Other than the most widely-recognised Beauty and the Beast tales of de Beaumont and Disney, a number of writers from all over the world have recreated the tale. These writers originate from a number ...of social contexts, and each has recreated the tale according to the expectations of these societies. Alexander Afanasyev’s Russian tale The Enchanted Tsarévich, Consiglieri Pedroso’s Portuguese tale The Maiden and the Beast, Evald Tang Kristensen’s Danish tale Beauty and the Horse, the Italian tale Zelinda and the Monster and Chinese folk tale The Fairy Serpent are analysed in this article. These international remakes will be analysed using the New Historicist and Feminist frameworks. The article aims to understand the extent to which these less-recognised tales share patriarchal ideas. Moreover, the analysis draws connections between the ideas presented in the tales and their historical backdrop, emphasising that a literary work cannot be separated from its social context. The tales tell the story of gender inequality. They perpetuate patriarchal behaviours and expectations through the behaviours of and relationships between the beauties, Beasts, fathers and sisters depicted. The male characters are empowered decision-makers, who for the most part have control over their lives; however, the female characters are submissive and passive, given little to no control. Moreover, the tales relate closely to their social contexts, and this article analyses each tale in parallel with a discussion of its social context. The patriarchal nature of each tale suggests that the 19th century encouraged gendered inequality and differences as well.
Other than the most widely-recognised Beauty and the Beast tales of de Beaumont and Disney, a number of writers from all over the world have recreated the tale. These writers originate from a number ...of social contexts, and each has recreated the tale according to the expectations of these societies. Alexander Afanasyev’s Russian tale The Enchanted Tsarévich, Consiglieri Pedroso’s Portuguese tale The Maiden and the Beast, Evald Tang Kristensen’s Danish tale Beauty and the Horse, the Italian tale Zelinda and the Monster and Chinese folk tale The Fairy Serpent are analysed in this article. These international remakes will be analysed using the New Historicist and Feminist frameworks. The article aims to understand the extent to which these less-recognised tales share patriarchal ideas. Moreover, the analysis draws connections between the ideas presented in the tales and their historical backdrop, emphasising that a literary work cannot be separated from its social context. The tales tell the story of gender inequality. They perpetuate patriarchal behaviours and expectations through the behaviours of and relationships between the beauties, Beasts, fathers and sisters depicted. The male characters are empowered decision-makers, who for the most part have control over their lives; however, the female characters are submissive and passive, given little to no control. Moreover, the tales relate closely to their social contexts, and this article analyses each tale in parallel with a discussion of its social context. The patriarchal nature of each tale suggests that the 19th century encouraged gendered inequality and differences as well.
This paper is about the practical application of Metamorphoses creative-developmental fairy tale therapy, which is presented based on a three-session Metamorphoses creative-developmental fairy tale ...therapy session. The sessions were conducted between April and May 2021, among students (n=24) of the University of Debrecen, who were previously not familiar with fairy tale therapy, nor with the works of Ildikó Boldizsár. Through the media environment of the session, we also reflected together on the effects of internet consumption and the dangers of the internet. The study highlights the students' attitudes towards this method and their participation and activity in the online space. The experiences gained during the 3 sessions and the feedback of the students appear as a guideline to conclude the study. The practical application of the Metamorphoses creative-developmental fairy tale therapy will show whether this methodology has a role to play in higher education.
In the 20th and 21st centuries, the rise of audio-visual media, particularly cinema and television, brought about new visual techniques and storytelling conventions that have transformed the way ...fairy tales are adapted for the screen. Initially adapted for a younger audience, newer adaptations often return to the darker and more horrific elements of the source texts; this includes body horror and an emphasis on physiological differences. This article employs structural, cultural, and folkloric interpretive lenses for the analysis of three contemporary, audio-visual fairy tales to discuss the way contemporary fairy tales include disability and difference as social constructs that are shaped by cultural attitudes and anxieties. The stories’ plots are driven by the protagonists’ “otherness”, and these texts feature transformations that provide clues to understanding current standards of beauty and normality. I argue that newer adaptations place an emphasis on finding resolutions to difference that challenge the traditional idea that if one has a face or body that strays from the standard of the norm, one must die, relegate oneself to the margins, or join others like oneself.
He is giving da’wah to children certainly different from giving da’wah to adults. Giving da’wah to children must take an in-depth approach because their cognitive development is still preoperational, ...so it is necessary to use an understandable way while performing da’wah to children. The preoperational stage is the stage that begins around age two to seven years old. In this stage, children cannot yet use logic, transform, combine, or separate ideas. Hence, a child has not yet used his mind ultimately. One of the da’wah methods proper for children is the fairy tale method. Considering the background above, this study focuses on how giving da’wah through Kak Ivan’s fairy tale. This study used descriptive qualitative research using the data collection method through observation, interview, and documentation, and analyzing data using the interactive analysis method. The way Kak Ivan gives da’wah through fairy tales is unique because of his capability to imitate various sounds to captivate children. Kak Ivan starts his da’wah with an enchanting technique such as imitating the sound of a car, airplane, trumpet, a child, and an older man. This is quite rare to be found in other da’i. At the end of da’wah or the closing part, Kak Ivan uses puppets, and it is used in the final chapter to increase children’s focus that is already distracted in the middle of giving da’wah. Aside from being unique, da’wah through Kak Ivan’s fairy tale is a successful da'wah because of the positive effect on the mad'u, which can be applied in daily life. For example, asking friends to go to a sermon together, an initiative to help a friend by lending a pencil to someone who forgot to bring it, also can perform salah without having to be ordered by parents.
Anne Thackeray Ritchie and Angela Carter both recreated the classic tale Beauty and the Beast. This article analyses these recreated tales using the new historicist and feminist theories. The ...analysis allows for a discussion of how each tale conforms to and/or contrasts with expected gender roles. Thackeray and Carter reflect particular ideas about gender within their tales. Writing in the 19th and 20th centuries, respectively, the women published within particularly patriarchal social contexts – Ritchie slightly more so than Carter. The limiting social contexts allowed for minimal, if any, diversion from the status quo of expected gender behaviours. These social contexts impacted on the writers of these centuries and their texts. However, writers such as Thackeray and Carter did not simply accept the patriarchal expectations thrust upon men and women but actively commented against them within their tales. These women writers developed tales that were commentaries on the gender expectations of their social contexts. Although both of these centuries were saturated with patriarchal ideas encouraging particular rigid behaviours for men and women, Thackeray and Carter sought to recreate these limiting gender expectations through publishing dynamic tales. Each writer includes characters and relationships in their tales, which are alternatives to their societies’ patriarchal expectations of men and women. By creating new narratives into their Beauty and the Beast tales, these women writers both question and critique patriarchal rule and provide alternatives to it.
The article deals with the concept of “The Good Hero of Fairy Tales” in the Russian and Chinese language pictures of the world; identifies the distinctive features (what?) of the universal cultural ...concept. On the example of the five most common Russian and Chinese fairy tales, the names of the heroes and their origins are analyzed in a contrastive aspect. The study of the texts of fairy tales showed their deep difference: if in Russian fairy tales the positive hero usually bears one name and his image is archetypal, then Chinese fairy tales are distinguished by a variety of positive heroes. Reliance on contrastive research in the practice of teaching foreign languages, in particular, Russian as a foreign language, contributes to the improvement of the process of teaching a second language, helps the student to successfully build his communicative behavior in the context of a dialogue of cultures.
The studies treat the peculiarities of riddles functioning in different genres of literary discourse in three literary texts by the English writers L. Carroll’s «Alice’s Adventures in Wonderland, J. ...Tolkien’s «Hobbit, Back and Forth» and R. Austin Freeman’s «The Mysterious Visitor». The relevance of this work is determined by the interest of linguists to a riddle as a linguistic phenomenon, possessing a certain cognitive-pragmatic potential, and is still insufficiently researched. As a valuable source of knowledge about the culture and traditions of a particular ethnic group, the riddle has a great linguistic and cultural potential and reflects the variability of the world’s pictures. Coding an object of the existing reality in the riddle aims to create a problem situation for the guesser, who should demonstrate the flexibility and non-standard analytical or insight way of thinking. The purpose of the study is to describe the cognitive-pragmatic potential of riddles functioning in a literary tale and a detective story. It has been established that the riddle can be not only an independent communicative event, but also an integral part of complex literary genres. The use of riddles in literary discourse is motivated by the author’s intention and reflects the creative nature of thinking. In the fairy tale, the riddle is aimed at game communication with a reader, while in the detective discourse it represents the main genre-forming element around which the plot and the system of characters are built.
This article contributes to the discourse on experimental interwar fairy tales as a subgenre that undermines the anachronistic fairy-tale conventions to a selective negation or recontextualization in ...accordance with a contemporaneous cultural crisis. The contribution consists of demonstrating how fairy tales provide popular interwar religious authors with a platform to parallel the critical mirroring of their secular contemporaneous society with an articulation of a Christian, humanist optimism. A spatially focused comparison of Ödön von Horváth’s cycle of fairy tales Sportmärchen (1924–1926, published posthumously in 1972), and Joachim Ringelnatz’s Nervosipopel: Elf Angelegenheiten (1924) distinguishes the vertical and horizontal textual spaces to demonstrate that both authors reflect their metaphysically uprooted society through a negation of the genre's characteristic orientation toward harmonic equilibriums on a horizontal spatial axis. However, by overlaying destructive horizontals with antinomic, transcendence-signifying Christian verticals, the tales also articulate a modality of nearness to God, even in the secular world. This symbolic and positive vertical motion correlates with preserving the genre's characteristic idealization of a child.
PDF
