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Also called folk story. Switch to new thesaurus. References in periodicals archive? The commission will be based on an Indian folk tale and is slated to be presented in Mumbai on November 5th , alongside his existing 'Flying Bus' public art project at the Maker Maxity. In every part of the world, the folk tale originated not as written text but as oral performance.
Narrative Structures in Burmese Folk Tales.
Making offerings to grass snakes in the form of food, especially milk--a motif also recorded in other, especially German-speaking countries in Europe--is rare in Dutch folk tale tradition. The grass snake and the basilisk: From pre-Christian protective house god to the Antichrist. As stated in the author's preface, the Icelandic folk tale serves as a "model" for these stories. My mother is so poor! The rice is so valuable to her.
Come to the big tamarind tree outside the village at sunset, and I will give you something. At sunset, the little girl went to the big tamarind tree and looked up at the branches.
To her surprise, she saw a little house of gold at the top. But, of course, I must drop the ladder first. Do you want the golden ladder, the silver ladder, or the brass ladder? But your mother needs you more, so I must send you back before it gets too dark. Then he went into the bed room and brought out a big box, a medium-sized box, and a small box.
When she reached there, she gave the little box to her mother. Together they opened it, and they were surprised and delighted to find in the box a hundred priceless rubies.
The mother and daughter became very rich and lived in luxury. There was another old widow in the village, but she was not poor. She also had a daughter who, however, was greedy and bad-tempered.
This widow and her daughter heard about the gift of the Golden Crow, and became very jealous of the other widow and her daughter. They decided to try to get a similar gift for themselves. So they put out a tray of paddy in the sun, and the greedy girl kept watch. But as she was lazy, she did not try to scare away the birds that came to eat up the paddy.
When the Golden crow at last turned up, there were very few grains left. But, to her disappointment, the crow lowered the brass ladder. Do you want to eat your food from the gold dish, the silver dish or the brass dish? But to her disappointment, it was the brass dish she was served. The food was delicious but it was no more than a tiny morsel, and the greedy girl was annoyed.
The greedy girl, of course, chose the big box, and without remembering to thank the crow, she struggled down the ladder with her burden. When she reached home, she and her mother joyfully pulled open the big box. But to their surprise and terror, a big snake lay coiled inside.
The snake hissed at them angrily, and then glided out of the box and out of their house. Information connective - Protagonist A is introduced.
Narrative Structures in Burmese Folk Tales [Soe Marlar Lwin] on www.farmersmarketmusic.com * FREE* shipping on qualifying offers. Folk tales of Burma (now known as. This book provides the first in-depth overview of the narrative structures in Burmese folk tales. Earlier studies of Burmese folk tales have focused on the narrative.
Guide leads Protagonist A to Donor. Protagonist A meets Donor. Protagonist A performs successfully. Protagonist A is rewarded. Information connective - Protagonist B is introduced. Protagonist B learns about Donor. Guide leads Protagonist B to Donor. Protagonist B meets Donor. Protagonist B is punished.
The parallel sets of contrasting narratives in the above analysis show s how good actions are rewarded and evil actions are punished. It outlines one of the primary functions of this particular type of tale, which is the moral teaching. Despite the outwardly simple appearance, the tale addresses themes and issues that are profound for all humanity. It touches on such psychologically significant ly themes as honesty, kindness, generosity, jealousy, arrogance, greed, etc.
The morally significant issues on what is right and its consequences are foregrounded when it is placed in parallel against what is wrong and its consequences. Thus the contrastive narrative structure of the tale can be said to be complementing and reinforcing the moral and ethical messages that lie behind the content of the tale. Certainly they do appeal to children and help them develop critical, social, cognitive, and linguistic skills. In the same way, it should not be overlooked that the themes and issues raised in these tales can be significant for all ages, all humanity.
On the one hand, the book entitled Narrative Structures in Burmese Folk Tales di- rects the attention of international folktale research to the specificities of Burmese folktales, and on the other hand, the textual force, the clear cut and excellent use of concepts, the articulate and well-organized argument contribute to a kind of ap- proach that ultimately enriches the reference literature of folktale research. In this folktale, a story structure is repeated twice, with opposing outcomes. While folktales from different cultures may display many differences, some elements can be justifiably claimed to be common to many or all cultures. Skald Tales From New Iceland. The structure of the sequence of events can be summarized as.
While folktales from different cultures may display many differences, some elements can be justifiably claimed to be common to many or all cultures. Different cultures may offer different tasks or tests for the protagonists, nevertheless, the underlying message of what is morally or ethically right, what is wrong and what can be their consequences are proved to be the same.
In other words, the relationship of narrative form, function and field in tales with the didactic moral seems to appear in folktales from many lands. Just as such moral concerns of honesty, kindness and generosity, as opposed to jealousy, greed and pride, are issues in any culture, the contrastive structural form of presenting those issues are also found to be transcultural, if not universal.
Drory contends that the reward-and-punishment fairy tale, with its story structure made up of two symmetrically opposed moves which are formally identical, features two symmetrically opposed protagonists who are tested by the ethical norms. In other words, the actions of the narrative roles are evaluated to some extent in the framework of the socioreligious system of general values and specific norms. More recently, the study by Grayson on Korean folktales has also proved that there is a large set of Korean folktales which are composed of parallel sets of contrasting narratives showing how good actions are rewarded and evil actions punished.
It is claimed that the contrastive narrative structure can be found in tales throughout East Asia and the world. However, Grayson distinguishes Korean tales from similar tales in China and Japan as an illustration of the Confucian concept of moral suasion, in addition to the common theme of rewards and punishments. The good actions of the younger brother. The evil actions of the older brother. The Punishment of the older brother.
Similar to the Myanmar folktale, the tutor text of this article, it is also composed of two equal narrative sections or acts c. The first act or Move 1 gives a didactic moral point by showing the good motives and their consequences, while the second act or Move 2, which is formally identical to the first, contrasts the narrative content of the previous act to emphasis on the punishment which arises from bad motives.
The uniqueness of the Korean tale is its characteristic Confucian subtext, i. With the role inversion of the protagonist and antagonist, the importance of the value of moral suasion is claimed to be stressed in Korean folktales. Regardless of such uniqueness, it can still be argued that these tales with a didactic moral show the relationship of the contrastive narrative structure, the narrative content of moral issues, and the social function of moral teaching.
In other words, it can be deduce that through the use of a contrastive narrative structure, the virtues of good ethics are emphasized for the purpose of moral teaching in folktales. The analysis and discussion in the article put forward an investigation of the relationship between the narrative form, function and field of a story as a method to recognize the cultural determination of narrative motif and social purpose of storytelling. It claims that in the case of stories with the didactic moral, the contrastive narrative structure serves as reinforcement in instilling the concepts of good morals, which are profound and significant for all humanity across various cultures.
The feasibility to examine the relationship of narrative form, function and field in other types of stories is left open for further explorations. For a better understanding of the nature and the power of stories, it can be useful to probe the relationship among the underlying story structures, the narrative contents presented, and the social functions of storytelling in various types of stories. In a post-structural, post-modern world, the structural analysis of stories, with its focus on the relationship of forms to contents and functions, can still be a means for a better understanding of the nature and the power of stories.
Goldman eds Handbook of Discourse Processes , pp. Mahwah, New Jersey, London: Lawrence Erlbaum Associates Publishers. Segal eds Patterns in Oral Literature, pp. Dundes ed The Study of Folklore, pp.