МИФ И ИСТОРИЯ В ЭСХАТОЛОГИИ ГОГОЛЕВСКОГО «ВИЯ»

This article presents the affinity existing between the female dream narrative and the fairy tale genre. Although a large body of material has al- ready been written about the connection between fairy tales and dreams, it has never been examined empirically using the tools and methods with which fairy tales have been studied. This article focuses on one dream narrative, docu- mented in the framework of a PhD dissertation, in which seventy-eight dream narratives were recorded, told by fifty-two single women. This article presents typological, formalistic, structural and esthetic approaches. In addition, this work compares how characteristics relating to time and space function within both dream narratives and fairy tales. The dream narrative is compared to tale type AT 311, called Bluebeard. From the focal point of this affinity, this work relates to the question of the feminine voice in fairy tales and the gaps between the female dream narrative and the masculine versions of the Bluebeard tales. This article presents the affinity existing between the female dream narra- tives - that is, the story a woman tells about a dream she had - and the fairy tale genre. In order to present the methods and ideas at the center of this article, I chose to focus on one dream narrative only, which should help to make the affinity between dream narratives and fairy tales clearer in a more general manner. The dream narrative presented in this article was taken from the framework of my doctoral thesis, which deals with the affinity between feminine dream narratives and fairy tales. 1 Even though the article deals with only one narrative, it is important to note that many of the other dream narra- tives gathered during the research possess characteristics similar to those presented in the chosen dream narrative regarding their affinity with fairy tales. This affinity, as it is discussed regarding the dream narrative, focuses on tale type AT 311, called Bluebeard. From the focal point of this affinity, this work relates to the question of the feminine voice in fairy tales and the gaps between the female dream narrative and the masculine versions of the Bluebeard fairy tales.

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...

The article discusses the trends in the development of modern children's literature on the basis of literary fairy tales. Taking the literary fairy tales of the modern Kazakh children's writer B. Suleimenov as the subject of the study, the function of the fairy tale genre in the children’s upbringing is scientifically analyzed. The writer wrote for children the fairy tales like “Zhanaikai”, “Gorilla Adam”, “Tugan kuninmen, Aitumsyk!”, “Zhyrtkysh balyk zhaily khikaya”, “Alabai-Dalabay”, “Africany arkalagan Kaka”, “Kyrannyn kanaty zhylaidy”, consisting of two stories “Khan Shatyrdan – Kun shatyrga sayakhat!”. By grouping, systematyzing, analyzing the writer's fairy tales, it was established that the vast majority of his works were about animals. While analyzing the literary fairy tales, the issue of continuity of centuries-old traditions and innovation in children's literature received an attention. Content searches in the writer's fairy tales are evaluated within the framework of traditions and innovations in national literature. In the differentiation of literary and aesthetic achievement in modern children's prose, the writer's fairy tales on animals were analyzed. The author, based on the opinion of domestic and foreign scientists on the fairy tales genre, came to a conclusion about the similarity and difference between traditional fairy tales and author's fairy tales. The searches of the modern children's writer B. Suleimenov in choosing a theme serve to complement the content of literary fairy tales. From the fairy tales about animals, the cognitive function of a literary work was revealed, and the contribution to the upbringing of future generation was emphasized by the author's position. Key words: children's literature, prose, fiction, fairy tale, fantasy fairy tale, household fairy tale, author's fairy tale.

“Une fée moderne”:An Unpublished Fairy Tale by la Comtesse de Murat Ellen Welch (bio) Nous devions descendre chez Madame Rocher aujourd'hui. La pluie nous en a empêchées, mais il y a eu des ressources contre le mauvais temps. La charmante Bouliche, Madame Boulay, Madame de Champhlé, la Poulette, [et] deux messieurs de Tours sont venus icy; la conversation s'est montée sur un ton gaillard, nous avons fait des contes à dormir debout. 1 The journal of the prolific author Henriette-Julie de Castelnau, comtesse de Murat (from which this anecdote comes) well illustrates the prominent role that fairy tales played in educated French society at the turn of the eighteenth century. Despite their status as "children's literature" today, in Murat's time contes de fées represented a new literary genre, a site of literary experimentation, and a form for exploring such hefty subject matter as monarchal politics and sexual norms. Some of the period's most innovative writers made their mark in the fairy tale genre. Murat herself may be counted among the most inventive, both in her choice of themes and in her formal originality. More than any other author, Murat championed the conte de fées as novel and sophisticated, famously christening her literary peers "les fées modernes." The first literary fairy tale—Marie-Catherine le Jumel de Barneville, comtesse d'Aulnoy's "L'Isle de la félicité"—was published in 1690, as an embedded narrative in the novel L'Histoire d'Hypolite, comte de Duglas. 2 [End Page 499] In the following decades, fairy tales were tremendously popular with writers and readers alike. Between 1697 and 1698, at least six collections of so-named "contes des fées" (the first use of the term "fairy tale") appeared in print. 3 During these highly productive years, many of the most recognizable and enduring formal hallmarks of the fairy tale genre emerged, including the classic opening phrase, "Il était une fois" ("Once upon a time"). 4 By the end of the seventeenth century, the literary fairy tale was a distinct and recognizable literary form. Although many of the genre's essential features may seem "timeless," the form and style of the first fairy tales were deeply rooted in the literary culture of the period. Most notably, these early contes de fées reflected the influence of the period's major academic literary dispute, the Quarrel of the Ancients and the Moderns. In 1688, Charles Perrault launched the debate when he delivered his treatise, the Parallèle des anciens et des modernes, at the Académie française. Perhaps the strongest voice for the Moderns' point of view, Perrault argued that contemporary arts, letters, and sciences were nearly always superior to classical learning. Following Perrault's lead, the Moderns embraced not only the French vernacular but also a range of progressive trends in literary production such as new genres (especially fictional ones) and authorship by non-traditionally schooled writers, including many women. For modern partisans, the best literature emerged not from solitary work in libraries stuffed with Homer and Virgil, but rather from worldly authors fully engaged in contemporary society. The fairy tale was viewed as a modern genre, and the predominance of women among the ranks of published fairy tale authors was indicative of the larger role of female writers in modern literary life as a whole. In their choice of literary models as well as in their broader literary preferences, fairy tale authors consistently valorized fresh, [End Page 500] contemporary work. They often embraced the modern practice of praising their literary peers. Through dedications, occasional poetry, and other paratextual devices, authors lauded—and advertised—fellow fairy tale writers in their published volumes. 5 The writers' admiration of one another's work extended beyond prefaces and dedications: fairy tale authors paid homage to their peers' texts through allusions and citations within their own tales. The modern quality of early fairy tales extended beyond matters of literary culture. The content of the tales was also grounded in contemporary social and political concerns. In addition to fairy godmothers and ogres, the contes featured aristocratic characters ruling over fictional kingdoms and dwelling...

Use of literature in the English language classroom deepens student engagement, and fairy tales add magic to the mix. This article details the benefits of engaging English learners in literature and fairy tales, and explores how drama can be enlisted to further mine their riches. An educator’s case studies of language teaching through literature and drama projects are described, and the research question driving them highlighted: What is the impact of dramatizing literature on students’ engagement in novels and second language acquisition? Research on the effects of literature, drama, and the fairy tale genre on second language education is reviewed. Reading and acting out literature and fairy tales hones all four language skills while also enhancing the Seven Cs life skills: communication, creativity, critical thinking, collaboration, commitment, compromise, and confidence. Adding the frame of project-based learning to the instructional strengths of literature and drama forms a strong pedagogical triangle for second language learning. Fairy tales are easily enacted. English educators and learners can download free fairy tale scripts and spice them with creative twists of their own creation or adapted from film and cartoon versions. Providing maximum student engagement, tales can be portrayed with minimum preparation. Using a few simple props and a short script, English learners can dramatize The Three Bears, Little Red Riding Hood, Cinderella, or Snow White in class with little practice. Engagement increases when teams act out tales on stage for an audience of family, friends, classmates, and educators. In fairy tale enactment projects, whether in class or on stage, students apply their multiple intelligences when choosing team roles: script-writing, acting, backstage, costumes, make-up, sound and lights, reporter, advertising, usher, writer’s corner, or stage managing. The article concludes with a list of engaging language activities for use with fairy tales, and a summary of the benefits of fairy tale enactments for English learners.

The musical dramaturgy of a child's puppet show is a unique phenomenon, characterized by brevity, conciseness, minimalism of forms and structures. It relies on the generally accepted laws of theatrical productions, which include the exposition, the outset, the culmination, the denouement, and so on. Specific features of the children's puppet show are manifested in the plot-sense, figurative and genre aspects, as well as in the means of musical and artistic expressiveness. The basis of the puppet show is the genre of the fairy tale, which in the form accessible to the children reveals the main meaning of the artwork. Through the genre of fairy tales, children distinguish good deeds, truth and lies, learn about living and inanimate nature, people, fairy-tale characters, fantasize, ponder, memorize. The imagery that are revealed in the puppet show are actual to the child. The musical side of the performances contributes to his perception. Particular importance is the theater dramaturgy and musical dramaturgy of the children's puppet show. They contribute to the organization of the musical and artistic consciousness of the child, who first gets acquainted with the theater world. The musical dramaturgy of the children's puppet show is based on song and folklore genres. The musical and artistic expressiveness is based on the melody of the word and the structural and rhythmic patterns of verbal speech. The analysis of the integral dramaturgy of the children's puppet show testifies to the birth of original, original genre models – a fairy tale with music, a musical fairy tale and an interactive performance. Children's puppet show is close to the psychology of children's perception. At the same time, it has musical, artistic, teaching and educational significance. Puppet show captivates and helps children enter into real life with the help of artistic-figurative and musical-figurative experiences and impressions. In this process, dramaturgy, as well as various means of musical and artistic expression, a decisive role in the play. Moreover, successful dramaturgic decisions of the play control the perception and consciousness of the audience and lead it to the expected results for the authors of show. With respect to the children's audience, the result should be considered not entertainment, but educational and educational success. It is here that the main meaning of children's puppet shows is concluded, which through the artistic influence form and develop the personality of a small person.

Transformation of fairy tales patterns in children’s literature available on the contemporary publishing marketWhat the contemporary publishing market offers the youngest readers are texts that make various forms of fairy tale characters — a strongly representative group among them consists of texts that are transformations of fairy tale patterns that are deeply rooted in the mass imaginations including children’s imagination, which promote a new version of a well-known story: fairy tale renarrations. Such texts not only constitute evidence of changes in the fairy tale genre, but also prove the continuous updates on fairy tales. The aim of the article is to present and discuss how the authors modify specific characteristics of the fairy tale and play with its tradition. The examples of recognizable fairy tale patterns that are deeply rooted in the culture Little Red Riding Hood, Snow White, Hansel and Gretel, Sleeping Beauty, Cinderella were used to present the primary mechanisms of use and modification of fairy tales in children’s literature on the post-2000 Polish publishing market.The description of intertextual relationships between the fairy tale patterns and their renarrations renarration mechanisms has been supplemented with an analysis of influence of popular culture on children’s literature interpenetrating of cultural and literary circulations and the fashion for fairy tales. The studied works include those that have been written with gender education in mind, promotion of knowledge on rights of a child or the environment and those primary aim of which is to entertain the young audience through reading. The article is also an encouragement to reflection on the genealogy of contemporary fairy tales and the shape, in which the “children’s fabulous fairy-tale-sphere” functions, and the factors that influence it.

Why Wicked Never Wins: An Examination of the Early Origins of the Evil Female Villain of the Fairy Tale Narrative

Reviewed by: Re-Orienting the Fairy Tale: Contemporary Adaptations across Cultures ed. by Mayako Murai and Luciana Cardi Jade Lum (bio) Re-Orienting the Fairy Tale: Contemporary Adaptations across Cultures. Edited by Mayako Murai and Luciana Cardi, Wayne State University Press, 2020, 424 pp. When asking what someone imagines when considering the fairy tale, oftentimes their answers will relate to Disney products or the Grimm brothers. As reflected in popular reactions, the fairy-tale genre is hegemonically understood within Western and Euro-centric constructions. Many scholars in fairy-tale studies have been working toward de-centering the Eurocentric understanding of the genre through intersectional work; however, Mayako Murai, a professor of comparative literature and English at Kanagawa University, and Luciana Cardi, a lecturer in Italian language and culture, comparative and Japanese studies at Osaka University, arranged a volume of papers to offer examples and steps to develop the discipline further. Re-Orienting the Fairy Tale: Contemporary Adaptations across Cultures is a collection of essays that work together to show the reflective process of "disorienting" and "re-orienting" the fairy tale. Re-Orienting the Fairy Tale is a collection of papers that stemmed from a 2017 international conference held at Kanagawa University. The book states that the conference was "the first of its kind in East Asia, [and] sought to reorient fairy-tale studies on a global scale by facilitating conversations among [End Page 332] fairy-tale researcher with Western and non-Western cultural background across different media disciplines" (4). Having the conference in Japan, and presenters working in Asian Studies or coming from Asian cultures themselves, also leads into one of the book's objectives, which is reclaiming the word "orient," especially from its use in "orientalism." Like the conference, the book brings together a variety of scholars from different places and disciplines, opening up conversations and studies to multiple perspectives and lenses. In the introduction, Murai and Cardi indicate that, while they are building on other fairy-tale criticism collections that have worked to expand the field such as The Cambridge Companion to Fairy Tales (2015) and The Routledge Companion to Media and Cultures (2018), there are still hierarchical issues that need to be acknowledged. They urge readers to "'disorient' the cultural and methodological assumptions at the basis of [the fairy-tale] discipline and 'reorient' fairy-tale studies on a global scale, across multiple cultures, media, and area studies" to consider one's understanding of wonder tales outside of Eurocentric structures (2). Following these steps, the book's first section is dedicated to "disorienting" the fairy tale, while the other two sections examine ways of re-orienting the genre. "Part I: Disorienting Cultural Assumptions" offers ways of "disorienting" and decentering through changing procedural perspective, whether it is looking at how non-Western cultures approach wonder tales or how non-Western cultures work to detach themselves from Western structures and assumptions. Cristina Bacchilega, in her chapter "Fairy Tales in Site—Wonders and Disorientation, Challenges of Re-Orientation," sets up the chapters ahead and her discussion of disorienting and reorienting as "mediation" (15). Bacchilega uses multiple examples, most notably "The Tale of Mahliya and Mauhub and the White-Footed Gazelle" by Sofia Samatar, to guide readers in how this adaptation, of an Arabic tale, can both disorient and re-orient, and in so "deobjetify[s] the wonders of the east in order to disturb hierarchical organization of storytelling traditions" (22). Other scholars such as kuʻualoha hoʻomanawanui, Roxane Hughs, and Natsumi Ikoma evaluate and give examples of ways to disorient fairy tales from how that procedure is assumed within the discipline by looking at different wonder tales from places, such as Hawaiʻi, China, and Japan. Readers can see disorienting in practice, or ways of "resisting the colonialist and Orientalist attitudes towards non-Western tales," through the explorations in these chapters (3). "Part II: Exploring New Uses" examines innovated uses of different stories and adaptations to show and "re-orient" that the fairy tale is much more than just fixed in hegemonic Western understanding and usage. For example, Shuli Barzilai's "Who's Afraid of Derrida & Co.? Modern Theory Meets Three Little Pigs in the Classroom" demonstrates to readers how...

Literature encompasses a wide range of genres, and fairy tales hold a significant position, particularly in children's literature, as they serve as an important avenue for children to explore and familiarize themselves with the English language and culture. Anne Sexton, a renowned writer known for her introspective style, has been a subject of both acclaim and controversy. However, Sexton's poetry is deeply influenced by European culture, especially the realm of fairy tales, where she undertakes the task of reimagining well-known tales with a specific emphasis on female protagonists. This article employs a methodological approach to examine Sexton's reinterpretation of these canonical narratives, providing valuable insights into the genre itself. Sexton's collection, "Transformations," serves as a valuable resource for understanding the fairy tale genre. According to Jack Zipes, a prominent scholar in fairy tale studies, fairy tales are fictional narratives that convey moral lessons and aid in language acquisition among children. It is essential to adapt fairy tales to suit the needs of children, as they contribute to enhancing their communication skills. However, when poetry, character development, and reality intersect, a captivating juxtaposition emerges. Sexton's pessimistic perspective alters the emotional landscape of the tales, thereby transforming the moral messages conveyed in her poems. Consequently, this adaptation brings to the forefront the clash between traditional, male-centric beliefs and feminism. To provide a comprehensive assessment of the issues under scrutiny, this study thoroughly examines and analyzes the recurring tales, their archetypal elements, specific structures employed in the poems, the portrayal of fictional characters, references to folklore, and characteristic attributes present in Sexton's works. By delving into these aspects, we gain a deeper understanding of the thematic and stylistic choices made by Sexton and their implications in the context of the fairy tale genre.

The article is devoted to “Literary Tale” by Lyudmila Petrushevskaya in the context of modern literary process. For this reason, two aspects were analyzed: the main characteristics and phenomena of contemporary literature of the era of postcolonialism and postmodernism, and the individual manner of mastering and transforming Lyudmila Petrushevskaya’s fairy tale, related to these phenomena. In the article analyzed scientific sources and found that literary studies and, to a lesser extent, the linguistic and stylistic, dramatic, prose and tale specificity of Lyudmila Petrushevskaya’s creativity have repeatedly been the subject of study by a number of domestic and foreign scholars. Scientists explored L. Petrushevskaya’s tales in particular in comparative, compositional, figurative, cognitive (metalinguistic), anthroponymic aspects. Researchers analyzed connection with folklore, literary fairy tale of other authors, modern trends of literature, postmodern trends in art. Also we found that the common approach is the formal choice of fairy tales as objects of study: by period, by collection, by cycle. However, the preliminary analysis revealed that there are almost none comprehensive studies of the formation of the literary fairy tale genre in the writer’s work. Methods. Following methods are used in the research: analysis of secondary sources (literary studies), structural analysis, linguistic and stylistic analysis of expressive means, elements of phenomenological, deterministic (causes and effect) and comparative analysis. Results. We proved that the choice of the fairy tale genre as a frame (a common genre creation of fairy tale characters) by modern writers and, in particular, by L. Petrushevskaya fully responds to the needs of readers. Readers consume a “literary product” as a collage, a new combination of proven and even archetypal narratives, against which the problems of the modern urban philistine world are particularly striking. Postmodern features are present in the author’s works in concentrated form, but they have evolved, in comparison with the first dramatic works of the author, towards to universality and timelessness (by interpenetration of archaic and innovative realities). These factors can explain the great popularity of the author’s tales. Conclusions. We found that the contemporary literary fairy tale of Lyudmila Petrushevskaya is created on the basis of: a) typical archetypal narrative structures; b) the author’s own sensual and cognitive experience; c) individual existential treatment by the writer of all available cultural experience in the context of the trends of postmodernism. The fairy tale can no longer be an isolated system and undergoes constant transformations, both at writing and at perception. Based on the aforesaid, we found that the author’s fairy tale of Lyudmila Petrushevskaya has a number of features related to contemporary literary trends, namely: a) author’s poetry based on the play; b) the presence of the author’s image and the inability to fully describe the artistic picture and the idea of her work; c) quest plot’s type and new binary categories that drive conflict; d) synthetics and heterogeneity of genre-forming features; e) intertextuality and allusion; f) transformation of typical fairytale structures; g) changes in time dimension; h) modernization of magical objects and magical transformations.

Orientation in space plays an essential role for a human being in the view of his / her life. Beginning from the ancient times, people explored space through horizontal and later vertical dimensions. This led to symbolization of objects that surrounded them. Complete reflection of symbols of space, in particular, horizontal and vertical symbols, is concisely traced in the fairy tale genre. Being one of the archaic forms of folklore, the fairy tale co-opted various elements of mythological beliefs of primitive people, their cognition and way of life, and later was supplemented by individual idiosyncratic elements of the world view. Symbols of both dimensions actualize primary (physical) and secondary meanings (which are also signified by evaluative, moral and ethical, as well as ecclesiastically religious meanings). The most frequently used vertical and horizontal symbols in the fairy tales are those actualized according to the “right” / “left” and “top” / “bottom” criteria. Despite relatively extended research in the field of fairy tale symbols, there are few studies which deal with the issue of conveying vertical and horizontal symbols into the target language. The aim of the article is to highlight the ways of rendering vertical and horizontal symbols taken from English and Ukrainian fairy tales, and to assess adequacy of their reproduction in the target language. According to the results of the research, it can be concluded that due to its universal character, the symbols of vertical and horizontal space are easily rendered into the receiving cultures. However, adequate reproduction of vertical and horizontal symbols requires identification of their role in a certain fairy tale text, and, consequently, the importance of their rendering into the target language.

The article deals with the transformation and interpretation of the initiation process with reference to the Soviet fairy-tale film genre, more precisely with the trial by fear of young heroes as an important stage of their getting to be truly Soviet people. The research is based upon the study of the archetype of an ideal hero in the fairy tale genre which has its roots in the socialist realism of the 1930s. In Soviet film tales of the 1960s (like the classic «Kingdom of Crooked Mirrors» by A.Rowe and «The Tale of Time Lost» by A.Ptushko) telling about the modern life of pioneers such ideology-driven symbols of the past came to be some kind of human ideal for young heroes in search of role models. Hence the necessity of initiation and the importance of trial by fear for the preparation of youngsters for becoming ideal Soviet people. With the collapse of Soviet mythology the fear in film tales evolved from a metaphysical designation of the process of transition into the anxiety about the current changes in real life which was getting ever less fairy. It became apparent in the transient tales of the post-thaw period like «Adventures of the Yellow Suitcase» by I.Frez who still kept on working with contemporary medium. The study of initiation of young fairy-tale heroes by means of trial by fear in terms of its changing sense brings out that the transformation of the Soviet fairy tale universe followed the general flow of thought in Soviet cinema at that turn of the decade.

The turn of the 21 st century has seen Russian writers’ increased interest in the genre of fairy tale. This paper discusses young Russian writers’ approaches to fairy tale traditions in texts of their own. The subjects of the study consisted of the Debut Prize winners and the so-called amateur writers (fans of Tolkien’s and Rowling’s books, and gamers) and their literary works. The study is aimed at establishing main trends in usage of folklore traditions in the first two decades of the 21st century; the paper is also concerned with examining similarities and differences between two generations of modern Russian writers in the matter of their approaches to classical heritage. To compare fairy tale texts, Vladimir Propp’s narrative model has been applied. One of the central claims of the study is that young authors tend to emulate literary samples by prominent contemporary Russian writers (mostly by Lyudmila Petrushevskaya). Thus, an efficient way of creating a contemporary fairy tale by a young author is to immerse its characters into the modern reality that is presented in a variety of its manifestations – from everyday routine to philosophic ideas. The young writers’ texts display such traditional features of literary folklorism as genuine fairy tale plots and motifs, their structural and style models, characters, magical objects, and the artistic device of estrangement.

Fairy tale offers a case where the ver)? contempt for opened an opportunity for them exercise their wit and communicate their ideas . . where they might set their own seedlings and plant out their flowersMarina Warner, From the Beast the Blonde, xxiiiFor decades, feminist scholars have investigated the ways in which have revised and rewritten classic fairy tales. In particular, feminist fairy-tale research has focused on twentieth-century writers such as Angela Carter and Anne Sexton.1 But as Jack Zipes explains in his introduction Don't Bet on the Prince, There were feminist precedents set in the literary fairy-tale tradition by the end of the nineteenth century (13). He cites Mar)? de Mary Louisa Molesworth, and Evelyn Sharp as less widely known Victorian authors who conceived tales with strong heroines who rebel against convention-ridden societies (13). Yet feminist scholars have only begun appreciate the Victorian precursors the feminist fairy tale.In his essay Feminist Fairy-Tale Scholarship, Donald Haase cites the recover)? of neglected fairy-tale texts by women as a crucial area of future research (29). work of Mary de Morgan would certainly qualify as neglected. Writing at the end of the nineteenth century, de Morgan published three collections of fairy tales. However, with the exception of five critical essays and one newly released book,2 Mary de Morgan is only fleetingly mentioned by scholars in Victorian fairy-tale anthologies. In such anthologies she is given anywhere from a sentence a page, and almost all references focus on her tale A Toy Princess (1877). Furthermore, even when scholars discuss the feminist aspects of her work, they limit their discussion her strong female characters rather than explore how her plots and the minute details she provides contribute a feminist reading.Zipes acknowledged de Morgan's use of strong female characters in his introduction Victorian Fairy Tales in 1987.3 However, since then only Alicia Carroll's 2010 article, The Greening of Mary De Morgan, and Marilyn Pemberton's 2011 article, The Fairylands of Mary De Morgan, and 2012 book, Out of the Shadows, have in any way addressed de Morgan's proto-feminist treatment of gender, love, and marriage.4 Carroll analyzes The Seeds of Love through an ecofeminist lens and concentrates mainly on de Morgan's depiction of greenery and nature in relation gender and race, whereas Pemberton's analysis in both the article and book focuses mainly on de Morgan's tale The Hair Tree as evidence of her New Woman critique of marriage. My analysis takes a different approach, demonstrating how de Morgan subverts the fairytale genre further explore the problematics of ideal femininity, love, and the happily ever after in her tale The Seeds of Love.This subversive use of the fairy-tale genre is unsurprising, given Mary de Morgan's life. Born in 1850, Mary Augusta de Morgan was the youngest child of Augustus de Morgan and sister the artist and novelist William de Morgan. De Morgan's mother, Sophia Elizabeth, was most likely a great influence on her feminist leanings. In 1866 Sophia de Morgan was one of 1,499 sign the women's suffrage petition, and she was also the author of the 1870 essay Our Better Selves, which argued for better education and increased political and professional rights for (Crawford 717, 756). In 1890, Mary de Morgan followed in her mother's footsteps when she joined the Women's Franchise League, whose stated objectives were to extend women, whether married, unmarried, or widowed the right vote at parliamentary, municipal and local and other elections on the same conditions which qualify [and] establish for all equal civil and political rights with men (qtd. in Crawford 716). Mary de Morgan never married, although it is unknown whether this was due personal choice or circumstance. However, she shared her fairy tales with her family and the children of family friends, and it is in her fairy tales that readers can discern her feminist leanings. …