scholarly journals Genesis and some issues of genre self of the Chechen literary tale

2021 ◽  
pp. 121-124
Author(s):  
Ovkhad A. Dzhambekov ◽  
◽  
Vakha S. Rasumov ◽  
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Structural Similarity ◽  
Literary Genre ◽  
History Of ◽  
Characteristic Features

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.

Grimm Legacies

2014 ◽  
Author(s):  
Jack Zipes
Keyword(s):  
Fairy Tales ◽  
Oral Tradition ◽  
Fairy Tale ◽  
Folk Tales ◽  
Brothers Grimm ◽  
Folk Tale ◽  
The World ◽  
History Of ◽  
High Standards ◽  
Wilhelm Grimm

This book explores the legacy of the Brothers Grimm in Europe and North America, from the nineteenth century to the present. The book reveals how the Grimms came to play a pivotal and unusual role in the evolution of Western folklore and in the history of the most significant cultural genre in the world—the fairy tale. Folklorists Jacob and Wilhelm Grimm sought to discover and preserve a rich abundance of stories emanating from an oral tradition, and encouraged friends, colleagues, and strangers to gather and share these tales. As a result, hundreds of thousands of wonderful folk and fairy tales poured into books throughout Europe and have kept coming. The book looks at the transformation of the Grimms' tales into children's literature, the Americanization of the tales, the “Grimm” aspects of contemporary tales, and the tales' utopian impulses. It shows that the Grimms were not the first scholars to turn their attention to folk tales, but were vital in expanding readership and setting the high standards for folk-tale collecting that continue through the current era. The book concludes with a look at contemporary adaptations of the tales and raises questions about authenticity, target audience, and consumerism. The book examines the lasting universal influence of two brothers and their collected tales on today's storytelling world.

scholarly journals A Group Interview about Publishing with Professor Jack Zipes

2016 ◽  
Vol 4 (1) ◽  
pp. 29-44
Author(s):  
Emma Louise Parfitt ◽  
Emine Erdoğan ◽  
Heidi Fritz ◽  
Peter M. Ward ◽  
Emma Parfitt ◽  
...  
Keyword(s):  
Social History ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Early Career ◽  
Group Interview ◽  
University Of Minnesota ◽  
Postgraduate Students ◽  
Brothers Grimm ◽  
History Of ◽  
Conversation Piece

The conversation piece is the product of a group interview with Professor Jack Zipes and provides useful insights about publishing for early career researchers across disciplines. Based on his wider experiences as academic and writer, Professor Zipes answered questions from PhD researchers about: writing books, monographs and edited collections; turning a PhD thesis into a monograph; choosing and approaching publishers; and the advantages of editing books and translations. It presents some general advice for writing and publishing aimed at postgraduate students. Professor Zipes is an Emeritus Professor at the University of Minnesota Twin Cities, United States, a world expert on fairy tales and storytelling highlighting the social and historical dimensions of them. Zipes has forty years of experience publishing academic and mass-market books, editing anthologies, and translating work from French, German and Italian. His best known books are Breaking the Magic Spell (1979), Fairy Tales and the Art of Subversion (1983), The Irresistible Fairy Tale: The Cultural and Social History of a Genre (2012), and The Original Folk and Fairy Tales of the Brothers Grimm (2014).

scholarly journals ‘Once Upon a Time in Marseille’: Displacement and the Fairy Tale in Anna Seghers’ Transit

Humanities ◽  
2019 ◽  
Vol 8 (4) ◽  
pp. 173
Author(s):  
Rebekah Slodounik
Keyword(s):  
World War Ii ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Forced Migration ◽  
The United States ◽  
Mistaken Identity ◽  
Anna Seghers ◽  
Time Period ◽  
Formal Level ◽  
History Of

Written in 1941, while she was living in exile in Mexico, and published in 1944 in Mexico and the United States, Anna Seghers’ novel Transit replicates on a formal level an experience of displacement, statelessness, and exile. In the following analysis, I examine Transit as a text of forced migration. Several features of the novel attempt to produce an experience of displacement: the narrative situation, the incorporation of descriptions that place the events of World War II into a longer history of forced migration, and the use of references to the genre of the fairy tale. The descriptions that engage with past forced migration and displacement attempt to universalize the historical specificities of the time period, whereas the references to fairy tales generate a sense of timelessness associated with this genre. Through these strategies, Seghers’ novel itself attempts to displace time. Seghers situates Transit within a long history of forced migration and exile, in which the categories that are often used to define and divide populations—such as nationality, ethnicity, and religion—are in flux. By emphasizing the role of mistaken identity, Seghers destabilizes the concept of immutable identities in a period of upheaval and transition.

scholarly journals On the question of the interaction of Komi and Russian fairy tales (CIP 706 «The Maiden without Hand»)

2019 ◽  
pp. 101-112
Author(s):  
Надежда Степановна Коровина
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Cultural Traditions ◽  
Class Time ◽  
Long Time ◽  
History Of ◽  
Life Habits ◽  
The Individual ◽  
The Comparative Study ◽  
The Impact

В данной статье предпринята попытка на основе конкретного сказочного сюжета о Безручке (СУС 706) исследовать особенности взаимодействия фольклорных произведений народов, не родственных этнически, но тесно общаюшихся на протяжении длительного времени и имеющих близкие культурные традиции. При рассмотрении данного вопроса использовалась методика сравнительного анализа, позволяющая установить, каким образом международный сказочный сюжет становится культурным достоянием народа коми, т. е. прояснить историю национального сказочного репертуара. В процессе анализа коми сказок о Безручке выявлено сходство с русскими вариантами в области содержания, в типах героев и способах их создания, развитии действия и последовательности эпизодов. В результате автор приходит к выводу о том, что сюжет о Безручке (СУС 706) заимствован у русских. Одновременно в статье отмечен тот факт, что рассмотренные варианты коми сказок имеют свою специфику и не создают впечатления однообразия. Это происходит за счет того, что постоянные элементы, представляющие композиционный стержень сюжета, во-первых, обрастают своеобразными деталями, которые придают повествованию национальный колорит. Именно в них отражается быт, привычки, обычаи народа коми. Во-вторых, своеобразие каждого варианта во многом зависят от индивидуального стиля, степени исполнительского мастерства, творческой манеры, отношения к данному сюжету того или другого исполнителя. В-третьих, именно в отдельных его вариантах сказываются социальные, временные различия, в совокупности своей отражающие исторические изменения сказки In this article an attempt is made on the basis of a specific fairy-tale story about «The Maiden without Hand» (CIP 706) to explore the features of the interaction of folk works of peoples who are not related ethnically, but who closely communicated for a long time and have close cultural traditions. When regarding this issue, we consider it appropriate to use the methodology of comparative analysis, since it is the comparative study of Russian and Komi variants of the fairy-tale plot that allows us to establish how the international fairy-tale plot becomes the cultural heritage of the Komi people, to clarify the history of the national fairy-tale repertoire. In all analyzed Komi tales about the Maiden without hand there is a similarity with the Russian variants in the development of the action, the sequence of episodes, the type of characters, their characteristics, the common ideological content. The structural and typological analysis allows us to conclude that the plot about «The Maiden without hand» (CIP 706) was borrowed from the Russians. However, the considered variants of Komi fairy tales do not create the impression of monotony because the constant elements that represent the compositional core, firstly, acquire peculiar details that give the narrative a national flavor. They reflect the life, habits and customs of the Komi people. Secondly, the originality of each option depends largely on the individual style, the degree of performing skills, creative manner, attitude to the story of a particular artist. Thirdly, it is in its individual options where the impact of class, time differences manifest themselves reflecting the historical changes of the tale.

scholarly journals Coronavirus as an (Anti)Hero of Fairy Tales and Guides for Children

2020 ◽  
Vol 9 ((2) 18) ◽  
pp. 121-140
Author(s):  
Jolanta Karbowniczek ◽  
Beata Kucharska
Keyword(s):  
School Children ◽  
Fairy Tales ◽  
Computer Games ◽  
Fairy Tale ◽  
Literary Genre ◽  
Learning And Teaching ◽  
Emotional Sensitivity ◽  
Board Games ◽  
The World ◽  
E Learning

Nowadays, preschool and school children develop, are raised, and learn in a new reality for them, caused by the coronavirus pandemic. Including the assumptions of the connectivist paradigm as a novelty in the didactic activities of teachers, remote e-learning, computer games, board games, e-books, audiobooks, and multimedia programs fill free time and are becoming a way of learning and teaching in the digital age. The literary genre introducing children to the world of the contemporary threat of COVID 19 is the new fairy tale and therapeutic children’s story, thanks to which events and characters struggling with the prevailing pandemic around the world are presented. The purpose of the article is to analyze and interpret innovative proposals for e-books of fairy tales which explain to young children what the coronavirus pandemic is, how to guard against it, what is happening in Poland and around the world, how to behave, and what actions to take to prevent the spread of viruses. In their discussion, the authors emphasize the psychological, sociological, and therapeutic aspects of the presented content of fairy tales, which are most often related to experiences, emotional sensitivity, anxiety, a fear of something bad, an identification with the characters, and overcoming any difficulties in this situation which is trying for all.

Fairy-Tale Films

2018 ◽  
Author(s):  
Pauline Greenhill
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
English Language ◽  
Movie Theaters ◽  
History Of ◽  
Historical Times ◽  
English Speaking ◽  
Digital Formats ◽  
English Speaking World ◽  
Vladimir Propp

Films incorporating fairy-tale narratives, characters, titles, images, plots, motifs, and themes date from the earliest history of the cinema, beginning with director Georges Méliès’s Le manoir du diable made in 1896, the year after Auguste and Louis Lumière’s first public showing of their “cinematograph” in Paris in 1895. Fairy tales can be oral (told by people in different geographical locations and at various historical times up to the present) and/or literary (created by known authors) in origin, but they manifest in numerous media, including film. While the Disney formula of innocent persecuted heroines, handsome princes, and happy-ever-afters has dominated popular understandings of such narratives (at least in the English-speaking world), fairy tales need not contain these elements. They concern the fantastic, the magical, the dark, the dreamy, the wishful, and the wonderful. Short and feature length, animated and live action, produced in film stock, video, and digital formats, fairy-tale films have appeared in movie theaters and more recently on television and computer screens. Using Kevin Paul Smith’s classification for literary fairy tales, fairy-tale filmic intertexts can include explicit reference in the title—for example, Duane Journey’s Hansel & Gretel Get Baked (2013); implicit reference in the title—for example, Tarsem Singh Dhandwar’s Mirror Mirror (2012); explicit incorporation into the text—as when Micheline Lanctôt’s Le piège d’Issoudun (2003) includes a play of “The Juniper Tree”; implicit incorporation into the text—as when Steven Spielberg’s A.I.: Artificial Intelligence (2001) has the mechanical child David’s human mother abandon him in the woods, as do Hansel and Gretel’s parents; discussing fairy tales, as in the “Once Upon a Crime” episode of the American television show Castle (2009–2016), when the writer and police talk about what fairy tales really mean; and invoking fairy-tale chronotopes (settings and/or environments)—as in the portions of Guillermo del Toro’s Pan’s Labyrinth (2006) set in the heroine Ofelia’s father’s magical kingdom. Alternatively, filmmakers may re-vision a story, sometimes with new spin, as when Matthew Bright’s Freeway 2 (1999) relocates “Hansel and Gretel” to 1990s America, with two delinquent teen girls fleeing to Mexico, or may create an entirely new tale—like Pan’s Labyrinth, not based on any specific previous literary or traditional fairy tale. This article focuses on the cinema—movies made for theatrical and/or video release—but draws on television and Internet films when they offer telling illustrations. Most examples are from English-language media. Although classic works like director Jean Cocteau’s La belle et la bête (1946) have received considerable attention from cinema studies and the fairy-tale structural analysis of Vladimir Propp (1968) has greatly influenced film analysis, only since the beginning of the 21st century has fairy-tale scholarship merged with film scholarship. Scholars of fairy-tale film often consider adaptation and intermediality in cinematic versions of tales. This article uses the example of director Tarsem Singh Dhandwar’s The Fall (2007), which draws on and references fairy-tale magic to collapse, expand, and generally fictionalize time and space to invoke the postmodern and postcolonial as well as the transnational and transcultural.

THE FIRST WORK BY E.M. MELETINSKY CONCERNING THE HERO OF FAIRY TALE

2020 ◽  
Vol 3 (1) ◽  
pp. 144-151
Author(s):  
Natalia Yu. Kostenko ◽  
Keyword(s):  
Graduate Student ◽  
Fairy Tales ◽  
Fairy Tale ◽  
The Third ◽  
Unpublished Work ◽  
Folklore Studies ◽  
Central Asian ◽  
Post Graduate Student ◽  
National University ◽  
History Of

The article considers the history of creation of a previously unpublished work by E.M. Meletinsky, preceding the first draft of his doctorate thesis and monograph “The hero of fairy tale”. A typewritten copy of it was preserved among the documents seized during the scholar’s second arrest in 1949 and later donated to the library of Petrozavodsk University. During his time as a post-graduate student in the Central Asian University (then-name of National University of Uzbekistan) Meletinsky was already interested in historical poetics and folklore studies. That resulted in the “Fairytale plots in question about their everyday meaning” article. The fact that it was the first ever Meletinsky’s work on fairy tales is obvious not only from the documents and memoirs of Meletinsky himself, but from the very structure of the article: in the first chapters the author, taking a problem posed by A.N. Veselovsky in “The poetics of plots” – “to check Russian data about the third sibling, the little fool, the cinderwench against other people’s fairy tales” – as a basis, dwells extensively the motif of the youngest sibling in world fairy tales and the history of studying it, but in the last chapter he moves to the analysis of another motif – the tales about a “poor orphan”. Namely that motif, being in stadia way older, takes centre stage not only in the 1948 thesis, but in all of Meletinsky’s works on fairy tales prior to the second arrest, both published and unpublished.

Popular culture’s enduring influence on childhood: Fairy tale collaboration in the young adult series The Lunar Chronicles

2018 ◽  
Vol 8 (3) ◽  
pp. 304-315
Author(s):  
Alexandra Lykissas
Keyword(s):  
Young Adult ◽  
Young Women ◽  
Fairy Tales ◽  
Young Adult Literature ◽  
Fairy Tale ◽  
Literary Analysis ◽  
The People ◽  
Literary Theories ◽  
History Of ◽  
New Type

Fairy tales have a long history of providing educational morals for young women, particularly children. The lessons from older fairy tales have long influenced the metanarratives regarding how women should act in our culture and contemporary versions are no different. Contemporary adaptations of these fairy tales, however, have moved the genre beyond restrictive metanarratives and are now offering new solutions to 21st-century problems like authoritarian rulers. In Marissa Meyers’ Lunar Chronicle series (2012–2015), the characters interact and work together to overcome the villain. This collaborative fairy tale is a new type of fairy tale adaptation in which the characters work together instead of focusing on their individual happily-ever-afters. My article uses postmodern and feminist literary theories along with close-reading literary analysis to examine how this young adult series shows how young adult literature has become political and is able to address adult problems in ways that are easier to process for younger readers. I focus on how the series uses the character of Levana to examine how authoritarian rulers maintain control over the populace, in order to show how the characters then work together to overthrow Levana to free the people from her oppression. This series uses collaboration to show the reader how to resolve possible problems within their own lives. Working in community then becomes as a solution for young adults who may feel disenfranchised or lonely in our increasingly divisive world. Cooperation also becomes a transgressive move against the tendency to become segregated from those around us.

scholarly journals Problemi recepcije bajke u razrednoj nastavi

2021 ◽  
Vol 18 (1) ◽  
pp. 339-349
Author(s):  
Ivana Tasić Mitić ◽  
◽  
Aleksandar Stojadinović
Keyword(s):  
Elementary School ◽  
Personality Traits ◽  
Elementary School Students ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Personality Development ◽  
Rich Source ◽  
Literary Genre ◽  
Elementary Grades ◽  
School Students

The paper emphasises the importance of fairy tale, as the preferred literary genre in lower elementary grades, and its influence on children’s education and personality development. A fairy tale is a rich source of aesthetic perceptions and pleasant emotions, as well as a powerful motivator for developing positive personality traits. In order to examine the attitudes of lower elementary school students towards the reception of fairy tale as a literary genre, a survey was conducted. The sample included 360 third grade elementary school students. The results show that students are very fond of reading and exploring fairy tales, but they also face some problems in understanding and experiencing them, which stresses the importance of implementing different approaches in teaching.

scholarly journals Manuscript materials of P. E. Sheshkin as the source on the ethnic history of the Ugric community: periodization and ethnolinguistic aspect

2020 ◽  
Vol 10 (4) ◽  
pp. 739-747
Author(s):  
S. A. Popova ◽  
Keyword(s):  
Fairy Tale ◽  
Transition Period ◽  
Study Objective ◽  
Historical Processes ◽  
Ethnic History ◽  
History Of ◽  
New Ideas ◽  
Characteristic Features ◽  
First Time ◽  
Transition Stages

Introduction: for the first time, the article considers the representations that affect the problem of periodization of the formation of the ancient Ugric community (the ancestors of the Mansi, Khanty, and Hungarians) and their division into the Hungarians and Ob Ugric peoples. Transition stages from one period to another are revealed, which are manifested in the migrations of peoples. Folklore plots reflecting the Ugric period are reconstructed and their comparison with ethnic history is reproduced. The analysis of the language material provides an understanding of the existence of each period, conveys the essence of the values and historical processes of the time under study. Objective: to reveal based on the analysis of folklore texts and data of the language of the Northern Mansi group (Sosva and Sygva dialects) new ideas about the periods of the ethnic history of the Ugric community.Research materials: manuscript texts of P. E. Sheshkin’s notebooks, his personal archive, as well as published expedition records of researchers of the XX century. Results and novelty of the research: during the analysis of folklore and language materials, we identified main stages in the formation of the Ugric community. Each of the periods is distinguished by its characteristic features: 1. phase of development – the presence of large associations (tribes), the direction of their migration, settlement, conditions of existence and their changes; 2. phase of completion – the collapse of large associations into small groups (sometimes assimilation), their movement, settlement, marriage contacts; 3. transition period (general) – the end of the «fairy-tale era» is caused by new relevant aspects of the worldview in connection with the ideas formed by the Heroic Epos in new conditions. Folklore data of the periodization of Ugric community are reflected in its ethnic history. The novelty of the study lies in the introduction of little-known folklore, ethnographic materials and practically disappeared, Lombovozh subdialect of the Sygva dialect of the Northern group of the Mansy, collected by P. E. Sheshkin. In practical terms, the material of the article can be used by cultural scientists, ethnographers, linguists, and folklorists.

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