Traditional Tales Research Articles

W. TREVOR’S APPLICATION OF J. JOYCE’S INSPIRATION

While finding out the relation of W. Trevor’s writing to Joyce, we are to take into account the fact, fixed by the German writer H. Bell in his “Irish diary”: Joyce is one of the ordinary surnames in Ireland. Yet the aim of the article was to search for the influence of the literary technique of J. Joyce — one of the well-known modernists — on W. Trevor’s creative works. On the one hand, W. Trevor himself in the interviews insisted that “Dubliners” and “A Portrait of the Artist as a Young Man” were valuable for him within the whole life; on the other hand, the known and famous writers and critics aimed at finding those links. A number of researchers took into account that Joyce’s later texts were not so valuable for Trevor’s creative works. His influence was not the linguistic pyrotechnics of the “Ulysses” but the modest and punctilious voice of “Dubliners”. It is possible to determine some levels of Joyce’s presence in W. Trevor’s texts: Joyce as a character, as a model of creative activity, as a pattern for stylization and even comic imitation. One of the characters of Trevor’s “Music” was fascinated with Joyce’s appearance, his photograph. Sometimes, while hearing music, he was imagining himself a human being similar to Joyce. “The Third Party” began with a meeting of two men, one the husband, one the lover in a Dublin hotel bar. They have to come to an agreement on the end of the marriage, which was not achieved. The plot of this story is somewhat a travesty of “A Little Cloud” (from “Dubliners”). Moreover, the main characters are W. Trevor’s version of two different types of mental constitution vivid in “A Little Cloud” as well as in “Ulysses”. The interview of two characters in Trevor’s text allowed using Joyce’s telling strategy: an application of subjective third-person narration. An aspect of location in Trevor’s story is similar to that of Joyce, it is Dublin. Nevertheless for Trevor Dublin was a city, where events took place, not a version of the important original location, as it was with Joyce. The same may be said about “Two More Gallants”. Th is story of the modern and equally traditional Irish writer is the most vivid example of the author’s dialogue with the original text of Joyce. Th e writer simultaneously reflected and parodied “Two Gallants” (from “Dubliners”). There is a certain similarity between the viewpoints of both authors on Dublin and Ireland in general. The creative activity of Joyce was governed by Ireland. W. Trevor’s links with Ireland were restored only when he became something of a stranger to this country. Moreover, Trevor’s conception of Ireland remained constant as if nothing had happened in this country during the second half of the XX century. So the reality of “Two Gallants” and “Two More Gallants” remained alike, as well as irresponsibility of the main characters. The narrative nerve in Joyce’s text may be defi ned as no-event, while Trevor’s text is arranged according to tale tradition. “Two Gallants” is associated with the concentrated poetic image of paralysis. A similar representation is evident in “Two More Gallants”: puppets dance to the music of original sins. Th at shows Trevor’s play with the original text.

일제강점기 ‘二重言語’로 서술된 ‘童話’ 변용 고찰 -1910년~1920년대 조선총독부 편찬 <조선어>와 <일본어> 敎科書를 중심으로-

The Japanese language was the first language for Korean Children children during Japanese colonial occupation. Hangul was a second language because of the “bilingual” textbook.BR In the 1910s, the Korean Language Textbook was created to teach Korean and Chinese languages to Korean children at a time when the Japanese language was commercialized as an official Korean language. The textbook contains a version of the hung bu legend and The Old Man with the wen.BR In the 1920s, the Korean Language Textbook featured traditional fairy tales, Aesop’s fables, and the Simcheong legend.BR A large part of the Japanese language textbook had popular Japanese traditional folktales, such as Momotaro and Flower Grandfather.BR According to the classification of the fairy tales described in the Korean, the 1910s genre took the following format: characters, general fairy tales, Aesop’s fables, traditional tales, and myths, in that order. However, in the 1920s, the genre followed this orde: Aesop’s fables, general fairy tales, and characters.BR According to the classification of fairy tales described in Korean, the 1910s tales were characterized by the following in the order: general fairy tales, characters, folktales, and Aesop

Traditional tales and contemporary art to promote multiple literacies

Storytelling-based arts projects offer a universal and inclusive pedagogy; challenging prejudices, celebrating diversity and promoting tolerance and resilience in participants. In addition they assist in the development of receptive and expressive language skills, provide a credible basis for understanding folklore, cultural traditions and social values, as well as offering a sound foundation for the pursuit of, and competency in, reading and writing. The contention that art and storytelling are global languages, lies at the heart of the storytelling based arts projects conducted by Australian storyteller, author and musician, Morgan Schatz Blackrose and Swiss Australian artist Roman W. Schatz.

Group-based Tai Chi as therapy for alleviating experiences of social death in people with advanced, incurable disease: an ethnographic study

ABSTRACT Advanced, incurable disease is a highly stressful and traumatic life event that can lead to losses of social identity, social connectedness, and losses associated with bodily disintegration. The combination of these losses makes it difficult to remain socially active and sometimes results in experiences of social death. However, few studies have explored the role of group-based hospice activities for mitigating the impact of social death in people with advanced, incurable disease. The aim of this study was to explore the personal and social experiences of participating in hospice-based Tai Chi among people with advanced, incurable disease, including its impact in mitigating experiences of social death. A focused ethnography was used to guide this study. Six months were spent in a local hospice day therapy unit in England collecting data through multiple methods, including 17 semi-structured interviews, 200 hours of participant observation, and informal conversations with 19 participants (15 females; 4 males, aged between 50 and 91). Data were analysed using a thematic framework approach and represented using traditional tales and ethnographic creative non-fictions (CNF). Two main themes were developed: (1) fostering social connections and meaningful support; and (2) the protection of a collective identity. An ethnographic CNF ‘moving and being together’ presents these themes in evocative, engaging, and accessible ways. Study findings demonstrate the value of group-based Tai Chi for mitigating experiences of social death in people with advanced, incurable disease. Ethnographic CNFs are a valuable way to represent lived experiences of illness in palliative and hospice care populations.

Концепт «Смерть» В Українській Народній Казці

The article analyzes the concept of «death» in folklore (fairy tale) text at three levels: 1) as an object (embodied in a concrete character); 2) as a process (implemented through a motive); 3) as a spatial concept (expressed through the locus). 1) Anthropomorphic image of death in folk fairy prose functions in samples of novels. In the Ukrainian folk fairy tale tradition, the character of death is represented only as feminine gender. Unlike the western European tradition of depicting Death in the form of a skeleton with a scythe, in the Ukrainian tale it is an anthropomorphic character without any signs of decomposition (the scythe as its attribute occurs very rarely in the texts). The fairy tale emphasizes on such features of the death character as inevitability, justice, courtesy and nobility. 2) The motive of the death of the protagonist is frequent for a magic types of fairy tale. The motive of dying are mainly concerns protagonists and is realized through the motives of the hero’s journey to the otherworld. It is noteworthy that such a trip is stratified according to the gender principle: the voluntary journey of the hero, connected with the conflict in which the woman is mostly involved, and the forced journey of the heroine, who often does not suspect its true reason - the intention of the antagonist / evil stepmother who wants to see her perish. The motive of the death of the protagonist is predominantly in the enchanting heroic fairy-tales, where it is realized: a) through the swallowing of the hero by a monster, often a fish; b) petrification of the hero as a result of violation of the prohibition of keeping silence made by demonological beings; c) the murder of a hero by a traitor or antagonist (as a rule, with the further resurrection of the protagonist with the help of «healing and living water»). 3) The analysis of the texts confirms the presence of both vertical and horizontal planes with the semantics of the space of death. The horizontal plane does not have any vector (the fairy tale does not emphasize the eastern, western, southern or northern directions of the hero’s movement to the otherworld), but these planes always belong to the boundary space (the most frequent locus is the forest). The vertical plane of the death locus is located in the underground (lower projection of the vertical vector) and the celestial (upper projection of the vertical vector) worlds with the domination of the lower projection.

Émotions pures et sentiments masqués dans les "Contes d’enfants indiens" de Marguerite Yourcenar

En 1985 parait un ouvrage curieux, très peu connu du lectorat de Marguerite Yourcenar, à destination de la jeunesse : Contes d’enfants indiens. Cet ensemble d’historiettes enfantines présente un cas unique où l’auteur officiel s’efface derrière les textes et illustrations produits par des enfants et conçus pour des enfants. Libérant la parole de jeunes d’une réserve indienne du Maine, elle ne remanie aucunement leur écriture abrupte. Dans cette création sans fioriture, l’émotion est palpable mais le sentiment ne se dit pas. Nous faisons entendre la voix de ces petits Amérindiens de la tribu des Abenakis en analysant la structure des récits, empreints d’un folklore traditionnel ancestral, magnifiés par des dessins criant leur histoire. Mots clés : contes traditionnels, folklore amérindien, écriture d’enfants, dessins d’enfants, rêveset cauchemars d’enfants.

One Dream Man versus Twenty-Five Women with Dreams: Gender and Ambition in the Bachelor Japan

ABSTRACT With a flashy montage, viewers of television show The Bachelor Japan (2017–present) are introduced to Japan’s inaugural bachelor, 35-year-old Kubo Hirotake. Kubo is described as everything women in Japan are said to want – he is tall, handsome, sporty, highly educated, and most importantly, rich. In the program Kubo is presented with a pool of 25 potential marriage partners and charged with finding the woman of his dreams in what producers describe as the ultimate modern fairy tale, a ‘heated battle’ for the heart of the perfect man. Appearing at a time in Japan when marriage rates are at an all-time low and young people increasingly deem romantic love unimportant to their lives, the program may on initial viewing be a treatise on the importance of marriage. On closer inspection however, the politics of The Bachelor Japan reveal the dreams of contemporary Japanese women and the pressures they face surviving a society hostile to their independence. In this article I argue that The Bachelor Japan, far from following the traditional fairy tale narrative in which a woman is rescued by a handsome prince, instead shows women on a completely new path – one on which they may become princesses on their own terms.

«Как я почту в войну носил...» (всегда ли условны сказочные пространство и время?)

Folklore studies generally consider time and space in everyday tales, unlike fairy tales, as non-fantastic but close to reality. At the same time, they are unreal, just as the main character. A comparative analysis of two texts was undertaken: handwritten notes of Stepan Nikiforovich Zhirnovsky (1951) and a tape recording of Pavel Platonovich Plotnikov (2000), both having plots of the same type and registered in the Irtysh region. The story of 1951 is of a stand- ard type, with a typical everyday tale main character: an agile person, a rogue, taking advantage of any situation. His action takes place in a unreal time and space, despite the narrative being in the first person as a “true story.” When telling the story of 2000, the storyteller calls it a “tale”, but the listener is immersed in real space and time (real Sibe- rian villages during the Great Patriotic War). The credibility is confirmed by introducing the names of the people who lived at that time. The hero of the first-person narrative is not a pattern but a real man involved in complicated, absurd, and cruel life situations (although these are typical tale plot episodes). The listener realizes the hero’s terrible deeds as committed not out of malice but by accident, feels sympathy, and believes in his experiences as if it was a story of a real person from the not-so-distant wartime years. All the credit goes to the narrator, who masterfully adapts the traditional tale story to real-life circumstances.

“Kuşların Masalı” üzerine bir inceleme

Bu çalışmada, Bestami Yazgan'ın "Kuşların Masalı" adlı eserinde, geleneksel masal türünün anlatım özelliklerinden farklı olan özellikler incelenmiştir. Araştırmada doküman inceleme yöntemi kullanılmıştır. Masalla ilgili tür özelliklerini incelemek için içerik çözümlemesi yapılmıştır. Masal türünün geleneksel anlatım özellikleri ile bu eserde kullanılan yeni anlatım özellikleri belirlenmiştir. Böylelikle çağdaş yazında masal türünün kazandığı yeni anlatım özellikleri ve kullanım biçimi açıklanmıştır. İncelenen eserde geleneksel masal türü ile fabl, günlük, efsane, hikâye gibi türlerin iç içe işlendiği, bazen masalın bölümleri arasında şiir türünün de kullanıldığı tespit edilmiştir. Tekerlemelerde yeni ve güncel söyleyişlerin yanında geleneksel masalın ‘masal başı tekerlemesi’nden önce masal anlatıcısını belirten “sunuş tekerlemesi” denilebilen fazladan bir tekerleme de kullanılmıştır. Geleneksel masallarda kullanılan benzetme, abartma, konuşturma ve kişileştirme gibi sanatların yanında atasözü (irsalimesel), alıntı (iktibas), hatırlatma (telmih) gibi sanatların da kullanıldığı belirlenmiştir. Ayrıca incelenen eserde yer alan 13 masalın her biri kendi içinde ayrı bir masal özelliği gösterir. Bütün masallar birlikte okunduğunda tek bir masal gibi de okunabilir.

Motif Analysis of Oscar Wilde’s Fairy Tales

The study was aimed to do the motif analysis of Oscar Wilde’s fairy tales as Wilde’s fairy tales got significant weightage in his life and he in fact wrote the fairy tales for his sons. Wilde’s fairy tales had almost the same tinge of imagination and supernatural atmosphere as found in the oral fairy tales and he exquisitely presented the sketch and plot of characters with a tug of war and finally like all other fairy tales meets the happy endings with some didactic lessons. The researchers used Thompson Motif Index as a theoretical framework and trace almost all types of motifs however the motifs of society were found most as compared to the other types of motifs. Through these motifs, he truly reflected the picture of his age and the current study also helped establish Wilde’s fairy tales along with the oral tradition of fairy tales.

Awareness Level of Visually Impaired College Students about Urdu Poets and Poetry in Punjab: A Qualitative Inquiry

Language has been the most popular source of communication in human society since the start of civilization. The tradition of Folk Tales appeared as the foundation of literature in ancient times. Poetry is a significant way of expression in human literature. Urdu language possesses uncountable master pieces of prose and poetry. Visually impaired persons have proved themselves as literature lovers, good readers and visionary poets in past and present. This study is an effort to depict the awareness level of visually impaired college students about Urdu poets and their creations. The population of the study consisted of all visually impaired students enrolled in public and private sector colleges located in the district Lahore and Okara. A self developed and validated structured interview schedule containing 10 open ended questions was used to collect data from conveniently selected sample of 30 visually impaired students (males= 18, females=12). Descriptive statistics (percentages of responses) were calculated, collected information was coded; major themes were derived and interpreted by qualitative data analysis technique. The Study reflected that the visually impaired college students were having a lot of information about Urdu poets and their creations although there seemed a lack of in depth knowledge. They reported the lack of talking books and material in Braille on Urdu poetry of great and famous poets. They suggested the establishment of talking libraries throughout the country. Major findings were reported, conclusions were drawn and recommendations were made to Punjab Higher Education Department.

노년층을 위한 ‘이야기말하기형 진단도구’의 그림체 연구

노화가 진행됨에 따라 노년층들은 언어처리 능력이 저하된다. 따라서 치매와 같은 퇴행성 질환을 조기에 발견할 수 있는 진단도구들이 개발되고 있다. 그중 노년층의 언어처리능력 진단을 위한 ‘이야기말하기형 진단도구’는 그림을 보고 사람의 기억을 되새겨서 다시 말로 표현하는 방식으로 언어능력을 진단하여 주로 사용되고 있다. 이 진단도구는 전환(shifting)과 선택적 주의력(selective attention abilities)의 감소로 주제와 벗어난 발화를 산출하는지 확인한다. 하지만 현재 국내에서 활용되는 진단도구는 대부분 해외에서 개발된 진단도구를 번역하여 사용하고 있는 실정이므로 국내의 노년층에게 익숙한 이야기로 만든 이야기말하기형 진단도구의 개발이 필요하다. 하여 최유미, 성지은, 한지윤, 그리고 김유리(2018)의 연구를 시작으로, 최유미, 한지윤, 박조이, 그리고 최주은(2020)과 연결된 후속연구를 진행한다. 본 연구는 한국 노년층에게 가장 친숙한 전래동화 이야기를 찾고, 노년층이 선호하는 그림체를 확인하여 결과적으로 이야기말하기형 진단도구의 개발에 활용하는 것이 목적이다. 이를 위해 먼저 타깃을 대상으로 전래동화 친숙도를 조사하였는데 그 결과 모든 세대에게 가장 친숙하고, 특히 노년층에게 높은 비율로 선정된 전래동화는 ‘흥부와 놀부’였다. 다음으로 시판된 ‘흥부와 놀부’ 그림책 13권을 대상으로 그림체를 스타일별로 분류한 결과 ‘손그림 중 수채화’, ‘간단한 도형’, ‘콜라주’, ‘사실적 기법’ 4가지로 도출되었다. 동일한 인물, 상황을 제시하기 위해 기승전결 시나리오 기법에 따라 ‘흥부와 놀부’의 ‘전’에 해당하는 박타는 장면을 테스트 장면으로 선정하였고, 총 93명의 액티브시니어에게 디지털 디바이스로 그림체 선호도 테스트를 시행했다. 연구결과 액티브시니어는 ‘간단한 도형’ 그림체를 가장 선호하는 것으로 나타났다. 따라서 본 연구는 액티브시니어 세대가 선호하는 ‘간단한 도형’ 그림체를 노년층을 위한 ‘이야기말하기형 진단도구’에 활용하는 것을 제안한다.

Early childhood teachers’ perceptions of literature education using Korean traditional fairy tales: based on importance and performance analysis

Early childhood teachers’ perceptions of literature education using Korean traditional fairy tales: based on importance and performance analysis

전래동화를 활용한 미술 활동이 유아의 정서지능과 그림표상능력에 미치는 영향

본 연구의 목적은 전래동화를 활용한 미술 활동이 유아의 정서지능과 그림표상능력에 미치는 영향을 살펴보는 것이다. 연구 대상은 광주광역시에 소재한 B 어린이집에 재원 중인 만 5세 유아 15명(실험집단)과 G 어린이집에 재원 중인 만 5세 유아 15명(비교집단)이었다. 실험집단은 전래동화를 활용한 미술 활동에, 비교집단은 누리과정의 생활주제에 따른 미술 활동에 참여하였다. 연구결과는 정서지능의 4개 하위영역과 그림표상능력에서 실험집단 점수가 비교집단보다 유의하게 향상한 것으로 나타났다. 전래동화를 활용한 미술 활동이 유아의 정서지능과 그림표상능력 향상에 긍정적 영향을 미치는 것이다. 등장인물의 성격이 분명하고 환상적이며 흥미로운 내용을 지닌 전래동화를 미술 활동에 활용함으로써 본 연구는 유아의 정서지능과 그림표상능력을 효과적으로 증진하는 교수-학습 활동을 보여준다. 결국 본 연구는 유아의 정서지능과 그림표상능력의 증진에 전래동화를 활용한 미술 활동이 효과적임을 입증하는 데 그 의의가 있다.

부모가 선호하는 국내･외 전래동화에 나타난 부정적 요소 분석

부모가 선호하는 국내･외 전래동화에 나타난 부정적 요소 분석

The Flying King: the novelistic Alexander (Pseudo-Callisthenes 2.41) and the traditions of the Ancient Orient

The story of Alexander’s flight is preserved in early Byzantine versions of the Alexander Romance (codex L, recensions λ and γ) but is already mentioned by Rabbi Jonah of Tiberias (4th century AD) in the Jerusalem Talmud. The narrative must have been created between the late Hellenistic period and the early Imperial age. Although there are differences in details, the main storyline is common in all versions. Alexander fabricates a basket or large bag, which hangs from a yoke and is lifted into the air by birds of prey; Alexander guides the birds upwards by baiting them with a piece of meat fixed on a long spear. The same story-pattern is found in oriental tales about the Iranian king Kai Kāūs and the Babylonian Nimrod. Kai Kāūs’ adventure was included in the Zoroastrian Avesta and must have been current in the Iranian mythical tradition during the first millennium BCE. It is then transmitted by Medieval Islamic authors (Ṭabarī, Bal‘amī, Firdausī, Tha‘ālibī, Dīnawarī), who ultimately depend on Sasanian historical compilations, in which the early mythology of Iran had been collected. The story of Kai Kāūs’ ascension is earlier than Pseudo-Callisthenes’ narrative and contains a clear indication of morphological priority: in some versions the Persian king flies while seated on his throne, which reflects a very ancient and widespread image of royal iconography in Iran and Assyria. Probably Alexander’s aerial journey was derived from an old oriental tradition of tales about flying kings, to which the stories of Kai Kāūs and Nimrod also belonged. The throne had to be eliminated from Alexander’s story, because the episode was set during Alexander’s wanderings at the extremities of the world. The Macedonian king had therefore to fabricate his flying vehicle from readily available materials. Later, after the diffusion of Pseudo-Callisthenes’ romance in the Orient, the tale of Alexander’s ascension might have exercised secondary influence on some versions of the stories of Kai Kāūs and Nimrod, regarding specific details such as the use of the bait.

Cuentos tradicionales recopilados en la comarca toledana de la Jara

«Cuentos tradicionales recopilados en la comarca de la Jara» es una nueva recogida de esta importante manifestación folklórica que es el cuento de tradición oral. Recopilación que apenas cuenta con antecedentes en la provincia de Toledo. Se publican aquí ocho cuentecillos de marcado carácter fantástico, grabados en la localidad de Belvís de la Jara. Merced a las oportunas notas los cuentos son clasificados según los Índices generalmente aceptados y encuadrados dentro de la tradición folklórica española y americana.

Of Landscapes and Animals: An Ecosophical Analysis of Pagu Folktales

Spoken by a few members of the Pagu ethnic group in North Halmahera province, Pagu is one among endangered languages in Indonesia worth saving from extinction (Perangin-Angin, 2018). This study examines the preservation of Pagu by caring for the literary wealth in the language, i.e., folktales. Using Ecosophy as a theoretical trajectory, the analysis of the five Pagu folktales studied show that (1) Two creation fables are anthropocentric because the intention is to teach and impart values to people; (2) The other two are morality tales calling for people’s care for and attention to the environment and all the ecosystems which have so far supported people’s life. This study concludes that not only do traditional tales enhance language research and character education, they also deliver transformative power to call for an ethic of care – caring for the language and caring for the environment. Thus, the maintenance of the local culture, such as folktales, complements the language preservation efforts.Â

Algunas consideraciones sobre los temas de los cuentos tradicionales de Castilla y León

La comparación de los cuentos de animales y los maravillosos en tres extensas colecciones de cuentos tradicionales proporciona un inventario de los cuentos de dichos tipos en las regiones de Castilla y León. El hecho de que los cuentos fueron recogidos durante un período limitado da informes precisos sobre la difusión y conservación de los diversos tipos y temas. Basado en el catálogo de Aarne-Thompson, el inventario incluye unos 160 tipos. Los cuentos más difundidos son casi los mismos en las tres colecciones. En la más reciente se observa una tendencia a abreviar la narración y son numerosos los cuentos muy breves. En todo caso, el inventario atestigua la vitalidad del cuento oral en la cultura popular.

A Case Study of Integrated Korean Classes Using Traditional Tales

A Case Study of Integrated Korean Classes Using Traditional Tales