tales’ protagonists in a traditional literary fairy tale and in the modern one from the perspective of pupils who are from seven to ten years old. The fairy tales are often being used in the early childhood education field as the starting point for school plays, as play themes or as a ‘background’for language, science or mathematics activity. Children’s symbolic perception of the fairy tales’ characters and their relationships reveals that there is a way of pupils’ reception of texts in which those texts are treated (and analysed) as a work of literary art. The article presents the results of research, in which – through the application of a non-verbal method – children indicated the interactions between Cinderella from the traditional literary fairy tale and a daisy from Hans Christian Andersen’s story (The Daisy).
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Karp, Marta. "Communicative and pragmatic content of contaminated lexical cohesion in English multimodal literary fairy tales by Philip Ardagh." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, no. 22 (2020): 177–83. http://dx.doi.org/10.34079/2226-3055-2020-13-22-177-183.
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Introduction: the paper focuses on the communicative and pragmatic content of contaminated lexical cohesion in English multimodal literary fairy tales by Philip Ardagh. The purpose of the paper is to describe semiotic, structural-semantic and narrative aspects as the dominant components concerning modes of contaminated lexical cohesion in English multimodal literary fairy tales. Methods: semiotic modes of contaminated lexical cohesion in modern English literary fairy tales by Philip Ardagh have been singled out and analysed according to the micro-, meso- and macro inclusions within the semiotic and narrative interpretation of the multimodal fictional text on the general principles of structural and semiotic, narrative, poetic and interpretative, quantitative analyses and GeM model. Results: the communicative and pragmatic content of contaminated lexical cohesion in the text of English multimodal literary fairy tales by Philip Ardagh has been actualised by micro inclusions (88%) and meso inclusions (12 %) but for macro inclusions (0 %). Conclusion: the communicative and pragmatic content of contaminated lexical cohesion is based on the actualisation of the semantic potential of antonomasia. In English multimodal literary fairy tale the character’s name is the link between the conception of the addressant Philip Ardagh and the embodied idea of a fairy tale, fiction and reality, historical past and present. The character’s proper name performs a communicative function grounded on the interaction between the addressant and the addressee. Contaminated antonomasia is based on a verbal explanation of the character’s name in the text of English multimodal literary fairy tale, which is absorbed by its iconic component for a detailed image of character’s appearance. Parentheses, separated by brackets, indicate predominantly the presence of antonomasia in the context of English multimodal literary fairy tale by the lexeme (the) name. The indefinite article the in the function of the language marker that accompanies the lexeme name identifies the characters in the illustrations mentioned previously in the context of the verbal component. Contaminated antonomasia is the result of an implicit semantic correlation between the verbal and iconic components, which provides the connection between the iconic component and the supra-phrasal unit or fragment of English multimodal literary fairy tale. In prospect the suggested semiotic and narrative interpretation of modes of contaminated lexical cohesion in English multimodal literary fairy tales by Philip Ardagh can serve as a model for further linguistic text research on other categories of different text genres according to the modern linguistic, stylistic and discourse studies.
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Scullion, Val, and Marion Treby. "The Romantic Context of E. T. A. Hoffmann’s Fairy Tales, The Golden Pot, The Strange Child and The Nutcracker and the Mouse King." English Language and Literature Studies 10, no. 2 (April 16, 2020): 40. http://dx.doi.org/10.5539/ells.v10n2p40.
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As diaries, letters and the intensive intertextuality of his prose fiction show, the German Romantic writer and composer, E. T. A. Hoffmann (1776-1822), was an obsessive bibliophile and polymath. The aim of this article is to explore how far three of his literary fairy tales, The Golden Pot: A Modern Fairy Tale (1814), The Strange Child (1816) and The Nutcracker and the Mouse King (1816), use the generic conventions of the fairy tale, and how far they are influenced by his voracious reading, his encyclopaedic knowledge of literature, and his engagement with contemporary debates. We conclude with brief observations about his literary legacy in the genres of fairy tales and fantasy fiction.
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Riazanova, V. A., O. T. Zayats, and A. A. Ignatolia. "UKRAINIAN TALE: MORAL AND AESTHETIC PARADIGM OF FOLKLORE AND LITERATURE." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 3(55) (April 12, 2019): 480–90. http://dx.doi.org/10.31471/2304-7402-2019-3(55)-480-490.
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The present article deals with the concepts of Ukrainian literary fairy tale and morality. Evolutionary stages of development of the Ukrainian literary fairy tale, components of moral development and levels of moral consciousness are considered. The specificity of fairy tales is found out within the limits of the unique direction of the artistic phenomenon at the level of modern knowledge of fairy-tales. The ideas of moral and aesthetic education of children are systematized on the basis of Ukrainian folklore and literary studies. Moral qualities of the person which are formed by means of inclusion of the fairy tale are defined in process of education. The place and role of the Ukrainian literary fairy tales in the process of education of moral and aesthetic qualities of children is outlined. The principles of transformation of folklore material and features of its assimilation by literature are considered. The opinions of many famous scientists and teachers on the use of folklore in the education of children are analyzed. It is determined that the Ukrainian literary fairy tale contains a considerable reserve of creativity for working with children, as well as developing their morality. It teaches children common to mankind values, thus forming a character trait such as self-esteem. The fairy tale prepares a child for a future life in the real world and shows examples of overcoming difficulties. It forms the moral qualities that will remain with the child for life. With the help of a fairy tale, the child develops moral and aesthetic feelings. Her potential includes a source of morality and at the same time is a popular means of upbringing. It promotes the formation of certain values, an ideal. The ideal for a child is a long-term perspective, which one she will strive, checking her affairs and deeds with her. An ideal, acquired in childhood, will in many ways define it as a person. It is concluded that the effectiveness of using the Ukrainian literary fairy tale in the moral and aesthetic education of children is verified in practice and very productive.
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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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Chertousova, S. V. "ADAPTATION OF THE NATIONAL WORLD PICTURE IN RUSSIAN TRANSLATIONS OF HORACIO QUIROGA’S TALES." Russian Journal of Multilingualism and Education 12 (December 25, 2020): 142–49. http://dx.doi.org/10.35634/2500-0748-2020-12-142-149.
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The present research reveals the specifics of translations of Horacio Quiroga’s tales into Russian from the point of view of cultural linguistics. The relevance of the problem discussed is due to the growing interest in the discourse of fairy tales in modern linguistics and numerous attempts to translate and adapt classical fairy tale stories to different cultures. The choice of the analyzed material is determined by the presence of various types of vocabulary with national and cultural components in the tales of Horacio Quiroga that reflect the national world picture of the peoples of South America and constitute the aesthetic value of a literary work, which must be adequately conveyed in the translation. The introduction clarifies the notion of the national world picture and defines its components in a literary tale. The specific features of construction and linguistic content of Horacio Quiroga’s texts are highlighted. The purpose of the study was to identify the optimal strategy for conveying the national and cultural background in the translation of literary tales into Russian. The main difficulties in conveying the onomastic component of a tale and the employed figures of speech in translations from Spanish into Russian are analyzed. Special attention is given to the methods of compliance with the genre and style norms of translation, including the neutralization of elements of cruelty and naturalism in modern fairy tales for children. As a result, a conclusion is made that the domestication strategy makes it possible to adapt the text for the recipient who does not have an extensive background knowledge about the culture of the original text, which is especially important when translating children’s literature. The inevitable loss of information does not affect in any way the adequate transfer of the national world picture to a different culture and the reflection of the main moral values laid down by the author in the literary work.
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Chertousova, S. V. "ADAPTATION OF THE NATIONAL WORLD PICTURE IN RUSSIAN TRANSLATIONS OF HORACIO QUIROGA’S TALES." Russian Journal of Multilingualism and Education 12 (December 25, 2020): 142–49. http://dx.doi.org/10.35634/2500-0748-2020-12-142-149.
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The present research reveals the specifics of translations of Horacio Quiroga’s tales into Russian from the point of view of cultural linguistics. The relevance of the problem discussed is due to the growing interest in the discourse of fairy tales in modern linguistics and numerous attempts to translate and adapt classical fairy tale stories to different cultures. The choice of the analyzed material is determined by the presence of various types of vocabulary with national and cultural components in the tales of Horacio Quiroga that reflect the national world picture of the peoples of South America and constitute the aesthetic value of a literary work, which must be adequately conveyed in the translation. The introduction clarifies the notion of the national world picture and defines its components in a literary tale. The specific features of construction and linguistic content of Horacio Quiroga’s texts are highlighted. The purpose of the study was to identify the optimal strategy for conveying the national and cultural background in the translation of literary tales into Russian. The main difficulties in conveying the onomastic component of a tale and the employed figures of speech in translations from Spanish into Russian are analyzed. Special attention is given to the methods of compliance with the genre and style norms of translation, including the neutralization of elements of cruelty and naturalism in modern fairy tales for children. As a result, a conclusion is made that the domestication strategy makes it possible to adapt the text for the recipient who does not have an extensive background knowledge about the culture of the original text, which is especially important when translating children’s literature. The inevitable loss of information does not affect in any way the adequate transfer of the national world picture to a different culture and the reflection of the main moral values laid down by the author in the literary work.
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Tanna, Mira. "Goats, Giants, and . . . Science? Teaching Engineering Concepts through Fairy Tales." Children and Libraries 14, no. 4 (December 13, 2016): 21. http://dx.doi.org/10.5860/cal.14n4.21.
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In the past several years, STEM activities for children in libraries have exploded—literally and figuratively; LEGO contests, building blocks, snap circuits, coding challenges, maker spaces, computer classes, and science programs with exploding bags and bottles take place in libraries across the country. Anxious to rebrand ourselves for the modern age, we tell people that we are “not your grandmother’s library” and let patrons know that we have much to offer beyond books.
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Puchner, Walter. "The Forgotten Fiancée. From the Italian Renaissance Novella to Modern Greek Fairy Tales." Fabula 51, no. 3-4 (December 2010): 201–16. http://dx.doi.org/10.1515/fabl.2010.020.
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Ryu, Jeong-wol. "Two literary orientation in Modern Rewriting Korean Traditional Fairy Tales - Bang Jeonghwan and Ju Yoseob’s Adaptation." Research of the Korean Classic 41 (February 20, 2018): 235–64. http://dx.doi.org/10.20516/classic.2018.40.235.
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Muratov, A., and Zh Sherbaeva. "Methodology for the Development of Vocabulary of Students When Teaching Fairy Tales in a Literary Class." Bulletin of Science and Practice 7, no. 6 (June 15, 2021): 505–8. http://dx.doi.org/10.33619/2414-2948/67/66.
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The main task of a modern teacher is using new pedagogical technologies to teach primary school students to enrich their vocabulary. The article talks about the importance in the era of globalization of works written for children. The works of Kyrgyz children's writers are rich in ideas of folk pedagogy.
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Čechová, Mariana. "The typology of backstory inter-character conflicts as a core action in the plot." Ars Aeterna 11, no. 2 (December 1, 2019): 81–90. http://dx.doi.org/10.2478/aa-2019-0012.
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Abstract Using material from classic fairy tales, the author defines three fundamental types of conflict between literary characters in the text model of the fairy-tale world: overt, covert and potential. Their attributes are evidenced and demonstrated via specific texts and their universal (transcultural) analogues are shown in the archnarratives, which go beyond the classic fairy tale genre. At the end of the interpretation, the author proposes a (hypo)thesis that the presented typology could be a starting point for creating a backstory of conflicts as an action-formative factor also in other art genres, and that it can be used as a source for a much broader and modern (and current in contemporary art) diapason of “dramatic” storylines.
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Gelfant, Blanche H. "Changelings in Studs Lonigan and One Flew Over the Cuckoo's Nest." Prospects 29 (October 2005): 473–540. http://dx.doi.org/10.1017/s0361233300001848.
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As the media report instances of vanished or violated selves — of bodies that disappear and identities that are stolen; of sex changes and sexually ambiguous bodies (the adulated bodies of rock stars); raped bodies and the promise or threat of replicated bodies — the happy endings of fairy tales, and the tales themselves, seem fanciful and remote, irrelevant to our times. They may enthrall a child who is not yet playing video games, but what attraction, if any, can they have for adults coping with the complexities of a technological world in which identity is linked to an unsecured alterable body? I raise the question not to argue its irrelevance (surely a pointless undertaking), but to evoke the heuristic values attributed generally to fairy tales by folklorists and cultural critics throughout the Western world. I wish to make a specific claim: fairy tales — in particular, the changeling tale — provide unexpected and timely insights into a self increasingly vulnerable to tampering, violation, and theft. These various forms of violence are subsumable under rape in its root meaning: forcible seizure. As an assault upon women, rape raises particular issues about the body and sex, sexual difference, and power. The very meanings of these terms — how they are constituted and denned — have become a matter of contention to contemporary feminists and cultural, literary, and juridical critics. Though this essay does not engage directly in their disputes, it too finds the body, sex, and power contentious terms as they figure in a forcible exchange of identities that fairy tales represent as actual and modern fiction adumbrates as rape.
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N.I., Cherepania, and Rusyn N.M. "A FAIRY TALE AS A MEANS OF FORMATION OF MORAL FEELINGS OF CHILDREN OF SENIOR PRESCHOOL AGE." Collection of Research Papers Pedagogical sciences, no. 91 (January 11, 2021): 36–42. http://dx.doi.org/10.32999/ksu2413-1865/2020-91-5.
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Senior preschool age is a period of active development of ethical norms, rules, the formation of moral feelings and inclinations. It is considered to be the most important stage in the formation of mechanisms of behavior and activity; in the development of the individuality of a preschooler in general. This is due to significant changes that occur in the emotional and volitional, mental development of children, the development of the motivational sphere, communication with coevals and adults, especially acquired by the level of moral culture. Hence, the opportunities for moral education of senior preschoolers are rising nowadays.The article aims at groundingthe possibilities of a fairy-tale as a means of formation moral feelings of children of preschool age; at determining pedagogical and methodical methods of moral education of senior preschoolers by means of fairy tales.The article highlights the notion of fairy-tale as means of formation of moral feelings of children of preschool age. The urgency of the problem under consideration lies in the necessity of formation moral and ethical norms and rules of behavior, which are transmitted to a child due to the influence of fairy tales onto preschooler’s personality. Various types of fairy-tales have been selected and their role in formation of moral qualities have been analyzed. Scientific novelty of the present article is to highlight the algorithm of using pedagogical and methodological techniques to acquaint children with different types of fairy tales and their importance in the development of the personality of the preschooler.Conclusions. Summing up the information mentioned above, it is possible to conclude that the methods of pedagogical work with fairy tales in a preschool educational establishment is caused by the qualitative heterogeneity of this genre. In order to intensify the depth of world concept of fairytales, its metaphorical, moral and social content, emotional connotations to children, the teacher must guide the reading of fairy tales based on the literary specifics of the fairy tale genre, purposefully form the optimal range of skills of preschoolers. In addition, one of the factors of the low level of moral education of preschoolers is the insufficient use of fairy tales and its means in the daily work of the educator of a modern preschool educational establishment. The language of a fairy tale, especially of a folk fairy-tale, is close to a child, it helps a child to solve moral problems, due to clear, determined moral position of characters in a fairy-tale. In the process of implementation of different types of fairy tales, it is advisable to use the following pedagogical and methodological methods and techniques: reading, retelling, describing the illustrations, coloring and drawing fairy tale characters, applying dramatization games, self-composition of fairy tales that contribute to the formation of ethical and moral norms of everyday life. At the same time, this problem demands further study in order to improve the state programs of preschool education, which in turn will increase the level of moral education of preschoolers.Key words: children of senior preschool age, fairy-tale, moral feelings, education, preschool educational establishment.
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N.I., Cherepania, and Rusyn N.M. "A FAIRY TALE AS A MEANS OF FORMATION OF MORAL FEELINGS OF CHILDREN OF SENIOR PRESCHOOL AGE." Collection of Research Papers Pedagogical sciences, no. 91 (January 11, 2021): 36–42. http://dx.doi.org/10.32999/ksu2413-1865/2020-91-5.
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Senior preschool age is a period of active development of ethical norms, rules, the formation of moral feelings and inclinations. It is considered to be the most important stage in the formation of mechanisms of behavior and activity; in the development of the individuality of a preschooler in general. This is due to significant changes that occur in the emotional and volitional, mental development of children, the development of the motivational sphere, communication with coevals and adults, especially acquired by the level of moral culture. Hence, the opportunities for moral education of senior preschoolers are rising nowadays.The article aims at groundingthe possibilities of a fairy-tale as a means of formation moral feelings of children of preschool age; at determining pedagogical and methodical methods of moral education of senior preschoolers by means of fairy tales.The article highlights the notion of fairy-tale as means of formation of moral feelings of children of preschool age. The urgency of the problem under consideration lies in the necessity of formation moral and ethical norms and rules of behavior, which are transmitted to a child due to the influence of fairy tales onto preschooler’s personality. Various types of fairy-tales have been selected and their role in formation of moral qualities have been analyzed. Scientific novelty of the present article is to highlight the algorithm of using pedagogical and methodological techniques to acquaint children with different types of fairy tales and their importance in the development of the personality of the preschooler.Conclusions. Summing up the information mentioned above, it is possible to conclude that the methods of pedagogical work with fairy tales in a preschool educational establishment is caused by the qualitative heterogeneity of this genre. In order to intensify the depth of world concept of fairytales, its metaphorical, moral and social content, emotional connotations to children, the teacher must guide the reading of fairy tales based on the literary specifics of the fairy tale genre, purposefully form the optimal range of skills of preschoolers. In addition, one of the factors of the low level of moral education of preschoolers is the insufficient use of fairy tales and its means in the daily work of the educator of a modern preschool educational establishment. The language of a fairy tale, especially of a folk fairy-tale, is close to a child, it helps a child to solve moral problems, due to clear, determined moral position of characters in a fairy-tale. In the process of implementation of different types of fairy tales, it is advisable to use the following pedagogical and methodological methods and techniques: reading, retelling, describing the illustrations, coloring and drawing fairy tale characters, applying dramatization games, self-composition of fairy tales that contribute to the formation of ethical and moral norms of everyday life. At the same time, this problem demands further study in order to improve the state programs of preschool education, which in turn will increase the level of moral education of preschoolers.Key words: children of senior preschool age, fairy-tale, moral feelings, education, preschool educational establishment.
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Byram, Katra A. "Fairy Tales in the Modern(ist) World: Gerhart Hauptmann'sBahnwärter Thieland Marie von Ebner-Eschenbach'sDas Gemeindekind." German Quarterly 86, no. 2 (April 2013): 141–59. http://dx.doi.org/10.1111/gequ.10175.
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Risse, Marielle. "An Ethnographic Discussion of Fairy Tales and Folktales from Southern Oman." Fabula 60, no. 3-4 (November 1, 2019): 318–35. http://dx.doi.org/10.1515/fabula-2019-0020.
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Zusammenfassung Das Anliegen dieses Aufsatzes ist es, eine Sammlung von Märchen und populären Erzählungen aus dem südlichen Oman vorzustellen, um zu zeigen, dass viele der historischen materiellen und kulturellen Setzungen heute noch Bestand haben. Die Erzählungen wurden in den 1970er Jahren in Gibali (auch Jibbalo oder Shari genannt) aufgezeichnet; Gibali ist eine nicht-schriftliche, moderne südarabische Sprache (Rubin 2014). Die Analyse konzentriert sich nicht auf klassische Erzähltypen, sondern bezieht sich vielmehr auf die alltäglichen Lebenszusammenhänge, die sich in den Geschichten der Dhofari spiegeln. Die Aufzeichnungen wurden zum Zeitpunkt der Modernisierung der Region in den 1970er Jahren vorgenommen und enthalten viele traditionelle Elemente der Gibali-Kultur. Diese Aufzeichnungen werden mit anderen schriftlichen Quellen verglichen, um aufzuzeigen, dass die Übermittlung von moralischen Glaubensvorstellungen, z. B. von Schwüren, Djinns, in den Texten eine wichtige Rolle spielt. Die Autorin forscht seit über zehn Jahren über dhofarische und gibalische Kulturen.
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Kulkarni, Prafull D. "Magic Realism in Flowers: Karnad’s Post-Modern World of Folkloric Fantasy." Shanlax International Journal of English 8, no. 3 (June 2, 2020): 26–30. http://dx.doi.org/10.34293/english.v8i3.2429.
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“Magic realism” is a recent literary technique that contains a latent amalgamation of fantastic or mythical elements into an otherwise realistically narrated fiction. The theme and subject of such a literary work are often imaginary, somewhat outlandish and fantastic and always reflect into a dream-like reverie. It further marks the miscellaneous use of myths, legends and fairy tales, and an expressionistic description of an arcane situation leading to the element of surprise or abrupt shock. In literary discourses, the term is primarily associated with the post-modern novel of the Americas. Girish Karnad’s dramatic monologue, Flowers, however, bears all the elements of this literary phenomenon. This short play could also be labeled as a dramatized novel and is a simple tale of a priest caught in an agonized conflict between his devotion to God and his love for a courtesan. However, Karnad’s creative genius turns this conflict into a scintillating portrayal of the sexual urge of a priest interspersed with his feelings of religious devotion and familial duties through the technique of magic realism and, in the process, questions god’s authority in the postmodern world. The play is an attempt by Karnad for the first time in his playwriting career “to focus on male than a female desire.” It presents an interesting picture of the bizarre human world full of magic and its realistic social impressions. The present article attempts to shed some light on this aspect of Karnad through the thematic exploration of the flowers.
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Rosenberg, Shiri. "Is the Twilight Saga a Modern-Time Fairy Tale? A Study of Stephenie Meyer’s Source Material from Folklore and Canonical Narratives." Polish Journal for American Studies, no. 13 (Spring 2019) (October 15, 2019): 101–10. http://dx.doi.org/10.7311/pjas.13/1/2019.09.
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The article presents an analysis of Stephenie Meyer’s Twilight novels as modern literary fairy-tales. To this end, the discussion will refer to structuralist critics, and identify “narrative functions” from folktales (stock images and episodes, stock character functions, characteristic sequences of episodes), used by Meyer in her vampire novels. As it turns out, Meyer modified folklore material to sustain a long and variously themed narrative: by embedding numerous subplots, by rearranging functions between characters, and creating composite and collective characters that combine contradictory functions. The author transformed several folktales into a series of four novels about coming of age in the twenty-first-century United States. A detailed analysis of Meyer’s modifications of the folktale partially corroborates the feminist critique of Meyer’s representation of the protagonists as reinforced versions of cultural stereotypes and gender roles. However, some transformations, especially Meyer’s assignment of the hero-function to the female protagonist Bella, seem to suggest just the opposite, thus leading to the conclusion that the Twilight novels reflect the confusion caused by contradictory role-models and aspirations, the confusion that seems to be inherent in a coming-of-age novel.
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Roemer, Danielle M. (Danielle Marie). "Breaking the Magic Spell: Radical Theories of Folk and Fairy Tales, and: The Brothers Grimm: From Enchanted Forests to the Modern World (review)." Marvels & Tales 20, no. 1 (2006): 107–9. http://dx.doi.org/10.1353/mat.2006.0016.
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Frolova, Marina V. "Indonesian Horror Story by Intan Paramaditha." Vestnik of Saint Petersburg University. Asian and African Studies 12, no. 3 (2020): 368–79. http://dx.doi.org/10.21638/spbu13.2020.304.
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Analysis and interpretation of the short stories by Indonesian female writer Intan Paramaditha (Intan Paramaditha, born in 1979) make it possible to understand that her writing occupies a special niche in the modern Indonesian literary paradigm. Paramaditha’s feminist texts are disguised as horror stories with settings in contemporary Indonesia. The article examines five short stories (“Spinner of Darkness” (Pemintal Kegelapan), “Vampire” (Vampir), “Polaroid’s Mystery” (Misteri Polaroid), “The Blind Woman without a Toe” (Perempuan Buta tanpa Ibu Jari), and “The Obsessive Twist” (Goyang Penasaran)). Using the intertextual method, it was possible to prove the gothic poetics of these literary works. The short stories contain the mosaic of folklore-mythological motives from the Malay Archipelago, Biblical and Quranic narratives, as well as European fairy tales and allusions to American horror fiction and horror films. Her prose is built upon some borrowed European literary forms for expression of authentic Indonesian content. The social themes are intertwined with feminist criticism that is presented as a Kitsch of the Indonesian mass culture. In “The Obsessive Twist” the main conflict is focused on the heated debates on sexuality, politics, violence, and religion. The feminist agenda of her prose is contrasted with the turn of contemporary Indonesia towards a Muslim patriarchal society. Paramaditha’s works represent a unique product of West-East-synthesis aimed not only at the Indonesian, but also the global audience.
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Nezhyva, Liudmyla, and Svitlana Palamar. "INNOVATIVE TECHNOLOGIES IN THE LITERARY EDUCATION OF FUTURE PRIMARY SCHOOL TEACHERS." Educological discourse, no. 4 (2020): 129–42. http://dx.doi.org/10.28925/2312-5829.2020.4.9.
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The article substantiates the need for the use of innovative technologies in teaching children’s literature to students majoring in “Primary Education”. The introduction of an integrated course “Native education: children’s literature with studying methods” in the training of future primary school teachers gives them the opportunity to navigate in current trends in children’s literature and model various algorithms of perception and interpretation of the texts. The study analyzes the introduction of interactive technology in literary education, which changes the vector of lectures to dialogic interaction with the student audience, provides a formal update of practical classes using quests and workshops. In accordance with the tasks of the New Ukrainian School and higher education of future primary school teachers, the authors analyze the possibilities of using critical thinking technology, ICT, augmented reality, projects in the system of literary education of the Pedagogical Institute.The importance of acquiring knowledge, skills and abilities to apply AR-applications to interactive editions of fiction by future primary school teachers during their organization of literary reading is substantiated. Tasks with the use of ICT tools have been developed for students. This mainly applies to creation of book trailers and comics based on works of art for children; QR-quests for junior pupils on the texts of fictionsof modern writers; mental maps (Mindmeister resource) based on prose plots; video presentations about writers and their works (resources “PoowToon”, “Prezi”); visualized plan of fictions made with the help of infographics; intellectual game tasks for younger students (LearningApps resource), etc. It was also recognized that the effective type of intellectual activity of students during the study of literature is a project, the result of which is the creation of students’ own literary product (fairy tales, poetry, essays, game content) and its publication in electronic edition.
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Simsone, Bārbala. "Erotiskās prozas fenomens Latvijā un pasaulē." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/1 (March 1, 2021): 222–32. http://dx.doi.org/10.37384/aplkp.2021.26-1.222.
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The present paper “The Phenomenon of Erotic Fiction in Latvian and World Literature” is devoted to the fiction genre acquiring immense popularity in Western literature while having attracted only fragmentary attention in Latvian literary scholarship, namely the erotic fiction, which is currently among those genres of literature most widely read among Latvian readers and therefore titled as somewhat phenomenal. The first part of the paper provides insight into the history of the erotic world literature and the most common division of the genre into the three basic categories; this part also provides a short overview of the erotic aspects in the Latvian original fiction during the 20th century. It has been possible to decide that the erotic prose has had only a limited representation in Latvian literature, mainly due to historical and socio-political factors, because the common tendency was to euphemise the said aspects, which were often met with an open reproach of the more Puritan part of the society. Erotic aspects in poetry and prose somewhat flourished during the epoch of Decadence (the first decade of the 20th century) and after that, only during the turn of the 20th/21st centuries when the prohibitions invoked by the Soviet censorship were lifted. Nevertheless, even during these periods, the more free approach resulted in only a few prose works of this kind or else episodes in works of other genres. The conclusive part of the paper is devoted to four novels by currently the most popular author of erotic romance in Latvian literature, Karīna Račko, inviting at the same time the discussion about the reasons for the popularity of these novels which might proceed from their common structural characteristics. It is possible to observe that the novel’s structures are notably similar to the basic plotlines of fairy-tales that the readers recognise on an archetypal level. Consequently, this makes it possible to view these novels as a sort of fairy-tales for modern grown-ups whose attraction is multiplied by the fact that the texts include specific aspects of visualisation that make it possible for the readers to identify closely with the characters.
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Pujiharto, Pujiharto, and Sudibyo Sudibyo. "THE POSITION OF LOW MALAY SHORT STORIES IN THE HISTORY OF INDONESIAN LITERATURE." Jurnal Humaniora 28, no. 1 (June 4, 2016): 97. http://dx.doi.org/10.22146/jh.v28i1.11505.
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This article tries to determine the factors causing the Low Malay short stories became unaccounted, especially those that were collected in Miss Koelit Koetjing (2005), in the constellation of the history of modern Indonesian literature. To answer these problems, this paper explores the criteria applied by the author of the history of Indonesian literature, comparing it with the Low Malay short stories, and relates them to their cultural historical context.The results showed the reason that Low Malay short stories collected in Miss Koelit Koetjing were not accounted, are caused by the following factors. First, most of the short stories still retain the traditional genres, such as hikayat (saga) and fairy tales, which show the strength of the cultural orientation of the past. Second, the authors of short stories are not natives; the author is not in the sense of the creator, the creator, but a storyteller, just to recount a story that has been there before. Third, short stories were published in newspapers and not in the book form. Fourth, the world of their stories came from diverse cultures and not from the world of the Indonesian archipelago. With a similar reality, it can be concluded that the short stories collected in Miss Koelit Koetjing, in the broad realm of Low Malay literature, is a literary tradition of its own in the constelation history of Indonesian literature.
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Markov, A. V., and O. V. Fedunina. "Yorinda and Yoringel by Bodo Fürneisen: Type of the Hero and Trial in Screen-Presented Fairy Tale." Critique and Semiotics 39, no. 1 (2021): 439–58. http://dx.doi.org/10.25205/2307-1737-2021-1-439-458.
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The film Yorinda and Yoringel by Bodo Fürneisen, created on the basis of the recordings of a folktale by the Grimm brothers, shows an affinity for both a literary fairy tale and romance traditions, including a post-modern novel with a hero’s free choice of identity as the basis of the plot movement. To analyze the film, we relied on the methodology of psychoanalytic cinema science by Slavoj Žižek, supplementing it with the achievements of fundamental plotology from Freidenberg and Propp to the present day. At the same time, the nature of the film as a screen medium showed how the need for a more flexible plot development scheme, including compliance with changes in the character of the hero or his specific phenomenon on the screen, is not just one option for the development of actions, but a whole fan of the possibilities of such development. It is proved that the screen medium, which requires to monitor not only the correspondence of the hero’s adventures to expectations, but also the unexpected phenomena of the hero, demanded to modify the plot, which acquired not only the features of a psychological and adventurous novel, but also a computer game. At the same time, Fürneisen’s experience requires adjusting the psychoanalysis of cinema, supplementing the study of the effect of reality with the opposite effect of thought. The cinema allows you to demonstrate how not only the hero’s intentions change, but also the content of thoughts that are relatively autonomous from intentions that belong to the hero’s existence. At the same time, the existence is realized unexpectedly, so that the magical item is modified into a McGuffin, and the hero himself can repeatedly pass the fabulous test, while such a repetition will not be a way to correlate imagination and reality, as in a book narrative, but a way to once again appreciate the wonderful character of the hero. In the course of the study, it was possible to establish that the literary (Hans Christian Andersen), stage (Richard Wagner) and cinematic (Fürneisen) variations of the fairy tale plot do not simply subordinate it to some rules of the novel, in accordance with the prevailing tastes in society. Most of the changes are secondary to the change in the general concept of the hero, when the scenarios of existential choice are put in place of the test scenario and their uniqueness is defended. The structure of the on-screen memory and on-screen attention accelerates this design of the hero, although it does not completely determine it. Then the function of all the fabulous elements changes, moreover, the plot itself turns out to contain variability. In place of the usual separation between the world of sleep and the world of reality comes the existential test of both worlds. Thus, such processing of fairy tales is productive for the development of virtuality in art and for dialogue not only between different arts, but also art and various social practices related to information technology, from computer games to blogging.
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Gevel, Olga E. "The Goldfinch at Eastern Europe’s Crossroads: Russian Subtexts of Donna Tartt’s Novel." Imagologiya i komparativistika, no. 15 (2021): 264–79. http://dx.doi.org/10.17223/24099554/15/16.
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Attention to the western reception of Eastern Europe has been relevant for several centuries, but it is especially characteristic of the turn of the 21st century. The inertia of the Cold War is still felt in popular culture: evil is essentialized in the images of Russia/Eastern Europe and Russians/Eastern Europeans every time. Another tradition prefers to create the image of a Russian relying on the harmless, inactive characters of Russian fairy tales and novels, such as Emelya and Oblomov. Russia itself is often not named or portrayed in films and texts; it is replaced by Eastern Europe, Siberia, and fictional cities. The article highlights the main characteristics of the Eastern European text according to Larry Wolff: remoteness, coldness, savagery, passionateness, ambivalence, theatricality, frightening suspense. Eastern European images by the contemporary American writer Donna Tartt (Boris Pavlikovsky and other Slavs in her novel The Goldfinch) are compared with the interpretation of such images in the popular culture and by the writers of the 20th century (in William Somerset Maugham’s novel The Razor’s Edge). In Tartt’s novel, we encounter heroes who are not just interested in Russia and Russians/Eastern Europeans, but are literally fascinated by them, trying to learn the language, study Russian literature. It has been suggested that Fyodor Dolokhov from Leo Tolstoy’s War and Peace, one of the key novels in the world literary tradition, could be the prototype for a significant number of Eastern European images. This ambivalent image combines all the main characteristics of the Eastern European text and allows both negative (most often) and positive (with careful consideration of the plots and characteristics) interpretations. For example, coldness, winter, blizzard can be considered as negative characteristics (especially considering some connotations), but, in the classic novel, which is also oriented towards Dickens, they are naturally connected with the Christmas theme of the miraculous elimination of contradictions, the fabulous resolution of all problems, and transformation. Therefore, it is not surprising that the “code” of the character is repeated, from name to separate themes and motifs. The characteristics Wolff lists – robbery, philosophizing, masquerading, duality – generate both repulsion and attraction. It is possible that the positive perception of Eastern Europe is rooted in the approach to the theme through the prism of literature and literary criticism. Tartt as a philologist is expectedly more influenced by modern literary theory inspired by the formalists, Propp, Bakhtin, Jakobson, and Lotman, than by political clichés.
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Khaninova, Rimma M. "Зоопоэтика текста в калмыцкой басне ХХ в." Oriental Studies 14, no. 2 (July 20, 2021): 393–408. http://dx.doi.org/10.22162/2619-0990-2021-54-2-393-408.
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Introduction. In the genre system of Kalmyk poetry, the literary fable appeared in the 1930s. When it came to master the genre, Kalmyk poets mainly focused on the traditions of Russian fable of the 19th–20th centuries, primarily on I. A. Krylov’s works which they eagerly translated. The Kalmyk authors were the least likely to rely on traditions of Eastern literature — whether Indian, Tibetan, or Oirat Mongolian — since those sources written in Tibetan, Classical Mongolian and Clear Script (Kalm. todo bichiq) were virtually unavailable to them, and not all poets had knowledge of the scripts. National folklore, including myths, animal tales, household tales, aphoristic poetry (proverbs, sayings, riddles), to a certain extent contributed to the creation of plots and motifs, a gallery of images ― people and the animal world ― in the Kalmyk literary fable. The appeal to the fable was determined by the tasks of cultural construction in Kalmykia, the satirical possibilities of the genre designed to scourge social vices and human shortcomings, contribute to the correction of morals, facilitate education of a person in the new society. Attention to the fable in 20th-century Kalmyk poetry was not that universal and constant, by the end of the century it was no longer in demand and never revived further. The Kalmyk literary fable has been little studied so far, with the exception of several recent articles by R. M. Khaninova, which determines the relevance of this study. Goals. The article aims to study zoopoetics of text of the animalistic fable in Kalmyk poetry of the past century through examples of selected works by Khasyr Syan-Belgin, Muutl Erdniev, Garya Shalburov, Basang Dordzhiev, Timofey Bembeev, and Mikhail Khoninov. Methods. The work employs a number of research methods, such as the historical literary, comparative, and descriptive ones. Results. The animalistic fable is not the leading one in the general genre system of Kalmyk poetry of the past century, including among fables with human characters. It usually includes characters of the steppe fauna whose figurative characteristics are manifested in Kalmyk folklore. The social satire and political orientation of the fables are actualized by modern reality, actual international situation and events. The paper reveals a relationship between the animal fable and — Kalmyk folklore and the Russian fable tradition. Most of the fables have not yet been translated into Russian. Conclusions. In terms of national versification patterns, the study of the Kalmyk poetic animal fable has identified such synthetic forms as fable-fairy tale, fable-proverb, and fable-dream. The genre definition is not always specified by the authors, a moral usually concludes each quatrain-structured narrative. Genre scenes, monologues, and dialogues contribute to an in-depth reading of the context, symbolism of images, and semantic code.
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Anderson, Celia Catlett. "Fairy Tales and Modern Psychology." Children's Literature Association Quarterly 13, no. 2 (1988): 92–93. http://dx.doi.org/10.1353/chq.0.0344.
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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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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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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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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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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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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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Korolkova, Polina V. "Looking for national and genre identity in the modern Russian and Hungarian author fairy tale (on the example of the texts by A. Kabakov, A. Stepanov and A. Mosonyi)." Slavic Almanac, no. 3-4 (2020): 383–98. http://dx.doi.org/10.31168/2073-5731.2020.3-4.4.05.
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The essay deals with the interaction between the genre transformations of the author fairy tale and the national problematics, as well as the question of the modern strategies of genre renewal on the example of the texts by modern Russian and Hungarian writers (“The Moscow fairy tales” by A. Kabakov, “The fairy tales not about people” by A. Stepa-nov, “The Budapest fairy tales” and “The supermarket fairy tales” by A. Mosonyi). Among other questions, I address the so-called “genre me-mory” (M. Lipovetsky’s term), which in the texts by Kabakov, Stepanov, and Mosonyi functions at the level of entire cycles but rarely at the level of separate texts. With regard to the fi eld of children’s literature, the na-tional locus makes the texts appear more modern-looking and therefore appealing to an adult reader who rediscovers the details of everyday life. The opposite strategy is often applied in the philosophical, parable or political fairy tales, when the authors give priority to the nation-specifi c, nuanced and recognizable locus, which at the same time receives the features of the fairy tale or mythological space.
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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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Kulinska, Yanina. "Historical fact and literature for children (Based on prose by modern writers: O. Zakharchenko’s novel «Nativity Scene», G. Kirpa’s novel «My Dad Became a Star», H. Lukaschuk’s «Tales of the Maidan» and R. Romanishin and A. Lesiva's «War That Changed Rondo», novel-three-part «Return from the war» N. Nagornaya, etc.)." LITERARY PROCESS: methodology, names, trends, no. 16 (2020): 35–40. http://dx.doi.org/10.28925/2412-2475.2020.16.5.
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The article considers works for children about the Revolution of Dignity and the war in eastern Ukraine. The author analyzed the most famous of them in the context of other publications about the Maidan and ATO-OOS, revealed their features and a special perspective of coverage of the topic "children during the revolution-war." The researcher also observed how writers present a historical fact in their works, trying to tell in an accessible language about the turning points of historical events, revealed the literary-critical discourse around such books. Particular attention in the material is paid to the socialization of children in wartime, their character and psychology, and rapid growth, which its author illustrates with examples of the Ukrainian present. The researcher proposes to consider all the works about the Revolution of Dignity and the armed confrontation in Donbass in two planes – realistic and fantastic. The characteristic features of the first are the child in the center of the story, and then all the events are presented through its prism of worldview and understanding. Among the advantages of such works – a dynamic, non-linear plot, diverse characters, interesting and rapid development of the plot. Instead, the specifics of the second, unreal plane, artistic fiction, fairy tale prevails and dominates the real world, the authors in the texts mostly use symbols, archetypes and hidden allegorical meanings. The authors focus on the struggle between good and evil, the opposition of positive and negative characters. Historical, dramatic events are not clearly mentioned here, but are told metaphorically. According to the authors of modern literatu re for children about the war, in such two ways it is most effective to convey a historical fact to a special recipient – the child reader and the child listener. But the main postulate of all works is the idea that war is an absolute evil from which Ukrainians and children among them suffer.
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Dzhambekov, Ovkhad A., and Vakha S. Rasumov. "Genesis and some issues of genre self of the Chechen literary tale." Philological Sciences. Scientific Essays of Higher Education, no. 3 (May 2021): 121–24. http://dx.doi.org/10.20339/phs.3-21.121.
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In the article reveals the characteristic features of the Chechen literary tale. There is considered the question of the legality of distinguishing a fairy tale as a literary genre. Analyzing the history of the formation of the Chechen literary fairy tale, the authors note the structural similarity between folk and literary fairy tales, as well as the nature of the use of folklore motives by writers, which expand the genre palette of literary fairy tales.
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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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Stišović Milovanović, Ana. "THE LIBRARY OF THE THIRD MILLENIUM." KNOWLEDGE INTERNATIONAL JOURNAL 31, no. 6 (June 5, 2019): 1895–98. http://dx.doi.org/10.35120/kij31061895s.
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Literature and literary theory at the end of the Second and the beginning of the Third millennium were challenging many issues. The dichotomy of modern and postmodern poetics has led to certain wanderings. Postmodern literature dealt with the question of the relation between the author and the text, but on the logic of inner opposites. The relationship of reality and text has been transformed into the construction of the world, and the text is often only a modified architect. The construction of a story becomes more important than the story itself. The author's intentions lead to radical discontinuity with earlier known ways and narrative models. The postmodern code minimizes the possibility of the distinction between structural elements of the work. Wittgenstein therefore spoke about the impossibility of improving theoretical thoughts on literature. It is interesting that Umberto Eco was trying to reintegrate the characteristics that determined value systems in the entire literary history and gave safe grounds for theoretical considerations of the literary text. Eco starts from the idea that the code is the basic unit of meaning, which carries the system of rules, "whether it is essential, generally valid, conclusive or historical, transient or superficial." Calvino also thinks in this discourse. Italo Calvino is a postmodern writer, but in his work there is a peculiarity, which makes it a true code keeper. This is first seen in the construction of a work as a system, which can be independent of reality, but does not deviate from solid, almost geometric forms, symmetry, combinatorics, proportions. In the essays of Italo Calvino, the author of "innovative imagination", there is a corpus of texts about authors who are interested in the problem of language, themes and forms in literature. Calvino writes about Gustave Flaubert, Raymond Queneau, Robert Musil, Marcel Proust, Thomas Mann, Jorge Luis Borges. This selection of writers is paradigmatic, since Calvino recognizes them as the authors of the encyclopedic type. The encyclopaedic openness of the work is, for Calvino, in fact a multitude of codes and levels, which are translated from one time to another, from one poetics to the next. Selected authors are the guards of the heritage of literary history and the entire discourse of written words, but are also the foothold for all future authors. Calvino believes that these writers are the foundation of the "library of the third millenium" because they combine imaginatively and intellectually. For Italo Calvino, "in the infinite universe of literature, the paths of research are always open, whether old or new," because literature is a "search for self-consciousness". In this search, the most important issues of language, theme and form. In the language code, Calvino returns simplicity to myths and fairy tales, in order to avoid linguistic arbitrariness and loss of language expressiveness. Borges also insisting on the importance of language and myth as the fundamental phenomenon of total literary creation. In preserving the code, Calvino believes that literature must fight the authenticity, the recognition of individual and collective heritage, by multiplying internal consent. These are the ways in which anonymous and abstract pictures of the world can be overcome, offered by literature from the postmodern wanderings. Calvino says it is necessary to preserve, in the "library of the third millennium", a rich legacy of imaginative knowledge, in which literature will be the activity of an intellectual order. This library is proof of the necessity of continuity in literature, which ensures the quality of literary work, but also theoretical thoughts about it.
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Sharandin, Anatoliy L., and Yixin Li. "Folk and author’s fairy tales in the aspect of linguistic consciousness." Neophilology, no. 22 (2020): 235–49. http://dx.doi.org/10.20310/2587-6953-2020-6-22-235-249.
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The analysis of the problem of the relationship among folk, authors’ folk and authors’ literary tales with linguistic consciousness types is presented. The analysis results indicate that the texts of fairy tales are linguistic representatives of creative (artistic) consciousness and correlate with types of concepts. Folk tales reflect the creative potential of everyday consciousness and represent the folklore concept. Authors’ folk tales are interpretative tales that reflect the syncretic (collective and individual, folk and author’s) consciousness and implement the folklore and literary concept. The literary fairy tale itself is a textual representative of its author’s individual artistic consciousness and the reached artistic concept. It is important to take the form of fairy tales’ household into account – oral (folk tales) and written (author’s literary tales), their relationship with the subject (storyteller or author) and focus on the object (listener or reader). This determines the variability and non-variability of fairy tales. Types of linguistic consciousness are associated with the language: in folklore tales, folk language that is not processed by masters is used, in author’s tales, literary language that implements an individually authors’ system of language means is used. In folk tales, traditional folk poetry is presented, in author’s tales – traditionally artistic and artistic poetics. The individual style of folk tales is traditional for folklore and the individual style of literary tales is individually authors’.
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Lukavská, Jana Segi. "Andersen’s beautifully clueless fairy tales." Scandinavian Philology 18, no. 2 (2020): 338–43. http://dx.doi.org/10.21638/11701/spbu21.2020.208.
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The article reviews the recently reprinted Czech monograph Slavíci, mořské víly a bolavé zuby: Pohádky H. Ch. Andersena: mezi romantismem a modernitou (Nightingales, Mermaids and Toothaches: Andersen’s Fairy Tales between Romanticism and Modernity) by Helena Březinová. By outlining the Czech context of research in the field of children’s literature and analyzing Březinová’s book, the review shows the substantial contribution of the publication for the Czech speaking audience. Březinová carefully analyzes several examples of Andersen’s work to convincingly show its ambiguous, disturbing potential, which was lost in the vast majority of Czech retellings and adaptations. Consequently, Andersen’s work is commonly perceived as purely children’s literature in the Czech context. Březinová questions this notion by thoroughly uncovering Andersen’s subtle play with genre norms and readers’ expectations on multiple text layers. Březinová’s book is intended not only for literary experts, but also for a wide audience of readers with her eloquent and witty writing. Her primary focus is a narratological analysis, however, she makes good use of translation studies, literary history, linguistics, and philosophy as well. In her close readings, she shows Andersen’s simple, yet highly sophisticated stories as rooted in romanticism but also anticipatory of modernist themes such as the crisis of language and subject.
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Nikolajeva, Maria. "Fairy Tales in Society's Service." Marvels & Tales 16, no. 2 (2002): 171–87. http://dx.doi.org/10.1353/mat.2002.0024.
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Setyowati, Nanik, and Emzir Emzir. "ENVIROMENTAL INSIGHT IN UCIL THE MOUSE DEER FAIRY TALE COLLECTION WRITTEN BY TRIA AYU K (AN ECOCRITIC STUDY)." BAHTERA : Jurnal Pendidikan Bahasa dan Sastra 18, no. 1 (January 1, 2019): 107–12. http://dx.doi.org/10.21009/bahtera.181.010.
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ABSTRACT
The connection of nature with literary works raises concepts about ecological problems in literature among literary critics. Many environmental problems that occur at this time. Through poetry, fairy tales and other literary works, the writers mention this in their works. Ecocritic has a basic paradigm that every object can be seen in ecological networks, and ecology can be a helpful science in this critical approach. Environmental insight can be obtained through a literary work. Some writers in Indonesia make nature and the environment a prominent part of their works. In addition to literary works such as poetry and novels, fairy tales have first explored nature. In fairy tales, nature is described as the place of life of the characters. That way, fairy tales indirectly invite the audience to come into contact with environmental insights that need to be studied and applied in everyday life.
Keywords: environmental insight ; ecocritic; fairy tale; literary studies
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Lassan, Eleonora. "On the Imperishable Reasons of Fairy-Tale Plots: The Case of “Tom Thumb”." Respectus Philologicus 24, no. 29 (October 25, 2013): 194–202. http://dx.doi.org/10.15388/respectus.2013.24.29.16.
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This article focuses on one of the most popular plots in fairy tale culture (the plot involving the protagonist Tom Thumb), and tries to explain this popularity through the cultural archetypes that are expressed in the fairy tale. The author analyzes fairy tales of different nations involving this particular character and draws a boundary between the literary fairy tale, which is a transformation of old French fairy tales written by Charles Perrault, and different variations of literary fairy tale written by the brothers Grimm. The research shows that it is impossible to apply Propp’s method, which allows the plot to be analyzed in regard to functions and character types, to the analysis of this fairy tale. The author assumes that the fairy tale about Tom Thumb may not be regarded as magic for various reasons. On the other hand, it may be treated as an animal tale, which in Propp’s approach is assumed to have a different structure from a magic fairy tale. The researcher draws a conclusion about the different archetypes that serve as the basis for Perrault’s literary fairy tales, and the numerous variations of the plot which we may relatively denominate as “Grimms’ plot.” Furthermore, in folk tales having Grimms’ plot, Tom Thumb simultaneously performs the role of cultural hero and the role of a trickster. This is absent from Perrault’s fairy tale, because the propaganda of moral values and a distinct didactic character are traditional features of French fairy tales.
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Dahlén, Peter. "Film and Fairy Tales. The Birth of Modern Fantasy." Historical Journal of Film, Radio and Television 34, no. 1 (December 23, 2013): 126–28. http://dx.doi.org/10.1080/01439685.2013.872451.
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Radina, Nadezhda K., and Alexandra A. Nikitina. "The Models of Soft Patriarchal Manhood: Modern Senior Pupils and Heroes of the Russian National Fairy Tales." Bibliotekovedenie [Library and Information Science (Russia)], no. 3 (June 7, 2011): 67–72. http://dx.doi.org/10.25281/0869-608x-2011-0-3-67-72.
Full textAbstract:
In article the psychological substantiation is given to the assumption of existence in the Russian society soft patriarchal manliness, conformable to unmanly heroes of Russian national fairy tales. One of key images of Russian national fairy tales — Tsarevitch Ivan (Ivanushka-the fool), according to represented research, is reconstructed in modern Russian men’s culture as an invariant of the special — the Russian nondominated, “womanly” manliness, and is reproduced in identities of modern teenagers.