Dobrogea în epoca otomană: kazaua Hârșova (sec. XVI)

Although most preschool teachers encourage children’s art making activities, they usually abstain from involving their students in activities aiming to enhance their ability in recognizing, interpreting and understanding visual art works. In our effort to improve on this educational insufficiency, we worked on an art education plan which has been built on a narrative oriented interpretive process. This paper presents the pilot application of this educational project designed for the undergraduate students of two Greek University Departments of Early Childhood Education. The project has a double aim: a) to help the students become aware of themselves as future preschool teachers who are able to adequately understand the procedures and methods used in the analysis of an art work and b) to provide them with a useful tool of analysis and interpretation of art works proper for pre-primary school children. The whole project has been developed in two distinct but intertwined phases: the object of the first phase was to reveal and describe in a cohesive way the iconographic, morphological and cultural elements of the art works in order to create the appropriate interpretive background. In this effort we worked out a model of analysis based on Erwin Panofsky’s iconological method. In the second stage, we tried to transfigure the material developed in the first phase in such a way as to be functional in the educational deed. In quest of the appropriate educational condition in the pre-primary school, we concluded that the use of the fairy tale was the best means for presenting and elucidating a visual art work. In this framework, the interpretive material developed in the first phase has been used as an inducement for the creation of fairy tales, which in their turn can be used as stimuli or sources of inspiration for further educational activities. In this paper we present the theoretical framework, the method we used as well as a first analysis of the conclusions drawn from the pilot application of this project.

2017

This study aims to describe the types and functions of the use of emotive language as an image of the authorship style of Leila S. Chudori in the novel Laut Bercerita. This research is a qualitative descriptive study with the data source, namely the novel Laut Berceritaby Leila S. Chudori. The data from this study is a lingual unit containing the use of types and functions of emotive language and its context in the novel Laut Bercerita by Leila S. Chudori. The data collection method used in this research is the note-taking method and the data analysis method used is the agih method. The results of this study indicate that the image of Leila S. Chudori's writing style in the novel Laut Bercerita can be seen in the use of the types of emotive language that appear, there are pain, sad, happy, surprised, annoyed, tense, anxious, afraid, tired, disgusted, and longing. The function of using emotive language is to provide an overview of the situation, as a medium to express the feelings of the characters, and as a bridge that connects the storyline, characters and readers.

Revista Alicantina de Estudios Ingleses, 1999

Bulletin of Hispanic Studies, 2017

This paper evaluates the contributions made by A. D. Deyermond and Manuel Alvar to the study of wonder tale topoi in the Libro de Apolonio (c. 1250), a Spanish translation and variant of the Historia Apollonii Regis Tyri (c. 400-500). In addition, it provides folktale types and motifs that have a thematic bearing on numerous episodes found in the Spanish romance, heretofore not mentioned by the two critics cited above. Resumen En este trabajo se evalúa las aportaciones hechas por A. D. Deyermond y Manuel Alvar al estudio de los topoi de los relatos folklóricos en el Libro de Apolonio (ca. 1250), traducción castellana y variante de la Historia Apollonii Regis Tyri (ca. 400-500). Además, se señala tipos y motivos de cuentos de hada que se relacionan temáticamente con multiples episodios que se dan en la novela castellana, no aludidos en las obras de dichos críticos. The Libro de Apolonio is an anonymous medieval narrative written in cuaderna vía, a monorhymed quatrain. In this prosodic form (also referred to as mester de clerecía, a clerical-crafted stanzaic form), each line consists of fourteen syllables, called an alejandrino (alexandrine). 2 The poetic, erudite style of the Apolonio, popularized in the first half of the thirteenth century by the clergyman Gonzalo de Berceo, is novel in that it departs from assonance rhyme as well as from the irregularity of metre and strophes of the canción de gesta that characterize the epic Cantar de mio Cid (1993). 3 However, the Apolonio is not novel with regard to its diegetic content; it is fundamentally a translation and variation of the anony-1 In memoriam Pauline Moss. 2 The style of the Apolonio, however, is characterized by a lack of prosodic consistency (Cabañas 1969: 32-38; Marden 1917, 1: xiv). 3 All references to stanzas and lines (designated ad) in the Apolonio are to Alvar's critical edition of the 'Libro de Apolonio': Estudios, ediciones y concordancias, vol. 2: Ediciones (Alvar 1976). English names of characters from Apolonio are from The Book of Apollonius, translated by Grismer and Atkins (1936). bhs, 94 (2017) Jack J. Himelblau mous late fifth or early sixth-century Latin prose romance Historia Apollonii Regis Tyri (Kortekaas 1984: 101). 4 The thirteenth-century text of the Apolonio is lost. The extant Castilian version is a late fourteenth-century copy (ca. 1390) (Alvar 1976, 1: 34) of the Spanish narrative redacted after 1250 (1976, 1: 79). The Apolonio is housed in the Escorial Library (codex III-K-4) and forms part of a collection that includes the Vida de Madona Santa Maria Egipciaqua and the Libro dels Reyes doriente (Marden 1917, 1: ix). Penned at the height of the Middle Ages, the Apolonio contains a number of didactic, moralizing passages. These denotative additions reflect the cultural views of an ardent Christian scribe. Both the Apolonio and the Historia relate the tale of Antiochus, the king of Antioch, a widower. Driven by lascivious ardour for his nubile, virgin child, Antiochus brutally assaults and ravishes his daughter. Immediately following this abominable rape, Antiochus enters into a consensual incestuous relationship with his child, who remains anonymous throughout both the Spanish and Latin narratives. To retain his daughter at his side, Antiochus declares that any suitor seeking to wed his daughter must decipher an adianoeton.

Children's Readings: Studies in Children's Literature

The review of “Le metamorfosi della fiaba” underlines the importance of concepts such as meta-history and metamorphism in the study of fairy tales. The collection of essays displays a variety of approaches, which allows the reader to tackle this issue from very different points of view. Particular attention is paid to the re-creation and re-mediation of fairy tales according to different narrative media, from oral story to musical theater, from cinema to picture books. The overall impression given by the book is that the metamorphoses of the fairy tale continue to confirm its significance even today and through a symbolic and figurative language reveals the variety of relationships between human beings in an intuitive and polysemantic way.

Alabe. Revista de Investigación sobre Lectura y Escritura, 2013

Alabe Revista De Investigacion Sobre Lectura Y Escritura, 2013

Ankara Üniversitesi Dil ve Tarih-Coğrafya Fakültesi Dergisi - DTCF Dergisi, 2017

Fairy tales once belonged to oral literature and later became part of the literary tradition, and the formal and thematic qualities have gone through various changes in time. By means of the changes it has gone through, the genre, which bears a great impact on cultural transmission, has always developed to adapt to its time. Especially, the classical European fairy tale is one of the major genres which reects the cultural, social and gender characteristics of the nations. Because of the prevalent patriarchal discourse, female characters, although they are generally the protagonists, female characters are represented as secondary to the male characters and they are exposed to the sexist attitude of both male writers and fairy tale heroes. Having seen the discriminatory aspects of the fairy tale genre, twentieth century women writers took interest in the traditional tales in order to subvert the sexist ideology. Giving specic importance to the issues of lesbian desire, liberation and voice of women, Emma Donoghue, a twentieth-century Irish woman writer, in her Kissing the Witch: Old Tales in New Skins (1997) rewrites various classical fairy tales. Specically in "The Tale of the Hair" and "The Tale of the Shoe" as the rewritten versions of "Rapunzel" and "Cinderella," respectively she attempts to subvert the patriarchal ideology and to promote the female agency through parody in various aspects. By altering the entrenched elements of the fairy tales genre, she not only reads but also writes against the grain and by postmodern parody she sheds light upon the unquestioned issues with the aim of unearthing and restoring the hidden discriminative and sexist attitude. In doing this, Donoghue reimagines an alternative 'happily ever after' which offers a peaceful and egalitarian nal state for the female characters. Önceleri sözlü edebiyata dâhil olup daha sonra yazılı edebiyatın parçası haline gelen masallar zaman içerisinde hem biçimsel hem de içeriksel değişimler geçirmişlerdir. Geçirdiği değişimlerle de kültürel aktarımda büyük rol oynayan bu tür her zaman gelişerek zamanına adapte olabilmiştir. Özellikle klasik Avrupa masalları ulusların kültürel, sosyal ve toplumsal cinsiyet özelliklerini yansıtan başlıca türlerden biri olmuştur. Mevcut ataerkil söylemden ötürü masallardaki kadın karakterler, kahraman olmalarına rağmen, erkek karakterlere göre ikincil olarak temsil edilmiş, erkek yazarların ve karakterlerin cinsiyetçi tutumlarına maruz kalmışlardır. Masallardaki ayrımcı duruşun farkına varan yirminci yüzyıl feminist kadın yazarları, geleneksel metinlerin cinsiyetçi ideolojilerini sorgulamak için bu metinlere yönelmişlerdir. Lezbiyen arzu, cinsel özgürlük ve kadının sesi konularına özel ilgi gösteren yirminci yüzyıl İrlandalı kadın yazar Emma Donoghue, Kissing the Witch: Old Tales in New Skins (Cadıyı Öpmek: Eski Hikayeler Yeni Bedenlerde)(1997) adlı eserinde çeşitli klasik masalları yeniden yazmıştır. Özellikle "Külkedisi"'nin yeniden yazımı olan "Tale of the Shoe" (Ayakkabının Hikayesi) ve "Rapunzel'in" yeniden yazımı olan "Tale of the Hair" (Saçın Hikayesi) hikayelerinde ataerkil ideolojiyi alt üst etmek için, kadın eylemliliğini parodi yoluyla çeşitli yönlerden göz önüne sermiştir. Masalların kalıplaşmış unsurlarını değiştiren yazar eserleri postmodern parodiyle okumakla kalmayıp, sorgulanmamış konuları da gün yüzüne çıkartarak saklı cinsiyetçi ve ayrımcı tutumu da düzeltmeye çalışmıştır. Bu şekilde, Donoghue alternatif 'sonsuza kadar mutlu yaşadılar' senaryolarını hayal ederek kadın karakterlere daha barışçıl ve eşitlikçi bir son durum sunmuştur.

ICERI2011_International Conference of Education, Research and Innovation_Madrid,Spain, 2011

The purpose of this paper is to demonstrate how an interactive multimedia application which has been developed for primary school students, can introduce them into original and creative ways of writing by adapting teaching to individual differences and by developing more than one type of intelligence. lη particular, the chosen activities originate from the Italian storyteller Gianni Rodari whose vibrant, innovative and imaginative fantasy stories have impacted the pupils' mentality on a positive way. In fact, the project was planned and was developed in two phases. The first phase contains the actual design and theoretical framework of the multimedia application, based οη the theories of constructivism and multiple intelligences. The second phase includes a further development.This is based οη the results of a formative evaluation in which a selective population of primary school pupils were involved. Four two-hour lessons taught in a primary school of Athens, lead to a reform of the multimedia application. As a result of the above, we noticed that the interaction with the computer helped students to focus οη every activity and kept their interest irreducible, by offering them the chance to work with their own pace. We need to point out that aΙΙ students worked actively, even the weakest, whilst an atmosphere of mutual help and understanding was developed. In addition, their imagination creative spirit and critical thinking have been stimulated: οn the one hand by producing original and οn the other hand by making impressive stories through creative writing. Therefore, we believe that the environment of the educational software helped our students out to experience this journey into fantasy and fairy tales. In particular, these results imply that the teaching power of multimedia application offers alternative paths of reading and creating stories along with α creative effect in the soul.

Studia Litterarum

In the modern English-language literary space the genre of short prose, based on the plots of classical fairy tales and addressed primarily to an adult audience, is extremely popular. Over half a century already, this genre has emerged as a separate discourse (in this article, the authors call it a “Reimagined Fairy Tale,” considering the memory of the genre). Such modificated fairy tale is simultaniously the result of the postmodern world perception (intertextuality, playfulness, gamification, multilevel text, irony, etc.) and a critical thought (deconstruction, denial of logocentrism), and represents an extensive material for research both from the point of view of literary criticism and from interdisciplinary positions. Using the example of the modern literary tale by R. Shirman “Hunger,” which is based on the folk story about Hansel and Gretel, the authors attempt to trace how the multilevel coding of the text takes place using the transformation of Jungian archetypes and decons...

Evolutionary Studies in Imaginative Culture, 2024

The article is devoted to the reconstitution of the mythological worldview of the well-known European Symbolist writer Maurice Maeterlinck based on his famous drama 'Princess Maleine' that made a great impact on the development of the 'new drama' in the end of the 19th century. This analysis is performed in the context of the study of the symbolist semiotic system in French-speaking tradition. The lingua-poetic and mythopoeic intertextual analysis done, we have found that the mythological model in the play is functioning with a large system of mythological structures and semantic patterns. The locus of 'Princess Maleine' is marked as Hades World and its inhabitants are connoting the mythical concept BAD LUCK. Only two actors, the protagonists Maleine and Hjalmar are connoted not only by the morbid semantics but also as the correlates of the astral world. Their death in Hades makes possible the eschatological catastrophe leading to the neutralization of the killers whereas the infernal semantics is neutralized and the cosmos tends to the restoring of harmony symbolized by the coming of the new day and of the new year. Besides, the protagonists are considered to be the sacred sacrifice to change the semantics of the mythological concept BAD LUCK to the harmonized GOOD LUCK. Three mythological models are reconstructed: LIFE with positive connotation, LIFE with negative connotation and DEATH with positive connotation. The projection of the play is modeled by the movement from the positively and negatively connoted concept LIFE to the positively connoted concept DEATH that is a distinctive sign of Symbolist conception of 'tragic optimism' developed by Maeterlinck.

It is now accepted by most that women have played a large role in the transmission of fairytales. Research carried out by Marina Warner 1 and also by Ines Köhler-Zülch 2 are landmarks on the subject. However, the argument remains that, despite the strength of the female voice throughout women's renderings of traditional fairytales, it would somehow appear that the genre is inextricably bound with a patriarchal worldview and is, therefore, becoming more and more obsolete. Try as we may, the fairytale perishes with the dew of consciousness-raising. I know that I am not alone in mourning the passing of fairytales. Research into them is not unlike taking part in a wake. But while doing so, let me share with you -with the help of a handful of Portuguese versions -not the hope of bringing fairytales back to life, nor indeed the denial that they are outrageously patriarchal, but the suggestion that we can perhaps detect in them an old beat which is surprisingly modern and adequate. In order to do so, I have chosen the motif of women's shoes.