Fairy Tale Heroes Research Articles

Ded Moroz (Father Frost) as a social construct of childhood and society

The article proposes to expand the understanding of the fairy-tale wizard Ded Moroz (Father Frost) as a myth and cultural and symbolic image using sociological approaches. As an analysis methodology, the concept of social construction of reality was applied, which made it possible to characterize the social construct «Ded Moroz (Father Frost)», which performs numerous social functions for the adult population and additional, specific for children. The main functions include participation in the formation of national identity, traditions, political distinction, economic, educational, educational, socializing, additionally described as an incentive in projective research methods. Arguments are presented to prove that Ded Moroz (Father Frost) is not only an attribute of the cultural heritage of Russia, but also unites numerous ideas, social practices of children and the organization of the child's daily space, promotes the socialization of the modern young generation, participates in the intergenerational transmission of values and identity. The subjects and mechanisms of constructing processes, levels and possibilities of application in the periodization of childhood are highlighted. With the help of a representative empirical study of 2023 estimates by young people of the eventfulness of their childhood, including the situation of loss of faith in Ded Moroz (Father Frost) (average age 9.1 years), conclusions were drawn about social factors of stability and variability of the age of debunking the myth of the reality of the fairy-tale hero. Some hypotheses have been proposed for further research, including the new role of a «social worker and social defender» for Ded Moroz (Father Frost), the artificial lengthening of the period of trust in the fairy-tale character by the children themselves in order to receive gifts and entertainment.

Predictors of Cinderella Syndrome and Wendy Syndrome in women: Attachment styles and differentiation of self

Through the fairy tale heroes, beautiful woman image, mother image, independent woman image, and passive woman image are created. While Cinderella syndrome is a concept which is used to define woman who fear from being independent, Wendy syndrome describes women who acted as mother to their husbands or people close to them. The aim of this research is to examine the relationships between Cinderella Syndrome, Wendy Syndrome, attachment styles and differentiation of self in women. 521 adult women between 18 and 65 ages completed the questionnaire including Cinderella Syndrome Scale, Wendy Syndrome Scale, Three Dimensional Attachment Styles Scale and Discrimination of Self Scale. Results revealed that there is a positive and significant correlation between Cinderella Syndrome and Wendy Syndrome. Wendy Syndrome, differentiation of self and avoidant attachment variables, respectively, predicts Cinderella Syndrome in women. Wendy Syndrome is predicted by the variables of differentiation of self, Cinderella Syndrome and anxious/ambivalent attachment respectively. The study highlights predictors of Cinderella and Wendy Syndrome and makes important contributions to the relevant literature by providing a better understanding of Cinderella Syndrome and Wendy Syndrome in women.

PSYCHOANALYTIC SYMBOLISM OF THE UKRAINIAN FOLK TALE (FROM THE THEORY OF K. G. JUNG TO THE PRACTICE OF SOCIAL WORK)

The fairy tale, despite the antiquity of its origin, or precisely because of it, remains relevant at all times, in particular in connection with the ways and means of solving difficult life circumstances clearly outlined in it, which have currently acquired a total scale in Ukraine, immersed in the rf border situation of war. After all, the Ukrainian folk tale is a container of both symbols that require philosophical reflection and concrete solutions to urgent social problems, the minimization/overcoming of which is aimed at the professional activity of social work specialists. A fairy tale is a repository of archetypes of the collective unconscious, the symbolism of which needs its own awareness. In this regard, the object of this study is a Ukrainian folk tale, and the goal is to analyze the specifics of the image of the Old Man (Grandfather) and his activities, which are always directly related to overcoming difficult life circumstances of the main character. The research is carried out at the intersection of two aspects - psychoanalysis and social work. It is noted that the Swiss psychiatrist emphasizes the actualization in difficult life circumstances of the potential internally hidden in each person, which directly contains the archetypes of the collective unconscious, in particular the archetype of the Spirit (Animus), or «old sage». During the research, the following important points were clarified. First, according to the views of K. G. Jung, at the moment when the fairy-tale hero is experiencing the «peak» of a difficult life circumstance, advice and help comes from the Old Man-Magician, which is a form of personified thought, since the ability for self-reflection and acceptance of wise words is inherent in human nature decisions, in particular those made taking into account moral principles. Secondly, in the case when the hero is not capable of self-reflection and has not yet acquired wisdom, in particular due to clouding of the mind caused by illness, short years, lack of life experience, etc., advice and help is provided by specialists in social work, the functions of which, in my opinion, are performed by the fabulous Elders, who are always Wizards for the needy. In the future, this article will serve as a psychoanalytic basis for the study of Ukrainian folk tales from the standpoint of K. G. Jung’s teachings on the phenomenology of the spirit in fairy tales and will contribute to the formation of a positive the image of a specialist in social work.

The image of the hero of Ukrainian fairy tales in the context of differentiation and transformation of the hierarchy of socio-cultural practices

Background. The Modern era, with its paradoxes of innovation and repetition, shaped the "discovery of the people" and rekindled interest in folktales. Enlightenment models of fairy tales emphasized the ethical dimension, while the romantic moods of the 19th century stirred European communities' interest in gathering national and regional versions of folktales and converting them into literary fairy tales. The perspective of contemporary humanities proves to be quite productive to enhance the understanding of the cultural potential of Ukrainian fairy tales in bridging diverse traditions and generating images. Methods. The methodological basis for the study is a content analysis of a collection of fairy tales. A categorization is based on the titles of folktales and the classifications of J. Campbell's transformations of the hero. The interpretation of the data is made in optics of the differentiation of a segmentary society and the specifics of its transformations of representation practices, first of all the image and the image of a hero. The aim of the article is to define fundamental characteristics of the image of a hero in Ukrainian fairy tales as a way of representation in logics of the differentiation of a segmentary community. Results. The differentiation of practices begins with the complexification of a segmentary society, where storytelling practices were detached from the original ritual syncretism in the logic of ethnic diversity production and strata hierarchy. Each stratum nurtured its storytelling genre and thematic uniqueness. With its functioning in the magical and practical unity of the peasant stratum, the folktale preserved the most archaic narrative structure, with corresponding images of the main characters and logic of image construction. The image of the folktale hero became the leading practice in representing communities. Conclusions. A content analysis of a collection of Galician folktales reveals the replication of the classic triad of popular culture "Heroes, Villains and Fools" (P. Burke), marked by a dominant quantitative representation of the fool's image. A fairy tale hero is a dormant hero, leaving the impression that everybody can find their place. The hero's heroic powers are exposed gradually, and the hero possesses definite traits and personifies moral integrity. These qualities allow the overcoming of obstacles and passing of tests. Usually, the hero of a Ukrainian fairy tale is a trickster who can maneuver through society. The ethical pathos of a fairy tale consists of a victorious war between evil and justice/resumption. The predominantly happy ending of Ukrainian fairy tales suggests these functions provide a therapeutic effect in difficult historical circumstances.

Учебник иностранного языка как семиотический феномен (на материале линейки учебников «English File»)

The aim of this paper is the semiotic analysis of a foreign language textbook as a semiotic phenomenon reflecting the cognitive attitudes of its authors and aimed at forming not only external but also deep layers of the learner's linguistic personality, responsible for motivation, intents and attitudes. The material to be analysed is a popular line of EFL textbooks “English file” by British authors Ch. Latham-Koenig and C. Oxenden. The scientific novelty of the work is that for the first time a foreign language textbook is considered not as an educational and methodological text, but as an alternative reality, a dynamic complex sign, similar to the discursive space of a fiction book. The study is conducted by applying the method of contextual analysis, the method of cognitive-pragmatic analysis, and the interpretive method to the polycoded texts of EF-textbooks. The authors conclude that the semiotic complex of EF-textbooks exhibits the characteristics of an educational novel of fiction, where the learner assumes the function of a fairy-tale hero, acting in the space of English-language cultural mythologems, reference-metric elements, topoi and narratives. As a result of active realisation of the happy end narrative, supported by the system of topoi and precedent names characteristic of the English-language conceptosphere, the textbook uses the suggestive potential of the so-called soft power to form changes at the motivational-pragmatic level of the linguistic personality.

Традиции чувашского и калмыцкого сказочного эпоса

The article is devoted to a long-term dispute about the peculiarity / non-property of the fairy tale genre of the typical features of the heroic epos. On the basis of the historical-typological method and the method of plot analysis, the corpus of texts of the Chuvash and Kalmyk fairy tale epic has been studied. The study considers the main works devoted to this problem, compares the relevant Chuvash texts with the Kalmyk fairytale epic, points to the incorporation of the biography and exploits of the fairytale hero in the heroic epic “Dzhangar”. The author also considers such blocks of heroic matchmaking as the childlessness of parents, a miraculous origin, heroic childhood and martial arts. All these motives are inherent in both the heroic tale and the heroic epic. The heroic traditions of the Chuvash and Kalmyk fairy tale epic are expressed in ethno-cultural realities, plot, epic motifs, and artistic devices. At the same time, researchers have no reason to talk about the complete identity of the ideological and artistic complex of the heroic epic and the heroic tale. The heroic epic and fairy tale are essentially differentiated genres. Here, one can speak as much as possible about the epic nature of heroic tales, about similarities and diffusion, but not about complete identity, and, naturally, there is no need to complete the magic-heroic tale to the classical epic. The publication contributes to the substantiation of the main features of the heroic epos in the heroic tale.

Керамические звери лесных городищ: игры взрослых с богами или детские игрушки?

The authors believe that the clay zoomorphic plastic figurines from the Early Iron Age settlements of the forest zone (the areas of the Yukhnovskaya, Milogradskaya, Verkhneokskaya and Dyakovskaya cultures) are not votive elements of agrarian cults but children’s toys. These toys as well as miniature vessels, ceramic models of things, clay loaves could be made by children themselves while learning the process of ceramic production. The use of images of wild animals especially predators and toads in agrarian rituals is doubtful. The dominance of horse images in the Milograd-Yukhnovo area seems to be an Indo-European trait associated with mythology and not with farming. In the area of the Dyakovskaya culture with developed horse breeding, attributed to the Finno-Ugric antiquities, there are clay figurines of animals except horses. Profane toys can carry sacred images since myth and fairy tale are closely connected with each other and a toy for a child has many faces and can situationally play the role of a mythical character, a fairy-tale hero, a usual domestic animal. Some figurines become votive objects at the final stage of existence. Toys were sacrificed during initiation into adulthood as in ancient Greece and Rome. Fragments of figurines in ashtrays formed during the annual ritual and sanitary burning of winter straw bedding from houses and stables are often taken as sacrifices. Household garbage trapped in a “cleansing” bonfire is not a meaningful sacrifice.

ARTIFICIAL INTELLIGENCE AND PRESCHOOL EDUCATION: POINTS OF CONTACT

The relevance of research is due to the fact that digital technologies are entering the lives of children who are in contact with tablets, phones, laptops. At the same time, artifi cial intelligence is becoming our reality and develops much faster than we as individuals can keep up with it. Adults are currently facing a real challenge in determining the limits and accessibility of digital devices for children, and in enforcing these limits. The general concern is about how to make these devices “assistants” in raising a child and prevent them from becoming “tools that distract attention”. The purpose of the study is to consider the possibilities of using artifi cial intelligence resources in preschool education. Research methods included online survey, conversation, comparison, analysis, observation. Sample consisted of  preschoolers,  teachers and  parents. Main results show that when analyzing an online survey of teachers, it turned out that the majority ( teachers, .%) did not know about the possibilities of using artifi cial intelligence in the educational process with preschoolers. Three quarters (% or  teachers) try to use digital technologies and are trained in their use in working with children but do it irregularly. .% of parents ( people) support the use of modern technologies within the preschool educational organization. .% of respondents ( parents) consider it expedient to use the possibilities of artifi cial intelligence in kindergarten. The results of a conversation with children made it possible to identify the preferences of preschoolers when creating images of fairy-tale heroes and characters of famous fairy tales using artifi cial intelligence. The results of comparing the preferences of the formed image and the already familiar fairy-tale character (Cheburashka) are presented. An analysis of fairy tales composed with the help of artifi cial intelligence is also offered. Conclusion. The infl uence of modern technologies, in particular artifi cial intelligence, on preschool education is expressed in the fact that artifi cial intelligence is suitable for the visual perception of fairy-tale characters by students while being completely unsuitable for their independent composition.

Lowercase or uppercase letter in the names of fairytale heroes and literary characters (from the materials of the academic description of Russian spelling)

This article aims to create a rule explaining the choice of a lower-case or upper-case letter to spell literary characters’ names. The rule should be unambiguous, intrinsically logical, and it should not contradict the codified lexical material. Several formulations of the rule given in reference books were analysed; discrepancies between the rule and dictionary codifications were identified. Additionally, questions and answers related to this issue and obtained from the Russian language query services were studied. As a result, the research revealed types of discrepancies in the recommendations given in the rule and in dictionaries, ambiguous rule formulations that can be interpreted in two ways, and textual conditions that permit different understandings of proper name boundaries. The analysis of the real usage of proper names and their combinations with appositions, attributes, and accompanying words in different types of texts (i. e. in texts created by authors, in fairy tales, byliny, and other authorless texts) resulted in determining several textual conditions which permit or prohibit using this or that combination in the function of a proper name. As for authorless texts, it turned out important to consider the character’s name not only in the work under analysis, but also in the cultural context in its entirety, in the entire fairy tale or heroic epic world. Another significant factor is understanding the boundaries of the proper name and the common nouns accompanying it accepted in this world. Authors are free from the tradition of naming a character in the texts they produce, but at the same time they should take into account the intratextual conditions governing the choice of either a proper name or a common noun. As a result, a special note to the general rule concerning proper name spelling was formulated for the new edition of "The academic rules of orthography". This note identifies different options to understand the boundaries of proper names for various structures. The choice of spelling proper names with a lower-case or a capital letter in a given text depends on the chosen way of understanding the proper name boundaries.

Мифопоэтика пространственно-времен-ного континуума в сказках Сергея Козлова о Ёжике и Медвежонке

The original tales of Sergei Kozlov about the Hedgehog and the Bear are full of deep philosophical content, which finds expression in intertextual allusions, the transformation of my-thological images and formulas. A special place in the author’s discourse is occupied by the space-time continuum, which can be defined as a continuous set of categories that embody the topologi-cal explication of the fairy world through mythopoetic imagery, religious subtext, and multiple al-lusions. Temporality as a text category becomes the axis of artistic time, imparting signs of per-ception to the entire space-time continuum of the work. The temporality of the fairytale cycle is determined by the switch from everyday specifics to the scale of an unlimited universe. The stopped time effect occurs at the moment of such switch. Out of time, the characters find them-selves in the element of fantasy overwhelming them. The space has the features of impressionism, every moment in the life of fairytale heroes reveals a new look of the vernal world. The heavenly bodies in the spirit of the ancient fairy-tale epic are close to the earth and reified. Astral categories in the images of the moon, stars, sky reveal a connection with outer space. Anthropomorphic cha-racters inhabiting the magical space of the forest, while retaining their archetypal features, acquire special properties in fairy tales that go far beyond the framework of folklore stereotypes. This is imagination and fantasy that have no boundaries, the ability to contemplate the beautiful, the as-cent of thought to eternal philosophical problems. The Hedgehog, as the protagonist and the bearer of these qualities, often evaluates finiteness – the infinity of time, its cyclical nature, the constant change of death and birth. He, like other characters, overcomes real space and time with the help of imagination. The poetics of myth, archetypal imagery, artistic components of magical-fantastic tales, transformed in the author’s discourse of Sergei Kozlov, allow the writer to penetrate the innermost world of the child’s soul through the space-time continuum and present the most important ontological and epistemological problems of human existence and divine providence in the world to the adult reader.

ЭВОЛЮЦИЯ ОБРАЗА НЕБА («ТЭНГЭР») В ДАУРСКОЙ КУЛЬТУРЕ

The article studies the historical transformation of the image of the sky in Daurian culture. The authors analyze the myths and shamanistic rituals of the Daur people. The concept of the sky - “tenger” - refers not only to the sky itself, but also to the tops of deer horns, tree tops, the upper part of human and horse’s heads. The authors compare the Daurian and Buryat shamanistic rituals and reveal many similar points. They come to the conclusion that the ancient people worshiped the image of “tenger” as the sun and the moon. After the Neolithic period, “tenger” worship was expressed in the totemistic cult of eagle. The cult of horse was also associated with the sky worship; Daurs sacrificed white horses and bulls to the sky. The authors find out the solar origin of the fairytale heroes of some Daurian myths as well. The sun also appeared as mother in mythical representation. Ancient people considered the sun and the moon as a man and a woman respectively. In the period of matriarchy, when paired marriages arose, there appeared the Daurian myth of marriage of two siblings to two celestial fairies (dakini)...

PECULIARITIES OF FOLKLORE MYTHOLOGICAL IMAGES AND MOTIVES REALIZATION IN THE ARTISTIC WORLD OF FANTASY

Objective. The objective of the article is to identify and characterize the peculiarities of the folklore mythological images and motifs realization in the artistic world of fantasy. Methods. The main scientific results were obtained using a set of general scientific and special research methods, namely: analysis, generalization and systematization of scientific and educational literature on literary studies, psychology, linguistics; theoretical generalization, analysis and synthesis, as well as comparative, descriptive and analytical Results. The article considers a characteristic feature of fantasy novels, which is the presence in their structure of folk and fairy tale elements. The similarity between fantasy and folk tales is expressed in their formulaic and stories about obviously unrealistic events. The authors of fantasy actively use not only the style of a fairy tale, but also the figurative-motive complex of a folk tale, filling it with meanings dictated by the problems of modern reality. Thus, traditional fairy-tale plots in the artistic world of fantasy are subject to novelization and ironic rethinking, which aims to reveal the mechanisms of folk fairy-tale tradition through the distortion of reality. There are many folklore and fairy-tale motifs in fantasy works, for example, the motif of the path on which the plot of a fairy tale and fantasy is built. The world through which the fantasy hero travels, or the space in which he is transported in one way or another, acquires the features of the afterlife of a fairy tale, and the process of movement takes the form of “detailing” space in the development of another world. The affinity of Slavic fantasy and fairy tales determines the continuity of their poetic organization, which implies the existence of correspondence between their structures and functional schemes. In the female images of Slavic fantasy literature there are features characteristic of fairy-tale heroines. There is also a correspondence between the functions of fantasy heroes and the functions of fairy-tale heroes, due to the similarity between the composition of Slavic fantasy and the composition of a fairy tale, established on the basis of comparison of their functional schemes. The reworked complex of Slavic folklore and mythological images and motifs forms the basis of the artistic world of works of Slavic fantasy.

Possibilities of Transformation of Public Space in Multi-Family Housing Estates in Polish Conditions – Case of the Bajka Estate in Bydgoszcz-Fordon

Multi-family housing estates created in the above mentioned over a period of time they were characterized by very modest use of public space and underdevelopment of basic equipment with parking spaces and social, cultural and recreational infrastructure. The main activity of investors was the construction of apartments, and the development of housing estates was considered as secondary. It should be noted that in their housing estates residents spend a significant part of their lives and public spaces in housing estates should be friendly to residents and meet the needs of all residents. The methodology for developing the concept consisted of analyzing the current state of knowledge, collected source materials and documents related to the area. Analysis of the existing state was carried out in the field of: public space development, transport service and infrastructure, road safety, types of property, greenery and spatial composition, which indicated the spatial and program conditions and possibilities of transformation. To find out the residents’ needs, a survey was conducted, the results of which were guidelines for the assumptions of the proposed project. The results of survey showed that the public space of the Bajka (Fairly) Housing Estate needs a variety of activities that would increase its functional and aesthetic value, and improve the living environment, taking into account the needs and mobility of all ages groups residents. Respondents consider it necessary to supplement the development of public space with elements of small architecture. Existing undeveloped areas in the housing estate were used to transform the public space of the estate. and was divided into 3 areas: a. In Area A, which was envisaged as an area with a dominant recreational, sports and social function, The Socio-Cultural Pavilion as a year-round place for meetings and integration of residents as well as the development of technical and social facilities of existing tennis courts, as well as a playground and an outdoor exercise area. b. In Area B, new development was designed in the form of a housing estate square and a water reservoir that would serve the rest of the residents. c. Area C, which connects Areas A and B, creates Fairytale Trail - a pedestrian path along which the brass figurines of Polish fairy tale heroes were designed. In the aspect of the spatial composition, this pedestrian route is at the same time a compression element for Areas A and B. In the transportation service aspect, a traffic calming zone was developed by implementing technical solutions limiting speed and the possibilities of converting existing surface parking lots and garages into cubature solutions located outside the housing estate are shown. Presented case showed the possibilities of implementing various outdoor and cubature development, which can significantly improve the living environment, as well as the aesthetics and quality of public space.

A Comparative Study of Fairy Tale and Rap Narratives: Spaces Specificity

The paper identifies the similarities and differences between fairy tale and rap narratives from the viewpoint of their specificity in space. Three spaces with their structuring topoi and loci have been investigated in their metaphorical, narrative, and symbolic manifestations. First: the spatial organization of rap and fairy tale narratives may include several possible worlds: the of the Hero’s past before his journey through life and fairy tale transformation; the of the Hero’s present after his transformation, marked by new loci consistent with his new status of the Hero, as well as the intangible symbolic world, the contact with which is a prerequisite for the revival of the fairy tale hero and optional – for the lyrical hero of rap narrative. Second: the of the Hero’s past based on ambivalent 'ghetto' topos whose conceptual space is constructed by conceptual metaphors life is a broken boogie, ghetto is belly of a monster, living in ghetto is fighting on the line of fire. Ghetto topos correlates with the topos of the forest as the place of the tale Hero trials, rooted in the archetypal motive of initiation. Third: the locus of home/house is conceptualized in rap lyrics and a fairy tale as a familiar, closed and safe space, contrasted, respectively, with topoi of 'ghetto' and forest with their manifesting loci on criteria open/closed, unexplored/familiar, mastered/unpredictable, dangerous – safe. Fourth: loci in alternative worlds may acquire anthropomorphic properties, changing along the axis of living/non-living and passive/active. Both in fairy tale and rap narratives, the symbolic world may involve the topoi of the road, sky, and forest based on archetypes, related to a spiritual search of the Hero.

Journey to the other side of the world and into the self

Journey to the other side of the world and into the self Richard Carr K. M. Kruimink. A Treacherous Country. Sydney: Allen & Unwin, 2020. 248 pp. A$29.99 ISBN 9781760877408 How came I to a place like this? What spirit drew me here? These two questions, posed by Gabriel Fox, protagonist and narrator, open K. M. Kruimink's Vogel-winning novel A Treacherous Country. Set in Van Diemen's Land, the novel follows Gabriel's quest to find one Maryanne Maginn, a now middle-aged woman transported to the colony thirty years earlier. Bankrolled by Mrs. Prendergast, a family neighbor in rural England, Gabriel sees a successful search as essential to achieving his inmost desire, marriage to Susannah, Mrs. Prendergast's young ward. In outline, the novel follows a fairy-tale pattern. A young man desires to wed the princess, but he must [End Page 446] first prove himself worthy of her. The princess's keepers—the king? the queen?—set him a daunting task, the fulfillment of which means winning the princess's hand. Travel to the Antipodes is in itself daunting; traversing the Vandemonian wilds on a goose chase is trebly so. To keep himself heartened and focused, Gabriel wears a cameo of his beloved to spur him forward through this strange land. Gabriel Fox, however, is no fairy-tale hero but the third son of a provincial squire. His birth order offers him few prospects, and Gabriel, as we come to know him amid his trekking and reflecting, is a young dolt waiting vaguely for opportunity to find him. He responds to Mrs. Prendergast's summons at the insistence of his tyrannizing father, who sees a potential for his son and himself in the meeting, thanks to the lady's considerable wealth. Incurious lad that Gabriel is, he accepts at face value Mrs. Prendergast's proposal that he deliver a letter to a Miss Maginn on the other side of the world. Witness to a recent scene in which Lord Fox brutalized Gabriel's mother in the midst of a Yuletide party, Mrs. Prendergast states, "Lady Fox's . . . pure and simple expression of Unhappiness . . . did flare a little light on the circumstances of my own heart" (190). Gabriel, having lived his life in a comedy-of-manners environment, is perplexed by her disclosure: "Was Mrs Prendergast confessing that she was Unhappy. The prospect seemed so unlikely it was almost comical" (190). Yet Gabriel is the comical one. On his own for the first time ever, as he tramps or rides through Van Diemen's Land, Gabriel bumbles and stumbles. His chief life guide to date has been a book given him by his mother, Dainty Conversation for the Drawing Room: A Guide for Young Ladies and Gentlemen. Adrift in the bush, Gabriel finds the Guide useless. He encounters swindlers, card sharps, whalers, prostitutes, and cannibals. When the companion he has labeled "My Cannibal" reveals himself as an Irishman, Gabriel finds proximity to a papist scarcely less settling than exposure to a real consumer of human flesh. Set free from usual constraints, Gabriel buys "an ugly . . . but also stupid horse" for too much money (4), wins a couple of harpoons in a card game (contrary to his card fellows' assertions, there is no local sale value for harpoons), and deflects the attention of a prostitute in a pub, grateful for the "morsel of attention" (8) she pays him. Conceding "I am quite easily led," he remains determined to stay "loyal to my dear Susannah . . . and . . . be worthy of her" (8). Kruimink's exploration of colonial Van Diemen's Land is at once hilarious, invigorating, and moving. An encounter with the supervisor of a chain gang provides one instance of humor. Gabriel, trying to extricate himself from the conversation, responds to an insult with a bold—for him—"How dare you" (51). He then upbraids himself privately, as his Guide has asserted that there were "four purposes of talk amongst people" (51), and his outburst has failed in all cases. Indeed, much of the entertainment comes through Gabriel efforts to apply facets of the Guide to a world with no drawing rooms and without people or situations that...

Візуалізація етичних змістів у чарівній казці

Contemporary culture is represented in the paper in the fairy tale optics in its ethical dimensions. Such prospects allow to ascertain ethical values which contemporaneity draws in archaic stratum of culture and generates basing on invariants of past. Using M. M. Bakhtin's ideas of great time of culture and outsideness, the author exposes a fairy tale as a phenomenon that once appeared in archaics but in every further cultural-historic period is able to represent its new facets what are unknown to all previous epochs. A fairy tale acts in therapeutic, orienting and educational functions since the time if its origins. Today a fairy tale has lost archaic horror tinge and obtained some romantic veil and moralistic color. These dimensions are reflected in an image of a hero. The paper points out the distinction between ethical and democratic heroes (the idea of M. E. Meletinsky). It is mentioned that content of an image of a democratic hero is better grasped by the N. Tec's concept a "dormant hero". It is a dormant hero whom contemporary culture comprehends most of all types of a fairy tale heroes. He leaves an impression that everybody can find oneself at his place. His heroic powers are ex- posed gradually. During the storytelling, it is turned out that he possesses definite virtues, personifies moral integrity. It is mentioned in the paper that today there are transformations in the comprehension what qualities are virtues. Qualities necessary for support of ancestors' cult as well as for keeping house were considered as virtues in archaic culture whereas contemporaneity represents in current fairy tale adaptations qualities clear for people today, such as valor, courage, resourcefulness, quick-wittedness. Virtues allow hero to negotiate obstacles, pass tests. Ethical pathos of a fairy tale is accumulated in victorious struggle against evil, for realization of justice, resumption of the lost equity. Ethical content of a fairy tale are visualized. At the basic level, visualization of good and evil is represented in immediate reality of beauty and ugliness. The second level of ethical content visualization is specified by imagination which allows audience to create images and visualize meanings in free flight of fancy. The third level is determined by proper ability of a fairy tale to use symbols. At that level, heroes are represented as symbols-keepers of cultural memory.

SYMBOLS OF INTIMITY FROM THE ROMANIAN FAIRY TALE. (V) THE INSTITUTION OF OLD AGE

The imaginary, through the totality of beliefs, speaking about the stage of the oldness is well emphasized and structured for a good contouring and phenomenological reception of the symbols of intimacy from the Romanian fantastic fairy tale, the subject claiming a particular approach. Representing a biological and spiritual-ethical reality, this final stage of life manifests and maintains a subtle “network" of mythological, mental, psycho-social and cultural interferences. Endorsements from numerous and various anthologies of fairy tales invariably talks about the carnal body perishability, about the effects of biological degradation occurring over time. Moreover, the features used by the anonymous creator of fairy tale, are all in this directory of the ephemeral and the overwhelming proportion counter to the young youth with virile hero fairytale “displays" in front of such old persons. Distracted for a certain period of their time (knowned and physically limited), discovering, experimenting and living part of a historical Times, these fairy-tale heroes are disturbed by its limitations. Sometimes they discover magical remedies that rejuvenate an aging body, discovering, experiencing and / or living, even temporarily, a seductive myhtologist like the realm of eternal youth. Sometimes they can live forever, they can enjoy the presence of extremely beautiful and young female beings, but then they seem to want old age and / or death more and more! Other times, in personalist ontology, the hero will discover that what originally seemed to be a noematic gain (the eternity of his ephemeral life) slowly changes into a continuous loss, in a non-natural negative. In the great majority of the fairy tales, the symbolic intentionality of the change of consciousness over the time (to live) is evident, through which the divine-profane relationship can be overthrown, as well as the specific significance of its meaning in illo tempore, the divinity between man's ephemerality and the ideatic desire to transcend his perishability condition. As such, starting from a composite and ideological epistemic concept (oldness as an ideologem), in this study we tried to discover and analyze what are the main-ideas of this “institution of old age" from the fantastic Romanian fairy tale, at the level of the cultural-social imagination. Thus, we have brought into discussion both the mythical dimension of such a concept (the archetype of oldness) and the structural-narrative, with the forms and contents supposed or taken at the level of the fantastic epic fantasy (the posology of old age, magic cures and rituals un-aging, paradisiac realms of eternal youth).

Критерии характеристики жанра богатырской сказки и основные отличия богатырских сказок от образцов эпоса*

The article examines the correlation between the heroic epic and heroic fairy tales. In many traditions, the two folklore forms are close enough to one another and manifest a number of similarities. The problem brought up is essential to both genre identification of some text patterns and to further discussions over historical interconections between heroic fairy tales and the epic. It is believed that the heroic fairy tale could have been the form to have directly preceded the early epic patterns or had been on of such forms. Nowadays, scholars note that in certain cases the heroic fairy tale is a result of recent transformation of epic forms to have emerged due to weakened positions of the epic within the existing tradition, reduction in the number of epic patterns as such, progressive loss of epic performance techniques, etc. The paper expresses the opinion that both the epic and the fairy tale — and the heroic fairy tale in particular – had emerged and existed as independent forms with differing attitudes towards the depicted realities: fairy tales are obviously fictitious narratives, while epic texts can potentially describe true events. The generous 2017 publication of Kalmyk heroic fairy tales makes it possible to outline the key features of such tales and — even more important — to identify essential differences between the genre and epic patterns, namely that of the Jangar. The analysis conducted has shown that structures of Kalmyk heroic fairy tales are more diverse as compared to the introduced (delineated) plot models: many of the declared elements have not been found in the examined texts, and not all fairy tale motifs have been clustered in corresponding models; some features once referred to as those to characterize heroic fairy tales can be attributed to Jangar songs as well. Within the Kalmyk folklore tradition, such heroic tales do retain certain essentially distinct features in relation to the Jangar, though remaining comparable enough in terms of plots and motifs. The article emphasizes both common genre differences between the Jangar and heroic tales, and differences between the forms within the Kalmyk tradition. The multiple common elements of heroic tales and the Jangar (poetic techniques, motifs, formulas, etc.) are attributable to the process of intercommunion between the differing — though semantically similar — forms. The fairy tale versions of Gesar and Jangar songs included in the corpus of Kalmyk heroic fairy tales look like quite recent trasformations of epic patterns. The Jangar and heroic tales are approximately similarly abundant in Buddhist realia which signifies their traditional unity; but Jangar songs still contain pre-Buddhist religious beliefs. The study concludes that the genre group of heroic tales basically retains the structure pattern inherent to the magic fairy tale and determined following V. Propp’s functions; the main character of heroic tales is more individualistic in his deeds and goals as compared to epic heroes, and unlike the case with Jangar Bogdo, such fairy tale heroes bear no function of social organization.

Введение исходных понятий: в поисках недостающих опор

What are the conditions for the intersection and mutual enrichment of two separate lines of development of conceptual thinking – those of everyday and scientific notions? We assume that such intersection would require at least two conditions. The first one is well known: it is modeling of essential properties of the subject under study. Educational models are providing hand-on actions of the young student with a theoretical content of the notion. The second condition is the motivational support for constructing educational models. This condition is not fulfilled as evidenced by the lack of students’ initiative in creating and using the educational models at the early stages of the introduction of scientific concepts. We expected the conceptual characters of educational games to complement scaffolding for bringing the initial concepts into the systematic school curricula?. On the one hand, these conceptual characters act according to the logic of the concept, on the other hand, they exist as the fairy-tale heroes. Our hypothesis is supported by the evidence from the formative experiments in grade one. When the conceptual characters became part of the lessons, learning became impregnated with feelings, imagination and initiative; in particular, the first-graders were building the learning models without any suggestions from their teacher. The assessment of these students showed that the introduction of the initial concepts with the help of conceptual characters significantly affected the very concepts thus developed; in particular, it promoted their attribution to the essential properties of the subject under study.

Роль специализированных туристских проектов, основанных на развитии национальных сказочных символов в патриотическом воспитании детей

The article is devoted to specialized tourism projects, which are focused on the formation and development of patriotism in young children. In recent years, the problems of patriotic education take key place in national and regional educational and training programs. However, as it is noted in the article, not enough attention is paid to development of patriotism in young children, who are most susceptible to the effects of various forms and pass through one of the most important stages in the formation of identity. The article highlights the features and techniques of children´s patriotic development and justifies importance of emotional connection with a territory or place in formation of this feeling in children. The article also shows that the development of specialized tourism and local history projects can be an instrument of formation and promotion of images of national heroes and patriotism in general. The article describes a specialized project "Fairytale Map of Russia". The authors have revealed the potential for its use in children´s educational and training programs for the development of patriotism. The main objective of creating an image of the national folk hero is the selection and positioning of its strengths and qualities, which in most cases are the basis for the formation of the child´s personality and can be used for the development of patriotic characteristics of children. The article presents the description of Russian national fairytale heroes that may be the basis for an empirical image for the generation a sense of love of country in young children. The authors have determined that the use of submitted fairytale images allows solving a number of key tasks associated with different areas of children’s education. In the article the connection between common educational functions and the functions of patriotism is revealed; and categorization of folk images of national fairytale heroes on the basis of their impact on the development of certain common cultural and patriotic qualities is provided.