Детский фольклор («страшные истории») в городском фэнтези Лены Обуховой

Reviewed by Jennifer Marchant Martin, Ann. Red Riding Hood and the Wolf in Bed: Modernism's Fairy Tales. Toronto: U of Toronto P, 2006. In Alice to the Lighthouse: Children's Books and Radical Experiments in Art, Juliet Dusinberre sets out to connect the child readers of Alice and other children's literature not only with the adults they later became, [End Page 289] "but to a generation of thought and writing" (1). How, she asks, did such modern writers as Virginia Woolf, reflect and transform their childhood reading in their own texts? Ann Martin explores a similar question in Red Riding Hood and the Wolf in Bed: Modernism's Fairy Tales. She examines how three modern writers' allusions to fairy tales reflect these writers' views of their cultures, including such anxiety-laden factors as sexuality and gender roles, class mobility, commodification, and the relationships between tradition and present. In the first chapter, "Turning Back the Covers: Fairy Tales in the Modern Age," Martin briefly summarizes the history of the literary fairy tale in Western culture, from Apuleius's "Cupid and Psyche" in the second century AD, to the French salons of the late seventeenth and early eighteenth centuries and British chapbooks through the eighteenth century, to the pantomimes and Christmas books of the Victorians. She emphasizes the nineteenth-century's ambivalence about fairy tales: on the one hand, they evoked the "innocence" and "primitive nature" of the child and the peasant, whereas, on the other, their adaptation into modern culture in such forms as pantomimes, advertisements, and expensive picture books, suggested corruption and commodification. Martin suggests that this conflicted feeling, as well as the large number of variants, helped make the fairy tale a rich source of allusions for modern writers. In this chapter, Martin also explains her decision to focus specifically upon James Joyce, Virginia Woolf, and Djuna Barnes. Although other twentieth-century writers reference fairy tales in their work, these three are among those who "use the stories to involve not just the past but the present" (40). Thus, Joyce, Woolf, and Barnes not only use the stories to suggest nostalgia and innocence, but to explore contemporary conflicts. Their fairy tale allusions also suggest the characters' and readers' power to make meaning. The characters actively adapt fairy tales to make sense of their lives, and readers must examine multiple, sometimes contradictory, fairy tale references to arrive at their own conclusions. Martin then proceeds to in-depth explorations of these writers' fairy tale allusions in some of their texts, drawing upon cultural, psychological, and gender theory to do so. In "James Joyce: The Fashionable Fairy Tale," Martin suggests that Joyce uses "Cinderella" to investigate both the possibility of class mobility in modern times and the loss of self this may involve. For example, in Joyce's Ulysses, Stephen Daedalus is offered employment by several fairy godmother figures, but fears they would make him "a commodity in a capitalist system toward which he feels most ambivalent" (64). However, characters can also use fairy tales for their own ends, as is shown by the characters of Bloom and Gerty Macdowell, [End Page 290] who use "Beauty and the Beast" as a pattern for their sexual fantasies, but also tailor the story to meet their individual needs. In "Virginia Woolf: A Slipper of One's Own," Martin notes that fairy tales were very much a part of Woolf's literary upbringing. She made frequent reference to them in her journals and essays, as well as in her fiction. In particular, Martin describes the influence of Woolf's aunt, Anne Thackery Ritchie, who wrote adaptations of older fairy tales, such as Perrault's "Cinderella." Martin suggests that, in citing and transforming these stories, Woolf both acknowledges Ritchie as a female literary ancestress, and sabotages the Victorian values reflected in Ritchie's adaptations. In Woolf's Orlando, for example, the protagonist undergoes Cinderella-like transformations, but subverts traditional views of social...

The study focuses on contemporary forms of folklore and their relationship to literary forms like Fantasy, Sci-fi, Horror and Fantasy Game. The first problem is the specification of the terms and the classification of the internal structure of these terms. A typical structure of contemporary oral folklore, such as urban legends, is a combination of classical forms of folklore (subject matter from fairy tales, anecdotes etc.) and the influence of films, television and books. This contamination is really typical for postmodern culture. Fantasy stories can de divided into five categories - 1. alternative history (variants of past history or future evolution); 2. classical fantasy (variants of mythology or classical fairy tales or legends); 3. parody of fantasy or humour fantasy (the fantasy world is mostly only background); 4. urban fantasy (more or less a part of urban legend); 5. comics (the importance of graphic form - Superman, Batman etc.). Sci-fi and horror stories are mostly literary products influenced by classical legends or urban legends. Party games, especially “Dungeons & Dragons”, and their enactments by fans are a special part of the fantasy world. Ethnologists are faced with the questions of which method to use to carry out field research and what is actually relevant. Based on the first experiences we can see that for the research into this “new” field we can use the standard methods without problems. But for a better understanding we need to read fantasy, sci-fi and horror books, watch fantasy, sci-fi and horror movies, and get acquainted with the websites related to fantasy or sci-fi content. For a good analysis of fantasy party games one needs to become a member of a gamers’ group. The use of modern recording equipment like digital video cameras and cameras etc. is also very important.

Urban legends are a genre of modern folklore, consisting of stories about rare and exceptional events, just plausible enough to be believed. In our view, while urban legends represent a form of sticky deceptive text, they are marked by a tension between the credible and incredible. They should be credible like a news article and incredible like a fairy tale. In particular we will focus on the idea that urban legends should mimic the details of news who, where, when to be credible, while they should be emotional and readable like a fairy tale to be catchy and memorable. Using NLP tools we will provide a quantitative analysis of these prototypical characteristics. We also lay out some machine learning experiments showing that it is possible to recognize an urban legend using just these simple features.

Reviewed by: Mapping Fairy-Tale Space: Pastiche and Metafiction in Borderless Tales by Christy Williams Anelise Farris (bio) Christy Williams. Mapping Fairy-Tale Space: Pastiche and Metafiction in Borderless Tales. Wayne State UP, 2021. Although the fairy-tale genre is often identified as children's literature, it was generally not aimed at a younger audience until the mid-twentieth century. Its malleable nature, the ability to adapt to different audiences, cultures, and time periods, is a key component to the genre's longevity. Accordingly, Christy Williams suggests that instead of distinguishing between classic fairy tales and modern retellings, it is far more productive to approach fairy tales as an interconnected genre. As Williams points out, "The genre has always been about newness, variation, and retelling" (6). And it is this fundamental and persistent reworking of the genre that is at the center of Mapping Fairy-Tale Space: Pastiche and Metafiction in Borderless Tales—a work that seeks to recognize the increasing intertextuality of fairy tales. Due to the expansiveness of the fairy-tale world, Williams applies the metaphor of a map to the genre itself, arguing that the fairy-tale genre is its own landscape that operates in two primary ways: internally and externally. Internally, fairy-tale characters, symbols, and motifs are able to move beyond their prescribed narratives. Williams refers to this process as "pastiche" in which "motifs and fragments conjure up ideas about their fairy-tale contexts without necessarily referencing a specific tale" (8). For example, the wicked stepmother character brings to mind certain associations for the reader without the need for a specific story, like "Snow White," to be mentioned (8). The second method occurs externally: through familiarity and cultural osmosis, readers approach—whether consciously or unconsciously—fairy tales for directions, "as relevant to one's lived experienced" (21). Williams explains, "These self-reflexive texts directly engage fairy-tale narratives as models for behavior and elucidate problems with this approach while validating the desire for the fairy tale as a personal map" (21). To illustrate these dual map-like qualities, Williams offers a metafictional analysis of a selection of primary texts, including novels, short stories, and television series. With each text, she observes how twenty-first century audiences are responding to and reshaping the fairy-tale genre for a new era. These two key observations also form the basis for how the book is structured: two parts, each containing two chapters. Part one ("Mapping Fairy Tales") focuses on texts that utilize pastiche as a way to retell familiar fairy tales in novel ways. Fairy-tale pastiche involves the bringing together of [End Page 244] various parts of fairy tales, such as characters and motifs, and creating a new story out of these fragments. Part two ("Fairy-Tale Maps") addresses how fairly-tale characters (and metaphorically readers of fairy tales) encounter problems when they try to apply fairy-tale formulas to modern life—thereby questioning the relevance and purpose of the genre and retelling the tales accordingly. Throughout these two major sections, Williams does not so much establish an explicit thesis that sets out to defend an argument as she presents sets of observations. Like an anthropologist observing a culture, in these four chapters Williams observes the ways in which fairy tales of the twenty-first century continue to do what they have always done: be made new. The first chapter, "ABC's Once Upon a Time and the Mapping of a Fairy-Tale Land," examines how multiple fairy tales occupy a single landscape in the television series Once Upon a Time. This allows for new possibilities in terms of plot direction and character development, and Williams warrants that the survivability of fairy tales depends on the teller's ability to "make the stories do something new" (62). After establishing this central tenet, the second chapter, "Serialization and Hybridity in Marissa Meyer's The Lunar Chronicles and Seanan McGuire's Indexing," demonstrates how fairy-tale pastiche can take different forms in serial novels. In Meyer's series, each book centers on an individual fairy tale, a technique that Williams terms "closed borders" due to their singular focus on one fairy-tale narrative. Conversely, McGuire's series takes a...

Reviewed by: Cuentos y leyendas tradicionales (Teoría, textos y didáctica) [Traditional Fairy Tales, Myths and Legends. (Theory, Texts, and Didactics)] Jochen Weber Eloy Martos Núñez Cuentos y leyendas tradicionales (Teoría, textos y didáctica) [Traditional Fairy Tales, Myths and Legends. (Theory, Texts, and Didactics)] (Series: Arcadia; 15) Cuenca: Ediciones de la Universidad de Castilla-La Mancha 2007 294pp ISBN 9788484275145 €17 Click for larger view View full resolution The Centro de Estudios de Promoción de la Lectura y Literatura Infantil (CEPLI) at the Universidad de Castilla-La Mancha (Spain) is one of the most distinguished centres for research in children’s literature in the Spanish-speaking world. One of its special areas of interest are traditional, originally orally transmitted literary forms, such as fairy tales, songs or rhymes for children. This orientation is reflected in the titles of the series Arcadia published by the university. The title under review is part of this series; it analyses fairy tales, myths, and legends with the aim of determining the characteristics of these genres by describing their commonalities and [End Page 57] differences. While the first part of the book focuses on questions of literary theory and analysis, the second part explores ways in which fairy tales, myths, and legends can be used in classroom settings. The author, a professor of literature at the Universidad de Extremadura, relates the most relevant results of national and international scholarship and complements these findings with many examples taken mainly from the rich oral tradition of the Iberian Peninsula. Including contemporary forms, some of which have migrated to the modern media, such as urban legends, he shows that there is a strong overlap in motifs between the two traditional literary forms, but that these motifs take shape in different generic contexts. While fairy tales tend to be strongly fictional and formulaic and set the plot within very vague spatio-temporal coordinates, myths and legends are more firmly grounded in time and space, allude to real events, and state examples. Less bound by structural constraints, they can adapt more easily to new geographic or historical contexts. Due to its very compact form, the book is not an easy read. An index and a more extensive bibliography would also have been useful. Overall, however, the monograph offers a thorough summary of the most important insights of the scholarly study of fairy tales, myths, and legends. [End Page 58] Copyright © 2009 Bookbird, Inc

The aim of our analysis is to explore the influence of Nietzsche’s aesthetic doctrine on Robert Graves (1895–1985), the famous English poet and novelist. The paradox we lay our emphasis on in the very beginning lies in the fact that Robert Graves used to speak about Nietzsche and his works in a rather deprecatory manner. However, it is too obvious that the views of both authors and their approach to certain key categories of modernism are strikingly similar. The aim of our comparative survey is to juxtapose Nietzsche’s and Graves’s views on history, poetry, the nature of poetic inspiration, and modernist myth- making and to prove that Graves as many other modernist writers, did not escape being influenced, directly or indirectly, by the ideas of the great German philosopher.

One of the ways in which culture becomes enriched is through reconsideration and reinterpretation of well-known stories, and classic fairy tales provide promising material for investigation of the nature of this complex process. The Walt Disney Company is among the most powerful tellers of classic tales, its line of princess animations being an example of simultaneous development and preservation of the fairy-tale phenomenon in a changing cultural context.
 We analyse the dialogue among classic and modern princess stories and the discussions that these stories give rise to in English-language academic criticism and English-based participatory culture. We focus on the interaction among authors, texts and readers, showing how traditional tales balance between mythological and nonmythological consciousness, between innovative and canonical art.
 The diversity of fans’ practices may be seen as a key to possible explanation of why fairy tales exist in culture as a complex, constantly growing web, not as a limited number of selected final versions. Amateur authors demonstrate their interest in the mythopoetics of classic fairy tale plots. They are attracted by the old romantic myth that stands behind princess stories, participate in the creation of the romantic antimyth that is supported by the professional critics, and expect the appearance of new modern myths that might be generated by the new productions of Disney. New fairy tales appear, but this does not result in the disappearance of the old ones. Not only the interests towards the plots themselves, but also discussions and conflict around classic stories keep them topical for contemporary heterogeneous audiences.

The article analyses horror stories and legends about a sausage factories and about a woman who killed her children at her lover's insistence, told in a small Estonian town in the 1950s and 1960s. Presenting one's self and memories is often a strategy for altering data. Certain events or stereotypic stories of fear, dishonouring or shame can be told as first-person narratives on the condition that these do not damage the person's honour. Fear, hon- our and shame are terms openly or implicitly discussed in many forms of verbal art, and are also present in personal narratives. Fear, honour and shame are terms openly or implicitly discussed in many forms of verbal art and can be also met in personal narratives. These same terms are related to stereotypic beliefs and attitudes, some of which we still meet in everyday expres- sions today. Honour and shame, and also fear, are related to un- written and written legal norms in a community, while the first two are simultaneously important bonds linking the individual to the community, shaping his image and thus influencing his career. In the 1990s I became interested in children's horror stories. Some of these stories had left a deep impression on me in my childhood, comparable to the impression their childhood mon- sters had left on the characters of the short story Ghost no. 5. At the time I was interested in the structure and characters of chil- dren's stories, how stable or labile the stories were, but the sto- ries also enchanted me with their playfulness and the profound way in which they differed from adults' horror stories of similar content - though the adults' stories were based on profound be- lief (Koiva 1998, see also Pakalns 1995, 2004). Later, having stud- ied urban legends, personal narratives, memoirs from Soviet Es- tonia, I have come to realise that presenting one's self and memo-

The article scrutinizes the distinctions between myth, fairytale, and fantasy within the studyof the fantasy genre, an increasingly significant aspect of contemporary world and Kazakh literature. Fourpredominant perspectives on fantasy in modern literary studies are discussed. One viewpoint negates fantasy’sindependent literary status, deeming it a subset of fiction, supported by its widespread presence in modernliterature, films, and popular culture. Another perspective equates fantasy with fairytales, illustrated byJ.R.R. Tolkien’s initial classification of his works as “fairytales” before the term “fantasy” gained scholarlyrecognition. Some researchers argue that fantasy’s roots lie in mythology, specifically a “neomyth” born fromauthors’ mythological thinking and ancient myths. This viewpoint is deemed by the author to reveal the genesisand literary essence of fantasy most comprehensively. Lastly, a less supported view ties fantasy’s emergence tothe evolution of “horror” literature, inspired by 90s computer games, notably championed by the Polish futuristS.S. Lem. However, this perspective lacks substantial backing. The author of the article managed to give hisown, author’s definition of fantasy by analyzing the opinions of supporters of these four views on the fantasygenre. The scientific article discusses the problems of interrelation and differences between fantasy works frommythology, fairy tales and science fiction. The analysis of definitions and interpretations of literary scholars onthis issue is carried out. The author’s definition of the fantasy genre based on a comparative analysis of variousliterary genres is proposed. A comparative table of interrelationships and features of mythology, folklore andliterary fairy tales, science fiction, as well as the fantasy genre has been formed. It is concluded that fantasy isa syncretic, dynamic meta-genre that unites literature, philosophy, cultural studies, pedagogy, psychology, thefilm industry, animated films, computer games, entertainment and other areas.

This piece is taken from the novel “Heaven and Hell at the Paradise Motel” and the exegesis that together forms my PhD thesis. The three main strands of this thesis are Gothic, Noir and sense of place. The novel, ‘‘Heaven and Hell at the Paradise Motel”, is preoccupied with the natural environment, its subtle seasonal changes and the way the environment impacts on its human inhabitants and how they in turn affect it. The novel is, in a very Gothic sense, haunted by dreams, apparitions and narratives – specifically mini-narratives that reflect the nature of fairy tales, horror stories and urban myths. It contains elements of melodrama, horror, romance. The story follows a deeply dysfunctional family through a seasonal cycle: beginning in Spring and ending once again in Spring. A key focus for both the creative and the theoretical work was the everyday application of the Gothic and Noir – for example a house doesn’t have to be a castle to be haunted; people don’t have to be monsters to be monstrous. The dark, the strange, the sinister and the perverse lurk in the shadows of everyday reality, but also how these elements intertwined within the landscape.

Marta Krajewska’s series of novels forming the so-called Slavic universe (Idź i czekaj mrozów, 2016, Zaszyj oczy wilkom, 2017 Wezwijcie moje dzieci, 2021) is characterized by noticeable generic syncretism, with fairy tales playing an important role in the construction of the presented world. In her trilogy, the author draws on the most popular, universal fairy tale motifs recorded in international catalogues as well as in Polska bajka ludowa w układzie systematycznym (The Systematic Catalogue of the Polish Folk Tale) by Julian Krzyżanowski, using as the basis of her own story. Krajewska applies the plot patterns of these fairy tales (T. 400A “Urvasi”, T. 333 “Little Red Riding Hood”, T. 425 “The Quest for a Lost Husband”) in the construction of the fates of her protagonists; they also appear by way of folkloric quotes, present, for example, in dialogue replies of the characters. In the narratives of the novels, the writer also devotes a lot of space to the phenomenon of oral transmission of fairy tales, characteristic of folk tradition, and the function of this phenomenon in the life of the local community. However, the numerous references to folk tradition do not mean that Krajewska recreates the logic of selected motifs established in the folk tradition, with their characteristic intentionality and moral messages. The main novelty of the literary approach to traditional tales (especially the story of Little Red Riding Hood) lies in the author’s departure from the fairy tale’s warning role and in her focus on the ambivalence of fascination and horror evoked in the heroine by the figure of the wolf, which in the narrative structure initiates a complex love story with dramatic complications and frequent plot twists, leading, however, towards a happy ending.

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.

Devil’s Oak: Waking the Feminine Wound is a short story collection that features strong female characters against a backdrop of ghosts, fairy tales, and urban legends. The thirteen stories subvert the historical narrative of women in fairy tales, positioning them as bold and willing to step into the face of danger. “The Braided Veil” features a young orphan in Victorian New Orleans who seeks revenge upon her mother’s abuser. “Devil’s Oak” addresses the horrors of slavery through the eyes of a young girl who learns that her family owned human beings. “Good Little Girls” takes readers back to childhood in which a sick girl explores her neighbor’s attic on a stormy day; she discovers more than she bargained for. “The Game” features relational aggression in the 1990’s in a “mean girls” style that takes a grizzly turn. “Selkie Skin” leans into Celtic lore, following a young pregnant girl who longs for freedom. “The Ripper Society” reaches back through time to Jack the Ripper’s wife, who discovers his misdeeds and takes matters into her own hands. “She Has Seen the Wolf” is longer story that connects to my novel, The Butterfly Circle; when a graduate student learns she is pregnant, she uncovers her family’s connected history to a haunted home for unwed mothers. In “Roots in the Cove,” a woman in an unhealthy relationship shapeshifts into a bear on a trip to Gatlinburg and finally finds her freedom. Both “Marsh Girl” and “Cicadas in the Suburbs” explore the psychological challenges of suburban life, including postpartum depression and the longing for the magic of youth. In “Honey Tree,” a divorced woman seeks comfort from the bees, and in “Crow Woman,” a widow faces metaphorical death and is reborn. Finally, “Ghost Apples” is a retelling of Snow White from the perspective of the queen; she shapeshifts into a wolf to protect a young girl who has been attacked and seeks revenge upon her abuser. ~A short story collection by Mary Carroll Leoson with a foreword by Christopher Barzak.

This article analyzes the formation of the diversity of the genre of the series of novels “The Dark Tower” by Stephen King, as well as the clips of Robert Browning’s poem in the predominant image of the Tower of Roland and the connection with these genre transformations. In the course of the study, the authors analyze the series of novels “The Dark Tower” and the poem “Childe Roland to the Dark Tower Came”, in particular, the features of the genres, the compositional and stylistic features inherent in these works. When demonstrating the characteristic features of R. Browning’s and S. King’s creative work, it was found that romanticized fantasy per se includes many genre features that differ from the manifestations of horror and classic fiction: fantasy is a genre in the style of high fantasy and concealment, a fairy tale. At the same time, dark fantasy, although it includes most of the traditional fantasy surroundings, is characterized not so much by the interrelationship between its fantasy elements and the narrative, but rather by the connection between the gothic and the horror types of fiction; there is much less science fiction in dark fantasy than in high fantasy. At the discussion stage, it was determined that the best method for translating the lead when working with two multi-genre works is the comparative method, which is based on a simple principle: “What is it like?” As a result, we came to the conclusion that, on the one hand, the use of a methodological method leads to the fact that in the process of text analysis it is necessary to limit the framework to the conventions of the functional style, the genre uniqueness of the analyzed ones, preserving their artistic orientation and the idiostyle of the author. On the other hand, in this way we get the opportunity to carry out parallel search and optimization of data for its synthesis and translation into the exchange part.

Why do urban legends go viral?