This study examines Mologadi Ngwana’ Magolego Sepedi tale Mo_emane wa moimana as an example of fantasy. Fantasy as a genre creates a headache for theorists, because they struggle to distinguish this genre from other types of narratives. One theorist, Rottensteiner (1978:8), sees all narratives as fantasies. He admits that this creates a problem, since not all narratives are fiction. This problem is exacerbated by the fact that narratives broadly represent the thoughts of an author. If the definition of fantasy is too broad, everything that comes from the mind of an author can be seen as an imaginary text, in other words, a fantasy. Butler’s (2006) description of fantasy is narrower, explaining that the concept of fantasy is broader than other tales. This is because it is influenced by traditional fairy tales and by modern scientific fiction (Butler 2006:75). By contrast, Day (1984:277) suggests that in many cases, fantasy can be related to myth. This highlights how broad descriptions of the genre can be, and may lead to some confusion if fantasy is confused with other types of narratives which contain elements of myth. Furthermore, he sees the genre as important because it pushes the boundaries of the human imagination. According to Luckens (1995:27), fantasy often relies on magic and miracles. This argument is also problematic, considering that many fairy tales also contain magic and miracles. Sutherland (1991:247) makes the dubious claim that the actions of a fantasy can never be repeated and supports this claim with the argument that the actions may be truthful as they have a sequence. The argument of the theorists above indicates that they do not distinguish clearly between fantasy and other genres of narratives. This is the problem to be resolved in this study. This study directly investigated the plot of a fantasy, Mo_emane wa moimana, because it is important to demonstrate that the plot of a fantasy has specific elements (parts). These elements must be classified according to their importance. The elements found in the plot of a fantasy are the ones that justify the classification of this genre as this type of literature. To reach this justification, the study focused on three objectives. The first was to explain the plot of a fantasy, taking into consideration the content, the plot and the style. The second was to distinguish fantasy from other forms of folklore. The third was to call for the preservation of this kind of literature because there are so few in Sepedi. There was a need to conduct this investigation with an in-depth focus on a Sepedi tale to develop Sepedi folklore. Aside from the problem of the different views of literary theorists, another reason to conduct research on this topic is that thus far, investigations into such tales have failed to perform critical analysis. The research was therefore conducted by critically analysing one Sepedi fantasy (because of the magnitude of the investigation), while focusing on important distinctive features of the plot of that fantasy, Mo_emane wa moimana to demonstrate the power of miracles (and magic) in the plot and style of this tale. To resolve this problem of whether this story is a fantasy or a fairy tale, this study followed the following research methods: define, interpret and compare. The study also adopted narratology theory. This theory is directly linked to the plot of the text, and does not focus on the author. It is also important in helping to explain the distinction between these two types of narratives, because various types of narratives (including essays or short stories of various kinds) may wrongly be seen as fairy tales. The contents of a short story may show events that have never happened in reality, but are in a world of possibilities of such actions. Even though a fairy tale does not narrate the literal truth, it is literature, because this genre has all the characteristics of literature, namely content, a plot and style, as well as characters, a reader/listener and an author/narrator. The function of the reader/listener of a fairy tale is not to identify ‘mistakes’, but to enjoy the narration, and to realise the depth that the author/narrator has to create the tale. / Thesis (PhD)--University of Pretoria, 2019. / African Languages / PhD / Unrestricted

The diploma thesis deals with the Czech cultural phenomenon Vecernicek. Three interpretative sections of the thesis show the possibility to place Vecernicek among modern fairytales as well as they prove its continuity to the traditional fairytale output. At the same time, the thesis draws on distictions between traditional and modernized poetics. Choice series are interpreted with respect to intermediality and specific form of Vecernicek as a TV programme designed for pre-school and and primary-school children. .

Fairy tale as a space for an art reinterpretation Bc. Monika Švajková Abstract The thesis introduces authors view on the evolution of fairy tales in Europe and its transformation since 19th century in literature, visual arts and related field of knowledge. Its purpose was to create an art project that would connect cultures of Czech Republic and Finland through fairy tales and fine art. Resulting didactical tasks develop fairy tales of one country through contemporary art of the other. The tasks apply to several conceptions of teaching as the implementation took place at the primary art school, high school and lappish art gallery. The art project closes with authors art etudes that expand theme of the forest as an area for updating of fairy tales and simultaneously captures the authors view on the theme of fairy tales. The outcomes and benefits of the thesis were verification of the didactical tasks that would in contemporary art update the classic children literature in context of these two countries.

This Diploma Thesis "Moral Aspects of Fairy Tales" asks questions - Is it possible to find God's message in the fairy tales? Can God speak to us through these stories? Can the fairy tales be touched by history of redemption? In the beginning, this Diploma Thesis speaks about myth, about it's origin, functions and message, because the fairy tales have their roots in myth. For better apprehension of the fairy tales, there is used the theory of narrative as well as theory and history of fairy tales. The Diploma Thesis analyzes Jung's Archetypes. Archetypes help us to find messages for good life of human beeing in fairy tales. Another issue is "History of mankind as a chain of storries." This issue asks, why there is just few functions in the stories. It analyzes Jesus Christ as the first example of a main hero of fairy tales ant myths. The mankind should follow him in it's own storry. Universality of the storries is demonstrated in comparing of stories from Old Testament (Jonas, Jakob and Eliah) with motives in the fairy tales. Keywords narrative, change, history of redemption, fairy tale, archetypes,etics

In this essay I use Mikhail Bakhtins theory of the chronotope to come to a deeper understanding of the spatio-temporal relationships in Momo and the Time Thieves. I use it to investigate the chronotopic structure of childhood, how it relates to the idea of the idyll, threshold experiences and heterotopic and liminal chronotopes. There is also a discussion on the function of mythic and linear time in building the narrative, and how Ende reverses and subverts some of the given patterns of myth, folklore and fantasy to create a dialogue between chronotopes and genres. / <p>Slutgiltigt godkännandedatum: 2023-05-31</p>

Магистерская диссертация посвящена анализу англоязычных переводов сказов П.П. Бажова. В работе рассматриваются особенности языка автора (экспрессивная, просторечная, профессиональная лексика, диалектизмы, намеренные нарушения речевых норм, активное использование уменьшительных суффиксов). Выделяются основные переводческие приемы и способы их передачи на английский язык. / The master’s thesis presents an analysis of the English translations of P.P. Bazhov’s fairy tales. It describes the author’s language peculiarities (namely colloquial, expressive and original local vocabulary, professional mining vocabulary, advised deviances, using diminutives). The author highlights the main translation techniques being used in the fairy tales’ English translations.

The relevance of the work is determined by the need to study the problems of translating a folklore artistic text in the fairy tale genre and to intensify practical work in this area. The purpose of the work is to formulate the criteria for translation equivalence of translations of Chinese fairy tales into Russian, to give recommendations on the translation of Chinese folk tales into Russian. Objectives of the study: (1) describe the specifics of high-quality translation of folklore texts；(2) consider the most frequent approaches to equivalence of translation, describe the parameters of high-quality translation of folklore texts; (3) analyze translations of Chinese fairy tales, included in the book “Chinese folk tales” (translated by Artem Demin), in order to determine strategies and methods for translating Chinese fairy tales; (4) make a list of measures to improve the most frequent methods of translation of folklore texts， using the example of the translation of Chinese folk fairy tales. The object of the study is Chinese fairy tales. The subject of the research is the peculiarities of the translation of Chinese folk fairy tales into Russian. In the process of research methods were used: comparative analysis, content analysis. The theoretical significance of the work lies in the generalization of the translation equivalence criteria for translations of Chinese fairy tales into Russian. The practical significance of the study is that its results can be used in the translation of Chinese fairy tales and in the development of cultural exchanges between China and Russia. The main provisions for the defense of the thesis: 1. The study substantiated the need to revise the system for translating Chinese fairy tales into Russian. 2. The problems arising from the translation of Chinese fairy tales and due to the peculiarities of the Chinese language and the significant differences between Chinese and Russian, require greater attention to the preparation of Chinese and Russian linguists and philologists in the field of translation and cooperation between these countries. 3. A qualitative translation of a folklore text is one in which harmonious adaptation of the text is observed, since translation is not only the replacement of signs of one language with signs of another, but a way of transmitting cultural information from representatives of one culture to representatives of another culture. Findings: (1) the translation of Chinese fairy tales requires the translator not to summarize linguistic, folklore knowledge and translation skills, but to synthesize them; based on the purpose of the translation, the translator must choose the methods and techniques of translation that are adequate to different situations; (2) translators often make mistakes when translating folklore texts both because of the complexity of the national language of the source text, and because of the specificity of the folklore text, its special metaphorical nature. / Актуальность работы определяется необходимостью изучения проблем перевода фольклорного художественного текста в жанре сказки и активизации практической работы в этой сфере. Цель работы — сформировать критерии переводческой эквивалентности переводов китайских сказок на русский язык, дать рекомендации по переводу китайских народных сказок на русский язык. Задачи исследования: описать специфику качественного перевода фольклорных текстов; рассмотреть наиболее частотные подходы к эквивалентности, описать параметры качественного перевода фольклорных текстов; проанализировать переводы китайских сказок, вошедшие в сборник «Китайские народные сказки» (перевод Артема Демина), с целью определения стратегий и методов перевода китайских волшебных сказок; составить перечень мер по совершенствованию наиболее частотных методов перевода фольклорных текстов，на примере перевода китайских народных волшебных сказок. Объект исследования — китайские волшебные сказки. Предмет исследования — особенности перевода китайских народных волшебных сказок на русский язык. В процессе исследования использовались методы: сопоставительный анализ, контент анализ. Теоретическая значимость работы заключается в обобщении критериев переводческой эквивалентности переводов китайских сказок на русский язык. Практическая значимость исследования состоит в том, что его результаты могут быть использованы в деятельности по переводу китайских сказок и по развитию культурного обмена между Китаем и Россией. Основные положения, выносимые на защиту диссертации: 1. В ходе исследования обоснована необходимость пересмотра системы перевода китайских волшебных сказок на русский язык. 2. Проблемы, возникающие при переводе китайских сказок и обусловленные особенностями китайского языка и существенными различиями между китайским и русским языками, требуют усиления внимания к подготовке китайских и российских лингвистов и филологов в сфере перевода и сотрудничества между этими странами. 3. Качественным переводом фольклорного текста является тот, в котором наблюдается гармоничная адаптация текста, поскольку перевод — это не только замена знаков одного языка знаками другого, а способ передачи культурной информации от представителей одной культуры представителям другой культуры. Выводы: 1) деятельность по переводу китайских волшебных сказок требует от переводчика не суммирования языкового, фольклорного знания и переводческого умения, а их синтеза; исходя из цели перевода, переводчик должен выбирать способы и приемы перевода, адекватные разным ситуациям; 2) переводчики часто совершают ошибки при переводе фольклорных текстов как из-за сложности национального языка исходного текста, так и из-за специфики фольклорного текста, его особой метафоричности.

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