Famous Tale Research Articles

Nizami, Profane Love and the Melancholy Tradition: Uncovering Amor Heroes in the Indian Princess’ Tale in Seven Beauties

Abstract Nizami Ganjavi’s fourth epic poem, Seven Beauties offers a cohesive picture of many variations or ‘colors’ of love and occupies a prominent position in his prolific oeuvre. Although much has been written on mystical love in Nizami’s works, the status of profane love remains somewhat neglected. A concept introduced through the Latin translation of an Arabic medical treatise on love during the medieval period, studies on profane love gave rise to a specific form of melancholy, referred as amor heroes or love-melancholy in various medico-literary texts. As a polymath, it can be speculated that Nizami’s interests in medicine probably extended to this type of amorous sickness. Upon close reading of the famous tale “King of Black”, clear parallels can be discerned between the literary depiction of the love-lorn king and the medical symptoms of love-melancholy. Therefore, the main aim of this study is to elucidate this connection by drawing on the Galenic and Arabic medical texts on love and melancholy, which eventually influenced Nizami and found its reverberations in the tale of the Indian Princess in Seven Beauties.

The Saint Euplus Miracle in China: The Local Version of a Motif Complex

Abstract A Eurasian motif complex built around the illusion of a flood was described by Artёm Koz’min in 2011 under the preliminary name of the Saint Euplus Miracle. Subsequently, this discovery proved to be productive in the understanding of the development of some Chinese plots including the image of a magic paintbrush. This article deals with a combination of the magic paintbrush image and the borrowed motif complex centred around water that apears miraculously, or the illusion of it, in Chinese tradition. The image of a magic brush has been widespread in the literature and folklore of China for centuries, although this combination, which underlies the famous tale Ma Liang and his Magic Brush, remains unnoticed. The aim of the article is to describe the Chinese version of the Saint Euplus Miracle and to point out its characteristic features. In all the Chinese examples analysed, the role of the magic helper was prominent, while in the non-Chinese cases the helper was generally absent. Another feature specific to the Chinese cases was the helper giving the hero a magic object for use in drawing.

피리 소재 설화의 유형과 특징

In this paper, we looked at how the flute is used by paying attention to classical literature, especially the narrative. In the most famous tale, Manpasik, the flute was used as a tool to strengthen the royal authority or prevent foreign enemies. However, the flute was often the story’s center when analyzing flute-related stories. The sound of the flute changes the situation rapidly. It can be seen that the happy ending of the protagonist getting out of the crisis of death by the sound of the flute, becoming wealthy by playing the flute well, or solving the case with the sound of the flute and marrying the daughter of a wealthy family is taking advantage of the novelty of the flute. The mystique of the flute could be described more beautifully. Famous worldwide, the “Pied Piper of Hamelin” had successfully eradicated rats. Until now, it was a positive case resolution with the flute’s power, but ultimately, he used the flute to kidnap children to show fear of the flute. It showed the powerful side of the flute, such as being killed by playing a banned flute or killing a boy by the sound of the flute. This means that the flow of the story changes depending on how you use the flute. The characteristics of the flute in folktales have influenced modern times. In particular, the myth that snakes appear when playing the flute at night is very famous and still tends to be taboo. This story likely spread because simply making a sound at night damages neighbors, but it can be seen that the mighty power of the flute is being transmitted. Although the content is limited to “Manpahsik”, in the movie “Jeon Woo-chi” and the drama “The King: The Prince of Eternal”, the power of the flute is so intense that there are cases where the elements of conflict to compete are realistically expressed. The types and characteristics of the flute that have appeared in the narrative so far are meaningful in that they have provided a stepping stone to understanding the use of the flute that has become a springboard for later research and continues to the modern day.

:Anglo-Saxon(ist) Pasts, PostSaxon Futures

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PHRASEOLOGISMS AND THEIR FUNCTION IN THE BUILDING OF THE MOTIVE "INNOCENTLY PROSECUTED HEROINES" IN THE GRIMM BROTHERS’ FAIRY TALES

The original corpus of the linguistic material for this paper are the Grimm Brothers’ tales, in original inGerman and translated into Macedonian, English and Italian. The indicated phraseologisms are widely used today inboth languages, which only proves their fluency in modern language trends. The basic criterion for classificationrefers to the phraseologisms that are related to the main character in the fairy tale, i.e., the hero who goes through hisown initiation journey. In this paper the focus shifts to the two heroines in the fairy tales "Snow White" and"Cinderella" who have the common status of "innocently persecuted heroines". The tales "Snow White" and"Cinderella" are the two most famous tales by the Brothers Grimm. Jakob and Wilhelm Grimm's interest in Germanfairy tales began in 1812 with the publication of Kinder - und Hausmärchen ("Children's and Household Tales").The fairy tales "Snow White" (Schneewittchen) and "Cinderella" (Achenputtel) were then published. Although thereare many variants of these stories in the world and with different titles, we would still dwell on their integral text.The aim of this scientific research paper is to present the similarities and differences in the phraseological units thatare used in the same context, but in completely different language systems: German, English, Italian andMacedonian. The linguistic approach initiates the conclusion that phraseological units function at the morphological,syntactic and semantic level of the text, which means that they have a wide range of meanings. Phraseologisms arespecific linguistic expressions composed of two or more words that form linguistic units recognizable for thelinguistic environment of the speaker. The linguistic-cultural richness of the indicated languages, Macedonian andGerman and English and Italian is recognized by using phraseologisms as a tool for presenting the external andinternal description of the character, but also the description of his/her socio-economic status in the community. Thephraseologisms referring to the heroines in both tales are characterized by imagery, which gives the text a richcolorful structure. The imagery is achieved through the use of the comparative approach, i.e., through phraseologicalunits that are built on the basis of comparison; the text is also enriched at reception and each reader creates his/herown individual image. The phraseological material in the fairy tales is quite rich, especially in the fairy tale "SnowWhite". These two most widespread tales of the Brothers Grimm are analyzed in science from various aspects. Forus, the target group were students who, in the process of education, acquired knowledge about the meaning ofphraseological units and are able to recognize them in a given text. The work fuses the knowledge from the field offolklore and from the field of language, in correlation with the teaching process, through which students acquirenecessary knowledge from both fields of interest. However, this paper aims to detect the comparativephraseologisms used to describe the characters of the two heroines with a similar character structure. Both fairy talesare in the subgenre of tales of "innocently persecuted heroines", a fairy tale motif with a long history and deepantiquity. We will look into comparative phraseologisms through five different prisms:1. physical attributes of the character: handsome, ugly, thin, fat, short, tall2. character traits: good, bad, clever, stupid, brave, timid, proud3. emotional state of the character: love, hate, fear, anger, revenge4. socio-economic status of the character: poor, rich, learned, simple5. attitude towards others in the environment: understanding, tolerance, helping, misunderstanding

Forbidden Words: Language Control and Victorian Political Correctness in Dickens and Carroll

This article examines Charles Dickens’s and Lewis Carroll’s representations of mechanisms of control over people’s – especially young people’s – language, imagination, and minds. Moralistic on the one hand, political on the other hand, Victorian patterns of censorship and self-censorship are reflected, critiqued, and satirised by Dickens in various stages of his career, and are related in his work to artistic creativity, language and the imagination. He attacks the utilitarian resistance to fairy tale and especially Maria Edgeworth’s manifesto on the usefulness and uselessness of various genres of children’s literature, and criticizes George Cruikshank’s revisionist project of furthering certain social doctrines, mainly teetotalism, by interpolating moralistic messages into famous fairy tales. Much of this preoccupation is followed up in Carroll’s Alice books. For both, I argue, these didactic revisions are related to patterns of language control, banned words, and euphemisms that they repeatedly probe and parody in their fiction. My essay will examine the representation of language control, self-censorship and verbal training in terms of an early, Victorian-era politically-correct discourse; I will ask what, if at all, Dickens and Carroll’s treatment of these issues may contribute to the current debate surrounding our own politically-correct culture.

‘A Different World’: Dorothy K. Haynes's Domestic Horror

Throughout Dorothy K. Haynes's work Scotland is presented as uniquely infused with the supernatural and tied to the ballad tradition. Although Haynes published widely in the middle decades of the twentieth century, and her work was republished in two ‘best of’ collections in 1981 and 1996, her stories remain underexamined. At her best, Haynes might be thought of as Scotland's answer to Shirley Jackson; her work is characterised by a prevailing sardonic humour and matter-of-fact approach to supernatural events. Haynes, however, approaches her Scottish setting in two very distinct ways. In her historical stories, often centring on witch trials, the physical landscape is richly described, and at times appears to have a haunting agency of its own. Her stories with contemporary settings, on the contrary, focus primarily on domestic interiors. In many of these stories, such as ‘Double Summer Time’, ‘The Nest’, and ‘The Wink’, the natural world is an intrusive, disruptive force. Examining such stories alongside more famous tales of the everyday supernatural, including ‘The Peculiar Case of Mrs Grimmond’, reveals the complexity of Haynes's approach to the supernatural, which challenges oppositions between familiar and unfamiliar, natural and supernatural and interior and exterior. Haynes's work reshapes the Scottish environment to show the instability of modern life, and the prevalence of older forms of storytelling and enmeshment in the natural world.

Culture and politics of laziness, from fairy tales to Oblomov and Bartleby

The thesis of this paper is that laziness is not a psychological property of an individual subject but a collective sentiment: it is a reaction, or perhaps even a rebellion, against those who lock us within a culture that sees activity as a supreme value, often as an end in itself. Laziness is the response to those who force us to do and overdo, to give ourselves over to our occupations with zeal and constancy, total dedication and blind perseverance. So, it is not true that a lazy person does nothing, rather they do everything they can in order to not do anything. They work frantically in order to create the perfect conditions that allow them to activate their inertia. This paper tries to prove this thesis by analyzing some exemplary texts such as Goncharov's Oblomov, and linking it, upstream, with traditional Russian fairy tales and, downstream, with Melville Bartleby's famous tale.

METHODOLOGICAL ASPECTS OF CREATING FAIRY TALES AS A MEDIA EDUCATIONAL PRODUCT BY CHILDREN OF PRESCHOOL AND PRIMARY SCHOOL AGE

Methodological peculiarities of creating fairy tales at preschool and primary education institutions have been investigated. The new State Standards for Preschool and Primary Education provide the development of children’s creativity and innovation. The importance of media education is growing due to the development of innovative media products, which is a fairy tale. It has been stressed on creating fairy tales as a component of storytelling. Emphasis has been placed on the fact that the ability to create a fairy tale is one of the learning outcomes of primary school students in accordance with the Typical educational programs. The objective of the article is to substantiate the methods of creating fairy tales as a media educational product of preschool and primary school age children in collaboration with parents and teachers.&#x0D; The following methods have been used to achieve the goal: the analysis of normative documents and pedagogical sources on the research problem; comparative-contrast, generalizations (for comparison of storytelling and creating fairy tales); surveys, interviews (to develop and test the effectiveness of methods of creating fairy tales as a media educational product). The origins of the creating fairy tales by children in the middle of the XXth century have been demonstrated. The common and distinctive features of traditional creating fairy tales and storytelling have been clarified. Contradictions regarding the use of storytelling have been identified, in particular between the growing interest in digital storytelling and the requirements for time-limited contact of children with gadgets and other technical devices.&#x0D; Four stages have been defined in the developed methods. They are the following: 1. Preparatory – choosing a favorite fairy tale. 2. Search – finding a situation in which a child becomes a participant. 3. Implementation – the child’s “entry” into a fairy tale, the design of his/her activities and the role or the profession in a fairy tale. 4. Final – the analysis of the child’s and other characters’ behavior in a fairy-tale situation. The ability to produce creatively media products as an indicator of media literacy formation has been reflected. Specific examples illustrate the ways to transform famous fairy tales into a new way. Emphasis has been placed on media educational tales as a means of media education at preschool and primary education institutions. The advantages of the developed methods of creating fairy tales have been shown: it allows parents, children and kindergarten teachers/teachers in partnership to transform well-known fairy tales in a new way, to implement the function of protection against harmful influences of new media, to strengthen family relations and family ties with preschool and primary education institutions, to improve media culture. The results of a survey of preschoolers’ parents on reading and creating fairy tales have been presented.

Fast and Steady Wins the Race

In Aesop's famous tale, a hare was making fun of a tortoise for being slow, so they decided to race. Early in the race the hare had a big lead, so it decided to take a nap. While it slept, the tortoise passed by and won the race. I've been told the moral of this story is “slow and steady wins the race,” but I've also seen it explained as “the race is not always to the swift.” But I have issues with both of these interpretations. While some industries can be thought of as races, ours is a responsibility. Fast and steady wins races. In fact, the fastest and most consistent are the winners of every race. In the end, it's the definition of a race that whoever (or whatever) wins is deemed the fastest. While Aesop's rabbit was fast, it was not so swift—intellectually, that is. Unless the rules of the race aren't fair, the race is always to those who are most mentally swift and talented. The issue here is that not everything should be described as a race. And here's where water professionals are concerned, because although “slow and steady” is important for making progress, the water industry isn't a race. It's an unending duty that's never “won.” There's no starting gun or finish line to cross—just people who need safe water every day. While some industries can be thought of as races, ours is a responsibility. And when water professionals retire, they hand those responsibilities off to the next generation, with each working steadily—fast or slow—to make things better. Like most situations, things aren't always so binary, and we all fall somewhere between a tortoise and a hare. Wherever you fall on that spectrum, just remember that sometimes you have to walk, but when you can, get out there and run. You'll win if you are the swiftest—just be smart about it. This issue of Journal AWWA features articles on potable reuse, utility resiliency, capital planning, conservation, and much more. If you are interested in submitting an article, please contact me at journaleditor@awwa.org.

Du conte au théâtre contemporain pour la jeunesse. De la mise en scène des émotions

Dans les contes, les émotions des personnages sont le plus souvent traitées de manière allusive.En revanche, dans les réécritures contemporaines qui les actualisent pour les adapter à un jeunelectorat, l’emploi de la première personne donne accès à l’intériorité des héros, au plus près de sesinterrogations et de ses tourments. Cette évolution est particulièrement sensible dans les transpositionsthéâtrales pour la jeunesse qui, en donnant la parole aux personnages, leur confèrent le pouvoird’exprimer leurs émotions et d’exorciser leurs souffrances. C’est ce théâtre porteur de résilience quenous proposons d’explorer, à travers quelques exemples de réécritures des contes les plus célèbres.Mots clés : conte, théâtre, émotions, résilience

Pedro Antonio de Alarcón and the Maelstrom

Pedro Antonio de Alarcón's short story "Los ojos negros" ends with the death of two rivals in the Maelstrom. That Arctic Ocean whirlpool has been the setting of many literary depictions of disaster or survival from almost certain death. Edgar Allan Poe used it as the focal point in his famous tale "A Descent into the Maelstrom." Alarcón's praise of Poe's description of a sailor's escape from the Maelstrom and his essay on the introduction of the American writer into Spain have suggested Poe's short story as a source for "Los ojos negros." Yet, the dates of these writings do not correlate and have perplexed scholars. The present study reveals more likely background and models for Alarcón's tale in two little examined Spanish periodicals, models that have textual similarities with "Los ojos negros" and pose no problems with respect to publication dates.

Slow and steady climbs the waterfall

![Graphic][1] When Aesop penned his famous tale of the tortoise and the hare, he probably wasn't thinking about the waterfall-climbing gobies of Reunion Island. Not one, but two species of Sicydiinae gobies call this place home, embarking on an arduous journey upstream (literally!) to find

A ghost in my house

A ghost in my house

Естетизація християнського етичного ідеалу в казці О. Вайльда «Щасливий принц»

The paper explores the problem of the relationship between the ideas of aesthetics and the Christian doctrine of active love in the famous tale written by O. Wilde. The research which emphasizes the Christian basis of the author's outlook became the methodological basis of the present study on the background of a detailed analysis of various assessments of the writer's position, interpreted as an immoral aesthete and as a supporter of socialist ideas or a recipient of ideas of ancient philosophy of spiritual beauty. The study proves this in detail, analyzing the plot and figurative solutions of the fairy tale «Happy Prince», taking into account the traditional Christian symbols. Thus, the image of the Prince-Statue, decorated with gold and precious stones, is interpreted as a symbol of Christ, who gives his splendor and power to save the poor. It is also reminiscent of the words of Christ, who tells a young rich man who seeks perfection to sell his wealth and give money to the poor. The very values of the earthly world, gold and precious stones, luxurious things made of them, are transparently interpreted in an ironically reduced tone. The confirmation of the fact that the aestheticization of being yields to the hidden spiritual greatness of Christian love and self-sacrifice is also that that the values of the earthly world, gold and precious stones are transparently interpreted in an ironic tone in the fairy tale. The swallow, being the ancient symbol of the Renaissance, this bird was lured by the perishable beauty of idols and tombs of Egypt, the biblical symbol of captivity. The swallow finds its purpose in the service of the Prince, scattering his precious clothes to the poor. And here the ethical criterion turns out to be higher than the aesthetic one. They are not rewarded on the Earth: the bird dies of the cold, and the remains of an unpresentable statue of the prince are demolished, the decisive word to belong to the professor of aesthetics. However, the angel of God brings the most precious things he has found in this city to the heavenly palaces of the Lord: the tin heart of the Prince, torn by grief, and a dead bird. By analyzing the writer's ideological system with implicit implications, Wilde's position is quite obvious: despite his apparent admiration for the aesthetics of beauty, the writer rejects ultimately the doctrine of aesthetics and exalts Christian values, setting out his concept in the style of a parable.

Back Cover: Metal‐Carbene‐Templated Photochemistry in Solution: A Universal Route towards Cyclobutane Derivatives* (Chin. J. Chem. 11/2019)

The love story of “Niu Lang and Zhi Nv” is one of the most famous tales in China. The couple separated by the Tianhe river were able to meet each other once a year with the help of numerous magpies who built a colorful bridge across the river. With this backdrop, Y.‐F. Han et al. present in their article a metal‐carbene‐templated photochemistry in solution. Assisted by the bridge of carbene‐metal‐carbene units, two olefin substrates can reach each other closely, leading to photodimerization and the formation of cyclobutane derivatives. More details are discussed in the article by Han et al. on page 1147–1152. image

Niezależne myślenie dzieci. Bajki w szkole jako źródło dla nauczycieli według odkryć freudowskich

The paper presents an example of school exercise based on creative use of fairy tales in order to stimulate children’s independent thinking. The aim is to use fairy tales in the teaching process as a way to develop independent thinking and creativity, both for teachers and pupils. Fairy tales, among others, the Brothers Grimm stories as well as Aesop’s and La Fontaine’s fables, were analyzed as the possible allies of one’s creativity. In the research, the children were asked to change the ending of a very famous fairy tale as a way to practice their independent thinking. The development and use of independent thinking constitute the special responsibility of teachers/adults in their relations with children.

A Feminist Critique of “Voice” and the “Other” in J.M. Coetzee’s Post-colonial Novel “Foe”

This paper seeks to analyze the techniques and effects of voice and silence in the life of a female character in J. M. Coetzee’s Foe. The analysis shows how the character of Susan Barton in Foe gives readers a feminine perspective on the famous tale of Robinson Crusoe. The method of investigation is a critical examination of the characterization of the female character; the research analyzes the events, actions and the interactions of Susan Barton, with a sight to identify how the character of Susan is portrayed in the novel. The analysis shows that while Susan is able to find a “voice” in some parts of this post-colonial text, her constant submission to strong male characters in the novel ends up showing a picture of a frail woman who defines her existence and individuality relative to men in her life. It strengthens the fact that women were still struggling to free themselves from the patriarchal domination of the post-colonial era.

Speaking for the trees: The real Lorax and upcycled conference posters

On the trail of the Lorax Dr. Seuss’s fanciful Lorax may have a real-life inspiration, with a scientific paper to back up the claim. A team reports that the patas monkey (Erythrocebus patas) may have been the muse for the conservationist Lorax, who speaks for the trees in Seuss’s famous tale of the same name (Nat. Ecol. Evol. 2018, DOI: 10.1038/s41559-018-0628-x). When Nathaniel J. Dominy, an evolutionary biologist, and Donald E. Pease, an English professor and Seuss biographer, got to talking at Dartmouth College—Seuss’s alma mater where both Dominy and Pease work—they homed in on Kenya’s patas monkey. Dominy remarked that the patas monkey, familiar to him from fieldwork, resembled a Seuss character. Meanwhile, Pease noted that Theodor Seuss Geisel (Seuss’s real name) had written 90% of “The Lorax” while visiting Kenya in 1970. What’s more, the patas monkey makes a whistling noise that could have inspired the “sawdusty sneeze”

From a Cockroach’s Point of View: The Metamorphosis of Perception in Kafka

The article offers a reading of the famous tale by Kafka focused on the consequences triggered by the sudden transformation of Gregor Samsa into an insect. This event constitutes the starting point of a shift that involves phases and components of perception both of the self and of the world as well as the relations among the inner and the external world, the most elementary awareness and feelings and the most complex ones, which are affective, cognitive and related to interactions, expressed with particular emphasis by the dynamics of the spatial dimension of the story. Two discursive paths intersect above all: on one side, the traveling salesman wakes up with the/in the body of cockroach while his soul is the same as always. He will have to try to become cockroach, that is to assume its perceptions and then, slowly, its tastes, its impressions and any other animal sentiment. At the same time, the becoming of Gregorio’s family will be antiphrastic to the one experienced by him: from inept, passive parasites of their akin, as they are depicted at the beginning of the story, his family members will gradually turn into active bourgeoisies full of projects, rejecting Gregory up to eliminate him: they are the ones dehumanizing themselves, while Gregory refines his sensitivity in suffering, even to the sacrifice.