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 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.

Perm Variants of the Fairy Tale Type SUS 502 “Copper Forehead”: Between Book and Folklore Traditions

2021 ◽  
pp. 53-65
Author(s):  
Варвара Евгеньевна Добровольская
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Inner Experiences ◽  
Wild Man ◽  
Plot Type ◽  
Organically Combine

В статье рассматриваются два вновь выявленных текста волшебных сказок сюжетного типа СУС 502 «Медный лоб» (ATU 502 “Wild Man”). Два текста, представленных в статье, относятся к импровизационным формам, созданным сказочницами на основе книжных вариантов сказки. Под влиянием книжной традиции сказочники интересуются психологией персонажей, их внутренними переживаниями. В рассматриваемых текстах много разнообразных деталей предметного мира, размышлений сказочника о своих героях и т. д. Сказочники легко и очень органично сочетают мотивы разных сказок в одном тексте, у них появляются детали и образы из кино- и мультфильмов, но особое внимание они уделяют книге. Преимущественно это адаптированные тексты из сборника А. Н. Афанасьева. В основе сказок Е. Н. Новиковой и Н. А. Чечихиной лежат книжные версии сюжета 502. У Евдокии Николаевны источник можно назвать точно - это текст из сборника Афанасьева, для сказки Нины Андреевны прямой параллели нет, но книжное влияние на исполнительскую манеру сказочницы очевидно. This article analyzes two newly identified texts of fairy tales with the plot type SUS 502 “Copper Forehead” (ATU 502 “Wild Man”). The two texts are improvisational, created by storytellers based on book versions of the text. Under the influence of the book tradition, storytellers are interested in the psychology of the characters and their inner experiences. In the texts under consideration, there are many varying details concerning the characters’ world and the storyteller’s reflections on his heroes. Storytellers easily and organically combine motifs from several fairy tales in one text, and they may also include details and images from movies and cartoons, but they pay special attention to the book. Mostly, these are texts adapted from of A. N. Afanasyev’s collection. The fairy tales of E. N. Novikova and N. A. Chechikhina are based on book versions of the plot 502. Evdokiya Nikolaevna’s source is specified as from Afanasyev, while there is no direct parallel for Nina Andreyevna’s version, although the influence on her performance of books is obvious.

STRUCTURAL AND SEMANTIC TYPOLOGY OF THE METAMORPHIC ORNITHOLOGICAL PLOT OF AN EAST SLAVIC TALE (SUS 425М)

2020 ◽  
Vol 3 (1) ◽  
pp. 56-93
Author(s):  
Leonid G. Kayanidi ◽  
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Initial Part ◽  
Water Snake ◽  
Antagonist Action ◽  
Semantic Typology ◽  
Basic Semantic ◽  
Plot Type ◽  
Russian Research

In Russian research on fairy tales, there are two approaches to the tale of the wife of the water snake. One approach (that of E.A. Kostyukhin) denies that such plot type belongs to the fairy-tale genre and relates it to the folk novella. Another one (that of G.I. Kabakova) focuses on the etiologic finale, perceiving it as an alternative to compensating the fairy tale shortcoming. The author applied the structuralist method in the analysing of fairy tales about wife of a water snake. As a result, a typology of the plot type 425M was created. He managed to identify its invariant scheme, as well as describe all digressions from it (variations and variants). Characteristic of the 425M plot invariant is the complicated initial part, in which the author suggests to single out a block of zero, or imaginary, shortcoming, and a block of true, actual shortcoming. The structural-semiotic plot scheme correlates with the motivational scheme proposed by G. Kabakova, but enhances it with an emphasis in inversion of the basic semantic opposition of its own, human and alien, non-human, which makes it possible to explain why the final transformation becomes the compensation for the shortcoming. The final transformation of the heroine (and / or her children) into birds and reptiles is considered to be an example of mythological mediation. The heroine eliminates the shortcoming with an action asymmetrically opposite to the action of the antagonist action, namely, with the transformation, due to which a new opposition “cuckoo – water snake” is formed, which removes the former – “insider – outsider”. The daughter triumphs over her mother without causing the latter direct harm, and is reunited with her husband.

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.

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.

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.

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 A Tale of Two Trans Men: Transmasculine Identity and Trauma in Two Fairy-Tale Retellings

2021 ◽  
Vol 5 (1) ◽  
pp. 181-193
Author(s):  
Jeana Jorgensen
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Trauma Victim ◽  
Transgender People ◽  
Gender Fluidity ◽  
Trans Men

Abstract Transgender identities in fairy tale retellings are rare, but can reveal much about gender fluidity. Helen Oyeyemi’s novel Boy, Snow, Bird conflates transgender identities with mirrored falsehoods and fairy-tale spells, pathologizing a trauma victim who turns out to also become an abuser, while Gabriel Vidrine’s novella “A Pair of Raven Wings” depicts a queer transgender man with dignity, making it clear that the trauma he suffers is at the hands of bigots rather than being an invention of a sick mind or the cause of his transition. Pairing these fairy-tale retellings illuminates the topic of gender fluidity in fairy tales by demonstrating that gender is indeed fluid, but that representations of gender fluidity due to trauma are misguided at best and harmful at worst, while those representations that assert the dignity of transgender people, even as they face trauma at the hands of bigoted people, are another stellar example of the genre’s potential to represent people who are culturally marginalized, connecting identity to power in a classic magical fairy-tale move.

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