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The poems selected here explore the hidden side of some of the most popular fairy tales. Girls become women guided by myths that define their passive role, their submission to violent behavior by men in their lives, be they fathers, husbands, or lovers. These poems look at a girl's fantasies from a different perspective: that a woman's life becomes the work of demystifying the myths that dominated her childhood to create a newly informed and subversive version of the myth.

The purpose of this article is to clarify the place and role of the 'Wooden Horse' tale of the Armenian Shirak region in the tale-type ATU 575 ('The Prince's Wings'). The early Eastern versions of such fairy tales and their possible penetrations into the West are examined. Being a trade link between the East and the West since early times, Armenia supplemented its oral tradition with stories from the East and played an indirect role in the transmission of similar stories. The plot of the Shirak tale recorded in the twentieth century shows original developments and features that are absent in similar tales from other regions of Armenia, neighbouring countries, and other peoples. This study reveals the correlations of the Shirak version with similar international tales. The use of historical-comparative and borrowing methods made it possible to comprehensively present Shirak's 'Wooden Horse' tale in the context of ATU 575. [ABSTRACT FROM AUTHOR]

The purpose of this essay is to investigate the way in which gothic topoi intertwine with the background of folk and fairy tales in Ní Dhuibhne's fiction, in terms of characters, setting, motifs, situations and atmosphere. Recognising the presence of gothic tropes can highlight the dynamic intersections of genres, and sharpen the reading of Ní Dhuibhne's short stories. In her very personal and unique approach to fiction, Éilís Ní Dhuibhne intertextually reworks traditional stories and juxtaposes them to their modern counterparts, thus expanding a sort of 'palimpsestic memory' that Maria Tatar identifies in the continuous rewriting of fairy tales. And the fairy tale's instability as a genre has its counterpart in the gothic, a restless form and an unstable genre, whose influence can be seen in many of Ní Dhuibhne's narrative and stylistic strategies. [ABSTRACT FROM AUTHOR]

'Little Red Riding Hood' is not only an intertext for the first story in Little Red and Other Stories but for the entire volume. An iconic fairy tale, known primarily in the version by the brothers Grimm, it is also one of the most commented on and reworked stories. While most retellings give precedent either to Little Red Riding Hood or the wolf, Ní Dhuibhne's revisiting of the tale accords importance too to the role of the grandmother. She counters the tendency to appropriate fairy tales and sideline their enticement and wisdom by excavating their deep content especially the affects and primal predicaments that they depict. Fairy tale motifs in her short story collection allow the articulation of emotions that could not otherwise be voiced, provide a means of parsing everyday experience, and open a portal onto the magical and the numinous. [ABSTRACT FROM AUTHOR]

This article builds upon Bernard Lightman and Peter Bowler's works on the non-Darwinian nature of Victorian evolution, arguing that while their arguments helpfully reorient our understanding of evolution's historiography, they underestimate the diversity of evolutionary theory in the Victorian era. Victorian evolution was highly idiosyncratic, as each individual (scientist, author, or reader) interpreted evolution according to his or her own preconceptions, resulting in a myriad of evolutionary theories. To illustrate this diversity, this article examines the work of Andrew Lang, a prolific late-nineteenth-century journalist, anthropologist, and fairy-tale enthusiast. I focus on two of his largely unstudied works to demonstrate how he exposed and critiqued Victorian assumptions about evolution and the origins of the theory. The first work, 'Higgins, the Inventor of Evolution' (1897), uses satire to reveal that evolution's theoretical history was often overlooked in the nineteenth century. The second, The Princess Nobody (1884), is a children's fairy tale that exemplifies how fairy-tale tropes can help modern readers grasp evolutionary ideas. Significantly, both works recycle older texts that also address evolutionary questions, making Lang a participant in a folkloric tradition of interpreting and critiquing evolutionary theory. Lang viewed evolutionary theory as similar to a mythic story that is told and reinterpreted through the generations. His writing demonstrates that the origins of evolutionary theory are ambiguous, and that traditional fairy tales convey ideas about human origins and kinship with animals that predate Darwin's studies. [ABSTRACT FROM AUTHOR]

The primary objective of this study was to propose a functional discrete mathematical model for analyzing folklore fairy tales. Within this model, characters are denoted as vertices, and explicit instances of communication – both verbal and non-verbal – within the text are depicted as edges. Upon examining a corpus of Eastern Slavic fairy tales in comparison to Chukchi fairy tales, unforeseen outcomes emerged. Notably, the constructed models seem to evade establishing certain connections between characters. Consequently, instances where the interactions among fairy tale characters would result in a non-planar graph structure are notably absent. To put it differently, the models refrain from incorporating sub-graphs delineated by the Kuratowski theorem governing planar graphs, specifically the minimal non-planar graphs Κ5 and Κ3,3. Remarkably, even in more extensive texts featuring a larger cast of characters, connections that would yield a non-planar graph pattern are consistently avoided. This leads to the formulation of a hypothesis positing that traditional folk tales adhere to a "planar narrative" design – an identifiable narrative variant characterized by inherent limitations in complexity. This design, in turn, appears deeply entrenched within the societal framework of the cultures that produced these folk narratives. [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. [ABSTRACT FROM AUTHOR]

Penistone Crags in Wuthering Heights (1847) has long and, I argue, correctly been identified with Ponden Kirk on Haworth Moor. This article compares the folklore of Ponden Kirk with the fictional folklore associated with Penistone Crags, looking at the real-world and literary traditions in relation to beliefs surrounding the South Pennines. It suggests that some details of fairylore in Wuthering Heights—both the fairies in the 'Fairy Cave' and Catherine's elf-bolts—are based on early to mid-nineteenth-century Haworth folklore. The article finishes with an appendix on the Gytrash (a legendary being familiar from Jane Eyre). [ABSTRACT FROM AUTHOR]

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]

In the esoteric writings of the Medieval German Pietists, nocturnal female demons, known as lilioth , preyed upon mortal men who crossed their paths or who laid down to sleep in their territory. These lilioth could smell the scent of a man, whose body carried with it the additional value of sexual allure, and would hunt them down with their finely attuned olfactory sense. Another odor discussed in these texts, the smell of flying ointment, guaranteed invisibility and offered invulnerability to night-time travelers of both sexes which mirrors the phenomenon known in contemporary Latin sources under the term cursus. In these texts, Jewish mystics, before the dawn of the Kabbalah, rewrote the widely known folklore traditions and fairy tales common to both Jewish and Christian cultures in the Middle Ages. The study presented here is therefore aimed to provide insight into a previously underestimated chapter in Jewish esoteric and kabbalistic sensorium, namely, the olfactory experience. [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 from Libri & Liberi challenges the traditional view of fairy-tale space as a passive backdrop and offers a fresh interpretation of fairy tales. The research, based on Grimms' fairy tales, provides a framework that can be applied more broadly. The text also discusses the development of Croatian children's literature, highlighting ideological pressures, the influence of Western culture, and the impact of new technologies. It emphasizes the importance of national children's literature in reflecting society and explores topics such as Muslim culture representation and publishing trends. The article concludes with a discussion of the challenges and tasks of researching and promoting Croatian children's literature. Overall, it offers innovative readings and valuable insights for researchers and individuals interested in the field. [Extracted from the article]

This review discusses two books related to literature. The first book, "Unveiling Grimms' Tales: Narrative Space Re-envisioned" by Nada Kujundžić, examines the narrative space and spatial transference in the fairy tales of Jacob and Wilhelm Grimm. The author introduces a new category called "the domain" to better understand the unique characteristics of these tales. The second book, "Hrvatska dječja književnost okreće list" by Berislav Majhut, focuses on the history of Croatian children's literature and offers fresh interpretations and periodizations based on publishing policies and reader practices. The author explores unexplored areas and identifies discourses influenced by historical circumstances and ideological preferences. Both books provide valuable insights for scholars and researchers in the field of literature. The first chapter of Majhut's book specifically addresses common misconceptions about Croatian children's literature, shedding light on areas that have not been thoroughly examined. This chapter offers a diverse and respectful perspective for library patrons interested in researching Croatian children's literature. [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.

The fairy tale tradition of Cinderella in folklore (ATU 510) and the medieval Breton fabliau of a magic chastity-testing cloak, known as Le Mantel mautaillié (The Ill-fitting Cloak), and its various analogues, do not seem to have much in common at first. However, both the tale type and the medieval narrative contain an intriguing episode about an item of clothing – a delicate slipper, or a magic cloak – which perfectly fits only one particular woman. This article will show that Icelandic medieval literature and modern fairy tales sharing the image of a colourful fleeced ram are at the crossroads of Cinderella and the mantle tradition, and will help bring them into mutual illumination. [ABSTRACT FROM AUTHOR]

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]

Die Forschung der Buchmärchen gibt der volkskundlichen Forschung eine Chance zur Erschließung von verschiedenen interessanten Prozessen des Kulturtransfers. Neben einem philologischen, historischen und kulturhistorischen Wert haben georgischen Übersetzungen der Kinder- und Hausmärchen der Brüder Grimm eine besondere Bedeutung für die Erzähltradition dieses Landes. Die archivalischen Quellen des neunzehnten und zwanzigsten Jahrhunderts bestätigen eine Aufnahme der europäischen Buchmärchen in die georgische Volksdichtung. Der Aufsatz handelt von georgischen volkstümlichen Nacherzählungen zweier Märchen der Brüder Grimm: Die Bremer Stadtmusikanten (KHM 27) und Der treue Johannes (KHM 6). The study of the books of fairytale gives folklorists a chance to occur various interesting processes of culture transfer. Amongst philological, historical and cultural-historical values, the Georgian translations of the Children's and Houshold Tales by the Grimm Brothers have a special meaning for the narrative tradition. The Georgian archival sources of the nineteenth and twentieth centuries confirm that European fairytales were included in Georgian folklore repertoire. The article deals with two fairytales by the Grimm Brothers: The Town Musicians of Bremen (KHM 27) and The Faithful Johannes(KHM 6). [ABSTRACT FROM AUTHOR]

This article contains the unpublished Syriac text of the Story of the Dog Who Talked. Put down in writing by the West Syrian monk ʿAzīz bar Ṣlīḇā bar Bassūs in the year 1503, the Story is, arguably, the earliest datable specimen of the fairy tale genre of folklore attested in the Syriac language. The text of the Story , published on the basis of manuscript Mardin, Church of the Forty Martyrs, 350, is accompanied by an English translation and discussion. [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 .

This document provides a list of recently submitted books in various fields of study. The books cover topics such as weatherlore, folk horror, comedy in contemporary culture, unstable narrative worlds in German and French literature, symbolism in folklore, myth theory, and political fairy tales. The list includes information about the authors, publishers, publication dates, page counts, and illustrations. Additionally, it mentions three books from the previous year that focus on fairy tales. [Extracted from the article]