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The article presents seven archetypical fairy tales composed to reflect the inner dynamics of some of the most common clinical cases in the practice of child and adolescent psychiatry. These seven stories provide seven collective archetypal images of child suffering. When clothed in a story, the pain is more bearable to live with and to deal with even in the most difficult environment.

The article is devoted to the peculiarities of communication on the Russian-speaking segment of the social net Instagram. The aim of the article makes the analysis of diminutives - the words with diminutive-hypocoristic suffixes. In course of the study, over 250 users pages of Instagram were analyzed, and the most high-frequency lexemes were chosen. The derivational analysis was carried out to sort out the groups of relevant suffixes, and such a phenomenon as the synonymy was revealed. As is proved, despite different formal expression, all suffixes of diminutives bear diminutive-hypocoristic (or just hypocoristic) meaning which helps express subjective positive evaluation in respect to the environment, and demonstrate emotions (also positive) in course of communication. As is marked, the use of diminutives on the social net is not an occasional occurrence, its one of the significant exponents of the world view of the Russian-speaking people. The demand of language bearers for the diminutives witnesses of their high linguistic potential allowing the forms to create aesthetical communication over the Internet virtual space.

The article discusses some aspects of the reception of Oscar Wilde’s fairy tale The Selfish Giant by the Russian symbolist poet and translator Ellis (L.L. Kobylinsky; 1879–1947) as reflected in archival sources and memoirs of his contemporaries. Particularly, Ellis’ participation in theatre performances for children and his interest in the forms of juvenile literature are considered within the framework of his overall poetical activities. Among these plays, a piece entitled The Garden of the Giant which is based on Wilde’s tale The Selfish Giant is to be mentioned first and foremost, since Ellis himself attributed great importance to this work making several attempts to publish it separately and even trying to convince a Moscow modernist publishing house Musaget to implement his rather extraordinary plans. The article also attempts to demonstrate that Ellis’ passion for Wilde’s literary heritage can be traced in his own subsequent work as his second collection of verse Argo (1914) proves it. As, I argue, its first section entitled Snuffbox with Music has been developed under the influence of Ellis’ previous work on juvenile performances, which manifests itself in dedications, the texts of the section borrowed from the juvenile plays as well as through the motivic structure of this cycle.

The article is based on the results of the expedition research in 2018. It examines oral prose records of Chinese Buryats. The most impressive volume of these records includes the texts of fairy tales performed by Sebeenei Nordoboy Erdeni who is a local historian, an enthusiast for collecting oral creative art of Buryats. Twenty-nine fullfledged fairy tales have been recorded from him. The essay systematizes and groups into tentative blocks tales with a developed plot and detailed structural elements. The main principle of the fairy tales classification is the function of main character. Based on this principle, I classify the available material as the following six categories: heroic fairy tales, magic-fiction fairy tales, short stories, domestic fairy tales, cumulative fairy tales, and fairy tales containing mythological elements. Recorded from a talented shenekhen performer, this story-themed fund of fairy tales has variety and contains complete texts with artistic merits. The analysis made it possible to draw a conclusion: recorded in 2018, the oral prose of the Buryats of Inner Mongolia of the PRC, mainly represented by fairy tales, goes back to the traditional folklore of the Buryat ethnic group. The original performance of fairy tales and their main plot basis have not undergone any significant transformation. This instance was facilitated by several objective factors. One of them is that the Chinese Buryats, who found themselves isolated from the mother ethnic group, consciously, or perhaps unconsciously, chose to keep a traditional way of life in a closed ethnic circle.

The classification and systematization of some magic tales of the Khoshuts of the Xinjiang-Uigur Autonomous Region of China for the first time is presented on the basis of the Aarne-Thompson-Uther catalog and the “Comparative Index of Plots: East Slavic Tales”. In the “Comparative Index of Plots” the names of thematic sections from the Aarne-Thompson catalog and numbering are stored. For plots that do not have parallels in the Catalog, the authors introduced new numbers. The material for the study was the texts of Khoshut fairy tales published in the Collection of Folklore Works of Khoshut County on the Oirat script “Todo Bichig”. For comparison, the texts of Kalmyk tales published in the collections “Kalmyk Tales”, “Tales of Sanji Butaev” and “Keeper of the Wisdom of People’s Shan Boktaev”, as well as personal field materials of the authors were used. Comparison of fairy tale plots with indicators contributed to the classification and systematization of certain plot types of Xinjiang Khoshut magic tales: “A wonderful spouse (spouse or other relative)” (400-459), “A wonderful task” (460-499), “A wonderful assistant” (500-559), “A wonderful item” (560-649). It is noted that the similarity of plots with Kalmyk tales indicates a single national folklore fund. As a result of the analysis, interpretations and differentiating elements of some plots of Xinjiang Khoshut magic tales related to their local tradition were established.

The article deals with the verse specificity of R. A. Kudasheva’s poetic works, considered on the material of her 12 fairy-tales for children of the early 20th century. The analysis aims to clarify the preference and artistic functionality of the metrical-rhythmic, phonic and strophic forms used by the author in order to give an idea about the content-aesthetic position of Kudasheva and about the place of her unexplored heritage in the history of literature. Conducted on the basis of the comparative-historical approach, this research focuses on the concepts, methods and results of the modern studies of verse, especially those of M. L. Gasparov and his school. The conclusions obtained present a number of functionally significant features of Kudasheva’s poetics: 1) increased attention to the rhythmization of poetic texts in traditional forms, most suitable for children’s perception (in the use of classical syllabo-tonic meters with a pronounced variety of their metrical-rhythmic modifications; in addressing only rhymed verse, including sufficient and mostly accurate rhymes, – against which single consonances and blank lines perform the role of interruptions, carrying a plot-organizing composition function; in the preference for stanzas); 2) the choice of the verse meter of the poem with a certain system of endings typical of the late 19th century Russian poetry tradition of semantization of metrical and rhythmic forms – and their creative implementation in the plots of fairy-tales; 3) agreement and integration of Russian and Western European poetic traditions in the process of genre formation. The abovementioned trends are purposive in nature and express Kudasheva’s authored position: to support and develop her most important idea of harmony formulated not only in the plots of her fairy-tales but also through a system of verse forms. The results of the study conducted in this article can be used in research and teaching activities related to the study of the formation and development of children’s literature.

July Thunderstorm by A. Platonov is infrequently found in the zone of researchers’ attention. A few pages in the monograph by N. V. Kornienko examine July Thunderstorm in the context of Platonov’s late prose, and the story receives a more specific analysis in the articles by K. Walker (as an intertextual reference to A. P. Chekhov’s novella The Steppe) and N. Vlasova (within the context of children’s literature). The article by N. P. Khryashcheva analyzes July Thunderstorm from a perspective of Orthodox iconography. This article scrutinizes a fairy-tale genre model being transformed in July Thunderstorm. The story contains such fairy-tale elements as a dangerous journey, obstacle negotiation, self-sacrificing love, magic assistance, and a happy ending. The story’s plot is focused on the little protagonists’ way through the storm to their parents’ home. The year of the story’s creation, 1938, is emphasized as revealing the author’s biographical plot connected with the arrest of his young son, Platon. The research shows how the writer integrates the “filial” plot into the story the title of which evokes cheerful emotions as being associated with F. I. Tyutchev’s poem Spring Thunderstorm. The motif of the children who got overtaken by a natural storm reflects Platonov’s anxiety for his own son’s destiny. The author artistically “corrects” the real situation in the Soviet country when picturing wealthy life in the village and the collective farm which turns Platonov’s story into a “Soviet fairy tale”. The analogy with fairy-tale is particularly highlighted by contrast with the harsh reality of The Foundation Pit. At the same time, the analysis of the little protagonists’ images leads to the conclusion that they lost the traditional national values of the rural lifestyle symbolized by Grandmother’s home. Instead, the collective farm house becomes their motherland. So, there appears the motif of the lost/forgotten paradise in the story’s plot. Within the context of Platonov’s biographical drama, the happy ending becomes the artistic way to cast a spell over the author’s own destiny.

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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 deals with analysis of genre of the novel of Julio Cortazar «Rayuela» by utilizing narrative strategies. The topicality is caused by number of the researches devoted to the novel of the Argentina writer, but the insufficient analysis of his main work in terms of its genre accessory. The genre peculiarities and non-specificity is the point at issue of lit-crits for a long time. Some of them took notice of peculiarities of textual space of the novel, the key words that can aid to investigate the mythopoetic of the novel without evident conclusions. We cannot see the analysis of the text and the main character through the lens of narrative strategies. So we use the method of narratology as the main one. The main character — the Argentinian refined person Horacio Oliveira — wants like the devil to break away. The space of Paris is presented here as the hostile one. Infinite gloominess, the rain, the algidity gave credence to infernal essence of Paris, although the French capital always is presented as paradise for Julio Cortazar and for his equals in age. Horacio Oliveira's image becomes symbolical one for Cortázar who represented in it a generalized character of the Argentina intellectuals; they were obsessed with so-called «Judas's complex». This one becomes distinctive feature of the Argentina picture of the world of the second half of the XX century as many representatives of the Argentina intellectuals believed that their silence and inaction provoked mass repressions at the time of dictatorship. So nobody can survive in paradise as deserving of existence. The novel presents the semiotics of the space of Paris, tooltip balloons, key words as the fairy tale ones, so we can say about creation of the folk novel.

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.

This article deals with the etymological analysis of the god name Pripegala mentioned only in the epistle against the Pagan Slavs, written by the archbishop of Magdeburg Adelgot (1108) which characterizes the cult of this deity of the Veleti-Lutici as very cruel. The authenticity of this record is considered to be doubtful. A great number of etymologies have been proposed for this theonym; all of them, however, are based on a mere phonetic similarity (mostly rather approximate) and are not reliable. Only M. Žunkovič's briefly presented hypothesis (*Priběgala connected with Sl. pribеg 'defense, asylum', in the supposed meaning 'sanctuary') can be accepted both because of the fact that this lexeme is really attested in the Bulgarian anthroponymy and from the phonetic side (cfr. the analogical change b > p in some medieval German place names), but it is unsatisfactory from the word-formative point of view. The author explains this theonym as a nomen agentis derived from the verb *priběgati 'come running' by means of the suffix -lo or -lа and compares it with the Belarusian mythonym tsar Pabjagaj (- dzed Sivavaj), a fairy tale character whose image would be interpreted as a transformation of the image of the god Velesŭ/Volosŭ - the Thunderer's rival in the principal Balto-Slavic myth. Consequently, the name of Pabjagaj is explained as a taboo denomination referring to the plot of the same myth, according to which, Velesŭ had to run off Perun who pursued him. The same motivation is very probable for Pripegala as well: the information narrated by Adelgot closely corresponds to what is known about the cult of Velesŭ/Volosŭ among the East Slavs and of his Baltic counterpart. It is remarkable that the name of the Veleti itself is cognate with the theonym Velesŭ. [ABSTRACT FROM AUTHOR]

Вилка Л. Радужный храм детства: жизнь и творчество Зирки Мензатюк. В статье анализируется творческое наследие известной украинской детской писательницы Зирки Мензатюк. Мы хронологически рассматриваем рост ее как автора, анализируем лучшие ее творческие достижения, рассматриваем тематику и основные мотивы ее текстов. Писательница интересна тем, что ее произведения для детей носят дидактический характер и призваны развивать юное поколение не только духовно, но и умственно. Ключевые слова: детская литература, приключенческая повесть, сказки, легенды, история Украины в сказках, развитие ребенка. Vylka L. The Merry Temple of Childhood: the Life and the Works of Zirka Menzatiuk. Children’s literature is that spe- cial seed from which the field of every soul will depend on in the future. If a good and high-quality seed is planted, then the harvest will be rich and bountiful; filled with erudition, a mode of thinking, a level of abstraction and tastes. We have taken upon ourselves the small challenge of introducing the literary circles with the wellknown writers of Bukovyna. This time we want to bring to your attention a talented multipotentialite, a publicist, a prosaist, and a devoted writer for the young and teenage audience – Zirka Menzatiuk. The aim of this work is: to analyse the literary heritage of this famous Ukrainian writer, to immerse into the beginnings of the creative talent of Zirka Menzatiuk, to feel the power of her artistic word and the mightiness of yet unaccomplished plans, to examine the life of the author, to seize the theme of her works and the impact of folklore on them. Taking into consideration the author’s style, content and target audience, we can say with confidence that the original creative mission of Z. Menzatiuk is not only to submerge her reader into the imaginary kingdom of unordinary images of childhood, but to bring in a light, interactive writing style, a mountain of knowledge, historic facts and life lessons. The main task of her work is didactic learning, which according to the author is fulfilled through a good book that develops the child. The article examines the writer’s biography, her best-known books, their main ideas, characters and images. A lot is said about the didactic character of Z. Menzatiuk’s writings, her aspirations for making the little ones and the youth more opened to learning, to interest them into learning the many facts of history and the presentday Ukraine. We diachronicly considered the most important life and crea- tive events of the writer-fairy-tales, whose roots and amazing color in the images, flooded with proverbs and proverbs, language, stretched out their solid creative veins from our Bukovina, rich in talents of the earth. Key words: children’s literature, adventure story, fairy tales, legends, the history of Ukraine in fairy tales, the development of the child.

The article is devoted to the necessity of preschool sociocultural milieu. The article gives an example of creating such milieu in the “Colorful planet” program which offers a bilingual and bicultural interaction between children based on the folk fairy tales in different languages.

This article focuses on one of the most popular plots in fairy-tale culture (the plot involving the protagonist Tom Thumb), and tries to explain this popularity through the cultural archetypes that are expressed in the fairy tale. The author analyzes fairy tales of different nations involving this particular character and draws a boundary between the literary fairy tale, which is a transformation of old French fairy tales written by Charles Perrault, and different variations of literary fairy tale written by the brothers Grimm. The research shows that it is impossible to apply Propp's method, which allows the plot to be analyzed in regard to functions and character types, to the analysis of this fairy tale. The author assumes that the fairy tale about Tom Thumb may not be regarded as magic for various reasons. On the other hand, it may be treated as an animal tale, which in Propp's approach is assumed to have a different structure from a magic fairy tale. The researcher draws a conclusion about the different archetypes that serve as the basis for Perrault's literary fairy tales, and the numerous variations of the plot which we may relatively denominate as "Grimms' plot." Furthermore, in folk tales having Grimms' plot, Tom Thumb simultaneously performs the role of cultural hero and the role of a trickster. This is absent from Perrault's fairy tale, because the propaganda of moral values and a distinct didactic character are traditional features of French fairy tales. [ABSTRACT FROM AUTHOR]

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