This paper¡¦s purpose is to highlight the retribution of Taiwanese folktales and hope that through combining stories and religions together to educate people and encourage people to behave good and honest. This paper uses the view of Buddhism and Taoism to analysis 148 pieces of Taiwanese folktales by synthesis, induction and comparison. Hope that in using of the folktales and the religion theory to encourage people to behave good and honest instead of evildoing. Regulating their own behavior by following the good and ethical standards, to make sure that they can live their life safely and healthy. The first chapter includes research motives, methods, scope of the study and documents investigation. Second chapter defines the folk literatures and folk tales¡¦ ways and means of transmission for the relation between Fujian and Taiwanese folk tales and the process of Taiwanese folk tales development. Third chapter is the main part of this paper. First I sorted out Buddhist and Taoist ideas; which are retribution of good and evil, through their classic. Then I analyze the religious view through the pattern of the retribution which happens in the roles of Taiwanese folktales. The main focus is on Buddhism¡¦s causal concept, hell concept and the concept of reincarnation. Taoist concept of celestial theory, remain-sustain theory and Gods dominate over rewards and punishments theory. Fourth chapter discusses about retribution causes, methods and results of the role in the Taiwanese folk tales, as well as the meaning that folktales has on itself. Fifth chapter is to conclude the ideas and theory which were presented in this paper. Buddhism believes cause and effect cycle. Taoist believes that Gods dominate over reward and punishment. Buddhist theory of causation tells us that people who behave badly will become livestock or even fall into hell after death. People who behave good and honest will go to heaven or reincarnate to a good family after death. Taoism theory¡¦s judge system tells people that Gods record each person's words and deeds. People believe "What goes around, comes around" for over thousands of years and it has created a strong constraint among the people. Folktales also help build up this strong constraint force. Perhaps the constraint in people¡¦s mind has grown weaker in this emotionless modern generation. I hope this paper can recall people's minds and the goodness of the heart once again, in hoping that this emotion and believe will last along in the future.

There have been many attempts made by folklore scholars from the late nineteenth century to the present to formulate a classification system in folklore that would make it possible to clearly define folklore genres. Limited success has been achieved always to be blocked by a look at the problem from yet another angle. In identification problems relating specifically to folk narratives the earlier scholars recognized myths, legends and folk tales as general categories to be found universally in all cultures, but they made no attempt to clear up the blurred lines between and within these divisions. Comparative folklorists arbitrarily divided prose narratives according to themes or subject matter. They assumed that similar themes constituted a single genre. Roughly, stories of ritual and belief that explained origins of a people, related adventures of their gods, gave spiritual guidelines to day to day living and were believed were considered myths; other "true" narratives about people and places in the recent past, but not having to do with religion were loosely gathered under the heading of legends; and tales of make-believe told mainly for entertainent were called folktales or Marchen. Certainly the examination of themes is important to the study and comparison of prose narratives. However, as a method of classification on its own it produced confusion.

The aim of the present study is to investigate how men and women in three Iranian Balochi dialects, Coastal Balochi, Koroshi Balochi and Sistani Balochi, refer to 3rd person participants in oral narratives of two genres: folktales and biographical tales. The stories that are analysed were recorded during several field trips to Iran and the approach used is that of Levinsohn (1994, 2015). The first part of the dissertation begins with an overview of the Balochi language and its dialects, including a brief presentation of its phonology, and then reviews previous studies of Balochi, before introducing the case system and types of alignment in the three dialects. Chapter 2 introduces the reader to the status of orality in the three dialects, before giving details about the corpus of texts that were analysed. Of particular note is the fact that each story in the corpus was told by both a man and a woman. Chapter 3 examines different approaches to the analysis of participant reference, before comparing those of Gundel et al. and Levinsohn in greater detail. The second part of the dissertation applies Levinsohn’s approach to texts in each of the three dialects in turn. Chapters 4–6 identify and analyse the different ways in which the participants in the stories are referred to when the subject remains the same and in three specific situations when the subject changes. This enables default encoding values to be established for each of the four situations. Motivations for over-encoding and, in some situations, under-encoding, are then identified. Chapters 7–9 investigate whether the gender of the storyteller (male versus female) and/or the genre of the story (folktale versus biographical tale) influence the way that the participants are referred to. This leads in chapter 10 to a gender- and genre-based comparison of participant reference across the present dialects. Conclusions are presented in chapter 11. In general, the participant reference strategy used was the same in all three dialects, regardless of the gender or the genre. The main exception involved reported conversations in Koroshi Balochi, where the additive enclitic ham was attached to the reference to a subject who responded in line with the contents of the speech reported in the previous sentence. Other variations appeared to depend on the degree to which the storyteller was proficient in his or her art. The dissertation concludes with four Appendices. Appendix A presents six texts that were interlinearised using the FLEx programme, while Appendix B consists of participant reference charts of the same texts following Levinsohn’s approach. Appendix C presents details of the case system and alignment for each of the three dialects. Finally, the chart in Appendix D compares the approaches of Levinsohn and of Gundel et al. to participant reference in a specific text. A CD with audio files of the six texts and some photos taken during fieldwork is also available.

O presente trabalho propõe-se a entender a conceituação, bem como as principais características, do mukashi-banashi japonês, gênero que no ocidente corresponde aos contos folclóricos, por meio da análise dos elementos que o constituem. Examinamos fatores históricos de origem e apogeu dos estudos de mukashi-banashi no Japão e também pesquisas do gênero no Brasil. Nosso objetivo foi realizar um levantamento da conceituação do mukashi-banashi, sobretudo com base nos trabalhos de pesquisadores japoneses, e, a partir disso, compreender de modo global a definição do gênero. Nossa análise das narrativas selecionadas como corpus foi realizada tendo em vista as características sistematizadas principalmente por Kôji Inada (2010), como keishikiku, progressão da narrativa e caracterização de personagens, entre outras / This study aims to understand the conceptualization, as well as the main characteristics, of the Japanese mukashi-banashi, a genre which in the West corresponds to the folktales, by analyzing the elements that constitute it. Through the historical factors analysis, it was examined the origin and the apogee of the mukashi-banashis studies in Japan and researches of this genre in Brazil. Our goal was to survey the conceptualization of mukashi-banashi mainly based on the work of Japanese researchers and, from that, to understand holistically the genres definition. Our analysis of the narratives selected as corpus was done in view of the characteristics systematized mainly by Kôji Inada (2010), such as keishikiku, narratives progression, and characters characterization, among others

In a study of the application of storytelling to adoptive family bonding, sensemaking, and cultural adjustment, I selected 12 world folktales for adoptive families to use as oral storytelling activities. I designed and facilitated a workshop for 7 adoptive families focusing on how to select, to learn, and to tell stories as well as how to play story-based games with their children. Each adult told 1 of the 12 folktales, played 1 or 2 of 37 games (12 traditional games, 25 storybased games), and shared reactions and interactions of family members. Using the term “story talk” to describe conversational byplay following the storytelling experiences, family members’ responses to interview questions were coded to interpret levels of sensemaking, attachment, and cultural adjustment through the storytelling process. The parents also described the levels at which their chosen folktale helped adoptees to understand cultural and personal identity within the modern-day adoption process.

Language is a reflection of society, so knowing about a language also means knowing about a culture. Therefore, many types of literature have been used as a language education tool representing culture. This thesis proposed folktales as an effective material of not only introducing culture but also learning language. Since folktales are old stories that have passed from generation to generation for a long time, values and morals of a culture are naturally presented in the context of the stories. Furthermore, folktales could enhance students' reading comprehension because the story lines, phrases, and words in a story are used repeatedly. Due to this repeated use of language, students could learn expressions and vocabulary more effectively. This study examined the relationship between using Korean folktales in a foreign language class and learners' reading comprehension and cultural understanding. The participants were the students of Korean 201 at BYU. The experimental group had folktale courses once in every week for 10 weeks while they received usual language class from Monday to Thursday, whereas the control group received usual language class every day. The Test in Proficiency in Korean (TOPIK) was administered for observing the students' enhancement in reading proficiency, and the Likert-scale surveys were given for observing their enhancement in cultural understanding. In addition to the quantitative data, qualitative data was gathered from the oral interviews of the experimental group. The interview questions were about their experiences and attitudes towards the use of folktales in Korean class. The results of the study showed that there was no significant difference between the two groups due to the many limitations of the present study, but the participants' interviews revealed that the students felt the use of folktales in language class helped to enhance their reading comprehension and cultural understanding, and they had positive attitudes toward to using folktales.

O presente trabalho propõe-se a entender a conceituação, bem como as principais características, do mukashi-banashi japonês, gênero que no ocidente corresponde aos contos folclóricos, por meio da análise dos elementos que o constituem. Examinamos fatores históricos de origem e apogeu dos estudos de mukashi-banashi no Japão e também pesquisas do gênero no Brasil. Nosso objetivo foi realizar um levantamento da conceituação do mukashi-banashi, sobretudo com base nos trabalhos de pesquisadores japoneses, e, a partir disso, compreender de modo global a definição do gênero. Nossa análise das narrativas selecionadas como corpus foi realizada tendo em vista as características sistematizadas principalmente por Kôji Inada (2010), como keishikiku, progressão da narrativa e caracterização de personagens, entre outras / This study aims to understand the conceptualization, as well as the main characteristics, of the Japanese mukashi-banashi, a genre which in the West corresponds to the folktales, by analyzing the elements that constitute it. Through the historical factors analysis, it was examined the origin and the apogee of the mukashi-banashis studies in Japan and researches of this genre in Brazil. Our goal was to survey the conceptualization of mukashi-banashi mainly based on the work of Japanese researchers and, from that, to understand holistically the genres definition. Our analysis of the narratives selected as corpus was done in view of the characteristics systematized mainly by Kôji Inada (2010), such as keishikiku, narratives progression, and characters characterization, among others

Cette thèse constitue une contribution à la connaissance d’un auteur majeur de la littérature occitane du XXe siècle, Jean Boudou (1920-1975). Elle est novatrice par son angle d’attaque, les Contes, et sa méthodologie qui privilégie l’étude des manuscrits et des premières éditions et l’analyse du métatexte. À l’écart des représentations couramment faites d’un auteur engagé en faveur de la cause occitane, elle retient celle d’un véritable écrivain en quête de son ipséité. La thèse propose un décryptage inédit des Contes qui passe par la reconstitution minutieuse de leur genèse et l’analyse approfondie de leur contenu, au regard notamment des travaux menés par les spécialistes du genre, destinées à en dévoiler la vraie nature.Afin de comprendre le processus de création littéraire de l’écrivain, la thèse s’attache à rechercher le signe du conte dans ses autres écrits en prose, publiés, inédits ou peu connus. Elle montre les détournements effectués du genre afin d’accéder à d’autres formes d’écriture mêlant intimement fiction et réalité.La thèse décrit les ressorts de la quête personnelle poursuivie par l’écrivain. Elle relie l’éclectisme de sa mysticité et les divers avatars autobiographiques produits, constitutifs d’une œuvre aux frontières incertaines entre récits et romans autobiographiques, récits fictifs de soi sur fond de données réelles et vraisemblables et transfigurations de soi dans un environnement irréel et fantastique. Elle dévoile ce faisant les mécanismes d’une invention narrative de soi.La thèse situe Jean Boudou par rapport à une mouvance d’écrivains qui, avec le Nouveau Roman et l’autofiction, renouvellent la littérature française de leur époque. / This thesis strives to increase the knowledge of a major author of Occitan literature of the last century, Joan Bodon (1920-1975). It is innovative due to its focus on the Contes as well as its methodology which emphasizes the study of manuscripts and first editions in oc, and the analysis of meta-textual information. This thesis purposefully stays away from the representation commonly made of a writer entirely devoted to the defense of the Occitan cause and considers the primary purpose of writing as being focused on oneself.The research leads to an unprecedented deciphering of the Contes consisting of a meticulous reconstruction of their genesis, an in-depth analysis of their content with regard to the work carried out by the specialists of folktales.To understand the writer's creative process, it looks for the sign of the tale in his works, published or not, as well as his writings, some of them are little known. It highlights how the diversions made of tales as a literary genre promote narratives mixing fiction and reality.The study identifies the drivers of the author’s personal quest. It connects the eclecticism of his mysticism with the various autobiographical avatars created. The uncertain boundaries between autobiographical narratives and novels, fictitious narratives of oneself on the basis of real and probable data and transfigurations of oneself in an unreal and fantastic environment reveal the recurrent practice of a narrative invention of oneself. The thesis proposes to link Joan Bodon with a movement of writers open to new narrative forms, such as the New Roman and Autofiction, intending from the fifties to renew French literature.

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