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Deirdre Sullivan is an award-winning Irish YA writer who has been praised by several writers and folklore academics, such as Jack Zipes, for her fairy-tale revisions and her rewriting of the Irish legend “The Children of Lir”. Following the steps of contemporary feminist writers like Angela Carter or Emma Donoghue, Sullivan gives voice to minorities and deals with silenced topics such as sexual harassment. This interview focuses on her subversions of fairy tales and Irish mythology, especially in her collection Tangleweed and Brine (2017) and her revision of “The Children of Lir” in Savage Her Reply (2020). In this interview, Deirdre Sullivan talks about her interest in fairy tales and Irish folklore and how she became a writer. [ABSTRACT FROM AUTHOR]

This article examines Ukrainian folkloric parallels to Viy, a character in the horror novella of the same name by Nikolai Gogol. It is a formidable chthonic, demonic creature whose eyelids cover the eyes and need to be lifted, and the gaze sees what is hidden from others. Although the writer claimed that this character, like the entire plot of the story, was taken from Ukrainian folklore, some modern researchers claim that Viy is the author's own invention. This is contradicted by folkloric data, primarily Ukrainian lore. Demonic characters with different names but with the same appearance and very similar functions as Viy appear in Ukrainian folk tales, legends and beliefs recorded in the 19th and 20th centuries. The plots have various degrees of closeness to the plot of Gogol's story, showing that Viy is an authentic figure from Ukrainian folklore. [ABSTRACT FROM AUTHOR]

"The Meanings of Enchantment: Wondertale Symbolism Revisited" by Francisco Vaz da Silva is a book that explores the symbolic meanings of mythical images in folktales. The author argues that the mythic nature of folktales can be understood through the lens of puberty and sexual initiation. The book analyzes various motifs and metaphors in folktales to uncover patterns and regional traditions. It also discusses the portrayal of girls in folktales as dangerous creatures and explores the possible cultural and gender perspectives behind this portrayal. Additionally, the book examines the relationship between girls and dragons/snakes in fairy tales, suggesting that the common image of a dragon abducting a girl symbolizes the girl's puberty and equates her virginity with an unbroken jar. The text also discusses the symbolism of flowers in relation to girls' maturity and examines the changes and stability in people's mentality reflected in fairy tales. [Extracted from the article]

In the article, is scientifically analysed the principles and criteria to determine the genre boundary between the sub-genres of folklore prose such as myth, legend, story, fairy tale. In this, special attention is paid to defining the genre boundary of the legend genre of Karakalpak folk prose. In determining the boundaries between the genres of folklore prose, the relation of the events narrated in the work to the truth, the methods of description used in the description of the truth (the role of magic), the functional tasks performed in life, the features of the application of the actions of the spatial space and time categories, the artistic-structural construction, also, the genre characteristics of Karakalpak legends are revealed based on principles and criteria such as the method of performance (manner). The article, in our opinion, is of great scientific importance, both in theoretical and practical directions. [ABSTRACT FROM AUTHOR]

This study evaluates the characteristics of Kazakh fairy tales as a cultural phenomenon from a scientific perspective. Fairy tales are important in determining the worldview of the Kazakh people and recognizing their conceptual orientation. The Kazakh worldview as a linguistic picture of the world in Kazakh fairy tales has been studied according to the theory of reflection. In the 21st century, the global importance of quality education and training has increased significantly. Future generations' ability to find their place in society depends on their level of education, competence and cognition. In the article, in accordance with the principles of reflection, the role of fairy tales in instilling positive qualities in a child - from an early age - is analyzed. Another important concept is the "self" of the individual. The ways in which fairy tales provide knowledge, creativity,application of established skills, social reflection, the ability of an intellectual individual to think about the meaning of life and existentialism are reviewed with specific examples. In this study, the image of Kazakh fairy tales as a cognitive and cultural phenomenon was tried to be determined cognitively. At the basis of the study of the linguistic image of the world are philosophical problems that examine the general problems of the image of the world. In world science, this concept was put forward by M. Heidegger. It is the meaning of the word "image (picture, video)" regarding the image of something that first comes to our mind. But the meaning of the concept of "world image" is deep and comprehensive. Where the world becomes a picture, general entities are seen as things that man aims at and therefore wants to present to himself, things that he opposes and literally wants to present to himself. [ABSTRACT FROM AUTHOR]

The article analyzes the mythological concept of Slavic paganism developed by Alexander Afanas’ev in his three-volume study Poetic Views of the Slavs on Nature: An Attempt at a Comparative Study of Slavic Traditions and Beliefs in Connection with the Mythical Tales of Other Related Peoples (1865–1869). In this book, Afanas’ev established numerous parallels between the pagan myths of the Slavs and other Indo-European peoples and reconstructed mythological images of the world tree, the tree of life, and the world egg. He also reconstructed myths about the sacred marriage between heaven and earth; the creation of the world from the body of the first man and the creation of man from the natural elements; the dying and resurrected god of vegetation and fertility; and the duel between the god of thunderstorms and his earthly adversary; as well as dualistic myths about the struggle between the forces of light and the forces of darkness and about the creation of the earth. Afanas’ev also explored enduring metaphorical pairs such as death–dream, battle–wedding feast, thunderstorm–battle, and so on. Depending on the readers’ points of view, they can appreciate the book as a grandiose compendium of folklore and historical-ethnographic materials; as a scholarly work devoted to Slavic mythology; as a symbolarium of folk culture; and as a beautiful fairy tale about the pagan past. Although Afanas’ev’s book has all the attributes of a scholarly publication, it can also be read as a work of fiction in which the author does not so much analyze mythology as he tries to present the point of view of a primitive poet–artist.

Variation is a core feature of folklore that plays a part in configuring the processes of folkloric communication, transmission and creativity. Computational analysis of large folklore collections offers new outlooks on the study of variation. The article explores the nature of folkloric variation on the basis of folk song and fairy tale text corpora from the Estonian Folklore Archives. Our enquiry into regional variation in Estonian folk song showed different patterns of geographic variation for metre, repertoire and language. To investigate further the possibilities to disassemble the components of variation we turned to a smaller corpus of fairy tale texts from the distinct Seto language community. The results of stylometric analysis of fairy tales collected within the close language community as a rule found that word usage patterns in stories told by the same storytellers were closer to each other than stories with the same content (i.e. tale types). However, other factors, such as collectors' individual styles, recording time, length of text, and storyteller's place of origin contributed notably to similarity as per stylometric scores. The study has shown that the individual features and aspects of such a complex phenomenon as folklore can follow its own variation patterns. Computational analysis of the variation in large text corpora helps us get a better understanding of the functioning of variation, and the processes of folkloric creation. However, the layers of folkloric variation are not that easy to disassemble, one must be aware of the biases in text corpora and keep in mind the effect of the linguistic variation on the results. [ABSTRACT FROM AUTHOR]

This article provides a comparative analysis of fairy tale texts from Russian, Slovak, and Czech folklore, examining their structural, semantic, pragmatic, linguistic, and cultural features. The study focuses on the translation of fairy tales and explores the formulas used in the beginnings, middles, and endings of the texts. It also discusses the symbolism of objects, events, and motifs in fairy tales and their connection to sayings. The article highlights the importance of traditional formulas in conveying national culture and history. The text also includes a bibliography of sources related to the study of fairy tales and folklore, which can be useful for researchers interested in diverse cultural perspectives. [Extracted from the article]

This article presents a reading of Nalo Hopkinson’s short stories “The Glass Bottle Trick,” “Precious,” and “Greedy Choke Puppy” that considers Caribbean Canadian subjectivity through lenses of (inter)textuality and the material/metaphorical spaces and movements of interruption. It draws from Tiffany Lethabo King’s thinking on shoals to theorize the gathering and accumulation of tales that occurs in Hopkinson’s re/imaginings of “Bluebeard,” “The Kind and the Unkind Girls,” and soucouyant folklore. The article suggests that these shoals interrupt the paths of dominant narratives in ways that force detours to emerge, adapting Rinaldo Walcott’s use of the term to explore the transformative possibilities that occur through the creation of new improvised paths, of otherwise ways of conceptualizing Caribbean Canadian being. Ultimately, it proposes that Hopkinson’s stories acknowledge and yet interrupt colonial narratives of geography, identity, and femininity, providing a framework through which to consider the unstable grounds and the searching detours of Caribbean Canadian subjectivities.

W.B. Yeats was one of the greatest Irish poets and dramatist, but he also had a key role in Irish folklore. What is more, most of his works are signi! cant and original examples of a fruitful "encounter" between folklore and literature. The young Yeats was directly concerned with the collection and the publication of folklore. Initially he worked as an editor (Fairy and Folk Tales of the Irish Peasantry [1888], Irish Fairy Tales [1892]), drawing his material from authors who had collected the oral Irish tradition throughout the nineteenth century; yet his approach was very critical, and was meant to fashion his personal idea of Ireland's folklore. With The Celtic Twilight (1893), Yeats became a noticeable folklorist, who addressed his material according to views and goals that were quite distant from the objective and detached methods of the ethnographic research of his times. Hence, are we legitimized to regard Yeats as a folklorist, despite his imaginative and "creative" use of folklore? How can his methodology be evaluated? [ABSTRACT FROM AUTHOR]

Even folklore, represented by original epic canvases, original texts of fairy tale and non-fairy tale prose, samples of ritual song and dance art, and a variety of other genres, represents unique spiritual wealth, a component of the common cultural heritage of the Even people. Even folklore is a stable and well-established system, having an oral form that has been handed down by storytellers from generation to generation since ancient times. At present, the Even, like all indigenous peoples of the North, Siberia, and the Far East, are experiencing a gradual loss of folklore traditions and a narrowing of their repertoire, which is illustrated by the authors’ field material. This article deals with the circumstances of Even people concentrated in thirteen regions of Yakutia. A brief review of the history of Even epic folklore collecting from the eighteenth century to the present is provided. The modern repertoire and the degree of preservation of Even folklore genres in all regions of Even settlement in Yakutia are characterized. There is a gradual extinction of minor genres, such as riddles, proverbs, and sayings, along with the disappearance of archaic epos and fairy tales. [ABSTRACT FROM AUTHOR]

In the article the author examines how the matrix of the dragon killer appeared in different social contexts and its formation as a fairy tale matrix. She traces the genealogy of the dragon slayer matrix back to ancient mythologies, paying regard to Babylonian, Greek, Celtic, and Slavic mythologies, as well as to the Christian codes and appearances in (particularly Slovenian) folklore, and discusses the variations that occur with different uses of the matrix, in different historical moments and epistemes. Special attention is devoted to studying the social and political functions the tales about the dragon killer had in the contexts in which they appeared. [ABSTRACT FROM AUTHOR]

In his article “Magical Narratives: Romance as Genre” Fredric Jameson, emphasises how romance as a narrative form appears and transforms in the contemporary novel. Jameson proposes that the inquiry not only be done through the characters, but their state of minds, the spatiality of these states combined with actions. In this article, the tale of “Avından El Alan” (Eng: Prey) which is one of the twelve fables in The Garden of Departed Cats by Bilge Karasu (Org: Göçmüş Kediler Bahçesi) has been reviewed by Jameson’s method. In the tale, we come across many elements that take part in the traditional tales continue their existence. Nevertheless, the tale becomes a field of connotations of ideas. Language is accompanied by these connotations with expressions that persistently escape being too obvious. In this way, both tales flow together at the same time, and the voice of the narrator, who thinks on those tales, pours out in writing. The fact that Karasu categorizes this story as a fable, and that his creation of a structure that is changed and transformed, by using the elements of the classic fairy tale which enables him to add his fiction to the narratives of the old storytellers that came before him.: Bilge Karasu, Fredric Jameson, Göçmüş Kediler Bahçesi, fairy tale, story

Fairy tales are an important literary genre for society. This study aims to determine pre- service teachers ' opinions about fairy tales. Study participants Pamukkale University, Turkish, Class and School Pre- Section 3 Class 30 teachers from candidates has been formed. Semi- structured, consisting of open -ended questions to participants Questions were asked in company with the interview form. Research the participating teacher candidates tale for explanations and statements qualitative data analysis of the kinds of content analysis based has been solved. Work at the end of Turkish , class and school before teacher candidates tale awareness compared to school before teacher candidates tale awareness more high it is detected while the tale of the kind of content that three of the branches of teacher candidates sufficient information with which they have been determined .

Folk tales are rich material in the regulation of social and moral norms, the assessment of the phenomena of the surrounding reality, in the formation of concepts in the human mind. A comparative and typological study of the linguistic content of the tales of different peoples allows us to determine not only their typological universality, but also individualized national-specific, extralinguistic and linguistic factors for individual linguistic cultures. The relevance of the article is that the features of Kazakh fairy tales and the expression of the national mentality in fairy discourse have not yet been sufficiently studied. The article discusses the fabulous discourse in terms of its ethnolinguistic features. A comparative analysis of Kazakh and Russian fairy tales revealed in each ethnic group distinctive features depending on life, culture, religion and mentality. Another fact revealed in the comparative analysis is stylistic features. [ABSTRACT FROM AUTHOR]

The authors give the brief characteristics of the electronic library of fairy tales. The given product represents a collection of electronic texts of fairy tales of the peoples of the world grouped on regions. The electronic collection of fairy tales allows to conduct search of characters and the subjects determining motives and plots of fairy tales that is very convenient for comparative and typological researches of various narrative genres.

The article examines the main manifestations (forms) and ideas (values) of the epic folklore of Issetians and other peoples of Caucasus, and also “Nartiade” as its key epic. Based on the analysis of the given folklore source, some aspects of ethnic-cultural connections of the Caucasus region with other civilizations, including the Turkic world, have been indicated.

Houses feature prominently in Helen Oyeyemi's novels, The Opposite House and White Is for Witching. I describe the connection between the Greco-Roman Underworld and the Yorùbá Otherworld in Oyeyemi's texts as a "liminal intersection", one in which Gothic and supernatural metaphors from the Yorùbá culture are syncretised. The Gothic tropes of the House collide with Oyeyemi's revisioning of the Yorùbá pantheon and Otherworld. Key figures and symbols from Greco-Roman folklore, Yorùbá mythology and European fairytales are either represented by characters in Oyeyemi's novels or are present as metaphors. The problematic postcolonial Gothic relationship between competing cultural imperatives and authorities in The Opposite House and White is For Witching takes place in these liminal intersections. I connect this struggle to the idea of transgression as agency. Pursuant to this, this article interrogates the postcolonial Gothic house as a trope in the two studied texts and argues that it is a site for the enactment of liminal and hybrid transgressions as agency through the deployment of the metaphors of doubling and that of the temporal slippage between multiple realities and the findings elucidate the ways in which the House as a gateway to the Otherworld may be a site for empowerment and decolonising through transgression. [ABSTRACT FROM AUTHOR]

In the article are presented Slovenian women fairy tale writers who were included in the streams of fairy tale writing in the middle of the 19th century, when Josipina Turnograjska published the fairy tale “Rožmanova Lenčica” (Rožman’s Lenčica) in 1853. This is much later than the start of European women fairy tale writing, which has its roots in the late medieval period with the trobairitz, and continued in the 16th century. After that the new stream of women fairy tale writers developed with the preciosite in the 17th century. The author researches development of women fairy tale writing in Slovenia and classifies their creation of fairy tales in two main models: writing literary fairy tales and storytelling or performing folktales. Lately, among Slovenian women, writing contemporary fairy tales is also popular.

The article offers information on goldilocks, aragorn and the essence of property. Topics discussed include ownership complement traditional economic and legal analysis of property rights; through an examination of folklore and fairytales, insight on experience on property and thought of specification in the Anglo-American tradition; and through his story, George MacDonald confess the dangerous sort of plan.

The turn of the 21st century has seen Russian writers' increased interest in the genre of fairy tale. This paper discusses young Russian writers' approaches to fairy tale traditions in texts of their own. The subjects of the study consisted of the Debut Prize winners and the so-called amateur writers (fans of Tolkien's and Rowling's books, and gamers) and their literary works. The study is aimed at establishing main trends in usage of folklore traditions in the first two decades of the 21st century; the paper is also concerned with examining similarities and differences between two generations of modern Russian writers in the matter of their approaches to classical heritage. To compare fairy tale texts, Vladimir Propp's narrative model has been applied. One of the central claims of the study is that young authors tend to emulate literary samples by prominent contemporary Russian writers (mostly by Lyudmila Petrushevskaya). Thus, an efficient way of creating a contemporary fairy tale by a young author is to immerse its characters into the modern reality that is presented in a variety of its manifestations - from everyday routine to philosophic ideas. The young writers' texts display such traditional features of literary folklorism as genuine fairy tale plots and motifs, their structural and style models, characters, magical objects, and the artistic device of estrangement. [ABSTRACT FROM AUTHOR]

Based on fieldwork by the author conducted in Tibetan cultural areas of the Indian Himalayas, this paper explores Himalayan understandings of what defines a fairy tale, in contrast to the Western understanding. In parts of the Himalayas, a distinction is made between “lakshung” (fairy tales) and “kyakshung”, which are shorter stories, the kind one might tell over tea. In light of the proposals to record and disseminate many of these stories using new media, this paper seeks to examine these genre definitions and investigates the various contexts in which these stories are told. [ABSTRACT FROM AUTHOR]

Though it is now a decade since its release, Guillermo del Toro's Pan's Labyrinth (2006) remains a work of filmic art which plays upon our deep-rooted and mercurial relationship with fairy tales and folklore. By turns beautiful and grotesque, Pan's Labyrinth is a complex portrait of the clash between Ofelia's fairy tale world and that of the brutal adults around her. This article will provide an analysis of the juxtaposition of the film's imagery of closed/open circles, their respective realms, and how Ofelia moves between the two. I will argue that these aspects create an unusual relationship between the fairy tale universe and the physical one, characterized by simultaneous displacement and interdependency. Ofelia acts as a mediatrix of these spheres, conforming to neither the imposed rules of her historical reality nor the expected structural rules of fairy tales, and this refusal ultimately allows her transcendence from the circumscribed realm of the liminal into Victor Turner's "liminoid" space, escaping the trap of binarism. [ABSTRACT FROM AUTHOR]

Bill Willingham's Fables comic book series and its spin-offs have spanned fourteen years and reinforce that fairy-tale characters are culturally meaningful, adaptable, subversive, and pervasive. Willingham uses fairy-tale pastiche and syncreticism based on the ethos of comic book crossovers in his redeployment of previous approaches to fairy-tale characters. Fables characters are richer for every perspective that Willingham deploys, from the Brothers Grimm to Disneyesque aesthetics and more erotic, violent, and horrific incarnations. Willingham's approach to these fairy-tale narratives is synthetic, idiosyncratic, and libertarian. This tension between Willingham's subordination of fairy-tale characters to his overarching libertarian ideological narrative and the traditional folkloric identities drives the storytelling momentum of the Fables universe. Willingham's portrayal of Bigby (the Big Bad Wolf turned private eye), Snow White ("Fairest of Them All", Director of Operations of Fabletown, and avenger against pedophilic dwarves), Rose Red (Snow's divergent, wild, and jealous sister), and Jack (narcissistic trickster) challenges contemporary assumptions about gender, heroism, narrative genres, and the very conception of a fairy tale. Emerging from negotiations with tradition and innovation are fairy-tale characters who defy constraints of folk and storybook narrative, mythology, and metafiction. [ABSTRACT FROM AUTHOR]