scholarly journals Self-image of a child and its formation by means of spiritual and moral dialogue

2014 ◽  
Vol 6 (1) ◽  
pp. 238-248
Author(s):  
O.A. Ustinova
Keyword(s):  
Identity Formation ◽  
Fairy Tales ◽  
Fairy Tale ◽  
The Other ◽  
Practical Application ◽  
Developmental Potential ◽  
Dialogic Communication ◽  
Russian Culture ◽  
Self Image ◽  
Game Situation

We present the theoretical and methodological assumptions and results of practical application of "Open yourself" technique developed by the author and aimed at the formation of the elements of self-image in preschool children. We use the developmental potential of the method proposed by outstanding domestic psychologist and psychotherapist T.A. Florenskaya. The identity formation occurs in the process of creative communication of a child with well-known characters of Russian fairy tales in the context of the game situation, created in co-authorship of an adult and a child. The author shows that developing strength of fairy tale character is in its polysemantics, allowing the child to grant characters new dimensions, create him anew in dialogic communication; fairy tale character helps the child to implement a reflexive access to meanings infinity space, to look at himself, to see the authenticity and value of his self-image and self-image of the Other. According to the author of the technique, these characters actualize the dialogic unity of several spiritual spaces: the child himself, the grown-up interacting with him, and the context of Russian culture space.

Kecakapan Hidup Abad Ke-21 dalam Tokoh Utama Dongeng Jawa Timur Kajian Antropologi Sastra

2020 ◽  
Vol 13 (2) ◽  
pp. 168
Author(s):  
Rian Damariswara
Keyword(s):  
Critical Thinking ◽  
21St Century ◽  
Fairy Tales ◽  
Life Skills ◽  
Fairy Tale ◽  
Good Life ◽  
The Other ◽  
Main Character ◽  
Data Source ◽  
Creativity And Innovation

ABSTRAKTokoh utama dalam dongeng Jawa Timur memiliki sisi lain yang perlu diungkap. Sisi lain tersebut, yakni kecakapan hidup yang dimiliki tokoh utama dalam menyelesaikan masalah yang dihadapinya. Kecakapan hidup tersebut, memiliki relevansi dengan kecakapan hidup di abad ke-21. Jadi, dengan menganalisis kecakapan hidup tokoh utama secara otomatis peneliti dan pembaca dapat mengetahui bahwa tokoh-tokoh dongeng yang terdapat di Jawa Timur memiliki budaya hidup yang baik untuk dijadikan contoh dan motivasi.Untuk mengungkap kecakapan hidup abad ke-21 pada tokoh utama dongeng Jawa Timur menggunakan kajian antropologi sastra.Penelitian ini termasuk deskriptif kualitatif. Sumber data adalah teks dongeng Jawa Timur. Teknik yang digunakan adalah studi dokumenter. Kecakapan hidup abad ke-21 yang ditemukan pada dongeng Jawa Timur sebagai berikut. Pertama, berpikir kritis dan pemecahan masalah. Semua tokoh utama dalam dongeng memiliki pemikiran kritis sehingga dapat memecahkan masalah. Kedua, kreativitas dan inovasi yang ditemukan yakni jenis pengembangan dan sintesis. Inovasi pengembangan yang ditemukan adalah adanya alat bajak sawah dari batu menjadi kayu dan ditarik sapi serta dapat dipergunakan sebagai sarana hiburan. Alat tersebut diberi nama karapan sapi.  Inovasi sintesis adalah menggabungkan segala sesuatu yang dimiliki untuk dijadikan sesuatu yang baru. Seperti pada dongeng Asal Mula Reog Ponorogo,yakni menggabungkan kepala tokoh Singabarong dengan burung merak sehingga dinamakan reog ponorogo. Ketiga, kolaborasi antaranggota dan pemimpin dengan bawahan. Keempat, komunikasi yakni berupa diskusi, pengarahan, berkeluh kesah, dan perintah.Kata kunci: Kecakapan hidup abad ke-21, Tokoh utama, DongengABSTRACTThe main character in the East Java fable has another side that needs to be revealed. The other side, namely the life skills possessed by the main character in solving the problems they face. Life skills, have relevance to 21st century life skills. Therefore, by analyzing the life skills of the main characters automatically the researcher and reader can find out that the fairy tale figures in East Java which have a good life culture to be used as an example and motivation. To uncover 21st century life skills in the main characters of the East Javanese fable, the study of literary anthropology is used. This research is descriptive qualitative. The data source is the text of a fairy tale in East Java. The technique used is documentary study. The 21st century life skills found in the East Java fable are as follows. First, critical thinking and problem solving. All the main characters in fairy tales have critical thinking so they can solve problems. Second, the creativity and innovation found are types of development and synthesis. Development innovation that was found was the existence of a rice plow from stone to wood and pulled by cows and could be used as a means of entertainment. The tool is named Karapan Sapi. Synthesis of innovation is to combine everything that is owned to be something new. As in the fable of Reog Ponorogo, which combines the head of the Singabarong character with a peacock so it is called Reog Ponorogo. Third, collaboration between members and leaders with subordinates. Fourth, communication in the form of discussion, direction, complaints, and orders.Keyword: 21st century life skills, The main character, Fairy tale

scholarly journals Перцептивное обозначение в  русской народной сказке

2018 ◽  
Vol 165 ◽  
pp. 277-285
Author(s):  
Olga A. Mescheryakova
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Semantic Content ◽  
The Other ◽  
Human Being ◽  
Human Beings ◽  
Sense Organs ◽  
Cognitive Context ◽  
Other World ◽  
Subtype A

Perceptual notation in the Russian folk fairy-talePerceptual notation captures information received from different sense organs but predicated by the same consciousness of “a perceived human being”. In the cognitive context semantics of sensory nominations reflects elements of the perceptual concept. The fact that the verbalization of its facultative elements depends not only on the type of discourse folklore, genre a tale, but also on its subtype a fairy-tale is claimed to be a hypothesis of this research. It settles that in the Russian folk fairy-tale the semantics of perceptual notation is predicated by the opposition “real — irreal world” and the semantics element “fabulous, belonging to the other world” is a basis of the semantic content of the perceptual notation. Besides that, the perceptual semantics in this type of fairy tales correlates with the aesthetical, axiological views of the folklore community on nature and human beings, reconstructing the folk ideal or ant-ideal. Перцептивне означення у російській народній чарівнiй казціПерцептивне означення фіксує інформацію, що надходить від різних органів чуттів, але обумовлену єдиною свідомістю «людини сприймаючої». У когнітивному плані семантика номінацій сенсорики відображає ознаки перцептивного концепту. Те, що вербалізація його факультативних ознак залежить не тільки від типу дискурсу фольклор, жанру казка, але і від підвиду жанру чарівна казка, становить гіпотезу даного дослідження. Встановлюєть­ся що в російській народній чарівній казці семантика перцептивної номінації обумовлена опозицією «реальний- ірреальний світ» і семантична ознака ‘чудовий, що належить іншому світу’ є основою змісту перцептивного означення. Крім того, в даній групі казок перцептивна семантика співвідноситься з естетичними, аксіологічними поглядами фольклорного соціуму на природу і людину, реконструюючи народний ідеал або антиідеал.

7. In the dock

2018 ◽  
pp. 101-111
Author(s):  
Marina Warner
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
The Other ◽  
Angela Carter ◽  
Fashion Industry ◽  
Post War ◽  
Blunt Tool

In the post-war period, fairy tales were denounced as a blunt tool of patriarchy, the bourgeoisie, cosmetic surgeons, the fashion industry, and psychoanalysts bent on curbing girls’ energies and desires. ‘In the dock: don’t bet on the prince’ considers tbe feminist response to the fairy tale from the 1970s onwards. After critical close readings of fairy tales, the strategies feminists devised ranged from furious satire, irony, and parody and, at the other end of the literary spectrum, romancing on their own terms, in inventive and witty re-visionings. The most incandescent work to rise from the feminist explosion—The Bloody Chamber by Angela Carter—opens up ten fairy tales to reveal their latent, erotic content.

Andersen's Code: Aristophanic Obscenity in Thumbelina

2020 ◽  
Vol 69 ◽  
Author(s):  
Bartłomiej Bednarek
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
The Other ◽  
Hans Christian Andersen

In his seemingly innocent fairy tale Thumbelina, Hans Christian Andersen makes two allusions to Aristophanes. One of them is quite explicit, as the author makes a toad produce the sound co-ax, co-ax, brek-ek-eke-kex, which is a quotation from the Frogs. The other allusion is less conspicuous. In one of the first sentences of Thumbelina, an object that a woman needs in order to beget a child is referred to as a barleycorn. As I argue, even though on the surface it can be explained in terms of magic typical for fairy tales, it can be also understood as an obscene allusion to the sexual act. This results from the ambiguity, well-known in Andersen’s time, of the word κριθή, which in Aristophanes’ comedies can mean either barleycorn or penis.

scholarly journals Estonian Fairy Tales up the Beanstalk into Heaven and Coal Porridge: Two Tales of Growing Up

2018 ◽  
Vol 12 (1) ◽  
pp. 7-20
Author(s):  
Risto Järv ◽  
Mairi Kaasik
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
The Other ◽  
Growing Up ◽  
The South ◽  
Folk Tale ◽  
Female Protagonists ◽  
South Eastern

Abstract The article* focuses on two Estonian fairy tale types that have been recorded among the Orthodox Seto minority in the south-eastern corner of Estonia. In the index of Estonian folktales they have been described under tales of magic (fairy tales) as tale types Ee 328C* and Ee 327H*. One of the tale types observed is a masculine folk tale (one with male protagonists), the other can be considered a feminine folk tale with female protagonists despite it seemingly having two main characters of different genders. In both tales the protagonists reach a hostile place after moving through liminality, and both tales can be interpreted as tales of growing up.

scholarly journals On the Imperishable Reasons of Fairy-Tale Plots: The Case of “Tom Thumb”

2013 ◽  
Vol 24 (29) ◽  
pp. 194-202
Author(s):  
Eleonora Lassan
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Old French ◽  
Moral Values ◽  
The Other ◽  
Folk Tales ◽  
Brothers Grimm ◽  
Other Hand ◽  
Cultural Hero

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.

On Music Therapy, Fairy Tales and Endings

1992 ◽  
Vol 6 (1) ◽  
pp. 5-9 ◽  
Author(s):  
Ruth Blackburn
Keyword(s):  
Music Therapy ◽  
Therapeutic Relationship ◽  
Fairy Tales ◽  
Fairy Tale ◽  
The Other ◽  
Outer World

This article opens by questioning the validity of making a close therapeutic relationship within an institution. In attempting to resolve this dilemma, it then looks at the function and nature of fairytale as a way of describing music therapy. Two analogies are used: one emphasising the facing of inner problems and conflicts, the other emphasising escape from the problems of the outer world. In conclusion, it looks at fairy tale endings in order to pose a solution for the opening question.

scholarly journals Voicing Authenticities through Translation: Framing Strategies in the Multicultural Fairy Tale Collections of Andrew Lang and Angela Carter

2012 ◽  
pp. 62
Author(s):  
Mayako Murai
Keyword(s):  
Cultural Differences ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Cultural Bias ◽  
The Other ◽  
Global Context ◽  
Framing Strategies ◽  
The One ◽  
Different Cultures ◽  
Editorial Strategies

This article discusses the question of authenticity and translation in two multicultural fairy tale collections in English, Andrew Lang’s Fairy Books (1889-1910) and Angela Carter’s two-volume The Virago Book of Fairy Tales (1990-1992). Although they both deploy comparative folkloristic methods in editing their collections, they point in two opposite directions. On the one hand, Lang’s collection homogenises stories from different cultures into a single framework, smoothing out cultural differences in the service of a supposed universalism whose cultural bias is made invisible through Lang’s editorial strategies. On the other hand, Carter’s collection re-presents multiple authenticities by allowing different storytellers and translators to speak in their own voices while explicitly contextualising the stories in the framework of a feminist story collection. This article concludes with a reflection on the implications of Carter’s framing strategy for understanding the fairy tale and translation in a global context.

scholarly journals Motywacja metamorfozy a potworność cielesna i duchowa w wybranych realizacjach wątku „Pięknej i Bestii”

2021 ◽  
Vol 27 ◽  
pp. 21-37
Author(s):  
Barbara Kaczyńska
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
18Th Century ◽  
The Other ◽  
Beauty And The Beast ◽  
Innocent Victim ◽  
Modern Novel ◽  
Other Hand ◽  
Internal Change ◽  
Moral Fault

The article discusses the motivations of the monstrous metamorphosis in some Beauty and the Beast retellings, chiefly those by Gabrielle-Suzanne de Villeneuve (1740), Jeanne-Marie Leprince de Beaumont (1756), Alex Flinn (2007), and Małgorzata Musierowicz (1996). Other versions are mentioned as a broader context. The aim of the article is to observe a correlation between transmotivation and a retelling’s structure and message. While folk versions usually omit the motivation altogether, literary and film retellings often provide in-depth explanations of the transformation. In the 18th-century fairy tales, the metamorphosis is a villainy inflicted on an innocent victim, and Beauty has to see through the monstrous appearance in order to realize the true, internal beauty of the Beast. Retellings from the 20th and 21st centuries, on the other hand, often present the metamorphosis as a comeuppance for some emotional and moral fault. Physical deformity reflects spiritual monstrosity, and the Beast’s struggle with the latter helps him become free of the former. As a consequence, transmotivation implies a shift in the narrative from Beauty’s experience to the Beast’s internal change. This may be due to the didactic tradition of the fairy tale for children, in which the hero is tested and disciplined, as well as the influence of the modern novel, focused on individual characters’ psychology

scholarly journals Neither BURGHER nor BARIN: An Imagological and Intercultural Reading of Andrey Stoltz in Ivan Goncharov’s Oblomov (1859)

Slovene ◽  
2013 ◽  
Vol 2 (2) ◽  
pp. 5-30
Author(s):  
Joshua S. Walker
Keyword(s):  
19Th Century ◽  
Russian Literature ◽  
The Other ◽  
Russian Society ◽  
The Novel ◽  
Weak Point ◽  
Russian Culture ◽  
Self Image ◽  
Intercultural Identity ◽  
The 19Th Century

This article presents a reevaluation of Andrey Stolz as more than either a “weak point” in the novel or a “plot device” and “simple foil” to Oblomov (as D. Senese represents Dobrolyubov’s position). I investigate the problematic nature of “Germanness” in the novel according to the Imagological methodology, and this allows me to explore how Andrey’s intercultural identity is mediated through a myriad of different perspectives in the novel. Andrey accesses two politically-loaded symbolic sets of the German character in mid-nineteenth-century Russian literature: as an outsider, an Other, who is a negatively-valued opposite by which the positive Russian Self can be defined; and as an aspect of the internalized German in Russian culture, where the Other functions as a symbol of the westernizing process within Russian society. Andrey’s unstable Germanness thus exposes the paradox of expressing the Russian Self in the 19th century, where the Russian is constructed in contrast to-yet also in terms of-the imagined Western Other. I therefore challenge the prevailing assumption that Andrey is meant only to be the “antidote” to Oblomov, and suggest that his character elucidates the instability of the Russian Self Image.

Sign in / Sign up

Export Citation Format

Share Document