Academic literature on the topic 'Moral and ethical aspects of Fairy tales'

Happiness as an ethical category and as one of the most universal dimensions of human world views has been recognized as one of the most important concepts in the specification of ethnic culture within the paradigm of humanitities. The objective of this paper is therefore to reveal the notion of happiness in Latgalian fairy tales. For this purpose, one hundred Latgalian fairy tales were selected in which the word ‘happiness’ was used in different forms and combinations. Taking into consideration the specifics of a folklore text, a linguoculturological approach was used to determine the notion of happiness in Latgalian folklore, and to observe the concept of happiness in folklore texts in the discourses of language and culture and of language and ethnic mentality (Маслова 2001: 28). This concept is interpreted in this paper as a body of collective knowledge, which expresses itself through language and which shows the specifics of an ethnic culture (Воркачев 2002: 22). Three components are distinguished in the structure of the concept – a notional, a figurative, and an axiological component. Of these, the notional component is considered to be the most important one by the majority of researchers (Карасик 1999: 39). It is disclosed in the semantics of the language of folklore when studying the lexemes that happiness is connected with, in the analysis of semantic and pragmatic aspects of the word ‘happiness’, regarding word combinations where happiness is described specifically along the most typical components, and from a contrastive view which allows to identify happiness in comparison to unhappiness. Contextual semantics of the notion of happiness reveals one of the most common theories of the notion of happiness – happiness as luck or as a coincidence of favorable circumstances. A lucky situation can in Latgalian fairy tales also be defined according to the importance of the task which has to be accomplished by a hero and when it is particularly difficult or even impossible to fulfil. In such cases, happiness is denoted with the use of adjectives and as an accomplishment, thereby changing the emphasis from chance to the lucky hero. In the end of the fairy tales, the adverb ‘laimeigi’ (‘happily’) or the adjective ‘laimeigs/-a’ (‘happy’) appears most often in combination with the word ‘dzeivuoja’ (‘lived’), thereby suggesting that there is a special awareness of the word combination „happy life” in Latgalian consciousness. Final formulas of fairy tales relating to the basic elements of happiness distinguish social well-being from the well-being of a family. In addition, fragments of other values contribute to elements of happiness in the final formulas, for example, life/health, harmony, and even loneliness. Under the influence of Christianity, wealth looses importance as a subject of happiness, and its place is taken by the combination of poverty and happiness. A perspective of action of the characters regarding happiness in fairy tales is also created by verbs, which allow to divide characters into three groups: those who look for happiness for themselves, those who give happiness to others, and those who try to deprive others of happiness. Traditionally, protagonists of fairy tales fall into the first group. Their actions are described by using the verbs ‘to look for’, ‘to get’, ‘to meet’, ‘to catch’, or ‘to inquire’, which all imply an active behaviour. In the second group there are so called magic helpers, whose actions are characterized by the verbs ‘to wish’, ‘to make’, ‘to give’, ‘to promise’, or ‘to enchant’. In the third group there are the antagonists of a hero who are best described with the word ‘to envy’. Verbs as a characterization of an attitude towards happiness attest an active position of the characters in the Latgalian fairy tales. Even when happiness is predetermined, the characters do not remain static but actively participate in securing happiness. According to the logic of mythological thinking, happiness is made understandable and organized in recognizable artistic images and positioned in the local environment in equivalence to humans. Two of the most popular artistic techniques of substantiating happiness are anthropomorphization and objectification, which evolve along demythologization. There are two ways of interpreting happiness as an anthropomorphic image. First, the characterization of happiness emphasizes elements symbolizing prosperity and wealth: happiness is dressed in gold and silver (12.A.735.), it appears as a corpulent woman (11.A.735.) or a beautiful girl whose wreath shines like the sun (7.), etc. The second technique is to describe the appearance of happiness in correspondence to the hero’s psychological notion of happiness – when a hero is unhappy, happiness is a black old maid (7.), pale or exhausted (15.A.735.567.). Typical of a hero’s attitude towards happiness are persistence and even superiority. Additional features in the anthropomorphic image of happiness are revealed in those fairy tales where happiness tries its strength against the personifications of other moral values, such as wisdom (8.A.736.). In the end of these fairy tales, wisdom has to admit that wisdom without happiness is not possible. Equally great significance of both moral values (also in reversed priority) is revealed in the paroemiac folk foundation: Laima bez gudreibas ir caurojs maiss. (LSD, 1940 2971) (Happiness without wisdom is like a sack full of holes). An objectification of happiness appears in fairy tales where the idea of happiness is immanently part of the idea of money as a source and a content of happiness. In these fairy tales money can appear to people in the form of a wolf, a bird, a midge, etc. Such an interpretation of happiness was probably determined by the human belief in happiness and the possibility of finding it. Happiness can appear in different unexpected ways, and humans shall only be prepared to recognize it and grasp it. The analyzed material of fairy tales shows how the Latgalians see, understand and evaluate happiness. To sum up the conclusions made in the paper, it shall be noted that happiness is one of the highest moral values of the Latgalians. It is interpreted as both luck and destiny. The Latgalians are active regarding happiness – they look for happiness and they find it. If necessary, they remind happiness of their existence and are not afraid of changing their lives. Regarding the content of values of happiness, the most important parts are well-being (different ways of wealth/prosperity) and family happiness (with a spouse or parents). However, under the influence of Christianity, fairy tales introduced also philosophical contemplation about the problem – whether happiness really is about wealth, whether a poor person can be happy, and whether happiness is possible in this world at all. Folklore does not give the one and only correct answer to what happiness is. Folklore shows where happiness could possibly be and how one can obtain it. Specific aspects of the interpretation of happiness in Latgalian folklore can also be found in other genres of folklore, for instance in folk songs and brahilogisms. It is very well possible that other ethnic groups emphasize different aspects in the interpretation of happiness which should be studied separately. However, as studies of the concept of happiness point out, due to the influence of globalization ethnic differences in the interpretation of happiness could be evened out (Veenhoven 1995: 5).

Senior preschool age is a period of active development of ethical norms, rules, the formation of moral feelings and inclinations. It is considered to be the most important stage in the formation of mechanisms of behavior and activity; in the development of the individuality of a preschooler in general. This is due to significant changes that occur in the emotional and volitional, mental development of children, the development of the motivational sphere, communication with coevals and adults, especially acquired by the level of moral culture. Hence, the opportunities for moral education of senior preschoolers are rising nowadays.The article aims at groundingthe possibilities of a fairy-tale as a means of formation moral feelings of children of preschool age; at determining pedagogical and methodical methods of moral education of senior preschoolers by means of fairy tales.The article highlights the notion of fairy-tale as means of formation of moral feelings of children of preschool age. The urgency of the problem under consideration lies in the necessity of formation moral and ethical norms and rules of behavior, which are transmitted to a child due to the influence of fairy tales onto preschooler’s personality. Various types of fairy-tales have been selected and their role in formation of moral qualities have been analyzed. Scientific novelty of the present article is to highlight the algorithm of using pedagogical and methodological techniques to acquaint children with different types of fairy tales and their importance in the development of the personality of the preschooler.Conclusions. Summing up the information mentioned above, it is possible to conclude that the methods of pedagogical work with fairy tales in a preschool educational establishment is caused by the qualitative heterogeneity of this genre. In order to intensify the depth of world concept of fairytales, its metaphorical, moral and social content, emotional connotations to children, the teacher must guide the reading of fairy tales based on the literary specifics of the fairy tale genre, purposefully form the optimal range of skills of preschoolers. In addition, one of the factors of the low level of moral education of preschoolers is the insufficient use of fairy tales and its means in the daily work of the educator of a modern preschool educational establishment. The language of a fairy tale, especially of a folk fairy-tale, is close to a child, it helps a child to solve moral problems, due to clear, determined moral position of characters in a fairy-tale. In the process of implementation of different types of fairy tales, it is advisable to use the following pedagogical and methodological methods and techniques: reading, retelling, describing the illustrations, coloring and drawing fairy tale characters, applying dramatization games, self-composition of fairy tales that contribute to the formation of ethical and moral norms of everyday life. At the same time, this problem demands further study in order to improve the state programs of preschool education, which in turn will increase the level of moral education of preschoolers.Key words: children of senior preschool age, fairy-tale, moral feelings, education, preschool educational establishment.

Senior preschool age is a period of active development of ethical norms, rules, the formation of moral feelings and inclinations. It is considered to be the most important stage in the formation of mechanisms of behavior and activity; in the development of the individuality of a preschooler in general. This is due to significant changes that occur in the emotional and volitional, mental development of children, the development of the motivational sphere, communication with coevals and adults, especially acquired by the level of moral culture. Hence, the opportunities for moral education of senior preschoolers are rising nowadays.The article aims at groundingthe possibilities of a fairy-tale as a means of formation moral feelings of children of preschool age; at determining pedagogical and methodical methods of moral education of senior preschoolers by means of fairy tales.The article highlights the notion of fairy-tale as means of formation of moral feelings of children of preschool age. The urgency of the problem under consideration lies in the necessity of formation moral and ethical norms and rules of behavior, which are transmitted to a child due to the influence of fairy tales onto preschooler’s personality. Various types of fairy-tales have been selected and their role in formation of moral qualities have been analyzed. Scientific novelty of the present article is to highlight the algorithm of using pedagogical and methodological techniques to acquaint children with different types of fairy tales and their importance in the development of the personality of the preschooler.Conclusions. Summing up the information mentioned above, it is possible to conclude that the methods of pedagogical work with fairy tales in a preschool educational establishment is caused by the qualitative heterogeneity of this genre. In order to intensify the depth of world concept of fairytales, its metaphorical, moral and social content, emotional connotations to children, the teacher must guide the reading of fairy tales based on the literary specifics of the fairy tale genre, purposefully form the optimal range of skills of preschoolers. In addition, one of the factors of the low level of moral education of preschoolers is the insufficient use of fairy tales and its means in the daily work of the educator of a modern preschool educational establishment. The language of a fairy tale, especially of a folk fairy-tale, is close to a child, it helps a child to solve moral problems, due to clear, determined moral position of characters in a fairy-tale. In the process of implementation of different types of fairy tales, it is advisable to use the following pedagogical and methodological methods and techniques: reading, retelling, describing the illustrations, coloring and drawing fairy tale characters, applying dramatization games, self-composition of fairy tales that contribute to the formation of ethical and moral norms of everyday life. At the same time, this problem demands further study in order to improve the state programs of preschool education, which in turn will increase the level of moral education of preschoolers.Key words: children of senior preschool age, fairy-tale, moral feelings, education, preschool educational establishment.

A fairy tale is the genre which is well represented in preschool education programmes as well as in the curriculum of general primary education. A fairy tale is an important means for developing children's verbal creativity and their logical thinking. A fairy tale stimulates children's imagination, prepares them for the future life in the real world, broadens their horizons, fosters not only moral and ethical values but also the right attitude to the world. Folk tales were not initially created for children. Adults displayed their own mythological ideas about the world, nature and a man by means of these encoded texts. Over time a fairy tale lost its meaning in the life of adults and was transferred to children becoming part of their everyday reading. A child admires a fairy tale, its fantasy, but does not understand everything. «The Cubes of V. Y. Propp» represent the means and the techniques that help the child to understand the structure of a tale, its content, morality and allegory. Y.Propp proved that a fairy tale is illustrative of the fact that there was a system of various taboos in the life of our ancestors. All these prohibitions gradually formed moral and ethical principles, legal rules and laws of human behavior in society. In the structure of a fairy tale, V. Y. Propp names several main elements, the so-called «The Cubes of V. Y. Propp», namely «absentation», «interdiction», «violation of the interdiction», «departure», «first function of the donor», «hero’s reaction», «receipt of a magical agent», «victory», «return», «happy ending». This structure of a fairy tale serves its magical or ritual function, which makes a fairy tale resemble such an archaic genre as an incantation. In a fairy tale like in an incantation, a magical ritual action and a magical verbal formula are intrinsically linked, and therefore in a fairy tale a taboo as well as a potential punishment are often depicted. Y.Propp's schemes clearly show the typical structure, «models of fairy tales», according to which their «building material» can be defined: fairy tales have sets of «cubes», i.e. typical plot elements, situations, taboos and symbolic actions. And this is also the basis for the differentiation of the works of this folklore genre: some fairy texts have the whole set of «cubes», but there is also such a type of fairy tales in which some of the «cubes» are missing with a particular purpose. The article offers an analysis of fairy tales based on the structure of «V. Y. Propp's cubes». Such an analysis of fairy tales will help preschool and primary school students to understand the content of fairy tales, their morality and allegory. Creative tasks with «V. Y. Propp's cubes» will provide children with the clues to independent creativity, which may result in composing their own fairy tales.

The article reveals the essence of the concept of "New School", made a theoretical analysis of the moral education of children. On the example of Vasyl Sukhomlynsky's pedagogical ideas, different approaches to the education of the moral qualities of the individual are analyzed. Formation of moral experience in preschool children begins with fairy tales. The education of humane feelings, spiritual values, according to the teacher, should be considered in close connection with the overall development of the child. Fairy tales contribute to the formation of children's emotional attitude to the described events, nature, fairy-tale characters, to the people around them, to reality. An important role in the education of the child's personality is played by fairy tales and stories written by pupils of the Pavlovsk school and Vasyl Olexandrovich. A child who is just beginning to get to know the world around is in need of fairy tales that prepare her for school, an active life in society. Tales, passing through the imagination of the child, excite her feelings for the good and the beautiful, expand the general outlook, teach love, loyalty, stability, honesty and perseverance. Promote moral formation in children. The scientist gave a substantiation of the essence of the process of becoming morality: "In my opinion, the most important conclusion that defines this essence is the truth: teaching in the lessons is not the only, but very important sphere of spiritual life in which the teacher and the student come into contact." The moral education of schoolchildren takes place in all lessons without exception. It promotes self-esteem and self-esteem. Theoretical aspects of moral education of the child are considered. The rules of moral education, developed by the Ukrainian scientist Vasyl Sukhomlynsky, include: formation of moral feelings and behavior skills. Emphasis is placed on the use of pedagogical ideas of Vasyl Sukhomlynsky in moral education, their place in the formation of moral values, outlines the direction of use. The necessity of raising a morally healthy child in the course of education is substantiated, which involves a close connection with the institutions of pre-school education and the New Ukrainian School, taking into account the individual characteristics of each child.

The paramount role in solving the problem of the formation of spiritual and moral qualities of the individual is played by the acquaintance of students with the national picture of the world, the basis of which are the characteristics of the culture of the people. Folklore is the conductor of national culture. Main attention is paid to one of the genres of the Russian folklore – a fairy tale, because it is in fairy tales that the best features of the people are reflected, contributing to the formation of moral values of students. The author determined not only the educational, but also the artistic value of fairy tales. The main aspects of the work on the analysis of the fairy tale are outlined: text analysis in the dialogue of cultures, the use of symbols, idioms, and appeal to the visual and expressive means of the language that contribute to a better understanding of the text.

The paper suggests methodological comments on how to tap into essential ethical issues after reading and discussing at classes fairy tales and sayings of all sorts of nations concerning compassion, mercifulness and cooperativeness and then unobtrusively, avoiding outright moral maxims, make pupils get insights in simple truths, underpinning universal human values. The recommendation are appropriate and desirable for fourgrade classes at the lessons of “The religious cultures and secular ethics” course, as well as at lessons of the “World around us” course and at Literature reading lessons.

Specific art practices, which include performance, are especially prevalent in popular culture at the turn of the 20th and 21st century. The concept of ‘performance’ means an action in the process of which creation involves a new experience both for the performer of the action and for the recipient. However, it is necessary to distinguish performance as a type of cultural action, dramatization, and performative potential of a work, creating conditions for influencing the consciousness of a person who, when perceiving a work, becomes a full participant in a creative act. Modern fairy-tale plays written by playwrights based on well-known works or the authors’ own dramatic tales have great performative potential. They connect the game principle, the performativity of a fairy tale, capable of activating empathy, influencing the child’s consciousness through the magic of the word, and the performance of the drama, the goal of which is to involve the young viewer in the show. At the same time, the theatrical performance of fairy-tale plays and the metatheatrical techniques involved in them have a significant visual impact on the young audience, which also contributes to the performative dialogue. The moralizing orientation of modern fairy-tale plays, reflecting the current moral and ethical problems of the society, increases the efficiency of the educational process, and contributes to the fulfilment of modern didactic tasks. In this article, based on the Russian playwright Anna Bogacheva, an attempt is made to identify those features of modern fairy-tale plays that convey their performative character and didactic potential.

Masnavi Khold-e-Barin is one of letters that educate people moral courses in different ways. Vahshi Bafghi by using his special technique, compose a word full of advice and using the different metaphor sings helps to understanding of good and bad issues in life. He expresses ethical messages in two ways, the theme of novel and direct expression. This paper tries to evaluate the Place of the educational literature in Vahshi Bafghi's Khold-e-Barin; the author shows aspects and features of didactic literature using content analysis in Khold-e-Barin. Issues such as the avoidance of envy, greed, worldly and other worldly courses, advice and the moral results of tales, praised of the knowledge and awareness, chastity word of poet, give didactic Ethics and Spirituality atmosphere to this letter. In this research, didactic poems in two sections of “sermon – ethical” and “Education – Spiritual” have been studied.

The Panji story is a popular cultural heritage during the Majapahit period, spreading to various regions andcountries of Southeast Asia. Panji's story is not just a romantic story of Panji Asmarabangun with Dewi Sekartajibut has many interesting aspects that can be studied from various sides. There are many fairy tales that tell the story ofPanji, as well as the performing arts of tradition, art, the art of chanting, and even the Panji Story enshrined in reliefsof dozens of temples in East Java and hundreds of manuscripts of Panji scattered in various countries. From thevarious stories of Panji is contained noble values that can be a role model in the life of society and state. In the story ofPanji there is a load of courage, heroism, unyielding spirit, creativity in running tactics, caring for others, love animalsand flora, not vengeance, do not apply cruelly, love to study, devoted to mother, love and master various art and so on. The Panji is an ideal figure so much is personified by many Kings throughout history. The story of the Panji becomesintertwined between fairy tales and facts. The Panji story becomes a myth that eventually becomes a reference in life. Infact, the example of the Panji Story is not only reflected in its traits as a person but the moral of the story contained init, as well as the inspiration that can be picked as a raw material for the creation of artwork and also the creativeeconomy.

In today's society there are social and cultural changes that characterize the modern style of formation of human relationships, changing models of interpersonal interaction. These processes penetrate even the level of the relationship between preschool children and adults (parents, teachers and other adults) with whom they interact. Parents, as the founders of a positive family microclimate, form in children value orientations and moral norms, cultivate in them personal qualities in order to gradually engage in social activities. The institution of the family needs pedagogical support from the very first educational institution – the institution of preschool education, in particular from the preschool teacher, in matters of choosing effective and appropriate educational technologies in the moral sphere. In view of this, there is a need for scientific substantiation and methodological support of the educational process aimed at forming the personality of a preschool child in an adequate model of interpersonal interaction, in which the child is the subject of real relationships established and developed on the basis of moral values. formation of respectful attitude in children of the 5th year of life to adults. Historical analysis of scientific and pedagogical experience allows us to assert the priority of values in society and human life, because the future of society and its culture will depend on how much they are accepted and actualized by each person. In the context of the national revival of the spirituality and culture of the Ukrainian people, the formation of the individual and, in particular, its moral sphere, is a priority of the philosophical, psychological and pedagogical aspects of society. The culture of intergenerational relations is analyzed and its types are singled out (M. Mead): post-figurative, co-figurative, pre-figurative. The purpose and tasks of research are defined, in particular: philosophical researches are described, structural elements of concepts «morality», «moral values» are specified. The potential of the Ukrainian fairy tale in the context of the research topic is revealed; the functions performed by fairy tales are analyzed: mirrors, alternative concepts, models, mediation, changes of position, storage of experience. Pedagogical conditions of formation of respectful attitude to adults in children of the 5th year of life are substantiated, namely: creation of developmental environment in preschool educational institution for the purpose of maintenance of a positive emotional background of perception by pupils of moral maintenance of fairy tales; systematic enrichment of knowledge of children of the 5th year of life by the content of fairy tales of moral orientation; involvement of children in practically oriented activities in the context of creative interpretation of fairy tales with subsequent behavioral projection and tested their effectiveness in the educational process of preschool education in Ukraine. Comparative results of experimental research are described. The obtained data testify to the effectiveness of pedagogical conditions for the formation of respectful attitude in children 5 years old to adults with the help of a Ukrainian fairy tale. The prospect of further research requires the question of the educational trajectory of educators in order to increase their pedagogical competence in moral education.

Chapter one examines images of graphic violence and their effects on viewers through Guillermo del Toro’s film El Laberinto del Fauno (2006), which combines the imagery of dark fairy tales with images of torture and murder in its depiction of the Spanish post-war years and the resistance of anti-Francoist guerrillas. The chapter situates the film within the genre of human rights cinema, by challenging the emphasis on narrative and truthfulness of the Charter of the Human Rights Film Network. Instead, it follows Shohini Chaudhuri’s suggestion to shift from focusing on narrative in favor of addressing aesthetic choices that lead to either moral or ethical confrontation with human rights violations. The film’s graphic images of torture and murder may shock, appall, and stir feelings of hatred and revenge, but they at all times push viewers to reflect on the frames that delimit seeing and not seeing, the subject position and agency of both victims and perpetrators, as well as viewers’ own embodied investment in the scenes of violence. In this way, the film opens up the possibility of an ethical witnessing, challenging the hierarchical object-subject relationship.