《高文舉》版本考述

<p>「高文舉故事」始自形成，便以多元樣貌流播於各地聲腔，依據本文所較析的四個版本，彼此間存在著複雜關係，或有獨立發展者，如南管戲《高文舉》，或有屬古本系統者，如《水雲亭還魂記》，或有保留南戲原貌者莆仙戲《高文舉》，乃至於集大成者「文林閣本」《高文舉珍珠記》。南戲《高文舉》已亡佚，其中以《高文舉珍珠記》之影響最為深遠。「高文舉故事」主要情節有三：「珍珠米糷」、「還魂訴冤」、「包拯斷案」。在「文林閣本」與「莆仙本」皆有「珍珠米糷」、「龍圖斷案」，而「還魂本」有「玉真還魂」、「龍圖斷案」，至於「南管本」則一概具無，可知「南管本」在高文舉故事流變過程中之獨特性。本文主要針對各版本間之「關目情節」、「曲文賓白」等詳實比勘，剖析「高文舉」在不同聲腔劇種間之承繼與創新，並試圖重構各地聲腔在「高文舉」演化過程中之地位與價值。</p> <p>&nbsp;</p><p>Gao Wen Jyu of southern opera has been disappeared and present versions include Zhen Zhu Ji (Yi Yang tune), Gao Wen Jyu of Southern Pipes (Quan tune), Gao Wen Jyu of Pu Xian (Hsin Hua tune) and Revival After Death of Shui Yun Pavilion (Qing Yang tune). Among others, Zhen Zhu Ji is the most influential one. The plots such as &ldquo;Window Meeting&rdquo; and &ldquo;Zhen Zhu Mi Lan&rdquo; are not only the selected Zhe Zi operas for the later generations, but also the adapted texts of local operas. Main plots of &ldquo;story of Gao Wen Jyu&rdquo; are below: &ldquo;Zhen Zhu Mi Lan&rdquo;, &ldquo;Revival After Death to Appeal for Justice&rdquo; and &ldquo;Master Pao&rsquo;s Judgment&rdquo;. Zhen Zhu Ji and &ldquo;version of Pu Xian&rdquo; include &ldquo;Zhen Zhu Mi Lan&rdquo; and &ldquo;Master Pag&rsquo;s Judgment&rdquo;. &ldquo;Version of revival after death&rdquo; includes &ldquo;Revival After Death of Yu Chen&rdquo; and &ldquo;Master Pao&rsquo;s Judgment&rdquo;. &ldquo;Version of Southern Pipes&rdquo; does not include the above. Hence, it shows the uniqueness of &ldquo;version of Southern Pipes&rdquo; in the evolution of &ldquo;story of Gao Wen Jyu&rdquo;. Varieties of plots result in the richness of &ldquo;story of Gao Wen Jyu&rdquo;. The process of spread reveals flexibility and regionality of local common systematic tunes and varieties of operas. </p> <p> This study will treat four versions of Gao Wen Jyu as the subjects to significantly compare and analyze the original stories and difference and similarity of related work. First, it explores present versions to recognize the evolution of the story &ldquo;Gao Wen Jyu&rdquo;; secondly, it precisely compares &ldquo;plots&rdquo; and &ldquo;singing and talking&rdquo; of the versions to analyze the inheritance and innovation of &ldquo;story of Gao Wen Jyu&rdquo; in different common systematic tunes and varieties of Chinese operas. It, on the one hand, clarifies the relationship and origin of different versions of &ldquo;Gao Wen Jyu&rdquo; and, on the other hand, probes into cultural characteristics of &ldquo;time&rdquo; and &ldquo;region&rdquo; of operas; finally, it attmpets to reconstruct the positions and values of common systematic tunes in different regions in the evolution process of &ldquo;Gao Wen Jyu&rdquo;. </p> <p>&nbsp;</p>

Challenging the Archetypes: Re-visitation of Fairy Tales

This study aims to highlight how the revisited American fairytale movies shun the archetypal symbols, characters and situations of the previous fairy tales. The researcher analyzes the new set of norms that are proposed by the postmodernists, which are positioned to shun the metanarratives and work against totality by waging war against it (Lyotard 71-82). The perspective in doing so is to find out the changes in the original stories which have challenged the collective unconsciousness. Collective Unconscious, according to Jung, are the unconscious feelings present among human beings as species. They are universally present in every man's psyche, and the unconscious of man has some primal images, which are depicted through symbols. These symbols are not limited to any particular culture or history (Four Archetypes 4). Jung calls the contents of the collective unconscious the "archetypes" (4). Postmodernists have challenged the archetypal patterns stated by the philosophers of archetypes, and they have attempted to break these archetypal patterns, or according to the postmodernists, the "metanarratives".

Chinese Folklore Tales as a Cultural Treasure of the Nation

The article examines Chinese folk art, which not only has pronounced national features, but also is a cultural treasure of the nation. Chinese folklore consists of myths, legends, fables, funny stories, fairy tales and tales about life, about animals, as well as works that describe famous historical figures, praise the love of the motherland. The texts clearly demonstrate the motives of admiration for the characters, give positive assessments of labor skills, analyze the characteristics of local traditions, customs and life. The folklore is an integral part of traditional Chinese culture. It educates, shapes the worldview, morals and ethics of the Chinese people. Folklore works become a kind of stage on which the life conflicts of non-heroic existence of an ordinary person with simple cultural interests (for example, communication, participation in rituals, hospitality, etc.) are played out.The article presents translations of original stories from Chinese into Russian, on the example of which it analyzes the cultural values of Chinese folklore works from the point of view of philosophy. The research is carried out using contextual, linguoculturological methods, as well as methods of analysis and synthesis. The presented research has an interdisciplinary character, because it is performed at the intersection of cultural studies and linguoculturology, folklore studies and translation studies.

The narrative strategies of the Soviet graphic stories for children (a comparative analysis of the graphic stories about Clever Masha with D. Kharms’s and N. Gernet’s texts)

The article discusses the narrative strategies of original graphic stories about Clever Masha (published in “Chizh” magazine in 1934-1937) and reprinted versions of these stories, which texts were written by N. Gernet (firstly published in 1965). Syntactic and pragmatic analyses help us to show, that both these strategies have common principles of textual coherence and chronological continuation. At the same time the narrative strategy of the original stories actualizes chronotope and dynamic elements of the plot and contains the subject vocabulary duplicating the visual part of the stories so that it demonstrates lot in common with the representative and iconic type of children’s speech. Meanwhile the narrative strategies of Gernet’s texts show the higher level of creolization because of usage of different types of predicates, more complicated way of representation and changing the monologic type of speech to the dialogical one. Moreover, the narrative strategy of the reprinted stories focuses on adult’s narration instead of children’s oral narration in the original stories which means the explicit cooperation with the readers influencing their perception and forming their views and opinions, so that now these stories don’t fulfill the entertaining, but the pedagogical function encouraging young readers to behave as Clever Masha does.

Mexican-American preschoolers as co-creators of zones of proximal development during retellings of culturally relevant stories: A participatory study

This study explores communication and retelling skills that are revealed after Mexican-American preschoolers engaged in culturally sensitive read alouds. Participants, highlighted in this article, included two four-year-old preschool children in a Spanish/English dual language classroom. The children selected culturally relevant texts and engaged in story retellings with their respective parent. The findings indicate that children co-constructed Zones of Proximal Development (ZPDs) in response to their parents' caring moves. Participants responded as cared-fors and carers as evident in their use of memorization skills and attention to detail to appropriate vocabulary and effectively retell a story. Additionally, preschoolers extended their ZPDs through imagination and inferencing by inserting events into the narrative and reading between the lines to expand and enrich the original stories. These findings have implications for reframing the way in which educators capitalize on young children's communication skills.

Ethno-cultural contacts of ancestors of the Khanty and Mansi peoples based on the materials of game culture

Introduction: game culture of the Khanty end Mansi peoples has been developed over a long period of time, and it reveals different game plots, analogies of which we can find only in the Far East, Amur region, North-East of Russia and in North America. This allows us to determine the directions of the oldest contacts of migrations and cultural borrowings. Objective: to reveal common game plots in the culture of the Ob Ugrians and the peoples of the Far East and the North- East of Russia with following determination of the time and place of their emergence. Research materials: game plots published in works on the game culture of the Ob Ugrians, the peoples of the Far East, the Amur region, the North-East of Russia, and the Indians of North America. Results and novelty of the research: two games «The Snow Snake» and «Get Into the Ring With A Spear» were revealed, which linked the game cultures of Western Siberia, the Far East, the Amur region and North America, as well as at least three original stories: games with a large number of stones, various types of jumping, and jumping over sledges (narty) of the Khanty and Mansi peoples, which found analogies with the games of the peoples of the Far East and the North-East of Russia. The same type of rules, similar game equipment, and the male character of the games are observed. The author comes to the conclusion that the considered games originate from the oldest male rituals that came to America with Paleolithic migrants and have been preserved in the format of games. The games of the Eskimos, Chukchi, Koryaks and peoples of the Amur region, as well as the Ob Ugrians, indicate the existence of a common cultural space at a later time, but not earlier than the Paleolithic. Subsequently, the unity was destroyed: tribes and cultures migrated to the North-West (the ancestors of the Khanty and Mansi), to the North-East (the ancestors of the Chukchi, Koryaks, Evenks, etc.), and to the East (the ancestors of the peoples of the Amur region and the Far East). The novelty of the work lies in the fact that the game culture of the mentioned ethnic groups in a comparative aspect has not previously been the subject of scientific research.