Search

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.)

Copyright of Knowledge: International Journal is the property of Institute for Knowledge Management 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.)

Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura 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.)

Copyright of Journal of Academic Social Science Studies is the property of Journal of Academic Social Science Studies 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.)

The messages on gender roles given through fairy tales, which contain elements related to the structure of society, cause children to internalize the knowledge and behavioral patterns they have acquired since their early ages, to be exhibited at later ages. This study was carried out to scrutinize the gender norms in Kyrgyz and Turkish fairy tales, revealing their similarities and differences, and examining the reflection of these norms on social life. A case study model, one of the qualitative research methods, was used and data was collected through document review and interview techniques. The documents (fables), used in the study, were determined using the stratified purposeful sampling method. Among the tales reached in the first stage, the ones in the realistic tale type and enriched with extraordinary elements were selected: a Kyrgyz and a Turkish tale with a family theme were selected from these tales. Tales were examined in terms of the gender norms they contain. The contents of the tales were analyzed in detail with the descriptive analysis technique. Individual interviews were conducted with 2 Kyrgyz students living in Türkiye and 2 Turkish students living in Kyrgyzstan, and the data were analyzed with the descriptive analysis technique. In the research, different gender norms in both tales were determined and it was concluded that these norms were reflected in social life. These norms have emerged in the form of supporting the patriarchal structure in the Turkish fairy tale while in the Kyrgyz fairy tale, the woman is considered to be precious.

Background. Studying and understanding stylistic devices, and, in particular, the epithet, is an integral part of the world linguistic picture. The epithet is inextricably linked with all literary works and is therefore a key part of any language. It reveals the attitude of native speakers to certain phenomena, which is manifested in the use of words stable for epithets. However, the lack of certainty in various aspects of the study of the epithet determines the need for its further study. The subject of the study is the linguistic and stylistic features of the epithet in English and Russian fairy tales. Purpose. The article identifies and compares the linguistic and stylistic features of epithets in the English and Russian fairy tales. Materials and methods: The material for the study comprises 150 epithets from the fairy tales of O. Wilde the fairy tales of M.E. Saltykov-Shchedrin. When analyzing the material, the following methods of linguistic analysis were used: semantic, stylistic, cultural, comparative and quantitative analysis, as well as the continuous sampling method. Results. As a result of a comparative study, identical and distinctive pecularities of epithets in two languages were identified. It was determined that the stylistic characteristics of epithets are largely similar, but it is emphasized that the English-language epithets are more unique and concise than Russian-language ones, which, in turn, are characterized by repetition and figurative meaning. In the English-language examples, there was greater neutrality and an emphasis on the positive and neutral qualities of the characters. Negative connotations were noted in the Russian-language epithets. Practical implications. The results of the study can be used in the study of the courses in stylistics, foreign literature, as well as in foreign language classes.

The article examines the potential application of fairy-tale therapy by educators, specialists in the socionomic sphere, and parents to provide psychological and educational support to children. The article aims to reveal various aspects of therapeutic fairy tale writing aimed at an individual's psychological and pedagogical assistance. To achieve the research objectives, several theoretical methods were utilized: content analysis of both Ukrainian and foreign scholarly works to identify effective methods for crafting therapeutic fairy tales; a typological approach to delineate strategies for developing storytelling skills for therapeutic purposes; the method of translating theoretical concepts into the practice of composing original therapeutic fairy tales; and the examination, analysis, and synthesis of specialized psychological and pedagogical literature. It is emphasized that therapeutic fairy tales help to correct a child's behaviour, and some psychological deviations reveal creativity and instil moral values. In addition, therapeutic fairy tales heal the soul and touch the most important human senses. It was concluded that the uniqueness of telling therapeutic fairy tales as a method of practical psychology and pedagogy is that it has no age restrictions and, secondly, it can be applied to people who develop "normally" and people with special needs. [ABSTRACT FROM AUTHOR]

Copyright of Miedzy Oryginalem a Przekladem is the property of Ksiegarnia Akademicka Sp. zo.o 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.)

In Dodie Smith's novel I Capture the Castle (1948), Cassandra Mortmain writes the story of her sister Rose's courtship. In the novel, clothes perform the paradoxical work of, on one hand, helping create a version of Rose that is vividly original in her wealthy suitor's eyes, while on the other hand showing readers how her behavior is as stereotypical as the oldest of fairy tales. The novel uses three pieces of clothing in particular – a dyed tea-gown, a bear-skin coat, and a frilly pink dress – to create fairy-tale associations with Rose. The novel does so to show that reproducing the unoriginality of fairy tales cannot create happiness. [ABSTRACT FROM AUTHOR]

This essay situates Sarah Orne Jewett’s short story A White Heron within the related contexts of children’s literature, the fairy tale, and crit ical ecofeminism, featuring comparative analysis of Jewett’s story and Angela Carter’s The Company of Wolves. Both stories are at least partly re-imaginings of Little Red Riding Hood, and both stories pursue what I identify as comparable ecofeminist or proto-ecofeminist agendas. While I argue it is Jewett’s shy and withdrawn protagonist Sylvia who is actually the more convincing ecofeminist warrior, and not Carter’s bold and aggressive heroine, it is only after Sylvia escapes from the story of Little Red Riding Hood that she becomes so; it is only after this intertextual dimension of A White Heron disappears from Jewett’s storytelling that Sylvia assumes an ecofeminist mantle, and a decisively moral status.

“IT IS THE FIRST TIME SHE’S SEEN ANYONE AS BLACK AS HER” – INCLUSIVENESS IN THE INTRALINGUAL TRANSLATION OF FAIRY TALES (BASED ON THE EXAMPLE OF SELECTED STORIES FROM THE COLLECTION BEASTS AND BEAUTY: DANGEROUS TALES BY SOMAN CHAINANI) The article analyses the refractions introduced in the retellings (intralingual translation) of fairy tales from Beasts and Beauty: Dangerous Tales by Soman Chainani. These transformations have their source in cultural translation and concern broadly understood inclusivity (e.g. change of skin colour, biological sex and sexual orientation, deconstruction of hegemonic masculinity). Possible sources of the introduced modifications were also indicated (an attempt to expand the recipient circle, representation of previously excluded minorities, but also the desire to stir emotions).

This article discusses Calvino’s idea of the fairy tale through the analysis of his theoretical works. On the one hand, such a discussion is crucial for the understanding of Six Memos for the Next Millennium, where the fairy tale is a central concern; on the other hand, it fills a patent gap. Despite Calvino’s thorough knowledge of the main trends in fairy-tale studies of his time, in fact, the leading scholars of this field have rarely discussed his views. I compare fairy tale and fantastic fiction, showing that according to Calvino the fairy tale is strikingly different, on a theoretical level, from the fantastic genre. Whereas the fantastic is conceived as a fully historical narrative typology, the fairy tale is something more than just a literary genre among others. The fairy tale is indeed very close to the most remote source of storytelling, and provides decisive evidence of the combinatory nature of fiction itself. This idea of the fairy tale raised for Calvino important issues about the notion of History itself, and the relationship between historical processes and ideal forms. Calvino tried to address these issues by splitting the fairy tale into two parts, and hypothesizing the existence of what I call a deep fairy tale, which is what this article is mostly about.

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]

'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]

In the article I bring the issue of using fairy tales in creating emotional social skills among children. It occupies a special place in bibliotherapy on the grounds of unique effect. The fairy tales strengthen, in fantastic form, the regional views on human intercourse and show ideals of good and justice and criteria of assessing human actions. Thanks to fairy tales, they stimulate moral development and enable to adapt socially accepted patterns of behaviour. In fairy tales the life matters are shown. They try to answer the question what the world is, which rules it governs and how to cope with fears and risks. [ABSTRACT FROM AUTHOR]

The article analyses the Japanese fairy tales "Kaguya-hime, the Maiden of the Moonlight", "The Crane" and "The Snow Maiden", whose main characters are close in their semantics to Japanese goddesses. The characteristic features of the poetics of these fairy tales are the absence of a happy ending, tragedy, and the connection of the heroines with the elements, astral images, and the world of birds and animals. Through the motif of metamorphosis, these three tales reveal the theme of unhappy love. The image of Kaguya-hime can be interpreted in two ways: 1) the visible signs of an adult beauty are only a mask under which a child is hiding, and 2) the protagonist is a stranger who realizes that her life among people is temporary, here she must gain certain experience, go through a series of trials, and then return to her real home (the Moon) as a different person. The second model associates Kaguya-hime with the heroines of fairy tales from different nations because she also needs to go through the ritual of rebirth (life-death-life) and metaphorical initiation into adulthood. But while the heroes of European fairy tales leave their home (the "human world"), enter the forest or the thirty-ninth realm (a foreign space), and go through trials there, for Kaguya-hime, the foreign space is the human world (the Earth), and the Moon is her native space to which she later returns. Therefore, the role of the spatial planes through which the protagonist passes is mirrored in this Japanese fairy tale. Accordingly, Kaguya-hime herself is associated with a goddess who briefly appears in the life of an old couple and makes them happy. She enters the world of people with the help of a bamboo stalk, which acquires the semantics of a "door" between time and space planes, magically connected to the Moon and the other world. Kaguya-hime gives her foster parents her love and material values: the old man begins to find silver coins in the bamboo stalks every day. Silver is associated with the moonlight. Thus, at the very beginning of the tale, the connection between Kaguya-hime and the Moon is outlined. The motif of the magical endowment of the parents of the miracle girl with silver and gold by the Grandfather-knows-everything (the Sun, not the Moon) is found in the Ukrainian fairy tale "How a Herder's Daughter Became a Queen". The amazing heroine of the fairy tale "The Crane" is similar to the enchanted beauty from the Ukrainian fairy tale "The Bird Girl". In both texts, an amazing girl appears as an assistant to the protagonist, helping him to become rich by using the magic of weaving. However, whereas in the Japanese tale, the man loses his wife by breaking his promise (he spies on the woman's work and sees her as a bird), the Ukrainian tale has a happy ending. The difference between the two texts also lies in the prerequisites for establishing a marriage relationship between a female bird and a man. In the tale "The Crane", a young man helps a wounded bird to heal and at the same time, he does not expect to meet her again, as a human. In the Ukrainian fairy tale, the bird seeks rebirth through death: she asks the young man to behead her so that she can become his wife. The characters of the Ukrainian fairy tale "The Cane Girl" are partly similar to the characters of the fairy tales "Kaguya-hime, the Maiden of the Moonlight", and "The Crane". Yuki-Onna, the wonderful woman from the tale "The Snow Maiden", has vivid ethno-psycho- logical specificity, tends to be the goddess of death, and is associated with rituals of transition. The heroine first initiates the young man Minokita into the mystery of life-death-life (killing his old master in front of him) and thus contributes to the hero's age-related initiation, later becomes his faithful wife and reveals her demonic nature after her husband breaks his vow. An important place in the poetics of the analyzed tales is occupied by images-symbols of the moon, bamboo, silver, bird, feathers, night, winter, snow, river, boundary, and Death. [ABSTRACT FROM AUTHOR]

Copyright of Bulletin of the L.N. Gumilyov Eurasian National University. Journalism Series is the property of L.N. Gumilyov Eurasian National 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.)

Copyright of Brazilian Journal of Law & International Relations / Relações Internacionais no Mundo is the property of Relacoes Internacionais no Mundo 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.)

The adaptation of fairy tales allows stories to be kept alive over time. Nowadays, it can also be a tool of Japanization by allowing elements of Japanese culture to be introduced into originally Western stories. This research explores that use of fairy tale adaptation through an analysis of the anime Belle, based on the classic story Beauty and the Beast. Through a comparative analysis with Disney's popular animated version, the most relevant divergences between the two works have been identified. Thus, it has been shown how Belle introduces specific concepts and ideas that allow us to approach a specific imaginary about Japan and its culture. [ABSTRACT FROM AUTHOR]

In Indonesia, fruit and vegetable consumption is still low, especially among school-age children. culture, environment, socioeconomic, and ethnic background are factors that influence vegetable consumption. Education can help improve children’s knowledge and perceptions about fruit and vegetable consumption. This research aims to determine the effect of the storytelling method through fairy tale books on children’s knowledge and attitudes regarding fruit and vegetable consumption in MIN 2 Bengkulu City. This research shows that fairy tale book media intervention students’ knowledge and attitude showed significant effect with p-value < 0.001. So that it can be concluded that storytelling method through fairy tale book media can be an alternative learning method in the classroom to increase children awareness, knowledge, and attitudes about the importance of consuming and vegetables. [ABSTRACT FROM AUTHOR]

According to UNESCO, education for sustainable development (ESD) is characterized by the concern for training the skills necessary for a human individual to relate responsibly to the natural, economic and socio-cultural environment in which he lives, minimizing or completely avoiding the negative effects of actions on the quality of his life and that of others. This finality of education for sustainable development requires the prioritization of moral education and shifts the focus to the development of moral consciousness and the formation of a value system agreed and assumed by all members of a community. Because it essentializes human values, the fairy tale constitutes an ideal learning content in relation to the objectives of moral education. The wide and varied symbolism of the heroes who evolve in the fairy tale world, the situations they go through and the key tools in overcoming some crises turn the fairy tale into a source of learning with a safe and deep impact on the student, both cognitively and affective and volitional. Knowing the interdependence between the professional skills of the teacher and the training of the student's skills (Ceobanu et al., 2020, p. 277), a teacher has the duty to know what are the sources and contents of learning that optimally respond to the educational needs and interests of those whom he guides. Therefore, the teachers' conception of the educational potential of the fairy tale is a determining factor in the application or exclusion of this content from the instructive-educational/school activities. The study we are carrying out aims to determine the level of knowledge of the educational potential of the fairy tale by teachers from schools on both banks of the Prut and provides valuable data about their beliefs regarding the effectiveness of the fairy tale in training and educating the younger generations.

The fairy-tale and the chivalric are closely interrelated, and frequently intersecting, narrative dimensions in terms of structure and recurring motifs. The retelling or rewriting of the same stories is one of their most obviously shared traits. This article follows this thread through the analysis of two short stories from Cieco da Ferrara’s Mambriano (1509), examining their antecedents and especially their fairy-tale rewritings, tracing a trajectory that culminates in Straparola’s Le piacevoli notti and Basile’s Cunto de li cunti, respectively.

The article analyzes the assimilation of the Russian folk tale in the ballet “The Firebird” created in 1910 by M. Fokin, I. Stravinsky, A. Golovin for S. Diaghilev’s Russian Seasons. The history of the composition of the ballet demonstrates that its main sources were fairy tales from the collection of A.N. Afanasiev “Folk Russian Tales,” such as “The Tale of Ivan Tsarevich, the Firebird and the Gray Wolf,” “The Firebird and Vasilisa the Princess,” “Koschey the Immortal.” To develop individual nuances, they could involve “The Tale of the Daring Young Man, Rejuvenating Apples and Living Water,” “The Feather of Finist Yasny Sokol,” “Vasilisa the Beautiful,” etc. The article shows how the plot of the ballet was built, how the images of fairy tales were processed. Since Diaghilev positioned “The Firebird” as the first proper Russian ballet, it turns out what meaning the creators of the performance put into this concept, what they saw as the “Russianness” of a folk tale. Summing up the results, it can be concluded that there is a connection between the principles of adapting a folklore fairy tale in ballet with the tendencies characteristic of working with folklore material by representatives of modernism and, in particular, World of Art artists.

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi 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.)

C. S. Lewis first discovered the works of George MacDonald when he read Phantastes, A Faerie Romance, a book he "unwittingly" picked up from a bookstall before a train journey (Surprised by Joy 219). He went on to read dozens of books by MacDonald and later wrote that "the quality which had enchanted me in his imaginative works turned out to be the quality of the real universe, the divine, magical, terrifying, and ecstatic reality in which we live" (George MacDonald preface). As Lewis's career matured, he followed in the steps of MacDonald by writing on literature and faith and, ultimately, by writing fantasy. Lewis called MacDonald his master, and their shared concept of nobility makes a fascinating study of the themes that inspired both men. These themes include the value and costliness of nobility as well as the significance of belonging to a kingdom in order to become noble. The connections between their fiction and faith reveal an idea of goodness within reach of every person. As a result, MacDonald and Lewis created a particular type of fantasy that has endured into the twenty-first century. [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]

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]

Copyright of Jezikoslovlje is the property of University of Osijek, Faculty of Philosophy 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.)

Copyright of XVIIe Siècle is the property of Presses Universitaires de France 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.)

Copyright of Art of Words / Umjetnost Riječi is the property of Umjetnost Rijeci 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.)

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]

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]

Copyright of Turkish Studies - Language & Literature is the property of Electronic Turkish Studies 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.)

Copyright of Journal of International Civilization Studies is the property of Kyrgyz-Turkish Manas 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 examines three of Dario Argento's supernatural horror films (Suspiria, Phenomena, and Dark Glasses) and their use of fairy tale imagery and narratives, which distinguishes them from murder-mystery-oriented giallo films. In them, Argento locates his characters, rather than in urban environments, in rural spaces (forests, fields, mountains) where the supernatural elements of their stories blossom. Suspiria represents a primarily aesthetic exploration of parallels between fairy tales and contemporary horror, while Phenomena uses these two modes to examine the conflict between the rational and irrational, the natural and the supernatural. Dark Glasses initially appears to be one of his more traditional gialli, but it abandons these tropes with a simplified plot evoking the story of "Little Red Riding Hood"; this shift is accomplished by moving the action of the film out of Rome and into the dark forests of the countryside. Dark Glasses, I argue, therefore represents a self-conscious move to unite in a single film the two major strands of Argento's filmography and to expose some fundamental elements of his general cinematic approach—namely, the unique capacity of stylized aesthetics and irrational elements to convey the experience of very real, human terror and evil. [ABSTRACT FROM AUTHOR]

The ways Gothic fairy tales and fairy-tale feminism interact are not always clear. An undercurrent of feminist studies of fairy tales is fueled by the 1970s Lurie-Lieberman debate, which focused on the question of whether fairy tales liberate or repress women. Meanwhile, critics such as Lorna Piatti-Farnell and Lucie Armitt have offered studies of the interplay between Gothic horror and fairy tales. However, these studies have limits, often emphasizing the violence, self-mutilation, and cannibalism of women, like those in Jacob and Wilhelm Grimm's versions of "Cinderella" and "Snow White". This paper argues that "Rapunzel" (1812) is key for understanding the Gothic and feminist discourses of Charlotte Brontë's Jane Eyre (1847). Firstly, this paper argues that a self-reflexive and self-productive relationship between subjectivity and desire shapes and disrupts the Gothic, fairy-tale, and feminist discourses of Jane Eyre, resulting in a specular feminine-I that has inspired pluralistic readings of the text. Secondly, an analysis of the Rapunzelian metaphors of 'wicked' hunger and ideological towers unmasks the double consciousness that not only fetters feminine subjectivity but delimits the domestic structures of marriage and home. Multiplying the ways nineteenth-century Gothicism, fairy tales, and feminism may interact, Brontë's specular study of feminine desire makes way for a productive and agential feminine speaking-I. [ABSTRACT FROM AUTHOR]

This article examines three of Dario Argento’s supernatural horror films (Suspiria, Phenomena, and Dark Glasses) and their use of fairy tale imagery and narratives, which distinguishes them from murder-mystery-oriented giallo films. In them, Argento locates his characters, rather than in urban environments, in rural spaces (forests, fields, mountains) where the supernatural elements of their stories blossom. Suspiria represents a primarily aesthetic exploration of parallels between fairy tales and contemporary horror, while Phenomena uses these two modes to examine the conflict between the rational and irrational, the natural and the supernatural. Dark Glasses initially appears to be one of his more traditional gialli, but it abandons these tropes with a simplified plot evoking the story of “Little Red Riding Hood”; this shift is accomplished by moving the action of the film out of Rome and into the dark forests of the countryside. Dark Glasses, I argue, therefore represents a self-conscious move to unite in a single film the two major strands of Argento’s filmography and to expose some fundamental elements of his general cinematic approach—namely, the unique capacity of stylized aesthetics and irrational elements to convey the experience of very real, human terror and evil.

Grimmsʼ fairy tales are fairy tales collected in German lands and literarily processed by the great germanists Jacob and Wilhelm Grimm. They were included in the collection «Children’s and Household Tales» (German: «Kinder- und Hausmärchen»), originally published in 1812. Thanks to their depth and wonderful plots, these fairy tales have not lost popularity for several centuries and are read with pleasure by adults and children. The purpose of the research was to identify and describe the structural and semantic features of the titles, formulated by the German storytellers. The relevance. In the modern world of information, the title requires comprehensive research, since it is a key element of the deep part of the text content structure and orients the reader in the world of literature and journalism. The scientific novelty. In linguistics there is no consideration of the titles in Grimmsʼ fairy tales, their semantic and structural features. The research material. The titles of the most famous and popular fairy tales of German storytellers from the Kinder- und Hausmärchen collection. In the research the general scientific and linguistic methods were applied: descriptive method, method of classification and systematization, elements of structural and semantic analysis and quantitative calculation. The scope of application. The research can be used in the study and teaching of the style of the German language, pragmatics and text interpretation. The results. The author names the structural features of the titles in Grimmsʼ fairy tales, gives a percentage of the number of title-words, title-phrases, title-sentences, lists their semantic features, focuses on complex words, talking names, numerals, appellatives, diminutive suffixes, as well as on the facts from the plot of the fairy tale that the reader can already learn from the title.

Fairy tales (and other narratives) are used as therapeutic tools in therapy. Stories about witches and magic, including spells, mobilize the emotions and the mind of the patient and help them providing patterns and suggesting solutions. This interview is a dialog between an anthropologist specialized in the anthropology of witchcraft and magic and a psychotherapist trained in family and individual therapy using fairy tale therapy in combination with other methods.

The ways Gothic fairy tales and fairy-tale feminism interact are not always clear. An undercurrent of feminist studies of fairy tales is fueled by the 1970s Lurie-Lieberman debate, which focused on the question of whether fairy tales liberate or repress women. Meanwhile, critics such as Lorna Piatti-Farnell and Lucie Armitt have offered studies of the interplay between Gothic horror and fairy tales. However, these studies have limits, often emphasizing the violence, self-mutilation, and cannibalism of women, like those in Jacob and Wilhelm Grimm’s versions of “Cinderella” and “Snow White”. This paper argues that “Rapunzel” (1812) is key for understanding the Gothic and feminist discourses of Charlotte Brontë’s Jane Eyre (1847). Firstly, this paper argues that a self-reflexive and self-productive relationship between subjectivity and desire shapes and disrupts the Gothic, fairy-tale, and feminist discourses of Jane Eyre, resulting in a specular feminine-I that has inspired pluralistic readings of the text. Secondly, an analysis of the Rapunzelian metaphors of ‘wicked’ hunger and ideological towers unmasks the double consciousness that not only fetters feminine subjectivity but delimits the domestic structures of marriage and home. Multiplying the ways nineteenth-century Gothicism, fairy tales, and feminism may interact, Brontë’s specular study of feminine desire makes way for a productive and agential feminine speaking-I.

In the 20th and 21st centuries, the rise of audio-visual media, particularly cinema and television, brought about new visual techniques and storytelling conventions that have transformed the way fairy tales are adapted for the screen. Initially adapted for a younger audience, newer adaptations often return to the darker and more horrific elements of the source texts; this includes body horror and an emphasis on physiological differences. This article employs structural, cultural, and folkloric interpretive lenses for the analysis of three contemporary, audio-visual fairy tales to discuss the way contemporary fairy tales include disability and difference as social constructs that are shaped by cultural attitudes and anxieties. The stories’ plots are driven by the protagonists’ “otherness”, and these texts feature transformations that provide clues to understanding current standards of beauty and normality. I argue that newer adaptations place an emphasis on finding resolutions to difference that challenge the traditional idea that if one has a face or body that strays from the standard of the norm, one must die, relegate oneself to the margins, or join others like oneself.

The study is devoted to construct a typology of discourses about a miracle. Discourses are interpreted in this case not in a linguistic, but in a philosophical sense, as a certain “way of talking” about a chosen phenomenon. This includes the ontological and ideological position of the speaker (writer), emotional and value pathos, a communicative attitude or lack thereof, a message to the listener (reader) of specific views and beliefs. The author distinguishes three groups of discourses on the ideological basis: 1) a miracle, understood as supernatural, but accessible for communication; 2) a miracle understood as a man-made, purely human phenomenon; 3) a miracle as the result of a “dual determination” coming from both the transcendent and the person himself. The miracle is initially interpreted in the article as a positive phenomenon that can be described and expressed in speech without directly naming the word itself. Within the first group of discourses, the following are considered: religious (Christian), mythological and fairy-tale discourse, and the fate-providentialist discourse is also highlighted. The second approach, connected with the denial of the supernatural, speaks of a miracle in the context of its scientific and technical creation, as well as hopes for a miracle within the framework of progressive and utopian concepts. The third type of discourses, combining the view of a miracle as coming from above and from the person himself, includes mystical-magical, existential and creativistic discourses - interpreting the theme of creativity. The mystical-magical discourse describes a miracle as the result of illumination and as a consequence of persistent spiritual searches. In the existential discourse, represented by fiction, there is also a place for describing a miracle as a magical nature and a magical fate. In creative discourse, the miracle is the very act of the birth of a new one. Summing up what has been said, the author emphasizes that he presents readers with nothing more than a sketch that requires further work and thematic disclosure.

This paper examines the gothic fairy tale in Carmen Maria Machado’s memoir In the Dream House and short story “The Husband Stitch” with a focus on Bluebeard’s insistent presence and the interweaving of reality, gothic horror, and fairy tale. In the memoir, Machado restages her experience of queer intimate partner violence in the form of a gothic fairy tale as “The Queen and the Squid”, reminiscent of the tale of Bluebeard’s latest wife. By including gothic fairy-tale elements in the autobiographical text, Machado blurs the boundaries between the fictional and non-fictional realm, between her story and that of Bluebeard’s latest wife, thereby rewriting the tale for a queer context. The annotation of the memoir using Stith Thompson’s Motif-Index of Folk-Literature further superimposes the fairy tale onto Dream House. Machado’s short story “The Husband Stitch” is a gender-aware inversion of “Bluebeard”. The reappearance of the tale throughout Machado’s work reveals the persistence of abusive behavioral patterns in relationships to the present day. Machado’s intertextual storytelling blurs the lines between autobiographical events and the tale of Bluebeard’s latest wife, creating a shared narrative universe of experiences of women who have dealt with their own iteration of Bluebeard.

He is giving da’wah to children certainly different from giving da’wah to adults. Giving da’wah to children must take an in-depth approach because their cognitive development is still preoperational, so it is necessary to use an understandable way while performing da’wah to children. The preoperational stage is the stage that begins around age two to seven years old. In this stage, children cannot yet use logic, transform, combine, or separate ideas. Hence, a child has not yet used his mind ultimately. One of the da’wah methods proper for children is the fairy tale method. Considering the background above, this study focuses on how giving da’wah through Kak Ivan’s fairy tale. This study used descriptive qualitative research using the data collection method through observation, interview, and documentation, and analyzing data using the interactive analysis method. The way Kak Ivan gives da’wah through fairy tales is unique because of his capability to imitate various sounds to captivate children. Kak Ivan starts his da’wah with an enchanting technique such as imitating the sound of a car, airplane, trumpet, a child, and an older man. This is quite rare to be found in other da’i. At the end of da’wah or the closing part, Kak Ivan uses puppets, and it is used in the final chapter to increase children’s focus that is already distracted in the middle of giving da’wah. Aside from being unique, da’wah through Kak Ivan’s fairy tale is a successful da'wah because of the positive effect on the mad'u, which can be applied in daily life. For example, asking friends to go to a sermon together, an initiative to help a friend by lending a pencil to someone who forgot to bring it, also can perform salah without having to be ordered by parents.

The paper is devoted to the collection of Amália Sirotková (1813 – 1892) – the oldest known Slovak woman storyteller. Part of her manuscript collection from the 1850s has been preserved thanks to the estate of Pavel Dobšinský (1828 – 1885) who prepared two of her tales for publication in his edition Prostonárodné slovenské povesti (Slovak folk tales, 1880, 1882). The preserved notebooks are probably a fragment of a larger collection, but the extent of the manuscript remains unknown. “Povesti od Amálie Sirotkovej [Tales by Amália Sirotková]” archive stored in the Literary archive of the Slovak National Library in Martin contains three notebooks by A. Sirotková and one notebook written by another person and probably unrelated to A. Sirotková’s collection. The first part of the article reflects on the question of authorship and the extent of the collection. The second part of the papee reconstructs the origin of the collection and outlines the possible ways in which the manuscript of A. Sirotková’s might have reached P. Dobšinský. The aim is not to reflect on the language, spelling, style, or genre of A. Sirotková’s tales, but on the contexts of the collection with regard to parallel manuscript sources and the way it was used by editors of fairy tale books in the 19th century. The third part of the paper deals with this issue in more detail.