Folk Tales Research Articles

Wettererscheinungen in Märchen, Sagen und anderen Volkserzählungen

Abstract We hear weather reports every day and, in a digitally networked world, learn in real time here and how catastrophic damage causes weather upheavals. The universal significance of the weather for humans, animals and the environment is reflected in different ways in European folk tales. Popular beliefs often play a role in this. This article is intended as an overview of the most important phenomena.

What Does One Need to Build a Bridge in Slovenia? Research on Slovenian Folk Tales, Games, Dances and Rituals Related to Bridge Construction and the Building Process

What Does One Need to Build a Bridge in Slovenia? Research on Slovenian Folk Tales, Games, Dances and Rituals Related to Bridge Construction and the Building Process Human sacrifices and supernatural beings are the two most common motifs in folklore material related to bridge-building projects. This article is an attempt to deal with Slovenian folklore material that refers to the act of bridge building and to show which of these motifs seem to be closer to the Slovenian tradition. To achieve this goal, I present examples of Slovenian folktales, dances, games and other folk culture texts. I also highlight the root causes that potentially resulted in the prevalence of one of these motifs. Czego potrzeba, by zbudować most w Słowenii? Badania nad słoweńskimi tekstami ludowymi, grami, tańcami i rytuałami związanymi z budowaniem mostów i procesem budowy Ofiary zakładzinowe i istoty nadprzyrodzone to dwa motywy najczęściej pojawiające się w tekstach kultury ludowej dotyczących budowania mostów. Artykuł stanowi próbę omówienia słoweńskiego materiału folklorystycznego związanego z budową mostów i pokazania, który z tych motywów wydaje się bliższy słoweńskiej tradycji. W tym celu przedstawiam przykłady zaczerpnięte z zachowanych podań ludowych, gier, tańców i innych tekstów kultury ludowej. Zwracam również uwagę na przyczyny mogące powodować przewagę w częstotliwości występowania jednego z motywów.

සංස්කෘතික අනන්‍යතාව ගොඩනැගීම උදෙසා පුරාවෘත්ත භාවිතය

Human culture is a very important subject area in the study of man. According to anthropologists, onlyman can maintain a culture. Some anthropologists said that the personality of man is also greatly affectedin the analysis of culture. They termed personality as the behavioral patterns that are often used by aperson and the strategies that are used to solve the various problems that they face. Here the relationshipof culture from birth to formation, growth and survival of man is highlighted. Accordingly, it will beclear that the culture of which he is a part and the history of the group or society to which he belongsinfluence the development of a man's personality. The personality developed in this way is completelyconnected with the individuality of man. however, man cannot exist without his culture because hispersonality and individuality are dependent on his cultural identity. Therefore, the personality andindividuality of man is shaped by the social culture in which he exists. It seems that this construction isdone by using legends and literature of respective societies. Also, the value systems of the society towhich a certain person belonged, are included in literature folk tales, folk poems, and the advice ofelders. These legends are a collection of fables considered to be ancient stories. what is underinvestigation here is the construction of that cultural identity by using those legends. according to that,the poem ‘’Daru Nalavilla’’ by the poet S. Mahinda (Tibetan) thero of the Colombo era, is investigatedusing the content analysis method.

The Past Is Not What It Used to Be: Contemporary Myths, Cold War Nostalgia and Abandoned Soviet Nuclear Bases

This article delves into the contemporary social perception of the three abandoned Soviet Cold War tactical nuclear bases in Poland, focusing on often overlooked phenomena in archaeological studies such as the contemporary myths (folk tales, contemporary legends, modern folklore, etc.) and nostalgia that have emerged around these sites. While contemporary myths and nostalgia are distinct phenomena with different outcomes, they share a common feature: a mythologized approach to the past. Established historical and archaeological narratives, derived from detailed studies, often coexist with alternative versions of the past inspired by folk imagination. This article aims to highlight their cultural value as an integral part of local identity, actively shaping the perception of material heritage. Contemporary myths offer insight into another layer of collective perception of the past, while nostalgia delves into the emotional aspects of human existence, coping with transience and searching for meaning.

Ascendancy of Folk Tales on Children’s Cognitive Skills: a Behavioral Perspective

India is a nation rich in cultural diversity. Every culture has a unique way of knowing things. All of India's major languages have seen a significant increase in interest in the gathering, preservation, analysis, and study of folk literature since the country's independence. Every civilization's language and culture are fundamentally shaped by its folk literature. Folk literature, sometimes referred to as oral tradition or folklore, is the customary knowledge and beliefs of non-written societies. This essay demonstrates how folktales affect children's cognitive development. It also looks at the alterations in behaviour that take place. Fairy tales not only aid in a child's growth but also offer a multitude of therapeutic uses. This gives a fantastic way to get into children's imaginations through the investigation of fairy tale recollections and the nonthreatening, entertaining application of these too painful or frightening events. For instance, the struggle between good and evil is a recurring theme in fairy tales all throughout the world.

Kindheit in den Volkserzählungen der Zipser aus der Maramuresch und der Südbukowina: Erinnerungen einer vom Schicksal geprägten Generation

Abstract Childhood as a theme has often been addressed in various works, but in this case, it is outlined through the stories handed down from generation to generation by the Zipser Saxons from Maramuresh and Southbukovina, who have had a similar path and development over the years. Folk tales are a source of cultural identity and collective memory, especially for ethnic minorities such as the Zipser Saxons, often offering deep insights into the history, traditions and values of their community. This raises the question of how the childhood memories of a generation shaped by destiny are conveyed through the stories.

Ethics in Sambas Malay Regional Literary Texts

This research seeks to explore and understand the ethical values reflected in the texts of Sambas Malay folklore. Thirty-five (35) texts were studied, which are compiled in seven (7) books of Sambas Malay folk tales, namely Si Gentar Alam, Datuk Kulup, Anak Hantu, Kalantika, Si Miskin dan Firman Tuhan, Kandung Dagang Palembang, and Nek Kuntan. Through the close reading method, ethical values that guide the lives of the communities owning these texts were found. The dominant values relate to honesty, loyalty, a sense of shame, humility (not being arrogant), prioritizing others (altruism), forgiveness, religious devotion, caring for the poor, obedience to parents, respect for leaders, and respect for others. These ethical values have preserved the life of the community for centuries. In navigating life in an era filled with rapid change, high uncertainty, complex issues, and ambiguity resulting from technological disruption, these values remain highly relevant. Therefore, these ethical values need to continue being internalized in the lives of the Sambas Malay community in particular, and Indonesian society in general.

Influence of Walt Disney’s Work on Soviet Cartoons

In the mid-1930s, Walt Disney’s cartoon characters conquered screens all over the world. The Soviet Union was not spared from this fascination. Despite the fact that Soviet animation took its first steps in the mid-1920s and by the time of the Disney craze already had several successful films (e.g., “The Rink”, “The Post Office”, “Black and White”), domestic cartoonists fell under the “Disney hypnosis”. This leads to active borrowing of Disney methods, imitation of the performing manner, copying characters. At the newly established studio “Soyuzmultfilm” with the approval of high film bosses begins work on the creation of “his Soviet Mickey Mouse”. For the basis of cartoon production take the flow method – conveyor, which allows, thanks to the use of celluloid sheets instead of paper, accelerate the production of cartoons. This method of creating cartoon pictures divides artists into supporters and opponents of Disney methods. Some of the opponents are leaving the profession, believing that the conveyor belt method would turn the art of animation into a craft.However, even uncompromising supporters of Disney animation quickly realize that direct copying of the great master’s tapes leads domestic animation to a dead end, as it becomes obvious that Disney’s tricks, techniques and images cannot be adapted to traditional stories: folk tales, fables. In addition, in the second half of the 1930s, the USSR changed its cultural policy. All this leads to the struggle against “Disney” and the search for their own unique style of Soviet animation.The article analyses the memoirs of cartoonists N.P. Khodataev, I.P. Ivanov-Vano, A.V. Ivanov, F.S. Khitruk and others, their perception of Disney’s work, their attitude to the borrowing of the master’s creative methods, as well as the experience of creating their own works using Disney technologies.

영성군 박문수의 어사 활동 재검토

This study aims to reexamine Park Mun-su’s history of secret royal inspector activities and to determine what role Park Mun-su played as a royal inspector. All of Park Mun-su’s royal inspector activities pointed out in previous studies were confirmed, and through this, the actual history could be reexamined. Among the actual royal inspector histories, the royal inspector we know did not exist, and in a broad sense, he was dispatched to the provinces in the role of a royal inspector. This fact has been passed down through many royal inspector tales. In particular, many such tales can be found in Gyeongsang-do, as many royal inspectors were dispatched to the Gyeongsang-do region as royal inspectors. Park Mun-su also left a great impression on Hamgyeong-do. This is because the role he played in Hamgyeong-do for the starving people was not small. From the perspective of the people of the time, it did not matter whether he was a royal inspector or a general royal inspector. Park Mun-su, who was dispatched as a royal inspector, left a strong impression on the people of Gyeongsang-do and Hamgyeong-do. Through such memories, the local people were able to leave behind many tales. Park Mun-su’s activities and significance as a messenger of the king are still passed down to this day through folk tales as well as sufficient historical facts.

북한과 중국의 설화 분야 비물질문화유산 지정 현황과 시사점

The purpose of this paper is to examine the current status and implications of folktales as cultural heritage North Korea and China to find a way to designate folktales as national intangible cultural heritage. To achieve this, we reviewed the current status of folk tales designated as intangible cultural heritage in North Korea and China, focusing on their content, selection criteria, and selection methods. North Korea began designating intangible cultural heritage in 2012, and China in 2006, with folktales accounting for more than 10% of the total list. North Korea has confirmed the designation of 13 folktales as national and local intangible cultural heritage, while China has designated 167 folktales as national intangible cultural heritage. In North Korea, the first criterion for designating a folktale as an intangible cultural heritage is the fact that Kim Il-sung, Kim Jong-il, and Kim Jong-un showed interest in the tale and mentioned it. Second, it is material with content that can be used as a means of public education. Third, it is material that uniquely reflects the historical and local characteristics of North Korea. Fourth, the target of designation is the recreated current publication rather than the narrative prototype of the folktale text. The characteristics that can be confirmed through the list of designations in the field of Chinese folk tales are: First, materials from minority ethnic groups are given priority over oral literature from the Han Chinese, the mainstream ethnic group. Second, the designation is based on the region where the tale is handed down. Third, for tales that are handed down in a wide area, all of the regions where the tale is handed down are designated. Fourth, if additional areas for the transmission of folk tales designated as primary are discovered, the areas for transmission are expanded and additionally designated. Fifth, the designation targets are comprehensively designated as single works or groups of tales, and also include historical records and modern publications. The designation of Korean folktales as intangible cultural heritage can be attempted in various directions. It requires passionate efforts from the national administration and academia with an open perspective regarding the cases of North Korea and China.

The Principle of ‘Harmony’ in the ‘Separation-Reunion’ Structure of Folk Tales: A Comparison between The Woodcutter and the Fairy and Snake Bridegroom

The Principle of ‘Harmony’ in the ‘Separation-Reunion’ Structure of Folk Tales: A Comparison between The Woodcutter and the Fairy and Snake Bridegroom

강원도·불·강철이 -문화유산으로서 강철이 설화의 가능성-

Kangcheol-i is a legendary monster from the eastern part of Korea, known from the proverb “Wherever Kangcheol-i goes, autumn and spring are also spring.”, and has been recognized as a type of Imugi. However, according to oral traditions, Kangcheol-i appears as a corrupted Imugi in the Yeongnam region, whereas in the Gangwon-do, Kangcheol-i is a monster associated with fire, unrelated to Imugi. The earliest record of Kangcheol-I is found in Jibong Yuseol by Lee Soo-gwang. The oral folktale is centered in the Gangwon-do region, and Gangwon-do tale tends to use the name Kangcheol-i alone. The lore centered on Gangwon-do frequently includes references to “fire.” The difference between the Gangwon-do tales and those of other regions seems to stem from the distinct local perception of fire. There are two main socio-cultural characteristics of the Gangwon-do region. First, the Yeongseo region of Gangwon-do historically practiced slash and burn farming. The form of the rainmaker rituals in the folk tale of Kangcheol-i corresponds to those of “slash-and-burn” agricultural rainmaker rituals. Next is the geographical and climatic characteristics of Gangwon-do. Gangwon-do is a region prone to forest fires, and Yeongseo was a region prone to droughts and forest fires due to its dry climate. With these two backgrounds, steel tales in Gangwon-do tend to be more strongly associated with fire than those in other regions. For slash-and-burn agriculturalists in Gangwon-do would have created a different transmission pattern from other regions. In this way, the story of Kangcheol-i, which shows the regionalism of Gangwon-do in slash-and-burn agriculture and fire, has been passed down until the 21st century, and since it is a story that reflects the lifestyle of the local people, it may have some significance as an intangible cultural heritage.

THE LINGUISTIC PICTURE OF THE WORLD IN THE KAZAKH FAIRY TALE: THE CONCEPT OF GOOD AND EVIL

The article considers the concept of «good» in Kazakh fairy tales. Revealing the worldview, behavior, and general character of a people means identifying the most important socio-psychological characteristics that have historically developed from the socio-economic system, way of life, existence, living conditions, etc. The formation of people’s national way of life is influenced by natural conditions, the world of plants and animals, which, in turn, determines the type of work they do, the system of traditions and customs. The linguistic picture of the world is a holistic, systematic reflection of reality, carried out using various linguistic means. The article examines the reflection of the fable «Good follows good, evil follows evil» in fairy tales, which was formed in the Kazakh worldview. It is studied as the basis of knowledge accumulated from the life experience of the people, and is subjected to scientific analysis based on the data of the fairy tale. When we study good and evil together, no matter what folk tale we take, there is no hero who gets his way by doing bad things. There will never be such a hero. It is believed that the opposition of good and evil is present in every language, in the linguistic image of every world. In the texts of folk tales there are sometimes multiple variations. This is natural, since folk tales have many different versions. In this case, one of the most important factors is that the fairy tale is easy to read and easily perceived. The difference between good and evil, which is still considered relevant today in the linguistic picture of the world in Kazakh fairy tales, and its definition through simple reflections of everyday life is easily illustrated with visual and specific data. Keywords: literature, fairy tale, national peculiarity, culture, folklore, opposition, concept.

Religious Integration and the Development of Caodaism: An Overview

The formative stage of Cao Dai religion is closely connected to Vietnamese traditional myths, tales, doctrines and practices that are mostly transmitted orally down to the centuries. At the same time, Caodaism constantly maintained its links with religio-cultural elements of Chinese, Indian and Western origin. Due to this fact, Caodaism, with its synthesis of Eastern, Southeast Asian, Indian and Western elements specially from indigenous folk tales, Buddhism, Hinduism, Taoism, Confucianism, and Christianity, appeared as the religion of an acclaimed small group in 1926. This paper aims to examine how Caodaism evolved by a long-term process of Western and Asian acculturation. Thus, first to be considered is the significant role of socio- historical factors in creating a strong footing for the progress of Caodaism in Vietnam at the beginning of the early 20th century. Second, the process of Vietnamese acculturation is taken into consideration through which Caodaism borrowed diverse elements from different resources around it. Methodologically, a critical discourse analysis is adopted to consider the characteristics of Caodaism and its sociohistorical structure that is required to understand its historical origin and development. In conclusion, first, the study clearly demonstrates the close connection between Caodaism and the major factors of acculturation such as integration and assimilation for its development and diffusion around the South of Vietnam. Second, the current problem demands a careful consideration of some other crucial factors that might have influenced the rise and progress of Caodaism since its official journey in 1926. Philosophy and Progress, Vol#73-74; No#1-2; Jan-Dec 2023 P 21-36

The Image of the Negative Man in the Folk Tale (Qalat Hamida & Qalat Ajibiya) is a Model A Study According to the Descriptive Analytical Approach

The folk tale or Popular tale, as a popular prose art, is transmitted orally from one generation to another. Therefore, the folk tale has occupied a prominent place among other literary genres, due to its characteristics and features that have made it present to various nations and peoples. It expresses the hopes and dreams of those peoples who have taken It is a way to have fun...and get rid of the harsh reality. These folk tales included different images of that life, as they represented the image of the negative man, and the traits of betrayal and weakness that characterized him. The folk tale is one of the means that preserve cultural heritage and consolidate cultural identity. It is one of the most important forms of expression. It is a summary of the experiences of generations, formulated in an interesting narrative form, full of lessons and noble values. It is a creation of the imagination in which the wisdom of society is revealed. It is a reflective mirror of the society in which it grew, so that the story is considered Folklore is one of the genres of popular literature that is beloved by adults and children, due to the elements it contains that attract, excite, and enrich the imagination, in addition to the positive values it contains. It is the ancient, common art of spontaneous speech, passed down from generation to generation, linked to customs and traditions. The story is the backbone of popular heritage, and it is what we metaphorically call popular literature. Among the studies of the folktale in which the researcher invested the importance of the folktale is a study by M. Furqan Abdel Kadhim Katyou Hammadi, tagged with (the popular story in the book of Qalat Ajibiya, Tihami Myths, Structure and Function).

The Miraculous Patterns of the Event in the Heritage Text of Selected Folk Tales by the Novelist Ahmed Ziad Muhabik

We are trying to show the importance of the event patterns and their presence in the wondrous Shuaibi story as a traditional structural form that has its place and manifestations in the literary narrative. It is also considered a suggestive and indicative product of the writer’s imagination, which uses the everyday variable and formulates it in a way different from what it is to show us an interesting miraculous story. Folk tales in general, and the book "Folk Tales" specifically, play a significant role in preserving popular heritage. These tales are transmitted through a chain of narrators or from one storyteller to a group of narrators. Each narrator has their language and method of conveying the story without strict adherence to the original, aiming to reconstruct it according to the situation based on the prominent elements of the tale highlighted by that situation or element. The tale may serve purposes such as entertainment, moral teaching, wisdom, putting children to sleep, or news, or it may involve a miraculous dimension built on the extraordinary and unreal.

REVIEW OF THE MOVIE OF ADSIZ CENGAVER VE SULTAN GELİN ACCORDING TO OTTO RANK'S "HERO PATTERN"

Folkloric products that folklore tries to understand and examine have attracted the attention of folklore researchers from the past to the present. Throughout the historical process, many folklore researchers have carried out some studies and investigations and put forward various theories, methods and opinions. As a result of text-centered folklore studies, theories have been created on folkloric products in this context. One of these theories is the "Structural Folklore Theory." Researchers such as J. G. von Hahn, Otto Rank, Lord Raglan, Eric Hobsbawm, Vladimir Propp, Claude Levi Strauss have developed models and methods by working in line with this theory. With the structural analysis of the hero's biography, which is one of the developed methods, aims to examine the adventures of the heroes, create a general pattern and understand the folk products in this way. Whether it is a folk tale, a fairy tale or an epic, it meets the public's need for listening and telling with the elements it contains. This needs to be continued as text-centered narratives were replaced by the electronic cultural environment over time. Especially with the development of technology, thanks to cinema, narratives are transferred to the big screen and the heroes in them are brought to the fore. So much so that the heroes in such narratives carry parts of the characteristics of the society in which they were created. In other words, the public identifies itself with the hero in the narratives and adopts him. As a natural result of this, some folklore researchers have focused their research on the heroes in the narratives. Otto Rank, who works within the framework of Structural Folklore Theory, makes a biographical structural analysis of the hero with his “Hero Pattern”. In this study, after a brief mention of Otto Rank's “Hero Pattern”, the electronic culture environment will be mentioned, and the Turkish-Iranian co-production film “Adsız Cengâver ve Sultan Gelin” will be analyzed according to Otto Rank's “Hero Pattern”. A general evaluation will be made about this situation by determining which of the items in this mold fit the movie or which items do not fit the movie.<p> </p><p><strong> Article visualizations:</strong></p><p><img src="/-counters-/soc/0871/a.php" alt="Hit counter" /></p>

Charisma and the Throne: Representations about the Acquisition of Royal Power in Russian Folk Tales

Charisma and the Throne: Representations about the Acquisition of Royal Power in Russian Folk Tales

SOME REMARKS ON THE STRUCTURE OF UZBEK FOLK MAGICAL TALES

Uzbek folklore has priceless heritage masterpieces, which include examples of folk art. These samples were recorded, collected and published from various corners of our country during folklore expeditions organized by Uzbek folklorists since the end of the 19th century. This made it possible to carry out fundamental research on the study of historical roots of specific genre features, literature, versions, plots and leading motives of folklore works. Work in this regard continues consistently today. Despite the fact that certain achievements have been made in Uzbek folklore studies, the current spiritual and educational need requires folklorists to pay special and comprehensive attention to the research of Uzbek folk tales.

The Peculiarity of Nikolai Kochergin’s Creative Method in Illustrations to Chinese Fairy Tales

The article is devoted to the study of the creative heritage of Nikolai Mikhailovich Kochergin (1897—1974) in the field of illustrating Chinese fairy tales. The relevance of the topic is conditioned by the insufficient degree of study of the artist’s heritage in this area with the general interest of practitioners and art theorists in book illustration for children’s literature in the 20th century.The aim of the article is to theoretically comprehend the artistic heritage of N.M. Kochergin on the basis of revealing the originality of the artist’s creative method of illustrating Chinese fairy tales. The following tasks are solved: to trace the creative path of N.M. Kochergin, in particular, his work in the field of illustrating literature of Eastern and Asian countries; to make a list of illustrated editions of Asian fairy tales by the artist; to reveal the influence of traditions of Chinese Gohua art on the artist’s work, specifically to study the compositional solution, the use of diffused perspective, other expressive means; to analyze the methods of stylization of images and symbols of Chinese culture and folklore in illustrations.The presented research allows not only to determine the originality of N.M. Kochergin’s creative method of illustrating Chinese fairy tales, but also to identify the specificity of representation of Chinese culture for Russian readers. This problematic can contribute to the emergence of a holistic view of the synthesis and integration of Chinese art and culture in the Russian and world artistic process. The article studies illustrations by N.M. Kochergin for such editions of Asian fairy tales as “Chinese Folk Tales” (1953), “Ten Little Friends” (1954), “The Yellow Stork and the Mountain of the Sun” (1954), “The Liu Brothers” (1955), “Persistent Yun Su” (1955), “Fairy Tales of the Peoples of Asia” (1959).