About Teleological Behaviorism.

The present article deals with the concepts of Ukrainian literary fairy tale and morality. Evolutionary stages of development of the Ukrainian literary fairy tale, components of moral development and levels of moral consciousness are considered. The specificity of fairy tales is found out within the limits of the unique direction of the artistic phenomenon at the level of modern knowledge of fairy-tales. The ideas of moral and aesthetic education of children are systematized on the basis of Ukrainian folklore and literary studies. Moral qualities of the person which are formed by means of inclusion of the fairy tale are defined in process of education. The place and role of the Ukrainian literary fairy tales in the process of education of moral and aesthetic qualities of children is outlined. The principles of transformation of folklore material and features of its assimilation by literature are considered. The opinions of many famous scientists and teachers on the use of folklore in the education of children are analyzed. It is determined that the Ukrainian literary fairy tale contains a considerable reserve of creativity for working with children, as well as developing their morality. It teaches children common to mankind values, thus forming a character trait such as self-esteem. The fairy tale prepares a child for a future life in the real world and shows examples of overcoming difficulties. It forms the moral qualities that will remain with the child for life. With the help of a fairy tale, the child develops moral and aesthetic feelings. Her potential includes a source of morality and at the same time is a popular means of upbringing. It promotes the formation of certain values, an ideal. The ideal for a child is a long-term perspective, which one she will strive, checking her affairs and deeds with her. An ideal, acquired in childhood, will in many ways define it as a person. It is concluded that the effectiveness of using the Ukrainian literary fairy tale in the moral and aesthetic education of children is verified in practice and very productive.

In the present article, the ethnolinguistic perspective on the interpretation of one of the most widespread birds in Lithuania and in the Slavic countries, namely, an owl, is studied. In the cultural tradition, both positive and negative aspects are associated with birds, and, as a rule, only negative ones are associated with birds of prey. The connection of an owl with negative aspects of life is analyzed on three levels: on the linguistic level (metaphors, fixed comparisons, phraseological units, etc.); on the level of folklore texts (songs, fairy tales, legends, etc.); and on the level of traditional concepts. The material for the study has been collected from the explanatory dictionaries of the Lithuanian and various Slavic languages, the phraseological dictionaries, folklore collections, etc. On the linguistic level, the analysis shows that in the Lithuanian and Slavic languages, an owl is usually associated with an ugly woman, with large bulging eyes, in Lithuanian it is also associated with an ugly sitting person (which is also found in Polish); in Slavic languages, there is a comparison between an owl and a person who has not slept at night for a long time. What is common in the Lithuanian and some Slavic languages is the love of an owl for its ugly children. In the Lithuanian song material, an owl is depicted as a comic character showing off its “beauty”. In the songs, there is an image of an owl as a rich woman (in Lithuanian and Belarusian folklore); the wedding motif of an owl married to a sparrow is popular in Lithuanian and some Slavic folklore traditions. The motif of widowhood, single motherhood is vividly represented in the Slavic languages. In Lithuanian and Slavic folklore, an owl is widely represented in marriage songs where this bird usually parodies the bride or another participant in the wedding ceremony. The nocturnal lifestyle is explained in Lithuanian and Slavic folklore by its fear of other birds chasing an owl during the day. An owl is demonized in the Lithuanian and Slavic folk tradition. For instance, Lithuanian folklore mentions that a witch can turn into an owl, while in Slavic folklore, an owl is often associated with other birds that are servants of the devil. In both Lithuanian and Slavic traditions, owls are able to foretell the future: either future misfortunes or a birth of a child. This is associated with the acoustic impression of owl’s cry, and with an idea of its connection with the other world. The above-mentioned general interpretations of an owl in the traditional culture of Lithuanians and Slavs, primarily Belarusians, Ukrainians, Poles, and to a lesser extent – the southern Slavs, Czechs and Slovaks, prove the close ties between Lithuanians’ and Slavs’ beliefs.

The present article is concerned with Lithuanian picture books from the period 1900 to 1930. A new term paveikslėlių knyga to specify this children's book genre has been introduced, which was not in wide use in Lithuanian book research before. In the late 19th century, picture books became popular in many countries such as Germany, England, and France. However, in Lithuania, due to extraordinary circumstances—namely, all publications in the Lithuanian alphabet being banned by the czarist government of the Russian Empire—there were very few children's books in circulation, and the art of book illustration could hardly be developed. The first Lithuanian picture books were published in some series (retold fairy tales, adaptations of classical literature, and instructive or didactic publications) by J. Zavadzki's printing house in 1909-1911 in Vilnius. They were illustrated with color lithographs brought from Germany (some of them could be from Poland), and the authors of these illustrations were unknown. From the end of the 19th century, the spread of illustrations in cheap mass production German picture books is characteristic of other East European countries as well (for example, Latvia and Poland). One very simple picture book written and illustrated by Lithuanian authors—P. Mašiotas and P. Kalpokas—appeared in 1913 in Riga. New opportunities for publishing children's books emerged when the Independent Republic of Lithuania was established. At first, in the early twenties, Lithuanian picture books again repeated the German editions. While Lithuania's printing technology was poor, many editions were set up and published in Germany. In the twenties, the company Kultūra made a significant contribution to the development of Lithuanian artists' picture books. This company established contacts with corresponding publishing houses in Munich, Mainz, and Leipzig, and published picture books with German artists’ (W. Bush, E. Osswald) illustrations. The company Kultūra published the Lithuanian fairy tale Eglė, žalčių karalienė (Eglė, the Queen of Grass Snakes) (Šiauliai, 1924), illustrated by Lithuanian painter K. Simėnas and printed in Leipzig. This large-format picture book is the very first Lithuanian fairy tale edition with color illustrations. Some artists' picture books were published in Germany in 1923 by the short-lived publishing firm Mala. Poet K. Binkis assisted with the translation. Mažylis karaliukas (The Little Prince) (Kaunas, 1923) by F. Ostyn, illustrated by H. Pellar, is distinguished for its high quality of color printing and artistic value. A very popular book was the Lithuanian edition of Struwwelpeter (Vaikai vanagai. Linksmos pasakos ir paveikslėliai, 1928) by H. Hoffmann, also translated by K. Binkis. The A. Ptašekas bookshop in Kaunas published especially many picture books during the period between the two world wars, but most of them featured imported German illustrations. The domestically illustrated Lithuanian picture books were increasingly published only in the thirties. The analysis of Lithuanian picture books shows that their development was not isolated from the books of the same genre published in other countries (especially in Germany) but involved many possible contacts with foreign publishing houses that had greater experience. Thus, they were able to gain general peculiarities of the genre and find their own way.

The present article deals with direct and mediated translations of Armenian folk and fairy tales presented in chronological order. Our research includes a number of major collections of Armenian tales told in non-Armenian milieux and recorded in languages other than Armenian. The collectors of these tales have apparently functioned both as recorders and translators. It is to be noted that there exist no printed versions of the mentioned tales in Armenian. The study and systematization of translated tale collections are important for making the Armenian material more distinct and identifiable for folklore and fairy-tale scholars.

Since the establishment of the Johannes V. Jensen Centre at Aarhus University in 1993, studies of the Nobel Prize winner have shifted from the biographical to the textual. At the same time, the publication especially of early works with critical commentary has intensified. The present article traces some themes throughout a half-century of Jensen’s journalism which was first assembled in book form in 2014 under the title Word and Truth. The material brings more nuance to impressions of the poet’s opinions and positions, also because the anthologizing of his journalistic works has until now and for good reason skimmed only the cream. Now the dregs are considered as well, and even this portion of Jensen’s work impresses with its linguistically seductive energy and fascinating images. Most of the articles Jensen himself agreed to have reprinted and they were included in the so-called mythic volumes. Jensen regarded myth as a special genre, his own reply in all modesty to what H. C. Andersen had done for the fairy tale. Jensen’s journalism spans also biographically from the poet’s native soil in Jutland to distant parts of the world, with the capital as well as rural Tisvilde as important stops along the way. The poet’s efforts to protect nature and the implied archeological interests (not only in a Danish context) are reflected in a number of articles. Just as meaningful, but modernity-oriented, is an enthusiasm for technical development, machinery, traffic on land, sea and air. Life’s origins and the development of the species are viewed in a Darwinist perspective. The present article’s second part deals with Jensen’s tradition-bound understanding of the relationship between the sexes and, in that connection, with his fear of “sexual confusion” often mentioned, most painfully in the 1907 intimidation of his colleague Herman Bang. Finally, attention is given to the part of Jensen’s journalism which portrays his own travels and his writings on others’ contributions to the genre of travel literature.

Since the establishment of the Johannes V. Jensen Centre at Aarhus University in 1993, studies of the Nobel Prize winner have shifted from the biographical to the textual. At the same time, the publication especially of early works with critical commentary has intensified. The present article traces some themes throughout a half-century of Jensen’s journalism, which was first assembled in book form in 2014 under the title Word and Truth. The material brings more nuance to impressions of the poet’s opinions and positions, in part because the anthologizing of his journalistic works has, until now and for good reason, skimmed only the cream. Now the dregs are considered as well, and even this portion of Jensen’s work impresses with its linguistically seductive energy and fascinating images. Jensen himself agreed to have most of the articles reprinted, and they were included in the so-called mythic volumes. Jensen regarded myth as a special genre, his own reply in all modesty to what H. C. Andersen had done for the fairy tale. Jensen’s journalism spans also biographically, from the poet’s native soil in Jutland, to distant parts of the world, with the capital as well as rural Tisvilde as important stops along the way. The poet’s efforts to protect nature and implied archeological interests (not only in a Danish context) are reflected in a number of articles. Just as meaningful, but modernity-oriented, is an enthusiasm for technical development, machinery, and traffic on land, sea, and air. Life’s origins and the development of the species are viewed with a Darwinist perspective. The present article’s second part deals with Jensen’s tradition-bound understanding of the relationship between the sexes and, in that connection, his fear of “sexual confusion” often mentioned, most painfully in the 1907 intimidation of his colleague Herman Bang. Finally, attention is given to the part of Jensen’s journalism that portrays his own travels and his writings on other’s contributions to the genre of travel literature.

Eudora Welty, a celebrated American novelist renowned for her deft literary touch, prominently positioned herself within literary tradition with her famous novella, The Robber Bridegroom, which was published in 1942. This work, uniquely situated within the cultural tapestry of Mississippi, integrates elements drawn from American mythology and historical figures of the American South, weaving them into the fascinating tale of the gentleman robber Jamie Lockhart. The present research paper embarks on an exploratory journey into the complex tapestry of The Robber Bridegroom, offering a multifaceted analysis that bridges the gap between folklore, fantasy, and reality. It investigates the peculiar confluence of wisdom, seriousness, mysterious wilderness, amusement, and disenchantment—ingredients often found in traditional fairy tales. This synthesis resonates with the timeless quality of myth and resonates with a contemporary audience. Central to this exploration is an analysis of Welty’s intricate character portrayals and her deft use of irony and humor. These literary devices, alongside her nuanced evocation of the setting, serve to underscore a profound reflection on the transient nature of human connections. Moreover, this paper delves into Welty’s portrayal of the Western civilization’s impact on the indigenous Natchez tribe, a theme that lends the story historical depth and sociocultural relevance. In examining the dualities that permeate the narrative, such as enlightenment and ignorance, civilization and wilderness, the study highlights Welty’s ability to transcend simple dichotomies, presenting a fairy tale-like narrative that also fosters critical inquiry into the development of writing skills and artistic expression. Furthermore, the paper provides insights into how Welty’s narrative functions as a metaphorical bridge, connecting historical realities with a broader human experience, thus reinvigorating classical motifs with modern sensibilities. The present research article reveals a rich and multifarious literary landscape that bears witness to Welty’s masterful command of her craft. The research contributes to a deeper understanding of her work, and by extension, the intricate web of cultural, historical, and personal relationships that define our collective human experience.

Abstract: The present article focuses on some reflectionsabout the process of translation into Italian of the well-known Russian fairy tale by Aleksey Nikolaevich Tolstoy(1882-1945) Zolotoy klyuchik, ili Priklyucheniya Buratino(The Little Golden Key, or the Adventures of Burattino, 1935). Basing from the methodological point of view on some recent acquisitions of international TranslationTheory, we will examine the main “difficulties” or “challenges” for the translator present in the source text, such as anisomorphisms, linguistic connotations, neologisms, cultural realia and phraseologisms. We willalso consider the employment of different stylistic registersin the tale, often connected to the characters’ “expressiveaura” and to thick intertextual allusions to Russian Silver Age. Our lexical and stylistic choices in the translated text will be analyzed with regard to the dominants of the original work and to the specific characteristics of Russian(and Soviet) children literature of the time. Some solutionsproposed in the two published Italian versions of the 1980swill be also taken into account, questioning the opportunityand the main orientations of a new translation in relation to the kind of “implied readers” expected.

Circe is associated first of all with the episode narrated in the 10th book of the Odyssey, in which she turns Odysseus’s crewmen into pigs using her herbal pharmaka. Odysseus survives due to divine help, his inborn cleverness, and the miraculous herb moly. The fairy-tale theme of the spells of Circe, clearly showing its folk provenance, got entrenched in ancient literature: featured most often in poems of playful content, Circe symbolized the power to subjugate male souls and bodies. From the Hellenistic era to the Byzantine times, however, Circe is mentioned in scholarly works – in the context of the history of Roman Italy. The aim of the present article is, first of all, to analyse the Greek-language source texts and show the ways in which ancient authors managed to connect a character from a folk fairy tale – intrinsically different in form and not identifiable with any heroic myth – with the prehistory of Roman Italy, and even place her among the ancestors of Rome. The considerations also allow us to identify some of the mechanisms of the creation and functioning of the legend as a cultural phenomenon of the ancient world.

The present article considers whether the confusion analysis in trademark law is at risk of being used strategically as a self-servicing mechanism by the industry to obtain trademark rights to descriptive, cultural and non-traditional signs. In this context, two features of the trademark system are particularly worrisome. First, trademark owners can strengthen the distinctive character of their marks by investing in marketing and branding campaigns. Second, trademark owners can afford expensive surveys demonstrating the high distinctiveness of their marks and strengthening their position in an infringement case. A study of 189 Dutch cases reveals that in the likelihood-of-confusion assessment, the degree of a mark’s distinctiveness and corresponding empirical findings can have a deep impact. However, the study also shows that descriptive, cultural and non-traditional signs were not often disputed. In practice, the risk of misappropriating these signs might therefore be limited. In some cases, however, trademark owners did succeed in achieving a broad scope of protection regarding descriptive, cultural and non-traditional signs. Therefore, national courts should have more room to make normative corrections in favour of freedom-of-competition interests. This would allow judges to prevent trademark owners from achieving unjustified economic advantages flowing from these signs.