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At first glance, La pulce d'oro (1940), a one-act comic opera by Giorgio Federico Ghedini, might seem at odds with the turmoil of late-fascist Italy on the brink of war. A new opera in 1940 was itself anachronistic: a genre mired in unending crisis, resurfacing now at one of the darkest moments in the nation's history. However, on closer inspection, La pulce d'oro demonstrates a peculiar timeliness and—in the tradition of Verdi's Falstaff —offers pertinent insight into its contemporary and much overlooked moment. This article proposes a reading of the relevance of Ghedini's opera through its twofold use of parody: as a musical technique and as an allegorical means, connecting past and present, fiction and reality, fairy tale and history. Encompassing some of the key cultural currents of the time—neoclassicism, magic realism, and social satire —La pulce d'oro 's parody unexpectedly brings together comic opera and fascism at a moment of cultural and political apotheosis. [ABSTRACT FROM AUTHOR]

Digressions, which are generally considered as "departure/divergence from the main subject", are important in narratives in terms of style, structure and function. Digression, which is a stylistic feature in the oral narrative tradition, is seen as the effect of oral performance in the written narrative tradition. It has seen that digression studies were made on oral narrative types such as epic, folk tale, meddah story, and fairy tale. No independent study has been found about the digressions in the menakipnames. Examining the digressions in the menakipnames is important in order to evaluate the process of putting the menakipnames into writing. In this study, the digressions in the Kastamonu copy of Menâkıb-ı Akşemseddîn, written by Enîsî, has been examined according to their functions in terms of the context of execution. The hagiography told by different narrators in the oral tradition are written by the writer of the hagiography by adhering to a fiction. This writing process is suitable for both individual and public reading aloud. In addition to the effect of the digressions used in the oral performance contexts of the hagiography on the written performance, the digressions required by the written context are also used. Each digression has a function in the text constructed in this direction. In the examined copy of Menâkıb-ı Akşemseddîn, digressions have been identified in the functions of starting and ending the narrative about the fiction of the text, reporting the sources of the hagiography, providing transition, forwarding in the timeline, expanding, narrowing, updating. At the same time, stereotypes are also seen in the digressions. [ABSTRACT FROM AUTHOR]

This lecture concerns the sometimes underrated power of stories to influence us, an influence that depends upon factors such as how closely a tale adheres to what we consider either possible or desirable. I examine legends, fairy tales, the gruesome urban legends children tell at sleepovers, and those stories handed down in families, communities, and nations which confer a sense of common identity and pride, sometimes at the cost of excluding others. Stories offer wisdom, solace, joy; they may also frighten or alienate. For good or ill they can change our perceptions of ourselves and others, and of the world around us. [ABSTRACT FROM AUTHOR]

The article examines revenge strategies in Margaret Atwood's novels that draw inspiration from Bluebeard-type fairy tales. This fairy tale type is named after Charles Perrault's "Bluebeard", and includes related tales such as the Grimms' "The Robber Bridegroom" and "Fitcher's Bird". Variations on this family of plots appear throughout Atwood's oeuvre, most prominently in The Robber Bride, The Blind Assassin, and The Testaments. The key elements -- curiosity, the bloody chamber, the blood-stained key, the tell-tale egg, and the chopped-up bodies in a bowl of blood -- are invoked in new combinations with new associations to complicate the victim-oppressor hierarchy. This paper argues that in Atwood's revisions of Bluebeardian themes, she challenges traditional conceptions of the Bluebeardian predator. By rewriting fairy tales in a creative manner, Atwood explores not only the importance of surviving the violent attacks, but also the survivors' revenge strategies: from self-harm to bearing witness and making public accusations of the Bluebeardian oppressors. By sharing their stories, Atwood's protagonists can take control of their lives and resist aggressors' attempts to silence them or transfer guilt to them for their curiosity. [ABSTRACT FROM AUTHOR]

This article will, through a bibliographical research, make an evaluation of the use of children's stories in the education of children from an Adventist perspective. Adventists have historically maintained an extremely cautious approach to children's tales, especially fairy tales. The main reason for this resistance is the interpretation of some texts written by Ellen White, a pioneer of the Adventist movement and an important voice in Adventist pedagogy. [ABSTRACT FROM AUTHOR]

Der Aufsatz untersucht die Praxis gegenwärtigen Wiedererzählens von ghanaischen (Kasem) Volkserzählungen, die sich kritisch mit sozialen Rollen- und kulturellen Wertvorstellungen in den traditionellen Versionen auseinandersetzen. In den überlieferten Versionen werden übersinnliche Mächte angerufen, um Frauen zu bestrafen, die zu selbstständig handeln; damit wird weibliche Identität streng reguliert und begrenzt. In den neuen Versionen wenden die weiblichen Protagonistinnen das Prinzip des nantandia an, ein lokaler Kasem-Begriff, der Intelligenz, Initiative und Mut beinhaltet, und damit gleichzeitig den Einfluss der übersinnlichen Mächte beschneidet und die weibliche Individualität und Handlungsfähigkeit bestärkt. Summary: This paper examines contemporary retellings of Ghanaian (Kasem) folktales that engage critically with the social roles and cultural values in the traditional corpus. While in traditional folktales supernatural forces are unleashed to punish females who pursue their own strivings, thus regulating gender identity, in the retold tales female protagonists deploy nantandia, a local Kasem term which encompasses intelligence, initiative and courage, to thwart the power of the supernatural and assert their own subjecthood. [ABSTRACT FROM AUTHOR]

Abstract: This department highlights language learning for bi/multilingual students worldwide, from our earliest learners to early adolescent writers. It also highlights exemplary teachers and ways that they include research‐based instruction to develop bi/multilingual learners. [ABSTRACT FROM AUTHOR]

This article deals with the novel Das teutsche Gespenst, published in Leipzig in 1684, which contains four texts from G. F. Straparola's fairy tale collection, still unknown in German-speaking countries, as well as other adoptions from foreign literature. The main question is what kind of role the fairy tale and the marvelous [das Wunderbare] played in these tales and the ways in which the material presented relates to the German baroque novel in general. The author of the novel, whose Italianate pseudonym Casparo Lolivetta is not entirely accidental, can be characterized as a refined artist engaging in illicit appropriation of obscure texts from which he composed his new one, a bizarre 'hypertext', in which the fairy-tale, the marvelous and the wonderful, rejected by baroque poetics, seem to come into their own. [ABSTRACT FROM AUTHOR]