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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 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]

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]

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]

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]

This article provides analyses of the versification and rhythmicmelodic features found in a collection of ten ballads originating from the Teleorman folklore region. An analysis is conducted on the types of verses and linguistic features found in the old songs. The emphasised lexical characteristics include syllabic additions, apocope or syllabic elision, anacrusis, and rhyme. The melodic and rhythmic elements are conveyed through the sound systems of the ambitus, the architectural structure, and the epic recitative. An identifiable feature showcased in the ballad is the appoggiatura. The sound systems consist of five modes, three of which having variations. Regarding the architectural form, we identified ten distinct variants for each of the analysed samples, having noticed that the ballad has a free, improvisatory architectural form. Recitative can be categorised as recto-tone recitative, melodic recitative, and parlato or fairy tale recitative. The appoggiaturas included in the ballad serve as a distinctive feature of the performer's uniqueness. The appendices provide the 10 ballads that are the topic of this article. [ABSTRACT FROM AUTHOR]

Copyright of Folklor / Edebiyat is the property of Cyprus International University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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 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]

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]

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.

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]

Copyright of Logos: A Journal, of Religion, Philosophy Comparative Cultural Studies & Art (08687692) is the property of Logos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper focuses on Italo Calvino’s Fiabe Italiane (1956) and its relationship with posthumanism by analyzing a case of human–animal metamorphosis. Following Serenella Iovino’s (2014) insight that Calvino’s literary production can be seen as encapsulating some of the tenets of posthumanism, the paper first investigates Calvino’s conception of storytelling, arguing that in Fiabe Italiane folk and fairy tales can be compared to Calvino’s investigation of variants, leading to the development of a post-anthropocentric type of narrative. Employing Gilles Deleuze’s concept of becoming, it then discusses metamorphosis as a form of becoming–animal, challenging the idea of an ontological categorization of humans and animals. Ultimately, the paper proposes a posthumanist reading of “Body-without-Soul” by highlighting how becoming–animal allows a rearrangement of the hierarchy between humans and the non-human world and promotes behaviors based on trust and codependence. Based on these findings, one can hypothesize that the magical realm of fairy tales can already be regarded as a place of experimentation where an alternative reality, as described by posthumanist theories, can be imagined and possibly actualized.

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

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

This article analyzes the motive of the battle with the seven headed dragons in mythic cognition and folklore. The image of the mythological dragon in European and Asian myths is compared and its characteristics are examined. The fact that this approval, which is seen as a symbol of chaos and evil, also symbolizes wisdom, is characteristic of in some folkloric creations. However, in the folk narratives of Turkic peoples, including Kazakh folk narratives, the seven headed dragons are more often depicted in one character, that is, in the form of evil. It is known that the seven headed dragons, which have been passed from mythical ideas to folk narratives, have a symbolic meaning for the hero to destroy each of those seven heads. The giant dragon, as a natural force that threatens humanity, has become the main character of many folklore works. In ancient epics and fairy tales, stories, love stories, religious epics, legends, the main enemy of the main hero is the dragon, as well as an event in which the hero's heroism is criticized and glorified-the victory over the Dragon. The Seven-Headed Dragon, which is constantly described in the works of Kazakh folklore as a formidable enemy, causes fear for the entire country. The dragon in mythical stories has accumulated several characteristic features of the animal. The presence of three or seven heads, the body resembles a lizard or snake, and the presence of a flying wing are the main features of the mythical dragon. In the folklore of western countries, the Dragon, which is evil, terrible, in the folklore of Eastern peoples, the Dragon is shown as a wise, perfect mind, Guardian. In the Kazakh, Kyrgyz, and Tatar versions of the fairy tale" Er Tostik " there is a moitva fight with a dragon. In the Kazakh version, the main hero travels underground to the Land of Snake Baba Khan. During the ascent to the ground, Baiterek killed a dragon and saved the chicks of a giant bird. In the Tatar version of this fairy tale, the dragon snake takes Er Tostik to the underworld. The purpose in it is to ask them to save themselves from the evil force that threatens them. One of the heroes who fought and won the battle with the seven main Dragons was Salor Kazan, the hero of the book "korkyt Ata". In the new version of the book" Korkyt Ata "there is a thirteenth verse called" Salor Kazan killed the seven headed Dragons". In the ancient epics of Kazakh folklore "Kubygul", "Kissa Kulamergen", "one-eyed dau", "Golden Horn saiga", In the fairy tales "Er Tostik", " Ayudau", " Kulatai batyr", "Zharty Tostik", "Ayalpan, Sudysalpan, Taudytalpan", "Deldash batyr", "Kokzhan batyr and Dragon", " Kissa Zhamshid", "Kissa Tahir", "Shahmaran", "Hikayat Dastan Khatymtay", "Abugalisina, Abulkharis", " Kissa Shakir, Shakirat", "Kissa Malik Hasen", "Koshi Batyr", "Seipilmalik", "Kissa Dandan", "Kissa Bahram", "Kissa Shahizada", as well as religious dastans "Kissa Kaharman" and "Sleeping Batyr", in the legends of "nurguzaryn nightingale", the Seven-Headed Dragon is shown as the main enemy that the main hero will defeat. The Battle of batyr with the seven main dragons is one of the main and stable motifs in Kazakh folklore. The killing of a dragon, which came to the edge of the country and caused terrible horror and suffering, the destruction of its seven heads is the driving force, the main mechanism of the story of the folklore work. These issues are taken into the form of an article, analyzed with examples from the texts of Kazakh folklore, and conclusions are drawn on this basis. [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]

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 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 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]

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]

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