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Storytelling is an aspect of research that has gathered significant popularity but is less commonly discussed in the context of student feedback. This paper focuses on how it can be applied to improve a dialogue and relationship with the student so that their learning can be understood in more depth. Forty-seven undergraduates studying an Early Childhood degree in England shared their stories and analysis indicated a synergy between the content, the patterns and themes that are found in fairy tales. This framework led to a deeper insight into the factors that impact their learning experiences. Three structures found in fairy tales are described in this paper; 'contractual', which explains how rules that reflect the values of the individual are shaped by society and culture; 'performative', that communicate emotions experienced during struggles and challenges; and 'disjunctive', that describe the journey of change and transformation within the story (Greimas AJ (1983) Structural Semantics. Lincoln: University of Nebraska Press). Within each story the author identified examples of aspects that were strange and familiar and others that were familiar, yet strange, uncovering students' priorities and uprooting the writer's hidden assumptions (Bruner J (2003) Making Stories: Law, Literature, Life. Cambridge Massachusetts: Harvard University Press). The paper concludes that when lecturers analyse storytelling in this way it becomes a dialogue that contributes to relational pedagogy. [ABSTRACT FROM AUTHOR]

Das Geschichten-Erzählen erfüllte eine vielfältige Aufgabe für die Gesellschaft, vor allem innerhalb der Erziehung, durch die Weitergabe der Erfahrungen, des Wissens und der Werte der älteren Generation an die Nachgeborenen. Von den heute vorherrschenden Zugängen der Inszenierung der Vorzeit lassen sich Visionen von "âges farouches" oder von einem "âge d'or" (365) unterscheiden, wobei die Darstellung der Vorzeit als eine Art verlorenes Paradies sich erst in der neueren Produktion ab dem späten zwanzigsten Jahrhundert niederschlägt, alle Beispiele aus dem neunzehnten Jahrhundert präsentieren eine ständig um ihr Überleben kämpfende Menschheit (365). Unmissverständlich stellt er die Lügen und Täuschungen der Fälscher und Betrüger bloß, der Meerfrauenpräparatoren, der Skelettmanipulatoren sowie der nicht wenigen, die Fotos vom Ungeheuer von Loch Ness gefälscht haben. Das reicht vom assoziativen Erzählen an Erzählabenden bis zum bedachteren, langsameren Erzählen, das z. B. durch das Pausenmachen bei der Mitschrift bedingt wurde, aber ebenso von den jeweiligen Erzählpersönlichkeiten abhängig war. [Extracted from the article]

Der Beitrag widmet sich einem allegorischen Märchen vom Zarewitsch Chlor, das Katharina II. für ihr Enkelkind schrieb. Diese Kuriosität der Literaturgeschichte gilt nicht nur als das erste Kinderbuch überhaupt, das aus dem Russischen in andere Sprachen übersetzt wurde, sondern auch als das erste Kunstmärchen einer deutschsprachigen Autorin. Neben den märchentypischen Motiven und der Selbstinszenierung von Katharina II. rückt die europaweite Rezeption des Märchens in den Fokus. The article is devoted to a curiosity in the history of literature. The allegorical fairy tale written by the Empress Catherine II. for her grandson was the first children's book ever translated from Russian and at the same time, the very first fairy tale ever written by a German speaking female author. The article traces its European reception and aims to provide insight into its commercialization on the book market. Special attention is paid to the activities of translators, publishers and literary critics but also to the way the illustrious author staged herself. [ABSTRACT FROM AUTHOR]

In the paper, I investigate the use of folktales in the historical legitimization of a particular type of socio-political transformation: Yugoslav self-governing socialism. In this respect I address a less researched and complex topic, while the Yugoslav ideology of self-governance, compared to other 20th century political ideologies, was based on discontinuity - a break with tradition and the past. In order to sharpen the specific function of the narrative tradition in Yugoslav socialism and on the basis of the sociological theory of fairy tales and Walter Benjamin's insights into the role of the narrative tradition, which he reflected on as a transhistorical medium for the transmission of collective experiences - I have devised a research approach that differentiates the epistemic and ideological function of fairy tales. I test this approach via the example of the appropriation of folktales in the Third Reich and Soviet communist regime, and then turn to an analysis of these mechanisms in the context of Yugoslav self-government. On the basis of various theories and understanding of Yugoslav selfgovernance (E. Kardelj, J. Županov, P. Matvejević, D. Suvin, B. Jakovljević etc.), I put forward that the tradition in the latter was expressed in the prism of an alienation effects. I illustrate this with an extensive comparative and transhistorical analysis of the fairy-tale motif of The Gigantic Turnip, especially its unusual Slovenian version which can be perceived as a critical commentary of the socialist motto "together we are stronger". In the conclusion, I reflect upon the theoretical consequences of the Yugoslav self-governing project from the point of view of the theory of societal transformation, and connect this topic to the dilemmas concerning contemporary risks such as the climate crisis, which have no historical equi valent. [ABSTRACT FROM AUTHOR]

One T housand a nd O ne N ights i s a collection of fairy tales composed of a frame narrative and its surrounding tales. With their translation into Western languages, these tales, which represent Eastern literature in terms of their origin, became recognized in the West and occupied a prominent place in world literature. These tales have influenced and inspired numerous authors from both the East and West. It can be observed that a variety of literary works have directly or indirectly been nourished from this collection. Two famous and prolific Modern Arabic Literature authors, Tawfiq al-Hakim and Ali Ahmed Bakathir, also composed a play inspired by these tales. al-Hakim presented the reader with a fictional account of what occurred after the one thousand and first night in Scheherazade, one of his over seventy fictional theatrical works. Shahriar transformed into a completely different person through Scheherazade's tales in this work. This king, who had experienced all kinds of material pleasures in the past, now pursues knowledge and desires to transcend the limits of space. Bakathir, who contributed significantly to Arabic theater in addition to his poetry and novels, wrote over forty plays. One of these compositions, "Sırru Şehrâzâd", was inspired by the frame story of One Thousand and One Nights. By incorporating a contemporary interpretation into his work, the author transformed the frame story based on the infidelity of women into a new work of fiction. Accordingly, the first wife of Shahriar was portrayed as an innocent woman in the work Sırru Şehrâzâd, and the plot was based around this characterization. In this study, general information on the original One Thousand and One Nights was presented first, followed by a literary analysis of the aforementioned theater works by al-Hakim and Bakathir, and a comparison of the character of Scheherazade in the works of both authors. [ABSTRACT FROM AUTHOR]

In the four chapters of her book, Christy Williams presents a tightly written and thoroughly researched cross-border study of modern fairy-tales presented across media. Williams emphasises that the understanding of fairy-tales as interconnected is central to her study, where certain metafictional narrative techniques are examined on how these transform the fairy-tale genre into a geographic landscape on a diegetic level (p. 2). Williams interprets the first placement of fairy-tale characters in new time and space conditions as a transformation of fairy-tale genre into a fictional geography. [Extracted from the article]

The monograph "H. C. Andersen as a cultural icon" by Anne Klara Bom examines the cultural phenomenon of H. C. Andersen as an icon. The author uses the term "icon" in the sense of Mieke Bal and analyzes the relationships between expression and content, as well as between objects and their environment. She also discusses the myths surrounding H. C. Andersen's sexuality and his role as a fairy tale and children's book author. The study criticizes a nationalist appropriation of Andersen and highlights his global significance. [Extracted from the article]

Little has been written on the figure of the Jew in traditional European fairy tales. Andrew Lang's The Blue Fairy Book (1889) opens with a little-known fairy tale, "The Bronze Ring," which features a wicked, sorcerous Jew as an antagonist. This essay examines the publication history of this tale and places the figure of the wicked Jewish magician in the context of traditional European Christian antisemitism as well as that of the British reaction to the waves of Ashkenazic Jewish immigration to England in the late nineteenth century. I conclude with a consideration of the role this story plays in the imperialist project of the colored fairy books. [ABSTRACT FROM AUTHOR]

Director Mary Harron's 2011 film The Moth Diaries is a study of adolescent friendship, a vampire tale, and a story of female self-harm. The sensitive subject matters Moth considers, from self-harm in suicide and anorexia to passionate female companionship, intersect and intertwine where sexuality, death, and alimentary consumption are regulated through the normative discourses influencing their representation in cinema. Moth 's narrative contours involving two suicidal adolescent girls, one of whom chooses to live, are familiar in heteronormative Anglo-American cinema, yet Harron's supernatural take and its emphasis on female friendships' role in the protagonist's recovery marks a feminist view on the topic. Main character Rebecca is influenced by her father's suicide, and offered a rescue through heterosexual romance, yet with the help of the vampire and her allusions to ATU 720, "The Juniper Tree," Rebecca gains agency and frees herself. Using crucial scenes and an interview with the director, we deconstruct the film's gendered visual economy of representation, rendered by Harron as a feminist resisting more conventional depictions. We see Moth , in its figure of the woman (sometimes lesbian) vampire, and in references to fairy tale, refusing a conventional understanding of young women's self-harm and recovery in passive, heteronormative modes. [ABSTRACT FROM AUTHOR]

In today's world, nature is not sufficiently recognized by children, most of whom live in cities. One of the elements that undertake the task of introducing nature to children who do not have the chance to observe nature closely is books. Children's books are among the means by which the first acquaintance takes place in this process. The subject of nature, which is covered in children's books, which has many purposes such as educating children and providing them with a fun time, contributes to the development of nature consciousness and being sensitive to the environment. A nature problem in the book helps the child to develop problem-solving skills, to love nature and to gain awareness of nature, while also making him aware of what to do when faced with a possible situation. As a result of the literature review, it is seen that the subject of nature and environmental awareness are intensively discussed in different education levels, in children's books and in different disciplines. In this study, from Estonia to Japan; It is aimed to determine whether Summer Tales, translated and brought together by Tarık Demirkan from Finland to Turkey from all over the world, are suitable for the deep ecology approach. In the study, in which the document analysis method was adopted, the data obtained from Summer Tales were evaluated with descriptive analysis. The findings are composed of animals (quailpartridge, cow, bird), plant (flower, vegetable, tree), water, sky (sun, star, cloud), air (rain, wind) and others (season, day and night). collected in six categories. As a result; It has been determined that the Summer Tales examined in the study are designed appropriately for children and are suitable for the deep ecology approach in terms of content. It has been concluded that there are messages in the fairy tales that will enable the child to be conscious of nature and create awareness. In this respect, it would be beneficial for children to read the book. Other books in the series, compiled and translated by Tarık Demirkan and illustrated by Feridun Oral, are also recommended to be evaluated in the context of deep ecology. [ABSTRACT FROM AUTHOR]

This essay analyzes the cultural aspects in the animated series Disenchantment, conducted by Matt Groening for Netflix in 2018. The series is carried out based on the cultural model for the millennial generation established by Carolina Delamorclaz in her PhD thesis (Universidad de Castilla-La Mancha, 2020). The theoretical approach to this production allows us perceive the complexity of the contemporary world in terms of otherness, racism, debates about gender, sex and deconstruction of meta-stories such as fairy tales. [ABSTRACT FROM AUTHOR]

Anonymous texts such as fairy tales, epics and folk tales are the products of the common (collective) unconscious that reveal the beliefs, experiences and social rules of a nation bringing since ancient times using a symbolic language. In this context, the discovery of the fourth manuscripts of the Book of Dede Korkut which is known to have three manuscripts until recently, is accompanied by the determination and explanation of the spiritual existence revealed by the Turks is very valuable in terms of revealing its contribution to world culture. Hermeneutics was concerned with the recovery of the "true meaning" of the text by making critical studies on the different versions of the Christian scriptures in the 17th century and was began to be expanded to apply to literary texts in the late 18th century. The two basic concepts of hermeneutics are "understanding" and "interpretation" are always related to each other. In hermeneutics, the meaning of the text is not something to be searched for but something to be constructed. While interpreting the text, the language of the text - hermeneutics is mostly concerned with written texts and is preferred that the text to be interpreted is written in the mother language - and the "commons environment" (collaborative sphere, objective spirit) in which the text is written should be taken into consideration. Because in Dilthey hermeneutics, spiritual life has the character of "historicity". In this study, "The Epic Story of Salur Kazan Kills the Seven Headed Dragon" in the fourth manuscripts of the Book of Dede Korkut, will be tried to be interpreted using the hermeneutic method. During the application of this method, attention was directed to the literary text itself for correct interpretation. It is noteworthy that there are semantic gaps in some words/word groups and expressions during the first reading of the text: Although Kazan defeated a hundred thousand enemies who came upon Kazan, he goes to hunt alone, not with his valiants, and this state of being "alone" is emphasized. He thinks the lights he sees in seven different places are the lights of his own army, but it doesn't make sense for a successful commander to be disoriented. When he sees the sleeping dragon, he calls it as "hero" and instead of killing it immediately, he awoke it by shooting an arrow. Just as the dragon is about to swallow Kazan, a "rock" suddenly appears between the two of them and Kazan prevents the dragon from swallowing him by moving into a secluded part of this rock. Kazan's eye bleeds from the dragon's majesty and Kazan attempts to gouge out his own eye. Learning how to deal with the dragon from his lala, Kazan puts the dragon's head off on his own and made a sheath for his weapons, a cover for his horse and a shade for his tent with the dragon's skin. Answering these questions to these expressions by directing "Why?/What?" questions and taking into account the "collaborative environment"/"objective spirit" created by the Turks over the centuries, will help to reveal the meaning of "The Story of Salur Kazan Kills the Dragon". In the text of the work, we will regard Salur Kazan as consciousness and the dragon as alien/other. Encountering with the stranger/other is necessary for consciousness to realize its limits. The consciousness that encounters the stranger will either be swallowed by the other or be reborn ontologically by reconciling with the other. [ABSTRACT FROM AUTHOR]

Formula tales are narratives with their own characteristics that are included in Stith Thompson's tale classification, after animal tales, real folk tales and humorous stories, between the numbers 2000-2399. When compared with other tales, studies on formula tales are very few. The reason for the limited studies on formula tales is that these tale examples are less than other tales. However, the lack of various examples of such tales in very different forms and contents is one of the reasons explaining the scarcity of studies on this subject. Formula tales attract attention with their structural features based on a formula when compared to other tales in the tradition. This formula is obtained by combining the events and persons of the fairy tale together with chain dialogue and repetitions. In such tales, what is important is not the content, but the way events are expressed. Therefore, the main thing in formula tales is not what is told, but the way of expression. Therefore, the ability of the formula tale teller to use language and the strength of his memory are important. Formula tales that are constructed not to reveal any idea, but to improve the memory, language and expression skills of the tale listener have the function of revealing the memory powers and language skills of adults, as well as being effective in providing the mental development, improving language and speaking skills of children. Whether it is a child or an adult, the most comprehensive function of formula tales for both the listener and the narrator is the fun and entertainment function. When formula tales are examined, it is revealed that they are structurally similar to rhymes, especially to children's rhymes. When we look at the structure of such fairy tales, it is seen that the events are connected to each other in a chain way, progress in the form of dialogues and the "repetition" element attracts attention. With these features, it is seen that the formula tales are similar to the "rhymes" in the "tongue twister or nursery rhyme" style. This structure of formula tales is a distinctive feature from other tales and brings it closer to the rhymes mentioned. Because, repetition and memory elements are important in rhymes, as in formula tales, and the way it is said attracts attention rather than its content. Context is the reason why formula tales that approach the aforementioned rhymes due to their form are evaluated in the category of tales, not rhymes. The subject of the article is the formula tales that are intertwined with rhymes and the structural similarity of these tales with rhymes. The aim of the article is to determine the structural features of these tales and to reveal their similarity with rhymes, based on the formula tale texts identified in the Anatolian Turkish tales. For this purpose, formula tales and rhymes were examined using the "comparative method", and also the structural similarity of these two types and their functions in the performance environment were evaluated using the "functional method". It is thought that the structural similarity of formula tales and nursery rhymes may be the result of an interaction between these two genres. Although the contexts of the two genres in question are different, the idea that narrators and performers take common structures and formulas from these different contexts of the tradition and perform them in different ways, that is, as a formula tale or rhyme, has been effective in reaching this conclusion. This relationship between rhyme and formula tale discussed in the article showed through formula tales that rhyme is a dependent genre with a certain function in other genres or contexts rather than being an independent genre. [ABSTRACT FROM AUTHOR]

In his engaging volume on fairytales, George MacDonald wrote that the purpose of a fairytale is "not to give the reader things to think about, but to wake up things that are in him." By contrast, many works of art, including contemporary musical compositions, are accompanied by statements of "things to think about," such as didactic program notes by the composer on pet social justice issues. This essay explores what can be done in a piece of music to "wake up things" already in the listener. These include invoking something familiar in the musical style, using essential building blocks of beauty in constructing the music, and providing a teleology of purpose and narrative flow in the music, in contrast to modernist trends that eschew these things. The essay explores also how and why these "awakening things" can and should be accomplished. [ABSTRACT FROM AUTHOR]

The article focuses on the Canadian plays which are diverse in terms of topics, theatrical styles, and intended audience. It mentions that Jordi Mand's "Brontë: The World Without", a play about the three Brontë sisters, whose father was a curate in Haworth in West Yorkshire. It also mentions "Amaryllis" and "Little Witch" two contemporary fairy tales for young audiences written by Pascal Brullemans and translated from French by Alexis Diamond.

The present article is based on information from the fields of cultural anthropology and folk literature. In the beginning, details about the main characteristics of the people with special powers are given. Then the features of Rohmans from the Romanian beliefs have been synthesized. Their image combines concrete data from the novel Alexandria with elements from the autochtonous cult of the ancestors. The way Romanians perceive Solomonians gathers components from several layers: mythical, religious and historical. The fairy tale characters who traveled to the other world are either helped by other beings with miraculous powers, or return to their world because they cannot overcome their mortal condition. [ABSTRACT FROM AUTHOR]

Fairy tales are ubiquitous in Australian primary schools. Drawing on a review of key literature, this paper aims to determine the implications of teaching fairy tales in the twenty-first-century primary classroom. Research points to the benefits of including fairy tales as a tool to improve all subject areas of the curriculum. Fairy tales present opportunities to positively engage students through the teaching of social justice and the development of emotional intelligence. The review of literature found that teachers need to be cautious and critical when teaching traditional fairy tales which often perpetrate an outdated, gender-ignorant representation of society, and allow students an opportunity to confront these ideas. The book form of Disney fairy tales can be problematic, particularly the earlier versions, which are criticised for being domesticated, sentimental and overly simplistic. The review has also found that multicultural fairy tales have enormous potential to increase cultural equity in the contemporary classroom, but unfortunately, they do not appear to be easily accessible in Australia. The fairy tale is constantly being reinvented and reimagined to fit into modern society, which has led to the emergence of the fractured fairy tale genre, where a traditional fairy tale is subverted. This review found that when used in a critical and inclusive manner, fairy tales have the potential to be an effective resource to teach primary school students in the contemporary classroom. [ABSTRACT FROM AUTHOR]

This essay compares conceptions of property and ownership in an important Iranian adaptation of "Jack and the Beanstalk" with its English canonical versions. It proposes that these conceptions are inflected differently in the Iranian adaptation in response to the sociopolitical context of the Islamic Revolution of Iran (1978–1979). For support, examples from other Iranian fairy tales, newspapers, and speeches of prominent revolutionary figures of the time have been provided. Finally, it examines whether these conceptions are subversive or subservient to the dominant ideology. [ABSTRACT FROM AUTHOR]

Markus Tauschek betonte einleitend, dass Narrativität nicht nur für die Erzählforschung ein zentraler Begriff sei, es gehe dabei vielmehr grundsätzlich um das Wechselspiel von Faktualität und Fiktionalität. Claudia Willms Beitrag I Narrative Herstellung von immanenter und transzendenter Ethik bei religiösen Antikapitalist*innen i befasste sich mit einem narrativen Milieu, das Erzählen oft als Handlungsmacht deutet, wobei die mehrdimensionalen Erzählungen den Leuten als Strukturierungshilfe dienen. Die nächste Tagung ist für 2023 in Regensburg geplant, das Thema und die Rahmendaten werden beim nächsten Kommissionstreffen besprochen. [Extracted from the article]

Das Märchen nahm zugleich andere Bedeutungen an z. B. im Rahmen der individuellen Biografien der Erzähler*innen (ausgehend von Aurora Milillos Forschungen) und neben anderen traditionellen Erzählgattungen wie Rätsel oder Legende (auf der Grundlage der zuletzt publizierten toskanischen Sammlungen von Gastone Venturelli, Roberto Ferretti und Fabio Mugnaini) sowie Lebensgeschichten oder der oralen Erinnerung an den Widerstandskampf (vgl. Einen separaten Abschnitt dieses Teiles der Veröffentlichung widmet der Verfasser den KHM-Illustrationen und den Nachwirkungen der Grimm'schen Märchen, also der Rezeption, Verbreitung und Medialisierung von den Texten der Brüder Grimm, ohne dabei "die Unterschiedlichkeit der Interpretationsmuster" (504) aus den Augen zu verlieren. Uns muten diesbezüglich die Erörterung von Elfriede Moser-Rath im Artikel I Frau i in der I Enzyklopädie des Märchens i überzeugender an, wo sie auf die Entsprechungen in der altindischen und orientalischen Überlieferung, auf die reiche Ausgestaltung in der mittelalterlichen Roman- und Novellenliteratur usw., und auf die konsequente massive literarische Beeinflussung der mündlichen Überlieferung verweist. An ihnen beteiligten sich Mitarbeiterinnen, Mitarbeiter und Studierende der Maria-Curie-Sklodowska-Universität in Lublin: aus der Dialektologie und der Folkloristik (Leon Kaczmarek, Jerzy Bartmi'nski, Jan Adamowski, Grazyna Zuraw, Stanislawa Niebrzegowska-Bartmi'nska), Mitarbeiterinnen vom Ethnolinguistischen Archiv (Anna Michalec, Beata Maksymiuk-Pacek) und Studierende der polnischen Philologie, der Bibliothekswissenschaft und der Kulturwissenschaft. [Extracted from the article]

Unter seiner Ägide wurde das LUI bald zum unumstrittenen Zentrum eines Modernisierungsprozesses, der die traditionsorientierte Volkskunde 1971 in die neue Institutsbezeichnung "Empirische Kulturwissenschaft" verwandelte und das Institut zu einem Zentrum innovativer Forschung und Lehre werden ließ. Kein Wunder, dass wir das Uhland-Institut liebten und in den nächsten Semestern stets gern dahin zurückkehrten! Das Studium der Volksschauspiele war darüber hinaus sehr "außenorientiert", das heißt, Bausinger ging es auch hier um die Anschaulichkeit der Lehrinhalte, was im Falle des Volksspiels bedeutete, dass wir durch mehrere Exkursionen Anschauungsunterricht erhielten zur Praxis von damaligen Spielthemen und -orten: Beim Hornberger Schießen, beim Tellspiel in Ötigheim und beim Orgelbauer im Naturtheater von Hayingen. Die Arbeit war unveröffentlicht, und das einzige Leseexemplar ging unter den Studierenden von Hand zu Hand, denn es öffnete den Blick auf einen neuartigen Bereich des Erzählens, der nicht durch den Terminus Volkserzählung abgedeckt war. [Extracted from the article]

This paper reexamines the way in which traditional fairy tales depict famous heroines (Little Red Riding Hood, Rapunzel, Cinderella, and Snow White) by comparing them to their "liberated" versions from James Finn Garner's Politically Correct Bedtime Stories. We argue that the greatest value of the modern adaptations of classic fairy tales lies in their enabling us to see the world as a child might, introducing at the same time the grown-up theme of the liberation of women and breaking the pattern of portraying easily led, ineffectual, and vulnerable female characters in children's literature. [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]

Eingangs- und Schlussformeln haben erst seit dem letzten Viertel des neunzehnten Jahrhunderts eine größere wissenschaftliche Beachtung gefunden. Da sie mit dem eigentlichen Märchen in keinem Zusammenhang zu stehen scheinen und in einem gewissen Sinne austauschbar sind, hielt man sie nicht für wichtig. Erst die ‚Entdeckung' der Erzählerpersönlichkeit, die Aufwertung des lebendigen mündlichen Erzählens und die Einsicht in die Bedeutung des Publikums weckten nachhaltig die Aufmerksamkeit für die vielfältigen Funktionen von Eingangs- und Schlussformeln: Sie stiften Kontakt zum Publikum und animieren es, sich als Hörende und Sehende der in der Erzählung evozierten fiktiven Welt hinzugeben und diese nicht an einer außerhalb der Erzählung liegenden Realität zu messen. Ebenso geben die Schlussformeln das Signal, sich mit dieser Realität wieder abzufinden. „Sie bleiben dort, ich aber kehrte hierher zurück." Lewin 1978, 101–107: „Das Meermädchen", hier 107. It was not until the last quarter of the nineteenth century that formulaic beginnings and endings started to attract significant scholarly attention. They had previously been considered unimportant because they do not seem to relate directly to the actual tale and are, in a sense, interchangeable. It was only the 'discovery' of the storyteller as a figure, the new appreciation for living oral narration, and the recognition of the significance of the audience that elicited a lasting interest in the diverse functions of formulaic beginnings and endings. They create contact with the audience and encourage them, as listeners and viewers, to embrace the fictive world evoked in the narrative rather than evaluating it in terms of a reality outside it. Similarly, the closing formulas signal when it is time to accept that reality again. [ABSTRACT FROM AUTHOR]

In this article, I study the underexplored question of breastfeeding in late seventeenthcentury French fairy tales. At a time when wet-nursing was the cultural norm, fairy tales by Charles Perrault, Jean de Préchac, and Marie-Catherine d'Aulnoy trace important shifts in the history of attitudes toward breastfeeding. These tales illustrate examples of breast-feeding that go against the grain of the common custom of wet-nursing and also support this tradition, thus adding to our knowledge about how beliefs regarding maternal breastfeeding began to change at the end of the seventeenth century, paving the way for the Rousseauian ideal of maternity to come. [ABSTRACT FROM AUTHOR]

In this article I discuss the "unnatural" as depicted in experimental Victorian and post-modern fairy tales, and I argue for thinking about cognitive narratology, fairy-tale studies, and a re-elaborated uncanny together. The article showcases how specific Victorian and postmodern fairy tales focus on reshaping fairy-tale tropes in surprising and defamiliarizing ways. I focus on how the complex figure of the mirror, the feeling of wonder and the wondrous features of fairy tales, and the idea of hybridity as a manifestation of complexity and heterogeneity, all contribute to the uncanny in literary fairy tales by Lewis Carroll and Italo Calvino. [ABSTRACT FROM AUTHOR]

Feminist scholars have criticized the misogyny of folk/fairy tales that recount how "willful" princesses who refuse to marry are reformed or punished. As a result, contemporary authors of fairy-tale picturebooks tend to alter or not incorporate the forced marriage theme when engaging with these tales. Yet, the trope of the "willful" princess whose will is "straightened" is still operative in recent fairy tales. Through a multimodal analysis of La bella Griselda (Beautiful Griselda , 2010) and De gouden kooi (The Golden Cage ,2014), I show how these fairy-tale picturebooks reiterate the harmful dynamic of reforming or penalizing a "willfully" agentic princess. [ABSTRACT FROM AUTHOR]

While Disney's sleeping heroine films— Snow White and the Seven Dwarfs (1937) and Sleeping Beauty 1959)—are often dismissed as repeating a capitalistic narrative, the rapid acceleration of environmental degradation across the globe is grounds enough to reexamine both films with an ecocritical lens. Using an interpictorial approach, this article offers a new way of viewing how nature was constructed in the films' storyboards while tracing connections with period-specific advertisements. Illustrations of wild nature expand the possibilities for troubling Disney's brand of villainized wilderness. But period advertisements implicate humankind's growing responsibility for the harm done to the planet. [ABSTRACT FROM AUTHOR]

Similarly to the fairy-tale web, legend webs constitute shared worldviews and self-reflexive critiques of worldviews for tellers, writers, auditors, and readers of legends and legend-based narratives as found in literature and mediated narrative. This article examines Karen Joy Fowler's engagement in legend webs in her novels Sarah Canary, The Sweetheart Season , and Sister Noon. Fowler incorporates numerous historical and contemporary legends, sometimes including supernatural motifs, highlighting the operation of ostension (acting on belief in legend) as a form of epistemological inquiry and societal critique. Legend webs create an aesthetics of curiosity, parody, and doubt. [ABSTRACT FROM AUTHOR]

Forthcoming in New Perspectives on Angela Carter , edited by Sarah Gamble and Anna Watz, the full interview features four women writers who acknowledge Angela Carter's influence, work with the fairy-tale genre, and live on three different continents. In this excerpt, Intan Paramaditha, Sofia Samatar, Veronica Schanoes, and Marina Warner discuss Angela Carter's writing and her fairy-tale adaptations in relation to their own fiction. [ABSTRACT FROM AUTHOR]

As the COVID-19 pandemic swept the world in 2020, UN Women Europe and Central Asia's Awake Not Sleeping: Reimagining Fairy Tales for a New Generation Initiative brought over 120 feminist writers and gender experts together through a series of online workshops and writers' circles. The key purpose of these workshops was to consider how gender inequality and its intersecting issues could be explored and reimagined in fairy tales and to support writers to create a decidedly different and transformative fairytale collection. Written from multiple perspectives this article describes the development and editing process that shaped this collection, the principle of care that was core to the initiative, and the importance of engaging storytelling with deep respect for the reflective and creative capacity of young readers. [ABSTRACT FROM AUTHOR]

The Woman without a Shadow is both the title of an opera resulting from the collaboration between Hugo von Hofmannsthal and the composer Richard Strauss in the three years immediately preceding the outbreak of the First World War, and that of a fairy tale in which the writer, from 1912 to 1919, reworked the subject of the libretto. With a specific focus on the second version, this essay sets out to describe how, beyond the complex symbolism of the formal structure (which initially makes one think of an artistic product finely crafted, but completely unrelated to historical reality), Hofmannsthal's fairy tale is actually intimately connected to the cultural and 'social' project developed by the author during the years of the First World War. It was this project that gave rise to the veritable 'mythology of the social' that lies at the heart of this fairy tale, in which Hofmannsthal revisits the very cornerstones of Romantic aesthetics and gives them a modern twist. [ABSTRACT FROM AUTHOR]

The paper analyzes the fairy tale collection Croatian Tales of Long Ago by the Croatian author Ivana Brlić-Mažuranić, interpreting its social functions. Several important social functions are considered in fairy tales: national and supranational (Slavic) imaginary, Christian values, and patriarchal order. These social functions are analyzed in individual fairy tales, considering the thesis of Dutch scientist André Jolles that the primary social function of fairy tales is to express the community's idea of justice and injustice. [ABSTRACT FROM AUTHOR]

Fairy tales are fascinating fantasies, but they also gave people a better understanding of serious issues such as illness, injury, and even death. The results of the analysis of a large corpus of a total of 1512 published fairy tales, legends, and other documentary prose about Pohorje, most of which date back to the 19th and the first half of 20th centuries, and whose origins were in a time when diseases were ubiquitous and poorly understood, show that the theme of health and disease rarely appear in these sources, however, when they do mention it, they refer specifically to the living conditions of people in the Pohorje Mountains, epidemics, social diseases, mental illnesses, congenital deformities, and ideas about the relationship between disease, the human body, and supernatural forces. One of the reasons for such explanations is the widespread absence of doctors in this hilly area. [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]

The discourse of fairy tale narratives operates under three Victorian conventions - a virtuepersonified beautiful hero, a heterosexual relation, and a happy ending. Working upon these basic assumptions, Vladimir Propp identifies an underlying schematic structure, common to every tale, of 31 functions in narratives. Propp divides an enchanted narrative into 31 short plots. These plots are general functions performed by Propp’s identified seven archetypical characters found at play in every narrative. Propp’s study is based on 102 Russian folk tales, a sub-category of fairy tales. Oscar Wilde subverts the three aforementioned Victorian conventions in Propp’s structural model as a conflict between Victorian idealism and stark reality. This study aims to unveil the subverted structural scheme of the Proppian 31-function model in Wilde’s novel The Picture of Dorian Gray (1890). The novel not only subverts the three fairy tale conventions in its content but also rearranges the Proppian linear scheme of functions in its form. Moreover, the study also explores the repetition and absence of some Proppian functions to delineate the Faust theme of selling one’s soul for worldly pleasures for a specific time period, the end of which marks a visceral degeneration of the protagonist. [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]

This article aims to analyze the translation process in poetry considering the works of Angela Carter as a translator. Carter was a noted British author, best known for her novels and rewrites of fairy tales, and for her works related to science fiction. For this article, by using the book Unicorn: the poetry of Angela Carter (2015) and based on Lefevere's theories of translation (1975, 1992, 2003) we propose a translation exercise from English into Brazilian Portuguese of an excerpt from her poem - namesake - titled "Unicorn". In this sense, we seek to understand how literary creation and literary translation are presented in Carter's work as a wordsmith - an artist of the word. [ABSTRACT FROM AUTHOR]

This essay explores the complex relationship between mothers and daughters by looking at both the Grimms' fairy tale "The Three Spinners" and my own experience, imagined and real, of being a daughter to my mother. [ABSTRACT FROM AUTHOR]

The purpose of the study is to reveal the sacred and mysterious genesis and spiritual foundations of the classics of Ukrainian musical theatre, represented by the work of S. Gulak-Artemovskyi and M. Lysenko. Research methodology. Interdisciplinary, historical-cultural, genre-stylistic approaches were essential for this work. The scientific novelty of the work is determined by its analytical perspective, which takes into account not only the originality of the creative contribution of S. Gulak-Artemovskyi and M. Lysenko, but also the spiritual and mysterious genesis of their opera heritage. Conclusions. The poetics of the Ukrainian musical theatre was formed against the background of the traditions of the baroque school theatre, the genre specifics of which went back to the Byzantine ritual and cult practice and liturgical drama in combination with the mythological and archetypal instructions of the Ukrainian national consciousness. The classics of Ukrainian opera of the 19th century, represented in the work of S. Gulak-Artemovskyi and M. Lysenko, inherit this theatrical-mysterial and ethical-didactic basis in the cultural-historical realities of its era. “Zaporozhets by the Danube” within the comic genre highlights the archetypal features of the Zaporozhian Cossack type, as well as the mythologem of the “search for paradise”. Against the background of the poetics of the historical-heroic opera, this problem is presented in “Taras Bulba” by M. Lysenko, which creates an author's version of Gogol's story with obvious parallels with the biblical theme and an appeal to the dominant bass timbre, which genetically descended from the Orthodox cult singing practice. M. Lysenko's children's operas at the level of mini-mysteries symbolise involvement in national mythology and its archetypal instructions, an appeal to the Ukrainian mysterious Universe through the author's “cosmological fairy tale”. [ABSTRACT FROM AUTHOR]

This study is an examination of picturebook retellings of Cinderella tales featuring anthropomorphic characters. Using critical multicultural lenses, researchers analyzed the texts for the ways beauty was depicted. Findings suggest that the nonhuman characters were subjected to standards of beauty that mirror those of our current societies, namely fairer hair and skin, as well as slenderer bodies, being deemed preferable to other types. Additionally, the researchers noted that anthropomorphic characters were often expected to sacrifice key elements of their identities in order to conform to gendered expectations. The researchers therefore suggest that educators push for critical conversations when sharing such texts in their classrooms in order to help young readers interrogate the stories and discuss the ways they may perpetuate negative stereotypes. [ABSTRACT FROM AUTHOR]

"The Spirit of Fiction," an anonymous article published in All the Year Round on 27 July 1867, focuses on the natural propensity of human beings to attach a certain moral value to everything one experiences, hears or reads. According to the article, this disposition significantly affects the way we perceive reality, making the line between "fact" and "fiction" indistinct. Taking this argument into account, the present paper aims to elucidate the intricate relationship between these two concepts in Our Mutual Friend. In the novel, Dickens also foregrounds their ambiguous borderline, emphasizing that a blind adherence to an individual interpretation of reality can result in moral paralysis. Through the course of Boffin's pious fraud, Bella Wilfer's flexible perception of the world proves to be an essential virtue, which ultimately overcomes the self-destructive egoism represented by Podsnap. [ABSTRACT FROM AUTHOR]

Tove Jansson (1914–2001), was a Swedish speaking Finn, a noted painter and writer, best known as the creator and author of the Moomin books which she illustrated herself. The first book in the series was published in 1945 in Finland. Since then, they have delighted many children and adult readers and gained the status of classics. Although the Moomins are especially well-known in the Nordic countries, they are also popular abroad and have been translated into many different languages. Moominvalley is both a familiar and magical place where the everyday and the incredible intertwine seamlessly to transport readers beyond the everyday to the realm of fairy tales and inner worlds. Deep structures of meaning can be found underlying the stories representing a delicate interplay between separateness and union, the tension between being seen and hidden, and integration of the self. This paper aims to examine how the stories evoke these inner processes and are depicted in the behaviours, moods and feelings of Moomin characters in the light of psychoanalytic theory, with particular reference to the work of Melanie Klein, Wilfred Bion and Donald Winnicott. [ABSTRACT FROM AUTHOR]

This study examines how folklore affects social structure epistemologically. It also deals with the effects of societies on collective attitude. In this framework, considering the scientific approach and framework of folklore, Geert Hofstede's model was evaluated. Action-oriented structure and system developments are evaluated within the framework of the structural features of model societies. It is very crucial to understand the culture that determines the basic competitive power of societies, especially in the global system. The main factors that direct the level of participation have a great impact on the success of societies. In this framework, the basic features of Turkish culture have been analyzed over the basic dimensions developed by Hofstede. The basic values and attitudes of our social structure from past to present have been determined. Thus, it will be possible to evaluate how the development, change and transformation of our own values will develop especially in the digitalized new age. The great digital transformation experienced in every field today affects the basic epistemology of folklore and creates new paths. Understanding these new sprouts is also important for understanding the basic dynamics of our country and for policy making. As a result, when we consider culture from the folklore perspective, epics, tales and intangible heritages have an important place. With these approaches, it is possible to evaluate the structure of Turkish culture in the global system comparatively with folklore epistemology based on evidence. Evaluating the subject through the structural relationship of these areas with each other provides us detailed information about the decisions, tendencies, togetherness and shared values of societies. The study deals with the values of the societies that are passed down from generation to generation through folklore. Historically developing structures especially affect individuals' behavior and attitudes. Epistemology of folklore, fairy tales, folk songs and similar tools develop predictive models for the development of the characteristics of societies. This facilitates the transition of societies to the next stage and supports a more competitive structure. The study was guided by a comprehensive literature review, conceptual model design, and evaluation of empirical data. As a result, the values of societies develop under the influence of many factors over time, by developing themes and predictions that are very difficult to change. Therefore, analyzing the parameters of folklore, which is the most basic parameter of these processes, in an eclectic framework reveals a deep vision for the future. Considering the six dimensions of Turkish culture, especially the framework of the field, which has a deep conceptual scope such as folklore, it is important for our country's policies to form macro-meso and microlevel policies. In the process of creating a society focused on education, entrepreneurship, development and success, a framework has been developed by taking into account the basic framework of folklore epistemology. Thus, the effect and relationship of folklore on social success and development has been revealed. [ABSTRACT FROM AUTHOR]