scholarly journals Free indirect speech in Croatian oral folk tales

Stylistyka ◽  
2021 ◽  
Vol 30 ◽  
pp. 229-252
Author(s):  
Gordana Laco ◽  
Siniša Ninčević
Keyword(s):  
Fairy Tales ◽  
Oral Tradition ◽  
Modern Art ◽  
Folk Tales ◽  
Indirect Speech ◽  
Stylistic Device ◽  
The Way

This paper considers free indirect speech (FIS) in Croatian oral folk tales (fairy tales, legends, oral tradition and fables). Oral folk tales (folklore) from all parts of Croatia, and that in all three Croatian dialects (the Shtokavian, the Chakavian, and the Kajkavian) have been analysed. Special attention is paid to first-hand accounts according to authentic tellings in recent times. The types of FIS that are commonly attributed to the linguo-stylistic characteristics of modern art prose have been con[1]sidered. Additionally, some techniques that also indicate SNG have been analysed, which has neither been noticed nor described in the hitherto Croatian philological literature. It is concluded that FIS is a linguo-stylistic device which affects the way of delivering (creating) a story, but it is also a feature which distinguishes one tale from another.

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.

Semiotics of Clothes in Postcolonial Literature

2020 ◽  
Vol 16 (2) ◽  
pp. 203-215
Author(s):  
Somaye Sharify ◽  
Nasser Maleki
Keyword(s):  
Fairy Tales ◽  
Postcolonial Literature ◽  
Cultural Transformation ◽  
Cultural Identities ◽  
Female Immigrant ◽  
Cultural Displacement ◽  
Romance Fiction ◽  
Dress Codes ◽  
The Way

AbstractThe present study intends to examine the link between clothes and cultural identities in Jhumpa Lahiri’s “Hema and Kaushik” (2008). It will argue that Lahiri explores her protagonists’ cultural displacement through their items of clothing. We want to suggest that the protagonists’ clothes are employed in each narrative as signifiers for the characters’ cultural identities. The study will further show that each item of clothing could be loaded with the ideological signification of two separate cultures. In other words, it aims to demonstrate how ideology imposes its values, beliefs, and consequently its dominance through the dress codes each defines for its subjects. Moreover, it intends to suggest that the link between clothing and identity is most visible and intense in the case of female immigrant characters rather than men. Drawing on Luptan’s structure of the Cinderella line, we will explore Lahiri’s protagonists’ cultural transformation from simple ethnic girls to stylish American ladies through their items of clothing. The study will conclude that the “Cinderella line” does not work in Lahiri’s realistic stories the way it does in fairy tales and romance fiction.

Oral Literature and Transculturality: A Study of Contemporary Cameroonian Songs

2021 ◽  
Vol 8 (1) ◽  
pp. 55-64
Author(s):  
Anne Obono Essomba
Keyword(s):  
Cultural Identity ◽  
Oral Tradition ◽  
Culture Shock ◽  
Oral Literature ◽  
Universal Values ◽  
Hybrid Product ◽  
The Way

Globalization led by Europe has spread so-called 'universal' values across the globe, which seems to have cultural intermingling as its backdrop. All human endeavors are based on a culture that has become multidimensional. All the time, in their diversity, cultures try to complement and absorb each other. However, in this meeting of cultural giving and receiving, it takes on a new face, the culture shock.  This encounter causes major changes in our modern societies, giving way to a loss of cultural identity and internal imbalance. This article aims to analyze the way in which contemporary Cameroonian musicians use cultural and linguistic facts for communication purposes and other arguments. The aim of our work is to show how the various songwriters have found, through song, a new mode of resistance so that African traditions escape sedimentation. In this way, they reconcile the elements of oral tradition and the contributions of modernity to create a hybrid product. To illustrate our point, we have chosen oral texts from different regions of Cameroon.  In order to better understand the transcultural reality in the texts, we will highlight the marks of traditional and modern aesthetics, then show that the transcultural is seen as a space of symbiosis between the traditional and the modern.

scholarly journals THE IMAGE OF THE CROW IN THE GERMAN AND UZBEK PEOPLES

2021 ◽  
Vol 5 (1) ◽  
pp. 90-100
Author(s):  
Akmal Akhmatovich Jumayev ◽  
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Folk Tales ◽  
Negative Images ◽  
The World ◽  
Personal Qualities

Background. The article focuses on specific similarities of the peoples of the world in their views on the crow. Also in myths, in German and Uzbek fairy tales, the portrayal of the crow in positive and negative images was analysed comparatively. All folk tales lead to good. The same lesson is also reflected in the article on the educational significance of the two folk tales. Methods. Particular attention is paid to the fact that the peoples of the world have certain similarities in their views on the crow. The image of the Crow also moved to fairy tales based on Legends. Results. In the fairy tale, it is not explained why the hero became a crow. It is known that in fairy tales the evolution of children to different birds (often owl or crow) is described either because of some side work of their father, or because of his own senselessness. Discussions. In German fairy tales Interesting is that in “Die sieben Raben“ “The seven ravens”, “Die Rabe“ ‘The raven” fairy tales, a crow is not just an ordinary bird, but a symbol of children. In Uzbek fairy tales, the image of birds is focused on fostering such positive personal qualities as industriousness, honesty and friendliness.

scholarly journals THE PROBLEM OF FINITENESS OF HUMAN EXISTENCE IN UKRAINIAN FOLKLORE

2020 ◽  
pp. 100-104
Author(s):  
Volodymyr Yatchenko, Oksana Oliinyk Volodymyr Yatchenko, Oksana Oliinyk ◽  
Volodymyr Yatchenko, Oksana Oliinyk Volodymyr Yatchenko, Oksana Oliinyk
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Human Existence ◽  
Folk Tales ◽  
Philosophy And Literature ◽  
Spiritual World ◽  
European Philosophy ◽  
The One ◽  
The Individual ◽  
Painful Feeling

The article analyzes the existential problems of life, death and immortality in Ukrainian folklore (based on Ukrainian fairy tales). In the corpus of Ukrainian folk tales there are widely used topics, which in European philosophy and literature are called "tragic foundations of human existence" - awareness of the inevitability of death in the earthly existence of man, the search for forms of individual immortality. In Ukrainian fairy tales there is a dual attitude of the individual to the inevitability of his own death. On the one hand, there is the motive of reconciliation with the fate of human destiny, and in order to relieve the painful feeling of one's own finitude, the instruction on the higher meaning of the existence of death is forced. Death is justified because it appears as the prevention of the absurdity of infinite human existence or as an obstacle to the debauchery of the whims and dangerous wishes of the individual, or ultimately as the punishment of people for violating the commandments of the Supreme Spiritual Creature. In other words, death appears in a number of fairy tales as the expression of the highest world justice. At the same time, death mostly appears in fairy tales as an objectified pagan idea of Death as a concrete living creature with its whims, sympathies and weaknesses. The problem of finding ways to achieve immortality is traced in Ukrainian fairy tales in two ways. Most often, this search unfolds in the plane of the victory of the hero of the fairy tale over death, or through the imprisonment of death, or through the marriage of the hero to a divine being. This is a very common motive in the tales around the world. Less common is the motive of achieving immortality through the moral self-improvement of the hero, his compliance to the moral commandments of God. This is already a reflection in fairy tales of the influence of Christianity on the spiritual world of the ancestors of modern Ukrainians.

Musical Exegesis in the Transylvanian Style, Composed by Dimitrie Cuntanu, at Our Lord’s Birth Catavasia

2021 ◽  
Vol 66 (1) ◽  
pp. 193-216
Author(s):  
Daniel Mocanu
Keyword(s):  
Oral Tradition ◽  
The Other ◽  
Important Place ◽  
Religious Music ◽  
Musical Structures ◽  
Musical Heritage ◽  
The Way

"The Orthodox religious music in Transylvanian tradition has a unique history. It gained an important place in the Romanian musical heritage, by the way it managed to adapt to Romanian, in its own style, the psaltic musical repertoire, of Byzantine tradition. Build from the oral tradition, which, in its turn blended with folklore, cult music, and the other co-existing cults, and from psaltic tradition, Dimitrie Cuntanu’s work fairly represents, the first Transylvanian religious musical monument of Romanian root. The Byzantine musical origin of this paper can be detected, together with other works, from the musical structures of the first Katavasia established by Cuntanu, at Lord’s Birth Feast. Transformed to Romanian by different anonymous protagonists of the Transylvanian music, the Lord’s Birth Catavasia represents a Hrysantic exegesis reference of Byzantine music, in a Transylvanian style. Keywords: Catavasia, Byzantine music, Anton Pann, Cuntanu, Romanian adaptation "

Seven Wakhi poems

1992 ◽  
Vol 2 (2) ◽  
pp. 203-211
Author(s):  
Beate Reinhold
Keyword(s):  
Detailed Analysis ◽  
Fairy Tales ◽  
Oral Tradition ◽  
Additional Material ◽  
The Sixties

The Wakhi language, as represented in particular by those of its dialects that are spoken in Afghanistan and the Soviet Pamirs, has been described in more detail than any other Iranian language of the area that has virtually no written tradition. As early as the middle of the last century scholars began studying the language on the basis of mostly short or fragmentary glossaries and collections of texts and additional material became available during the thirties and fifties of the present century. During the sixties and seventies, two Leningrad Iranists, A. L. Grünberg and I. M. Steblin-Kamenskij, worked intensively on Pamirian Wakhi and the kind of Wakhi spoken in Afghan Badakhshan. Their research culminated in the publication of a rich collection of orally transmitted songs, fairy tales, proverbs, and texts of ethnographic interest, accompanied by a detailed analysis of Wakhi grammar and a comprehensive glossary. The material collected by Grünberg and Steblin-Kamenskij like that published by G. Buddruss and in some older articles by Russian scholars, conforms on the whole to what one would expect to find in an exclusively oral tradition. Apart from the usual kinds of fairy tales and songs we find also a kind of popular poetry unique to Wakhi.

scholarly journals The Arab Invasion of Kashgar in a.d. 715

1922 ◽  
Vol 2 (3) ◽  
pp. 467-474 ◽  
Author(s):  
H. A. R. Gibb
Keyword(s):  
Oral Tradition ◽  
Large Degree ◽  
The Other ◽  
The City ◽  
The Way

Nothing is more disconcerting to the student of early Muslim history than the way in which Tabarī and the other historians alternate between detailed and comprehensive narrative and jottings of the most meagre and involved nature, filled out, in some cases, by picturesque but obviously legendary tales. These faults, which are to a large degree inherent in the method of compilation from oral tradition, come out most clearly in the narrative of the brilliant series of campaigns by which the Arab general Qutayba ibn Muslim conquered and annexed the lands eastward from Herāt and the Oxus to the Pamīr, during the reign of the Umayyad Caliph Walīd I (a.d. 705–15). Thus we are given a fairly sufficient account of the long drawn out operations against Bukhārā, but none of the actual conquest and colonization of the city : much 'of the expeditions against various princes subject to the kingdom of Tukhāristān, but practically nothing of the annexation of Tukhāristān itself.

Artistic Vanguards in Brazil, 1917–1967

2019 ◽  
Author(s):  
Gênese Andrade
Keyword(s):  
Popular Culture ◽  
Modern Art ◽  
Art Exhibition ◽  
Social Commitment ◽  
Mario De Andrade ◽  
Artistic Production ◽  
Concrete Art ◽  
Strong Impulse ◽  
The Way ◽  
Brazilian Theater

The 1922 Modern Art Week is considered the initial landmark of artistic vanguards in Brazil. However, before it was held, Anita Malfatti’s 1917 exhibition, which presented expressionism to Brazilians, and the articles of Oswald de Andrade announcing in the local press the poetry of Mário de Andrade and futurism caused significant polemics and opened the way for renovation. In the middle of the 1920s, the contacts of various artists with European vanguards—especially cubism—and the reinterpretation of the national element and popular culture with the incorporation of this repertoire, with an emphasis on cosmopolitism, established and solidified modernism in various artistic areas. In the 1930s, social commitment, the revalorization of the regional, and adhesion to leftwing ideologies changed the focus of artistic production, leading to the reorganization of groups and the emergence of new protagonists: Patrícia Galvão and Flávio de Carvalho, among others. The return to classic forms and new experimentalisms marked the 1940s and 1950s, characterized by the reappearance of the sonnet, with Vinicius de Moraes, Cecília Meirelles, Murilo Mendes, and Jorge de Lima; renovations in language that reached a peak with Guimarães Rosa; photomontages by Jorge de Lima. Concrete art and poetry, notably the National Concrete Art Exhibition (1956) and neo-concretism, returning to the strategy of the manifestos and journals of the 1920s, revived the same polemical reception and bitter rivalries. In the following decade, the revisiting of Oswald de Andrade’s work, especially the idea of anthropophagy, gave a strong impulse to tropicalism, Cinema Novo, and a greater renewal in Brazilian theater, with the staging of O Rei da Vela by the Teatro Oficina group (1967), the culminating point of a fifty-year cycle of artistic vanguards in Brazil.

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