Fairy Tale Genre Research Articles

Деконструкция образа принцессы в рассказах Л. С. Петрушевской

The purpose of the study is to identify the peculiarities of the transformation of the archetypal image of a princess in the light of gender issues based on the material of L. S. Petrushevskaya's fairy tales. The article examines the main trends in the development of modern literature, compares the classic fairy-tale images of princesses with the images of princesses in the fairy tales of L. S. Petrushevskaya. The scientific novelty of the study lies in the fact that it compares the folklore and mythological basis and modern interpretation using the example of L. S.'s fairy tales. According to Petrushevskaya, the revealed changes are justified by a change in the patriarchal mode of family and social relations, which are more evident in the work of women writers. The scientific novelty of the study is also related to the fact that, despite the high interest in the transformation of gender relations in modern literature, the genre of the author's fairy tale has not yet become an independent object of study in this aspect. As a result of the study, it was found that the change in the characters and functions of archetypal characters, using the example of the image of a princess, often occurs due to narrative functions and moves previously used in the construction of male characters, which indicates an inversion of gender roles. The deconstruction of female fairy-tale images, among other things, indicates a certain devaluation of established fairy-tale plots, since they limit modern gender socialization.

Magical Realms in Folktales: Comparing East and West

Abstract: This paper works from a comparative perspective. It presents the history of folklore studies and outlines terminological issues of distinctive categorization of the fairy tale genre in East and West. Moving on from there, it examines the cultural variability of ontological borders between magical realms and the real world, outlining differences in the geography of imagination, moral attitudes, story plots, and characteristics of heroes. It focuses on Chinese and Japanese tales as examples to show similarities and divergences between East and West. Reviewing key Eastern fairy tales, such as those featuring Urashima Tarō, Princess Kaguya, the White Snake, and more, it points out the specific characteristics of the magical realms in folktales of the Far East.

Formation of the reading culture of children of Primary school age through the study of foreign children’s fairy tales

The article is devoted to the problems of studying foreign children's fairy tales. The author considers the features of the perception of foreign literary fairy tales by children of primary school age. In order to form a reading culture of students, the author of the article presented the stages of work on the perception of a foreign literary fairy tale, showed a variety of types of creative work aimed at developing the emotional and moral sphere of children of primary school age. The author of the article emphasizes the special role of the fairy tale not only in the formation of the reader's culture, but also in high moral qualities. Based on the study of the formation of a reading culture in the process of reading children's foreign fairy tales, the author comes to the following interesting conclusions: the effective use of creative works for the purpose of a full-fledged perception of the fairy-tale genre, their use makes it possible to increase the level of perception of the fairy tale. The fairy tale contributes to the formation of the emotional and moral sphere of children of primary school age, teaches to distinguish between good and evil, forms the culture of the reader, while it does not require a rich education and rich life experience from the child.

Miracles in the MiddleAges and Today // Miracle Healing, Miracle Visions, and Miracle Narratives in the Premodern and Modern World

As much as we live today in a world that is seemingly mostly determined by rationality and technology, we are actually far away from such a status, fortunately so, at least depending on one’s perspective. Hidden behind much scientific research and a mechanistic world determined by machines, for instance, we can easily discover countless examples of superstition, faith, irrationality, wishful thinking, dreams, speculation, and imagination. This is fortunately so, indeed, because it respects the indigenous human nature irrespective of many faults and problems resulting from it. Contrary to Max Weber’s famous formulation, the modern experience of the disenchantment of this world was actually accompanied by a profound rediscovery of or return to magic, spirituality, and fantasy, whether we think of the Romantics, the high popularity of the genre of fairy tales, the ever-growing body of video games and related media today all predicated on science fiction and hence fantasy, or the world of movies. This paper, however, does not intend to develop a large concept about the history of science, the emergence of modernity and individuality, and the steady rise of rationality at the latest since the eighteenth century, all of which have been discussed already at length by historians, anthropologists, philosophers, literary scholars, art historians, and sociologists. Instead, the focus will rest on the belief in miracles and miracle healings and trace the vast discourse on charms and miracles from the early Middle Ages to the modern times as a constant, consistent, and impactful aspect of all human culture we cannot and should not deny if we want to subscribe to a realistic assessment of human culture and mentality. The argument focuses on the curious phenomenon that the belief in miracles continues to run strongly until today both among religious individuals and ordinary individuals who face, for instance, a desperate health situation, a personal crisis, or dangers of all kinds. Popular culture appears to be highly influenced by the belief in miracles, in divine agents who come to people’s rescue in critical moments, and hence the belief in the power of prayer. Each individual aspect would require an extensive scholarly discussion, which this paper cannot offer. Instead, I will trace primarily the discourse on charms and miracles from the early Middle Ages to the present, whereby we can determine the continuity of pre-modern ideas, values, and concepts as valuable aspects for all people throughout time. To make good sense, the concept of the charm as a verbal statement for a magical and religious transformation is widened to include all word magic in medicine, athletics, politics, friendship, and family relationships whenever there is a perceived need to draw from other powers for the well-being of a human being.

Transformation of the Archetype: A Return to Fairy Tale

The paper is devoted to the study of archetypal images in the genre of literary fairy tales. Any author's work has a certain set of archetypal images that have their own special national meaning. Each image has its own specific functions that embody artistic, emotional, psychological, social and philosophical tasks. These tasks form the author's final vision when choosing a particular image. One of such bright and frequent images in folklore studies, which transferred to the literary fairy tale is the image of a young neophyte, a boy or a girl. A boy often personified in the image of a bald - Tazsha, which has been successfully transformed into the genre of a literary fairy tale. In the same way, the images of animals, which are the first characters in fairy tales as a whole, and the analogue of their visions have often been and still are indicative. Also, the article discusses the genre features of the folklore fairy tale, which have preserved and left their mark on modern fairy tale texts. The author's thinking operates with the collective consciousness, reflected in archetypal images and motifs, and the consciousness of the reader, reflecting cognitive dissonance. The methodology of the research involves the continuity of scientific approaches, as well as the use of traditional and innovative methods of literary analysis: content analysis, comparative typological method, mythopoetics and psychoanalysis.

Slanting the Holocaust in the Fairy Tale Form: Jean-Claude Grumberg’s The Most Precious of Cargoes

This article analyzes Jean-Claude Grumberg’s 2019 Holocaust fairy tale, The Most Precious of Cargoes, translated from French. This fairy tale adds to Grumberg’s oeuvre of Holocaust fiction, including plays and children’s stories. His fairy tale may be his most personal attempt to process his own Holocaust experience, as he includes an appendix with facts about his father and grandfather who died in Auschwitz. Specifically, the fairy tale is approached through an analysis of the fairy tale genre’s pairing with the subject of the Holocaust. The article also examines possible readings of such a pairing through a close reading of the tale that analyzes the role of good vs. evil. Published interviews with Grumberg, theory on the fairy tale, and other Holocaust fairy tales establish a view that The Most Precious of Cargoes is unique in Holocaust fiction.

Fairy Tales of Genocide: Processing the Holocaust by Recontextualising Fairy-Tale Narratives

This article explores the intersection of fairy tales and Holocaust narratives, exploring the emerging trend of presenting Holocaust tales within the fairy-tale genre as a societal response to grappling with Holocaust trauma. Examining linguistic and ethical approaches in works by authors Liz Braswell, Louise Murphy, and Jane Yolen, it poses a central question: does merging Holocaust and fairy-tale narratives enhance understanding or hinder respectful remembrance? The article scrutinises subliminal storytelling in Holocaust tales, highlighting varied authorial approaches, from Braswell's cryptic social conflict to Murphy's and Yolen's use of vague references within a Holocaust-aware context. Exploring how Holocaust tales navigate the balance between fantasy and historical context, it analyses recontextualisation in the works of Braswell and Murphy. Braswell's ‘Beauty and the Beast’ engages with social conflict and history by transforming the curse, while Murphy's ‘Hansel and Gretel’ reframes the oven as a symbol of safety. Additionally, the article addresses the ethical dimensions of representing the Holocaust in children's fiction, emphasising the use of fantasy to enhance accessibility and emotional engagement. Analysing works like Yolen's ‘Briar Rose’ and Braswell's ‘Beauty and the Beast’ illustrates how these narratives navigate historical representation complexities, aiming to preserve awareness and prompt moral reflections. The article argues that fantasy elements not only render the Holocaust accessible to contemporary readers but also provide a unique avenue for emotional engagement, transcending the limitations of historical facts.

Classification of Indonesian Tale Categories using Support Vector Machine and FastText Feature Extraction

The purpose of this work is to develop a model to classify the various kinds of Indonesian folktales and to assess how well the support vector machine (SVM) approach and fastText feature extraction perform. The first phase of the study process is the gathering of data, namely the fairy tale dataset that has been annotated with categorizations for each genre of fairy tale. Following the collection of data, the pre-processing step is conducted. The purpose of the pre-processing step is to prepare the data for further processing in the subsequent stage. Following the completion of the preprocessing step, the training data and testing data are segregated. The subsequent step involves doing feature extraction using fastText. Moreover, the classification process is conducted using the Support Vector Machine (SVM) approach in order to get the ultimate outcome of the modeling process. The last phase involves assessing the performance of the constructed model. The categorization model for Indonesian fairy tales has a commendable accuracy rate of 85%, indicating its effectiveness. The aforementioned findings are substantiated by an accuracy metric of 85%, a recall metric of 85%, and an F1-score of 86%, indicating favorable outcomes.Previous researchs have not conducted any studies on the categorization of types of Indonesian fairy tales.

ОСНОВАНИЯ И КОМПАРАТИВИСТСКИЙ АНАЛИЗ РУССКОГО ЭПОСА

The investigation of Russian folklore has not yet been fully institutionalized in literature, cinema, and theater. In Russian literature, for example, there are no novels about Koshchei the Immortal, Ivan the Prince, heroes of Slavic pagan culture and many other characters of this genre. Meanwhile, these are deep, colorful images organically integrated into an equally vivid context. Many great writers, such as Thomas Mann, have written about such gaps. The goal is to identify the main typological characteristics of the Russian epic, which, in our opinion, has been studied in this sense very one-sidedly. The methodology is a comparative analysis of various approaches (mythological, historical, structural, etc.) closely interconnected with the characteristic features and structure of epics. At the same time, considerable attention is the harmonious combination of various motifs of the epic: heroes, Kalik-passers-by, epic time, pagan influences, hyperbolization, etc. An attempt is made not to accept, but to take into account various influences on such studies (pre-revolutionary, post-revolutionary, inspired by the Marxist approach, structural analysis, which began to be used in the study of Russian epic since the 1970s). The Russian epic, thanks to a huge number of historical, social, and cultural connections, naturally interacts with the epics of the republics (union and autonomous) that were part of the former USSR, which opens up wide opportunities for comparative studies of various types. Paths are outlined for a comparative analysis of the Russian epic with the epics of the East Slavic peoples, as well as with the Yakut heroic epic Olonkho. The authors' further plans involve continuing the study of Russian folklore in the genre of fairy tales and the field of culture of Slavic paganism. The first of them has been studied quite fully, but the structural and systemic approaches to research need to be further developed. The culture of Slavic paganism is a little-studied area where there are still no established approaches, and there are different points of view on many issues. Here you can apply the methodological approaches outlined in our monograph “Philosophy of Olonkho”.

Жанр анімалістичного оповідання у малій прозіБогданаЛепкого

The article analyzes the development of the genre of the animalistic story in the work of one of the most famous representatives of early Ukrainian modernism - Bohdan Lepkyi. It was found that the end of the 19th - the beginning of the 20th centuries was an era of radical renewal of European, including Ukrainian literature, a time of changes in artistic thinking and perception of the world, when there was an active expansion of the themes and problems of short prose, and artists paid attention not only on the inner world of a person, but also made attempts to penetrate into the soul of "our little brothers". It has been observed that two main types of prose samples can be conventionally distinguished in the world animalistic literature: 1) works where completely realistic animals are depicted, their way of life, behavior and thinking are presented believably; 2) works where animals embody various forces of nature or qualities and character traits of people are mainly conventional figures and perform a certain symbolic or allegorical role (such works are close to the genre of fairy tales, legends, parables, etc.). It has been analyzed that works about animals are also found in Ukrainian literature at the turn of the century (I. Franko, Lesia Ukrainka, as well as Bohdan Lepkyi). In the short stories of Bohdan Lepkyi, two works were found where animals are the protagonists: the story "Barefoot", written in the early years of the 20th century, and "The Mouse", created during the First World War. In the analyzed stories, B. Lepkyi depicts animals from the "home" space common in the fairy-tale tradition: a dog and a mouse. It was found that in the story "Barefoot" the author tried to convey the lifestyle, behavior and preferences of the dog as accurately as possible, to reveal his way of thinking. At the same time, the finale of the work testifies to the allegorical nature of both the image of the owner of the dog, which is the personification of human cruelty in the treatment of animals, and the image of the central character (the dog), which embodies the inability of an individual who has spent his whole life in captivity, to take advantage of freedom, to find his place in the unknown and often to a hostile world. It is concluded that in the fairy tale "The Mouse" B. Lepkyi resorts to fairy tales as a feature of the poetics of the work. The manner of presentation is condensed and allegorical, built on contrast. If in "Barefoot" the reader gets to know the character of the dog through numerous small episodes, then in "The Mouse" the novelist brings one event into the spotlight. The work expresses the opinion that war is a terrible tragedy that brings pain, grief and suffering to people. The main animal character of the work has a conventional character and is the embodiment of good, which must necessarily defeat evil, punish or teach it. It was concluded that B. Lepkyi's work contains animalistic stories of various types, which indicates the development of Ukrainian prose of the modernist era in the context of world literature, where works about animals gained more and more popularity. The first type of animalistic story by B. Lepkyi (the work "Barefoot") is characterized by a reliable depiction of an animal's lifestyle, an attempt to realistically convey its behavior and way of thinking, in particular in interaction with people. The second type (the work "Mouse") is characterized by the use of fairy tales as an aesthetic code and the depiction of animals as allegorical figures. Their behavior is conditional and reflects certain qualities and traits of a person.

Otfried Preussler’s Fairy Tales and Their Russian Illustrators

The article is devoted to the 100th anniversary of the birth of the German writer O. Preussler (1923—2013), whose works have gained popularity among children in many countries and have been repeatedly translated into different languages, including the language of fine arts. The most important facts of the jubilee’s biography are listed, the peculiarities of his approach to the genre of fairy tales, to folklore images and plots are characterized, and the master’s statements about children’s literature and his own work are given. The aim of this study is to identify and analyze the most significant and successful illustrations by Russian artists for the writer’s works. The main task is to compare them on the basis of book studies, art history and source research methods. This task, which has not yet been set in Russian book science, seems to be topical, since O. Preussler’s works are still popular among domestic readers and are constantly republished, but the visual range of these publications often leaves much to be desired.Graphic interpretations of a particularly favorite fairy tale trilogy in Russia — “The Little Water Sprite”, “The Little Witch”, “The Little Ghost” — are considered. The author of the article concludes that the images of the Little Witch and the Little Ghost (whose appearance is not described in the text) are difficult for artists, so their convincing pictorial interpretations are rare. I.I. Kabakov, N.G. Golts, B.A. Diodorov, D.A. Trubin, and E.A. Silina are among the best illustrators of the tales that make up the trilogy. Among the pictorial interpretations of other works by O. Preussler the drawings by L.A. Tokmakov and S.A. Krestovsky for the story “Krabat and the Sorcere’s Mill”, G.K. Spirin for “The Tale of the Unicorn”, V.N. Zuikov and V.S. Lubarov for the book “The Hörbe and His Friend Zwottel” stand out. It is shown how these art works reflect the peculiarities of the author’s intonation and reveal the hidden meaning of O. Preussler’s works. In them, as well as in the writer’s texts, there is no boring edification, but there is a game of liberated imagination, life-affirming humor, sincere empathy with the heroes. Following the author, the illustrators reinterpret traditional folklore motifs, discovering new qualities in them.

Eastern Motif in Kazakh Literature (based on the fairy tale “A Thousand and One Nights”)

One of the relevant aspects of the study of modern comparative literature is the study of the complex of motives and motional complexes. Modern literary critics attach great importance to the motive and the motive complex. Because research on the motive and the motive complex in literature shows the influence of a certain literary period and individual folk literatures on the global literary process. Literary critics note that translated works are a separate aspect of the study, since the “plot-motive repertoire” of literature develops primarily due to translated works. The collection “One Thousand and One Nights” is recognized as one of the best examples of world literature. He entered the spiritual life, folklore and written literature of many peoples. “Tales of Scheherazade” is the most beautiful and highly artistic work among the remarkable monuments of oral literature. The life of the people is always reflected in its folklore. That is why the tale is a rich material for ethnocultural research. It will identify the main concepts of the national image of the world and track its changes. The tale is one of the traditions and genres that for many centuries have not lost their significance for world art culture. Subjects, motifs, images from folklore fairy tales are transmitted from generation to generation, play the role of carriers of cultural values and norms adopted in society. “A Thousand and One Nights” is a work that has become a phenomenon of mass culture in the fairy tale genre. There are many subjects and motives of this collection in world literature, Kazakh literature is no exception. The article examines the origin, distribution around the world, the influence on world literature of the book “One Thousand and One Nights”, which became a medieval Arabic encyclopedia, including the poetic transformation of the motives of this collection in Kazakh literature of the XIX–XX centuries. In addition, various variants of dastan SeifulmalikBadigulzhamal” from “One Thousand and One Nights” were investigated by a comparative analytical method.

Fairy tale: origins, concepts and reflections on the genre

This article examines the fairy tale genre, beginning with an analysis of the marvelous tale based on Todorov’s framework, and subsequently addressing the enchanting dimension through the perspectives of Benjamin, Lüthi, Chiampi, Jolles, Coelho, Volobuef, and Valenzuela. The investigation continues by exploring the origins of fairy tales, identifying in primordial narratives and Celtic myths sources for the development of stories that depict the intervention of female beings, mediating relationships between two worlds: the natural and the supernatural. Finally, the article concludes with a reflection on the role of fairy tales in contemporary times, drawing insights from Tatar, Machado, Estés, and Carter.

В СТРАНЕ КОШМАРОВ И ЧУДЕС. РЕЦ. НА КН.: А. ВАСИЛЬКОВА ФЕНОМЕН ВИРТУАЛЬНОСТИ: О ПЕРЕХОДЕ МЕЖДУ МИРАМИ — НА МАТЕРИАЛЕ КНИГ, СПЕКТАКЛЕЙ И ФИЛЬМОВ, КОТОРЫЕ ЧИТАЛИ И СМОТРЕЛИ ДЕТИ ВТОРОЙ ПОЛОВИНЫ ХХ И НАЧАЛА ХХI ВЕКА (2016)

The review presents a cultural study by Alexandra Vasilkova “The phenomenon of virtuality: On the transition between worlds — based on books, plays and films that children read and watched in the second half of the 20th and early 21st centuries” (2016), dedicated to the motive of the transition between worlds in books and cinema and performances for children. The review describes the structure of the book, analyzes the tasks set by the author, points out problem areas, and assesses the potential for further work. The material for the book was the works of Antony Pogorelsky, Ernst Theodor Wilhelm Hoffman, Lewis Carroll, Maurice Maeterlinck, Alan Alexander Milne, Lyman Frank Baum, Alexander Volkov, Lev Kassil, Clive Staples Lewis, Neil Gaiman, Evgeny Klyuev, Andrey Zhvalevsky, Eugenia Pasternak, etc. The reviewer reveals how Alexandra Vasilkova, considering texts about travel to other worlds and parallel reality, related to the genre of literary fairy tales and fantasy, notes semantic similarities and finds borrowings from mythologies and religions. The author of the review notes the strengths and weaknesses of the study: a broad cultural context, a wide range of reader reviews and reflections, but at the same time the lack of balance between the subjective position and scientific methodology.

ARCHETYPAL IMAGES OF A LITERARY FAIRY TALE

The paper is devoted to the study of archetypal images in the genre of literary fairy tales. Any au-thor’s work has a certain set of archetypal images that have their own special national meaning. Each image has its own specific functions that embody artistic, emotional, psychological, social and philo-sophical tasks. These tasks form the author’s final vision when choosing a particular image. One of such bright and frequent images in Kazakh folklore studies is the image of a young neophyte, a boy or a girl. A boy often personified in the image of a bald – Tazsha, which has been successfully transformed into the genre of a literary fairy tale. In the same way, the images of animals, which are the first characters in fairy tales as a whole, and the analogue of their visions have often been and still are indicative. An example of the analysis was the works of Guldana Mukhtarbekkyzy Tazsha bala: kundi kaitaru (Boy Tazsha: the return of the sun), Zaure Torekhanova Amina Turan in the country of nomads and Alibek Baibol Orman-dagy zhiyn (Meeting in the forest). To reveal the author’s intention and function of images, the method of post-Freudian analysis, the method of cognitive literary criticism, as well as the statistical method used to identify the frequency of images are used.

Итальянская литературная сказка и ее влияние на формирование сказочного жанра в Европе

The article focuses on issues related to the study of Italian literary fairy tales and the way how they influence the development of the fairy tale genre in Europe. The research aims to provide the diachronic overview of the development of world fairy tale literature highlighting the fact that the Italian novella gave rise to European fairy tale literature starting from the Italian Renaissance to the Victorian era. The research data were collected using the works of N. Machiavelli, G. Boccaccio, G. Fiorentino, P. Bracciolini, M. Salernitano, A. Firenzuola, G. F. Straparola, G. Basile, Ch. Perrault, Madame d’Aulnoy, J. M. Leprince de Beaumont, C. Brentano, Brothers Grimm, L. Tieck, F. F. von Hardenberg, J. Jacobs, A. Lang, and others. Particular attention is paid to the stages of the development of Italian fairy tale literature and to the analysis of the history of French, German, and English fairy tale traditions. One of the most significant current discussions in the research demonstrates how strong the link between medieval Italian novellas and European fairy tales is. There is a large volume of published studies stating that the development of European fairy tale literature is inseparable from the medieval Italian fairy tale; thus, narrative and ideological similarities are often seen in them. However, any fairy tale is considered to be a product of cultural influence: even though many European fairy tales are based on similar folklore motifs and plots, cultural adaptation within the centuries made them completely new works of art that vividly reflect national cultural peculiarities. Further, it is argued that cultural adaptation of medieval Italian fairy tales allowed French, German, and English fairy tales to avoid various unwanted and taboo topics, and to focus on positive characteristics, such as helpfulness, kindness, courage, and so on, which were so appreciated in later epochs. It should be noted that different historical periods provoke writers to create and adapt fairy tales to new and relevant trends, whether they are ancient philosophical musings or the cynical black humor of the Renaissance, the sophistication of the Enlightenment or the elegance and passion of Romanticism, the virtue and manners of the Victorian era or the pragmatism of modern times. The conducted research has shown that Italian fairy tales made an invaluable contribution to the formation of the genre of the literary fairy tale. Indeed, fairy tales provide the opportunity to discover and preserve a unique national linguistic world picture, cultural identity, and common values shared by people. Thus, world fairy tale literature allows preserving the centuries-long experience of humankind, and it may be regarded a universal legacy of worldwide culture, since its exceptional artistic forms make it possible for fairy tales to illustrate the world view of various nations and to reflect their unique cultural diversity and identity.

The Contribution of Educational Games and Fairy Tale Genre to Teaching Turkish to Foreigners: The Case of "The Land of Without Pronouns"

Education is a lifelong process that puts different learning areas to work. Language learning and teaching, which is one of these learning areas, is an area that has been given great importance in recent years and on which a lot of research has been done. The use of various literary products in this field, where many different methods and techniques are used, new materials are presented to the student, programs are developed considering the needs and student profile, makes it very easy to carry out the teaching. It is a fact that fairy tales, one of these literary genres, attract the attention of students, take them to different imaginary worlds, entertain them, evoke aesthetic feelings and contribute to language development. In addition to fairy tales, educational games also provide permanence in learning by focusing attention on the student. In education with the game, skills such as comparative thinking and decision-making become practical. In short, both physical and mental abilities develop in training with play. The aim of this study is to examine the contribution of fairy tales and educational games to the teaching of Turkish as a foreign language, the contribution of the fairy tale "The Land of the Pronouns" and the educational game called "The Pronoun Class" to be played later on the grammar learning of foreign students learning Turkish in Turkey. For this study, a total of 30 foreign national 6th grade students, 15 of whom were experimental and 15 of whom were control groups, studying at Ankara Sincan Ressam İbrahim Çallı Secondary School were selected by paying attention to the fact that their level of Turkish knowledge was equal. These students were first applied the pronouns prepared by the researchers as a pre-test of the achievement test, then the experimental group was told the tale written by the researchers and supported by an educational game. In the control group, the subject of pronouns was explained through plain expression and the pronouns achievement test was applied as a post-test in both groups. As a result of these applications, the permanence and success status of the subject of pronouns taught by fairy tales from literary text types were examined. In this study, semi-experimental design was used. The pre- and post-test results were analyzed by Mann Whitney U test in SPSS 2 6.0 program. According to the results obtained, the success average of the experimental group taught with fairy tales and educational games; The course was higher than the control group with straight a.It is thought that this study, which aims to include students in the learning process and to intuit their functions instead of memorizing the rules, will contribute to the development of students' language skills and increase the use ofeducational games with different types of literature.

The concept of “wisdom” in a Russian fairy tale

The description of the concepts of the Russian language is impossible without referring to folklore, since it is in this linguocultural layer that it is possible to identify the sources and ways of the formation of the mental characteristics of the Russian people. The concept "Wisdom" is one of the central concepts of the Russian folklore picture of the world. It is extremely widely represented in the genre of folk fairy tales. Usually women in fairy tales are wiser than men. The purpose of this article is to reveal the semantic structure of the concept "Wisdom" in Russian fairy tales. The material of the study was Russian folk tales from the collection of A. N. Afanasyev. As a result of the study, it was found that the concept of "wisdom" in the Russian fairy tale is characterized by various cognitive features. Central is the understanding of wisdom as a supernatural power, the ability to perform magical actions, transformations, witchcraft. Such wisdom is possessed, as a rule, by female characters (wise princesses, wives), less often by male characters, but always positive characters. Fairy-tale female wisdom includes such components as supernatural power, power over the natural world, mental abilities and good intentions. Along with the understanding of wisdom as a magical power, there is another interpretation of this concept in fairy tales. Thus, the wise in a fairy tale is that which is characterized by difficulty, complexity, impracticability. In fairy tales, the word wise often characterizes the quality of an object, as well as the skill of a hero who is able to make such objects. The intellectual component of the concept is also presented in Russian fairy tales. At the same time, wisdom is understood not only as intelligence and education, but also as practical insight and ingenuity.

ПОЕТИКА АЗЕРБАЙДЖАНСЬКИХ ЛЮБОВНИХ ДАСТАНІВ

The article aims to study the peculiarities of the content and structure of the love dastan genre as a product of the artistic thinking of the Azerbaijani people, to determine its poetic originality as well as the impact on the development of Azerbaijani literature and spiritual values of the next generations. The article traces the causes and origins of the similarities and differences between the ancient Turkic epic as a product of folk poetry and the subsequent medieval classical love epics created by Ashuga poets. In order to achieve the goal, historical-literary, cultural-historical, comparative, and hermeneutic research methods were used. Poetological originality of love dastans is conditioned by cultural-historical and literary aspects. On the one hand, love dastans contain the ancient culture of composing epics, which is characteristic of the Turks, and on the other hand, they combine features of the artistic outlook specific to medieval Sufism. Thus, the features of Turkic folklore and Sufi consciousness are synthesized in the Azerbaijani love dastans, which is reflected in the level of structure and content specificity of the love epic. In contrast to the works of the heroic epic, which often consisted of separate songs and legends united by a single plot line in a complete work (“Keroglu”, “Kitabi-Dede Gorgud”, etc.), the structure of love dastan tends to the structure of fairy tale genre, where the original plot is built into a universal structure. Love dastans are mainly characterized by a five-level structure, which includes the introductory part (ustadname) and the main one, where the following stages are distinguished: the wonderful birth of the hero, the stage of obtaining “buta”, the stage of overcoming obstacles, and the stage of winning in competitions. The specificity of the content of love dastans is determined by the dominance of the love theme, the understanding of the problems of morality, family values, cognition and mentoring, and a special type of hero – a young man with a pure heart, worthy of receiving a higher gift, which contributes to the spiritual growth of the character and success in achieving the goal (conquest of the beloved). It should be noted that unlike the heroic epic, which focuses on patriotic issues, social values, the main of which is devotion to the Motherland and its people, in love dastans the theme of individual love is understood in the context of the general national values of the Azerbaijani people. In this regard, love dastan as a work of folklore already has the features of an author’s literary work, marking the stage of transition from traditionalist to individual creative poetics.

Defining the genre specific nature of the literary tale: tales as a memeplex in the works of J. Zipes and Bakhtin’s conception of ‘memory of the genre’ in the works of M. Lipovetsky

This article reviews theoretical conceptions concerning the genre specificity of the literary fairy tale. We refer to two key theories in the field of the genre - the works of M. Lipovetsky, based on M. Bakhtin’s conception of “genre memory”, and J. Zipes theory of the fairy tale genre as a memeplex. Despite the fact that these conceptions are not traditionally considered in the scientific paradigm as complementary, we attempt to bring them into a single logic. The article identifies the connection between the studies of M. Lipovetsky, J. Zipes and the conception of “metafictionality”, or “self-reflexivity” of the literary fairy tale genre. We argue that metafiction is a key parameter of the genre being in direct connection with the category of intertextuality. Metafictionalism underlies the genre nature of the literary fairy tale; in addition, it can be expressed through particular techniques, including the “the method of breaking the fourth wall” technique, the “mis en abame” technique, the change of focalization, etc. The article concludes that the “metafiction” of the text, manifested in the literary fairy tale at all textual levels, can be a tool of genre differentiation.