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Jak pisać współczesne baśni. Przykład Doroty Masłowskiej "Jak zostałam wiedźmą"

100%
Chłosta-Zielonka J.
Acta Neophilologica
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2022
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vol. 1
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issue XXIV
137-148
PL
The aim of this article is to answer the question as to how to make a child reader interested in and focusing attention on reading. According to Jerzy Cieślikowski and many other researchers, children’s literature has its own rules, poetics of genres, and specific communications circuit: publishing houses, the market, the press, and criticism. Dorota Masłowska employed the form of a literary fairy tale to reach out to a young audience. Usingthe conventions of this genre, she described one of the most painful problems of modern times – excessive consumerism, in which modern man completely loses himself.
2

Stárnou pohádkové bytosti v současné české literární tvorbě pro děti a mládež?

88%
Salhiová M.
Slavica Wratislaviensia
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2016
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vol. 163
591-598
EN
The literary creation for children and youth does not avoid the literary realizations of attitudes towards old age. In this article, we will introduce three diverse ways to capture the aging process, but also the rejuvenation of the mythical creatures. In the prose with a child hero Dračí polévka, the Vietnamese grandfather was reborn as a lush dragon, in the fairy tale Lichožrouti, three different fairytale creatures are preparing for the end of their lives and in the book for children František zkaštanu, Anežka ze slunečnic, a metaphor of autumn is used to describe the cyclicality of the life in nature. Although the mentioned books are dissimilar, the description of old or aging persons is carried in the positive note, they become a pattern for little readers.
BG
Дори в литературата за деца и юноши не отсъстват литературни реализации на отношението към старостта. В тази статия ще бъдат представени три различни начина за улавяне на процеса на стареене, но и подмладяване на митични същества. В прозата с дете герой Dračí polévka виетнамски дядо се преражда в буен дракон, в приказката Lichožrouti трима различни приказни герои се подготвят за края на живота си, а в книгата за деца František z kaštanu, Anežka ze slunečnic използва метафората на есента, описваща цикличността на живота в природата. Въпреки че споменатите книги са много различни, описанието на стари или застаряващи лица се извършва в положителен тон, те се превръщат в модел на малките читатели.
3

Anthroponyms and Phytonyms in Latvian Literary Fairy Tales and Their Translation in Lithuanian (Flowers: Fairy Talesby Anna Sakse)

88%
Kvašytė R.
Ad verba liberorum
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2010
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vol. 2
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issue 1
79-91
EN
Lithuanian readers can enjoy the translations of fairy tales by the Latvian authors Kārlis Skalbe, Anna Sakse, Margarita Stāraste, Imants Ziedonis and Juris Zvirgzdiņš. Literary fairy tales and their translations make interesting material for study; also, it is intriguing to consider how texts written for Latvian children are perceived by Lithuanian children.The aim of this study is to find out what language conformities and peculiarities have been taken into consideration in the process of translating Latvian literary fairy tales into Lithuanian. Attention is focused on one of the proper name groups - anthroponyms, as well as appellatives related to them - phytonyms.The study material includes the cycle of fairy tales "Flowers: Fairy Tales" by Anna Sakse and their translation into Lithuanian (translator Renata Zajančkauskaite). The study has been carried out by contrastive analytical, descriptive and interpretation methods. Mainly fairy tales with certain discrepancies between the anthroponyms and phytonyms in the source and target languages were selected for the present analysis.The analysis allows to conclude that the anthroponyms and phytonyms used by the author reflect the cultural environment of various countries of the world. Anna Sakse links anthroponyms with phytonyms either directly (the words can be either actual people's names or personified appellatives) or in a more or less indirect manner. In the translated fairy-tale texts the reader can find the same anthroponyms and/or phytonyms as in the source text, however, one can identify also cases of cultural substitution. Sometimes the choice of a different personal name can be justified by the fact that the gender of the word differs in Latvian and Lithuanian, and therefore a literal transfer is not possible. The cycle contains fairy tales that have been translated into Lithuanian not because their phytonyms match but because of the development of the plot or associations implied.
4
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Czego się bać w baśniach bez duchów i potworów? Rozważania o literackiej baśni francuskiej końca XVII wieku

63%
Kulesza M.
Acta Universitatis Lodziensis. Folia Litteraria Romanica
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2022
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vol. 17
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issue 2
161-170
EN
Between 1690 and 1715, the literary fairy tale, the conte de fées, becomes fashionable in France, created by the regulars of Parisian salons and distinct from the folktale. The monster in the modern fairy tale is ridiculed, so that the fear it is supposed to inspire is apparent (the example of the tales of Madame d’Aulnoy and de Murat). Then, in two fairy tales (Le prince rosier by Catherine Bernard and Anguillette by Mrs de Murat), I analyse fears and anxieties that are rooted in love rather than evil spells. The pessimistic vision of love links the fairy tale with the novel of the late 17th century. Both are meant to transport the reader to another, distant world in order to portray the real world all the better. Contes de fées create an atmosphere of spiritual anxiety that has no connection with the enchanted world: no supernatural powers change human nature and the misery it leads to, and the sophisticated form and magical setting hide the true face of the world of feelings.
FR
Entre 1690 et 1715, un genre nouveau, le conte de fées, devient à la mode en France. Créé par les habituées des salons parisiens, il se distingue du conte populaire. Le monstre du conte moderne est ridiculisé, de sorte que la peur qu’il est censé inspirer est apparente (l’exemple des contes de Madame d’Aulnoy et de Murat). Ensuite, dans deux contes de fées (Le prince rosier de Catherine Bernard et Anguillette de Mme de Murat), j’analyse les peurs et les angoisses qui trouvent leur origine dans la vision pessimiste de l’amour. C’est elle qui lie le conte de fées au roman, genre mondain par excellence. Tous deux sont destinés à transporter le lecteur dans un autre monde, lointain, afin de mieux dépeindre le monde réel. Les contes de fées créent une atmosphère d’anxiété spirituelle qui n’a aucun rapport avec le monde enchanté : aucun pouvoir surnaturel ne peut changer ni la nature humaine, ni la misère à laquelle elle conduit. La forme recherchée et le cadre magique du conte cachent le vrai visage du monde des sentiments.
5
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Rzeczy w magicznych światach (o roli przedmiotów w bajkach ludowych i baśniach literackich)

63%
Wróblewska V.
Literatura Ludowa
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2020
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vol. 64
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issue 4-5
43-55
EN
The subject of the article is the presentation of items in Polish folk tales and literary fairy tales of the 19th-20th centuries. The resources of the presented items and the scope of their fictional and cultural functions are described. The starting point is the theory of experiential myth. The main goal is to show the differences in departing from objects in the past and today. When in peasant culture everything found its use in every phase of its existence, which minimized the production of waste, in urban culture damaged things were replaced with new ones, cheap due to their mass production. The above opposition juxtaposition seems to reflect the broader phenomena that fit into various variants of culture - underflow (lack) and excess (overflow), which at the narrative level of broadly understood folk tales and fairy tales has a far-reaching plot and interpretative effects.
PL
Tematem artykułu jest prezentacja przedmiotów w polskich bajkach ludowych i w baśniach literackich XIX-XXI wieku. Opisowi podlegają zasoby przedstawionych rzeczy oraz zakres ich funkcji fabularnych oraz kulturowych. Punktem wyjścia jest teoria mitu doświadczeniowego. Zasadniczym celem jest pokazanie różnic w odejściu do przedmiotów dawniej i dziś. Gdy w kulturze chłopskiej każda rzecz, w każdej fazie jej istnienia znajdowała swoje zastosowane, co do minimum ograniczało produkcję odpadów, w kulturze miejskiej rzeczy uszkodzone zastępowano nowymi, tanimi z racji ich masowej produkcji. Powyższe opozycyjne zestawienie wydaje się odzwierciedlać szerzej pojmowane zjawiska wpisujące się w różne warianty kultury – niedomiaru (braku) i nadmiaru (przesytu), co na poziomie narracyjnym szeroko rozumianych bajek i baśni ma dalekosiężne skutki fabularne oraz interpretacyjne.
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