scholarly journals MEGXIT IN CONTEMPORARY MEDIA AND INTERNET DISCOURSES

2021 ◽  
pp. 54-58
Author(s):  
Liliia Kornilieva
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
English Language ◽  
Human Right ◽  
Modern Culture ◽  
New Words ◽  
On Line ◽  
Geographical Position ◽  
Personal Qualities ◽  
Cultural Code

Every language preserves historic realia, reveals peculiarities of the geographical position of a particular country, main traits of the national character, and the overall cultural code of every nation speaking it. The language also describes all new realia and phenomena, and neologisms are coined all the time. «Brexit», «Megxit», «To Meghan Markle» are relatively new words in the English language. Romanticized image of a beautiful and tender princess, happily married to her royal Beau − a handsome, valiant and dashing young man is one of the most popular icons in European folklore. But modern fairy-tales are not that much simple. One omniscient author is definitely not enough, and millions of other on-line commentators contribute to the main line of the story, describing the prince and his princess, and often calling them names. Surprisingly as it may seem, the saying «My home is my castle» becomes not true, and the palace walls often shudder from rumors and insinuations, racial slurs and undertones. Under the circumstances a former friend often becomes a foe, compatriots become the invaders, responsible for a massive intrusion and violation of a basic human right for privacy. The main characters feel unhappy and the fairy tale soon becomes a thing to endure. These are the realia of our modern culture, with its etiquette and netiquette, black PR, on-line trolls and getting bad press. The Sussex family often cites racism as the main cause of all their troubles, but the plethora of various texts can reveal much more than just racism and related inequities. Personal qualities of the Duchess, her American origin and professionalbackground contribute to a massive cultural clash, and the new word «Megxit» appears, adding new shades of meaning to the «happily ever after» from the fairy tales. The article centers on the issues causing Megxit, and the texts give newinsight to a famous and well-known story.

scholarly journals THE IMAGE OF THE CROW IN THE GERMAN AND UZBEK PEOPLES

2021 ◽  
Vol 5 (1) ◽  
pp. 90-100
Author(s):  
Akmal Akhmatovich Jumayev ◽  
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Folk Tales ◽  
Negative Images ◽  
The World ◽  
Personal Qualities

Background. The article focuses on specific similarities of the peoples of the world in their views on the crow. Also in myths, in German and Uzbek fairy tales, the portrayal of the crow in positive and negative images was analysed comparatively. All folk tales lead to good. The same lesson is also reflected in the article on the educational significance of the two folk tales. Methods. Particular attention is paid to the fact that the peoples of the world have certain similarities in their views on the crow. The image of the Crow also moved to fairy tales based on Legends. Results. In the fairy tale, it is not explained why the hero became a crow. It is known that in fairy tales the evolution of children to different birds (often owl or crow) is described either because of some side work of their father, or because of his own senselessness. Discussions. In German fairy tales Interesting is that in “Die sieben Raben“ “The seven ravens”, “Die Rabe“ ‘The raven” fairy tales, a crow is not just an ordinary bird, but a symbol of children. In Uzbek fairy tales, the image of birds is focused on fostering such positive personal qualities as industriousness, honesty and friendliness.

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.

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.

AQUAMAN THE MOVIE AS A LATE MODERN FAIRY TALE

2021 ◽  
Author(s):  
Zuzana Kvetanová ◽  
Jana Radošinská
Keyword(s):  
Science Fiction ◽  
Motion Picture ◽  
Narrative Analysis ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Feature Film ◽  
Modern Culture ◽  
Physical Presence ◽  
The Given ◽  
Late Modern

The feature film Aquaman (2018, directed by James Wan) is the most commercially successful superhero movie belonging to the DC Extended Universe. Produced by DC Films and Warner Bros. Pictures, the motion picture portrays a rebellious superhero with an extraordinary physical presence. The paper aims to reflect on the movie Aquaman and its ability to function as a late modern fairy tale. Aquaman’s genre structure includes elements of fantasy, science-fiction and action film. However, the authors work with the assumption that the story is, in its nature, a fairy tale involving late modern means of expression. The first part of the text is largely theoretical, outlining the movie’s importance and defining the genre of a fairy tale in the context of late modern culture. Following the given line of thought, the second part of the paper presents a narrative analysis of the film in question, which is based on Propp’s morphology of fairy tales.

scholarly journals Models of Artistic-Figurative Metaphors of Wisdom in English Fairy Tales

2019 ◽  
pp. 87-94
Author(s):  
N. D. Kishchenko
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
English Language ◽  
Conceptual Metaphor ◽  
Semantic Approach ◽  
Conceptual Metaphors ◽  
The World ◽  
Cognitive Semantic ◽  
English Speaking ◽  
The One

The article uses a cognitive-semantic approach to the study of metaphor, through which prisms all abstract phenomenon is considered as an image sensory knowledge and perception of the world, existing in the experience of the speaker. An attempt has been made, on the one hand, to differentiate language, artistic and folk-poetic metaphors, on the other hand, to consider them as components of a conceptual metaphor, which includes artistic figurative metaphors of Wisdom. The correlation between the metaphorical concept and the conceptual metaphor, which forms the two main layers: figurative and value, is specified. The spheres-sources of conceptual art-figurative metaphors of Wisdom in the discourse of English-language fairy tales, revealing schemes of rethinking of the phenomena of the world and the mechanisms of metaphorisation are revealed.It has been established that metaphorically, wisdom has the size, it can vary, grow and develop, is a certain thing that a person has, has quantitative parameters inherent in animals, inherent in non-existence in general, is love, a receptacle for storing information, is differentiated on the basis of youth and old age, is a description of the environment, some surface, has a voice, is the key to understanding and identifying meaning, and so on. It is proved that in the discourse of the English-speaking fairy tale, Wisdom appears as the actual concept, formed on the basis of conceptual metaphors. Conceptual metaphors that form the concept of wisdom are represented by five major productive metaphorical models with their submodels: WISDOM is a LIGHT; WISDOM is a MIRROR; WISDOM is the FIRE; WISDOM is an OBJECT; WISDOM is HUMAN.

scholarly journals Using Social Interactive Writing for English Language Learners (SWELL) with Fairy Tales Videos in Teaching Writing

2019 ◽  
Vol 1 (2) ◽  
pp. 147-157
Author(s):  
Rasmi Rami Rasmi
Keyword(s):  
English Language Learners ◽  
Fairy Tales ◽  
Fairy Tale ◽  
English Language ◽  
Second Grade ◽  
Control Group ◽  
Writing Ability ◽  
Second Grade Students ◽  
Writing Skill ◽  
The Mean

This research aims to investigate whether the use of SWELL method with fairy tale videos improves the students’ writing ability and to find out which writing components mostly affected by the use of SWELL method. This research was conducted using a quasi-experimental design. The population of the research was the second grade students of SMPN 5 Marioriawa in academic year 2015/2016 which consisted of two classes (56 students). The sample was drawn using cluster random technique. The number of students in the class was 28 students. The research instrument used was writing test. The data obtained through the test were analyzed quantitatively by using 21.0 version of SPSS program. Based on the data analysis, the research findings reveals that there is a significant differentce of the students’ writing skill after being taught by using SWELL method. It is proved by the data that had been processed through SPSS program. The result showed that the mean score of students in experimental group was greater than the mean score in control group (85.03>67.180, with t-test value is lower than the probability value (0.000<0.05). It indicates that there is a significant improvement of students’ writing ability after the treatment.  The writing skill of the second grade students of SMPN 5 Maroriawa can be improved significantly by using SWELL method with fairy tale videos. For the writing components that mostly affected by SWELL method. For different aspects of writing, content, organization, vocabulary, language use and mechanic, vocabulary is the most affected by the use SWELL method. The highest score in term of vocabulary was 18 with the percentage 90 with the highest converted  score 87.55 categorized as very good categorization.

The Language Between Youtubers and Boomers: Tendencies, New Words and Expressions in the Serbian Language

2021 ◽  
pp. 60-94
Author(s):  
Goran B. Milašin
Keyword(s):  
Social Networks ◽  
Online Social Networks ◽  
English Language ◽  
New Technology ◽  
The Internet ◽  
Modern Culture ◽  
New Words ◽  
Impact Of Technology ◽  
The Impact

This paper analyses new words and expressions used in the Serbian language. The main aims of the paper are to register and describe typical language units in young people’s speech today, then to examine the impact of technology, the Internet and new types of communication on the structure of the Serbian lexicon, and to try to identify some tendencies and processes in the contemporary Serbian language. The corpus on which the research was conducted was collected in 2019 and 2020, and it consists of 1500 utterances excerpted from online social networks, primarily Twitter, Instagram, and YouTube. Based on the analysis of selected new words and expressions, it was determined that young people’s speech today is changing rapidly under the influence of globalisation and the English language, especially at the lexical level. It has also been established that in latest metaphors and comparisons, new technology and the Internet are appearing more and more often in the role of source domains, as an integral part of modern culture.

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 &ldquo;children's fairy-tale&rdquo;, &ldquo;literary tale&rdquo;, and &ldquo;folklore tale&rdquo;. 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&rsquo;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.

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.

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