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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. [ABSTRACT FROM AUTHOR]

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]

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]

Snow White has been a cultural icon since Brothers Grimm wrote her story in 1812, based on the folk tale of the beautiful princess. Despite the wide variety of Snow White film versions, from Walt Disney's animated classic to the recent reinvention of the fairy tale by Universal Pictures, never before had it been adapted with a sense of eclectic metaphor beyond centuries and nationalities until the arrival of the project of the Spanish director Pablo Berger. Blancanieves (2012) emerges as a melodrama set in southern Spain during the 1920s, with an unusual heroine turned into a bullfighter for the big screen with the dwarfs. The aim of the article is to analyze this movie and its characters as platforms to discern the cultural, social, and folkloric circumstances that act to configure an independent Snow White, who retains connections with her predecessor versions. In methodological terms, the purpose is to study the many references of Pablo Berger's work from different prisms: not just based on the film analysis (for instance, the narrative structure shows a debt with both the German and French silent movies) but also, throughout different literary and historical references. [ABSTRACT FROM AUTHOR]

Folk tales of Cypriot Turks have several local features such as dialect properties, characters, plots, folkloric elements and others, and maintain literature culture which is unique to the island. An examination of Gagauzian Turkish folk tales shows that they have several features in common with Anatolian folk tales. Studies have shown that Orthodox Christian Gagauzians maintain their relations with both Anatolia and their past Turkish culture and fed from these sources. This paper attempts to determine the manner with which the accumulation kept by folk tales throughout history which preserve the social sub-conscious of Cypriot and Gagauzian Turkish culture is reflected on female typology. In addition, effort has been paid to identify the functions, roles and general outlook of women and the attitude of the society towards women in Cypriot and Gagauzian Turkish communities through folk tales. Folk tales are like areas of liberty where the unspeakable is spoken and undoable is done. For this reason, they are texts which display the social attitude towards and perception of women without hiding anything. In this study qualitative research method and document analysis technique was used in order to obtain the data. The sample of the study consisted of 20 tales from each culture which were chosen using purposive sampling method. In the examination section the folk tales are examined using “descriptive analysis” method. An overview of the obtained results shows that folk types are mostly found in narratives with personality features and that women are placed in roles which directly affected the plot of the folk tales. In addition, it has been witnessed that in Cypriot and Gagauzian Turkish folk tales women are in the position of good mothers, hardworking, intelligent and skilled women, and loved and respected wives [ABSTRACT FROM AUTHOR]

Focusing on the 1920s publications of the Mozambican intellectual C. Kamba Simango (1890–1966), this article explores the transformations of a single story across the pages of amateur ethnomusicology (Natalie Curtis's Songs and Tales from the Dark Continent, 1920), African American children's literature (Jessie Redmon Fauset's The Brownies' Book, 1921), and professional anthropology (Franz Boas's Journal of American Folklore, 1922). In each instance, Simango's name and individual identity is crucial to the presentation of the text, yet the emphasis on the name does not necessarily indicate authorship, which instead emerges more strongly through the interaction of institutional norms, racial prestige, and genre expectations. The transnational author is thus formed through both genre and biography. Revising the formulations of Michel Foucault and Roland Barthes, I propose a performative notion of authorship that can reflect both the literary paradigm that desires individual expressivity and the ethnographic one that seeks collective culture. [ABSTRACT FROM AUTHOR]

Yusuf al-Ani's creative development is examined within the context of his collaborators and intellectual influences. Special emphasis is placed on al-Ani's origins and motivations for the posture of his acting, writing and direction in the formative period of the Iraqi theatre. The article then turns to al-Ani's influence on the modern Iraqi theatre. His collaboration with an array of other directors and performers is analysed for their impacts on such developments, especially in the absence of theatrical training amongst Iraqis now working in the professional domain. Al-Ani's al-Masrah al-Hadith (The Modern Theatre) troupe is also analysed for these relationships in light of how many Iraqi directors and writers emerged from it over subsequent years. Al-Ani's deployment of 'The Little Man' and Iraqi folk-tales are weighed for their innovative ability to allow his work to speak to all social classes. His considered iterative development of his style led to a sophisticated portrayal onstage and screen. This saw al-Ani's works take that which was familiar in many Iraqis' lives to the stage, encouraging new perspectives that audience members would necessarily then apply to their lived realities outside the performance venue. [ABSTRACT FROM AUTHOR]

The story Kerem and Asli is a folk story which is very popular either in Anatolia or in other Turkish tires, can spread from mouth to mouth, from heart to heart to very wide geography. In this study, the changes and transformations in Kerem and Aslı story will be tried to be explained within the context of intertextual relations in the context of selected subtext and main texts. The writing text bearing the title of Âşık Kerem Hikâyesi, at the Ankara National Library No: 398.21, H. dated 1269-1272 cönk (poet's private notebook) pages 27b-61a, in the work Kerem ile Asli Hikayesi Uzerinde Mukayeseli Bir Arastirma prepared by Ali Duymaz as the sub-text will be studied. As the main texts, Kerem and Aslı's story, which was published by Nilüfer Publishing in 2010, Kerem and Aslı story which published by Akvaryum Publishing House in 2009, and Kerem and Aslı movie that directed by Orhan Elmas in 1971 and starring Fatma Girik and Kadir İnanır were chosen. [ABSTRACT FROM AUTHOR]

This article deals with the rites of passage in the Algerian folk tales as presented by anthropological studies. In this research, we are going to focus on the rituals of birth, death, wedding, transition from one stage of life to another one. In effect, the rites of transition is the threshold to be exceeded for the individual who wants to move from social, political, or even religious rank to another higher rank. The function of ritual is to solve problems, internal or external pressures whether for individuals or groups of people. This is what we are going to reveal in the tale of "The Singing Bird". [ABSTRACT FROM AUTHOR]

Folk tales usually revolve around the theme of love. Going through struggles and trials, moving to foreign lands, yearning for one’s sweetheart, and even risking death for the sake of love are narrated in an aestheticized form. In the meantime, some mythic or fantastic elements can be used to make the tale more interesting and easier to remember. This study examines the tales Ferhat ile Şirin, Leyla ile Mecnûn, Kerem ile Aslı, and Kirmanşah, using different variants identified in studies in Turkey, in the context of four elements with love-related and mythic roots. Known as anasır-ı erbaa (water, earth, fire and air) in Turkish literature, the four elements take the center stage in the explanation of events from the creation of the universe to the end of days, and from the emergence of myths and religions to other events that people can not explain with their current knowledge of natural or spiritual forces. The four elements, which feature in many different genres and are interpreted differently in different areas of life, are found in literary texts as well. This study examines the place of the elements of water, fire, earth and air in the narrative structures of the tales Ferhat ile Şirin, Leyla ile Mecnûn, Kerem ile Aslı, and Kirmanşah. Information about the four elements of water, earth, fire and air shape the unfolding of events in the tales directly or indirectly, or are associated with specific characters, making it possible to read these tales in the context of the “four elements”. Textual analysis will be used to examine these elements in the contexts of “love”, “trial” and “initiation” in the four tales selected. Some of the texts examined are written tales in manuscript or print format, and others are oral tales collected by the researchers. [ABSTRACT FROM AUTHOR]

In this study, it was aimed at analyzing folk tales taking place in the sources of Turkish literature as constituting part of our culture with respect to their adequacy in teaching Turkish literature. With this purpose, the insights of Turkish language and literature teachers were referenced. This study was performed by adopting method of qualitative research since it has strong theoretical basis resting on diversified disciplines. In the study, the insights of Turkish language and literature teachers relying on the adequacy of teaching of folk tales in Turkish literature teaching were represented by means of semi-structured interview forms with open-ended questions in the education period of 2016-2017. Interview was preferred on the grounds that it has been the most frequently used data collection tool and it has been utilized in a great deal of branches of social sciences in the last quarter of 20th century. The technique of descriptive analysis was used in analysis of research data. The data obtained was presented to readers as regulated and interpreted. With the purpose of reflecting the insights of participants, positive and negative point of views on the adequacy of folk tale teaching were directly given place in the study. [ABSTRACT FROM AUTHOR]

In an exercice of myth analysis, starting from the Guénonian premise of the non-human origin of the folklore, Vasile Lovinescu stops at the tales written by Ion Creangă, considered a genius story-teller, a witness of the Tradition. The myth analysis in Creangă’s tales, the esoteric interpretation of the fundamental ballads of the Romanian spirituality, the remarkable analysis of the carols, all are integrated in defining a national mythology, in a hermeneutics with a great intelectual force. ‘Creangă și Creanga de aur’ and ‘Interpretarea ezoterică a unor basme și balade populare românești’ are the two fundamental works of analysis of the Romanian folk tradition. Vasile Lovinescu opens up two polemic lines inside his studies dedicated to the Romanian folk tales and ballads: one, with the official, academic school of folk study, and the other, much more poignant, with the direction of the modern national history, in rem, rather than in personam. [ABSTRACT FROM AUTHOR]

We have compiled a folkloric story in depending on the East Azerbaijan state of Iran in the Mobarakshar of Malekan Province that we have seen the trace of Turk creation myth and the history of Kök Türk in a very light and deleted form on it. It has been approached to the subject in diffusion theory and in the Method and Theory of History - Geographical Finland applied in Ur-form frame. In addition, it seems natural to be faint and very light traces whit considering the waves system created by throwing a stone in the lake. However, it has been very deep, Iran community and the effects of the Shia faith to create the Turk stories besides the distance. Although sending a full feature folk tales of this story, nearly thirty years ago it has been heard once or twice by author and has been registered recently. But now nor resource person nor any other person in the region remember the story. When we examine the story line by line, it has been found the traces of the myth of Turk creation and the history of Kök Türk on it or in other words these epics and the most important and influential events in Turk history has permeated so that on the spirit of the Turk nation that they create their folk stories whit odor of their history and myths if has been passed very long time on or the origin of myths has been on very long distance. [ABSTRACT FROM AUTHOR]

Based on results of a survey on the cult of souls in Campo de Cartagena, the present study takes a historical, anthropological, ethnographic and folkloric journey through the customs associated with the days of All Saints and Souls. Emphasis is placed on the legends and folk tales told on the night of Souls with purpose of vetoing the nocturnal outings of the youngest. Likewise, our traditions are compared with those of other cultures, fundamentally with the Celtic Samain, from which derived Halloween, leaving striking similarities. [ABSTRACT FROM AUTHOR]

The story of "Bamsı Beyrek" occupies an important position in the Turkish oral culture tradition. "Kam Püre Oğlu Bamsı Beyrek" which is the third and the longest of Dede Korkut Stories is known as "Alıp-Manaş" in Altai, "Alpamıs" in Kazakhistan and Karakalpak, "Alpamış" in Uzbekistan and "Alıp Memşen" in Tatar as an epic tradition. As a result of the social and geographical changes, "Kam Püre Oğlu Bamsı Beyrek" which turned into a folktale and story form is still known as "Bey Böyrek", "Bağ Böyrek", "Bey Beyrek", "Bey Bira", "Bey Bayram" in Anatolia. Societies have always given voice to their joys, sufffering, bliss, sorrows and achievements in different ways one of which is folk song. A folk singer can both compose a song or make use of a product among oral tradition. He can turn a product such as an epic, a folk tale, a legend or a requiem into a folk song form in accordance with people's needs. The folk song, "Bey Böyrek" is a production of such transformation. In our article, we will first compare "Bey Böyrek", compiled from Mehmet Sıtkı Işıtır, with poems in various tale variants and then review the song's place among Turkish folk song repertory. [ABSTRACT FROM AUTHOR]

In the community of Tetlama, Morelos, a Nahua tale was recorded in Spanish in 2013 and was subsequently translated into Nahuatl by people from the nearby Nahua community of Cuentepec. This folk tale refers to a special relationship between the Jumil Hill and the Devil. The story of Jumil Hill possesses some features that allow the audience to consider it a relevant work by the community because of the particular lore that it transmits, which warns community members about actions, behaviours, and emotions that threaten them by causing breaks in the social cohesion. Therefore, the process of recreating a new version of this tale contributes to its transmission and intracultural translation by re-nahuatlization allowing us to reflect on the survival of the Nahua cultural continuum in this region in spite of linguistic displacement, as well as the preservation of oral tradition as a result of updating and refunctionalizing the Nahua oral folklore, and its reincorporation as part of the Nahuatl linguistic heritage. [ABSTRACT FROM AUTHOR]

Manuscripts, which bare the role of firsthand source to obtain data pertaining to our literary and cultural history, contribute considerable assistance by the different data they are transferring to various fields in daily life. On the dusty shelves of the libraries, these works, which undertake the mission of transmitting culture from one generation to another, have indespensable value for those who are eager to carry out research on the branch of science/instructions such as religion, history or philosophy all of which are virtually of the same age with humanity. Yet, manuscripts which have the value of a literary work not only ensure cultural accumulation of societies, but also they do provide information on societies'languages and forming their identities. In this respect, one of the significant charecteristics of the manuscripts deal with is that they include texts having the language peculiarities of Eastern and Western Turkish(Cagatay, Azeri,Ottoman Turkish) which were ramified in the historical process of Turkish language. Manuscripts are made up of various folk tales, which take place in the era of venerated the Prophet and Ali, generally embelished with religious motifs. In terms of formal features, they are made up of works both in verse and in prose. In the first part of this study,which is carried out about the Turkish Manuscripts that are in Baku Manuscript Institution, only the works of folk literature are introduced. In this study,an inventory of the Turkish Manuscripts in the library is prepared and data of their identity are given; therefore,it is embarked on a method to render a general assessment of the manuscripts. [ABSTRACT FROM AUTHOR]

The story of Farhad and Shirin has an important place among the masnavi subjects of Iranian literature. The story, also known with the name of Hüsrev ü Shirin, is one of the most handled masnavis of divan literature. Firstly, the events forming the basis of this story was handled in the 10'th century in the Shahnama of Firdevsi. There were some changes while the story was passing from written text to the oral literature. The historical and geographical framework of the story was adapted to the new geographies where it was told. Axel Olric collected the epic rules of the folk narratives in the fifteen items in order to show that the culturel data preserved in the collective memory in "sagas", was protected consciously or unconsciously and he tried to prove these determinations on many works. A. Olric's epic laws of folk narrative were applied to different types of narrative by the researchers. In this article, the relevance of epic rules, setting out forming the folk narratives of A. Olric, to the story of Farhad and Shirin had been evaluated. At the end of the study, It has been seen that the story of Farhad and Shirin included all the epic laws of folk narratives of A. Olric. [ABSTRACT FROM AUTHOR]

Saying archetypes that are, indeed, collective values of humanity and are images handed down from past to present, from generation to generation, Jung - a prominent psychologist, thinker and the founder of analytical psychology states that they affect many fields from daily life of individual to various literary works. Especially types of oral narrative art such as tales, epics and folk stories have close relations with symbolic language and collective unconscious, especially with myths. Using Campbell's "separation-initiation-return" formula in order to unearth symbolic language and archetypal in these narratives will help to reach encoded information/reality. In tales and folk stories, hero embarks on adventure to complete his individuation process in accordance with "separation-initiation-return" archetypes. In the process "the wise man", "shadow", "anima-animus", "ego" archetypes take roles in the narrative through the adventure knitted with symbolic values. Thanks to the analysis of those archetypes, it becomes possible to bring symbolic values in the works to light. Thus, cultural hinterlands of the works and their multilayer meanings passed from past to present will be able to be unearthed. In the analysis done within this study related to the texts of "Gündeşlioğlu Hikâyesi" (The Story of Gündeşlioğlu) and "Evvel mi Gelsin, Sonra mı?" (Shall it Come First or Later?), it has been observed that by adapting the archetype symbolism in narrative types, the processes throughout the reality have not been coincidental but the conscious indicators of change and conversion by the collective reflections of centuries. As a result of the analysis of these archetypes reflected in the texts, not only how the collective values of humanity have been reflected to the literary works via symbolic language will be determined but also the multilayer meanings from past to present will be revealed. [ABSTRACT FROM AUTHOR]

This paper presents a narrative from the oral tradition of Ayutla Mixe, a Mixe-Zoque language spoken in southern Mexico. The story is about an apokäät or shaman, a person to whom people go instead of going to the doctor. According to popular belief, the story, told by Elena Vázquez, is based on what happened to a woman who, until recently, lived in Talera, a community belonging to the municipality of Ayutla. The text is presented in two versions, one for the general public and one for linguists. The latter has the morphological breakdowns and glosses. Some of the characteristics of the Mixe writing system are presented in the introduction. Of particular relevance are two issues that are not generally discussed with respect to Mixe orthography: the representation of lenis consonants and compound words. [ABSTRACT FROM AUTHOR]

Folk and fairy tales are like cultural gene maps for human communities. The codes of these genetic maps are transmitted from one generation to the next both orally and in black and white. Setting off from this metaphor, this article studies the evaluation of literary fairy tales in Eastern and Western cultures comparatively. It examines the process of transmission of literary fairy tale from one generation to another and questions the place of "Brothers Grimm" in this chain. It brings to the fore the relationship of French fairy tale traditions and the stories of Perrault. It also discusses whether the Brothers Grimm are a turning point in folk and fairy tale research or whether they produced fakelore. Additionally, the literary fairy tale tradition of Eastern cultures and its weakening after the 19th century are examined. It is concluded that the Grimm Brothers did not actually create fakelore but rather followed the story traditions both prior and contemporary to their time. Therefore, it stresses that there is no need to either applaud or criticize them. It is also concluded that the Grimm Brothers and the evaluation of folk and fairy tales as products of written culture should be examined from the point of applied folklore sciences. In addition, the issues of neglecting the need to rewrite Turkish fairy tale culture or reproduce the old stories in different ways are highlighted. The need to care for these stories and the need to change the current neglecting situation are underlined. [ABSTRACT FROM AUTHOR]

Suna ile Çoban Hikâyesi (The Story of Suna and the Shepherd) written by MP Besim Atalay was awarded first place in a contest held by the Directorate-General of Press for literary works that would modernize folk books. In this article, the story is considered as fakelore using the tradition of folk tales in line with the request of the Directorate-General of Press to reinforce the "national upbringing" of the folk living in villages and towns by providing them reading material. What does the women's issues in this text tell us about the function of such reproduction of tradition? As mentioned in some theories of nationalism focusing on women's issues, nationalists have usually compared the nation to the family and have therefore considered men as the protectors of the family and the nation, and women praised for being mothers as the namus (honor) of the family and the nation. As a result of this nation-as-family metaphor, love of country in Suna ile Çoban Hikâyesi bears the image of the country as a woman's body and hence implies eroticization of the land. The traditional role thus given to women in Besim Atalay's work of fakelore shows the reinforcements with respect to the extent of modernization in the Republican Period. [ABSTRACT FROM AUTHOR]

This article concerns the Creole Conteur in Patrick Chamoiseau's depictions of the slave plantation in Au temps de l'antan (1988a), Écrire en pays dominé (1997) and Texaco (1992). It proposes that Chamoiseau's vision of the plantation be seen as a parable for contemporary Martinique, one that seeks to reinstate a redemptive history in which the past has a positive claim on the present. The article examines the tensions internal to this recuperative attempt, especially those carried in the relationship between literal and spiritual forms of hunger: the slaves' famine condition and the survival tactics of débrouillardise compete with the spiritual nourishment found in an emergent collective identity. The article demonstrates that Chamoiseau uses the Conteur to redraw the symbolic boundaries of the plantation from an amoral grey zone to a cohesive Creole social order, making the plantation past relevant to the present day. It explores how Chamoiseau preserves the parable's frame of moral instruction even though, as a survival tale involving extreme duress, it involves a calculus beyond good and evil. Cet article porte sur le personnage du Conteur créole dans la plantation esclavagiste dépeinte par Chamoiseau dans Au temps de l'antan (1988a), Ecrire en pays dominé (1997) et Texaco (1992). Cette vision de la plantation peut être perçue comme une parabole pour la Martinique de nos jours, une Martinique qui chercherait une histoire rédemptrice où le passé revendiquerait positivement le présent. Cet article examine les tensions engendrées par cet effort de récupération, en particulier celles qui sont associées à la relation entre les formes litérales et symboliques de la faim: la confrontation entre, d'une part, la famine inhérente à l'esclavage et la débrouillardise des tactiques de survie, et d'autre part la nourriture spirituelle puisée dans l'identité collective naissante. Le Conteur, pour Chamoiseau, va élaborer un nouveau tracé des frontières symboliques de la plantation qui irait d'une zone grise amorale vers un ordre social Créole cohésif. Cet article explore la façon dont Chamoiseau préserve l'inspiration morale de cette parabole de survie et de détresse même si, paradoxalement, les catégories du bien et du mal doivent être dépassées. [ABSTRACT FROM AUTHOR]

This article aims at variations of transformation presented in Marita van der Vyver's Afrikaans youth novel, Die ongelooflike avonture van Hanna Hoekom (2002; translated by KL Seegers as The hidden life of Hanna Why, 2007). The discussion shows that two main forms of transformation feature in the book, turning the story into a fractured fairy tale. The first form of transformation relates to adaptations of existing traditional fairy tales, such as Cinderella, Sleeping Beauty, Snow White and the Seven Dwarfs, and the Arabian Nights. Departing from Zipes's (2007:3-4) revised adaptation of Propp's (1975) typology of functions performed by characters in Russian folk tales, the second form of transformation considers the metamorphosis of the story of the protagonist, Hanna Hoekom, as a whole into a modern fairy tale. Apart from considering the transformation of fairy characters and their associated actions, the article also examines the adaptation of fairy spaces in Die ongelooflike avonture van Hanna Hoekom (2002). These spaces blend in with the story unobtrusively: the description of the family's home in Cape Town, and their secluded and dilapidated holiday home, resonates the isolation and size of the castle in which Sleeping Beauty remains for a century. Similar to her rescue by Prince Charming, some members of Hanna's family are rescued by a helicopter pilot resembling a modern day prince. [ABSTRACT FROM AUTHOR]

Ferhat and Şirin, Kerem and Aslı, Leyla and Mecnun, which are the folk tales existing in the verbal culture, imply some traditions which have been motif like love, marriage, adventure, heroism and altruism. Thanks to this implying, the concept of "holy love" has been settled in the memory of society. The movie named Evlidir Ne Yapsa Yeridir (he is married and he can do whatever he wishes), which transforms these images existing in memory to a parody in order to criticize them and also to entertain the audience, will be analyzed in this article on the focus of parody as a method of intertextuality. [ABSTRACT FROM AUTHOR]

Ziya Gökalp's tales which were published in Küçük Mecmûa, are named as "folk tale" by literature researchers. However, these tales might have changed in some ways when they were being transferred from oral culture to literary culture and they may have lost their oral features at certain levels. Hence, calling these tales "folk tales" will bring some problems. In this study, Gökalp's tale "Kolsuz Hanim" has been examined to find out how far this tale differs from its oral sources, the tales of "Merd-i Sâlih" and "Helvacı Güzeli" as a result of its transition process. In addition, the author focused on the sociological and ideological dimensions of the changes made by Gökalp while rewriting the tales and the Gökalp's aims for making those changes in the fiction have been discussed. Moreover, intertextual relations between Gökalp's text and its oral sources have been analysed in order to develop a new perspective for evaluation of the texts that have been transferred to literary culture. In conclusion, it has been asserted that calling them "folk tales" is inaccurate. Thus, in the light of Ong's definition of "art epic", the author suggested that these tales should be called "art tales". [ABSTRACT FROM AUTHOR]

Tale Type AT 700, named "Tom Thumb, " is presented as an expression of maternal psychological mechanisms and of experiences that relate to the early mother-son relationship. The underdeveloped figure is presented as an expression of maternal-symbiotic needs, as well as of the experience of maternal immaturity, projected through the child. [ABSTRACT FROM AUTHOR]

Recently, a new trend has developed in French cinema. Surprisingly and interestingly, since the late 1980s-early 1990s, the number of films shot in the provinces (which I refer to as 'provincial films') has increased. The representation of the provinces has thus gained momentum and has attracted attention from film professionals, critics and the public alike. There may be several explanations for the statistical increase of provincial films, and I examine a few in the first section of this essay. The second part focuses on Sandrine Veysset's Y aura-t-il de la neige à Noël?/Will it Snow for Christmas? (1996). Veysset's first feature film is emblematic of the trend of 1990s provincial films in that it is set in the provinces and made possible by the financial involvement of Paris-based production companies. In this section, I focus principally on the ways that the film both uses and transcends its location through its reliance on the folk tale. [ABSTRACT FROM AUTHOR]