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The fairy tales are the basis of the culture of the people and reflect the moral and aesthetic understanding of the people, the old beliefs and the world perception like a mirror. The type of folk literature mentioned reflects the moral and aesthetic understanding of the people, their old beliefs and the world perception. Compared to realistic and animal tales, extraordinary tales differ in their structure and generally become longer, they contain fantastic elements, supernatural aids and items. Besides, the way of narrating extraordinary tales and the methods used are also different. Traditional patterns, or in other words, the formulas decorate the folk tale, indicating its beginning and end as a frame. The aim of the study; to discuss the patterns of traditional Turkish and Russian folk tales that are separated as entrance, transition and finish and to make a comparison between them. In Turkey, this topic was studied in detail by S. Sakaoglu. In Russia, names such as V.P. Anikin, E.V. Pomerantseva, N.M. Gerasimova are included. In the study, a comparative analysis will be made by following the information obtained by foreign researchers, especially N. Roshinayu, who are working on Romanian tales, but also providing information with other world tales, following the classification put forward by S. Sakaoglu. [ABSTRACT FROM AUTHOR]

Like other genres that share with it the oral and anonymous modes of transmission of folk poetry (e.g., songs, byliny, laments, proverbs, riddles), the Russian folktale has been transformed into literature in several ways. A number of examples from the first decades of the nineteenth century (Zhukovskii, Pushkin) to the post-modern end of the 20th century (Popov, Erofeev) and the beginning of the 21st (Sorokin) demonstrate the range of adaptations that take fairy-tales as hypotexts: on the one hand, there are structural references or systemic references, that is, the incorporation of structures typical to fairy-stories (i.e. the syntagmatic pattern of fairy-tales), the triple repetition of elements involving the ‘Law of the Weight of the Stern’, the functional conception of characters, and introductory and closing formulas. On the other hand, thematic references are achieved by referring to individual texts in the form of quotations or paraphrasing, allusions to entire fairy-tale plots (e.g., Snegurochka/Snow White) or individual motifs (e.g., transformation) and further thematic elements (enchantment/disenchantment, the victory of the weak, etc.). Other techniques include references to titles ( Skazka ob Ivane durachke, Spiashchaia tsarevna, Tsar-devitsa, and so on) and name dropping (e.g., Baba-Iaga, Koshchei bezsmertnyi). Beyond reworkings, adaptations of the fairy-tale subtext can also be dialogical, satirically alienating, parodic or political. In addition to intertextuality, questions of orality, literacy and secondary orality are relevant in this context. [ABSTRACT FROM AUTHOR]

Non-Russian readers of Russian fairy tales may find the stories disturbing and harsh, full of cruel and violent acts such as murders, robberies and other illegal actions. In Russia, however, many children grow up reading these fairy tales as part of an ordinary cultural upbringing. This article analyses the subject of elder abuse and disrespect of age as presented in Russian fairy tale works. On the basis of sociological research of the fairy tales, the author draws a conclusion about the prevalence of elder abuse and age discrimination portrayed in the analysed folk works. [ABSTRACT FROM AUTHOR]

Examines the depiction of forests and fairies in the works of Russian author Pavel Zasodimskii. Role of his works in representing Russian life during the second half of the 19th century; Use of his works in the study of village life and peasant types by scholars; Topics focused on by Zasodimskii during his career in journalism, including forest management and logging; Attitude of Zasodimskii towards the forests as a romantic world invested with an integral human presence.