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This paper attempts to interpret Lewis Carroll's Alice's Adventures in Wonderland as an example of the classical motif of the 'katabasis' or descent into the Underworld, a descensus ad Inferos sui generis, conditioned by having its origin as a fairy tale intended for the entertainment of a child reader (descensus ad Terram Mirabilem): this tale would have as its matrix reference the similar vicissitude of Psyche in the 'tale of the marriage of Cupid and Psyche' from the Metamorphoses or The Golden Ass by the Roman author Apuleius. [ABSTRACT FROM AUTHOR]

Scholars have used terms such as the “long nineteenth century” to convey the fact that the characteristics, principles, and artistic debates of the Victorian era did not suddenly vanish in 1900, but continued to inform British literature throughout the Edwardian era and into the start of the First World War. From work written by women, in particular, during the first decade of the twentieth century, it is obvious that one of the most significant developments of late-Victorian literature – i.e. the Aesthetic Movement – continued to enjoy an active life. This chapter uses a 1909 volume of prose poems, Shadow-shapes by Ella Erskine, to make that point, while demonstrating the important role played by Elkin Mathews, her publisher, in keeping Aestheticism before the public. [ABSTRACT FROM AUTHOR]

"Buried Treasures: The Political Power of Fairy Tales" by Jack Zipes explores the works of forgotten writers and artists from the 19th and 20th centuries who used fairy tales to criticize society and imagine utopian futures. The book focuses on exiles and political refugees, many of whom were of Jewish origins and believed in communism or socialism. The chapters provide biographical information, quotes, and summaries of the artists' and writers' works. The book argues that fairy tales have the power to speak to human struggles and social conflicts, offering a way to gain distance from our experiences and sort them out. [Extracted from the article]

The first year architectural education is based on understanding the nature of creativity in design thinking, which serves to build a solid base for a real design process; and in studios several methods are used to develop it. This study aims to discuss how using fairy tales can serve as a tool for encouraging creativity in first year design studios. It is based on a 6‐week‐long basic design II summer school course where 20 architecture and interior architecture students were asked to write fairy tales in a fantasy genre and visualise their fairy tale environment. At the end of this experimental study, we learned four important lessons: (a) when Gen Z students meet design issues first, they can be more involved and interested if they are given the opportunity to reveal their dreams and imaginations without any restriction; (b) they can show their open‐mindedness, and accept the fact that a good presentation performance even with hand drawing is possible, without using technological tools; (c) fairy tales with their unique structures can lead them to advance their "out of the box" thinking. Combining phantasy with reality might be a good tool for liberating the power of imagination which ultimately can bring good design thinking abilities and enhanced creativity, and finally (d) a further study about how they implemented this experiment in their second year design problem is worthy of further analysis. [ABSTRACT FROM AUTHOR]

There existed a fascinating means of collecting fairy tales in the nineteenth and early twentieth centuries that has hitherto remained unexplored: the collection of chromolithographs or "chromos," used as a marketing tool by French department stores like Le Bon Marché and by chocolate producers like Poulain. Scholars such as Emily Cormack, Laura Kalba, and Pearl Michel have carried out essential research on the deployment of chromos in the rise of consumer society, but this is the first study with a specific focus on chromos that feature fairy tales. In mid-century, Victor-Auguste Poulain, a French chocolatier from Blois, found the means to mass produce chocolate and sought to transform the nineteenth-century conception of chocolate from being an elite privilege or a medicinal product to being a plearurable food accessible to the middle classes. It was under the direction of Victor-Auguste's son Albert that chromos, including fairy-tale themed chromos, became an important marketing tool for the company in the 1880s. Children in particular were encouraged to purchase the mass-produced chocolate by the insertion into the packaging of fragments of tales like "The White Cat," "The Doe in the Woods," and "Beauty with the Golden Hair." Each chocolate bar would include a beautiful color chromo of the tale on the recto, with the narrative fragment on the verso. This marketing strategy becomes a desire-generating machine: the desire for more story fuels the desire to purchase more chocolate, which subsequently fuels the desire for more story. In effect, as I hope to show through this case study of Poulain's use of tales by d'Aulnoy, narrative desire gets converted into consumer desire through Poulain's marketing campaign. [ABSTRACT FROM AUTHOR]

This essay works to define, historicize, and probe the queer fairy tale subgenre. Recuperating Vladimir Propp's syntagmatic formalism from a queer angle, I argue that fairy tales' protean, fantastical qualities afford rapid and imaginative refashioning across languages by LGBTQþ writers. In Belle E' poque tales by Vernon Lee, Oscar Wilde, Laurence Housman, Jean Lorrain, and Rene'e Vivien, I locate a poignant vision of queer futurity. [ABSTRACT FROM AUTHOR]

The article focuses on exploring the intertwining of reality and imagination, particularly in spiritual practice, drawing insights from literature such as J.R.R. Tolkien's essay on fairy stories. Topics include the profound impact of imaginative engagement on spiritual insight, the cognitive role of imagination recognized by neuroscience, and the significance of choosing which realities to invest in, as illustrated by characters like Puddleglum from C.S. Lewis's works.

The retranslations of Andersen's fairy tales in the twentieth century have promoted the canonization of Andersen in the modern Chinese literary system. Today, Chinese readers of different ages are fascinated by Andersen's works and the images created by him. However, the literary and cultural significance of Andersen to China lies in his influence. In this paper, the authors will first review the history of translating Andersen's fairy tales in China and then analyze some cases from Chinese literature and culture within the theoretical framework of intertextuality, in an attempt to specify the influence of Andersen on modern Chinese literature and culture. It is argued that Andersen's fairy tales have been cross‐culturally woven into Chinese children's as well as adult literature when the intertextual devices are applied by writers in their own literary creations; meanwhile the fictional elements of the tales are intertextually merged, as symbols, into other forms of cultural products where they are involved in a critical construction of modern Chinese culture. [ABSTRACT FROM AUTHOR]

We present how gender treatment is envisaged in the formal framework that defines early childhood education and care (ECEC) in Slovenia, with special emphasis on the curricular document, which frames the system and concept of ECEC in Slovenia. We present in detail how the latter deals with the issue of gender in individual areas of activities in ECEC settings. In addition, we present the results of the empirical survey we conducted among future early childhood educators where we explored whether in ECEC settings they would be willing to read fairy tales that open up the issue of gender from various perspectives, and if not, what reasons they give for this. [ABSTRACT FROM AUTHOR]

Fairy tales have been an essential ingredient in children's literature. Canonical fairy tales passed down from generation to generation not only enrich children's imagination but connote significant values typical of the community. However, as time passes, contemporary writers often challenge these traditional values when they work on the same topic. This changing face is evidenced by Emma Donoghue's rewriting of classical tales. Based on my teaching of Donoghue's story 'The Tale of the Bird' alongside Andersen's 'Thumbelina' at a university in Hong Kong, this paper discusses the ever-evolving cultural values and the benefit of reading Donoghue via Andersen or vice versa in the literature class and beyond. [ABSTRACT FROM AUTHOR]

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]

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]

The present article discusses three romantic fairy tales which are closely linked by intertextual references and each of which focuses on children as main characters: Ludwig Tieck's The Elves and E.T.A. Hoffmann's The Nutcracker and the Mouse King and The Strange Child. The article shows that these works reflect a changed concept and perception of time which emerged during the modernization process. It examines the ways in which the tales make various aspects of this "modern time regime" a subject of discussion and tries to work out how the authors position themselves regarding the problems and conflicts that result from the newly emerging concept of time. While Tieck deals with forms of acceleration embedded in economic interrelations, Hoffmann addresses issues arising from the establishment of time discipline and connects his reflections with his poetic concepts. [ABSTRACT FROM AUTHOR]

In the summer of 2020, Walt Disney Theme Parks announced plans to reimagine the popular attraction "Splash Mountain" in the theme of the 2009 feature-length animated film The Princess and the Frog. As only the third Disney feature-length animated film to showcase Black characters prominently, The Princess and the Frog seems perfectly poised to replace the Song of the South—critiqued for its romanticization of race relations after the American Civil War—in the Disney parks. In this adaptation of "Der Froschkönig oder der eiserne Heinrich" ("The Frog King or Iron Henry"), Walt Disney Animation Studios introduces its first Black princess. While a hardworking, self-starter princess of color is a step towards representation, the film's portrayal of non-white characters reinforces a hierarchy of race and class which privileges the wealthy white characters while relegating characters of color to the bottom rungs of human society and into non-human bodies. This essay explores the intersection of gender, race, and class in Disney's adaptations of the classic fairy tale "Der Froschkönig" from the Grimms' 1812 variation and the plans to reimagine it for Disney theme parks. In conversation with adaptation studies, narrative theory, and feminist theories, this contribution interrogates the underlying messages of prejudice and -isms in The Princess and the Frog that reinforce twentieth- and twenty-first-century prejudices against people of color, women, and the working class, rendering the proposed update of the "Splash Mountain" attraction into a modernization of the problems already recognized in the current ride. [ABSTRACT FROM AUTHOR]

The article deals with the awarding of the Goethe Prize to Sigmund Freud in 1930. The decision was controversial, but supported by some individuals such as Alfred Döblin, Alfons Paquet, and Ludwig Landmann. In his acceptance speech, Freud emphasized the connection between Goethe's poetry, his actions, and psychoanalysis. The article also mentions other psychoanalytic studies on Goethe, such as those by Kurt Eissler and Theodor Reik. It examines the relationship between Goethe and a woman named Lili, as well as the connection between Goethe's fairy tales and his personal biography. The fairy tale serves as a coping strategy for the painful break with Lili and contains Masonic symbolism. [Extracted from the article]

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]

Frequently Jane Eyre (1847) has been compared to various fairy tales, many of which are seemingly woven through the plot and characters of the novel. Largely unremarked upon however is the effect of those fairy tales on the form of the novel itself, particularly as those fairy tales collide with the Bildungsroman genre. Rather than reaffirming the telos-driven nature of both the fairy tale and the Bildungsroman, Charlotte Brontë, through Jane as narrator and protagonist, questions the narrative finality of both genres through their combination. The resultant Bildungsroman actively eschews any potential ossification of Jane as she invents and reinvents herself in her narration and deployment of narrative forms. Rather than a singular finished figure at the end of the novel, Jane offers a spectrum of identities that continue to grow and change from their initial contexts. [ABSTRACT FROM AUTHOR]

This study aims to indicate the cultural factors nexus terrorism in terms of Bourdieusian terminology's conceptual framework, which synthesizes social, economic, and cultural explanations and thus proves useful for studying political and religious radicalization, extremism, and recruitment to terrorism. This analysis can be used to comparatively assess the countries' cultural tendencies relevant to terrorism. In this study, Hofstede's culture scale, which is regarded as a paradigm and towering figure by most scholars was used. The research endeavors to illustrate the effects of Hofstede's cultural dimensions (widely known model of national culture) on Global Terrorism Index scores via a multiple linear regression model. Terrorists marginalized others and created their discourse to commit rhetoric narrated by fairy tales and protagonists. The findings expressed that whereas the power distance has an increasing effect on terrorism (while increasing terrorism), the long-term orientation has a mitigating effect (reduces terrorism). On the other hand, no significant results were obtained from the dimension of individualism versus collectivism, femininity versus masculinity, avoidance of uncertainty, and indulgence versus restraint. However; we evaluate that social media usage has a centralizing and affiliating effect between collectivism and individualism. [ABSTRACT FROM AUTHOR]

Fairy tales are one of the folk literatüre products narrated in modern times. The creator of fairy tales is initially known, but they gradually become anonymous. Fairy tales reflect the subconscious and imagination of a society. They are influential in the formation of children's emotional and thought structures. The extraordinary events in fairy tales are what set this narrative apart from others. This narrative style, with its unique structure, has auniversal impact. Similar or equivalent texts to fairy tales can be found in other cultures. A considerable amount of research has been conducted on the origins and sources of fairy tales. One of the studies focused on examining fairy tale texts belongs to Max Lüthi. In contrast to Vladimir Propp's structural fairy tale analysis method, Max Lüthi developed his own approach. Max Lüthi's work has generated significiant interest. The five basic principles in Max Lüthi's study were formulated with a text-centered approach. The tale of Hızır and Three Brothers is included in Saim Sakaoğlu's work titled "Turkish Tales in Cyprus". The tale of Hızır and Three Brothers has been evaluated according to Max Lüthi's method of fairy tale analysis. Accordinly, the fairy tale is analyzed according to the principles of one-dimensionality, superficiality, abstract form, isolation/seperation and commitment to everything, exaltation and comprehensiveness. [ABSTRACT FROM AUTHOR]

Friedrich A. Kittler's canonical Aufschreibesysteme 1800/1900 (Discourse Networks 1800/1900) threatened the very idea of the canonicity of German literature. Yet Kittler's readings systematically dismiss, mishear, and distort foreign voices who resist and cannot easily fit into his rigid theoretical framework. This discursive strategy is most apparent in his formative reading of E.T.A. Hoffmann's 1814 "Der Goldene Topf: Ein Märchen aus der neuen Zeit" (The Golden Pot: A Fairy Tale for the Modern Age). Despite its erasures and repressions of difference, his reading of this text has had a largely positive reception. A re-reading of his formative reading is thus long overdue. By closely analyzing Kittler's interpretation of Hoffmann's text, this article demonstrates that Kittler's expressed claim to challenge a canonical approach to German literature and his disruptions of disciplinary norms and behavioral conventions mask his fundamental affiliation with processes of canonization. [ABSTRACT FROM AUTHOR]

Franziska Bergmann's book, "Schreibweisen des Exotismus," examines the representation of exoticism in Western European literature from the 18th to the 20th century. The author argues that exoticism is a discourse that presents otherness as a source of sensory stimulation and aims to restore sensuality in Europe. Bergmann focuses on the aesthetics of exoticism, emphasizing sensory perception. The book analyzes texts by various authors, including Wieland, Hoffmann, and Goethe, to illustrate different portrayals of exoticism. This text specifically discusses the theme of exoticism in German literature, focusing on works by Hofmannsthal and Mann. The authors use exotic elements to explore the tension between sensual pleasure and self-discipline, promoting a balanced approach to sensory experiences. The influence of Nietzsche on Mann's portrayal of exoticism is also mentioned. The study provides new insights into exoticism in German literature and suggests the need for further research in this area. [Extracted from the article]

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]

The article explores the depiction and representation of animals and their behaviors in folk tales, fairy tales, and fables. Topics discussed include the use of nonhuman animal characters in fairy tales to teach lessons of morality, the distinction between folk tales and fairy tales in terms of narration, and the influence demonstrated by the fairy tale collection "Children's and Household Tales," by Jacob and Wilhelm Grimm.

The study evaluates the current presence of elements from Turkish oral culture, such as mythology, tales, and stories, by comparing them with the contemporary state and historical evolution of similar content in Western culture. The aim is also to determine whether analogous content in Western culture is adapted and utilized as a sphere of cultural influence by mass media worldwide. The study further assesses how these existing Turkish cultural elements are applied in daily life, drawing examples from Keloğlan tales and Dede Korkut stories. Through the analysis of these examples, the study emphasizes the significance of the discussed issue and highlights not only the necessity of preserving it but also adapting it. According to the conducted research, despite initial efforts to collect and preserve these cultural elements during the early years of the Republic period, similar to the initiatives in the Western world between the 17th and 19th centuries, it is concluded that the process was shortlived and failed to secure a lasting place in the contemporary world. The study attempts to draw some inferences considering the relevance of these cultural values in the present time, utilizing sufficiently updated Keloğlan tales and insufficiently updated Dede Korkut stories. It underscores the role and importance of mass media in the context of Turkey and the Turkic World concerning this issue. [ABSTRACT FROM AUTHOR]

Heinz Rölleke, a prominent Grimm and fairy tale researcher, passed away on June 2, 2023. He was known internationally for his extensive publications, including over 80 books, over 600 articles, and 78 reviews. Rölleke was a respected philologist who focused on the critical examination of literary texts, particularly the works of the Brothers Grimm. His research on the origins and context of the Grimm fairy tales challenged existing theories and shed new light on their creation. Despite his significant contributions to the field, Rölleke faced criticism and controversy throughout his career. [Extracted from the article]

Der Aufsatz untersucht die Entwicklung der Märchenoper im Opernhaus Zürich. Im Einzelnen werden zwei Opernlibretti ausgewertet, denen Volksmärchen zugrunde liegen: Das verzauberte Schwein und Hänsel und Gretel. Hinzu kommt die kursorische Betrachtung von neun Opernlibretti, denen andere Märchen beziehungsweise märchenhafte Stoffe zugrunde liegen oder die als Operntexte für Kinder erdichtet wurden und die seit 2010 am Opernhaus Zürich ihre Uraufführung feierten. Es geht um die Frage, nach welchen poetischen und dramaturgischen Prinzipien die Märchenoper mit Volksmärchen verfährt. The article looks at the development of Märchenoper at the Opera house at Zurich. We analyse two libretti, which are based on fairy tales: Das verzauberte Schwein and Hänsel and Gretel. There is also a more cursory analysis of another nine libretti, for which fairy tale motifs are used or invented; all of these have been premiered at the opera house in Zurich. We are asking which poetic and dramatic principles are applied to produce fairy-tale based opera. [ABSTRACT FROM AUTHOR]

Although the Brothers Grimm give a different indication of origin for the fairy tale Die weiße und die schwarze Braut(KHM 135), the correspondence of characteristic linguistic phenomena with the fairy tales of Dorothea Viehmann suggests that this tale could also have been contributed by her. With the help of the "original version" from the Berlin Grimm estate, a wealth of further linguistic-stylistic and lexical-motif evidence is presented that corroborates this attribution. Considerations of the history of transmission, biography, and biography of the work make this assumption plausible, as do codicological and comparative analyses of the manuscript. [ABSTRACT FROM AUTHOR]

Fairy tales have been an essential ingredient in children’s literature. Canonical fairy tales passed down from generation to generation not only enrich children’s imagination but connote significant values typical of the community. However, as time passes, contemporary writers often challenge these traditional values when they work on the same topic. This changing face is evidenced by Emma Donoghue’s rewriting of classical tales. Based on my teaching of Donoghue’s story ‘The Tale of the Bird’ alongside Andersen’s ‘Thumbelina’ at a university in Hong Kong, this paper discusses the ever-evolving cultural values and the benefit of reading Donoghue via Andersen or vice versa in the literature class and beyond. [ABSTRACT FROM AUTHOR]

This contribution explores the story of Angelo, an Italian Second World War veteran who, after experiencing war and escaping captivity in Yugoslavia, finally reached Trieste in 1946, where he met his future wife. It took him nearly 15 years to heal from his harrowing wartime trauma. Between 2021 and 2023, while collecting oral testimonies, I interviewed his son Sergio and grandson Ruben. The central subject of those interviews was the war-time period and the fairy tales that Angelo used to tell his son (and later his grandson) in the evenings, inspired by his war experiences. By recounting his war experiences in a metaphorical and child-friendly manner, these tales were not only imaginative and captivating for the child, but also served a profound purpose: they were (1) a way to communicate his memories and experience to the following generations; (2) a means to cope with his experiences and past; (3) a tool to socialise and educate his son, transmitting moral norms, social memories and preparing him for life in society. [ABSTRACT FROM AUTHOR]

This paper examines the relationship between fairy tales, sexuality, and national identity in socialist Slovenia. Theoretically, it builds on the canonical work by Bruno Bettelheim, The Uses of Enchantment. The main objective of the analysis is to interrogate the Freudian sexual script in relation to Slovene national identity formation. For this purpose, I study two fairy tales from the socialist period, France Bevk's Peter Klepec and Moj dežnik je lahko balon by Ela Peroci. The concepts of family romance and infantile citizenship are applied. [ABSTRACT FROM AUTHOR]

That fact that fairy tales and folktales are produced in a certain time and space and intended for a specific audience has, until now, often been neglected. In the past they performed specific social or political functions, such as for instance, being a part of nation building, they were meant to discipline a certain population or educate. The author claims that fairy tales and folktales arise from social needs and tell of imagined societies. Their social and political functions can be analyzed through the relation between the structural features and the specificities of individual versions, considered in regard to social needs. [ABSTRACT FROM AUTHOR]

In Lithuania, research on folktales from an anthropological perspective is a new topic. This article aims broaden the research on traditional folktales. It highlights the methodological issues of ethnographic research of folktales as cultural heritage, and seeks to answer how ethnographic research of folktales could reveal the human phenomenon and the contexts that surround folktales. It examines the primary outcomes of ethnographic fieldwork: attitudes towards tales and perceptions of the tradition of storytelling, the role of context in defining the meaning of a tale, and the individual’s relationship to the tale, reflecting issues of interrelationship, community and identity. [ABSTRACT FROM AUTHOR]

Conservative stories for children are examined as propaganda in light of the religious and political priorities of the Republican Party and the poisonous pedagogy in conservative families. [ABSTRACT FROM AUTHOR]

In this essay, I explore how Henriette-Julie de Murat (1668-1716), during a long period of exile, creates an authorial identity intended to interact with her cousin Menou as well as her captors. By focusing on Murat's literary relationship with Menou, I investigate how Murat's correspondence undermines her captors' attempts to control her expressions of desire and affection toward women. The letters--seemingly intended as a distraction from Murat's confinement and sickness--also serve as a political statement. Through references to Montaigne's notion of male friendship, Murat reimagines female friendship as equal to Montaigne's theorization of homosocial bonds. Murat then weaves into her discussion of female friendship love songs replete with pastoral references in which female companionate love replaces heteronormative tropes. Murat's correspondence reclaims agency over her expression of desire in a literary style that distracts her from the monotony of captivity and the suffering of her illness. [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]

Being a parent is hard, particularly parenting adolescents, who need to be given choices and allowed the space to learn how to make choices for themselves, even when those choices result in negative consequences. This essay explores how Steven Sondheim and James Lapine's 1987 musical Into the Woods provides relatable stories of the challenges of being a parent, the challenges of parenting adolescents, and just how messy parents and families can be despite everyone trying their best. The stories of Little Red Riding Hood, Rapunzel, Jack, and Cinderella show us various stages, trajectories, and occasional tragedies of adolescents' emerging autonomy, while the Baker's and the Witch's struggles becoming and being parents encapsulate how disorderly and untidy parenting often is. Pediatricians and clinical bioethicists, who are often in a position to scrutinize the choices of parents and teens, should remember that parents and adolescents are almost always motivated by good intentions and doing the best that they can. Perhaps the best we can do is accompany them on their journey "into the woods." [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]

The article presents a theoretical-methodological analysis of the psychodrama method of group psychotherapy. It examines the aim, objectives, advantages, peculiarities and structure of classical psychodrama as a method of group psychotherapy. Also, the article attempts to define psychodrama as a group psychotherapy process. It studies the links between psychodrama and methods of various psychological approaches. Importantly, the article suggests a phenomenological approach to studying the interaction among the participants in psychodramatic psychotherapy groups to develop effective technologies for implementing psychodramatic techniques. It justifies the methodological and methodical essence of psychodramatic technologies in group psychotherapy, its main characteristics and goals. From the perspective of an integrative approach, psychodramatic technologies in group psychotherapy ensure the interrelation and interdependence of its psychodiagnostic and psychodevelopmental components. Meanwhile, the article considers the organizational, methodical and structural-dynamic features of using the interactive and role-playing method in group psychotherapy depending on the type of psychodrama. It shows how one can practically apply the "mirroring" psychotechnique in combination with the fairy tale metaphor (the method of enacting a fairy tale) in all types of psychodrama, along with an analysis of the advantages of its use and resourcefulness. Finally, the article discusses a methodical combination of psychodrama and transactional analysis within the "psychodramatic triangle" technique. It provides methodical recommendations for emotional disorder correction using the psychodrama method. The relevant indicators of the effectiveness and efficiency of the psychodrama method in group psychotherapy include catharsis, insight, expressions of trust and a sense of comfort in the space of group interaction and feedback, as an existing objective reality. [ABSTRACT FROM AUTHOR]

Fairytales have been told for as long as people have been telling stories. What started as folk tales passed on to each generation, became stories that are often associated with royalty, magic and far away lands. Popularized by the Grimm Brothers starting in 1812, and again by the Walt Disney Company and their animated films, fairytales are a staple in all media. With their simple narratives and stories that leave room for multiple interpretations, it is no wonder that authors use these fairytales as inspiration to tell a unique tale. From modern day settings, to taking the opportunity to create more stories for underrepresented groups such as the LGTBQ+ and BIPOC communities, fairytale retellings and their recent rise in the publishing world have endless opportunities. [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 the determination and resistance of the disabled heroine in the contemporary young adult fairy tales "The Call" by Peadar Ó Guilín and "A Curse So Dark and Lonely" by Brigid Kemmerer. It demonstrates the persistence of the heroine Nessa to survive in a dangerous fairyland despite her polio and being marginalized because of her disability. It discusses the fierceness of the heroine Harper, who has cerebral palsy, to mitigate poverty in the kingdom of Emberfall.

The paper aims to develop a compare-contrast model that will help students understand the gender and social-status stereotypes that appear in some texts of fairy tales, and are further deepened in their screen versions. The paper accentuates classic fairy tales perceived by critics as traditional (conventional and conservative) due to their gender, class, etc. stereotypes. These stories are an important factor in maintaining the stereotypical pattern of female inferiority, which is encoded through different types of media in the cultural patterns of our age. In order for those patterns to be deconstructed, it is necessary to apply methods that will develop critical literacy skills during education. We developed story maps as graphic organisers to show the social status trajectories of heroes and heroines. Story maps show social trajectories and allow the possibility of viewing the stereotypes embedded in the story. [ABSTRACT FROM AUTHOR]

Using a post-structural lens which situates gender as discursively produced, this study investigates how four 12-year-old girls read feminist fairy tales and what feminist issues and concerns they discern and relate to in these texts. The study used a dialogic approach in Action Research informed reading groups to stimulate their thinking and explore their experience of gender constraints. The article explores how the girls drew on discourses and discursive practices to position themselves in relation to the texts, often breaking the frame of the text and creating ‘counter-fictionals’ and using performativity to construct their versions of femininity. The author argues that the book group acted as a liminal space that allowed the girls a safe space for exploring and subverting gender constructs and constraints. [ABSTRACT FROM AUTHOR]

While combining fiction writing and artistic processes in my creative practice PhD project (2020), I worked with several fairy tales. My short story "The Three Dresses" is written from the point of view of dresses made from snow, darkness, and mirrors. As a first-person narrative, the reader embodies each dress in turn throughout the story, which alludes to "Cinderella" traditions from subtypes ATU510A and ATU501B. The main point of differentiation is in the agency of the dresses as speaking objects and their ability to reveal the relationship between the seamstress who made them and the persecuted young woman who wears them. [ABSTRACT FROM AUTHOR]

Bodies often play an important role in all sorts of fairy tales. Is this the case when fairy tales are reinterpreted in video games? And what can the embodied and enactive participation afforded by video games tell us about their players' understanding of these new fairy tales? This article provides reflections over both these questions by analyzing the video game The Wolf Among Us, a 2013/14 graphic adventure game developed and published by Telltale Games and inspired by fairy tales. Through this analysis, I ultimately discuss how contemporary sensibilities further transformed traditional fairy tales and their postmodern adaptations, highlighting the ever-evolving life of the fairy tale. [ABSTRACT FROM AUTHOR]