scholarly journals TOPONYMIC MOTIFS IN THE KHAKASS' NON - FAIRY TALE PROSE

2022 ◽  
pp. 23-27
Author(s):  
В. В. Миндибекова
Keyword(s):  
Fairy Tale ◽  
The World

В статье рассматриваются разновидности гидронимов и оронимов, составляющие основу топонимического пространства несказочной прозы. Выявлены устойчивые черты мировосприятия пространства, обусловленные жанровыми особенностями хакасского фольклора. Исследование позволило проанализировать топонимическое пространство, которое воссоздаётся исполнителем в фольклорном тексте, выявить устойчивые черты мировосприятия пространства, обусловленные жанровыми особенностями хакасской несказочной прозы. В топонимах отразились религиозно - мифологические представления хакасов. В текстах представлены примеры народной этимологии топонимов Хакасии. Автор анализирует основные типы сюжетов топонимических преданий, получивших широкое бытование среди хакасов и представляющие художественную и историческую ценность. The work examines the varieties of hydronyms and oronyms, which form the basis of the toponymic space of nonfabulous prose. The stable features of the world perception of space, conditioned by the genre features of the Khakass folklore, are revealed. The study allowed us to analyze the toponymic space, which is recreated by the performer in the folklore text, to reveal the stable features of the world perception of the space, due to the genre features of the Khakass non - fairytale prose. The toponyms reflected the religious and mythological ideas of the Khakass. The texts provide examples of folk etymology of toponyms of Khakassia. The author analyzes the main types of plots of toponymic legends that have become widespread among the Khakass and are of artistic and historical value.

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.

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 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 ‘THE RULE OF THREE’ IN THE GROWTH STORIES – GANGBAIK LEE’S DRAMA “LIKE LOOKING AT THE FLOWER IN THE MIDWINTER”

2016 ◽  
Vol 1 ◽  
pp. 11-22
Author(s):  
Mansu KIM
Keyword(s):  
Fairy Tale ◽  
The Self ◽  
The Real ◽  
Final Destination ◽  
The Third ◽  
The Core ◽  
Rule Of Three ◽  
The Poor ◽  
The World

This paper focused on the structure of the growth stories, especially in surveying Gangbaek Lee’s (이강백) drama “Like Looking at the Flower in the Mid-winter (동지섣달 꽃 본 듯이)”. It is structured by ‘rule of the three’. In this text, three sons go to seek their mother, they experience the tests three times. Third son wins the game because he succeeds to find his true and alternative mother. It is similar to the story of English fairy tale “Three Little Pigs”.  In Freudian terms, the characters of the both texts are superego, ego and id. The core of the growth story is that third son (id) wins the first son (superego) and the second son (ego) by using his own energy (meaningful labor). In Levi Strauss’ terms, the contrast between the third and the others can be schemed the contrast between culture and nature. Lee’s drama presents the third son as the real hero who overcomes two elder brothers. The first is so conservative (oversleep), the second is so selfish (overeat). Two brothers were too political or too ideal to become a true, humanistic and warm-minded adult. In his view, ‘drama’ related to the third son is the most humanistic and warm-minded action in the world. These both stories are based on the plot ‘rags to riches’ which contains the success of the poor and powerless. In other words, the poor and weak child can grow to the true hero, and reach the final destination, according to the Gustav Jung’s expression, ‘the Self as a Whole’.

scholarly journals POETIC FUNCTIONS OF THE TRANSFORMATION MOTIF IN WRITTEN LITERATURE

2020 ◽  
pp. 17-31
Keyword(s):  
Social Life ◽  
World Literature ◽  
Fairy Tale ◽  
Direct Result ◽  
Ordinary People ◽  
Dramatic Works ◽  
The World ◽  
Ancient Times ◽  
The Will ◽  
Poetic Prose

By means of comparative-typological tools the article describes the ‘Transformation’ motif as one of the most ancient, traditional motifs in the oral and written literature of the world. It explains the existence of general and specific features comparing poetic appearances and functions; correlation between genesis and mythological thinking, as well as the usage of remnants in modern literature on the basis of poetic innovations. The ‘Transformation’ motif has been used in the written literature since ancient times. In the written literature, this motive occurs in the plot construction of poetic, prose, and dramatic works. It is also widely used in works based on fairy-tale stylization, novels, short stories, narratives, in the spirit of fiction and social life. Samples of ancient literature describe the transformation of the main hero as divinely as in folklore. The only difference from folklore is that it reflects the fact that transformation takes place in the form of punishing someone under the will and influence of the Gods. The fictions which are created in the next stages of evolution depict the transformation of a human being as a direct result of his/her achievements in science and technology. Therefore, transformation motifs are often encountered in literary tales, works of scientific-fantastic mood. In the world literature, from ancient times to the present, transformation has been described as being carried out by Gods, demonological forces (Satan, demon, and witches), ordinary people, or scientists.

scholarly journals «ПАМЯТЬ ЖАНРА» И ЕГО МЕТАМОРФОЗЫ В АВТОРСКОЙ СКАЗКЕ A.А. МИЛНА

2018 ◽  
Vol 1 (XX) ◽  
pp. 81-93
Author(s):  
Невзорова Наталья Павловна
Keyword(s):  
Fairy Tale ◽  
Temporal Structure ◽  
Moral Principles ◽  
Life Problems ◽  
The World ◽  
Adult World ◽  
Level Of Knowledge ◽  
Spatio Temporal ◽  
Good And Evil ◽  
Two Sides

“GENRE MEMORY” AND ITS METAMORPHOSISIN A LITERARY TALE BY A.A. MILNEThe nucleus of Milne’s literary tale dilogy (Winnie-the-Pooh and The House at the Pooh Corner) is an archaic folklore-mythological spatio-temporal structure and its specific subject realization that have proved capable of development, metamorphosis, synthesis with other deep structures and have led to the formation of literary genresof a neo-mythological character – literary tale, story and fantasy.In Milne’s tales there is no traditional struggle between Good and Evil, there are practically no “miraculous” objects and magical powers. The action is not based on the confrontation between the two sides, representing different moral principles (as ina traditional fairy tale), but involves the transition of the hero, Christopher Robin, from the world of childhood to the adult world, acquiring a higher social status,the development of abilities and skills of various characters to solve different life problems, first at the level of choice of options from the accumulated empirical experience, and then at the level of abstraction from real specifics to the skills of logical analysis and mastering written speech and the basics of mathematics. This results in the acquisition of a new level of knowledge and the development of a new way of understandingof the world (the creation of the cosmos from chaos).

scholarly journals Anti-fairytale, anti-initiation and a doll: Representation of the female position in Milena Marković's play Doll Ship

2020 ◽  
pp. 1-23
Author(s):  
Jelena Marinkov
Keyword(s):  
Fairy Tale ◽  
The World ◽  
Female Roles

In this paper, we will try to analyse the anti-initiation of the protagonist of the drama Doll Ship into the world of adults, into the world of the hegemony of masculinity. The process that the heroine goes through can be considered as anti-initiation and is embodied in the title metaphor of a doll ship. By changing the fable stages of a fairy tale, varying typical situations, and by dialogues filled with jargon and songs, a plot is formed, through which the main heroine, the Woman, (does not) progress. Sharp, cruel banalization serves to demystify and expose common female roles and positions.

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