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.

No description available.

No description available.

No description available.

Since the late 1960s and early 1970s, critical scholarship concerning the fairy tale genre has done much to address the social, historical, cultural, and national motivations behind transformations of the fairy tale from a European starting point. However, the fairy tale’s development in the United States, including both its media-based adaptations and literary extensions, has been given limited attention. While the significance of Walt Disney’s animated films to the American fairy tale tradition has been addressed (by literary and film scholars alike), an interdisciplinary study drawing together Disney’s European and early twentieth century precursors (from literature, stage, and film); his own influential, modern debut; respondent literary and animated work of his immediate successors; and postmodern and twenty-first century adaptations has not been done. By examining the trajectory of a single tale, Snow White (or for Disney, Snow White and the Seven Dwarfs), this dissertation aims to acknowledge the scholarly attention given to Disney’s animated films, while further examining attributes which I suggest have enabled Disney to have a “folkloric impact” on the fairy tale genre in the United States. Disney’s work stands upon the bedrock of not only European but American Snow White variations and makes these “new” through an innovative deployment and unification of word or language, sound, and image, unimagined prior to the debut of Snow White and the Seven Dwarfs (1937). The effects of Disney’s influence, as a master storyteller, on both the fairy tale genre and commercial market were so profound that this particular version of the tale refuses to be forgotten, its shadow haunting successors who aimed to counter or redefine its understanding of fairy tale in light of shifting American values and culture. Therefore, even as the fairy tale is frequently understood to have moved beyond its folkloric “origins” (I use this term loosely, as the origins of fairy tale are surrounded by controversy), using the critical framework of folklorists Steven Swann Jones and Linda Dégh, as well as filmic folklorists, Sharon R. Sherman and Juwen Zhang, I explore how Disney’s patchwork of tradition, new technology, and media generated an easily recognizable and communicable tale, one that would be recalled, repeated, and reformed through adaptation by generations of audiences. These subsequent storytellers, in turn, extend American fairy tale tradition and lore still further. / English

TITLE: About definition of the folk fairy-tale genre and about elaboration of the Snow-white theme in collections of chosen german authors (J. K. A. Musäus, A. L. Grimm and J. and W. Grimm) SUMMARY: This diploma thesis is concerned with the fairy-tale genre, which is defined as the folk fairy-tale, Snow-white theme and elaborations of this theme in collections of J. K. A. Musäus, A. L. Grimm and the Brothers Grimm. In context of the historico-literary period and in connection with the folk fairy-tale genre all processing are analysed and compared with each other. Märchen (1971) of Max Lüthi and Deutsche Märchen vor Grimm (1942) of Albert Wesselski are the fundamental publikations for this thesis. The main result is that the caption »Sneewittchen« of the Brothers Grimm correspondes closest to the folk fairy-tale genre, while »Richilde« of J. K. A. Musäus and »Schneewittchen« of A. L. Grimm as author's fairy-tale should be called. KEYWORDS: Fairy-tale genre, folk fairy-tale, collections of german authors, Snow-white theme, Johann Karl August Musäus, Albert Ludwig Grimm, Brothers Grimm

Made available in DSpace on 2016-04-26T18:17:12Z (GMT). No. of bitstreams: 1 Vania Dangelo Dohme.pdf: 984176 bytes, checksum: 71106b97f6f8df109d742ec3c3fca745 (MD5) Previous issue date: 2008-05-09 / The storytelling practice involves a whole system of sign and codes used in a similar way throughout the centuries, as the same meanings that are adequate to each period. This dissertation verses about the fairy tales and their tellers as mediators in the communication process among adults and children. It explores the several elements which compound this process and the influence that each one of them expresses to their quality, searching for means of potentials to the communication, optimizing the relationship and regarding the XXI century demanding. The research was of a bibliographic theoretical form aiming to create theoretical charts of references from several aspects of the studied questions in a profound manner and, subsequently, interconnected to provide a wider amplitude of the work object, putting down old paradigms and re-meaning some aspects. The first part was concerned with the story sender, understanding him as its author, seeking for revealing his communication intention considering authors as Bruno Bettelheim to pass through the stories as an existential and cognitive contribution to the children and Umberto Eco to understand them as a solution to the competence difference among the receiver, the child, and the sender, the author or the teller. The authors Baittelo and Flusser to characterize this communication as an attachment among its participants. Huizinga and Bystrina to pass through the reality occupied in the stories telling and Jung and Morin to analyze the arqueptical functions present in the stories. In order to understand a fairy tale structure it refers to Vladiir Propp and Greimas. The second chapter verses about the storytelling instrumentation, suggesting the necessary cautions for it to keep the cleanness of its message based on Jean Marie Gillig and in Stanislavski drama theories and of the primary media taught by Harry Pross. Chapter three reports the child as the process receptor making a Piaget s symbolical game with a cloth, the second reality of Bystrina and Huizinga s entertainment bubble to consider the stories beyond the oral transmission mean of a culture, a pedagogical mean of teaching and living. The fourth chapter studies Delors and Morin works ordered by Unesco to the XXI century education. We got to the conclusion that, since the stories refer to basic values for being and living in harmony, they continue being appropriate instruments for facing the complexity of the current days and future ones / A pratica de contar histórias envolve todo um sistema de signos e códigos usados de forma semelhante através dos séculos, como os mesmos significados que se adequam a cada época. A tese versa sobre as histórias de fadas e seus contadores como mediadores do processo de comunicação entre adultos e crianças. Explora os diversos elementos que compõem esse processo e a influência que cada um deles imprime à sua qualidade, buscando formas de potencializar a comunicação, otimizando o relacionamento e dando conta das exigências do século XXI. A pesquisa foi de cunho teórico bibliográfico visando criar quadros teóricos de referências de diversos aspectos da questão estudados de forma profunda e, posteriormente, interligados para dar uma maior amplitude ao objeto de trabalho, derrubando velhos paradigmas e resignificando alguns aspectos. A primeira parte se ocupou do emissor da história, entendendo este como o seu autor, procurando desvendar a sua intenção comunicacional valendose de autores como Bruno Bettelheim para discorrer as histórias como subsídio existencial e cognitivo para as crianças e Umberto Eco para entendê-las como uma solução para a diferença de competência entre o destinatário, a criança, e o destinador, o autor ou o contador, Os autores Baittelo e Flusser para caracterizar esta comunicação como um vínculo entre seus participantes. Huizinga e Bystrina para discorrer sobre a realidade ocupada na contação de histórias e Jung e Morin para analisar as funções arquetipicas presentes nas histórias. Para entender a estrutura de uma história de fada recorre-se à Vladiir Propp e Greimas. O capítulo segundo versa sobre a instrumentalização da contação de história, sugerindo os cuidados necessários para que ela mantenha a limpidez de sua mensagem esteados em Jean Marie Gillig e nas teorias da dramartugia de Stanislavski e da mídia primaria ensinada por Harry Pross. O capítulo três reportá-se à criança como receptora do processo fazendo um tecido com o jogo simbólico de Piaget, a segunda realidade de Bystrina e a bolha lúdica de Huizinga para considerar as histórias além de meio de transmissão oral de uma cultura, meio pedagógico de ensinar a viver. O quarto capítulo estuda as obras de Delors e Morin encomendadas pela Unesco para a educação do século XXI. Chegou-se à conclusão de que, por as histórias tratarem de valores básicos para o ser e o conviver em harmonia, elas continuando sendo instrumentos apropriados para enfrentamento da complexidade dos dias atuais e vindouros