scholarly journals EDUTAINMENT AS A MODERN PEDAGOGICAL TECHNOLOGY OF TEACHING RUSSIAN FAIRY TALES AT SCHOOL

2017 ◽  
Author(s):  
Fariza Abdraimova ◽  
Keyword(s):  
Learning Process ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Semantic Content ◽  
School Education ◽  
Learning Technology ◽  
Cultural Traditions ◽  
History Of ◽  
Methodological Principles

The Russian fairy tale within the school education is a major object of case study and comprehension. The systematic study has an important scientific and methodological potential for both university and school education. Only by adherting to the plan of methodological interpretations in relation to this object, it is possible to identify several ways to effectively develop the creative potential of students, to relieve the psycho-emotional stress that naturally occurs in the learning process. The fairy tale also provides great historical and cultural material that opens up the history of the country, cultural traditions and customs. The study of fairy tales at school and university should comply with the developed methodological principles but also the undoubted age interests and students needs, contain a moral and useful semantic content. The teacher should draw the attention to the fact that the fairy tale is seen as a psychological relief by children, it gives them the opportunity to dive in the magic world, have fun and take a break from the learning process. The approach to study may be different depending on the age of students. However, the major principle of fairy tales study is inextricably linked with the concept of edutainment, i.e. the combined experience of a game technique that can be presented in various models and formats. In this regard, the issue of applying personality-oriented learning technology is relevant. This article solves the exact problem interpreted on the basis of a certain experience.

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.

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.

Tradition and Modernity in the Work of Komi Storytellers (SUS 502 “Copper Forehead”)

2021 ◽  
pp. 66-78
Author(s):  
Надежда Степановна Коровина
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Strong Connection ◽  
Cultural Traditions ◽  
Compositional Structure ◽  
Complete Destruction ◽  
Specific Focus ◽  
Plot Type ◽  
Traditional Stories

Глубокая и прочная связь коми и русской сказочных традиций отмечалась неоднократно, вместе с тем конкретных разысканий по данной проблеме недостаточно. По этой причине в статье предпринята попытка исследовать особенности взаимодействия сказок соседних народов, принадлежащих к разным языковым семьям, но имеющих близкие культурные традиции. Материалом стал сказочный сюжет СУС 502 «Медный лоб». Проанализировав пять вариантов коми сказки, можно заметить, что в них реализованы все значимые эпизоды этого сюжетного типа. Однако наблюдения над коми региональным материалом меняют представление о стабильности законов народной сказки. При современном процессе затухания сказочной фольклорной традиции произошли изменения в наиболее устойчивой ее составляющей - сюжетно-композиционном строении. Широкое варьирование коми сказочниками сюжетов, образов, их трансформация привели к «новеллизации» некоторой части коми сказок, превращению их в авантюрно-фантастические устные повести. Традиционные сюжеты переосмыслялись прежде всего путем контаминации, а также путем сближения фольклорных сказок с русскими книжными произведениями. Приведенные примеры закономерных изменений отнюдь не говорят о полном разрушении его глубинной традиционной основы. Исследование показало, что коми сказочники имели представление о традиционной сказочной обрядности, широко ими пользовались, что во многом способствовало сохранению волшебной сказки как жанра. The strong connection between the Komi and Russian fairy tale traditions has been noted repeatedly, yet research on this issue is clearly insufficient. In this article the author attempts to define the interaction of fairy tales of these neighboring peoples which belong to different linguistic families but which have closely related cultural traditions. Its specific focus is fairy tale SUS number 502 “Copper Forehead.” It examines five Komi variants of the fairy tale that contain all of the significant elements of this plot type. Examination of the Komi material challenges the idea that the laws governing folktales are stable. With the fading of folkloric traditions, there have been changes in fairy tales’ most stable components, their plot and compositional structure. Komi storytellers have introduced changes that transform Komi fairy tales in the direction of “novelization,” turning them to some extent into oral tales of adventure and fantasy. Traditional stories are reinterpreted primarily due to contamination, including bringing folklore tales closer to those from Russian books. At the same time, these normal changes by no means indicate the complete destruction of Komi folklore’s deep traditional basis. The study also demonstrates that Komi storytellers have had a clear notion of traditional fairy-tale patterns and made wide use of them, which has largely contributed to the preservation of the fairy tale as a genre.

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.

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).

Design-by-Analogy: Exploring for Analogical Inspiration With Behavior, Material, and Component-Based Structural Representation of Patent Databases

2019 ◽  
Vol 19 (2) ◽  
Author(s):  
Hyeonik Song ◽  
Katherine Fu
Keyword(s):  
Mechanical Design ◽  
Semantic Content ◽  
Structural Representation ◽  
History Of ◽  
Design By Analogy ◽  
Computational Methodology ◽  
Design Solutions ◽  
Analogical Retrieval ◽  
Novel Design

Design-by-analogy (DbA) is an important method for innovation that has gained much attention due to its history of leading to successful and novel design solutions. The method uses a repository of existing design solutions where designers can recognize and retrieve analogical inspirations. Yet, exploring for analogical inspiration has been a laborious task for designers. This work presents a computational methodology that is driven by a topic modeling technique called non-negative matrix factorization (NMF). NMF is widely used in the text mining field for its ability to discover topics within documents based on their semantic content. In the proposed methodology, NMF is performed iteratively to build hierarchical repositories of design solutions, with which designers can explore clusters of analogical stimuli. This methodology has been applied to a repository of mechanical design-related patents, processed to contain only component-, behavior-, or material-based content to test if unique and valuable attribute-based analogical inspiration can be discovered from the different representations of patent data. The hierarchical repositories have been visualized, and a case study has been conducted to test the effectiveness of the analogical retrieval process of the proposed methodology. Overall, this paper demonstrates that the exploration-based computational methodology may provide designers an enhanced control over design repositories to retrieve analogical inspiration for DbA practice.

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 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.

scholarly journals Poetics of the Fairy Tale Princess: Products, Problems, & Possibilities / Poésie de la princesse des contes de fées : produits, problèmes et possibilités

2019 ◽  
Vol 46 (2) ◽  
pp. 17-32
Author(s):  
Courtney Lee Weida ◽  
Carlee Bradbury ◽  
Jaime Chris Weida
Keyword(s):  
Media Studies ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Focal Point ◽  
Interdisciplinary Collaboration ◽  
English Literature ◽  
Sleeping Beauty ◽  
Art Educator ◽  
Creative Interventions

Abstract: In the following paper, the authors analyze the prevalence of princess culture in the literature, film, and visual culture of young people. An art educator, art historian, and professor of English literature, the authors propose creative interventions through alternative resources and readings. Focusing on foundations of media studies and literature of Fairy-Tale Studies and girlhood studies, this interdisciplinary collaboration investigates complex creative predicaments of girlhood and princess media. Utilizing Princess Aurora and Sleeping Beauty as a case study and focal point, the authors discuss their collaborative arts research intended to explore problems and possibilities of princess culture. Keywords: Art Education; Arts Research; Fairy Tales; Media Studies, Princesses.Résumé : Les auteurs analysent la prévalence de la culture des princesses dans la littérature, les films et la culture visuelle des jeunes. Les auteures, une éducatrice artistique, une historienne et une professeure de littérature anglaise, proposent des actions créatives par le biais de ressources et lectures alternatives. Axée sur les fondements de l’étude des médias et sur la littérature liée à l’étude des contes de fées et de la jeunesse féminine, cette collaboration interdisciplinaire se penche sur les difficultés créatrices complexes des histoires de jeunesse féminine et de princesses. À partir d’une étude de cas de la princesse Aurora et de la Belle au bois dormant, les auteurs utilisent leur recherche artistique concertée pour analyser les problèmes et les possibilités de cette culture des princesses.Mots-clés : éducation artistique ; recherche artistique ; contes de fées ; étude des médias, princesses.

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.

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