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Folk tales, epic, tale, legend, such as genres such as epic, fairy tale, legend, in terms of having a mixed form of prose and verse is separated. The folk tales that emerged after the epic period are largely characterised by its characteristics on it. However, it is also a unique genre with many new features. Axel Olrik, the twentieth at the beginning of the century, he began to work on the epic laws of folk narratives. As a result of this, he was able to find out the common epic laws of the narratives he called 'sage', which include myths, folk songs, epics and legends put forward the rules. By analysing the texts of European folk literature, he developed the rules of folk narratives in fifteen as a title. Researchers have analysed these rules on different genres and texts until today. In this study, the epic rules of folk narratives were applied to Kirmanşah compiled from the folk story Âşık Şeref Taşlıova and determinations were made within the framework of these rules. [ABSTRACT FROM AUTHOR]

Copyright of Culture & Folk Literature / Farhang va Adabiyyāt-i ̒āmah is the property of Tarbiat Modares University Press 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 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.)

Folklore is a branch of science that identifies and examines material and spiritual cultural elements of people living in a country or region. One of the fields of the study of folklore is occupational folklore. Occupation which means a continuous work that a person has adopted as her main field of work and does to earn a living has a rich structure in terms of the cultural elements it contains. Occupational folklore evaluates elements such as the organization and language of occupational groups, hierarchy within occupational groups, tools suitable for occupational groups and their use. For this reason, recently, studies on occupational folklore as an independent field have increased and specific customs and traditions, beliefs, oral literary works of professions have started to be compiled. The study focuses on traditional professions in the epics and folk tales of Meddah Behcet Mahir. As a matter of fact, minstrels, meddah and amateur narrators, who are the spokespersons of the society, depict the panorama of that period by presenting sections from political, economic, military, religious, etc. elements of the period they live in their works. In this study, where qualitative research method was used, document analysis method was applied. The study analyzed 15 epics in Koroglu Destani (1973) prepared by Mehmet Kaplan, Mehmet Akalın and Muhan Bali, and 24 folk tales in Meddah Behcet Mahir'in Butun Hikayeleri I (1997) and Meddah Behcet Mahir'in Butun Hikayeleri II (1999) prepared by Saim Sakaoglu, Ali Berat Alptekin, Yurdanur Sakaoglu and Esma Simsek. In this sense, how the lost or forgotten occupations and their cultural elements were handled in the works was determined. [ABSTRACT FROM AUTHOR]

Copyright of Motif Academy Journal of Folklore is the property of Motif Yayincilik 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.)

Phraseological units, characterised by their opaque meaning, are the subject of multiple theoretical works. The following article adds to this discussion by providing another interesting example. It analyses the case of the Arabic phraseological unit ‘open sesame’ from the “Ali Baba and the Forty Thievesˮ folk tale, permeating into French, Italian, Polish, Turkish and Japanese – languages distant both linguistically and culturally. In each of the analysed languages, we can find the so-called absolute equivalents of the unit in question. Their analysis shows how a phraseological unit of a meaning rooted in a foreign culture enters a language that initially did not connote sesame with a ‘treasury’. Interestingly, the analysed unit became understandable enough to be re-used in other cultural sources, such as names of public places, or even to enter the target language dictionaries. However, as the corpus analysis suggests, the popularity of the unit in question varies between languages, being the most popular in Italian and the least in Japanese.

The main problem in the perception of metaphysical evil, as related to us by the various religious traditions, appears when the author of a literary work tries to customize it to be aesthetically received. To this "internal" aspect is added an “external” one of a mentalistic, tributary nature, specific to the cultural-historical era in which it arose. The author of the present study succeeds in deepening this aspect to decipher part of the mechanisms capable of favoring the process of translating evil from the religious to the literary plane, reaching the simplistic version of the exposition of evil, the secular playful and, why not, atheistic.

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Artistic images of animal characters in beast stories studied through the prism of national mentality reveal specific animal-human concepts rooted in the readers’ mindsets. This essay focuses on the hare/rabbit as a popular character in animal tales, with an attempt to enhance intercultural relations in the Ukrainian/English world by explaining the peculiarities of the surrounding reality present in beast stories. The paper discloses similar and distinctive characteristics of animal stories on two levels, that is, by contrasting the author’s literary tale with the folk-tale, and by studying the collective image of hare in Ukrainian folk-tales against the background of Peter Rabbit from Beatrix Potter’s stories. The research does not dwell on the zoological peculiarities of the chosen animals or the Aesop fables, but highlights the psychological characteristics of the animals under study in the context of their “national identities”. The work results in disclosing a deep connection between games and animal tales; since both the storyteller’s and the audience’s mental work is based on the game-like perception of the virtual world of the story. The literary images of the hare/rabbit in Ukrainian and British tales differ radically. Ukrainian animals are presented as meek and subdued creatures relying on outside help and rarely (ranking sixth amongst animal protagonists) becoming the leading characters. In contrast, British bunnies are energetic and boisterous, trying their best to overcome any difficulties. The authors explain this fact by references to differences in the historical development of the two cultures under analysis.

The article gives a multifaceted interpretation of the functions of a concentration camp fairy tale from the perspective of folklore studies (i.e. its socio-integrative, aesthetic, didactic/educational, compensatory/cathartic and trauma management functions) and literary studies (strategies of women’s writing about the Holocaust and the war, and the camp testimony). The author analyses the novel Wakacje nad Adriatykiem (1970) and an extended interview Królestwo za mgłą (2017) by Zofia Posmysz, an inmate of Auschwitz-Birkenau, Ravensbrück and Neustadt-Glewe, who stylised her camp memories as a traditional folk tale, thus commemorating the fairy tales told by her camp friend Zofia Jachimczak, who did not survive Auschwitz. The author comes to the conclusion that a concentration camp fairy tale seems to be a complete genre and a comprehensive structure of meaning that makes it possible to express the inexpressible.

Artistic images of animal characters in beast stories studied through the prism of national mentality reveal specific animal-human concepts rooted in the readers' mindsets. This essay focuses on the hare/rabbit as a popular character in animal tales, with an attempt to enhance intercultural relations in the Ukrainian/English world by explaining the peculiarities of the surrounding reality present in beast stories. The paper discloses similar and distinctive characteristics of animal stories on two levels, that is, by contrasting the author's literary tale with the folk-tale, and by studying the collective image of hare in Ukrainian folk-tales against the background of Peter Rabbit from Beatrix Potter's stories. The research does not dwell on the zoological peculiarities of the chosen animals or the Aesop fables, but highlights the psychological characteristics of the animals under study in the context of their "national identities". The work results in disclosing a deep connection between games and animal tales; since both the storyteller's and the audience's mental work is based on the game-like perception of the virtual world of the story. The literary images of the hare/rabbit in Ukrainian and British tales differ radically. Ukrainian animals are presented as meek and subdued creatures relying on outside help and rarely (ranking sixth amongst animal protagonists) becoming the leading characters. In contrast, British bunnies are energetic and boisterous, trying their best to overcome any difficulties. The authors explain this fact by references to differences in the historical development of the two cultures under analysis. [ABSTRACT FROM AUTHOR]

The main aim of the article is to show the functioning of bajarze in Polish culture, understood not as storytellers, but as collections of fairy tales. They began to be published in the 19th century and continue to be published today. The first Bajarz polski by Antoni Józef Gliński was created in 1853, and the lat- est, Współczesny bajarz polski, by Zuzanna Orlińska – in 2021. Over the centuries, many other collections of tales were released: their main goal has been to popular- ize Polish and/or folk traditions. The article presents known collections and shows their changing functions. [ABSTRACT FROM AUTHOR]

The paper presents a short story entitled Wanda by Zuzanna Orlińska as a posthumanist reinterpretation of the traditional ethnocentric legend. Subtle changes in te character’s motivation and expanding the plot of Wanda’s story into two other texts create a new understanding of community (not only a national one), as well as a new model of women’s participation in it. The foundations of this new model are agency, care and interdependence. [ABSTRACT FROM AUTHOR]

zuzanna orlińska, illustrator, author of texts for children and teenagers, among others, Ładna historia (A Nice Story, 2022), Okna Pałacu Saskiego (Windows of the Saxon Palace, 2022), Współczesny bajarz polski (A Contemporary Collection of Pol- ish Folk Tales, 2021), Wstydu za grosz (No Shame, 2020), Miasto pamięci (A City of Memory, 2020), Matka Polka (Polish Mother, 2017), Ani słowa o Zosi (Not a Word about Zosia, 2020). She has received many awards and distinctions, including the “Guliwer w Krainie Olbrzymów” Award, the Kornel Makuszyński Literary Award and the award in the Astrid Lindgren Literary Competition. [ABSTRACT FROM AUTHOR]

The author analyses the novel Wakacje nad Adriatykiem (Holiday on the Adriatic, 1970) and an extended interview Królestwo za mgłą (The Kingdom Behind the Mist, 2017) with Zofia Posmysz – a prisoner of Auschwitz, Ravensbrück and Neustadt-Glewe, who stylized her concentration camp memories as a tradi- tional folk tale, thus commemorating the fairy tales told by her camp friend Zofia Jachimczak, who did not survive Auschwitz. The author introduces the concept of a camp fairy tale. In the first part of the article, she analyses the elements of folk fairy tale in Posmysz’s texts (space, time, characters, magical objects). In the sec- ond part, the author outlines a definition of a separate prose genre – a camp fairy tale, characterized not only by the adaptation of folk fairy tale motifs to concentra- tion camp realities, but also by the fact that this fairy tale, originally told in the concentration camp, is narrated or written down from memory and recounted to listeners by a former prisoner who gives a testimony of life and death in the camp. [ABSTRACT FROM AUTHOR]

The article will present the results of a literary analysis of the comic book Wiesław by Maciej Kisiel (3 parts, 2019–2022), which is based on Slavic fairy tales. The inspiration for the analysis of the comic was Jolanta Ługowska’s reflec- tions on the folk magic fairy tale as material of fiction. Folk material functions as a potential source of literary plots and comic scripts from which the author can draw the idea of the plot or even individual motifs or characters to be freely contaminated and modernised. The aim of the reflections on the phenomenon of comic transposition of motifs of Slavic folk tales was to determine to what extent the principles of constructing the plot of the analysed comic correspond to the principles of constructing a folk tale (economy of means, expressive exposition of turning points, covering the perspective of the narrator and the protagonist); and what adaptation and transformation processes (threads, motifs, heroes, objects) serve to adapt folklore material to the new communication situation and recipient. [ABSTRACT FROM AUTHOR]

Copyright of Łódzkie Studia Etnograficzne is the property of Polish Ethnological Society / Polskie Towarzystwo Ludoznawcze 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 Łódzkie Studia Etnograficzne is the property of Polish Ethnological Society / Polskie Towarzystwo Ludoznawcze 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 Archaeology & Science / Arheologija i Prirodne Nauke is the property of Institute of Archaeology 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 paper presents a short story entitled Wanda by Zuzanna Orlińska as a posthumanist reinterpretation of the traditional ethnocentric legend. Subtle changes in te character’s motivation and expanding the plot of Wanda’s story into two other texts create a new understanding of community (not only a national one), as well as a new model of women’s participation in it. The foundations of this new model are agency, care and interdependence.

The main aim of the article is to show the functioning of bajarze in Polish culture, understood not as storytellers, but as collections of fairy tales. They began to be published in the 19th century and continue to be published today. The first Bajarz polski by Antoni Józef Gliński was created in 1853, and the latest, Współczesny bajarz polski, by Zuzanna Orlińska – in 2021. Over the centuries, many other collections of tales were released: their main goal has been to popularize Polish and/or folk traditions. The article presents known collections and shows their changing functions.

The author analyses the novel Wakacje nad Adriatykiem (Holiday on the Adriatic, 1970) and an extended interview Królestwo za mgłą (The Kingdom Behind the Mist, 2017) with Zofia Posmysz – a prisoner of Auschwitz, Ravensbrück and Neustadt-Glewe, who stylized her concentration camp memories as a traditional folk tale, thus commemorating the fairy tales told by her camp friend Zofia Jachimczak, who did not survive Auschwitz. The author introduces the concept of a camp fairy tale. In the first part of the article, she analyses the elements of folk fairy tale in Posmysz’s texts (space, time, characters, magical objects). In the second part, the author outlines a definition of a separate prose genre – a camp fairy tale, characterized not only by the adaptation of folk fairy tale motifs to concentration camp realities, but also by the fact that this fairy tale, originally told in the concentration camp, is narrated or written down from memory and recounted to listeners by a former prisoner who gives a testimony of life and death in the camp.

The article will present the results of a literary analysis of the comic book Wiesław by Maciej Kisiel (3 parts, 2019–2022), which is based on Slavic fairy tales. The inspiration for the analysis of the comic was Jolanta Ługowska’s reflections on the folk magic fairy tale as material of fiction. Folk material functions as a potential source of literary plots and comic scripts from which the author can draw the idea of the plot or even individual motifs or characters to be freely contaminated and modernised. The aim of the reflections on the phenomenon of comic transposition of motifs of Slavic folk tales was to determine to what extent the principles of constructing the plot of the analysed comic correspond to the principles of constructing a folk tale (economy of means, expressive exposition of turning points, covering the perspective of the narrator and the protagonist); and what adaptation and transformation processes (threads, motifs, heroes, objects) serve to adapt folklore material to the new communication situation and recipient.

Georges (or Jòrgi) Gros is the author of a long-lasting Occitan work in which the tradition of the tale to be told and that of the novelistic autobiography, with different means, face the same difficulty: the passage from one era to another, throughout the 20th century. The central figure in this transformation is the city of Nîmes, whose form was profoundly altered at the same time as its historical language, Occitan, faded from its traditional strongholds. The strength and originality of Gros's work lie in its position, at the vanishing point between the loss of a past and the projection of a future, and in the literary aesthetic that this position gives rise to. A writing of opposites and contradictions that leads to the emergence of a very personal style, a kind of recalcitrant postmodernity.

Introduction. The language of the folk magic tale is characterized by a wide use of artistic means, including epithets; this may be explained by the worldview, aesthetic ideas, certain concepts that developed in the course of the people’s history, as well as with folk philosophy and the specific features of the language. So far there has been no special study devoted to imaginative-expressive means of Bashkir magic tales; hence, to fill in the gap, the present article undertakes the study of epithets of the stock of artistic means characteristic of the Bashkir folk magic tale that add to the expressiveness of the language in magic tales. Thus, the study aims at identifying and analyzing epithets that characterize the main character of the magic tale from different sides; A. I. Aliyeva’s method has proved useful for this part of the research, while the examination of their structural types draws on the method elaborated by the Altai researcher M. A. Demchinova. Data and research methods. The sources for the research data were the texts of magic tales published in the Bashkir language in the two books of the scholarly collection Bashkir Folk Art; the analysis of the data was carried out with the help of textual and analytical methods. Results. The texts of the tales were examined first to identify epithets; then, the analysis focused on the epithets that characterize the main character: their appearance, marital status, social status, clothing, housing, etc. It appears that the epithets that characterize the protagonists in Bashkir magic tales have a systemic character. There is a certain sequence in the complex portrayals of personages that help to create the image of an ideal hero who may be poor but, also, kind, generous, and always ready to help those in need. The second part of the article focuses on the structural types of the items, including simple and complex epithets. Each of the type is illustrated with examples.

The aim of the article is to show how the biblical motif of the Penitent Thief was developed in Old Polish biblical-apocryphal narratives. We are interested to know in what context this issue has been mentioned and what purpose it has served. Due to the merging of the (para)biblical motif of the Penitent Thief with the folk motif of Madej, we have focused on the interrelationships between the fragments of the Apocrypha analysed, as well as between these fragments and later folklore texts. However, the main focus is on the old Polish material. [ABSTRACT FROM AUTHOR]

This paper reviews the principles of traditional fairy-tale presentation in Japan. The subject has not been previously covered in specialised research in our country, even though the rules for orally presenting fairy-tales and works of other genres of folklore have had a profound impact on Japanese culture, specifically the structure of Mediaeval Japanese literary works, and even the behavioural model of the Japanese people. This paper studies the customary rules for telling fairy-tales and the relationship between the narration’s time frame and traditional rituals. We particularly emphasise that, rather than being chaotic or random, the process of story-telling was always timed to fall on specific dates and specific times, as well as calendar days, and was in accordance with the traditional perception of “good” and “bad” days. Fairy-tales were considered the most effective way of safeguarding the individual and one’s household and family from misfortune and illness. We focus particularly on the importance of various structural elements of Japanese fairy-tales. Each of the elements played a specific role in the process of engaging with the audience. We consider the unique features of the beginning and ending of Japanese fairy-tales and typical formulas for the middle. We also analyse the relationship between the story-teller and the audience and the techniques for getting the audience engaged in the narrative and prompting them to enter a special communicative state. In Japanese tradition, the act of story-telling was reciprocal; the audience was not passive. On the contrary, members of the audience could even rate the narrator’s performance. Notably, the process of getting the audience to enter and then be drawn out of a special communicative state was a form of art. Each story-teller had their own ways of ensuring that the audience was fully immersed in the narrative, of “shutting off” the outside world, making the listeners hang on their voice, and eventually, making them “snap out” of the story and come away transformed by its life-affirming symbolism. Finally, we examine the traditional folkloric techniques of communal story-telling, known as dandan-katari and hyaku-monogatari . This particular form of communal leisure and, often, communal ceremony shaped the structure of several literary genres, shedding light on yet another aspect of how the tightly intertwined folkloric and literary traditions of Mediaeval Japanese literature have been preserved.

The development of benevolent relationships between people of different races and ethnicities living in the same areas, such as the city of Moscow is highly relevant modern issue can be beneficially addressed in early childhood. This article discusses challenges of multicultural education in Moscow preschools and kindergartens. Folk tales characterized as an early precursor of a textbook for children who do not attend a school and cannot read. The article depicts the ability of folk tales to introduce young children to different ethnic cultures such as everyday lives and households, traditions, and models of behavior. Data collected in Moscow preschools and kindergartens is presented and discussed. The objectives of this research were to study, analyze and draw conclusions from the collected data to find out what folk tales are used in preschools of multicultural Moscow. It was concluded that full potential of folk tales was never utilized in multicultural education. Furthermore, objectives to make new pedagogical technology for multicultural education based on folk tales were defined based on this study.

This article presents a state of the art on the Novelas en verso by Cristóbal de Tamariz, a corpus that is still under discussion, both in terms of the number of its texts and its sources. The medieval models of stories 4, 7 and 5 are traced, before stopping at novella 15 (The Tournament). The main hypotext (novella iii, 4 of Le piacevoli notti by Giovan Francesco Straparola) is superimposed by the memory of the folkloric tradition, which explains some of the changes.

Jane Campion's The Piano (1993) and Catherine Breillat's Barbe Bleue (2009) are film adaptations of the tale Bluebeard, both of which have a seemingly bright closure -- "and they all lived happily ever after". "They", as the female, are in the becoming process since "one is not born, but rather becomes, a woman" (de Beauvoir 1956: 273), which changes the nature of the film denouement. By looking at the female protagonists Ada McGrath in The Piano and Marie-Catherine in Barbe Bleue, this research aims to deal with how female "decisions" in attempting to accomplish themselves in the face of a crisis affect the understanding of the film's ending. First, female characterisation and plot development are investigated with the construction of women's feelings and perceptions at a given moment, influencing the subsequent outcomes. Second, the significance of narrative techniques is expounded with audience's affective interaction with characters. The conclusion reached is that in both films, repressed female temperament allows women to make judgements and choices that predetermine the tragic core of the happy ending. The significance of this study is to draw attention to the plight of women in the undercurrent, to make it possible for the silent cries behind the beautiful fantasies to be heard. [ABSTRACT FROM AUTHOR]

The purpose of the paper is to reconstruct the representations of fathers in the Mazovian folk tales collected by Oskar Kolberg (1814-1890), along with their social classes and professions, as well as their roles in the narrative progression of the folk tales. Thus, this is the examination of ‘who they are?’, but also ‘what do they do?’ and ‘what kind of people are they?’, and, therefore, also of the father figures they represent. The analysis shows that fathers as characters in Mazovian folk tales have mostly negative connotations, typically acting to the detriment of their children, displaying egoistic preoccupation with themselves and their goals rather than caring for the wellbeing and interests of their offspring. This parenting style manifests itself in five basic types of behaviour toward the child, indicative of the five basic characteristics of folkloric fathers: indifference, violence, authoritarianism, failure to protect the child, and excessive control. [ABSTRACT FROM AUTHOR]

Basing on the German epic poem “The Nibelungenlied” and European folk tales, authors of the article single out the story of a bride left nearby her groom’s house. Characteristic features of this story are explained as originating from a ritual myth which used to codify the rites of the exogamic marriage. The bride in this plot is viewed as a shape-shifter whose bodily transformations reflect her origins from the Underworld and manifest her ability to kill. Changing the bodily form is thus representative of the evil powers and dangerous qualities of a being. The transformations of the bride’s body are only present in the most archaic forms of the plot, where her ability and proneness to kill are manifested straightforwardly – by assuming the image of a murderous animal. It’s possible to neutralize her harmful potency with the help of a wonderful assistant, the dead man who embodies one’s ancestor, or by performing certain ritual actions, creating special conditions under which the bride could change and become one of our own, safe for herself and her host family, rejecting all ties with the dangerous space of the Otherworld.

The article considers a folk tale as a means of preserving national identity, expressed in the national code – a peculiar system of signs that expresses the specifics of the national culture of a certain ethnic group. Analyzing Romanian (Moldavian), Russian, Bulgarian and Ukrainian fairy tales preserved in Bessarabia, the author comes to the conclusion that there is a regional code that preserves the common features of national communities living in this territory.

Prof Dr. İlhan Başgöz who is found appropriate for “Reward of Superior Care to Turkish Culture” by Culture Ministry of Turkey Republic, borns in 1921 or 1293 in Gemerek/Sivas. He graduates from Ankara University Language and HistoryGeography Faculty in 1945. He becomes one of the firsts that takes Doctor degrees of “Turkish Folklore and Folk Literature” discipline (1949). For a while he works as a literature teacher, and then Mr. Başgöz goes to America in 1960. He works there in different universities and he becomes professor in 1976. Mr. Başgöz who is choosen a honorary member by American Folklore Society mains in America till he becomes retired. After that he works in Bilkent and Yüzüncü Yıl Universities as a guest lecturer. The works of Prof. Dr. İlhan Başgöz like “Karac’oğlan (1978)”, “Folklore Writings (1986)”, “Âşık Ali İzzet Özkan (1979), “Yunus Emre (1990)”, “Twister of Turkish Public (with Andreas Tietze) (1999)”, “Education Predicament of Turkiye an Atatürk (2005)”, “Nasreddin Hodja From Past to Present (2005), “Folk Song (2008)”, “Folk Love Stories (2012)” were published. The book ’Gemerek Nire Bloomington Nire“, which begins with the words of Başgöz “year 2010, ten july and i am 89 years old” and tells the story of life in the form of a documentary, makes its first edition in 2017. In this work, an unpublished work of Mr. Başgöz that he names “Introduction to Turkish Folklore” have presented.

This paper is about the practical application of Metamorphoses creative-developmental fairy tale therapy, which is presented based on a three-session Metamorphoses creative-developmental fairy tale therapy session. The sessions were conducted between April and May 2021, among students (n=24) of the University of Debrecen, who were previously not familiar with fairy tale therapy, nor with the works of Ildikó Boldizsár. Through the media environment of the session, we also reflected together on the effects of internet consumption and the dangers of the internet. The study highlights the students' attitudes towards this method and their participation and activity in the online space. The experiences gained during the 3 sessions and the feedback of the students appear as a guideline to conclude the study. The practical application of the Metamorphoses creative-developmental fairy tale therapy will show whether this methodology has a role to play in higher education.

Copyright of Journal of Ottoman Literature Studies / Divan Edebiyatı Araştırmaları Dergisi is the property of Journal of Ottoman Literature 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 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.)

This paper is about the practical application of Metamorphoses creative-developmental fairy tale therapy, which is presented based on a three-session Metamorphoses creative-developmental fairy tale therapy session. The sessions were conducted between April and May 2021, among students (n=24) of the University of Debrecen, who were previously not familiar with fairy tale therapy, nor with the works of Ildikó Boldizsár. Through the media environment of the session, we also reflected together on the effects of internet consumption and the dangers of the internet. The study highlights the students' attitudes towards this method and their participation and activity in the online space. The experiences gained during the 3 sessions and the feedback of the students appear as a guideline to conclude the study. The practical application of the Metamorphoses creative-developmental fairy tale therapy will show whether this methodology has a role to play in higher education. [ABSTRACT FROM AUTHOR]

Folk tales, a type of narrative in which we can closely follow the reflections of thought that appear in the scriptures with the discourse" there was a word first "and base the birth of the word on a time before the existence of Man, are undoubtedly verbal accumulations that arise from the people;which convey the oral and cultural heritage to us form. Based on folk tales, it is possible that we can make a number of socio-cultural, traditional, religious inferences about the area to which these stories belong. When Uyghur folk literature is examined, the existence and formation of a rich folk tale draws attention. When these stories are examinedin terms of the beliefs elements they contain, it is seen that there are certain elements of belief in almost every folk story. The effects and reflections of belief elements on Uyghur folk tales are more observable from an Islamic perspective and it is seen that certain sacrednesses and some natural elements that have become cults among the people over time. In the study, based on the influence of belief elements on Uyghur folk tales the said belief elements were tried to be determined through four Uyghur folk tales and the interaction between belief and literature was revealed based on the stories. [ABSTRACT FROM AUTHOR]

Anita Nair is a prominent Indian English novelist and she has effectively brought out the regional features of Malabar region. This study aims at an analysis of the novel The Better Man so as to bring out her treatment of regional characteristics such as the impeccable beauty of the mountains and streams of Kerala, the serene nature of Kaikurussi village, its paddy fields and elegant landscapes, the intermittent monsoon rains and the folk tale of Gandharvas as well as Naxalism. All these elements have made Anita Nair as a popular novelist of the Malabar region and she has carved a niche for Kaikurussi as an unforgettable village like Kanthapura of Raja Rao and Malgudi of R.K. Narayan. [ABSTRACT FROM AUTHOR]