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.
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.
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.
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.
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.
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.
The background of this research is students who find it difficult to listen to learning. This study aims to determine the differences and increase in students' listening skills using the storytelling ...method with hand puppets. This research was conducted in class II of SD Negeri 51 Pekanbaru. Based on the results of the study, it was found that there were differences in the skills of listening to fairy tales between the experimental class and the control class. In the final test of the experimental class and the control class obtained = 5.7697 ≥ = 1.666, so there are significant differences. Increased skills in listening to fairy tales also occurred in the experimental class from an average of 74, 44 to 86, 94 in the final test and a gain of 0.38 which included in the medium category. So, there is a difference and an increase in the skill of listening to fairy tales grade II students of SD Negeri 51 Pekanbaru using the method of telling stories with hand puppets
This study aims to; (1) do need assesment of students and teachers for the development of learning media in form of comic; (2) do validation by media experts, material experts, and language experts; ...(3) examine the effectiveness of the developed comic toward enhancement of the ability to decipher messages in fairy tales. This research and development applied ADDIE Analysis, Design, Develop, Implement, Evaluate) model. The population of this study is 3rd grade students of SDN Sukorame 2 Elementary School. Data collection methods by observation, interview, questionnaire and documentation. Evaluation of the validity of instructional media involved of five material experts and media experts. The result of this study find: (1) Teachers and students need the development of comic based on local wisdom. (2) The validation score by the material expert is 89%, by the media expert is 82%, and by the language expert is 84.44%. (3) The effectiveness of developed comic can be seen from the questionnaire and pre-post test result. The pretest score is 68 and the posttest score is 84. Meanwhile the teacher questionnaire score is 92% and student questionnaire score is 93.75%. Based on these results, the comic developed is needed for students and teachers, very valid, and very effective.
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