scholarly journals «ПРИКЛЮЧЕНИЯ ПИНОККИО» КАРЛО КОЛЛОДИ И ИТАЛЬЯНСКАЯ КОМЕДИЯ ДЕЛЬ АРТЕ. В ПОМОЩЬ УЧИТЕЛЮ НАЧАЛЬНЫХ КЛАССОВ

2019 ◽  
Vol 3 (93) ◽  
pp. 92-101
Author(s):  
О.В. Козорог ◽  
Л. В. Константінова
Keyword(s):  
Fairy Tale ◽  
Main Character ◽  
Italian Comedy ◽  
The World ◽  
Literary Characters ◽  
Literary Circles

The article explores the world-famous work of the Italian writer Carlo Collodi The Adventure of Pinocchio. Despite the fact that the book of Carlo Collodi is addressed to a children's audience, it contains features of satire on Italian reality. The book The Adventures of Pinocchio by Carlo Collodi throws us back to folk laughter culture (term of M. Bakhtin), which is inseparably linked with the traditions of the Italian comedy dell’arte. Just in it Collodi draws the plot for his work. In the book about the adventures of Pinocchio, there is a lot from the carnival laughter culture and from the farce theater in particular. This includes scenes of fights, denudation, buffoonery, throwing various objects by literary characters into each other, dousing the main character with water or sewage, the unprecedented gluttony of the fairy tale characters, their ridicule and humiliation, grotesque exaggeration of appearance, as well as other methods of folk farce. Collodi’s “rhinology” (term of V. Vinogradov) belongs to the world of carnival laugh culture. Mask Medico della Peste (“plague doctor”) with a large bird’s beak is one of the main places in the Italian comedia dell’arte. And the Italian proverb “Who he lies, his nose grows” in some way explains the magical episodes of Pinocchio’s “rhinology” related to the expansion of his nose to huge sizes at those moments when the main character of the fairy tale begins to lie. The book about the wooden man was widely known and recognized in literary circles, and its main character Pinocchio became the prototype of Burattino by Alexei Tolstoy.

scholarly journals BIG AND SMALL WORLDS OF CHILDREN CHARACTERS IN ‘A LITTLE PRINCESS’ BY F. H. BURNETT

2020 ◽  
Vol 12 (3) ◽  
pp. 70-78
Author(s):  
Varvara A. Byachkova ◽  
Keyword(s):  
Charles Dickens ◽  
Fairy Tale ◽  
Literary Tradition ◽  
Small World ◽  
Protective Mechanism ◽  
The Novel ◽  
Main Character ◽  
Small Worlds ◽  
The World ◽  
Space Organization

The article raises the topic of space organization in writings by Frances Hodgson Burnett. The object of analysis is the novel A Little Princess. The novel, addressed primarily to children and teenagers, has many similarities with David Copperfield and the works of Charles Dickens in general. The writer largely follows the literary tradition created by Dickens. The space of the main character is divided into three levels: the Big world (states and borders), the Small world (home, school, city) and the World of imagination. The first two worlds give the reader a realistic picture of Edwardian England, the colonial Empire, through the eyes of a child reveal the themes of unprotected childhood, which the writer develops following the literary tradition of the 19th century. The Big and Small worlds also perform an educational function, being a source of experience and impressions for the main character. In the novel, the aesthetic of realism is combined with folklore and fairy-tale elements: the heroine does not completely transform the surrounding space, but she manages to change it partially and also to preserve her own personality and dignity while experiencing the Dickensian drama of child disenfranchisement, despair and loneliness. The World of imagination allows the reader to understand in full the character of Sarah Crewe, demonstrates the dynamics of her growing up, while for herself it is a powerful protective mechanism that enables her to pass all the tests of life and again become a happy child who can continue to grow up and develop.

scholarly journals Fairy tale — myth — logos in the poetics of G. Yakhina`s novel “Children of mine”

2021 ◽  
Vol 59 ◽  
pp. 237-247
Author(s):  
Nadezhda I. Pavlova
Keyword(s):  
Cultural Memory ◽  
Fairy Tale ◽  
Narrative Structure ◽  
The Novel ◽  
Main Character ◽  
Soviet History ◽  
Life And Death ◽  
The Past ◽  
The World ◽  
Different Levels

The article is to study a mythological subtext of the novel “Children of mine” by G. Yakhina, which appeared at different levels: composition, plot, construction of the system of characters ' images. Main character of the novel, Jacob Bach, and his beloved Clara are reunited into a single whole, not only as lovers, but also as representatives of two interrelated and complementary principles of German culture-folklore and literature. The interaction of this pair of heroes should be considered in this symbolic context. Thus, the novel develops a fundamentally significant for its conception motif of prophecy, which implies a subtext about the creation of the world-Logos, which is further developed in the narrative, when the image of the main character fulfills the function of guardian of the cultural memory of the Volga Germans. At the same time, the act of creativity is synonymous with creation, which allows us to grasp in a complex novel whole the repeatability of components of a closed cycle of “myth-life”, fully realized in its narrative structure. Mythological world surrounding Bach is in opposition to the space of Soviet history, embodied in the image of the agitator Hoffmann. There is an inverted picture of the world: historical world as dead and the world of culture as a living world. Thus, in the novel, the poles of life and death exchange places in relation to the present and the past. In view of this conception, one can read a deep intention of the writer representing the word of culture as giving immortality and life in eternity.

scholarly journals Сказочные сюжеты и сюжеты ирландских саг в драматической поэме Н. Гумилева «Гондла» (Folk-Motifs and Plots of the Irish Sagas in Goumiliev’s “Gondla”)

2009 ◽  
Vol 2 ◽  
pp. 193-207
Author(s):  
Marina Guister ◽  
Keyword(s):  
Twelfth Century ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Eleventh Century ◽  
The Novel ◽  
Main Character ◽  
Nineteen Thirties ◽  
The World ◽  
Ugly Duckling ◽  
At Will

The nineteenth–twentieth centuries’ frontier, and onto the nineteen-thirties, is the period when the literature and the folklore of the Celtic and Scandinavian counties were brought into Russia. In this way Nikolaj Goumilev, the author of the drama “Gondla”, translates “Countess Kathleen” by W. B. Yeats and writes his own drama “Morny’s beauty” influenced by some recurring themes of the Irish sagas. The drama-poem “Gondla” is also based on the Irish comparanda, namely on the history and the sagas of the echtrae-cycle of tales. The story takes place in Iceland in the eleventh century; Gondla, the Christian, the son of the Irish king, converts the Icelanders into Christianity. Goumilev himself mentions the sagas about “the hump-backed prince Condla” abducted by a fairy as the source of his drama. The saga of Connla the Fair, or Echtrae Chonnlai, is known to him from the work by H. d’Arboi de Jubainville Cours de Littérature Celtique, as well as, possibly, from the private conversations with A. Smirnov, the first Russian translator of the Irish sagas. The story of Connla contains some widespread folk motifs (cf. S. Thompson’s Motif-index), such as F 302 Fairy mistress, or rather F 302.3.1 Fairy entices man into fairyland. The motifs in question are closely related to those of the Swan-maiden (F 302.4.1 – Fairy comes into man’s power when he stills her wings, and D 361.1 – A swan transforms herself at will into a maiden). The swan-plots are of great importance for Goumilev’s “Gondla”, since the main characters of the drama, Gondla and Lera his fiancée (both Irish) are compared there to the swans persecuted by the wolves (the pagan Icelanders). The motifs are particularly prominent in the case of the Irish folktales and legends. The swan-plots from the Celtic and Slavonic folktales and legends are closely related in “Gondla” to the fairy-tales by Andersen, such as The Marsh King’s Daughter, The Ugly Duckling, The Swan’s Nest and The Wild Swans. The plot of the last fairytale is close to that of the Irish legend about the king Lir’s children transformed into swans (Oidheadh Chloinne Lir). In the same time, this plot is close to the fairy-tale type AT 451 – The maiden who seeks for her brothers and AT 451* – Sister as mysterious housekeeper. The story of this type, with the brothers transformed into swans and a swan maiden as the mother of the swan-children, is literary fixed in the twelfth century in the novel Dolopathos sive de Rege et Septem Sapientibus. The main character of Goumilev’s drama is the poet, the ruler and the priest who baptises Iceland at the same time. As such, he illustrates one of Goumilev’s favourite ideas: the poets must govern the world, as the druids used to do in the distant past.

scholarly journals Looking-Glass Space in “Pattern Recognition” by William Gibson

2019 ◽  
pp. 50-57
Author(s):  
Tetiana Bovsunivska
Keyword(s):  
Pattern Recognition ◽  
Fairy Tale ◽  
Modern Human ◽  
The Novel ◽  
Main Character ◽  
William Gibson ◽  
Artistic Style ◽  
The World ◽  
The Mind ◽  
Looking Glass

The paper deals with the poetics of the novel, based on the principles of literary cyberpunk. William Gibson, the founder of cyberpunk as a genre, in the novel “Pattern Recognition” used the looking-glass image of Lewis Carroll’s book “Through The Looking-Glass And What Alice Found There” as a leitmotif, reminiscently curved and shown only in the mind of the main character Case Pollard. The paper analyzes the semantics of the leitmotif of looking-glass and its functionality in the novel, as well as the conformity with the principles of transrealism and posthumanism. The state of the main character is not explained by some acts or periods of the day, but by hormonal disorder; the scientific awareness is intertwined with the metaphoric field. Thus William Gibson’s artistic style acquires obvious features of cyberpunk. If Alice was just a weird kid who invented the world of fairy-tale creatures, Gibson’s character Case lives in a transreal world, full of various man-made modifications of space and humans. The modern Case-Alice does not invent anything, because the fairy-tale situation of her life is already embedded in the nature of civilizational development. Case as a heroine of the novel fully complies with the requirements of transrealism: she is not ‘normal’, she has a diagnosis and medical history. Тhe ‘F: F: F’ program (fragments) is created by an autistic Russian girl. The neurotic characters that Case meets are atypical, all in their own way. That is why the world around modern Alice, who is Case at the same time, is distorted by the abnormality, which is not hidden by the heroes. The cyberspace of modern human existence transforms all the sores of society into customary artificial symbols of degradation – posthumanistic codes.

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

scholarly journals Problems and Literary Characters in the World Prose of the 20-21st Century: I. S. Shmelev, D. Setterfield, Su Tong

2016 ◽  
Vol 9 (20) ◽  
Author(s):  
Oksana Vasilievna Sizykh ◽  
Svetlana Fedotovna Zhelobtsova ◽  
Natalia Nikolayevna Barashkova ◽  
Marina Anatolyevna Burtseva ◽  
Fedot Fedotovich Zhelobtsov
Keyword(s):  
21St Century ◽  
The World ◽  
Literary Characters

Environmental Management in the Anthropocene

2016 ◽  
Author(s):  
David Schlosberg
Keyword(s):  
Environmental Management ◽  
Main Character ◽  
Central Question ◽  
Natural Systems ◽  
Human Needs ◽  
The World ◽  
Technological Intervention ◽  
Preservation And Restoration ◽  
End Of The World ◽  
Visible Human

In the filmBeasts of the Southern Wild, the main character, Hushpuppy, lays out the dilemma of environmental management in the Anthropocene: “For the animals that didn’t have a dad to put them in the boat, the end of the world already happened.” The Anthropocene will not recede, and the central question of environmental management will be whether we can develop ways to reflexively and sustainably manage ecosystems, habitats, and human needs. This chapter examines four possible normative underpinnings for such management: traditional notions of preservation and restoration, the idea of ecological limits and boundaries, the continued hubris of promethean technological intervention, and a conception of ecological receptivity or a “politics of sight” that makes visible human immersion in natural systems. As sight is a particular characteristic of the Anthropocene, this form of receptivity may hold some promise for environmental management.

Teaching How Language Reveals Character

2007 ◽  
Vol 77 (2) ◽  
pp. 187-203 ◽  
Author(s):  
MARGARET METZGER
Keyword(s):  
Entry Point ◽  
Literary Texts ◽  
Veteran Teacher ◽  
Reading And Writing ◽  
The World ◽  
Literary Characters ◽  
Analytic Skills ◽  
Additional Reading

In this Voices Inside Schools essay, a veteran teacher shares her reflections on a classroom unit entitled "How Language Reveals Character." The goal of the unit is to help adolescents read and write critically through an exploration of literary characters' language. Beginning by drawing on adolescents' fascination with one another, Metzger first asks students to analyze the language of their peers as an entry point to thinking about how language and character may be connected. The unit then moves on to ask students to transfer their analytic skills to the world of fiction and how language reveals character in literary texts. Metzger focuses on life inside her classroom, how the unit is taught, how students respond, and how teachers can expand on the concepts of language and character through additional reading and writing activities.

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