Fairy Tale Characters Research Articles

СЕМАНТИКА ПОРІВНЯНЬ ЯК МАРКЕРІВ БАЗОВИХ ЕМОЦІЙ (НА МАТЕРІАЛІ УКРАЇНСЬКИХ ГЕРОЇКО- ФАНТАСТИЧНИХ КАЗОК, ПЕРЕКЛАДЕНИХ НІМЕЦЬКОЮ МОВОЮ)

The article focuses on the study of semantics of comparisons as markers of basic emotions in Ukrainian heroic-fantastic fairy tales translated into German. In the fi eld of linguistics, the comparison transforms from logical to artistic correlating with the type of poetic thinking which forms, develops, changes, and evolves within the cultural and historical development of mankind in general and ethnos in particular. The methodological basis of the semantics of comparisons as markers of basic emotions is formed by the anthropocentric paradigm of modern linguistics (F. S. Batsevych, E. S. Kubryakova, and V. A. Maslova). The terminological apparatus of the study is outlined through the method of defi nitive analysis, whereas the semantic content of the apparatus is revealed through the method of etymological analysis with the use of the methods of comparative analysis. The methods of interpretive-textual and cultural-historical analyses were used to distinguish connotative and situational meanings relevant to the objectifi cation of basiс emotions. The application of the method of stylistic analysis of tropes allowed establishing the poetic features of comparisons and their stylistic color/stylistic neutrality as well as to better understand the idea of a heroic act. To reveal the mechanisms of the processes of materialization and diff erentiation of knowledge on basic emotions, elements of the method of modeling the conceptual system of the emotional state of a fairy-tale character have been involved. The author comes to the conclusion that etymology of the terms “heroism” and “fi ction” is diff erent and that the process of choosing the transformation of body shape correlates with the situation, esoteric knowledge, and magic of things around the world. Furthermore, in fairy tales, the man and nature form one whole, and people, plants and imaginary supernatural beings experience emotions and feelings. The classifi cation of semantic models of comparisons as markers of basic emotions is off ered, and the quality of emotional experience is traced. Key words: comparison, basic emotions, marker, semantics of comparisons as markers of basic emotions, fairy tale, heroic-fantastic tale, semantic model of comparison.

Precedent texts as meaning-forming triggers of small poetic Internet genres

The article examines how precedent texts are involved in the creation of a semantic fabric of "pies" of amateur Internet poems with a poetic structure of an unrhymed quatrain, and their branches of powders, depresyashki, artichokes. The material were miniatures containing precedent texts, selected from the «Poetory» website and written by different authors. The analysis of the selected miniatures was carried out by the method of linguistic interpretation of the text. It is stated that Internet miniatures refer to literary postmodernism and actively refer to one of the style-forming techniques of postmodernism – the use of precedent texts. In "pies" and their offshoots there are various precedent texts: phraseological units, literary quotes, aphorisms and their excerpts, names of literary and fairy-tale characters, titles of works, etc. The precedent text can be used fragmentarily, in the form of allusions. The article states that the precedent texts are a semantic trigger that allows you to create the meaning of the "pie". The techniques of creating the meaning of a miniature using a precedent text are considered. All techniques are based on the "frame" use and perception of precedent texts. A “frame” technique is a technique in which a scenario, a “picture” arising from the precedent text, and the further semantic development of this scenario serves to create the meaning of a miniature. The “frame” method has several options: “aiming” at the “frame” use of the precedent text, paradoxically-contrasting development of the topic of the precedent text, the method of “antithesis unfolding”, "concatenation" of several precedent texts, combining several methods of using the precedent text in one miniature. It is also argued that the "frame" use of precedent texts allows not only to create the meaning of the miniature, but also to convey it concisely in accordance with the canons of the genre a maximum of 4 lines. Thus, precedent texts not only act as triggers for the "extraction" of deep content, the meaning of Internet miniatures, but also make it possible to minimize the expression plan, creating an increased semantic richness of the text.

Prince Charming and the problem of morality from a pragmatic point of view. A reflection on the imaginary born of truth

Abstract Fairy tale characters have a special status for children, as they become the bearers of values and emotions with a major impact on the development of the young viewer in whose universe anything is possible. Children often place the action at a subordinate level of their brain and the text loses its value to the character construction, which they remember at the expense of the actions the characters perform. Young audiences’ conclusions about a character can boil down to two simple characterizations: GOOD or BAD, but their subconscious picks up complex information that can affect the core values and influence future decisions or actions. This assessment of the moral character that a fairy tale character has is only valid because the fairy tale is used for an educational purpose and is supposed to contribute to the development of cognitive and affective processes in the formation of fundamental character traits. The aim of the critical approach of this research is to identify the real values of a character through behavioural analysis in order to render it scenically.

ФОРМИРОВАНИЕ ЭМОЦИОНАЛЬНОЙ ДЕЦЕНТРАЦИИ У ДОШКОЛЬНИКОВ В УСЛОВИЯХ СЮЖЕТНО-РОЛЕВОЙ ИГРЫ

Statement of the problem. Based on the analysis of research by Russian authors, the article outlines the problem of the formation of emotional decentration in preschool children and the importance of play in this process. The purpose of the article is to identify the relationship between the formation of a role-playing game and the formation of emotional decentration. The research methodology is based on the cultural and historical concept of L.S. Vygotsky, as well as the theory of the activity by A.N. Leontiev; in the course of the study, the following methodology was applied: analysis of theoretical sources on formation of the emotional sphere of a preschooler and development of role-playing games; standardized observation of the progress of specially organized games; ascertaining experiment to determine the level of emotional decentration in preschoolers; formative experiment; qualitative and quantitative data analysis; comparative analysis of data using the statistical Student’s t-test. The significance level is p = 0.05. Research results. In the course of the study, our hypothesis was confirmed: such conditions for role-playing games as providing preschoolers with the opportunity to create and transform the play space with the help of unformed object material, adults acceptance of the position as a play partner contribute to the internal and external dynamics of the game, which, in turn, affects the progress in the development of emotional decentration in preschool children. Conclusion. In this paper, the features of emotional development of preschool age were described, the concept of emotional decentration from the point of view of different authors was considered, and the process of the development of play in preschool age was described. A scheme has been developed to determine the level of emotional decentration in preschoolers. In this scheme, three levels of formation of emotional decentration in children 4-6 years old are identified (relative to three criteria as indicators of emotional decentration): high, medium and low. A diagnostic game procedure “Wishes of a Fairy-Tale Character” has been developed, which can be used to identify the level of formation of emotional decentration. A scheme for analyzing the internal and external dynamics of a role-playing game has been developed.

On the Іssue of Beauty Perception in Onthogenesis

Developmental specifics of beauty sense in ontogenesis are analyzed in the article. It is demonstrated that mature formation of beauty sense and aesthetic activity relates to early adolescence. Ability to individual aspects of aesthetic activity can be noted on earlier stages of ontogenesis (A.V. Zaporozhets, Z.N. Novlianskaja, N.V. Papucha and others). However attitude to beauty is not realized clearly at the moment. Aesthetic activity in the strictly proper sense of the term can be analyzed when image dynamics shifts from encompassing involuntary changes of ideal images to free image management as well as realization of both freedom and contemplation in order to transform it according to “beauty principles”. Aesthetics exists exceptionally in the individual form of development. Therefore mature forms of aesthetic activity (perception or creation of aesthetic products) can be manifested at earlier ontogeny stages, for example, among artistically gifted children. It is demonstrated that behavioral acts of perception of an artistic work, while being visually similar, are phenomena of different psychological nature for different age groups (for example, infants, preschoolers, younger school children, teenagers). Features of fairy-tales and lullabies perception in early ontogenesis are analysed. Perception of fairy-tales in early ontogenesis originally emerges as external, unfolded activity and supposes participation in events which are directly perceived and experienced. Further on this basis similar activity acquires internal nature of assistance, empathy to fairy-tale characters and becomes true in the domain of imagination (A.V. Zaporozhets). Providing help to a fairy-tale character, a child places him/herself into the situation and further operates within its internal logic.

A Morphological Consideration Of The Names Of Turkish Fairy Tale Characters

Märchenfiguren haben in allen Kulturen einen Namen, die auch Zeichen ihrer charakteristischen Eigenschaften sind. Die Namen können sowohl eine Bedeutung tragen als auch begrifflich willkürlich und ausgedacht erscheinen. In deutschen Volksmärchen werden die Märchenfiguren wie bekannt nicht unbedingt mit Eigennamen benannt. In türkischen Märchen dagegen gibt es verschiedene Varianten zur Benennungen der Figuren. Die Figuren können sowohl mit einem Eigennamen benannt werden oder können ihre Namen aus verschiedenen Wortbildungen entstehen. Auch die Beinamen haben von türkischen Märchenfiguren eine große Bedeutung, da sie kulturelle Merkmale übertragen. Es ist in diesem Zusammenhang wichtig zu betonen, dass in türkischen Erzählungen großen Wert auf die Benennungen der Figuren gelegt wird und die Namen inhaltliche Bedeutungsträger sind. Auch bei Namen, die frei ausgedacht erscheinen, fällt bei eingehender Betrachtung auf, dass diese Benennung einen bestimmten Zweck erfüllt. Die Namen bzw. morphologische Elemente besitzen verschiedene Eigenschaften; sie können erstens als einfache Namen auftreten, zweitens mit Ableitungsmorphemen gebildet werden oder es handelt sich drittens um zusammengesetzte Namen. Ziel dieser Arbeit ist es, einen kurzen Überblick auf die Eigenschaften der türkischen Märchenfiguren und zu den Motivationen bei der Namengebung zu geben und die morphologischen Besonderheiten der Namen durch Analysen und Interpretationen zu zeigen. Dafür werden Namen aus Pertev Naili Boratavs Märchensammlung Az gittik uz gitik (1969) ausgewählt.

De Beaumont’s Beauty and the Beast: A feminist analysis

De Beaumont’s fairy tale La Belle et la Bête published in 1757 in France is examined in this article by analysing gender roles and performativity, using the feminist and new historicist frameworks. The characters of Beauty, her sisters and that of the Beast are analysed for evidence of typical, patriarchal behaviours and relationships or more modern, innovative ones. Adapting her tale from the much longer text by De Villeneuve, De Beaumont created an innovative tale which discusses gendered expectations and marriage relationships in modern ways. Her characters and their relationships are often inverted and they behave in ways unexpected and unaccepted by the overtly-gendered, 18th-century patriarchal rule. As her tale was created primarily to educate her younger 18th-century readers, the tale is an interesting commentary on gender roles of 18th-century France. De Beaumont provided alternatives to the typical female fairy tale characters, depicting an empowered Beauty who makes her own decisions and in doing so, is able to free the Beast from his imprisonment in a beastly body. De Beaumont faced a number of challenges in creating her tale, making it a subverted feminist rendition, often portraying contrasting female characters in ways subtler than more recent renditions of the classic tale. Beauty does not aggressively contrast patriarchal ideas of gender, and neither does the Beast; however, their characterisations present alternatives to these patriarchal expectations and stretch their boundaries on masculine and feminine behaviour.

THE IMAGE OF A TIGER IN KOREAN MAGIC TALES AND IMITATIVE WORDS IN UZBEK TRANSLATION

The article deals with the methods and problems of translation of imitative words in fairy tales, which are a product of folklore. At the same time, the imitation of the sound of a tiger in Korean fairy tales is analyzed. It is known that the goal of translation research is to organize the translation process in a certain direction, which is carried out by talented translators who translate from different languages, literature of different genres. It is important that the reader is provided with an alternative. It also requires an analysis of the diversity of fauna in fairy tales, the importance of characters in Uzbek and Korean fairy tales, and participation.

Evaluation of parent-child relationships using the flannel-graph in children with autism spectrum disorders

IntroductionThe study of child-parent relationships in families raising children with autism spectrum disorders (ASD) and the assessment of the dynamics of development of a child with ASD are necessary to provide timely psychological personalized assistance to such families.ObjectivesTo study child-parent relations based on the mother’s behavior in an experimental play settings, in families raising children with ASD.MethodsThe child-parent relationship was being analyzed through the flannel graph that the child had previously created with fairy tale characters. This evaluation assessed child’s independence level, parent and child engagement levels. The following surveys were used to support these theses: “The interaction of the parents and the child” (IPC) and “Child Rejection Scale” (CRS). The survey sample size included 104 mothers and their children, half were with ASD (average age 7.1), and half were typically developed children (average age 7).ResultsTypically developing children mastered the flannel graph exercise assessment independently; 30% children with ASD did not complete the exercise due to the severity of the disease. Subsequently, among the mothers whose children have ASD 26% refused to participate and the facilitator helped them instead. Statistically significant differences were found on the IPC scales – satisfaction with family relationships; emotional proximity; disciplinary confrontation in the family. CRS identified 13% of mothers of children with ASD with pronounced rejection of children.ConclusionsThe study of child-parent relationships using flannel graph assessment can be helpful in a comprehensive research of ASD and in programming a psychocorrectional work with children, using the child’s proximal development.

The Disney ‘Princess Bubble’ as a Cultural Influencer

The Disney ‘Princess Bubble’ as a Cultural Influencer

ПСИХОТЕРАПЕВТИЧНА РОБОТА З КАЗКОЮ ЯК ЕЛЕМЕНТ ВПЛИВУ НА ФОРМУВАННЯ ПСИХОЛОГІЧНОГО ЗДОРОВ’Я ДІТЕЙ ДОШКІЛЬНОГО ВІКУ

Fairytale therapy is one of the effective methods of working with preschool children who are experiencing various emotional and behavioral difficulties. The essence of this method is to create a special fabulous atmosphere that makes the child’s dreams come true, allows the child to fight their fears and complexes. Fairytale therapy well overcomes the high level of anxiety in children, various fears, aggression, adapts to different children’s groups. Fairytale therapy can be used to deal with aggressive children, insecure, shy, susceptible to deception, as well as in cases of all kinds of psychosomatic illnesses. The process of fairytale therapy allows the child to understand and analyze their problems, to see ways to solve them. The basic principle of fairytale therapy is the holistic development of the individual, the care of the soul, the healing of the fairy tale. According to the results of theoretical and empirical study of fairytale therapy as an element of corrective influence on the formation of psychological health of preschool children, it is determined that the use of fairy tales in daily lessons with them gives an effective result in overcoming children’s anxiety, fears and complexes, stabilizes their emotional state, overcomes excessive aggressiveness in interaction with peers. The main task of fairy tales: to offer alternative behaviors, other exits from problematic situations through fairy-tale events and fairy-tale characters. At the same time performing various functions – diagnostic, prognostic, educational, corrective. At the choice of objects or audience, fairy tales can be individual and group, author and folk. We can choose them arbitrarily for the purpose of direct psychological and pedagogical influence on the problem, depending on the set goals. By freeing children from gaming addiction, the fairy-tale atmosphere allows toddlers to work out certain behavioral and role-playing stories, shaping adaptive and sparing, constructive and creative approaches to addressing urgent children’s problems. Listening, illustrating, playing fairy tales, supplementing and ending a fairy tale allows you to form adequate self-esteem and criticality today, and most importantly – independence and autonomy in the future. However, the results also gave us the opportunity to analyze that the immediate results of the lessons provided do not always give a lasting effect, and often children need reminders, re-discussing, playing the same fairy tale with the use of other activities, consolidating the acquired knowledge and skills in the form of play. Fairy tale as a cultural-philosophical and psychological-educational phenomenon significantly influences the mental health of the younger generation.

КАЗКА ЯК ЗАСІБ ФОРМУВАННЯ МОРАЛЬНИХ ПОЧУТТІВУ ДІТЕЙ СТАРШОГО ДОШКІЛЬНОГО ВІКУ

Senior preschool age is a period of active development of ethical norms, rules, the formation of moral feelings and inclinations. It is considered to be the most important stage in the formation of mechanisms of behavior and activity; in the development of the individuality of a preschooler in general. This is due to significant changes that occur in the emotional and volitional, mental development of children, the development of the motivational sphere, communication with coevals and adults, especially acquired by the level of moral culture. Hence, the opportunities for moral education of senior preschoolers are rising nowadays.The article aims at groundingthe possibilities of a fairy-tale as a means of formation moral feelings of children of preschool age; at determining pedagogical and methodical methods of moral education of senior preschoolers by means of fairy tales.The article highlights the notion of fairy-tale as means of formation of moral feelings of children of preschool age. The urgency of the problem under consideration lies in the necessity of formation moral and ethical norms and rules of behavior, which are transmitted to a child due to the influence of fairy tales onto preschooler’s personality. Various types of fairy-tales have been selected and their role in formation of moral qualities have been analyzed. Scientific novelty of the present article is to highlight the algorithm of using pedagogical and methodological techniques to acquaint children with different types of fairy tales and their importance in the development of the personality of the preschooler.Conclusions. Summing up the information mentioned above, it is possible to conclude that the methods of pedagogical work with fairy tales in a preschool educational establishment is caused by the qualitative heterogeneity of this genre. In order to intensify the depth of world concept of fairytales, its metaphorical, moral and social content, emotional connotations to children, the teacher must guide the reading of fairy tales based on the literary specifics of the fairy tale genre, purposefully form the optimal range of skills of preschoolers. In addition, one of the factors of the low level of moral education of preschoolers is the insufficient use of fairy tales and its means in the daily work of the educator of a modern preschool educational establishment. The language of a fairy tale, especially of a folk fairy-tale, is close to a child, it helps a child to solve moral problems, due to clear, determined moral position of characters in a fairy-tale. In the process of implementation of different types of fairy tales, it is advisable to use the following pedagogical and methodological methods and techniques: reading, retelling, describing the illustrations, coloring and drawing fairy tale characters, applying dramatization games, self-composition of fairy tales that contribute to the formation of ethical and moral norms of everyday life. At the same time, this problem demands further study in order to improve the state programs of preschool education, which in turn will increase the level of moral education of preschoolers.Key words: children of senior preschool age, fairy-tale, moral feelings, education, preschool educational establishment.

Design and constructive – technological development for children’s art clothing

The present study directs research and creative activity towards the realization of a design and constructive-technological concept for children's art clothing. The collection consists of clothes that are inspired by the children's imaginary world - fairy tale characters, animals, fruits. The educational function of the clothing is sought. The choice of models is subject to comfort and freedom of movement. The artistic design of the products in the collection is realized with the help of software for creating and processing images. The process of construction and modelling is algorithmized and performed automatically using a specialized CAD clothing system. The technological and operational maps are algorithmized and developed on CorelDraw. The designed constructions can be used for modelling a wide range of clothing for children.

Special Issue of Studies in Costume & Performance 7.2: “Costume and Fairy Tales”

395 NOTES AND CORRESPONDENCE in unlikely places, as in the early days of a genre once thought to be the domain of men, and in research and teaching both the history of science fiction and the interrelations between feminism and popular culture. The collection reprints “Letter of the Twenty Fourth Century” (1929), “Men with Wings (1929), “Women with Wings” (1930), “The Conquest of Gola” (1931), “The Fall of Mercury” (1935), “The Human Pets of Mars” (1936), and Stone’s speech from Balticon, “The Day of the Pulps” (1974). I could not have completed the collection without the cooperation and support of the author’s surviving family members, particularly her son Donald Silberberg, whose test of me as a researcher required explaining how I had used his mother’s role-reversal title story in teaching College Writing. 80% of the male students had argued that the author was a woman, while an equal percentage of the female students had argued just as persuasively that the author must have been a man. “My mother would have liked that,” he said, and our collaborative relationship began (5). As a Jewish scholar and multiculturalist researching in the field of ethnic literatures of the United States, I became interested in the work of this Jewish American writer, who lived between 1905 and 1991. Her work appeared with no ethnic markings, as did work of other Jewish sf writers, such as Judith Merril. Born a Rubenstein and living her adult married life as a Silberberg, Stone created characters who were non-Jewish and lived completely Gentile lives. Like Stanley G. Weinbaum’s Ham Hammond in “Parasite Planet” and “The Lotus Eaters,” Dr. Daniel Scott in “The Adaptive Ultimate,” and Captain Harrison and Dick Jarvis in “Valley of Dreams,” Stone’s characters were consistently identified by Gentile, non-Jewish names. For example, in “Men with Wings,” Kennedy is the narrating character. Nevertheless, many issues presented and themes discussed had to do with concerns facing Jews at the time, such as breeding the Aryan superior race, and the questioning of the dual loyalty of a race that had a national identity elsewhere but took posts in American government. The latter could have been an imaginary extrapolation from the known (the Gentile fear of employing Jews in the civil service) to the unknown (what would happen if somebody bred a superior race on earth). By the 1920s, Jewish immigration had slowed down enough for a generation to have established roots in America, but it was clear some were still feeling alien, even having engaged in the struggle for Americanization reflected in earlier Jewish-American literature such as Anzia’s Bread Givers (1925). Although Stone’s work on a story-by-story basis has entered the debates concerning gender in the field, perhaps this collection will diversify that dimension into considering the Jewish impact.—Batya Weinbaum, Editor, Femspec, Faculty of English, American Public University Special Issue of Studies in Costume & Performance 7.2: “Costume and Fairy Tales.” Our special issue invites full-research articles (4000–5000 words), visual essays (1000–2500 words with emphasis on visual evidence), research reports (2500–4000 words), analyses of research documents, and ‘in- 396 SCIENCE FICTION STUDIES, VOLUME 48 (2021) conversations’ with artists, designers, or scholars (2000–4000 words), as well as reviews of events and new publications. While the relationship between fashion and the fairy tale has been examined in the fields of fashion studies and fairy-tale criticism, the concept of costume in the fairy tale has not yet been sufficiently explored. We believe that an interdisciplinary, cross-cultural approach to this topic will offer fresh insight into the fields of costume studies, fairy-tale studies, performance studies, and (more broadly) studies of art, narrative, and culture across time, space, and discipline. Costume plays an important part both in traditional fairy tales and in their adaptations in diverse media forms: theatre, ballet, opera, and musicals, and also film, visual art, manga, theme parks, video games, and digital and social media. Clothes worn by characters in fairy tales function according to the internal narrative logic that constitutes and organizes the storyworld, defining and transforming the wearers’ identities and social contexts. The ubiquitous persistence of...

ОСОБЕННОСТИ МУЗЫКАЛЬНОЙ ДРАМАТУРГИИ ДЕТСКИХ КУКОЛЬНЫХ СПЕКТАКЛЕЙ

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.

The image of a tiger in korean fairy tales and the word imitation (sound) in Uzbek translation

The article describes the methods and problems of translation of imitation words in fairy tales, which are the product of folklore. At the same time, the imitation of the sound of a tiger in Korean fairy tales is also analyzed. It is known that the purpose of translation studies is to organize the translation process, which is carried out by talented translators. Moreover, translating from different languages, literature of different genres, around a certain direction, to ensure its operation and development according to the plan, it is important that the reader is given an alternative. Also, the diversity of the animal world in fairy tales and the importance of the characters in Uzbek and Korean fairy tales

Transgressions of Legendary Fairy Tale Characters Against the Norms of Traditional Religion and Their Effects

Transgressions of Legendary Fairy Tale Characters Against the Norms of Traditional Religion and Their Effects

THE INVESTIGATION OF THE CONCEPTUAL SPACE OF THE ENGLISH FOLK FAIRY TALE BY MEANS OF THE CONCEPTUAL ANALYSIS

This article is devoted to the systematic investigation of the conceptual space of the English folk fairy tales. This space was considered as a holistic prototypical entity made by theconceptual fields of the English folk fairy tale characters. The latter has been analyzed with regard to their general types and their typical encarnations in the English folk fairy tale. The conceptual field of a character was structured as a frame including attributive, functional, causative and resultative zones. It was established that each zone is represented by a number of definite concepts which can be regarded as more or less typical for the English folk fairy tales. Within the general conceptual model of the English folk fairy tale we identified the central schema and its transformations. Special attention was paid to the conceptual model space-andtime, to the role of sacred numbers in English folk fairy-tale semantics and to the description symbolic images which can be related to the archetypes of the unconscious investigated by K. Yung. The archetypes are considered to be the basis of the conceptual model of the English folk fairy tales.

Интертекстуальный диалог в ираноязычном фольклоре Центральной Азии: источники сложения и особенности описания персонажей волшебных сказок

Интертекстуальный диалог в ираноязычном фольклоре Центральной Азии: источники сложения и особенности описания персонажей волшебных сказок

АТЕЛИЕТАТА ПО ИЗКУСТВО – ПЪТ ЗА РАЗВИТИЕ НА ДЕТСКОТО ВЪОБРАЖЕНИЕ

The report describes the steps for creating a musical tale by children in the art studios of „Art Workshop“, Shumen. These studios are led by students volunteers related to the arts from pedagogical department of Shumen University, and are realized in time for optional activities in the school where the child studies. The stages of creating a complete product with the help of different arts are traced – from the birth of the idea; the creation of a fairy tale plot by the children; the characterization of the fairy-tale characters; dressing them in movement, song and speech; creating sets and costumes and creating a finished product to present on stage. The role of parents as a link and a necessary helper for children and leaders is also considered, as well as the positive psychological effects that this cooperation creates.