Lowercase or uppercase letter in the names of fairytale heroes and literary characters (from the materials of the academic description of Russian spelling)

2021 ◽  
Vol 82 (6) ◽  
pp. 79-86
Author(s):  
E. V. Beshenkova
Keyword(s):  
Fairy Tales ◽  
Cultural Context ◽  
Fairy Tale ◽  
Proper Names ◽  
General Rule ◽  
Russian Language ◽  
Lower Case ◽  
Questions And Answers ◽  
Proper Name ◽  
Literary Characters

This article aims to create a rule explaining the choice of a lower-case or upper-case letter to spell literary characters’ names. The rule should be unambiguous, intrinsically logical, and it should not contradict the codified lexical material. Several formulations of the rule given in reference books were analysed; discrepancies between the rule and dictionary codifications were identified. Additionally, questions and answers related to this issue and obtained from the Russian language query services were studied. As a result, the research revealed types of discrepancies in the recommendations given in the rule and in dictionaries, ambiguous rule formulations that can be interpreted in two ways, and textual conditions that permit different understandings of proper name boundaries. The analysis of the real usage of proper names and their combinations with appositions, attributes, and accompanying words in different types of texts (i. e. in texts created by authors, in fairy tales, byliny, and other authorless texts) resulted in determining several textual conditions which permit or prohibit using this or that combination in the function of a proper name. As for authorless texts, it turned out important to consider the character’s name not only in the work under analysis, but also in the cultural context in its entirety, in the entire fairy tale or heroic epic world. Another significant factor is understanding the boundaries of the proper name and the common nouns accompanying it accepted in this world. Authors are free from the tradition of naming a character in the texts they produce, but at the same time they should take into account the intratextual conditions governing the choice of either a proper name or a common noun. As a result, a special note to the general rule concerning proper name spelling was formulated for the new edition of "The academic rules of orthography". This note identifies different options to understand the boundaries of proper names for various structures. The choice of spelling proper names with a lower-case or a capital letter in a given text depends on the chosen way of understanding the proper name boundaries.

scholarly journals The typology of backstory inter-character conflicts as a core action in the plot

Ars Aeterna ◽  
2019 ◽  
Vol 11 (2) ◽  
pp. 81-90
Author(s):  
Mariana Čechová
Keyword(s):  
Contemporary Art ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Starting Point ◽  
Hypo Thesis ◽  
Text Model ◽  
Literary Characters

Abstract Using material from classic fairy tales, the author defines three fundamental types of conflict between literary characters in the text model of the fairy-tale world: overt, covert and potential. Their attributes are evidenced and demonstrated via specific texts and their universal (transcultural) analogues are shown in the archnarratives, which go beyond the classic fairy tale genre. At the end of the interpretation, the author proposes a (hypo)thesis that the presented typology could be a starting point for creating a backstory of conflicts as an action-formative factor also in other art genres, and that it can be used as a source for a much broader and modern (and current in contemporary art) diapason of “dramatic” storylines.

scholarly journals Fairy tales between transformation and repetition: How audiences rethink the big romantic myth through Disney princess stories

2020 ◽  
Vol 47 (3/4) ◽  
Author(s):  
Tatjana Menise
Keyword(s):  
Fairy Tales ◽  
Cultural Context ◽  
Fairy Tale ◽  
English Language ◽  
Participatory Culture ◽  
Promising Material ◽  
Walt Disney Company ◽  
Walt Disney ◽  
Complex Process ◽  
Professional Critics

One of the ways in which culture becomes enriched is through reconsideration and reinterpretation of well-known stories, and classic fairy tales provide promising material for investigation of the nature of this complex process. The Walt Disney Company is among the most powerful tellers of classic tales, its line of princess animations being an example of simultaneous development and preservation of the fairy-tale phenomenon in a changing cultural context. We analyse the dialogue among classic and modern princess stories and the discussions that these stories give rise to in English-language academic criticism and English-based participatory culture. We focus on the interaction among authors, texts and readers, showing how traditional tales balance between mythological and nonmythological consciousness, between innovative and canonical art. The diversity of fans’ practices may be seen as a key to possible explanation of why fairy tales exist in culture as a complex, constantly growing web, not as a limited number of selected final versions. Amateur authors demonstrate their interest in the mythopoetics of classic fairy tale plots. They are attracted by the old romantic myth that stands behind princess stories, participate in the creation of the romantic antimyth that is supported by the professional critics, and expect the appearance of new modern myths that might be generated by the new productions of Disney. New fairy tales appear, but this does not result in the disappearance of the old ones. Not only the interests towards the plots themselves, but also discussions and conflict around classic stories keep them topical for contemporary heterogeneous audiences.

scholarly journals The correlation between the conceptual metonymy and the process of generating proper names / A correlação entre a metonímia conceptual e o processo de geração dos nomes próprios

2020 ◽  
Vol 28 (2) ◽  
pp. 689
Author(s):  
Tania Mara Miyashiro Sasaki ◽  
Aparecida Negri Isquerdo
Keyword(s):  
Cultural Context ◽  
Cognitive Process ◽  
Proper Names ◽  
Generation Process ◽  
Modus Vivendi ◽  
Proper Name ◽  
Cognitive Actions ◽  
Theoretical Foundations

Abstract: Proper names can be considered lexical traces that identify a specific society and time as they enable us to better understand its modus vivendi, from its social-historical-cultural context. This study selects police operations proper names as subject study, and it is guided by the hypothesis that the generation of proper names configures as a cognitive process, which makes use of conceptual metonymy as a prominent contributor for several cognitive actions for naming. Thus, the focus is to demonstrate the conceptual metonymy role in the generation process of police operations proper names manifested by its typological features. The corpus for this analysis is composed of Brazilian Federal Police operations that were triggered in 2018 and can be obtained on its official website. The adopted methodology consists of mapping the proper names taxonomies according to Eccles’ three worlds (ECCLES, 1979) and metonymy typology, based on the proposal by Radden and Kovecses (2007); Blanco-Carrión, Barcelona and Pannain (2018); in addition to the theoretical foundations proposed by Lakoff and Johnson (1980), Lakoff (1987), Silva (1997) and Biderman (1998).Keywords: proper name; conceptual metonymy; cognitive linguistics.Resumo: Nomes próprios podem ser considerados marcas lexicais que identificam uma sociedade em determinada época, à medida que possibilitam a compreensão do modus vivendi dessa sociedade a partir do contexto sócio-histórico-cultural. Esta proposta elege nomes próprios de operações policiais para objeto de estudo e é guiada pela hipótese de que a geração desses nomes se configura como um processo cognitivo que faz uso de metonímias conceptuais, as quais oferecem uma contribuição de destaque na série de ações cognitivas para a nomeação. Assim, este trabalho tem como objetivo demonstrar o papel da metonímia conceptual no processo de geração dos nomes próprios das operações policiais manifestadas pelos traços tipológicos. O corpus para esta análise constitui-se de nomes de operações da Polícia Federal do Brasil desencadeadas no ano de 2018 e obtidos por meio de consulta ao site oficial dessa categoria de polícia. A metodologia adotada consiste no mapeamento das taxonomias dos nomes próprios de acordo com a natureza dos mundos (ECCLES, 1979) a que se reportam e no levantamento dos tipos de metonímias, baseada na proposta de Radden e Kovecses (2007) e de Blanco-Carrión, Barcelona, Pannain (2018), além da fundamentação teórica de Lakoff e Johnson (1980), Lakoff (1987), Silva (1997) e Biderman (1998).Palavras-chave: nomes próprios; metonímia conceptual; Linguística Cognitiva.

scholarly journals Nomina appellativa w funkcji imion własnych postaci literackich – zagadnienia ortograficzne

2019 ◽  
Vol 35 (40) ◽  
pp. 44-50
Author(s):  
Marek Ruszkowski
Keyword(s):  
Full Article ◽  
Proper Names ◽  
Literary Text ◽  
The Other ◽  
Single Word ◽  
Literary Works ◽  
Lower Case ◽  
Literary Characters

[full article in Polish, abstract in English and Polish] Artykuł podejmuje problem pisowni nazw pospolitych (nomina appellativa) w funkcji nazw własnych (nomina propria) postaci literackich. Nazwy jednowyrazowe nie sprawiają na ogół kłopotów, ponieważ pisane są wielkimi literami, np. Sędzia, Wojski, Asesor, Podkomorzy, Woźny, Hrabia (postacie z „Pana Tadeusza”); Cześnik, Rejent (postacie z „Zemsty”); Pustelnik (postać z „Dziadów”). Zdecydowanie mniej jednoznaczne są zwyczaj ortograficzny oraz reguła, które dotyczą nazw dwu- i więcejwyrazowych, typu: KRÓLOWA ŚNIEGU, MAŁY KSIĄŻĘ, ŚPIĄCA KRÓLEWNA, KRÓLEWNA ŚNIEŻKA, KOT W BUTACH, STAROSTA GADULSKI, PAN KLEKS. W praktyce ortograficznej pojawiają się trzy wersje: 1. obydwa wyrazy wielką literą, 2. pierwszy wyraz wielką literą, drugi małą, 3. obydwa wyrazy małą literą. Wiele zależy od tego, w jakiej postaci wyrażenie występuje w tekście literackim i w jego ewentualnym tłumaczeniu na język polski. Nazwy własne w utworach literackich są efektem wyboru autora, a to nie sprzyja ujednoliceniu ich postaci ortograficznej (ta sama nazwa postaci może być odmiennie zapisywana w różnych utworach). Jeśli nie znamy intencji autora, należałoby polecić pisownię wszystkich wyrazów (z wyjątkiem spójników i przyimków) wielką literą, tym bardziej że drugie składniki tych wyrażeń mogą w odpowiednim kontekście występować samodzielnie: Książę, Śnieżka, Królewna. Nomina Appellativa as Proper Names of Literary Characters – Spelling Issues The article deals with the problem of spelling common names functioning as proper names of literary characters. In general, single word names pose no problems as they are written in capital letters, e.g. Sędzia, Wojski, Asesor, Podkomorzy, Woźny, Hrabia (characters from “Pan Tadeusz”); Cześnik, Rejent (characters from “Zemsta”); Pustelnik (figures from “Dziady”). Definitely less clear is the usage and rule in terms of spelling that applies to names composed of two and more words, such as KRÓLOWA ŚNIEGU, MAŁY KSIĄŻĘ, ŚPIĄCA KRÓLEWNA, KRÓLEWNA ŚNIEŻKA, KOT W BUTACH, STAROSTA GADULSKI, PAN KLEKS. There are three versions of spelling as far as usage is concerned: 1) both words in capital letters, 2) the first word in capital letters, the second word in lower case, 3) both words in lower case. Much depends on the form in which the expression appears in the literary text and in its possible translation into Polish. Proper names in literary works are the result of the author’s choice, and this does not contribute to the unification of their spelling form (the same name of a character may be written differently in different works). If the author’s intentions are not known, we should recommend that all words (except for conjunctions and prepositions) be spelt in capital letters, especially as the other components of these expressions may appear in their own context: Książę, Śnieżka, Królewna.

scholarly journals FEATURES OF STUDYING ETHICAL CONCEPTS OF RUSSIAN FAIRY TALES IN THE LESSONS OF RUSSIAN AS A FOREIGN LANGUAGE

2020 ◽  
Vol 225 ◽  
pp. 53-60
Author(s):  
A.E. Avdeeva ◽  
◽  
N.M. Dmitrieva ◽  
Keyword(s):  
Foreign Language ◽  
Fairy Tales ◽  
Foreign Students ◽  
Fairy Tale ◽  
Native Speakers ◽  
Native Speaker ◽  
Russian Language ◽  
Significant Information ◽  
Russian People ◽  
The Russian Language

The fairy tales contain plot and language elements that illustrate the ethical concepts of the Russian language picture of the world. Linguistic and cultural unit, which is rich in Russian fairy tale, known to every native speaker, on the one hand, complicate the understanding of them foreigners, and on the other help to understand the “Russian spirit” and traditions of Russian involved in Russian culture and allow formation of linguocultural competence for learners of Russian language. When referring to fairy tales, it is effective to use a linguocultural comment. Linguistic and cultural commentary refers to additional culturally significant information contained in texts and disclosed in their interpretation. This comment can be used at the elementary and basic levels. At an advanced level, you can analyze concepts that reveal the features of the Russian worldview. Ethical concepts reflect the value picture of the human world. These concepts include love and loyalty, humility and submission, joy and suffering, wisdom and patience, charity, and others. Russian fairy tales, describing the way of life, customs and traditions, spiritual and ethical values of the Russian people, are a reflection of the Russian mentality. For successful communication with native speakers and comfortable stay in a foreign language space, foreigners need to understand the values and mentality of the Russian people. Studying ethical concepts in fairy tales in the RFR classes forms a linguistic and cultural competence for foreign students, whose knowledge leads to rapid and successful adaptation in Russia, and the elimination of cultural and communicative barriers when communicating with native speakers of the Russian language.

scholarly journals The peculiarities of translating English and Chinese children's fairy tales into the Russian language

Litera ◽  
2021 ◽  
pp. 203-218
Author(s):  
Lola Bobodzhanova ◽  
Valeriia Alekseevna Kuznetcova
Keyword(s):  
Fairy Tales ◽  
Cultural Adaptation ◽  
Fairy Tale ◽  
Cross Cultural ◽  
Russian Language ◽  
Significant Information ◽  
Folk Tales ◽  
Cultural Code ◽  
Cultural Dialogue ◽  
The Russian Language

This article is dedicated to the peculiarities of translating English and Chinese children's fairy-tales into the Russian language. Analysis is conducted on such key concepts as “children's fairy-tale”, “literary tale”, and “folklore tale”. The author examines the development stages of English literary tale and Chinese folk tale as independent genres. The main translation transformations used in translating English literary tales and Chinese folk tales into the Russian are explored. Special attention is given to the translation of fairy tales as a form of cross-cultural dialogue due to the fact that such works are loaded with the ethnic-cultural components. The conducted analysis reveals the major challenges face by the translators in dealing with fairy-tale literature. The conclusion is made that the translation of fairy-tale requires taking into account not only the unique genre as such, but also the ethnic-cultural distinctness of different linguistic cultures, foreign mentality, and cultural identity. The scientific novelty consists in the attempt to establish whether it is possible to achieve success in cultural adaptation of English literary tales and Chinese folk tales into the Russian language. The acquired results indicate that the major challenge in translation and cultural adaptation lies in conveyance of cultural uniqueness, as well as ethnic, historical and national flavor of the original texts; it is essential to remember that translation of children’s fairy tale is part of the process of cross-cultural communication, and the translator must become an intermediary of the dialogue of cultures. Fairy tales bear the cultural code of a particular ethnos, being the key to comprehension of the worldview of its representatives. It conveys the socially significant information, embeds moral values, illustrates ethnic-cultural peculiarities, and preserves cultural heritage.

scholarly journals Communicative and pragmatic content of contaminated lexical cohesion in English multimodal literary fairy tales by Philip Ardagh

2020 ◽  
Vol 13 (22) ◽  
pp. 177-183
Author(s):  
Marta Karp ◽  
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Lexical Cohesion ◽  
Semantic Correlation ◽  
Indefinite Article ◽  
Verbal Component ◽  
Proper Name ◽  
Discourse Studies ◽  
Narrative Interpretation ◽  
Historical Past

Introduction: the paper focuses on the communicative and pragmatic content of contaminated lexical cohesion in English multimodal literary fairy tales by Philip Ardagh. The purpose of the paper is to describe semiotic, structural-semantic and narrative aspects as the dominant components concerning modes of contaminated lexical cohesion in English multimodal literary fairy tales. Methods: semiotic modes of contaminated lexical cohesion in modern English literary fairy tales by Philip Ardagh have been singled out and analysed according to the micro-, meso- and macro inclusions within the semiotic and narrative interpretation of the multimodal fictional text on the general principles of structural and semiotic, narrative, poetic and interpretative, quantitative analyses and GeM model. Results: the communicative and pragmatic content of contaminated lexical cohesion in the text of English multimodal literary fairy tales by Philip Ardagh has been actualised by micro inclusions (88%) and meso inclusions (12 %) but for macro inclusions (0 %). Conclusion: the communicative and pragmatic content of contaminated lexical cohesion is based on the actualisation of the semantic potential of antonomasia. In English multimodal literary fairy tale the character’s name is the link between the conception of the addressant Philip Ardagh and the embodied idea of a fairy tale, fiction and reality, historical past and present. The character’s proper name performs a communicative function grounded on the interaction between the addressant and the addressee. Contaminated antonomasia is based on a verbal explanation of the character’s name in the text of English multimodal literary fairy tale, which is absorbed by its iconic component for a detailed image of character’s appearance. Parentheses, separated by brackets, indicate predominantly the presence of antonomasia in the context of English multimodal literary fairy tale by the lexeme (the) name. The indefinite article the in the function of the language marker that accompanies the lexeme name identifies the characters in the illustrations mentioned previously in the context of the verbal component. Contaminated antonomasia is the result of an implicit semantic correlation between the verbal and iconic components, which provides the connection between the iconic component and the supra-phrasal unit or fragment of English multimodal literary fairy tale. In prospect the suggested semiotic and narrative interpretation of modes of contaminated lexical cohesion in English multimodal literary fairy tales by Philip Ardagh can serve as a model for further linguistic text research on other categories of different text genres according to the modern linguistic, stylistic and discourse studies.

Intercultural differences in the structure of Cinderella: A Proppian and storygraph analysis of Russian, Scottish and Hungarian fairy tales

2020 ◽  
Author(s):  
Renata Moos
Keyword(s):  
Fairy Tales ◽  
Cultural Context ◽  
Fairy Tale ◽  
Morphological Analysis ◽  
Rhetorical Analysis ◽  
Morphological Structure ◽  
Cultural Influence ◽  
Rhetorical Style ◽  
Rhetorical Patterns ◽  
Intercultural Differences

Some fairy tales are known worldwide, but in a variety of forms. This study attempts to seek intercultural differences in the structure and in the narrative of fairy tales, through the analysis of the Cinderella fairy tale versions from Scotland, Russia and Hungary. The structural analysis applies the Proppian method (1995). This morphological analysis proves the theory of Propp regarding the structural unity of the folktales, despite their differences in content and idiom. At the same time, some definitions of the functions as basic elements of the structural schema appear to be arguable. The rhetorical analysis of the tales is performed by the storygraph method of Söter (1988) to discover cultural influence on the narratives. Although, some differences were detected, in general all investigated fairy tales of this study resemble the Western rhetorical style. Overall, the results suggest that the influence of the cultural context are more traceable in the rhetorical patterns of the narratives than in their morphological structure.

scholarly journals THE TEACHING OF READING AND TRANSLATION AS TEACHING THE MEDIATE CROSS-CULTURAL COMMUNICATION

2018 ◽  
pp. 75-81
Author(s):  
Наталия Филимонова ◽  
Nataliya Filimonova ◽  
Елена Панова ◽  
Elena Panova
Keyword(s):  
Fairy Tales ◽  
Text Comprehension ◽  
Fairy Tale ◽  
World View ◽  
Cross Cultural ◽  
Russian Language ◽  
Literary Translation ◽  
Lewis Carroll ◽  
Cultural Communication ◽  
Cross Cultural Communication

The article is devoted to questions of formation of cross-cultural communication on the classes with foreign students studying Russian language.. The authors propose to include reading of literary texts and their translation in the system of foreigners’ training with the aim of developing students’ practical skills of cross-cultural communication. Authors pay attention to the fact that the literary text helps to understand another culture and to overcome cultural distance. To facilitate the cultural perception of the text, the authors propose a system of reading of the adapted English literary fairy tale by Lewis Carroll " Alice's Adventures in Wonderland " in a literary translation of Boris Zakhoder. The proposed approach differs from the traditional one because, foreign readers have the opportunity to compare the world view of the English fairy tales author and the Russian translator, and also to correlate his translation from a classic translation. The article focuses on the fact that in connection with the identity of the tales author, the author of literary translation and for the foreign reader to different cultures and different national consciousnesses, the teacher together with the students-foreigners, must overcome cultural and language barriers for successful cross-cultural communication. The authors consider that the task of grammatical, lexical and communicative approach aim at achieving the text comprehension. Additional tasks of translation, that extend the capabilities of traditional work, also help. Tasks presented in the article help the student to understand the main thing: the ignorance of some of the cultural backgrounds of native speakers of a particular country does not mean that we should avoid translation work, because this work helps to learn a different language culture.

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.

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