Fairy-tale World Research Articles

За фантастичното/вълшебното в приказния свят на Николай Райнов: издигане над човешкото и завръщане към него

The article examines the dual nature of the fantastic and the magical in the fairy-tale world of Nikolay Raynov. On the one hand, it thrives in a universe completely different from reality. But, on the other hand, it is not a refusal to accept the human situation but rather a way to enrich this situation. The human is situated on the horizon of an ethical imperative that predetermines the fate of the characters. It stands to reason that authorization is a step from magical to fantastical. Parallels have been sought both with Propp's morphology and with Bettelheim's psychoanalytic optics. The existential choice of the heroes turns them into warriors of light and bearers of light, which, as a manifestation of the divine in man, is a key concept in the philosophical, theosophical, and artistic works of the prominent Bulgarian classic.

Аксиологические характеристики сюжетов в армянских литературных сказках

The paper deals with evaluative characteristics of a fairy tale subject plot treated as a structure of a story about miraculous events narrated mainly to young listeners or readers in an entertaining mode and meant to form in their mind the right world view. The components of a subject plot are its motifs – consequences of actions determined by the choice made by a hero and promoting certain values, norms and practices. A literary fairy tale is an elaborated variant of a folklore story, it usually has a more complicated line of events, it is characterized by individual style of a writer in narration and evaluation of the content, and a happy end is optional in it. The fairy tales by G. Agayan, O. Tumanyan, and S. Zoryan have been analyzed. Axiological properties of these subject plots have been explained. They promote universal human values and specific features of the Armenian world view. Such specificity consists in the description of Armenian realia (nature, dress, food, etc.), the proper names which reveal the heroes characters, the description of magical creatures who inhabit the fairy tale world of Armenia and neighboring countries (mainly vishaps and devas), and in linguistic cultural concepts reflecting severe conditions of life and survival and emphasizing the importance of craft as a personal status, the warmth of family ties, critical exposure of cruel authorities and intellectual incapacity of people.

Salman Rushdie’s Novels in the Perspectives of Postmodernism in the Third Millennium

The text is dedicated to the novels of Salman Rushdie, one of the world's novelists of the third millennium, who preserve the importance and significance of postmodern fiction. Different novels from different decades are presented that employ a variety of postmodern practices and forms such as intertextuality, metafiction, heteroglossia, remitification, parody and the grotesque. The author builds a colorful world in which images and plots from the dynamic present, but also historical and mythological creatures and heroes are intertwined. Main attention is focused on the novel Quixote, which follows the lives of the fictional Quixote and Sancho in the very real American world. With a colorful palette of fantastic creatures, but also real characters from different eras, the author raises pressing issues about racism, consumer gluttony and obsession with the media spectacle. A brief review of the latest novel, Victory City, with which the author returns to India, building a magical, magnetic, fairy-tale world in which "the conventions of the outside world lose their meaning and melt away", but at the same time references are made to reality. In conclusion, the importance of Salman Rushdie as a global and postmodern author is reaffirmed.

«ЗОЛОТОЙ ПЕТУШОК» Н. А. РИМСКОГО-КОРСАКОВА — «СОЛОВЕЙ» И. Ф. СТРАВИНСКОГО: ПАРАЛЛЕЛИ И ПЕРЕСЕЧЕНИЯ

The article is devoted to the musical and theatrical works of I. F.Stravinsky and N. A. Rimsky- Korsakov, The Nightingale and The Golden Cockerel. The “meeting” of Rimsky-Korsakov’s last opera and the first musical and theatrical opus of his younger contemporary on May 26, 1914 at the Chatelet Theatre in Paris, as part of S. Diaghilev’s Russian Seasons, is noteworthy. The search for synthetic artistic forms relevant to the Art Nouveau era, sought by the famous impresario and his associates, led to the production being staged as a ballet with the singing of not only The Golden Cockerel, but also of The Nightingale, which was originally conceived by Stravinsky as an opera-ballet. In the performances shown on the same evening, the vocal-instrumental aspect of the action was complemented by a dance-plastic one, creating an expressive sound-visual counterpoint of the audible and the visible. The colourful details in A. Benois’s direction and M. Fokin’s choreography, N. Goncharova’s picturesque scenery design for The Golden Cockerel, as well as in the solution of The Nightingale by A. Sanin, A. Benoit and B. Romanov, the conventionality of the stage form of a fantastic spectacle was emphasized. The article discusses the similarities and differences in the composers’ embodiment of the original image of the fairy-tale world, examines the artistic and conceptual potential of both works, their dramatic and stylistic features, and the interpretation of literary prototypes. The Golden Cockerel and The Nightingale also encourage reflection on the evolution of fairy-tale opera in the works of Rimsky-Korsakov and on the peculiarities of the formation of Stravinsky’s creative talent.

THE INFLUENCE OF LITERATURE ON LANA’S CHARACTER DEVELOPMENT IN THE NOVEL THE DAY I FELL INTO A FAIRYTALE

This study aims to reveal Lana's character development in the novel The Day I Fell into a Fairytale written by Ben Miller. To reveal the objective, this study is using new criticism theory based on direct and indirect characterization that is depicted in the story. Besides, close reading is utilized in the process of analysis, thus descriptive-qualitative strategy will be applied in this study. The data in this study were taken from the novel, mainly gathered from words, phrases, sentences, and symbolism. Furthermore, the writer found that Lana’s character development is highly influenced by her experience jumping into Grimm’s Fairytale world which symbolized her action reading Grimm’s fairytale.

Secondary World in Fantasy Tradition after J. K. Rowling

The aim is to evaluate Rowling’s world of fairy tales and its adherence to the criteria of a fantasy secondary world according to the frameworks proposed by T. Todorov (1973), R. Jackson (1981), and F. Mendlesohn (2008). The secondary world in the Harry Potter series, the wizarding world, is open to the real world and shares its geography, yet hidden from non-magical people. It is consistently described with its own culture, customs, traditions, and social norms. The central conflict is between Good and Evil for domination, with Evil aiming to extend its power to both the magic world and the real world. The fantasy world is relatable to readers due to its handling of universal themes and issues relevant to their lives, transferring characters into new life conditions. Research methods include content analysis, psychological research, and comparative analysis.

«НОВЫЕ ЗОЛУШКИ» ТАТЬЯНЫ УСТИНОВОЙ

This work is devoted to the consideration of the narrative model of “Cinderella”, characteristic of Tatiana Ustinova’s women’s novels. The artistic world of the writer’s novels has pronounced signs of a fairy-tale world: distance from the real, isolation, repeatability, which generates a text of a special type, which we could conditionally call a modern detective tale.

ЕВГЕНИЙ МИХАЙЛОВИЧ НЕЁЛОВ — ИССЛЕДОВАТЕЛЬ СКАЗКИ И ФАНТАСТИКИ: К 75-ЛЕТИЮ СО ДНЯ РОЖДЕНИЯ

The review covers the materials of a research seminar dedicated to the anniversary of Professor Evgeniy Neyolov (1947–2014), which was a continuation of the seminar in memory of his teacher, Professor Irina Lupanova. The purpose of these seminars is to broaden the scope of the study of folklore and literary fairy tales, modern school folklore, children’s literature, science fiction and fantasy through in-depth familiarity with the personalities and works of Irina Lupanova and Evgeniy Neyolov. The purpose of these seminars is to broaden the scope of the study of folklore and literary fairy tales, modern school folklore, children’s literature, science fiction and fantasy. The discussion of the proposed topics involves professional polemics and deepens and consolidates the material, as the participants include not only educators and scholars but also undergraduate and graduate students as well as high school teachers and students. The papers and presentations delivered at this seminar reveal the innovative and original nature of Ev- geniy Neyolov’s research and demonstrate the continuity of the approaches of contemporary researchers and the methodology developed by the scholar. In the world of fairy tale and fantasy unexpected associations, meanings and motifs are revealed, which is shown in the presentations, primarily devoted to the work of a variety of writers: Yevgeny Baratynsky, Konstantin Gnetnev, Veniamin Kaverin, Lyudmila Petrushevskaya, Mikail Bulgakov, Arkady and Boris Strugatsky, and Viktor Pelevin.

Features and Development Trends of Modern Domestic Children's Musical

The purpose of the article is to reveal the features of a children's musical, created for performance by a children's team, as well as to analyse the specifics of its production on the example of the performances of the leading domestic theatres-studios of musicals. Research methodology. General scientific methods of analysis and synthesis, special artistic methods of observation, systematisation and generalisation, as well as genre and style analysis, comparative method (to identify general and specific features of children's musicals) and the method of theoretical generalisation are applied. Scientific novelty is in the introduction into scientific circulation on the example of musical productions of domestic amateur children's theatre-studios of the knowledge about the musical nature of children's musicals, caused by the interaction of music, verbal, and non-verbal means of expression that correspond to the specifics of children's perception and thinking (musicality is understood as special intonation manifestations characteristic of all means of artistic expression). Children's musicals created to be performed by a children's group were studied in terms of genre specificity; musicals staged by Kyiv amateur children's theatres were analysed; the regularities of children's musicals in the creative practice of Ukrainian theatres for children: studio-theatre «OKAY!», musical theatre «Music Hall», and others are considered. Conclusions. Children's musicals staged by domestic amateur children's groups are a unique genre variety in which various branches of artistic and creative activity are connected in the most perfect form – music, movement, dance, language, speech, acting, singing, costumes, decoration, stage lighting, and special effects. The special spectacularity, brightness, picturesqueness, and construction of this music-dramatic work as a kind of game are characteristic features that create a symbolic space in which the stage action is perceived by the audience as sincerely as possible. The children's musical is endowed with a variety of positive qualities and properties that create the prerequisites for immersing the young viewer in the imaginative world of emotions and feelings, fantasies and thoughts, while remaining as clear and easy to understand as possible thanks to the visualisation of the fairy-tale world of fiction, charm and focus of the entire palette of feelings and moods around the stage spectacle.
 Key words: children's musical, amateur children's group, theatre-studio, performance, stage spectacle.

Angela Carter’s The Magic Toyshop

The charming world of fairy tales used to be, for many ages, the favorite world for readers of fiction. Until the moment, these magical tales, their adventurous journeys, and happy endings provide a vital source of enchanting entertainment. Throughout her literary career, Angela Carter (1940-1992), a contemporary British novelist and a short story writer, shows interest in the employment of fairy tales in her works, producing what is called modern fairy tales. Her rewriting of these tales rendered her a remarkable woman advocate who calls for women’s legitimate rights and an appreciation and a recognition of their active position in societies, things that men enjoy and always receive. This paper tackles The Magic Toyshop (1967), Carter’s second novel. It discusses the fate of its young heroine, Melanie, and her siblings, Jonathan and Victoria, who have become orphans by the death of their parents in a plane crash while in America. Melanie journeys from her middle-class luxurious house to Uncle Phillip’s poor house located in South London. Like Cinderella, the orphan girl dreams of being a bride and marrying a handsome man while suffering under the oppression of a stepfather, Uncle Phillip. Unlike her, Melanie will be shocked to meet a different version of Prince Charming of her imagination.

ИЗОНИТ. ИНТЕРДИСЦИПЛИНАРЕН УРОК В IV КЛАС

The lesson „Isonit“ is an example of successful combination between the traditional and the innovative, between different disciplinary subjects, combined with care and passion by the students themselves. They love to be creative. During the „Interest Activities“ classes, the fourth graders welcome with eager the unorthodox topics, which, some of them are getting familiar for the first time. This eagerness of theirs I used to introduce them to the world of thread art, where by using strings with different colours one can create a beautiful picture. The class was conducted as a multidisciplinary, as it combined a few different subjects in the making – Literature, History, Music, and Interest Activities. From the world of fairytales we were transferred to the game „Who wants to be a millionaire?“, we sang one of the most beautiful songs from the Pirin area, and started embroidering with the colourful string to create a beautiful pictures. Pictures which managed to amaze all people attending in the classroom. Keywords: wood, thread, interweaving, dexterity, creativity.

Mapping Fairy-Tale Space: Pastiche and Metafiction in Borderless Tales by Christy Williams

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

Поетичний переклад у творах «Тихих Ліриків» В. Підпалого та Д. Чередниченка

The article reviewed the themes and leading images of the Russian (O. Pushkin, M. Lermontov, I. Bunin, A. Akhmatova, V. Khlebnikov, V. Berestov), of the Lithuanian (M. Vainilaitis, Y. Nyakroshius), of the Jewish (R. Balyasna, J. Gruber, P. Kyrychansky, M. Mohylevych), of the Gypsy (L. Manusha, O. Germano) poets, of the Czech (J. Neruda), of the Avar (R. Gamzatov), of the Armenian (G. Davtyan), of the Balkar (K. Kuliev) poets, as well as features of Slovak folklore translated by V. Pidpaly and D. Cherednychenko. The article reviewed the dominant motives of foreign writers, in the works of which were depicted love and devotion to the native people, admiration for the world of art and national identity, the beauty of natural landscapes and children’s world of fairy tales. The scientific article represented the appeal to the inner world of the lyrical hero of poets of both nations, his national self-identification, historiosophical understanding of existence in society. The focus is on the translation literary concept that evoke not only negative emotions, but also balance the inner state of the lyrical narrator, promotes his spiritual harmony. In “silent poetry”, in contrast to the literary work of the foreign writers, the literary concept of loneliness also describes the balanced inner state of the lyrical hero, his spiritual harmony. “Silent poets” were appealed to an aesthetically valuable poetic word, which reflected the ideological neutrality in the intertextual plane of the poem and focused on the inner intentions of the foreign poets, which were based primarily on his moral qualities. Given the translations of the foreign poets, the lyrics focused on primarily on the moral qualities of man, his inner development.

Znaczenie czytania bajek dla rozwijania wrażliwości dziecka w opinii nauczycieli wychowania przedszkolnego

The child’s sensitivity develops perfectly through literature. It is a source of many impressions and emotions for him, as well as the basis for learning his native language. It enriches the child’s vocabulary and develops his passions and interests. This publication attempts to show the importance of teachers reading fairy tales to children in order to develop their sensitivity. The fairy-tale world is a world that is close to the child, it does not create an artificial therapeutic situation, it does not force the child to perform specific tasks, it is just a guide. Fairy tales, whether transmitted orally or in writing, are a hope for the reader and allow them to enter a better, pain-free reality. The results of my own research have shown that organizing forms of educational activity contributes to the development of sensitivity to beauty, as well as the formation of morally appropriate attitudes in pre-school children. By using fairy tales in work with children, we have the opportunity to influence not only the child’s attitude, but also his yet unformed morality or imagination.

“Welcome to the fairytale world…”: Belief, Play, and Semantic Shifts in Contemporary Religious Culture

Researchers of contemporary culture still discuss the significance of the gap between “historical” and “fictional” (or “invented”) religions, “serious” and “playful” emotions felt by their followers, and the very understanding of reality informing respective ontologies. It is important, however, that every newly appeared religious community have to either employ existing models of social and ritual relations or create them anew or borrow them from other — sometimes very distant — contexts. From this perspective, history of post-Soviet religious culture can provide us with certain insights into social and moral expectations and anxieties characteristic to the citizens of the former USSR in the time of collapse of Soviet “symbolic universe.” The article deals with certain concepts of social and moral imagination borrowed from the late Soviet culture and being especially important for the Last Testament Church, a post-Soviet religious movement. Such borrowings imply more or less significant semantic shifts, but at the same time retain partly erased “trains” of previous meanings. This allows reconstructing with certain precision cultural and social needs that inform “invention” of new religions. The analysis presented in the article demonstrates that social utopia of the Last Testament Church proceeds from concepts and images of late Soviet childhood where literary and cinematographic fairy tales and pedagogic ethics were easily connected to the image of nuclear apocalypse and survival in the world burnt and poisoned by radiation.

Shadows and Light of the Fairy-Tale World: Romantic Imagery and Romantic Topos in the Works of Evgeny Schwartz

This article examines the artistic specifi city of the images and motifs of the works of Evgeny Lvovich Schwartz (1896–1958), in whose dramaturgical and prose fairy tales the infl uence of the romantic literary tradition is traced. Turning to the works of Andersen and Perrault, amongst others, Schwartz transformed not only the original plots, but also the very fi gurative poetics of their works. A hypothesis is advanced on the infl uence on these poetics of the motifs and images of E. T. A. Hoffmann and German Romanticism in general. In part, such an infl uence became possible since the literary author’s fairy tale itself was formed largely thanks to German romanticism. However, it is also necessary to take into account the close creative interaction of Schwartz with the artistic association of the “Serapion brothers.” Special attention is paid to the poetics of urban topos in the fairy tales “Doll City”, “Adventures of Gogenstaufen”, and “Shadow”, where the romantic tradition inherent in such authors as Andersen, Hoffman, and Odoevsky is traced. Using the historical poetics method, the comparative historical method, and comparative analysis in the works of Schwartz, the principle of romantic duality is revealed: the interaction of shadow and light, the motif of illusion, and the style of phantasmagoria. The motif of vampirism in the literal and allegorical sense is also separately touched upon, with reference to the peculiarities of this motif in the poetics of Romanticism.

Човекът във вълшебната приказка („Тримата братя и златната ябълка“, преразказана от Ангел Каралийчев

This article presents a lesson that seeks, explains and visualizes the world of fairy tales. The idea of its genesis, deeply connected with the myth, is clarified. The students' knowledge of the peculiarities of the fairy tale genre is strengthened. The problems and conflicts in the fairy tale “The Three Brothers and the Golden Apple”, specific to the folklore model of the world, are identified and compared with the personal experience of each person. The character system in the fairy tale is made meaningful through the behavior of the characters. A spatial idea of the world in the fairy tale and the way time flows in it is built, because something has happened somewhere and once.

Специфика мира сказок в восприятии ребенка

The article shows the child’s perception of the phenomenon of a fairy tale. Research relevance: The world in a fabulous way amazingly changes the thinking of the child, teaches him life and perceptual perception of the surrounding reality. Research materials and methods: in this work authors used methods of analysis of works based on experimental research and statements of scientists’ psychologists such as Jean Piaget, Buhler, L. S. Vygotsky, A. M. Gorky, V. A. Sukhomlinsky and others on the influence of fairy tales on the children thinking. Analysis of such concepts as the world of fairy tales, artifactism and fantasy. Research objectives: consideration of the psychological perception of art by children, analysis of the child’s perception of the relationship between the forces of science and magic in the mind. Research results: identifying ideas about educational teaching of children based on multifaceted interests such as pursuit of observation, ensuring artistic value of scenes and focus on thinking. Conclusions: the ability to recognize human interests, which are very important in the process of forming a child’s creative activity.

The Fairy Tale World ed. by Andrew Teverson

Reviewed by: The Fairy Tale World ed. by Andrew Teverson Mary Sellers (bio) The Fairy Tale World. Edited by Andrew Teverson, Routledge, 2019, 484 pp. Drawing on the work of established and emerging scholars, this collection of essays—as the title suggests—negotiates fairy tales around the world but also the world of the fairy tale itself. It begins with a definition of the term and a discussion of Andrew Lang’s work, but it quickly gets to the first of many conflicts in the field. The titular term “fairy tale” is fraught with “Eurocentric and Western associations that threaten to obscure the specificity, variety, and function of oral storytelling genres” (Lewis Seifert 159). In an effort to overcome this limiting terminology “that entail[s] homogenizing the world’s wonder tales according to a Euro-American model” (12), Andrew Teverson set out to reclaim the term and “extend and elaborate the emerging critique of the Euro-American focus of fairy-tale studies” (10). This aim is achieved through exposing the international influence of familiar texts, exploring how Märchen evolved differently across the world, expanding the canon to include marginalized works and analyses, and examining how contemporary writers and artists blend older forms and modern interpretations to create a novel pastiche. [End Page 388] The book is divided into five sections with seven or eight chapters in each. The sections—“The Formation of the Canon,” “Africa and the Caribbean,” “The Americas, Asia and Australia,” and “Europe”—provide an excellent overview of both the specific topic and current scholarship in the area. However, there are threads that weave through all the chapters—particularly the ideas of colonialism, imperialism, and fairy-tale origins—that create a global tapestry of ideas. Other cross-chapter motifs are art, contemporary literature, and a definition of fairy tale. However, for those who wish to focus on a specific geographical area, the book offers a sample of approaches to scholarship to highlight the trends in research. Additionally, the geographical focus enables a study of a wider region, as stories travel heedless of political borders. It also allows cross-cultural comparison. For example, how do contemporary retellings in Australia differ from those in Japan or America? Yet, each section can be used as a stand-alone unit for a class or to delve into a geographical exploration of fairy tales in that region. The first section, “The Formation of the Canon,” opens by posing the question “Where do fairy tales belong?” Donald Haase answers the query and “confirms the resistance of folktales and fairy tales to the constraint of a one-dimensional belonging” (30). These tales exist in their own realm, and those who hear them often do not grapple with paratextual meanings and do not place the tales in their specific geographical and cultural setting. This enables fairy tales to be read through multiple lenses. Questions of interpretation and origin continue in the rest of the section through discussions of the origin of the fairy tale in the Middle East, Italy, France, Germany, and the problems inherent in translation. Nancy L. Canepa discusses the works of Giovan Francesco Straparola and Giambattista Basile in her chapter, “The Formation of the Literary Fairy Tale in Early Modern Italy 1550–1636,” commenting on the “murky moral world of the tales” where “violence and deception may or may not prove to be winning strategies” (65). This chapter contrasts well with the “stylish atmosphere of the court” (68) found in the French tales Christine A. Jones uses as her texts in “Social Change and the Development of the Fairy Tale in France 1690–1799.” Overall, this first section lays the groundwork for continuing themes in the rest of the volume. Although the remaining sections are geographically focused, many of the entries grapple with the same sort of question that Ruth Finnegan posed, “Are there fairy tales in Africa?” (105), which introduces her chapter, “Fairy Tale in Africa: A Contrast of Centuries.” Discussions of wonder tales or tales of magic occur in almost every section, expanding the fixed notion of a “fairy tale” to encompass a wider range of narratives. Emily Zoebel Marshall’s study of Anansi tales in “This Is Not a...

Краткий обзор семантического описания пространственных элементов в азербайджанских сказках

In fairy tales, space plays an important role and acts as a structural element of fairy tales, performing a certain function within the fairy tale. Therefore, it is impossible to imagine fairy tales without the elements of space. As it is mentioned in the article, the world of fairy tales consists of numerous transformations and changes of spatial elements. The article gives a brief overview of semantic description of the spatial elements in the Azerbaijan fairy tales on the bases of five volume book of the Azerbaijan fairy tales. The article also identifies the functions of the words describing spatial elements. It investigates the transformations of spatial elements in the fairy tales. It notes that the spatial elements make up the archaic world model and participate in the formation of fairy tales. The article searches the semantic structure of the fairy tales with exact examples from them.