Animal Tales Research Articles

Cuentos de animales en las fábulas españolas de finales del siglo XVIII-XIX. Primera aproximación a un catálogo comentado

In this work a thorough search for folkloric animal tales is conducted in Spanish fable collections from the late 18th and 19th centuries. For their identification, we rely on the indexes of Uther, Camarena, Chevalier, and Rodríguez Adrados. In total, around two hundred versions are cataloged, many of which are not compiled in the inventories of Camarena and Chevalier (1997) or Amores (1997), featuring several narratives with primarily oral dissemination that lack equivalents in Aesopian or medieval fables. The tales are not only classified but also comparatively discussed in terms of narrative, structural, ideological, ethical, and political aspects. However, the author's analysis focuses particularly on the literary and historical meanings of fauna and its relationship with humans, applying the theoretical and methodological framework of Animal Studies. Additionally, other references to animal folklore in the examined fable books are noted, demonstrating the benefits of studying the fable genre in this time period.

Beatrix Potter in Cumbria: Pastoral Pleasures, Classic Commodities, Rural Modernity

ABSTRACT This article claims Beatrix Potter, author of the children’s classic The Tale of Peter Rabbit (1902), is a woman writer of and for rural modernity whose complex relations to rural and urban places, national and regional identities, fine and commercial arts, raise important questions about the gendering of green places, landscapes, and geographies in constructions of canonical modernism and children’s literature. Analysing research by biographers, rural historians, geographers, art historians, and critics of modernist and children’s literature, it argues that Potter’s acute measurement of the commercial possibilities that lay in the divide between rural real and rural ideal made her one of the most successful women writers of her generation and contributed to the early achievement of classic status of her twenty-three animal Tales (1902–1918). Enlisting close readings of Potter’s words and images in her Tales for an interdisciplinary feminist literary-geographical project, the article situates Beatrix Potter at the centre of studies of rural modernity and rural modernity at the centre of early twentieth-century women’s writing.

Myths and tales about the animals of the Oirats of Xinjiang

The subject of the study is the fabulous folklore of the Oirats of Xinjiang. The object of the study is the specificity of mythological and fairy-tale texts about animals. It should be noted that the fabulous folklore of the Oirats still remains little known to domestic researchers, despite the fact that attempts to study it began in the middle of the last century. The study of Oirat folklore is especially relevant for domestic Mongolian studies, since it is historically connected with the folklore tradition of Russian Kalmyks and Altaians. The author examines in detail such aspects of the topic as the study of fairy-tale texts and the identification of common artistic means, which allows us to establish and explain the general systemic connections between these ethnolocal folklore traditions. The research methods are comparative analysis and the method of interpretation of fairy tale text. For the study of fairy tale narrative, this approach turns out to be potentially heuristic: both directions mutually determine each other, revealing multidimensional connections of the once unified folklore tradition. Myths and tales about animals represent the ancient genre of fairy tale folklore of the Oirats of Xinjiang. The main contribution of the study consist in the statement the myths and tales' content retains mythological elements associated with the archaic ideas of the ethnos about living beings of the world around them. Particular attention is paid to figurative language, rich in expressive poetic expressions, an abundance of figurative means, and a large volume of vocabulary of the original language of the Oirats. All this testifies to the preservation of the fairy-tale-mythological fund and performing tradition of the Oirats of Xinjiang. The novelty of the study lies in the fact that during the analysis of fairy tales and myths about animals as a special genre, it was established that there is no allegory in the content of the archaic animal tale of the Oirats of Xinjiang, despite the fact that its main characters are animals. According to archaic views, man believed that animals were once people. Therefore, in many ways, the animal world was perceived as a reflection of the human world, and the morals of animals were equated with the same qualities of humans.

Dungan Folktales and Legends transed. by Kenneth J. Yin (review)

Reviewed by: Dungan Folktales and Legends transed. by Kenneth J. Yin Rostislav Berezkin Dungan Folktales and Legends. Translated and edited by Kenneth J. Yin. New York: Peter Lang, 2021. xviii + 426 pp. Cloth $113.25. Electronic $111.60. Dungan Folktales and Legends is an anthology, translated by Kenneth J. Yin from the Russian edition of 1977. The Dungans have a very complex cultural background, as they are Chinese-speaking Muslims (speaking northwestern dialects, close to Mandarin) who originally lived in Gansu and Shaanxi provinces and fled to Russian Central Asia after the failure of the Dungan Revolt (1862–1877) against the Qing Dynasty. Recognized as a separate ethnic group of Central Asia, the exact history of the Dungan's formation in the premodern period still remains not completely clear. There are several theories of their origins (including the origins of the "Dungan" name [Donggan in Pinyin], commonly used in Russian and several other languages).1 Now the Dungans live in Kyrgyzstan, southern Kazakhstan, and the northeastern area of Uzbekistan (formerly republics of the Soviet Union). This volume is the most comprehensive anthology of Dungan folk narratives, available now in English for the first time, and features masterly translations of the most outstanding and characteristic oral narratives collected in Kyrgyzstan and Kazakhstan in the mid-twentieth century. The original Russian collection was compiled by the famous Russian sinologist Boris L. Riftin (1932–2012) and two Dungan scholars: Makhmud A. Khasanov and Ilʹias I. Iusupov.2 Riftin started to collect Dungan tales in the 1950s, when he traveled to Kyrgyzstan and worked there at the Dungan collective farm in Milyanfan to study the language and folklore of this people, related to his interest in spoken Chinese and Chinese folk literature in general. It was not the first folkloric expedition of Russian sinologists to the Dungans. The work on collection and studies of Dungan folklore by Russian scholars started around the turn of the twentieth century, during the imperial period, as noted in the preface to this collection of tales.3 The present collection contains seventy-eight folk stories divided into three parts: (1) wonder tales and animal tales; (2) novel-type tales, folk anecdotes, and adventure stories; and (3) legends, historical tales, and narratives. The preface introduces the major special features and cultural status of the Dungan tales. The volume also has several appendixes, a glossary, an index, the original notes to the texts in the Russian translation, and translator's notes aimed at an English-reading audience. [End Page 95] In the past, folk narratives played an extremely important role in Dungan culture, as most Dungans were illiterate: They usually did not study Chinese characters, but did speak a variety of Chinese. Stories were transmitted primarily in the oral mode, though some of them had written antecedents in Chinese literature.4 While living in Central Asia, the Dungans were exposed to the rich folklore of their neighbors and that resulted in their borrowing of numerous tale motifs. The influence of the historical reality of the Russian Empire is also discernible in several tales, for example, the common mention of contemporary Russian currency. The reader of the Dungan tales will be impressed by the fascinating amalgamation of Central Asian and Muslim elements with a variety of subjects and figures derived from Chinese folklore and vernacular narratives. Peri and devs, originating in Iranian and other Middle Eastern tales, appear in these texts along with dragons, magic foxes, diviners, and immortal-magicians typical of Chinese folklore and the vernacular narrative literature of the late imperial period. Many of these subjects also are present in Chinese folklore collected in the modern period. Several subjects of the tales included in this volume were obviously derived from Chinese dramas and novels, such as "Zhon Yu Boils the Sea" (based on the drama of the thirteenth century "Young Zhang Boils the Sea" 張生煮海; Li Haogu's 李好古 version is extant) and "Snake Girl" (similar to the story of the White Snake in Feng Menglong's 馮夢龍 [1571–1646] early seventeenth-century vernacular short story "Madam White Forever Confined under Thunder Peak Pagoda" [Bai niangzi yong zhen Leifeng ta 白娘子永鎮雷峰塔]). These, of course, underwent significant transformation through oral transmission. At the same...

Rabbit, Rabbit: Analysing the Hare/Rabbit Characters in Ukrainian and English Fairy Tales

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.

Narrative in Rasāʾil Ikhwān al-Ṣafāʾ

Abstract This article examines the narratives that appear in the encyclopedic Rasāʾil Ikhwān al-Ṣafāʾ (Epistles of the Brethren of Purity). Written in the tenth century, this multi-layered Neoplatonic work contains over 40 narratives—parables, allegories, fables, animal tales, and dialogues. These narratives serve multiple purposes, including the elucidation and illustration of ethical, philosophical, religious, mathematical, and scientific concepts. Together they encapsulate the philosophy of the secret society that produced them. With the exception of the famous animal fable, The Case of the Animals vs. Man in the Court of the King of the Jinn, these narratives have received little scholarly attention. Those narratives that have been studied have been considered in isolation rather than with the other narratives of the corpus. This article identifies the narratives in each epistle that utilizes them, shows their distribution, examines their types, and provides examples of the shorter narratives.

FROM JUNGLES AND RIVERS: ANIMAL TROPES IN MALAYSIAN INDIGENOUS LITERATURE IN ENGLISH

Recent developments in the local literary arts scene have seen the emergence of publications on folktales and fables of Malaysian indigenous people in English. Central to these publications is the presence of animals, whether as symbols, voices, or characters. Nonetheless, critical reaction to this presence has been sparse at best. As animals are paradoxically recognised as central to indigenous societies and their literatures yet marginalized in relation to human concerns, analysing texts to see how these animals function in literature, what they teach us about animals and what they reveal about humans and our relationships to animals seem critically crucial. Tapping into the field of animal studies, this paper investigates animal tropes in Malaysian indigenous folktales in English. To this end, folktale collections from such as Heidi Munan’s Sarawak Folktales (2017), Lim Boo Liat and Jefri Dylan Ong’s Orang Asli Animal Tales (2016), Clifford Sather’s Apai Alui Becomes A Shaman and Other Iban Comic Tales (2001), Robert Sulis Ridu, Ritikos Jitab and Jonas Noeb’s King Siliman and Other Bidayuh Folk Tales (2001), and Jayl Langub’s Suket: Penan Folk Stories (2001) are examined. Using Mario Ortiz Robles’s framework of animal tropes, this research found that the majority of these animal tropes are anthropomorphized or shown as possessing human capacities, such as conversing, dancing, working, and interacting with others, indicating Malaysian literary animals as literary, cultural endeavours which largely involve a projection of humanity.

Buku dongeng Sunda sebagai literatur budaya pada buku Roesdi djeung Misnem

Sunda dialect is a local dialect from West Java Province that has to preserve. One of the learning materials can be conveyed through storytelling. Roesdi djeung Misnem book is a classic Sunda book that contains Sunda tales. Pabukon Ngadongeng Community Book Corner provides service for this book to material storytelling. This research aims to know the Sunda storytelling book as cultural literature to children in Roesdi djeung Misnem book at Pabukon Ngadongeng Community Book Corner through analysis of story meaning, kind of storytelling, characterization reader, and storytelling as a learning language. The research method used a qualitative approach through a narrative literature review. Roesdi djeung Misnem book has 19 tales with 13 themes from the meaning story: prudence, working together, smartness, gratitude, stinginess, loving, self-measurement, arrogance, brave, trust, honesty, good attitude, and glorifying parents. This kind of storytelling consists of tales with animal and human characters. Animal tales total seven tales, and human figures tales total 12 tales. In characterization reader, Roesdi djeung Misnem book can be read to children over nine. Sunda tales in this book can train to learn the Sunda language. So, librarians or Managers of Community Book Corner can design Sunda dialect learning materials through storytelling as an activity for local dialect revitalization.

Greimassian Structure of T’boli Animal Tales

Folk narratives are a part of one’s cultural identity. With the changing times, these narratives are in danger of being forgotten and being lost in obscurity. The effort to retrieve and analyze folk narratives is one way of preserving these narratives. So, this paper analyzed the T’Boli Animal Tales using the Structural approach to literary criticism, particularly A.J. Greimas’ Actantial Model, as well as the Axes Model of Louis Hebert which is an adaptation of Greimas’ model. It also determined the actants found in T’boli animal tales, their formation of axes of desire, power, and transmission, and their similarities and differences in terms of the formation of axes. Results revealed that the majority of the animal tales used follow Greimas’ actantial model, as well as Hebert’s axis model. Although there are similarities in terms of their actants and axes, this study concludes that not all T’Boli Animal Tales’ follow Greimas’ and Hebert’s models. Still, these tales can be understood better using the Actantial Model and Narrative Structures proposed by A.J. Greimas, and the Axis Model proposed by Louis Hebert. Keywords: T’Boli Animal Tales, Greimas’ Actantial Model, Qualitative Research, Philippines

Песенные вставки в сказочном фольклоре лесных юкагиров

This paper analyzes the song inclusions in the tales of Forest Yukaghirs, the content of such pieces, their purposes, and origin. Song segments are found in animal tales, including mythological ones, fairy tales about a Fabulous Old Man-eater, and everyday fairy tales. The song inclusions mostly convey the monological speech of the characters and include lexical repetitions. The song inclusions considered are mainly the magical appeal of one hero to another, a personal story, or a real personal situation. Some of them can be characterized as personal songs. Characters endowed with supernatural powers use the song as a magical ritual. These characters include heroes with shamanic powers and the ogre giant, the Fabulous Old Man. The magical potential of the song, aimed at summoning and embodying something, can also be evoked by ordinary people, even unintentionally. Songs-appeals of some characters to others are performed in magical situations, facilitating their manifestation. The fairy tales provide indirect indications of the shamanic power of the singing characters. Alternatively, the songs addressed to other persons can be performed by ordinary characters, usually represented by animals. Songs as personal narratives or real personal situations can be found mainly in the tales about animals. The song inclusions are based on the representations of shamanic activity, magical abilities, and the song type of storytelling, as evidenced by the existence of both non-fairy and fairy tale Yukaghir prose.

Bulletin Blue Ribbons 2022

Bulletin Blue Ribbons 2022 Kate Quealy-Gainer, Editor We were lucky this year to see a sizeable increase in the diverse identities and ideas represented in literature for youth, and with that in mind, we couldn’t help but expand our own award list—there were just too many stellar examples of our field’s growing inclusivity. In nonfiction, you’ll find a healthy variety of formats and subjects, from a picture book walk through the Mexihcah’s process of creating amoxtin to a biography of Octavia Butler in evocative concrete poems. Fiction spans genres and settings, featuring separately a grim, post-apocalyptic world as the backdrop for exploring trans identity; an amusement park as the spark for a romance from multiple perspectives; and the Monterey Bay Aquarium as the aquatic background for a heartwarming animal tale. Community is the backbone of this year’s picture book list, with family and friends coming together to plant gardens and a neighborhood of animals overcoming their first impressions to make a warm, welcoming place for everyone. We conclude this year with a bonus of short story collections, a format we are always thrilled to see thrive. Happy reading! FICTION Albert, Melissa. Our Crooked Hearts. Flatiron. Gr. 9-12 This searing exploration of a toxic mother/daughter relationship and its connection to magic is haunting and beautiful, full of messy girls drunk on messier magic and told with electric prose brimming with sharp metaphors. (June) Applegate, Katherine. Odder; illus. by Charles Santoso. Feiwel. Gr. 2-4 Inspired by true events, Applegate’s third-person narrative in verse delivers the playful but heartfelt story of Odder, a sea otter cared for at the Monterrey Bay Aquarium. (October) Callender, Kacen. Lark & Kasim Start a Revolution. Amulet/Abrams. Gr. 8-12 Lark must contend with the accidental revelation of Kasim’s love after he posts on their Twitter account; this rich world is peopled with loving and lovable characters, many of whom are Black and LGBTQIA+, and their voices respect the intensity with which teens consider racism, ableism, and transphobia. (September) Eagar, Lindsay. The Patron Thief of Bread. Candlewick. Gr. 5-8 To help her street gang survive on the streets of medieval France, chronically underestimated Duck apprentices to a blind baker to steal money but ends up warily reciprocating the baker’s care; this story of family and acceptance reaches a hopeful conclusion that is balanced by wry, but not bitter, complexity. (April) [End Page 171] Forest, Kristina. Zyla & Kai. Kokila. Gr 8-12 Zyla and Kai meet, date, and break up in this romance, which is elevated by Forest’s mastery of the narrative structure; she utilizes different tenses, points of view, and styles to demonstrate the unexpected ways human lives are interconnected. (June) Keller, Tae. Jennifer Chan Is Not Alone. Random House. Gr. 5-8 In this nuanced and compassionate book, seventh grader Mallory falls under the sway of queen bees and joins in their torment of Jennifer; a compelling author’s note illuminates the complicated motivations and devastating results of bullying. (April) Lamb, Sacha. When the Angels Left the Old Country. Levine Querido. Gr. 9-12 Steeped in both Jewish folklore and the Eastern European immigrant experience, this immersive story is carried equally by the propulsive plot and the winning trio at its center, as the demon Little Ash, the angel Uriel, and the firecracker of a human Rose leave Warsaw for the U.S. in the early twentieth century. (November) McCall, Guadalupe García. Echoes of Grace. Tu/Lee & Low. Gr. 10-12 Grace can experience “echoes” of past events, and a tragedy tips her into memories of a horrific sexual assault in this contemplative, haunting examination of internalized misogyny, victim-blaming, and the paralyzing ripples of trauma through generations. (June) Skinner, Nicola. Storm. HarperCollins. Gr. 5-8 This poignant story tackles grand themes of love, forgiveness, friendship, and even the meaning of life as readers meet twelve-year-old Frankie, who was killed in a tsunami and wakes up as a ghost to find her home has become a tourist spot. (February) Strong, Karen. Eden’s Everdark. Simon. Gr. 5-8 Grieving her mother’s death, Eden steps into a...

Imperial Beast Fables: Animals, Cosmopolitanism, and the British Empire

Imperial Beast Fables: Animals, Cosmopolitanism, and the British Empire

Anthropomorphism in Indian Visual Narratives

The study of images begins to flourish because of the ubiquity of visual representations in communication. A visual medium communicates across ages and languages. Each artifact, like strokes, colours and gestures, has its specific meaning that highlights human behaviour. In stories, animals in human form delight and capture the audiences’ attention. The selection of animals and their projected ways reflects more than what is expressed directly in the text. As a result, anthropomorphism (nonhuman entities that talk and act like human) is widely used as a communicative tool to insist on sensitive themes. Simultaneously, there is a belief that anthropomorphism misattributed human-like abilities to nonhuman which can risk the people’s approach towards nonhuman. This paper identifies some of the degrees of anthropomorphism noted in Indian visual narratives from Malik’s Munnu: A Boy from Kashmir, Gupta and Rastogi’s Chhotu: A Tale of Partition and Love, Amar Chitra Katha’s Animal Tales from India, Samhita Arni’s Sita’s Ramayana, Amruta Patil’s Aranyaka: Book of the Forest and Samit Basu’s Tall Tales of Vishnu Sharma: Panchatantra. The study researches the role and importance of anthropomorphism in visual narratives.

Folklore Figures of French and Creole Louisiana

Folklore Figures of French and Creole Louisiana

The Complete Folktales of A. N. Afanas'ev. Volume III

The Complete Folktales of A. N. Afanas'ev. Volume III

МОТИВ КАК ИДЕАЛЬНЫЙ ТИП, ИЛИ ТРИКСТЕРСКИЕ ЭПИЗОДЫ В ЕВРАЗИЙСКОМ ФОЛЬКЛОРЕ

Folklore motif is an analytical tool created for the particular kind of research. Our purpose is to reveal routes of the interregional exchange of ideas in different periods of the past. The dissemination of ideas can be followed when we study material (archaeological sites) and nonmaterial (traditional narratives) objects created because of particular ideas adopted by people. Ideas are copied and disseminated unconsciously. The folklore motif is any unit of replication (most often an episode or an image) registered in two or more traditions. The tradition is a totality of narratives recorded for a particular ethnic group or across a particular territory. Motifs can be classified according to thematic groups that approximately correspond to genres of those narratives from which they are selected. The author analyses the results of computing trickster motifs with animal and anthropomorphic actors. The area configuration of the selected interaction spheres suggests that the spread of the motifs with anthropomorphic actors took place mostly from the late Antique period to the early New Time, and the spread of the animal tales – during the Middle Age and earlier. The influence of the Great Steppe on East Europe is noticeable for the Middle Age with the emergence of the borderline between Christian Europe, and the Asian-Africa interaction sphere is a characteristic trait of the early New Time. China is outside of this opposition.

Зоопоэтика текста в калмыцкой басне ХХ в.

Introduction. In the genre system of Kalmyk poetry, the literary fable appeared in the 1930s. When it came to master the genre, Kalmyk poets mainly focused on the traditions of Russian fable of the 19th–20th centuries, primarily on I. A. Krylov’s works which they eagerly translated. The Kalmyk authors were the least likely to rely on traditions of Eastern literature — whether Indian, Tibetan, or Oirat Mongolian — since those sources written in Tibetan, Classical Mongolian and Clear Script (Kalm. todo bichiq) were virtually unavailable to them, and not all poets had knowledge of the scripts. National folklore, including myths, animal tales, household tales, aphoristic poetry (proverbs, sayings, riddles), to a certain extent contributed to the creation of plots and motifs, a gallery of images ― people and the animal world ― in the Kalmyk literary fable. The appeal to the fable was determined by the tasks of cultural construction in Kalmykia, the satirical possibilities of the genre designed to scourge social vices and human shortcomings, contribute to the correction of morals, facilitate education of a person in the new society. Attention to the fable in 20th-century Kalmyk poetry was not that universal and constant, by the end of the century it was no longer in demand and never revived further. The Kalmyk literary fable has been little studied so far, with the exception of several recent articles by R. M. Khaninova, which determines the relevance of this study. Goals. The article aims to study zoopoetics of text of the animalistic fable in Kalmyk poetry of the past century through examples of selected works by Khasyr Syan-Belgin, Muutl Erdniev, Garya Shalburov, Basang Dordzhiev, Timofey Bembeev, and Mikhail Khoninov. Methods. The work employs a number of research methods, such as the historical literary, comparative, and descriptive ones. Results. The animalistic fable is not the leading one in the general genre system of Kalmyk poetry of the past century, including among fables with human characters. It usually includes characters of the steppe fauna whose figurative characteristics are manifested in Kalmyk folklore. The social satire and political orientation of the fables are actualized by modern reality, actual international situation and events. The paper reveals a relationship between the animal fable and — Kalmyk folklore and the Russian fable tradition. Most of the fables have not yet been translated into Russian. Conclusions. In terms of national versification patterns, the study of the Kalmyk poetic animal fable has identified such synthetic forms as fable-fairy tale, fable-proverb, and fable-dream. The genre definition is not always specified by the authors, a moral usually concludes each quatrain-structured narrative. Genre scenes, monologues, and dialogues contribute to an in-depth reading of the context, symbolism of images, and semantic code.

PENERAPAN MODEL PEMBELAJARAN ROLE PLAYING UNTUK MENINGKATKAN AKTIVITAS DAN HASIL BELAJAR SISWA DALAM MENGGALI INFORMASI DARI DONGENG BINATANG (FABEL) PADA SISWA KELAS II SDN PARANG 4 KEDIRI

Based on data obtained by researchers at SDN Parang 4, Banyakan sub-district, it was found the fact that there was a low level of activity and student learning outcomes in the material of digging information from animal tales (Fable).. In addition to this in everyday learning the teacher only conveys the material conventionally. Teachers only tend to give monotonous lectures and do not use learning models when carrying out learning in the classroom. Student activity is also very low, because when the teacher gives practice questions to students there are some students who just sit and don't seem eager to learn. The purpose of this research is toto find out the Application of the Role Playing Method for mimprove student activity and learning outcomes in dig up information from animal tales (Fables). The approach used is qualitative research with Classroom Action Research (CAR) design, with stages: 1) planning, 2) implementation, 3) observation, 4) reflection. This research is planned to last for 2 cycles, each cycle 2 meetings with thematic learning materials. Based on the results of research in the implementation of the first cycle of student learning completeness reached 50% and in the second cycle of student learning completeness increased to 91.60%. Based on the results of the study, it can be concluded that the Role Playing learning model can increase student activity and learning outcomes in extracting information from animal tales (fables) in class II SDN Parang 4, Banyakan District.

August Schleicher as the First Publisher of Lithuanian Folktales

The article focuses on the Lithuanian cultural activities of the famous German linguist August Schleicher (1821–1868). These activities included not only accumulation of linguistic data and writing of a Lithuanian grammar, but also recording and publication of the Lithuanian folklore. Schleicher edited the particularly valuable reader of the Lithuanian language and vocabulary (Handbuch der litauischen Sprache, Bd. 2: Lesebuch und Glossar, 1857), which included the first publication of Lithuanian folktales, among other kinds of folklore.The author of the article aims at elucidating the objectives and circumstances of Schleicher’s recordings of the Lithuanian folktales, establishing of their genres and defining the typical narrative qualities. Besides, the importance of the tales that Schleicher recorded in terms of the Lithuanian folklore research is highlighted.The letters that Schleicher wrote in the course of his research trip to the Eastern Prussia in 1852 reveal the kind of difficulties that he encountered during this journey, his ways of communication and his experiences while collecting the Lithuanian folktales. The folk narratives published in his Lithuanian reader and vocabulary include fifteen tales of magic, seven joke tales, four novella tales, three animal tales, three tales of lying, two tales of the stupid ogre, one religious tale, four folk-belief legends and one local legend. The scholar was the first to record numerous examples of various Lithuanian tale types, which mostly belonged to the popular Lithuanian oral tradition.The linguist himself highly valued his work among the Lithuanian inhabitants of the Lithuania Minor, being well aware that it served to the preservation of the declining culture at least in the scientific purposes. He hoped that folklore recorded and published by himself and his assistants could support the Lithuanians resisting the intense assimilation processes. The results of his research trip in the Lithuania Minor testified to the vitality of the folk narrative tradition among the local Lithuanians in the middle of the 19th century.By researching the Lithuanian language and recording the Lithuanian folklore, Schleicher established the importance of this culture to the Indo-European studies in general and attracted numerous followers that carried on with his scholarly activities. His activities prompted Lithuanians themselves to collect their oral folk heritage as well. Thanks to Schleicher, the first Lithuanian folktales were translated into German, published and attracted notice of the foreign scholars. Their subsequent publications reached even broader social layers. Therefore, Schleicher may be regarded as the promoter of the Lithuanian folktales across other countries. Nowadays the Lithuanian folktales published by Schleicher have been included into various folklore collections as anonymous folklore pieces and have acquired literary interpretations.

الحکاية الشعبية في مرکز الفشن ( حکاية الحيوان أنموذجًا ).

حکاية الحيوان ؛ حکاية يقوم فيها الحيوان بالدور الرئيسي ، وقد يکون شخصا من شخوص الحکاية ، يسقط عليه المؤلف الصفات الإنسانية بحيث يتحرک ويتصرف ويتکلم کالإنسان ومن هذه الحيوانات ( الأسد – الذئب – الخيل – الحمار ...وغيرهم ) ، وقد يکون مجرد رمز أو صورة تتخذها شخصية ما في الحکاية . لذلک فهي تنقسم إلى نوعين : حکايات حيوان خالصة : وتکون جميع الشخصيات فيها من الحيوانات . وحکايات حيوان مشترکة : وفيها تشارک شخصيات الحيوان البطولة مع الإنسان . ويعد هذا النوع من الحکايات امتدادا لأسطورة الحيوان . کما أنها قصيرة في الغالب ، وتضم عناصر قليلة مقارنة بأنواع الحکايات الأخرى . ولحکاية الحيوان وظيفتها الخاص ؛ فهي محاولة لتفسير أشکال وصفات الحيوانات باختلاف فصائلها ، بالإضافة إلى کونها وسيلة لترسيخ القيم الإنسانية والأخلاقية المرغوب فيها والتنديد بالصفات السلبية التي لا يقبلها المجتمع . Abstract The Animal Tale : on of the tales which the animal plays the main role. It may be person of characters . the auther make it act , move and speak as man from this animals the lion, the horse and donkey . and it may be only code one of characters make it in the tale. So it divide two types : complete animal tales and common animal tales . This type of tales is extension of the myth of the animal , they are often short and contain few elements compared to other tales . The animal tales has its own function: It is an attempt to interpret different forms and recipes according to their different categories. In addition to being a means to consolidate the desired human and ethical values and denouncing the negative qualities that society does not accept it