Major gender archetypes in russian culture on the example of fairy tales

Author(s):  
A.M. TOROTOEVA
2014 ◽  
Vol 6 (1) ◽  
pp. 238-248
Author(s):  
O.A. Ustinova

We present the theoretical and methodological assumptions and results of practical application of "Open yourself" technique developed by the author and aimed at the formation of the elements of self-image in preschool children. We use the developmental potential of the method proposed by outstanding domestic psychologist and psychotherapist T.A. Florenskaya. The identity formation occurs in the process of creative communication of a child with well-known characters of Russian fairy tales in the context of the game situation, created in co-authorship of an adult and a child. The author shows that developing strength of fairy tale character is in its polysemantics, allowing the child to grant characters new dimensions, create him anew in dialogic communication; fairy tale character helps the child to implement a reflexive access to meanings infinity space, to look at himself, to see the authenticity and value of his self-image and self-image of the Other. According to the author of the technique, these characters actualize the dialogic unity of several spiritual spaces: the child himself, the grown-up interacting with him, and the context of Russian culture space.


2001 ◽  
pp. 78-84
Author(s):  
V. Yatchenko
Keyword(s):  

If we approach the analysis of fairy tales from the point of view of revealing in them a metaphysical dimension of human intentions, then in their subjects one can identify several paradigms. The most important of these should include, in particular, the following: the combination of man with the deity (God); the loss of God's person as a result of her violation of some conditions for coexistence with God; the search for the lost man of God and the rejoining of him. These through-world ideological paradigms, embodied in specific themes (plots), may be adjoined in the same tale, and may exist separately, encompassing all of its plot. All the above applies to Ukrainian fairy tales.


Author(s):  
G Syzdykova ◽  
◽  
A Sholakova ◽  
Keyword(s):  

2015 ◽  
Vol 8 (2) ◽  
pp. 169-184
Author(s):  
Željka Flegar

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.


2020 ◽  
Vol 10 (3) ◽  
pp. 186-193
Author(s):  
REN YANYAN ◽  

The friendship between nations lies in the mutual affinity of the people, and the people’s affinity lies in the communion of hearts. The cultural and humanities cooperation between China and Russia has a long history. In recent years, under the role of the“Belt and Road” initiative, the SCO, and the Sino-Russian Humanities Cooperation Committee, Sino-Russian culture and humanities cooperation has continued to deepen. Entering a new era, taking the opportunity to promote Sino-Russian relations into a “new era China-Russia comprehensive strategic cooperative partnership”, the development of human relations between the two countries has entered a new historical starting point, while also facing a series of problems and challenges. This article is based on the current status of Sino-Russian human relations in the new era, interprets the characteristics of Sino-Russian human relations in the new era, analyzes the problems and challenges of Sino-Russian human relations in the new era, and tries to propose solutions and solutions with a view to further developing Sino-Russian cultural and humanities relations in the new era. It is a useful reference, and provides a reference for future related research, and ultimately helps the Sino-Russian cultural and humanities relations in the new era to be stable and far-reaching.


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