This diploma thesis focuses on Werich?s fairy tales. The first section deals with fairy tales which are influenced by their authors against the background of folkloric fairy tale. The second section monitors the development of this type of fairy tale from 1870?s to 1960?s by reason of Fimfárum?s first publication. The third part deals with interpretations of single fairy tales from Fimfárum. On the basis of these interpretations the genre constants and author innovations are studied. The fourth section handles with film version of these fairy tales. The last section introduces Deoduši. This book has been recently published and contains less known texts from Werich which were not collectively published by this time.

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5 Abstract This thesis deals with fairy tale and its meaning and using in a modern family. The theoretical part focuses on definition of terms fairy tale and family and points on their characteristic signs and functions, briefly mentions development of fairy tale and family throughout history, points at fairy tale in a context of children's thinking and feeling and offers a psychological characteristics of four selected fairy tales. The empirical part applies both quantitative and qualitative methods of processing the data, which were obtained from a questionnaire that was answered by 135 people. Its purpose is to find out the most frequent form of contact of a child with fairy tales, to learn which person reads or tells fairy tales to a child the most often and to show which versions of fairy tales are most common among children. This thesis also analyses opinions of parents on meaning of fairy tales in a life of a child and family and defines the reasons which parents have for reading or nonreading of fairy tales. Using statistics methods, there were shown some significant differences between audiovisual and read/told form of a contact of children with fairy tales, differences were also shown between the groups of mothers and fathers in a frequencies of reading fairy tales to their children and it was...

Malory's Le Morte Darthur has become one of the most popular medieval romances, and it has remained continually in print since Caxton's 1485 edition. The "noble chyvalrye, curtosye, humanyté, frendlynesse, hardynesse, love, frendshyp, cowardyse, murder, hate, vertue, and synne" which William Caxton found within the book have captivated both scholars and average readers for centuries. Curiously absent from the critical record, however, have been examinations of gender and the family, themes which are of the utmost importance to the characters within the Morte Darthur. This thesis investigates the theme of family interactions within Malory's "Tale of Sir Gareth," examining the tale itself as well as looking at several analogous stories to determine if the theme is Malory's own or if it could have come from a probable source. "The Tale of Sir Gareth" follows the thematic patterns set forth early in the Morte Darthur. The tale's main interests are knightly gaining of worship and how knightly families interact. The two themes are connected by the proof-of-knighthood quest which calls for a combat between family members. Gareth operates within a realm dominated by familial groups. Outside of Arthur's court, knights rely on family links for protection and honor. Even within Arthur's Round Table fellowship, knights cleave to kin groups. Gareth enters Arthur's kitchens with the intention of discovering who his true friends are. He breaks the normal pattern of familial association: after gaining worship, he separates himself from his brothers. Malory's "Tale of Sir Gareth" has been troubling to scholars, as "Malory had before him in the writing of this 'Tale' no 'source,' at least not in the sense that we use in considering the other segments of Le Morte Darthur." While no clear source is available, many analogous Fair Unknown Romances exist. Five romances which have been suggested by Robert H. Wilson and Larry D. Benson are Le Bel Inconnu, Lybeaus Desconus, Wigalois, Erec and Enide, and Ipomadon. In these romances, the theme of familial conflict is not an important one. This suggests that Malory inserted the theme of familial violence into his tale. The majority of the action within the Morte Darthur comes in the form of knights on quests to gain honor and worship. Being a member of a knightly family is a necessary pre-condition for being a great knight as knights rely on their family for honor and renown and also must fight against close family members as proof of their prowess. This creates a destabilizing force within Arthur's Round Table Fellowship, and the majority of the conflicts within Malory's Morte Darthur can be traced to interfamilial conflict.

This essay examines gender normative and patriarchal elements of the popular fairy            tale Sleeping Beauty in order to expose how patriarchal ideals are upheld. The reason for this is that children may internalize the values taught in these stories, which may lead to them perpetuating patriarchal ideals and gender normative behavior. The popular version of this fairy tale, made by Disney, follows many of the typical patriarchal ideals with a strong male hero, a wicked female witch and a weak and submissive young female, close to nature. This is contrasted by a modern retelling by Cameron Dokey that is, in many ways, gender subversive and challenges the traditional gender roles and attributes. This essay finds that the version made by Disney is a product of its time, and portrays ideals from that period that could affect children of today into internalizing archaic patriarchal ideals. Dokey’s version is better adapted to the current socio-cultural environment and succeeds in aligning the story with modern values and provides a better option to teach children the actual values and gender roles of our society. / Denna uppsats undersöker könsnormativa och patriarkala element i den populära sagan Törnrosa, för att blottlägga hur patriarkala ideal upprätthålls. Anledningen till detta är att barn kan internalisera de värderingar som lärs ut i dessa sagor, vilket kan leda till att de upprätthåller patriarkala ideal och könsnormativa beteenden. Disneys populära version av sagan följer många av de typiska patriarkala idealen, med en stark manlig hjälte, en ond kvinnlig häxa och en svag och undergiven ung kvinna, som är nära kopplad till naturen. Denna version kontrasteras av en modern återberättelse av sagan skriven av Cameron Dokey som på många sätt utmanar traditionella patriarkala könsnormer och sttribut. Disneys version är en produkt av sin tid, och porträtterar ideal från den tiden som kan påverka dagens barn att internalisera ålderdomliga könsideal. Dokeys version är bättre anpassad till den nuvarande socio-kulturella miljön och lyckas med att justera historian till att bättre passa moderna värderingar, och framstår som ett bättre alternativ för att lära barn vårat samhälles könsroller och värderingar.

The development of creativity of primary school pupils by fairy-tales.

This summary shows that the positive improvements of creativity are obtained by broadening and deepening the knowledge of fairy tales of primary school pupils in the theoretical and practical level, and by realization of potentialities rendered by teaching means of Lithuanian language for the develpment of divergent thinking and imagination of pupils and nurturance of sense of humour, emotionality and empathy purposefully employing additional educational activities.

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John R. Searle asks the following fundamental question at the beginning of Speech Acts: "What is the difference between saying something and meaning it and saying it without meaning it?" This dissertation demonstrates that Chaucer is interested in this same question and that his answer to it is essentially "modern." I show in a number of Chaucer's works, but primarily through a reading of the Friar's Tale, that Chaucer understands the intentional structure of all signs, based on the paradigm of language; that is, that signs are always simultaneously mind-related and world-related, that they possess what is called today a "three-level semantics." This semantics is at the heart of the dynamic play in Chaucer's poetry, and through it he is able to portray his characters psychologically. This being so, with Chaucer as an exemplar, this dissertation calls into question the widespread belief in a "medieval mentality" that is essentially "other" than a "modern mentality." / To support this argument in the context of medieval thought, I explain that Chaucer could have such a "modern" understanding of the psychological import of language by describing certain of the common, shared presuppositions and characteristics of medieval Judeo-Christian metaphysics: its thesis of intentionality, its personalism and existentialism, and its semiological nature. / The present study is of importance to Chaucerian studies in general because I argue that heretofore Chaucer's understanding of language has been inadequately, incorrectly, and confusedly described in terms of medieval nominalism and realism. Consequently, Chaucer has been seen as a nominalist thinker, a realist thinker or a combination of both. This dissertation lays these particular "Chaucers" to rest. I argue that Chaucer may be described as an "intentionalist realist," but the "realist" of this description is not identical with the "realism" of the scholastic debates on the nature of the universals. / This dissertation further suggests that the semantics which Chaucer consciously considers and exploits in his works on the level of language, speech and other human-directed signs may serve as a paradigm of a general Chaucerian "semantics" in an extended sense: Chaucer's understanding of a structure of meaning or logos of all reality. On an individual human level this translates into a structure whereby a medieval Christian may judge if a person, including his or her own self, is relating properly, or improperly, to other individuals, to other created things, and to God.

This study provides a new reading of Geoffrey Chaucer’s Prioress’s Tale and considers its purpose within the context of the Canterbury Tales. I argue that the Tale, as an exemplum, demonstrates the dangers of tale-telling, and exposes the moral discrepancies of the Canterbury tale-telling competition and the pilgrims’ use of stories as verbal assaults against one another. I argue that the Tale condemns the unchristian-like “actions” of the Christians within its frame as they respond to the clergeon’s murder; the Tale’s ending presents a cathartic response from this congregation, which indicates their understanding of the clergeon’s martyrdom. It also provokes a similar response from the Canterbury pilgrims, which serves to silence them, and to create a paradox that disrupts possible responses to the Tale. Further, Chaucer’s Retraction at the end of the Tales is intended to silence the poet’s critics through the creation of a similar paradox.