scholarly journals МИФОЛОГЕМЫ РУССКИХ СКАЗОК: СЛЕДЫ ОЛИЦЕТВОРЕНИЯ И ОБОЖЕСТВЛЕНИЯ ЗЕМЛИ

2021 ◽  
pp. 208-227
Author(s):  
И.М. Денисова
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Point Of View ◽  
Male Character ◽  
Social Changes ◽  
Original Function ◽  
The Earth ◽  
Magic Power ◽  
Probable Origin ◽  
The Comparative Study

В статье рассматриваются мотивы сказок, в которых содержатся черты представлений о земле как о живом существе (зооморфном или антропоморфном), наделенном особой магической силой. С данной точки зрения анализируется, в частности, семантическая основа образов крупных копытных животных в сказках типов № 511 и 1892 (по указателям Андреева-Аарне и СУС). Привлечение сравнительных параллелей позволяет проследить вероятное развитие образа «живой земли» из зооморфного в антропоморфный (через объединяющий их мотив прорастающего сквозь лоно чудо-дерева). Выявляются отголоски представлений о «цепи перерождений» души умершего, связанных с почти несомненным олицетворением земли в образе сказочной царевны, владевшей мифическими «источниками жизни» – чудесным деревом с его живительными плодами и возрождающими водами. Рассматриваются и вероятные истоки взаимосвязи образов царевны и змееподобного существа, изначальная функция которого в древности реконструируется как связанная с идеей воз/перерождения. Прослеживается также отражение сказкой социальных сдвигов, в ходе которых мужской персонаж из более раннего олицетворения души предка трансформируется в героя-победителя, в том числе – и могущественной царевны-богатырши. The article examines the fairy tales’ motifs which present the earth as a zoomorphic or anthropomorphic creature endowed with magic power. From this point of view, the author analyses the semantic base of ungulate characters in the tales of types 511 and 1892 (according to ATU and Comparative index of Plots). The comparative study allows us to trace the probable development of the motif of the “alive earth” from its zoomorphic personification to an anthropomorphic one (through the uniting motif of the tree sprouting through a womb). The study reveals the echo of the idea of the “chain of rebirth” of a dead person’s soul, connected with an almost undoubted impersonation of the earth as a fairy-tale princess who owned the mythical lifesprings: reviving waters or a magic tree with reviving fruits. The paper also considers the probable origin of interconnection between the characters of the princess and the snake-like creature: their reconstructed original function is connected with the idea of rebirth/reincarnation. The author also traces the reflection of social changes in fairy tales. A male character transforms from a personified ancestor’s soul to a hero, including a hero who defeated a powerful princess.

scholarly journals Śmierć porwana. O terezińskiej sztuce Hledáme strašidlo Hanuša Hachenburga z 1943 roku

2019 ◽  
Vol 168 ◽  
pp. 327-335
Author(s):  
Agata Firlej
Keyword(s):  
20Th Century ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Point Of View ◽  
Main Character ◽  
Zygmunt Bauman ◽  
The Holocaust ◽  
German Speaking ◽  
Puppet Theatre ◽  
East And West

The stolen death: About the play Hledáme strašidlo by Hanuš Hachenburg from 1943The puppet theatre play Hledame strašidlo by Hanuš Hachenburg was written in the Terezín/Theresienstadt ghetto in 1943 and over 50 years was hidden in the archive until it was presented to readers and viewers in the 1990s — but it turned out to be still surprisingly valid and cogent. The author, a 14-year-old prisoner of the ghetto, used the conventions of the puppet theatre, the carnival and the fairy tales. The mythical or fairy-tale-like “timelessness” allowed him to show the absurdity of Nazism and — yet unnamed — the Holocaust. The main character of the play, the King, captures Death itself, which soon becomes so ordinary and kitschy that no one is afraid of her. The confinement of Death — a motif known, among others, from the myth of Sisyphus — is an important theme of the theatre in Terezín; it appears also in the German-speaking opera by Peter Kien and Viktor Ullmann, Der Keiser von Atlantis Emperor of Atlantis. In this article, I show how the old themes of enslaved Death and the dance macabre between extasy and destruction become the symbols of the war, and indeed of the 20th century, which culminates in the devastating forces of the great ideologies and in which there can be found the origins of retrotopia, which is now, according to Zygmunt Bauman, the dominating point of view in East- and West-European and in American discourse.  Únos smrti. O terezίnske divadelnί hře Hledáme strašidlo Hanuše Hachenburga z roku 1943Divadelní hra Hledáme strašidlo od Hanuše Hachenburga byla napsána v ghettu Terezín / Theresienstadt v roce 1943 a více než padesát let byla ukryta v archivu, aby v 90. letech si našla cestu pro své čtenáře a diváky — a ukázalo se, že je překvapivě platná a přitažlivá. Autor, čtrnáctiletý vězeň ghetta, využil konvencí loutkového divadla, karnevalu a pohádek. Mýtická nebo pohádková „nadčasovost“ mu umožnila ukázat absurditu nacismu a — tehdy ještĕ nemenovaného — holocaustu. Hlavní postava hry, Král, zachytí samotnou Smrt, která se brzy stane tak obyčejnou a kyčovitou, že se ji nikdo nebude bát. Únos smrti — motiv známý mimo jiné i z mýtu Sisyfa — je důležitým tématem divadla v Terezíně; objevuje se také v německojazyčné operě Petera Kiena a Viktora Ullmanna Der Keizer von Atlantis Císař Atlantidy. V tomto textu ukazuji, jak se staré motivy zotročené Smrti a danse macabre mezi extázi a zničení stávají symbolem války a celého dvacátého století, v který vyvrcholily ničivými sily velké ideologie a kde lze nalézt počátky retrotopie, která je podle Zygmunta Baumana dominantním hlediskem ve východním, západoevropským a americkým diskurzu.

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.

scholarly journals LANGUAGE AND COGNITIVE NATURE OF ORNITOLOGISM IN KAZAKH TALES

2020 ◽  
Vol 72 (2) ◽  
pp. 87-93
Author(s):  
S. Zhirenov ◽  
Keyword(s):  
Ethnic Group ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Point Of View ◽  
Ethnic Culture ◽  
Linguistic Features ◽  
Cognitive Value ◽  
Ancient Times ◽  
Linguistic Aspect

The article analyzes the linguistic features of ornithologisms in Kazakh tales from a linguistic and cognitive point of view. The role of ornithologisms in the Kazakh culture is studied through the text of fairy tales, and also reflects the characteristics of the bird world in the worldview of the ethnic group. An integral part of ethnic culture are fairy tales. The texts of these tales represent a linguistic unity that reflects the characteristics of the national mentality and its cognitive features. Fairy-tale texts describe the linguistic nature of the ancient genre, which reflects the worldview, ethical traditions and lifestyle, customs and psychology of the whole nation. Tales with ornithological features are given linguistic characteristics, and their cognitive value is considered in the linguistic aspect. The article discusses the role of birds from ancient times in the life of the Kazakh people and their interaction with nature. A large number of text materials based on the linguistic materials of Kazakh fairy tales are analyzed in detail.

scholarly journals Symbolism in the English and Russian fairy tale folklore: comparative analysis

2021 ◽  
pp. 94-106
Author(s):  
Kseniya Yur'evna Vavilova
Keyword(s):  
Comparative Analysis ◽  
Comparative Study ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Time And Space ◽  
The Subject ◽  
The Comparative Study

The subject of this research is the symbolism in the English and Russian fairytale tradition. The object is the texts of the Russian and English fairy tales. Analysis of the texts reveals the typical functions performed by symbols in both folklore traditions. The author provides the examples of symbols and offers the interpretation of objects-symbols, symbols-zoonyms, color and number symbols, time and space symbols. Comparative study of folklore heritage of non-cognate languages reveals the fundamental commonness of a particular folk genre of different peoples in their perspective upon reality, methods of depiction, and ideological interpretations. The scientific novelty consists in conclusions obtained in the comparative study of the symbolism of fairy tale texts in the Russian and British folklore, which is important for determination of linguistic, semiological and cultural universals. The comparative study of folklore material of two traditions in the sphere of the poetics of folklore reveals the traditional universals and unique features on the level of symbolism of the fairy tale genre. Within the framework of the article, the author analyzes the functionality of thematic, animalistic, color, spatial-temporal, and numerical symbols. The acquired results are underpinned by a large number of text examples.

scholarly journals Child-orientation Principle in Fairy Tale Translation Based on The Trumpet of the Swan

2021 ◽  
Vol 2 (1) ◽  
Author(s):  
Tingting Zhang
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Language Ability ◽  
Point Of View ◽  
Special Group ◽  
Close Attention ◽  
Chinese Translation ◽  
Rhetorical Device ◽  
Long Time ◽  
Development Phases

Fairy tales enable children to cruise around a world full of wonder and imagination. As a special group, children readers are different from adults for their unique development phases of language and cognition. Therefore, fairy tale translation should give close attention to children’s special demand. Basically, translation works of fairy tales require their translators to stand on children’s point of view and spark children readers’ interests. For quite a long time, as an acknowledged principle in fairy tale translation, child-orientation puts more emphasis on observing and appreciating the world with the child-like appetite. Translators should take account of children’s language ability as well as their cognitive condition and aesthetic preference. This essay is mainly about child-orientation principle. A comparative study has been made between The Trumpet of the Swan by E·B·White and its Chinese translation version by a famous translator Ren Rongrong. Through several concrete translation  examples and with an analysis of its language style including conciseness, vividness and musicality as well as its rhetorical device such as simile and overstatement, a simple conclusion could be drawn. It is extremely important to follow child-orientation principle in fairy tale translation. Translation works based on this principle will bring an essence of fun and interest for children.

“OBVIOUS – INCREDIBLE”. METHODS OF DESCRIBING OF A MYSTICAL SITUATION IN MYTHOLOGICAL NARRATIVES

2020 ◽  
Vol 3 ◽  
pp. 14-27
Author(s):  
Chervaneva Victoria A. ◽  
◽  
Keyword(s):  
Comparative Analysis ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Point Of View ◽  
Contextual Analysis ◽  
Image Feature ◽  
The World

The article discusses the features of the image feature of the situation when a person contacts a mythological character or a phenomenon in oral mythological stories from the point of view of the speaker’s assessing the situation by the reliability degree. The study was conducted by the method of semantic and contextual analysis of perceptual vocabulary and verbal units expressing an assessment of reliability of the message. A comparative analysis was also used for the vocabulary of the fairy tales as texts of another modality. The study showed that the message of a mystical event in mythological narratives is especially marked, because it is an event the very reality of which can be questioned and which, therefore, is perceived as incredible. In mythological prose, unlike a fairy tale, the means of expressing an assessment of the reliability degree are very frequent, and the frequency of those words is much higher than in the general language. In mythological narratives, the values of both ends of the reliability scale are presented with all types of expressions for the speaker assessing his state of knowledge of the world, described in linguistics (situations of simple, categorical and problematic reliability).

scholarly journals Mythopoetics of the space-time continuum in Sergei Kozlov’s tales of the Hedgehog and the Bear

Neophilology ◽  
2021 ◽  
pp. 512-521
Author(s):  
Marina Y. Elepova ◽  
Natalia G. Kabanova
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Outer Space ◽  
Real Space ◽  
Space Time ◽  
The Earth ◽  
Constant Change ◽  
The Moment ◽  
Time Continuum ◽  
Adult Reader

The original tales of Sergei Kozlov about the Hedgehog and the Bear are full of deep philosophical content, which finds expression in intertextual allusions, the transformation of my-thological images and formulas. A special place in the author’s discourse is occupied by the space-time continuum, which can be defined as a continuous set of categories that embody the topologi-cal explication of the fairy world through mythopoetic imagery, religious subtext, and multiple al-lusions. Temporality as a text category becomes the axis of artistic time, imparting signs of per-ception to the entire space-time continuum of the work. The temporality of the fairytale cycle is determined by the switch from everyday specifics to the scale of an unlimited universe. The stopped time effect occurs at the moment of such switch. Out of time, the characters find them-selves in the element of fantasy overwhelming them. The space has the features of impressionism, every moment in the life of fairytale heroes reveals a new look of the vernal world. The heavenly bodies in the spirit of the ancient fairy-tale epic are close to the earth and reified. Astral categories in the images of the moon, stars, sky reveal a connection with outer space. Anthropomorphic cha-racters inhabiting the magical space of the forest, while retaining their archetypal features, acquire special properties in fairy tales that go far beyond the framework of folklore stereotypes. This is imagination and fantasy that have no boundaries, the ability to contemplate the beautiful, the as-cent of thought to eternal philosophical problems. The Hedgehog, as the protagonist and the bearer of these qualities, often evaluates finiteness – the infinity of time, its cyclical nature, the constant change of death and birth. He, like other characters, overcomes real space and time with the help of imagination. The poetics of myth, archetypal imagery, artistic components of magical-fantastic tales, transformed in the author’s discourse of Sergei Kozlov, allow the writer to penetrate the innermost world of the child’s soul through the space-time continuum and present the most important ontological and epistemological problems of human existence and divine providence in the world to the adult reader.

scholarly journals A Fairy-Tale Noir: Rewriting Fairy Tales into Feminist Narratives of Exposure

2019 ◽  
Vol 39 (2) ◽  
pp. 85-110
Author(s):  
Danila Cannamela
Keyword(s):  
Women Writers ◽  
Fairy Tales ◽  
Fairy Tale ◽  
First Century ◽  
Potential Space ◽  
Social Changes ◽  
Italian Women Writers ◽  
Italian Women ◽  
Noir Fiction ◽  
Intrinsic Feature

This article introduces the fairy-tale noir, a subgenre of fantasy-noir fiction that is particularly present in the work of Italian women writers, including Laura Pugno, Simona Vinci, Nicoletta Vallorani, and Alda Teodorani. This subgenre adopts fairy-tale topoi and characters to elaborate on the theme of vulnerability from feminist and environmental perspectives. Vulnerability is an intrinsic feature of fairy tales (texts that are continually performed and modified, but that remain “non-appropriable”); it is also a pivotal characteristic of the young protagonists of these fictional universes, who are often exposed to abuse. The twenty-first-century fairy-tale noir redeploys the discourse of bodily exposure typical of traditional fairy tales by engaging in an environmentalist reflection on the experience of exposure that human and nonhuman bodies share. The genre also adopts the theme of vulnerability as openness to change and uses the unconventional families of fairy tales to discuss recent social changes in Italian families. Finally, fantasy noir recasts vulnerability to violence as a potential space of empathy, or biophilia, with the broader, nonhuman “family.” Exploring this overlooked genre ultimately shows how Italian women writers, who are still at the margins of the Nuovo Giallo Italiano, have successfully reinvented a male-dominated genre into a literary lens probing socio-environmental concerns, first and foremost gender discriminations.

scholarly journals ADAPTATION OF THE NATIONAL WORLD PICTURE IN RUSSIAN TRANSLATIONS OF HORACIO QUIROGA’S TALES

2020 ◽  
Vol 12 ◽  
pp. 142-149
Author(s):  
S. V. Chertousova
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Literary Work ◽  
Point Of View ◽  
Original Text ◽  
Aesthetic Value ◽  
Horacio Quiroga ◽  
Figures Of Speech ◽  
World Picture ◽  
The Aesthetic

The present research reveals the specifics of translations of Horacio Quiroga’s tales into Russian from the point of view of cultural linguistics. The relevance of the problem discussed is due to the growing interest in the discourse of fairy tales in modern linguistics and numerous attempts to translate and adapt classical fairy tale stories to different cultures. The choice of the analyzed material is determined by the presence of various types of vocabulary with national and cultural components in the tales of Horacio Quiroga that reflect the national world picture of the peoples of South America and constitute the aesthetic value of a literary work, which must be adequately conveyed in the translation. The introduction clarifies the notion of the national world picture and defines its components in a literary tale. The specific features of construction and linguistic content of Horacio Quiroga’s texts are highlighted. The purpose of the study was to identify the optimal strategy for conveying the national and cultural background in the translation of literary tales into Russian. The main difficulties in conveying the onomastic component of a tale and the employed figures of speech in translations from Spanish into Russian are analyzed. Special attention is given to the methods of compliance with the genre and style norms of translation, including the neutralization of elements of cruelty and naturalism in modern fairy tales for children. As a result, a conclusion is made that the domestication strategy makes it possible to adapt the text for the recipient who does not have an extensive background knowledge about the culture of the original text, which is especially important when translating children’s literature. The inevitable loss of information does not affect in any way the adequate transfer of the national world picture to a different culture and the reflection of the main moral values laid down by the author in the literary work.

scholarly journals The Oedipus Tale Type in Azerbaijani: Folklore and its Socio-Psychological Semantics

2021 ◽  
Vol 16 (1) ◽  
Author(s):  
Safa Garayev
Keyword(s):  
Social Relations ◽  
Family Environment ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Point Of View ◽  
Oedipus Complex ◽  
Incest Taboo ◽  
The Social ◽  
The Family ◽  
Common Character

In this article, I analyze tales collected from Azerbaijani territories from a psycho-semantic perspective, specifically pertaining to the Oedipus tale type (AT: 931, 933). The incest taboo, a common theme in Azerbaijani society, is discouraged in these tales through symbolic behaviors. In these tales, which were collected in different Azerbaijani territories at different times, the transgression of the taboo of incest firstly happens between sisters and brothers, later between mothers and sons. When we approach the fairy tale plots presented in the context of the Oedipus complex, it becomes clear that these fairy tales are also organized on the basis of the son’s point of view. This is evident in the tales because of their descriptions of the father—a common character in the Oedipus tale type—as the culprit of all anti-social and unethical problems. In the texts I present, the heroes of the tales generally derive from the disruption of the incest taboo between the sister and the brother, who has been left to die. I argue that the baby born as a result of dismantling the incest taboo—being removed from the chain (or from the family environment) of the social relations by the parents to be left to die and later living and not recognizing his mother—is portrayed as the main fact in the explanation of the events’ semantics.

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