scholarly journals THE ARTISTIC WORLD OF SOZYRYKO BRITAEV ....

2017 ◽  
Author(s):  
А.Б. БРИТАЕВА ◽  
A.B. BRITAEVA
Keyword(s):  
Children's Literature ◽  
Fairy Tales ◽  
Complex Analysis ◽  
Children’S Literature ◽  
Point Of View ◽  
Synthesis System ◽  
Characteristic Features ◽  
The Individual ◽  
Creative Self ◽  
First Time

В статье на материале произведений С. А. Бритаева, осетинского писателя, сказоч- ника, переводчика, публициста, исследуются основные тенденции развития осетинской детской литературы середины XX в. как подсистемы осетинской художественной словес- ности в целом. Дан комплексный анализ авторских сказок писателя, специфика, «особая художественность» которых заключается в их синтетической природе; через призму ди- алога индивидуально-авторского начала и традиционных сказочных жанрообразующих элементов в различных аспектах (жанровый синтез, система образов, стилистические особенности, авторская позиция) раскрывается художественный мир писателя. С опо- рой на архивные источники впервые введены в научный оборот произведения малой прозы автора, в том числе ряд неопубликованных рассказов. На основе исследования своеобразия творчества автора прослежены основные тенденции и характерные черты развития осе- тинской детской литературы указанного периода, как то: синтез фольклорных средств с собственно литературными (описания, детализация действия, психологизм, пластич- ность изображения), тенденция к переходу от фольклорных типов-обобщений к созданию индивидуализированных характеров; от народно-сказовой формы повествования и тра- диционных способов передачи коллективной точки зрения на мир к усилению творческого самовыражения, своеобразию проявления авторской позиции. The article studies the main courses of evolution of Ossetic children’s literature of the middle of the XX th century as a subsystem of the Ossetic artistic literature in general, namely in the books of S. A. Britaev, the Ossetic writer, storyteller, translator, and publicist. Complex analysis of the author’s fairy tales is given, specifics, «especial artistry» of which lies in their synthetic nature; through the prism of the dialogue of the individual author’s standpoint and the traditional fairy genre-forming elements in various aspects (genre synthesis system of images, stylistic features, and the author’s viewpoint) reveals the artistic world of S. Britaev. The author’s short prose works, including a number of unpublished stories, have been introduced into scientific discourse for the first time on the basis of the archival sources. The main tendencies and characteristic features of the development of this period’s Ossetic children’s literature are traced in researching the originality of the author’s works, such as the synthesis of folklore means with literary ones proper (descriptions, action detailing, psychologism, image plasticity), tendency to change from folklore types-generalizations to creation of individualized characters; from the folk-fantastic forms of narration and traditional ways of transferring the collective point of view of the world to the strengthening of creative self-expression, the originality of the author’s positions.

scholarly journals TRADITIONS OF V.V. BIANKI IN THE WORKS OF OSSETIAN CHILDREN’S WRITERS

2018 ◽  
Author(s):  
А.Б. БРИТАЕВА
Keyword(s):  
Comparative Analysis ◽  
Children's Literature ◽  
Natural History ◽  
Fairy Tales ◽  
Children’S Literature ◽  
Popular Science ◽  
Main Function ◽  
Folk Traditions ◽  
First Time ◽  
Folk Tradition

В статье впервые в осетиноведении анализируется влияние традиций русской позна- вательной, научно-художественной литературы, а именно творчества Виталия Вален- тиновича Бианки, на становление осетинской детской словесности, на развитие жанров литературной сказки, природоведческого рассказа, научно-популярной повести. На мате- риале произведений осетинских авторов познавательный аспект рассматривается как один из важнейших составляющих детской литературы. Произведения К. Дзесова, В. Га- глоева М. Купеева, Ч. Айларова, М. Дзасохова, Г. Чеджемова и др. пропагандируют знания о природе, обществе, человеке и его деятельности, способствуют расширению кругозора ребенка. Во многих отношениях современная осетинская природоведческая литература – это продолжение и развитие традиций архаического животного эпоса. Герои ее наделены двойственными признаками – человеческими и животными. Они – своеобразный способ разговора взрослого с ребенком о жизненно важных вещах, которые невозможно объяснить на языке абстракций. Проведенные параллели позволили обозначить границы преемствен- ности в тематических, нравственно-этических и эстетических исканиях осетинских авторов. На основе сравнительного анализа произведений Бианки и осетинских детских писателей прослежены основные тенденции и характерные черты развития осетинской познавательной и природоведческой литературы XX в., а именно: синтез научных знаний и фольклорных традиций (система образов, антропоморфизм, прозрачная мораль расска- зов и сказок, находящаяся в несомненной связи с народной традицией и т.д.). Сочетание различных аспектов детской литературы, как то: познавательность, занимательность, художественность, соответствует специфике детского восприятия и способствует вы- полнению главной функции природоведческой литературы: экологическому воспитанию подрастающих поколений. In the article for the first time the influence of the traditions of Russian educational, scientific and fiction literature is analyzed, namely, the works of V.V. Bianki, on the formation of Ossetian children’s literature, on the development of genres of literary tales, natural stories, popular science novels. On the basis of the works of Ossetian authors, the cognitive aspect is considered as one of the most important component of children’s literature. The works of K. Dzesov, V. Gagloyev, M. Kupeev, Ch. Aylarova, M. Dzasokhova, G. Chedzhemova, and others advocate knowledge about nature, society, man and his activities, expand the child’s horizons. In many ways, modern Ossetic naturalistic literature is a continuation and development of traditions of archaic animal epic. Its heroes are endowed with dual signs – human and animal. They are a kind of way to an adult conversation with your child about the vital things that can not be explained in the language of abstraction. The parallels made it possible to identify the borders of continuity in the thematic, moral, ethical and aesthetic quest of the Ossetian authors. Based on the comparative analysis of works by V.V. Bianki and Ossetian children’s writers the main trends and characteristics of the development of Ossetian cognitive and natural history literature of the 20th century are traced, namely: the synthesis of scientific knowledge and folk traditions (images system, anthropomorphism, transparent morality of stories and fairy tales, which is undoubtedly connected with the folk tradition, etc.). The combination of various aspects of children’s literature, such as cognitive, entertaining, artistic, corresponds to the specifics of children’s perception and contributes to the implementation of the main function of natural history literature: the environmental education of the younger generation.

scholarly journals Verbal representation of monster’s image in works for children of modern Ukrainian authors

2021 ◽  
pp. 15-22
Author(s):  
Nataliia Diachenko ◽  
Olesia Kydysiuk
Keyword(s):  
Children's Literature ◽  
Creative Thinking ◽  
Children’S Literature ◽  
Point Of View ◽  
Continuous Sampling ◽  
Linguistic Representation ◽  
Verbal Representation ◽  
Moral Principles ◽  
The World ◽  
The Individual

The article investigates the peculiarities of the linguistic representation of monster image in modern Ukrainian children’s literature. The literary discourse of fear and monster image is presented. From the communicative-pragmatic point of view, the traditional, usual images of monster, in particular Babay and Chupacabra, are compared with their counterparts from the works of such popular Ukrainian writers. New images of the monster, the appearance of which was caused by the COVID-19 pandemic, are characterized. The purpose of the article is to investigate the peculiarities of the linguistic representation of the image of monster in modern Ukrainian children’s literature. The following research methods were used: linguistic observation and description of language phenomena; method of decoding an artistic text, analysis, synthesis, induction, deduction, as well as the method of continuous sampling. It is established that in the works for children of modern Ukrainian authors the image of a fearless, good monster is gaining popularity, which testifies to the tendency to improve traditional negative images. To create «updated» images of monsters, writers use a range of language tools and stylistic devices. The individual author’s onyms for monster and occasional sign tokens are particularly expressive, which appear during the creation of these images. It is observed that the image of monster in children’s works implements a number of pragmatic functions: cognitive (acquisition and assimilation of knowledge about the world (about the world of things; about the world of human relations); developmental (enrichment of the child’s vocabulary, formation of reading skills, development of imagination, critical / creative thinking, cognitive interest, etc.); educational (formation of basic moral principles, learning patterns of behavior, etc.); entertainment (enjoyment of artistic communication). The study of the usual and occasional in the linguistic representation of fear and monster in the works for children of modern Ukrainian writers complemented the knowledge about the connection of the writer’s worldview with the works’ language and with the national linguistic picture of the world.

scholarly journals Children’s literature to promote students’ global development and wellbeing

2020 ◽  
Vol 10 (1) ◽  
pp. 13-23
Author(s):  
Manuela Pulimeno ◽  
Prisco Piscitelli ◽  
Salvatore Colazzo
Keyword(s):  
Children's Literature ◽  
Fairy Tales ◽  
Classroom Environment ◽  
Children’S Literature ◽  
Point Of View ◽  
Global Development ◽  
Web Based ◽  
School Activities ◽  
Digital Stories ◽  
Crucial Part

Background: Tales were transmitted from one generation to another, enriching young people with values, beliefs, imagination and creativity. Children’s literature still plays a crucial part in education as it provides knowledge and entertainment, representing a typical example of"edutainment". In this paper, we carried out a review to examine pedagogic, didactic and psychological/therapeutic dimensions of children’s literature, with the aim of highlighting its role in promoting students’ holistic development and wellbeing. Methods: We have searched for original articles (from 1960s to 2019), by using the following keywords: "fairytales" or "fairy tales" or "folktales" or "fables" AND "education" or"development" or "learning" or "teaching" or "school" or "curriculum" or "classroom" AND"children" or "child" or "kids" or "childhood" AND "health" or "wellbeing". Results: We found 17 studies concerning pedagogic aspect of children literature, while 21 and17 studies were selected for didactic and therapeutic dimensions, respectively. From a pedagogic point of view, tales convey basic values useful for children lives. In a didactic perspective, properly chosen storybooks represent a valuable resource for school activities, improving students’ language skills and building up a friendly/respectful classroom environment. Children stories are also used by health professionals for therapeutic purposes (bibliotherapy) to prevent unhealthy habits and addictions, or address psychosomatic disorders. Finally, storybooks and web-based/digital stories can be an effective vehicle for health contents, to encourage the adoption of healthy lifestyles among schoolchildren. Conclusion: Children’s literature and storytelling could be helpful in promoting students’ global development and wellbeing, when included in school curricular activities.

The Alluring Nature of Children's Culture: Fairy Tales, the Carnival and the World Wide Web

2015 ◽  
Vol 8 (2) ◽  
pp. 169-184
Author(s):  
Željka Flegar
Keyword(s):  
Children's Literature ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Mikhail Bakhtin ◽  
Children’S Literature ◽  
Social Construct ◽  
Time Out ◽  
The Social ◽  
Children's Culture ◽  
Language And Ideology

This article discusses the implied ‘vulgarity’ and playfulness of children's literature within the broader concept of the carnivalesque as defined by Mikhail Bakhtin in Rabelais and His World (1965) and further contextualised by John Stephens in Language and Ideology in Children's Fiction (1992). Carnivalesque adaptations of fairy tales are examined by situating them within Cristina Bacchilega's contemporary construct of the ‘fairy-tale web’, focusing on the arenas of parody and intertextuality for the purpose of detecting crucial changes in children's culture in relation to the social construct and ideology of adulthood from the Golden Age of children's literature onward. The analysis is primarily concerned with Roald Dahl's Revolting Rhymes (1982) and J. K. Rowling's The Tales of Beedle the Bard (2007/2008) as representative examples of the historically conditioned empowerment of the child consumer. Marked by ambivalent laughter, mockery and the degradation of ‘high culture’, the interrogative, subversive and ‘time out’ nature of the carnivalesque adaptations of fairy tales reveals the striking allure of contemporary children's culture, which not only accommodates children's needs and preferences, but also is evidently desirable to everybody.

A Confrontation between Two Doctrines: The Birth of Struggle for Hegemony in Hebrew Children's Literature during the 1930s and 1940s

2008 ◽  
Vol 1 (2) ◽  
pp. 139-155 ◽  
Author(s):  
YAEL DARR
Keyword(s):  
Children's Literature ◽  
Educational System ◽  
Single Channel ◽  
Children’S Literature ◽  
The Political ◽  
Literary Creation ◽  
History Of ◽  
High Level ◽  
First Time ◽  
Literary Quality

This article describes a crucial and fundamental stage in the transformation of Hebrew children's literature, during the late 1930s and 1940s, from a single channel of expression to a multi-layered polyphony of models and voices. It claims that for the first time in the history of Hebrew children's literature there took place a doctrinal confrontation between two groups of taste-makers. The article outlines the pedagogical and ideological designs of traditionalist Zionist educators, and suggests how these were challenged by a group of prominent writers of adult poetry, members of the Modernist movement. These writers, it is argued, advocated autonomous literary creation, and insisted on a high level of literary quality. Their intervention not only dramatically changed the repertoire of Hebrew children's literature, but also the rules of literary discourse. The article suggests that, through the Modernists’ polemical efforts, Hebrew children's literature was able to free itself from its position as an apparatus controlled by the political-educational system and to become a dynamic and multi-layered field.

The Children’s Novel

2018 ◽  
Author(s):  
Peter Hunt
Keyword(s):  
Twentieth Century ◽  
Children's Literature ◽  
Children’S Literature ◽  
Point Of View ◽  
Literary System

This chapter explores the development of the children’s novel throughout the twentieth century. This period represents a change from the protection of childhood to the commodification of childhood, and from essentially gentleman-amateur publishing to highly professional production and marketing. But for all its successes, the idea that the children’s novel is necessary inferior to its adult counterpart dies hard. This is the more illogical because novels for children do not have exact counterparts in the adult literary ‘system’. From an adult point of view, all children’s literature is necessarily ‘popular’ or ‘lowbrow’, or at its ‘best’ merely ‘middlebrow’. Equally, the term ‘literature’ is not useful or relevant in the criticism of children’s novels, and the most valued texts in children’s literature may be precisely those that have the least to offer the adult.

scholarly journals 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)

2020 ◽  
pp. 383-398
Author(s):  
Polina V. Korolkova
Keyword(s):  
Children's Literature ◽  
Everyday Life ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Children’S Literature ◽  
Adult Reader ◽  
Modern Russian

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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