This study aims to analyze the character values in Indonesian learning fairy tales in elementary schools which include (1) what types of fairy tales are in elementary school thematic books? (2) ...what are the character values found in fairy tales in thematic books. The type of research method used in this study was Library Research with the object of research using class I-VI thematic books integrated with the 2013 Curriculum. The data analysis technique used in writing this research was carried out by collecting data, data reduction, data presentation and drawing conclusions. Based on the results of the research, the data obtained are 1) the types of fairy tales in elementary school thematic books there are three types of fairy tales namely types of fable fairy tales which total 29 fairy tales, types of legendary fairy tales which amount to two fairy tales and types of mythical fairy tales which amount to two fairy tales. 2) the character values contained in fairy tales in the integrated thematic books of the 2013 curriculum, there are 15 character values including honesty, tolerance, discipline, hard work, creative, independent, democratic, curiosity, national spirit, respect for achievement, friendly/communicative, love peace, care for the environment, care for social and responsibility
This article makes an original contribution to tourism research by examining how enchantment is produced. Light installations are presented as storyscapes, crafted from technical metamorphoses and ...mythical, fairytale and folklore narratives. The findings uncover the importance of the creative praxis of designers, which infuses the peculiarly enchanting affective agency and presence of their installations. We demonstrate how the production of enchantment differs conceptually from other forms of tourism development by offering visitors disturbing, sublime, uncanny, unexpected experiences. This leads to a reappraisal of the imagineering of tourist enchantment as less programmed and more anarchic. The findings indicate how enchantment can defamiliarise and refresh intangible cultural heritage, opening up the possibility of new imaginative thresholds within the tourism industry.
•The production of enchantment is purposefully destabalising, sublime and uncanny.•Enchanted storyscapes can use fantasy narratives to defamiliarise cultural heritage.•The presence of enchantment is infused with the creative trace of its designers.•Enchantment is designed to act as a threshold to the poetic imagination.•Imagineering can be anarchic, free-flowing and surreal.
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GEOZS, IJS, IMTLJ, KILJ, KISLJ, NLZOH, NUK, OILJ, PNG, SAZU, SBCE, SBJE, UILJ, UL, UM, UPCLJ, UPUK, ZAGLJ, ZRSKP
Fairytales have been told for as long as people have been telling stories. What started as folk tales passed on to each generation, became stories that are often associated with royalty, magic and ...far away lands. Popularized by the Grimm Brothers starting in 1812, and again by the Walt Disney Company and their animated films, fairytales are a staple in all media. With their simple narratives and stories that leave room for multiple interpretations, it is no wonder that authors use these fairytales as inspiration to tell a unique tale. From modern day settings, to taking the opportunity to create more stories for underrepresented groups such as the LGTBQ+ and BIPOC communities, fairytale retellings and their recent rise in the publishing world have endless opportunities.
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CEKLJ, EMUNI, FIS, FZAB, GEOZS, GIS, IJS, IMTLJ, KILJ, KISLJ, MFDPS, NLZOH, NUK, OILJ, PNG, SAZU, SBCE, SBJE, SBMB, SBNM, UKNU, UL, UM, UPUK, VKSCE, ZAGLJ
The following fairy tale is the creative output from an arts-based autoethnographic inquiry created in partial fulfillment for my Master of Arts degree. Inspired by the doctoral work of Lindsay Eales ...(2018), my main research objective was to challenge, (re)imagine, and transform conventional dance spaces into spaces that were more accessible for Mad bodyminds. I used artistic processes such as painting, dancing, and journaling to examine my own experiences of madness within and outside of dance spaces. I then took my findings and began writing an autoethnographic creative nonfiction piece in the form of a whimsical fairy tale that sought to deconstruct my personal experiences and reconnect them to other Mad works and texts. In doing so, my fairy tale is not only an imagination of the Mad-affirming dance spaces I wish were available to me throughout my dance career, it is an invitation to imagine Mad-affirming worlds beyond.
The article deals with Ye.I. Zamyatin tales from the perspective of their compliance with the genre canons of a fairytale. The authors explore the Tales of Fita cycle as well as the tales “The ...Devourer” and “The Church of God” included in the collection “Big Kids’ Fairytales”. Special attention is paid to the endings of tales; the authors analyze their correspondence to the canons of folklore and literary fairytales formulated by the researchers of this genre: V.Ya. Propp, V.P. Anikin, and I.P. Lupanova. There is a mixture of the fairytale genre with the genre of socio-political satire in Ye.I. Zamyatin’s analyzed works. The authors analyze the plot and stylistic means used by the writer, their compliance with the standard canon. Within the study, the authors rely on the results of existing research in this area and attempt to explore the writer’s work in a new context. Traditionally works in the field of literary research into Ye.I. Zamyatin’s work focus on the dystopian motives and the analysis of political overtones in the writer’s satirical works. At the same time, the genre-related features of Ye.I. Zamyatin’s early works remain poorly understood and require particular academic attention. The novelty of this study consists in the fact that the study is focused on the analysis of the genre structure of Zamyatin’s “tales”. The authors use the method of comparative analysis, problem-logical, functional and systemic methods. The study allows one to determine the degree to which Ye.I. Zamyatin’s tales correspond to traditional plot-related and “formulaic” devices used in the endings of folk and literary fairy tales as well as study the specific features of mixing the genres of fairytale and satire in the famous Russian writer’s works.
PurposeUsing a dialogic approach to narrative analysis through the lens of fairytale, this paper explores the shared construction of corporate environmental stories. The analysis provided aims to ...reveal the narrative messaging which is implicit in corporate reporting, to contrast corporate and stakeholder narratives and to bring attention to the ubiquity of storytelling in corporate communications.Design/methodology/approachThis paper examines a series of events in which a single case company plays the central role. The environmental section of the case company's sustainability report is examined through the lens of fairytale analysis. Next, two counter accounts are constructed which foreground multiple stakeholder accounts and retold as fairytales.FindingsThe dialogic nature of accounts plays a critical role in how stakeholders understand the environmental impacts of a company. Storytelling mechanisms have been used to shape the perspective and sympathies of the report reader in favour of the company. We use these same mechanisms to create two collective counter accounts which display different sympathies.Research limitations/implicationsThis research reveals how the narrative nature of corporate reports may be used to fabricate a particular perspective through storytelling. By doing so, it challenges the authority of the version of events provided by the company and gives voice to collective counter accounts which are shared by and can be disseminated to other stakeholders.Originality/valueThis paper provides a unique perspective to understanding corporate environmental reporting and the stories shared by and with external stakeholders by drawing from a novel link between fairytale, storytelling and counter accounting.
The article introduces into scholarly discourse valuable archival material – an album dedicated to the film On the Shore of Lake Sevan (The Secret of Mountain Lake) which is comprised of photos and ...reviews of the Soviet and foreign press. The authors analyze the content of the archival find, the plot structure and the pictorial treatment and determine the place of the film in the history of cinema. The children’s film about the exposure of magic shows the fairy tale codes and the specific features of Rou’s cinematography. The authors analyze the performance of the actors and the camera crew, the ways of representing the legend on the screen, and the role of the natural landscape and identify the most effective methods of working with an adventure story in the historical and cultural conditions of 1953-1954. They reveal the ways of including folklore motifs in the narrative and the techniques of self-citation used by the director. The authors come to the conclusion that the fantastic, ecological and didactic components are organically interwoven in the film. The published archival materials make it possible to reconstruct the historical and cultural context of the perception of Rou’s film and determine its significance for the development of Russian and Armenian cinema.
In Suis-moi ! Maja Kastelic invites us to enter the tale following the steps of a boy who enters the strange building at 34 Andersen Street. As the illustrator says, this is a “homage to literature, ...illustration, and to the nostalgic beauty of old times and timeless things”. The article explores how a wordless picture book can be a tribute to literature. In a mysterious house, full of accumulated treasures, textual and visual arts merge. The reader goes back to the sources, like the child in the picturebook. Both are drawn into a real treasure hunt, gleaning, step by step, the pictures, the textual clues and the references that abound in the pictures.
From the beginning of pre-school in France (1887), teachers have been using formula tales with their young pupils without any prescription in curriculums. That tradition shows that preoccupations ...have been, for a teacher, to adjust narrative stories to a real expertise on young children: Andre Petitat in Geneva and his team have proven that formula tales are closely adapted to child development. We will explore two editorial initiatives, “À petits petons” published by Didier jeunesse and the collection “Narramus”, by Retz: we shall put into perspective the literary and artistic quality of the works, how they were related to traditions and educational use, in a period where the importance of culture for all is being highlighted.
If Emilio Garroni in his important study of 1975 (Pinocchio uno e bino) proposed considering Pinocchio as two novels in one, the first - called Pinocchio I - which goes from chapter I to chapter XV ...and ends with the hanging of the puppet, and the second, called Pinocchio II, which goes from chapter I to chapter XXXVI (i.e. the current novel), in this article I would like to take as the object of analysis only the novel The Adventures of Pinocchio, without particular segmentations and without considering privileged narrative cells, and describe the coexistence of two Pinocchios. These two Pinocchios are born and live together as if entangled in each other and are bearers of opposing values, so that in the text there is a continuous unresolved oscillation which constitutes that mythical form that Lévi-Strauss described in his anthropology studies of the myth. Starting from some indications from Paolo Fabbri, I will try to highlight, in a semiotic perspective, the mythical qualities of Pinocchio.
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