Fairy-tale World Research Articles

Migration in Andrea Levy's Short Narratives

Bu makalenin amacı göçmenin öyküsünü Levy'nin “Back to My Own Country: An Essay” (Ülkeme Dönüş: Bir Deneme)'inde ve “The Diary” (Günlük) ve “That Polite Way That English People Have” (İngilizler'in Sahip Olduğu O Malum Kibar Tavır) başlıklı öyküleri odağında incelemektir. Levy'nin öyküleri otobiyografi, tarih, toplumsal eleştiri ve kurmacayı kaynaştırmaktadır. Göç olgusunun bazı olumlu yönlerinin yanı sıra olumsuz yanlarının da ortaya koyulduğu bu öykülerde göçmenin düşlediği peri masalıvari dünyanın yanında göçmen deneyiminin içerdiği ironiler göz önüne serilir. Söz konusu anlatılarda Levy, Karayipler'den İngiltere'ye göç eden ikinci-kuşak göçmen olarak kendi öyküsünü, Jamaica'lı ve siyahi-Britanya'lı kültürel mirasını, yaşadığı kimlik bunalımını ve ırksal farkındalık, ırkçılık, ve cinsiyetçi önyargıları ele alırken Atlantik köle ticareti, sömürgecilik ve Britanya İmparatorluğu, Karayipler'den göç eden Windrush kuşağı ve Britanya ve Karayiplerin ortak tarihi hakkındaki düşüncelerini ve bilgileri de sunmaktadır. Levy'nin amacının hem kişisel mirasını ve Karayipler'le Britanya'nın ortak mirasını açığa çıkarmak hem de tarihsel “unutkanlığa” bir derman olarak yapıtlarında tarihi yeniden yazmak olduğu söylenebilir. Yazarın “tersine göç” motifini kullanması bu amacını gerçekleştirmektedir. Nitekim, Britanya'lı Karayiplilerin öyküsünü marjinden merkeze taşıması, bir nevi geçmişin telafisi olarak görülebilir.

Феномен педагогічної казки Василя Сухомлинського

The article rethinks the works of short fiction (fairy-tale art miniatures), written specially for children by the famous Ukrainian pedagogue-innovator, talented educator and writer Vasyl Oleksandrovych Sukhomlynskyi. It has been noted that with the help of special means of expression of the artistic word the famous author managed to create vivid images and plots, a unique fairy-tale world, best suited for children's perception and understanding, endowed with exceptional creative abilities and powerful pedagogical potential. Vasyl Oleksandrovych's fairy-tales have been and remain a source of education, training and creativity for many generations of teachers, children and their parents. Undoubtedly, they occupy a prominent place in Ukrainian children's literature and are a model for the implementation of the ideas of world humane pedagogy. The author summarizes the subjective opinions of students of pedagogical institutions of higher education (the sample was 85 respondents) and clarifies the vision of the peculiarities of Sukhomlynskyi’s fairy-tales by modern youth who acquire the pedagogical profession. Thus, the most significant features were called the following: kindness, instructiveness, conciseness. It is proved that the tales by Vasyl Sukhomlynskyi are relevant today, as well as his pedagogical ideas, which are in tune with the tasks facing the modern education system. With the help of small in volume but deep in content fairy-tale works realization of many general directions of modern education, first of all preschool and primary links (physical, mental, social) and directions of education of children of preschool and primary school age (moral-aesthetic, emotional-volitional, general cultural), intellectual and speech, etc.) will be effective and bring joy to participants in the educational process. The publication emphasizes the undisguised didactics of fairy-tales of an outstanding master-teacher and their psychotherapeutic efficiency.

The Winter Duke by Claire Eliza Bartlett

Reviewed by: The Winter Duke by Claire Eliza Bartlett Fiona Hartley-Kroeger Bartlett, Claire Eliza The Winter Duke. Little, 2020 [432p] Trade ed. ISBN 978-0-316-41734-1 $17.99 E-book ed. ISBN 978-0-316-41730-3 $9.99 Reviewed from galleys R Gr. 8-12 On the eve of Ekata's older brother's official designation as heir to the dukedom of Kylma Above, her family falls into a cursed slumber from which they cannot be wakened. As the only remaining legitimate heir, Ekata is quickly maneuvered into place as the next duke, despite her preference for natural history over politics. Now, instead of escaping court to attend university, she must hang onto the throne, try to awaken her stifling, murderous family, and figure out whether the curse is connected with the magic of Kylma Below, a fabulous kingdom underneath the ice the ducal palace stands on. The plot surges along, taking readers between the [End Page 250] winter rose–twined corridors of Kylma Above and into the waters of Kylma Below. Ekata decides to thwart her new would-be suitor, the repellent Sigis, by marrying fierce, beautiful Inkar, one of her brother's prospective brides. The girls' developing friendship and attraction to each other carries a thread of sweetness through the intricate dance of mystery and machinations as Ekata tries both to avoid and consolidate power. Though the political intrigue is under-seasoned, Bartlett (We Rule the Night, BCCB 4/19) nonetheless creates an unusual royal succession crisis in a thrillingly atmospheric fairy-tale world. Sympathetic characters, assured prose, and crystalline imagery make this icy dukedom memorable even after the last page has been turned. Copyright © 2020 The Board of Trustees of the University of Illinois

ROLA LITERATURY W ROZWOJU DZIECKA W WIEKU PRZEDSZKOLNYM

Literature plays a pivotal role in versatile development of a child. The contact with texts adjusted to a child’s age, interests and needs influences his emotional and social development. Reading also expands a child’s vocabulary, enriches his imagination, helps to understand the complicated world of moral rules and develops a young reader’s sensitivity and empathy towards another person. Undoubtedly, the texts, which have been appropriately selected, prepare a child to recognize and feel the right emotions which are connected not only with positive situations but also with those which evoke pain, sadness, disappointment or fear. The books create the treasury of values for preschool children, for instance: love, friendship, respect, justice, and honesty. One should also pay attention to the values which are not present in the stories or fairy tales, for example: a lie, betrayal, fraud or loneliness. A young reader learns to distinguish good from bad. Just like the protagonists of his favourite stories or fairy tales, he learns to tame with a new situation, making the right choices and decisions, learning to be independent, dutiful, and overcome difficulties. A child also observes the value of a written word and analysing and drawing conclusions. What is more, a young reader learns to follow particular moral norms and sensitive perception. He also learns to understand and respect the emotions expressed by other people.The subject of texts for preschool children is similar to the world of little reader. The described stories often take place in familiar environment: a family house or in the playground. A young reader often identifies with the protagonists of the books he reads. He gets to know the characters who, just like him, experience various emotions. The child learns to share happiness or sadness with the protagonists, he laughs and cries, and learns to name the emotions. A little child, while listening to the stories describing children similar to him, often identifies with the protagonists of the texts and notices the similarity of situations from his life to the situations which happen to the literary heroes. The stories described in the texts for children support the development of independence, they teach how to achieve the assumed goal and how to be happy when a barrier in life is overcome. They help to answer the questions bothering a child. They show to parents how meaningful the emotions of their children are, although they are sometimes difficult to understand. Situations which are complicated for a child or the questions which are difficult or painful are very often present in literary texts. Such a text can, therefore, become a great opportunity to start a conversation with a child. Home reading should become an everyday habit, awaited both by parents and children. The positive aspect of reading can also be the possibility to observe a child during this activity. The parents can see how a child reacts to the text, whether his mimics changes or not. The role of parents is therefore invaluable. By reading a book to children they help them to develop readership and love for books and selected texts. An interesting initiative has been originated in Poland. The action entitled “The whole Poland reads to children” popularizes reading for at least twenty minutes a day to children.Literature for children plays a huge role in versatile development of a child. A contact of a child with books expands his knowledge about the surrounding world. The plurality of topics, behaviours, and decisions which should be made by literary characters, places in which the action takes place and relations between the protagonists, who represent not only the real world but also fairy-tale world, influence the emotional, cognitive and social development of a child. If we choose the right texts suitable for perceptive skills of a child, the numerous problems described there can help to develop a child’s curiosity and the need to read new books.

The typology of backstory inter-character conflicts as a core action in the plot

Abstract Using material from classic fairy tales, the author defines three fundamental types of conflict between literary characters in the text model of the fairy-tale world: overt, covert and potential. Their attributes are evidenced and demonstrated via specific texts and their universal (transcultural) analogues are shown in the archnarratives, which go beyond the classic fairy tale genre. At the end of the interpretation, the author proposes a (hypo)thesis that the presented typology could be a starting point for creating a backstory of conflicts as an action-formative factor also in other art genres, and that it can be used as a source for a much broader and modern (and current in contemporary art) diapason of “dramatic” storylines.

Особенности хронотопа сказочного мира в творчестве И. Билибина

Особенности хронотопа сказочного мира в творчестве И. Билибина

An enlightened beauty and a natural beast. A dialogue of epochs in a fairy-tale dimension

The article analyses the dialogue happening between two historical periods inside the fairy-tale context of Beauty and the Beast: a story with its origins in the late days of the ‘gallant’ age and on the cusp of the Age of Enlightenment. A product of the conflict between the two, the fairy-tale provides ample inspiration for contemporary re-tellers of classical stories. The original work by Madame de Villeneuve centres on the idea of assimilation of a territory, its colonization and its integration into the political and economic context of the inhabited world. The same idea is taken up and reinforced by the American author M. Lackey, who considered the French original and its origination period through the concept of a national idea, in particular, the notion of the ‘hearth’. The article demonstrates how this idea, reaching its peak during the American Enlightenment, helped Lackey to transform the original’s colonization motifs and endow the classical plot with new prospects. In her ‘domestication’ of the fairy-tale world, Lackey delivers it a paradoxical blow at the end of the story, and turns de Villeneuve’s triumph of civilization into a more relevant ideal of freedom and unlimited opportunities, where the female protagonist enjoys emancipation and is invested with her rights.

Ett stort varuhus i en stor stad: Dagdrömmar och konsumtionskritik i barnlitteraturen

Title: A Big Department Store in a Big City. Daydreams and Consumer Criticism in Children’s Literature Abstract: In advertising, marketing, and product catalogs from the first decades of the 20th century, the newly launched department stores often describe their toy departments as a ”fairy tale world”, ”children's paradise” or ”toy land”. They are depicted as spaces places for play and enjoyment, but above all, as spaces places for daydreams. These expressions and images – loaded with messages and ideals about children, consumption, and modernity – were quickly transferred to children’s literature. Based on research from advertising history as well as modernism and modernity studies, the article discusses how the department store in the mid-1900s becomes a new variant of the Schlaraffenland or the Cockaigne motif in Scandinavian children’s literature. Focusing on stories published between 1933 and 1965, depictions of children as consumers and the child’s interaction with the department store and its products are investigated. In the studied stories, different variations of the Schlaraffenland motif – excess of toys, experiences, and food – are used to playfully depict children’s encounters with the commodity world, but also to investigate questions about the individual’s responsibilities as a consumer and ideas about individuality, freedom, and modernity.

Библейските послания във витражите на Марк Шагал

Marc Chagall is a multifaceted, ever-searching creative person; he is both a poet and a dreamer, an artist who to the rest of his life has enviable work capacity. As his contemporaries define him. Today, he is perceived as one of the few artists of the 20th century who harmonize the differences between religious communities and ideologies as well as between ideologies in art. The culture of his homeland, his childhood, the dramatic events surrounding the war and the revolution remain lasting marks in his work. Inspired by “Bible poetry“, Chagall manages to recreate Biblical themes and stories in original ways, both in his paintings and illustrations, and in the stained glass witch he created during the last thirty years of his life. Through them he conceives all-human meaningful values, simultaneously revealing a fairy-tale and magical world, a world that is unique and inimitable to Chagall’s art.

Symbolic Shahrzād in the poems of Abdolwahhābal_ Bayāti

Shahrzād is the most famous motif in the world of fairy tales in Arabic Nights which entered the context of contemporary Arab literature. Arab literary figures, poets and writers, have employed Shahrzād as a useful symbol in their works. Abdolwahhāb Bayātiis one of those poet pioneers in the field of application of mythical and historical figures in the contemporary poetry. Shahrzādis one of these figures that Bayātiutilizes as a symbolic motif to criticize the influence of false traditions on the life of women in his conservative society. The poet composes a Jeremiad for a country which is grabbed in the grip of tyranny and colonialism and weeps for the urban man who has broken up with the mom of nature and sacrificed his soul at the feet of the urbanization idol. In the present article, the author aims to review Symbolic Shahrzād’s character by analyzing Abdolwahhāb Bayāti˒s verses and to explore the symbolic implications of Shahrzād. The author also tries to show that Bayāti˒s Shahrzād is a poetess of a traditional society both yesterday and today. On the other hand, she is depicted as the symbol of the author’s country and simple rural life.

“Le Grand Meaulnes” ou la pureté impossible

Le Grand Meaulnes of Alain-Fournier got stuck in a conventional interpretation where the dimension of dream lying in pureness is clearly opposed to the dimension of a degraded reality. This work tries to show that the relationship between the two terms is far more nuanced. Considering the theme of chromaticism, we observe a meaningful shift in representation techniques when passing from the first to the second part of the text. Beyond the stylistic level, we will assign a strategic value to the succession of two different ways in which characters, situations and objects are introduced: the author’s purpose is thus to drive a wedge between the adventure of the château and its further consequences. In-depth analysis reveals actually that the true opposition is not between the fairytale world of Domaine etrange and the real world of Sablonnieres, but the opposition is within the dream or, even better, within the obsession. Alain Buisine showed better than anyone that this obsession tends to polarize in a scary way the image of idealized woman and the image of carnal woman.

Триумф вольки: Сталин и его эпоха в сказке Л. Лагина «Старик Хоттабыч»

The ideological bias of the author of the fairy tale Old Man Khottabych compels the reader to take into account not the literary but the political context of the work. For the first time the fairy tale was published in the Pioneer journal (issues 10-12) in 1938. In the spring of this year, Moscow witnessed the Case of the Anti-Soviet «Bloc of Rightist and Trotskyites», and even the children’s press (including the Pioneer magazine) was forced to report its results. Khottabych is hopelessly archaic. Several thousand years of imprisonment in a pottery vessel did not pass without consequences. He is absolutely helpless in the country of the implemented utopia. The old djinn could understand and fully approve only the Stalinist policy of mass repression because he himself, like the OGPUNKVD authorities, is much inclined to excessive and often poorly motivated use of violence. In this respect, the Soviet system differs little from the eastern tyrannies. Khottabych is eager to burn to ashes (to turn into a toads or sell into slavery etc.) teachers, waitresses, policemen – in short, everyone who, in his opinion, is not sufficiently respectful of his young Lord Vol’ka Kostylkov. The fairy-tale world of Lazar Lagin mirrored the Soviet Reality.

The earthquake in Jiuzhaigou County of Northern Sichuan, China on August 8, 2017

Jiuzhai Valley National Park in the Aba Tibetan and Qiang Autonomous Prefecture of northern Sichuan, China, is well renowned both at home and abroad as “World Natural Heritage,” “Man and Biosphere Conservation Network” and “National GeoPark of China.” An earthquake with a magnitude of 7.0 struck Jiuzhaigou County on the evening of August 8, 2017. Its focal depth was 20 km and followed thousands of aftershocks. The earthquake had affected 17 townships and 120 villages in varying degrees. By the 8 p.m. on August 13, the death toll of the earthquake reached 25, with 525 injured. Being formerly described as “Fairy tale world,” “King of waterscape,” the beautiful scenic spot now had become “scars of wounds strung together like beads,” and some of the beauty even disappeared. In this short communication, the incident background, casualties and scene are presented. Moreover, a brief investigation on the cause and seismic damage capacity of the earthquake as well as the earthquake early warning is conducted.

A Woman Like You? Emma Peel,Xena: Warrior Princess, and the Empowerment of Female Heroes of the Silver Screen

A Woman Like You? Emma Peel,<i>Xena: Warrior Princess</i>, and the Empowerment of Female Heroes of the Silver Screen

The First Nutcracker, the Enchantment of International Relations, and the Franco-Russian Alliance

Despite the lively scholarly debate on the place of The Sleeping Beauty (1890) in the political and cultural history of the Franco-Russian alliance in the 1890s, the representation of international relations in the first production of The Nutcracker (1892) has so far received little attention. This representation includes the well-known series of character dances in the second act of the ballet, but also the use of French fashion from the revolutionary era to costume the party guests, the mechanical dolls, the toy soldiers, and even Prince Nutcracker. The fairy-tale world offered a frame that not only promoted the absolutist aspirations of Alexander III's regime, but also solved the symbolic challenge of a problematic alliance between republican France and tsarist Russia. The same visual repertoire informed diplomatic life: four years after The Nutcracker, in 1896, the décor for the state visit of Nicholas II and Alexandra Feodorovna in France duplicated that of the fairy-tale world on stage.

‘Ach ja’: Stevie Smith’s Escheresque Metamorphoses

S tevie S mithnamesherpoem ‘The Frog Prince’, and so ushers her text into the world of fairytale. 2 Smith had read and reread the Grimms’ Kinder- und Hausmärchen in the original German, so can confidently remark, along with the frog in her poem, that ‘The story is familiar | Everybody knows it well’. 3 For centuries, the tale has been told in different versions across Germany and Britain, describing a maiden who either kisses a frog, or cuts off his head, or throws him at a wall. 4 Whatever the framing circumstances, the result never changes: the frog turns into a handsome prince. And so Smith’s frog can, in fact, omit the moment of transformation from his story. Since both frog and readers know that metamorphosis is bound to occur in a fairytale world, he need only refer to ‘When the changes come’ and when he will ‘be set free’ ( CP , pp. 471–2). The text’s key metamorphosis is so thoroughly known, so wholly given within the fairytale genre, that it can remain invisible within Smith’s poem.

Between Earth and Sky: Transcendence, Reality, and the Fairy Tale in Pan’s Labyrinth

Though it is now a decade since its release, Guillermo del Toro’s Pan’s Labyrinth (2006) remains a work of filmic art which plays upon our deep-rooted and mercurial relationship with fairy tales and folklore. By turns beautiful and grotesque, Pan’s Labyrinth is a complex portrait of the clash between Ofelia’s fairy tale world and that of the brutal adults around her. This article will provide an analysis of the juxtaposition of the film’s imagery of closed/open circles, their respective realms, and how Ofelia moves between the two. I will argue that these aspects create an unusual relationship between the fairy tale universe and the physical one, characterized by simultaneous displacement and interdependency. Ofelia acts as a mediatrix of these spheres, conforming to neither the imposed rules of her historical reality nor the expected structural rules of fairy tales, and this refusal ultimately allows her transcendence from the circumscribed realm of the liminal into Victor Turner’s “liminoid” space, escaping the trap of binarism.

Step Sisters of Cinderella

There can be much to learn from the fable of Cinderella, her wicked step sisters, step mother and the prince charming. It can be a story of many good people or disciplines which were neglected or rejected, out of sheer envy, jealousy, prejudice, or politics. The Cinderella syndrome affects many who are under appreciated despite being hard working and useful to the society. Psychiatric rehabilitation is one of such disciplines! Psychiatric rehabilitation does not get its due importance in the field of mental health. Though all mental health professionals acknowledge its significance and key role somehow it does not get the significance it deserves. It is one field of mental health practice which is definitely under appreciated. This makes psychiatric rehabilitation as a Cinderella in the world of fairy tale of mental health practice. Much is written about many other specialties which are unique in their importance but neglected like Cinderella, little focus has been put on the specialties which get undue importance despite their relative low significance, like the step sisters of Cinderella. Let us examine these ‘sister’ specialties which get lop sided attention and advantages. Many medical superand sub-specialties in the fields of Cardiology, Pediatrics, Nephrology, Radiology and Neurology get a lot of attention from the public, health professionals and policy makers. In comparison to these specialties, psychiatry is a neglected one. The value of psychiatry is also under appreciated, especially in many developing countries. There is little time and amount of training in psychiatry undergraduate training programmes. There is short non serious clinical training during internship and little attention and importance in post graduate medical courses. The sister specialties which are popular and sought after mentioned above are important because of involvement of high technological advances in them. These also provide a scope of giving huge economic gains to health professionals and the equipment and pharmacological industries. These are also considered as specialties dealing with life threatening conditions and thus attracting urgent attention. In contrast, psychiatric disorders are sadly not considered as life threatening though there is high risk of death due to suicide, substance use, aggression and neglect. The medicines for specialties, other than psychiatry, are much more expensive than psychiatric medications. Graduates and postgraduates rush to these fields which drive them towards potentially luxurious and ornate specialties. Within the field of psychiatry, for the same reasons given above, certain branches of psychiatry attract more attention, namely, biological psychiatry, neuroimaging, functional neuroimaging, genetics, molecular biology, genomics, proteomics, newer psycho pharmacological molecules and newer physical treatments. These newly appeared on the scene areas of studies dry up the investments and resources into the field of psychiatric researches, leaving fields such as rehabilitation vying for resources. The lack of resources for rehabilitation leads to lesser research in this field, making it further disheartening. Psychosocial therapies, including psychosocial rehabilitation, get the back seat. These therapies are considered ineffective, slow in response, difficult to deliver and difficult to know the effectiveness. Research in neurobiological psychiatry is a wild goose chase, as the last half century of research as hardly paid any authentic results. The introduction of newer molecules of drugs has changed little in & Santosh K. Chaturvedi skchatur@gmail.com

A Sense of the Magical: Names in Lord Dunsany’s The King of Elfland’s Daughter

Contributing to the enchantment of the author’s celebrated prose, the names in Lord Dunsany’s best-known novel evoke a world of fairytale, myth, and song; ring true to the characters and places they designate; and fashion themselves into a constellation of correspondences in sound, form, and sense.

Design Aesthetics of Walter Van Beirendonck

Walter Van Beirendonck expresses a fairy tale world of perverted sexual desire of sadism and masochism, violence, and aggressiveness that breaks from a transient one-time concept as is an essential element of fashion. This study classifies the aesthetic characteristic shown on the design of Walter Van Beirendonck and analyzes the intent of his symbolism and meaning. The attempt has a meaning in exploring a new directionality of fashion by conveying a critical message to this end, contemporary fashion breaks down boundaries with artistic genre and connects a problematic consciousness that exists in life with fashion. The results of study on the aesthetic characteristics of Walter Van Beirendonck are as follows. First, Beirendonck emphasized an interpersonal image about body by giving a question through the deconstruction of image on a perfect body into race, age, and body based on body modification. Second, fetishism appeared as a consciousness that human identity and character can be changed by connecting a fetish element of sexual identity, and sadism and masochism with fashion`s imagination. Third, infantilism as an amusement expression of the form metaphorically satirized life of modern people. Fourth, makeup shown on performance or festival of an African tribe was used in the way of mixture or reuse for ethnography to obtain inspiration from ethnography. Fifth, pop art combined a popular culture code as amusement through mass production and mass media. Aesthetics of Beirendonck do not have norm and are bold in using form, color, pattern, print, and styling because Beirendonck reinterpreted critical attitudes about essential problems that human life entails into a motif of his symbolic meaning in amusement. In regards to his design aesthetics, Beirendonck expanded fashion to the scope of Gesamtkunstwerk in a consistent and continued theme combined with philosophical creativity and differentiated from other fashion designers.