Folklore Tales Research Articles

Hong Kong – a model on the rocks?

ABSTRACT The paper presents a critical reading of the construction and circulation of the Hong Kong ‘model’ as an archetype of free-market governance, calling attention to two sides of the attendant modelling process: first, folkloric tales of the acclaimed ‘architect’ of the colony’s laissez-faire policy, Sir John Cowperthwaite, Financial Secretary during the 1960s, who has risen to cult status in free-market circles; and second, the production and propagation of indices of ‘economic freedom’, which institutionalized Hong Kong as the paragon of free-market governance and the benchmark against which the world’s economies are annually rated. Together, these long-range projects have worked to sustain depoliticized images of an economically dynamic and institutionally stable Hong Kong, ostensibly ‘ground-truthed’ to the city-state but at the same time abstracted, decontextualized and ideologically performative. They each mobilize variants of the tabula rasa myth, in this case a fusion of colonial and (neo)liberal narratives of Hong Kong as an economic miracle founded on a ‘barren rock’.

Chinese Folklore Tales as a Cultural Treasure of the Nation

The article examines Chinese folk art, which not only has pronounced national features, but also is a cultural treasure of the nation. Chinese folklore consists of myths, legends, fables, funny stories, fairy tales and tales about life, about animals, as well as works that describe famous historical figures, praise the love of the motherland. The texts clearly demonstrate the motives of admiration for the characters, give positive assessments of labor skills, analyze the characteristics of local traditions, customs and life. The folklore is an integral part of traditional Chinese culture. It educates, shapes the worldview, morals and ethics of the Chinese people. Folklore works become a kind of stage on which the life conflicts of non-heroic existence of an ordinary person with simple cultural interests (for example, communication, participation in rituals, hospitality, etc.) are played out.The article presents translations of original stories from Chinese into Russian, on the example of which it analyzes the cultural values of Chinese folklore works from the point of view of philosophy. The research is carried out using contextual, linguoculturological methods, as well as methods of analysis and synthesis. The presented research has an interdisciplinary character, because it is performed at the intersection of cultural studies and linguoculturology, folklore studies and translation studies.

Authenticity and discourses in Aladdin (1992)

Abstract Since the first encounters between the East and the West, many Western artistic productions have been produced to introduce the Orient to the Occident. Antoine Galland’s translation of the oriental folkloric tales, known as One Thousand and One Nights marked a cultural transfer through introducing an exotic, colourful and adventurous, yet unsafe, life-threatening and mysterious image of the Orient. Scholars question the authenticity of the translation, and reject the true belonging of the tale of Aladdin’s Wonderful Lamp to the oriental cultural heritage suggesting its Western construction. This fabrication suggests the existence of several discourses that are to be unfolded with the critical discourse analysis of the pictorial and textual discourse of the tale and its several filmic adaptations. The tale was fully or partially adapted in several cinematographic productions during the last century. For example, while Aladin (1906) faithfully adapted part of the original tale, the 1992 version directed by Clements and Musker is a loosely inspiration perceived through an orientalist filter. The aim of this article is to investigate the authenticity and disclose the discourses concealed in Galland’s translation and its 1992 filmic adaptation, the critical discourse analysis in addition to Edward Saïd’s Orientalism provide the theoretical framework to analyse the excerpts from the translation and scenes from the film, in order to disclose the colonial, orientalist and feminist discourses they encapsulate.

Kreyol Intertextuality and Decolonizing Narrative in Veillées noires

This essay identifies three levels of intertextuality in the short story, “Echec et mat” by Léon-Gontran Damas. Incorporating folkloric tales, lyrics from popular music, and 19th Century satiric writing in Kreyol, “Echec et mat” offers a microcosm of the intertextual techniques employed throughout the entire collection, Veillées noires. In particular, I analyze Damas’s embedding of a satire written and published in Kreyol by Guadeloupean author Paul Baudot. While this Kreyol satire—written by a white béké author from the mid-19th Century—is ambiguous politically, and must be determined by musical and folkloric references, Damas nevertheless signals the importance of earlier Caribbean writing in Kreyol. Such writing co-exists with other forms of cultural production and is part of the reservoir from which Damas draws to assemble his complex anti-colonial discourse. These intertextual traces reveal a cultural identity that is plural as well as anti-colonial.

ILLUSTRATIONS IN TOTEMISM AND MYTHOLOGY AS PANACEA FOR ENHANCING CULTURAL STUDIES AMONG IGBO SECONDARY SCHOOL STUDENTS IN NIGERIA

Totemism is the philosophy in which animals and inanimate objects called totems are accepted as harmless co-habitants of man. Myths are folkloric tales of origins and existence, which are as doubtful as they are credible. In assessing Totemic and Mythological Imagery for cultural studies, the study specifically sought to; (i) measure the extent to which Igbo cultural images can hold students’ attention during cultural studies, and (ii) explore Igbo totemic and mythological themes for traditional synthesis in art. The research was experimental and descriptive survey. The 4-week long vacation experiment comprised 40 Junior Secondary School students of ages 12-14 (treatment, n=20; control, n=20) randomised from 60. The subject foci were; (i) Cultural Studies; Igbo, Social Studies and Agriculture, and (ii) Art; Fine art, Poetry and Drama. Three study instruments were used; (i) Igbo Totemic and Mythological Illustrations Scoring Chart (ITMI-SC), (ii) Igbo Totemic and Mythological Illustrations Mean Rating Table (ITMI-MRT), and (iii) Igbo Totemic and Mythological Illustrations Post-test Impact Assessment Mean Rating Table (ITMIPIA-MRT). The post-test course tagged; Igbo Totemic and Mythological Illustrations Post-test Impact Assessment Test (ITMI-PIAT) involved the treatment and control groups in a free-topic choice of artistic contents. Findings showed that the treatment group progressed in cultural studies with artistic illustrations and subsequently explored Igbo mythological contents freely in art. During the ITMI-PIAT post test, the treatment group excelled beyond the control group members who were significantly atelic. It is recommended that teachers adopt artistic pedagogies for ethnographical studies while injecting traditional contents in art learning processes.

Las brujas y la mitología vasca en El guardián invisible de Fernando González Molina: de la tradición oral al lenguaje cinematográfico

Witches and Basque mythology in El guardián invisible by Fernando González Molina: From the oral tradition to cinematographic languageThe article investigates the way the oral tradition of Basque mythology and folkloric tales of witches resonate in the cinematographic language of the film El guardian invisible by Fernando Gonzalez Molina, which presents the investigation of the killings of young girls in Navarra. The study is based on anthropological and morphological analysis which intends to find the meanings expressed by means of filmic expression related to the contents and topics of our interest. The world presented in the film is marked by the presence of supernatural powers, the quality of which may be observed in both the contents and form of the film. The motives of the mythology correspond to the way of presenting them in an oral story. Regarding the image of witchery, it seems to be inspired by the vision which led the inquisitioners to the zone in question. The film refers to the stories of the trials of witches and presents both witch-hunting and genocide of free women. At the same time, it criticises popular culture and its negative influence on creating the prejudicial image of witches.

Народные и авторские сказки в аспекте языкового сознания

The analysis of the problem of the relationship among folk, authors’ folk and authors’ literary tales with linguistic consciousness types is presented. The analysis results indicate that the texts of fairy tales are linguistic representatives of creative (artistic) consciousness and correlate with types of concepts. Folk tales reflect the creative potential of everyday consciousness and represent the folklore concept. Authors’ folk tales are interpretative tales that reflect the syncretic (collective and individual, folk and author’s) consciousness and implement the folklore and literary concept. The literary fairy tale itself is a textual representative of its author’s individual artistic consciousness and the reached artistic concept. It is important to take the form of fairy tales’ household into account – oral (folk tales) and written (author’s literary tales), their relationship with the subject (storyteller or author) and focus on the object (listener or reader). This determines the variability and non-variability of fairy tales. Types of linguistic consciousness are associated with the language: in folklore tales, folk language that is not processed by masters is used, in author’s tales, literary language that implements an individually authors’ system of language means is used. In folk tales, traditional folk poetry is presented, in author’s tales – traditionally artistic and artistic poetics. The individual style of folk tales is traditional for folklore and the individual style of literary tales is individually authors’.

Indigenous Narratives as Experimental Cinematic Texts in Nigerian Films

The paper seeks to consider the employment of folkloric tales (traditional stories) in indigenous Nigerian films as stimuli for establishing a definitive film industry. The integration of oral features into Nigerian films dates back to the era (1980–1990s) of early films in Nigeria: consider Ajani Ogun (1976), Daskin da Ridi (1990), Egg of Life (2003), Festival of Fire (1999) etcetera. Studies on Nigerian film and oral culture established that the strong narratives of Nollywood films are drawn from indigenous folk stories; indeed, the films are mostly adaptations of folktales. This article demonstrates Nigeria’s cultural history through investigating the role of culture as a strong contributor to media development in Nigeria. The research is based on textual analysis of three Nigerian films, namely The Fish Girl (2016), Hypocrisy (1992) and Daskin da Ridi (1990) as primary texts. The methodology is primarily textual. The study draws on a textual analysis of selected Nigerian films to determine their sources. The study adopts the African film theory which juxtaposes the pre-modern with modernity where the oral tradition and filmmakers are fused together, as highlighted by Tomaselli (1992). The hypothesis is that traditional folktales play an important role in the development of the Nigerian film industry (Nollywood). The study reveals that folktales and other oral genres set a footprint for film texts in Nollywood movies. Therefore, this indicates that there is a clear (although thus far, often ignored) bond between indigenous folk narratives and modern Nigerian films.

Anna M. Nogar, Quill and Cross in the Borderlands: Sor María de Ágreda and the Lady in Blue, 1628 to the Present (2018) and Anna M. Nogar, Enrique R. Lamadrid, and Amy Córdova, Hermanas de azul: Sor María de Ágreda viene a Nuevo México / Sisters in Blue:

Reviewed by: Quill and Cross in the Borderlands: Sor María de Ágreda and the Lady in Blue, 1628 to the Present by Anna M. Nogar, and: Hermanas de azul: Sor María de Ágreda viene a Nuevo México / Sisters in Blue: Sor María de Ágreda Comes to New Mexico by Anna M. Nogar, Enrique R. Lamadrid, and Amy Córdova Elizabeth McDyer (bio) Anna M. Nogar, Quill and Cross in the Borderlands: Sor María de Ágreda and the Lady in Blue, 1628 to the Present. University of Notre Dame Press, 2018. Pp. 474. Anna M. Nogar, Enrique R. Lamadrid, and Amy Córdova, Hermanas de azul: Sor María de Ágreda viene a Nuevo México / Sisters in Blue: Sor María de Ágreda Comes to New Mexico. University of New Mexico Press, 2017. Pp. 88. In Quill and Cross in the Borderlands: Sor María de Ágreda and the Lady in Blue, 1628 to the Present, Anna Nogar takes her readers on an astonishing transatlantic journey through the centuries. She uncovers María de Ágreda, the at-times-forgotten or narratively limited Spanish nun historically identified as the protagonist of the [End Page 219] US Southwest "Lady in Blue" folkloric tale. According to the tale, de Ágreda bilocated, miraculously appearing to Indigenous populations in what is now the US Southwest to prepare them for Christianity and colonization although she never left Spain. As Nogar notes, scholars have largely ignored the Lady in Blue story except as a regional legend, disconnected from its larger historical context. In contrast, Nogar inserts the story of the Lady in Blue within its transatlantic context of Spain, New Spain, and the missionary zeal of what is now the US Southwest. By examining Lady in Blue narratives contextualized by historical, cultural, and oral sources, she argues that the staying power of the legend stems from de Ágreda's popularity as a spiritual author in Spain and New Spain. In so doing, she affirms María de Ágreda's preeminent role as a female colonial figure. To do this, she examines the miracle narrative over four centuries and the transatlantic circulation of de Ágreda's writing. After her well-crafted introduction, Nogar leads us through the history of the Lady in Blue narrative on the one hand, and the biography of María de Ágreda, including the diffusion and societal role of her spiritual writings, on the other. The first four chapters trace the narrative history alongside Sor María's biography and writings during the colonial era. Chapter 1 examines the foundational texts of the Lady in Blue narrative, with special attention to their writers (evangelizing missionaries) and their respective audiences. In chapter 2, Nogar establishes Sor María's importance in seventeenth- and eighteenth-century Spain as a spiritual author and confidant to King Phillip IV, which allowed her most famous text, Mística ciudad de Dios, to circulate broadly. Chapter 3 details how her prominence in Spain led to her role as an influential spiritual author and religious figure in New Spain, with wide publication of her works that made her ideas accessible to large swathes of colonial Mexican society. Sor María's popularity in Spain and New Spain formed a transatlantic devotional community. In chapter 4, Nogar turns her attention specifically to Northern New Spain (New Mexico, Texas, Arizona, and California). She shows that through Franciscan friars and Jesuits, de Ágreda's writing preceded and paved the way for the Lady in Blue narrative, which in turn became a foundational [End Page 220] Click for larger view View full resolution Figure 1. Illustration from Hermanas de azul: Sor María de Ágreda viene a Nuevo México / Sisters in Blue: Sor María de Ágreda Comes to New Mexico. Amy Cordova © 2017. Courtesy: University of New Mexico Press. story, "cited from both written and collective memory" and "an essential episode in the exploration and colonization" (7). The last two chapters span transformations of the Lady in Blue narrative from the nineteenth century onward. They contrast significantly with the first two centuries of the Lady in Blue narrative's history that intertwined María de Ágreda's authorial...

The Bible's Greatest Meme?

The Bible's Greatest Meme? Peter Heinegg The Book of Exodus: A Biography. By Joel S. Baden, Princeton, NJ: Princeton University Press, 2019. xv + 215 pp. $26.95. No serious reader, student, or teacher of the Bible can fail to see that the Book of Exodus is the key to the Hebrew Bible‐Old Testament and perhaps to all of Sacred Scripture. Genesis has many more appealing folkloric tales and mythic moments, but Exodus is absolutely indispensable. Here, we meet God as the Lord of history, the force that created and saved his own people, the Israelites, and bound himself to them forever in a solemn, all‐encompassing Covenant. Baden is a professor of Hebrew Bible at Yale Divinity School, and his work is part of the Princeton Press's “Lives of Great Religious Books”; but he focuses less on the text of Exodus (or Shemot) than on the astonishing power of the Exodus story to shape and enrich religious traditions not just in Judaism, but in a bewildering variety of Christian churches. At the heart of the narrative is something like a complete historical blank. Exodus 12.37 claims that the Israelites had 600,000 foot soldiers, which translates into a minimum total population or two million; and scholars are agreed that there is no archeological or written evidence of such a mighty horde having lived in Egypt or survived for forty years in the Sinai desert. And was Moses himself an actual personage or a fictional hero? What to make of his Egyptian name and his supposed royal upbringing? Why did Yahweh want to kill Moses (in Ex. 4.24) shortly after the sublime theophany on Mt. Sinai/Horeb? How is it that God's grandest spokesman had a speech defect and was told to let his highly flawed brother Aaron occasionally take his place? Was Moses really barred from entering the Promised Land, after all his years of toil and travail, simply because he struck a rock to make it gush water (Num. 20.11‐12) instead of just bidding it to do so? As for the mass departure from Egypt, the most one can say is that a group of runaway Hebrew slaves may have escaped from Egypt (at some time in the thirteenth‐century BCE?) and made their way into Canaan, where they joined up with some distant tribal kin. And the confusion thickens when we consider the incompatible or contradictory elements in Exodus supplied by the J, P, and E strands of tradition that have been woven together. (E.g., were there seven plagues or ten?) The eating of matzah is an essential feature of Passover, but it turns to have nothing to do with the Exodus, only connected to it by the invented detail that the fleeing Israelites had no time to bake normal leavened bread. And the problems go on, but no matter, because in the Exodus God both makes his tremendous intervention in the life of Israel and establishes the core of Judaism forever. Once again, historical realism has to admit that Moses himself could no more have delivered the vast body of specific legal material in the Torah (much of which refers to conditions in a future settled country, rather than the wasteland of Sinai) than he could have described his own mysterious death and burial in Deuteronomy 34). And finally, there are the painful issues of the death of the Egyptian first‐born and the army of Pharaoh, which we'll get to later (Baden doesn't deal with them). The point is that, historical disputes aside, Pesach joins all Jews celebrating it into an organic symbiosis with a primordial liberation (whatever it may have exactly been) and all past generations who have ever liturgically participated in it. Unlike formal, clerically led synagogue services, Passover is a home‐based, democratic affair, with a unique focus on children. The Seder replaces the obsolete (since the destruction of the Temple in 70 CE) Passover sacrifice. Baden calls the Passover Seder “an act of commiseration and of communal redemption,” whose relevance never fades. And, of course, it flowed into the life blood of Christianity. Jesus is at once the new Moses (especially...

Da Hillsook Wedeen

Shetland is a place of wild, unforgiving landscapes, supernatural beliefs and a soundscape barely altered over time. The film explores storytelling and social imagination in Shetland. The folklore tale, Da Hillsook Wedeen, has a timeless quality: unfolding from historical trauma forward through generations of women’s voices. What does it mean to be a woman left on the shore?

The System of Genres in Modern Tatar Children's Drama

The article systematized the material and contains an analysis of the state of modern Tatar children's dramaturgy. Particular attention is paid to the genre nature of the works. The material is fiction written in the native language and included in the repertoire of Tatar theaters. The work analyzes the work of the older generation of Tatar writers (Rkail Zaydulla, Nazif Karimov). “The Seventies” fruitfully work in the field of national folklore and stage works of other Tatar writers. If R.K. Zaydullah creates texts that fully meet the spirit of the original, then N. Karimova prefers to enrich the canonical text with new content: she acquaints young viewers with the customs of the Tatar people, the peculiarities of the festive culture, etc. Particular attention is paid to the work of young authors conducting experiments with form. The article summarizes the experience of domestic theaters in educating new authors and texts that meet the needs of the modern audience. The effectiveness of the work of theater laboratories and drama contests for the search for new authors and topics has been proved. The article reveals the potential of fairy tales-plays, developing the traditions of folklore tales (magical, everyday, about animals); dramatization aimed at dialogue with the world literary tradition. Particular attention is paid to the characterization of such a new direction for the Tatar theater as plays for the baby theater.

Armenian Myths and Legends and their Impact on Armenian Beliefs and Literature

Objective : Remnants and light sediments and reflections of the beliefs of Animistic and Totemistic ideological systems that have been dominant among clans and tribes residing in Armenian lands during very distant periods, that is Palaeolithic periods are still recognizable in some life habits and behaviours, social norms, popular beliefs, various folkloric fields, tales, mythological narratives, customs and traditions, folk songs, and proverbs of contemporary Armenian people. Methodology: This paper through studying beliefs and legends of Armenian people tries to prove their relationship with folkloric literature. Results: Animisim or spirit worshipping existed before totemism, but the characteristic of inanimate and animate phenomena such as: different animals, stones, rocks, earthquake, lightning, fire, plants, etc. have helped the creation of animism. Nature worship has been a general phenomenon among ancient people that had existed before all religions, such as Zoroastrianism, Judaism, Christianity, Buddhism, and Islam. Totemism among Armenians has been expressed with different degrees of progress and development in all material and spiritual fields.. Conclusion: In Armenians great celebrations after Christianity there is also a trace of celebrations of infidelity or Pagan times. Of course the extensive and deep role of Assyrians in the religious beliefs of Armenians should be noted too. Armenians of Western regions of Armenia had worshiped gods such as Naneh, Astgic, Barshamina that were Assyrian.

The Poetics of Mikhail Kuzmin’s Fairy Tales

The article focuses on the poetics of Mikhail Kuzmin’s fairy tales collected in a unified cycle by the author (1912–1914). Literary scholars have only occasionally turned to certain aspects of these works in the context of studying other Silver Age writers’ tales. Nevertheless, the artistic authenticity of Kuzmin’s fairy tales is an important problem, the solution of which allows one to come closer to understanding the peculiarities of the poetics of the writer's short prose. Our study showed that the poetics of Kuzmin’s literary tales is characterized by features of folklore tales (compositional features, narrative formulas, fabulous chronotop), but the main genre model is still a short story, with its common features: brevity, pointe and an unexpected ending. Most of Kuzmin’s fairy tales (“Prince Desire”, “The Knight’s Rules”, “The Six Brides of King Gilbert”, “The Daughter of the Genoese Merchant”, “The Golden Dress”) manifest features typical of his stylized novels: a counterintuitive combination of elements from different cultures, transformation and a mixture of genres, rich intertext (including autointertext), a high degree of aesthetics and irony, light eroticism, lack of didacticism, playing with the reader. Kuzmin's fairy tales incorporate poetic features of other genres (anecdote, parables, etc.). All these features make possible plural interpretations of the works and allow us to consider their poetics close to such a variety of post-symbolism as pre-postmodernism. All Kuzmin's tales are dedicated to one area of moral and philosophic problems – the flexibility and inertia of a person’s thinking, love, the search for answers to questions about life and others. The presence of these features of poetics in all Kuzmin's fairy tales and the type of problematics common to them testifies to their artistic unity, i. e. to the presence of a cycle.

Towards a new “folkloric turn” in the literature of early modernIreland

AbstractThis essay offers new suggestions in the study of sixteenth‐ and seventeenth‐century English and Irish literature through a specifically folkloric lens. While scholars of medieval and modern texts in Ireland have made much progress in uncovering and debating the presence of popular oral traditions (and orality in general) in their respective sources, those who focus on the sixteenth and seventeenth centuries have yet to fully explore the same attributes in their own rich body of literature. This essay will therefore survey the sources, methods, and directions which a “folkloric turn” can take, especially as it incorporates a range of models that can be used to analyze orality, residues of popular traditions, and the utilization of particular motifs to open a new prism onto the period. While there are certainly challenges in utilizing this approach, folklore has the potential to contextualize and deepen our understanding of sources that include antiquarian records, travel accounts, ballads, legal depositions, English and Irish poetry, and even the modern folkloric tales to which they relate.

Oswald Pirow’s Ashambeni (1955): a “history” of dogs, humans, werewolves

In this paper I explore the human-dog interaction in Oswald Pirow’s Ashambeni (1955). I focus on the position of the dog in Pirow’s depiction of a world where the lives of animals and humans, and the natural and supernatural world, are entangled. In the novel, there are references to real historical figures and particulars of Portuguese East Africa and the South African Lowveld around 1850. The historical context sketched in the novel is from Pirow’s far-right, racist perspective. While most critics place Pirow’s work in the folkloric tradition, Ashambeni is more than a folkloric tale since it promotes Pirow’s offensive views. In Ashambeni the role of the dog ranges from valuable possession to loving companion to hunting and fighting tool. It shows that a dog history cannot be separated from a human history, and that dogs are part of the social and cultural life of humans. The depiction of human-dog interaction in Ashambeni points to a historical anthropocentric entanglement rather than the boundary-crossing entanglement between human and animal proposed by contemporary human-animal studies. The human characters control the dog characters’ status in the human society. Even more problematic, the description of the dogs is tied up with Pirow’s racist ideology and subjective account of history.

Удар зонтиком по голове вместо поцелуя: трансформация образа Спящей красавицы в пьесах Б. Шоу

The article considers the question of the relevance of fairy-tale poetics in the works of the Irish playwright Bernard Shaw. The subject of the analysis is the transformation of the image of Sleeping beauty in the dramas “Heartbreak House”, 1913-1917 and “Too True to Be Good”, 1931. Attention is drawn to a wide historical and literary context, which determined the relevance of folklore and fairy tales for the era of the turn of the XIX th -XX th centuries. The author provides a brief history of the dramatic transformation of the plot in musical theatre. The question is raised about other sources of influence on the interpretation of the motif of the dream and the image of the sleeping princess by Shaw; the article considers the Scandinavian mythological tradition represented in R. Wagner’s operas and the material of Russian epic stories. Particular attention is paid to the comparison of the drama “Too True to Be Good” with the early fairy-tale play by M. Maeterlinck “Seven Princesses” (Les sept princesses, 1891). The novelty of the study is seen in the fact that the question of the presence of fairy-tale poetics in the work of the playwright has so far been little studied by Western researchers and is not at all covered in Russian literary studies. The article establishes previously undetected links between the works of Shaw and Maeterlinck. It proves the possibility of the existence of continuity between Shaw’s characters and the heroes of the Russian epics. The relevance of the study is determined by the fact that the problem of the presence and modification of folklore and mythological imagery is important for literature not only at the turn of the XIX th -XX th centuries, but also in the XXI st century.

--------------- : (Social-Ontological Meanings of a Folklore Tale: Trial of Philosophical Explication)

Russian Abstract: В статье рассмотрены социально-онтологические смыслы, содержащиеся в фольклорной сказке, и обосновано её социокультурное позиционирование как некое средоточие социоментального знания и социальной «премудрости».English Abstract: In the article there examined of social-ontological meanings of a folklore tale and there ground her sociocultural position as focus of sociomental knowledge and social wisdom.

----------- (Dialectics of the Minorat-Entailed Estate Relations in Folklore Tale)

Russian Abstract: В статье проанализировано соотношение минората и майората, его реконструкция в фольклорно-сказочном массиве и роль в интерпретации статуса «социально обездоленного» героя.English Abstract: In this article there analysed correlation of the minorat and entailed estate, his reconstruction in folklore tales and role in interpretation of status of 'social unfortunate' hero.

Scandinavian Folklore and Fairy Tales: David Lang’s “The Little Match Girl Passion” and the Choral Art of Storytelling

Scandinavian Folklore and Fairy Tales: David Lang’s “The Little Match Girl Passion” and the Choral Art of Storytelling