scholarly journals Fairy tale images as a component of cultural programming: gender aspect

2020 ◽  
Vol 11 (2) ◽  
pp. 145-153
Author(s):  
Maria Tomskaya
Keyword(s):  
Gender Stereotypes ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Male Behavior ◽  
Female Images ◽  
Male Characters ◽  
The Feminine ◽  
The Gift ◽  
Cultural Programming ◽  
Gender Aspect

The paper considers male and female images in the Yakut fairy tales as a component of cultural programming of gender behavior in a tribal society. The analysis of the Yakut fairy tales reveals that the main male characters whole being integral are represented as a rule by three types – in the image of heroes, hunters and poor men. Female images are more diverse, among them there are girls of the Upper World and udagans (shaman women), endowed with magical powers and the gift of transformation; girls of the Middle World, who can be both passive and active characters; the third group of female images is represented by old women, who are often embodied in the collective image of the old woman Simekhsin. The results of the analysis suggest that the masculine images correspond to the stereotypical male behavior patterns in the patriarchate society, while the feminine images may deviate from the accepted gender stereotypes for various reasons.

scholarly journals The “Kirghiz Fairy Tale” in The Gift: Nabokov, Folklore, and Orientalism

2021 ◽  
Vol 6 (1) ◽  
pp. 266-299
Author(s):  
Alexander A. Panchenko
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Literary Work ◽  
Human Vision ◽  
The Novel ◽  
Central Theme ◽  
Alexander The Great ◽  
The World ◽  
The Gift ◽  
Russian Literary

In the second chapter of The Gift, Fyodor Konstantinovich Godunov-Cherdyntsev recalls a “Kirghiz fairy tale” about a human eye that wants “to encompass everything in the world.” The plot of the story goes back to a Talmudic parable about Alexander the Great. The parable was retold in Russian by a number of writers and scholars in the 19 th and early 20 th centuries. However, it seems unlikely that Nabokov did use in any original piece of Inner Asian folklore in his novel. More probable is that he invented the “fairy tale” proceeding from one of the Russian versions of the parable. At the same time, Nabokov’s version is based on a number of international literary and folkloric motifs and is related to the “Kalmyk fairy tale” in Pushkin’s novel The Captain’s Daughter and to 19 th century Russian literary fairy tales in verse. While the central theme of Nabokov’s parable is the insatiability of human vision and the frailty of life, its con- and subtexts allude to some other recurrent themes of the novel — death and immortality, the quest for paradise, closed doors and exile, sources of love and poetical inspiration. The Oriental coloring of the tale (and the second chapter of the novel in general) appears to be a literary play with a limited number of texts, in particular with The Captain’s Daughter and A Journey to Arzrum. This allows discussing the “Kirghiz fairy tale” as an intratextually meaningful part of the novel rather than a marginal encrustation. It seems that Nabokov’s literary work with “migratory” plots and folklore texts was in a way close to the methods and ideas developed in Alexander Veselovsky’s school of comparative literary studies.

scholarly journals The symbolic meaning of the forest in the German fairy-tale

2018 ◽  
pp. 53-55
Author(s):  
Galina Aleksandrovna Sokolova
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Symbolic Meaning ◽  
German Language ◽  
Brothers Grimm ◽  
The Feminine ◽  
Symbolic Interpretation

This article attempts to show how the perception of the forest in the German language space was built and how it changed. It especially focuses on the symbolic interpretation of the forest, explains what some tress symbolize and shows the connection of the forest with the symbolism of the feminine. The article also deals with the perception of the forest in the works by romantic writers and provides examples from some romantic fairy-tales by the Brothers Grimm where the action takes place in the forest. It is worth mentioning that the titles of some fairy-tales by the Brothers Grimm are connected with the tree or with the forest.

Semiose des Wunderbaren in Hagiographie und Märchen

2018 ◽  
Vol 63 (2) ◽  
pp. 236-263
Author(s):  
Thomas Daiber
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Character Trait ◽  
Lives Of Saints ◽  
Metaphorical Meaning ◽  
The Gift ◽  
Epistemic Structure ◽  
The Cross ◽  
The Difference ◽  
As If

SummaryThe Lives of Saints as well as fairy-tales eventually tell of animals which have the gift to speak. The categorization of phenomena like speaking animals is dependent on the epistemic structure of the narrated world. On the example of ‘speaking deers’ the paper outlines, that in hagiographic literature speaking animals are reported as miracles, which are to testify either the holiness of a place or the person they are speaking to. On the contrary, in fairy-tales speaking animals are part of the expected actors to appear in the structure of the narrated world and are not marked as miracles, at all. Consequently, the semiotic status of such phenomena can be differentiated: hagiography tends to symbolical or metaphorical meaning, fairy-tales to allegoric meaning. The difference between symbolic and metaphorical meaning in hagiography is shown in comparing two episodes including a speaking deer as if Christ himself is speaking. In Vita Placida, the deer has the specific and contextually supported gnostic meaning ‘soul’, while in Vita Huberti the deer only takes iconically induced metaphoric meaning (wearing cross-like antlers = carrying the cross), but in the fairy-tale the deer is an allegory of a human character trait and thus can be substituted by another allegory without change of context.

Disruptions of the Local, Eruptions of the Feminine: Local Reportage and National Anxieties in Egypt’s 1890s

2018 ◽  
Author(s):  
Marilyn Booth
Keyword(s):  
Nineteenth Century ◽  
Gender Roles ◽  
Late Nineteenth Century ◽  
Female Images ◽  
The Feminine ◽  
Late Nineteenth ◽  
Advocacy Role ◽  
Representations Of Women ◽  
Gendered Expectations

This chapter demonstrates that inscriptions of female images in Cairo’s late nineteenth-century nationalist press were part of a discursive economy shaping debates on how gender roles and gendered expectations should shift as Egyptians struggled for independence. The chapter investigates content and placement of ‘news from the street’ in al-Mu’ayyad in the 1890s, examining how these terse local reports – equivalent to faits divers in the French press – contributed to the construction of an ideal national political trajectory with representations of women serving as the primary example in shaping a politics of newspaper intervention on the national scene. In this, an emerging advocacy role of newspaper correspondents makes the newspaper a mediator in the construction of activist reader-citizens.

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

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.

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