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Red Fairy Book,The
THE RED FAIRY BOOK Edited by ANDREW LANG TO MASTER BILLY TREMAYNE MILES A PROFOUND STUDENT YET AN AMIABLE CRITIC PREFACE IN a second gleaning of the fields of Fairy Land we cannot expect to find a second Perrault. But there are good stories enough left, and it is hoped that some in the Red Fairy Book may have the attraction of being less familiar than many of the old friends. The tales have been translated, or, in the case of those from Madame d'Aulnoy's long stories, adapted, by Mrs. Hunt from the Norse, by Miss Minnie Wright from Madame d'Aulnoy, by Mrs. Lang and Miss Bruce from other French sources, by Miss May Sellar, Miss Farquharson, and Miss Blackley from the German, while the story of `Sigurd' is condensed by the Editor from Mr. William Morris's prose version of the `Volsunga Saga.' The Editor has to thank his friend, M. Charles Marelles, for permission to reproduce his versions of the `Pied Piper,' of `Drakestail,' and of `Little Golden Hood' from the French, and M. Henri Carnoy for the same privilege in regard to `The Six Sillies' from La Tradition. Lady Frances Balfour has kindly copied an old version of `Jack and the Beanstalk,' and Messrs. Smith and Elder have permitted the publication of two of Mr. Ralston's versions from the Russian. A. L. CONTENTS The Twelve Dancing Princesses The Princess Mayblossom Soria Moria Castle The Death of Koschei the Deathless The Black Thief and Knight of the Glen The Master Thief Brother and Sister Princess Rosette The Enchanted Pig The Norka The Wonderful Birch Jack and the Beanstalk The Little -
Baba Yaga, Monsters of the Week, and Pop Culture's Formation Of
humanities Article Baba Yaga, Monsters of the Week, and Pop Culture’s Formation of Wonder and Families through Monstrosity Jill Terry Rudy 1,* and Jarom Lyle McDonald 2 1 Department of English, Brigham Young University, Provo, UT 84602, USA 2 Independent Scholar, Provo, UT 84601, USA; [email protected] * Correspondence: [email protected]; Tel.: +1-801-422-2869 Academic Editor: Claudia Schwabe Received: 15 March 2016; Accepted: 24 May 2016; Published: 3 June 2016 Abstract: This paper considers transforming forms and their purposes in the popular culture trope of the televised Monster of the Week (MOTW). In the rare televised appearances outside of Slavic nations, Baba Yaga tends to show up in MOTW episodes. While some MOTW are contemporary inventions, many, like Baba Yaga, are mythological and fantastic creatures from folk narratives. Employing the concept of the folkloresque, we explore how contemporary audiovisual tropes gain integrity and traction by indexing traditional knowledge and belief systems. In the process, we examine key affordances of these forms involving the possibilities of wonder and the portability of tradition. Using digital humanities methods, we built a “monster typology” by scraping lists of folk creatures, mythological beasts, and other supernatural beings from online information sources, and we used topic modeling to investigate central concerns of MOTW series. Our findings indicate connections in these shows between crime, violence, family, and loss. The trope formulates wonder and families through folk narrative and monster forms and functions. We recognize Baba Yaga’s role as villain in these episodes and acknowledge that these series also shift between episodic and serial narrative arcs involving close relationships between characters and among viewers and fans. -
Revista Inclusiones Issn 0719-4706 Volumen 7 – Número Especial – Octubre/Diciembre 2020
CUERPO DIRECTIVO Mg. Amelia Herrera Lavanchy Universidad de La Serena, Chile Director Dr. Juan Guillermo Mansilla Sepúlveda Mg. Cecilia Jofré Muñoz Universidad Católica de Temuco, Chile Universidad San Sebastián, Chile Editor Mg. Mario Lagomarsino Montoya OBU - CHILE Universidad Adventista de Chile, Chile Editor Científico Dr. Claudio Llanos Reyes Dr. Luiz Alberto David Araujo Pontificia Universidad Católica de Valparaíso, Chile Pontificia Universidade Católica de Sao Paulo, Brasil Dr. Werner Mackenbach Editor Europa del Este Universidad de Potsdam, Alemania Dr. Aleksandar Ivanov Katrandzhiev Universidad de Costa Rica, Costa Rica Universidad Suroeste "Neofit Rilski", Bulgaria Mg. Rocío del Pilar Martínez Marín Cuerpo Asistente Universidad de Santander, Colombia Traductora: Inglés Ph. D. Natalia Milanesio Lic. Pauline Corthorn Escudero Universidad de Houston, Estados Unidos Editorial Cuadernos de Sofía, Chile Dra. Patricia Virginia Moggia Münchmeyer Portada Pontificia Universidad Católica de Valparaíso, Chile Lic. Graciela Pantigoso de Los Santos Editorial Cuadernos de Sofía, Chile Ph. D. Maritza Montero Universidad Central de Venezuela, Venezuela COMITÉ EDITORIAL Dra. Eleonora Pencheva Dra. Carolina Aroca Toloza Universidad Suroeste Neofit Rilski, Bulgaria Universidad de Chile, Chile Dra. Rosa María Regueiro Ferreira Dr. Jaime Bassa Mercado Universidad de La Coruña, España Universidad de Valparaíso, Chile Mg. David Ruete Zúñiga Dra. Heloísa Bellotto Universidad Nacional Andrés Bello, Chile Universidad de Sao Paulo, Brasil Dr. Andrés Saavedra Barahona Dra. Nidia Burgos Universidad San Clemente de Ojrid de Sofía, Bulgaria Universidad Nacional del Sur, Argentina Dr. Efraín Sánchez Cabra Mg. María Eugenia Campos Academia Colombiana de Historia, Colombia Universidad Nacional Autónoma de México, México Dra. Mirka Seitz Dr. Francisco José Francisco Carrera Universidad del Salvador, Argentina Universidad de Valladolid, España Ph. -
The Goldfish and Little Red Riding Hood: Characters and Their Combinations in Fairy Tale Jokes and Parodies*
Journal of Ethnology and Folkloristics 13 (1): 9–28 DOI: 10.2478/jef-2019-0002 THE GOLDFISH AND LITTLE RED RIDING HOOD: CHARACTERS AND THEIR COMBINATIONS IN FAIRY TALE JOKES AND PARODIES* RISTO JÄRV Head of the Archives, PhD Estonian Folklore Archives, Estonian Literary Museum Vanemuise 42, 51003 Tartu, Estonia e-mail: [email protected] ABSTRACT There are two types of joke that can be described as fairy tale jokes: those with punchlines that include fairy tale characters, and fairy tale parodies. The paper discusses fairy tale jokes that were sent to the jokes page of the major Estonian internet Web Portal Delfi by Internet users between 2000 and 2011, and jokes added by the editors of the portal between 2011 and 2018 (CFTJ). The joke corpus has had different addresses at different times, and was a live ‘folklore field’ for the first few years after creation. Of all the characters, the Goldfish appeared in the largest number of jokes (76 out of a total of 286 jokes), followed by Little Red Riding Hood (72). Other fairy tale characters feature in a 14 or fewer fairy tale jokes each. Several fairy tale jokes circulating on the Internet varied over the period observed. Fairy tale jokes generally get their impetus from the characters and from plots with unexpected outcomes. A seemingly innocent fairy tale character is often linked to a sexual theme: sexuality holds first place as the source of humour in fairy tale jokes, although this may be caused by the so-called genre code of jokes. KEYWORDS: fairy tale joke • fairy tale • joke • interpretation • parody Fairy tale characters are often iconic and need no explanation; they are likely to evoke associations with the full content of the tale and its web of relations in most people in the Western cultural sphere. -
“History of Ukrainian Culture”. Part One
МІНІСТЕРСТВО ОХОРОНИ ЗДОРОВ’Я УКРАЇНИ Харківський національний медичний університет N. M. Martynenko, H.L. Demochko Н. М. Мартиненко, Г.Л. Демочко History of Ukrainian Culture Історія української культури Workbook for English-speaking students Робочий зошит для англомовних студентів Kharkiv 2015 УДК 316.722(091)477(076.6)=111 ББК 63.3 М 29 Затверджено вченою радою ХНМУ. Протокол № 3 від 19 березня 2015 р. Martynenko N. M., Demochko H.L. History of Ukrainian Culture : Workbook for English- speaking students / N. M. Martynenko, G.L. Demochko. – Kharkiv : KNMU, 2015. - 97 p. Мартиненко Н.М., Демочко Г.Л. Історія української культури: Робочий зошит для англомов. студентів / Н.М. Мартиненко, Г.Л. Демочко – Харків : ХНМУ, 2015.- 97 с. © Харківський національний медичний університет, 2015 © Мартиненко Н.М., Демочко Г.Л., 2015 C O N T E N T Unit 1 Part Introduction to “History of Ukrainian culture” 4 one Part Archaic cultures at the territory of Ukraine. 11 two Sources of Ukrainian culture Unit 2 Part Culture of Kyivan Rus‟ (9-12th centuries) 25 one Part Culture of Galiсia-Volhynia Principality 31 two Unit 3 Part Ukrainian Culture of Lithuanian Period (14th-16th c.) 38 one Part Ukrainian Culture of Polish Period 41 two (16th-the first half of 17th centuries) Part Ukraine and West-European cultural influences 45 three (late 17th - 18th centuries). Enlightenment Unit 4 Part Ukrainian cultural revival (late 18th –early 20th c.). 51 one First period Part Ukrainian cultural revival (late 18th –early 20th c.). 59 two Second period Part Ukrainian cultural revival (late 18th –early 20th c.). 69 three Third period Unit 5 Part Ukrainian cultural development of the newest period 75 one (20th –early 21st centuries) Part Social and political processes after disintegration 88 two of the USSR and their influence on the development of culture in Ukraine References 96 Unit 1.Introduction to “History of Ukrainian culture”. -
Identifying Impressions of Baba Yaga: Navigating the Uses of Attachment and Wonder on Soviet and American Television
Swarthmore College Works Russian Faculty Works Russian Spring 2017 Identifying Impressions Of Baba Yaga: Navigating The Uses Of Attachment And Wonder On Soviet And American Television M. Armknecht J. T. Rudy Sibelan E.S. Forrester Swarthmore College, [email protected] Follow this and additional works at: https://works.swarthmore.edu/fac-russian Part of the Slavic Languages and Societies Commons Let us know how access to these works benefits ouy Recommended Citation M. Armknecht, J. T. Rudy, and Sibelan E.S. Forrester. (2017). "Identifying Impressions Of Baba Yaga: Navigating The Uses Of Attachment And Wonder On Soviet And American Television". Marvels And Tales. Volume 31, Issue 1. 62-79. DOI: 10.13110/marvelstales.31.1.0062 https://works.swarthmore.edu/fac-russian/244 This work is brought to you for free by Swarthmore College Libraries' Works. It has been accepted for inclusion in Russian Faculty Works by an authorized administrator of Works. For more information, please contact [email protected]. Identifying Impressions of Baba Yaga: Navigating the Uses of Attachment and Wonder on Soviet and American Television Megan Armknecht, Jill Terry Rudy, Sibelan Forrester Marvels & Tales, Volume 31, Number 1, 2017, pp. 62-79 (Article) Published by Wayne State University Press For additional information about this article https://muse.jhu.edu/article/665834 Access provided by Swarthmore College (28 Jul 2017 19:56 GMT) MEGAN ARMKNECHT, JILL TERRY RUDY, AND SIBELAN FORRESTER Identifying Impressions of Baba Yaga Navigating the Uses of Attachment and Wonder on Soviet and American Television Baba Yaga. Her name conjures up images of dark forests, glowing skulls, gro- tesque bodily features, cannibalism, and her iconic flying mortar-and-pestle and chicken-legged hut. -
Russian Folktale by Vladimir Yakovlevich Propp
Series in Fairy-Tale Studies General Editor Donald Haase, Wayne State University Advisory Editors Cristina Bacchilega, University of Hawai`i, Mānoa Stephen Benson, University of East Anglia Nancy L. Canepa, Dartmouth College Isabel Cardigos, University of Algarve Anne E. Duggan, Wayne State University Janet Langlois, Wayne State University Ulrich Marzolph, University of Gött ingen Carolina Fernández Rodríguez, University of Oviedo John Stephens, Macquarie University Maria Tatar, Harvard University Holly Tucker, Vanderbilt University Jack Zipes, University of Minnesota A complete listing of the books in this series can be found online at wsupress.wayne.edu W5884.indb ii 8/7/12 10:18 AM THE RUSSIAN FOLKTALE BY VLADIMIR YAKOVLEVICH PROPP EDITED AND TRANSLATED BY SIBELAN FORRESTER FOREWORD BY JACK ZIPES Wayne State University Press Detroit W5884.indb iii 8/7/12 10:18 AM © 2012 by Wayne State University Press, Detroit, Michigan 48201. English translation published by arrangement with the publishing house Labyrinth-MP. All rights reserved. No part of this book may be reproduced without formal permission. Manufactured in the United States of America. Library of Congress Cataloging-in-Publication Data 880-01 Propp, V. IA. (Vladimir IAkovlevich), 1895–1970, author. [880-02 Russkaia skazka. English. 2012] Th e Russian folktale by Vladimir Yakovlevich Propp / edited and translated by Sibelan Forrester ; foreword by Jack Zipes. pages ; cm. — (Series in fairy-tale studies) Includes bibliographical references and index. ISBN 978-0-8143-3466-9 (paperback : alkaline paper) — ISBN 978-0-8143-3721-9 (ebook) 1. Tales—Russia (Federation)—History and criticism. 2. Fairy tales—Classifi cation. 3. Folklore—Russia (Federation) I. -
Role of the Folk Songs in the Russian Opera of the 18Th Century Adriana Pilip-Siroki
Role of the Folk Songs in the Russian Opera of the 18th Century Adriana Pilip-Siroki Listaháskóli Íslands Tónlistardeild Söngur Role of the Folk Songs in the Russian Opera of the 18th Century Adriana Pilip-Siroki Supervisor: Gunnsteinn Ólafsson Spring 2011 Abstract of the work The last decades of the 18th century were a momentous period in Russian history; they marked an ever-increasing awareness of the horrors of serfdom and the fate of peasantry. Because of the exposure of brutal treatment of the serfs, the public was agitating for big reforms. In the 18th century these historical circumstances and the political environment affected the artists. The folk song became widely reflected in Russian professional music of the century, especially in its most important genre, the opera. The Russian opera showed strong links with Russian folklore from its very first appearance. This factor differentiates it from all other genres of the 18th century, which were very much under the influence of classicism (painting, literature, architecture). About one hundred operas were created in the last decades of the 18th century, but only thirty remained; of which fifteen make use of Russian and Ukrainian folk music. Gathering of folk songs and the first attempts to affix them to paper were made in this period. In course of only twenty years, from its beginning until the turn of the century, Russian opera underwent a great change: it became into a fully-fledged genre. Russian opera is an important part of the world’s theatre music treasures, and the music of the 18th century was the foundation of the mighty achievements of the second half of the 19th century, embodied in the works of Mussorgsky, Tchaikovsky, Borodin, and Rimsky-Korsakov. -
Fifteen Russian Fairy Tales and What They Mean to Me Contents: 1
Fifteen Russian Fairy Tales and What They Mean to Me Contents: 1. Vasilisa the Priest’s Daughter (on challenging stereotypes) 2. The Cat Who Became Head-Forester (on the dangers of a single narrative) 3. Vasilisa the Beautiful (on ambiguous villains) 4. The Death of Koschei the Deathless (on untold stories) 5. The Tale of the Silver Saucer and the Transparent Apple (on injustice and resilience) 6. Sadko (on the power of music) 7. Ruslan and Ludmila (on layered stories) 8. Baba Yaga (on kindness) 9. The Lime Tree (on magic in the natural world) 10. The Crane and the Heron (on seizing the day) 11. The Gigantic Turnip (on community) 12. The Snow Maiden (on love and happiness) 13. The Armless Maiden (on the transformative power of fairy tales) 14. Vasilisa the Beautiful (on metaphors) 15. The Fool of the World and the Flying Ship (on friendship) These posts were written for The House with Chicken Legs Blog Tour, April 2018, by Sophie Anderson 1. Vasilisa the Priest’s Daughter (on challenging stereotypes) ‘In a certain land, in a certain kingdom…’ In this Russian fairy tale, collected and published by Alexander Afanasyev in 1855, Vasily the Priest has a daughter named Vasilisa Vasilyevna. Vasilisa wears men’s clothing, rides horseback, is a good shot with a rifle and does everything in a ‘quite unmaidenly way’ so that most people think she is a man and call her Vasily Vasilyevich (a male version of her name) … ‘… all the more so because Vasilisa Vasilyevna was very fond of vodka, and this, as is well known, in entirely unbecoming to a maiden.’ One day King Barkhat meets Vasilisa while out hunting, and thinks she is a young man. -
Reviews Marvels & Tales Editors
Marvels & Tales Volume 30 Article 8 Issue 1 Rooted in Wonder 8-1-2016 Reviews Marvels & Tales Editors Recommended Citation Editors, Marvels & Tales. "Reviews." Marvels & Tales 30.1 (2016). Web. <http://digitalcommons.wayne.edu/marvels/vol30/iss1/8>. REVIEWS Contes: Charles Perrault. Edited by Tony Gheeraert. Paris: Honoré Champion, 2012. 466 pp. This new French edition of Perrault’s fairy tales has the immense merit of being a comprehensive collection of Perrault’s writings in the genre, including his versified tales, prose tales (found in the 1695 manuscript, theMercure galant, and the 1697 edition), and prefaces, dedications, contemporary letters, and contemporary articles on the subject. The book is divided into four main parts, followed by outlines and notices of each tale, a bibliography, an index of the main mentioned names, and a table of illustrations. The first section is a long introduction. Next is Perrault’s versified tales and their prefaces. They are followed by the published tales of the 1697 Histoires ou contes du temps passé, including the dedication, illustrations, and an extract of the king’s privilege. The appendix constitutes the longest part of the book, in which the editor reproduces letters, the integral text of Perrault’s 1695 manuscript, the Mercure galant’s version of “La Belle au bois dormant,” some excerpts of Mercure galant’s articles on Perrault’s fairy tales, a prose version of “Peau d’Ane,” and a chap- book version of “Grisélidis.” The editor has chosen to reproduce the tales with modernized spelling and to signal the numerous typographic and orthographic mistakes and negligence of contemporary editions in the footnotes. -
MARAVILHA - SC, 14 De Novembro De 2015 - Edição 355
A/02 - MARAVILHA - SC, 14 de novembro de 2015 - edição 355 E-mail: [email protected] RADAR Mau sinal? A Reunidas vai cortar 1,1 mil postos de tra- balho. As vagas são referentes a linhas de ônibus intermunicipais que foram vendidas para outras empresas. Sinal de novos tempos e ela também não está imune ao momento atual de nossa economia. O que significa impávido colosso? No Brasil do calendário políti- co, resta praticamente um mês até o ano acabar. Por mais que eu faça contas, não sei como a agenda inten- sa enfrentada pelo Governo Dilma caberia neste mês tão apertado. Repatriação de recursos externos não declarados, desvinculação das receitas da União, CPMF, greve na Petrobras, pa- ralisação dos caminhoneiros, pagamen- to de dívidas com BNDES, aprovação da nova meta fiscal, sanções do TCU ao APP da Escola Nossa Nelson Barbosa. Transparece a dúvida Isso para não falar do que não conhece- Senhora da Salete mos. Zelotes, Lava-Jato e Acrônimo. De Falando em reprovações no Congresso, todas essas coisas, o mercado precifica A Associação de Pais e Professores da Levy tem nos confundido na ressurreição da o seguinte cenário-base: absolutamen- Escola Nossa Senhora da Salete, em forte CPMF. Achamos compreensível que ele quei- te nada de relevante vai acontecer no campanha para angariar recursos para ra implantar o imposto, pois precisa da grana, front político até 31 de dezembro. reforma da cobertura do ginásio de esportes filhos para alimentar, etc. Entendemos até as Daí em diante, fica por do educandário, relatam em ofício a nós ameaças de que, sem CPMF, teremos R$ 32 conta do árbitro. -
How American Authors Reinvent Russian Fairy Tales Sarah Krasner Scripps College
Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2017 Adapting Skazki: How American Authors Reinvent Russian Fairy Tales Sarah Krasner Scripps College Recommended Citation Krasner, Sarah, "Adapting Skazki: How American Authors Reinvent Russian Fairy Tales" (2017). Scripps Senior Theses. 1055. http://scholarship.claremont.edu/scripps_theses/1055 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. ADAPTING SKAZKI: HOW AMERICAN AUTHORS REINVENT RUSSIAN FAIRY TALES by SARAH KRASNER SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS PROFESSOR RUDOVA PROFESSOR DRAKE APRIL 21, 2017 ii TABLE OF CONTENTS Acknowledgements………………………………………………………………………………iii A Note on Transliteration………………………………………………………………………...iv Glossary of Terms………………………………………………………………………………....v Introduction ……………………………………………………………………………………….1 Translation and Adaptation Intertextuality Baba Yaga Chapter One: Enchantment………………………………………………………………………13 The Hypotext Fairy Tale: Sleeping Beauty The Hero and the Princess History, Time, and Fiction Baba Yaga Enchantment’s Political Discourse Enchantment’s Meta Aspects Chapter Two: Dreaming Anastasia………………………………………………………………29 The Hypotext Fairy Tale: Vasilisa the Brave The Heroine and the Hero History, Time, and Fiction Baba Yaga Rusalki Koschei the Deathless Three Family and Grief Dreaming Anastasia’s Meta Aspects Conclusion……………………………………………………………………………………….54 Works Cited……………………………………………………………………………………...57 iii ACKNOWLEDGEMENTS This work would not exist without the support and guidance of Professor Larissa Rudova, who encouraged me to decide on a topic early, allowed me to do an independent study with her to gain much of the base knowledge needed for the project, and oversaw the writing process.