Phyto Conservation: Folk Literature, Mythology and Religion to its Aid

2012 ◽  
pp. 379-381
Author(s):  
M. R. Bhatnagar
Keyword(s):  
Folk Literature

D. Buchan (ed.), Scottish tradition: a collection of Scottish folk literature

1984 ◽  
Vol 6 (First Series (1) ◽  
pp. 201-203
Author(s):  
J. Derrick McClure
Keyword(s):  
Folk Literature

scholarly journals Construction and Application of WeChat Learning Platform in "Folk Literature" Teaching

2016 ◽  
Vol 11 (05) ◽  
pp. 10 ◽  
Author(s):  
Wei SHANG
Keyword(s):  
Distance Education ◽  
College Education ◽  
Literature Teaching ◽  
Effect Analysis ◽  
Learning Platform ◽  
Theoretical Support ◽  
Mobile Software ◽  
Application Mode ◽  
Before And After ◽  
Folk Literature

WeChat as a type of mobile software with social communication attribute and platform function can offer a new platform and application mode for distance education. Real-time communication and good use experience of WeChat can make students have high use ratio and degree of tackiness. WeChat learning platform makes distance education more feasible, convenient and efficient. This paper takes Folk Literature as the experimental course and adopts interview and statistical data methods to contrastively analyze classroom effect differences before and after application of WeChat learning platform through design of WeChat learning platform of Folk Literature distance education, teaching design and case design and application effect analysis of WeChat learning platform application. This paper provides theoretical support and data support for Folk Literature distance education and its application in college education.

براہوئی ڈرامہ نا اولیکو کتاب ’’استو نا بندغ‘‘ اسہ جاچ اس

Al-Burz ◽  
2019 ◽  
Vol 11 (1) ◽  
pp. 44-50
Author(s):  
Muhammad Ashraf ◽  
Muhammad Nasir Kiazai
Keyword(s):  
Social Problems ◽  
Research Paper ◽  
Radio Station ◽  
Modern Literature ◽  
Radio Drama ◽  
The Social ◽  
Folk Literature ◽  
Descriptive Method ◽  
Different Parts

Raag, a folk term has used for Drama in ancient Brahui. In folk literature when the Brahui modern literature were not introduced the Term Raag were used for entertain. After establishment of Radio Station center at Quetta, the different parts of modern literature opened the windows for Brahui fiction. There is prominent writer which Mr. Ghulam Nabi Rahi has started firstly Brahui radio Drama, soon after the tradition of Brahui drama has spread all over the Balochistan. A compilation of his first period’s Drama known as Isto naa Bandagh. This research paper discussed and analyses the technique and tendency of Rahi’s Drama. Mostly his dramas have played from Radio and Television Quetta center after Sixties. Shaahbeg naa wataakh a very famous radio Drama, where the social problems were reflecting. A descriptive method has been used to complete this paper.

scholarly journals SIMILARITIES AND DIFFERENCES BETWEEN VIETNAMESE CULTURE AND LAO CULTURE THROUGH THE MOTIF OF BUILDING ORPHAN CHARACTERS IN THE MAGICAL FAIRY TALES OF TAM AND CAM AND THE GOLDEN TURTLE

2020 ◽  
Vol 32 (2) ◽  
pp. 102-114
Author(s):  
Le Thi Bich Thuy
Keyword(s):  
Cultural Identity ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Story Structure ◽  
Character System ◽  
Unique Object ◽  
Folk Literature ◽  
The Common ◽  
Similarities And Differences ◽  
The Difference

Sharing the sources of Southeast Asian folklore and folk literature, magical fairy tales of Vietnam and Laos have many similarities in a motif of building orphan characters. Applying structural theory in fairy tales with immutability and changes, the structure of the story is described by a series of events “signs help to make a schematic comparison of the structure of various tales,” (Propp, 1968, p.25) the article studies the magical fairy tale Tam and Cam of Vietnam and the Golden Turtle of Laos to see the similarities and differences in the motif of building orphan characters. The similarities in the motif of building orphan characters such as: story structure, character system, incarnation motif, unique object motif, magical force motif show the common cultural space of the region. However, the difference in the situation of the story and the use of magical forces and elements in the story show the customs, belief characteristics, artistic tastes and cultural identity of each nation.

scholarly journals Husrev u Shirin-Farhad u Shirin Masnavis and Ferhad as the Primary Hero in Turkish Literature

2021 ◽  
Vol 7 (2) ◽  
pp. 419-454
Author(s):  
Gökhan Coşgun
Keyword(s):  
Persian Literature ◽  
The Real ◽  
Turkish Literature ◽  
Original Works ◽  
Folk Literature ◽  
The Subject

The story of Husrev and Shirin, which was first put into poetry in Firdevsi's Shahname, was later written by many poets. It is undoubtedly NizamiGanjavi who brought the story of Husrev and Şirin to the real fame in Persian literature. Nizami's Husrev u Shirin Masnavi inspired many Persian and Turkish poets who came after him. Each poet has immortalized this story according to his own imagination. In Turkish literature, poets have produced original works by changing the story according to their own traditions and belief cultures instead of translating the story from Persian literature. In this context, Ali Shir Nevayi and Lamii Chelebi's Farhad u Shirin masnavis are two remarkable works. While Hüsrev was the main hero of Husrev u Shirin masnavis in Persian literature, the real hero was Farhad in these two masnavis. In Turkish folk literature, Ferhad stands out as the only hero without mentioning Husrev. This is a result of the efforts of Turkish poets to construct a new story with Farhad. In our study, the subject of why a story whose main hero is Husrev evolved into Farhad in Turkish literature will be examined

Recent Collections of Japanese Folk Tales

1972 ◽  
Vol 31 (4) ◽  
pp. 911-914
Author(s):  
Fanny Hagin Mayer
Keyword(s):  
Folk Tales ◽  
Folk Tale ◽  
Folk Literature

Selections from three of the four main lines of collecting Japanese folk literature in Japan are reviewed. Four volumes are by Mizusawa Ken'ichi, the foremost collector: Robata no tonto mukashi, Ojiya no mukashibanashi (1971); Mukashi attatte, Aramachi no mukashibanashi (1969); Miruna no hanazashiki, Haha to ko no mukashibanashi (1969); and Mukashibanashi nōto Saishū to kenkyū (1969). Mizusawa collects talcs in Niigata. The last mentioned book gathers together his reports, articles, and notes published between 1958 and 1969. He records in dialect with standard Japanese in parallel where necessary, preserving the musical flow of the tale. The next three volumes are in the Mukashibanashi kenkyū shiryō sōsho series published by a committee of university men: Daisen hokuroku no mukashibanashi (1970), Sado kininaka no mukashibanashi (1970), and Kogane no uma (1971). The first follows the format of the series, including recordings by narrators on 33⅓ rpm discs. Mukashibanashi wa ikite iru by Inada Koji, a member of the series committee, gives a hopeful view of the survival of folk tales. Hagino Saihei mukashibanshi shū (1970), a collection by Nomura Jun'ichi of Kokugakuin University and Nomura Keiko is a one-narrator volume showing the folk tale rooted in family legends

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