Персонажна система чарівної казки Лідії Дунаєвської: перспектива компаративної та міжкультурної методологій в українській середній освіті (на матеріалі української та французької чарівних казок)
Розглянуто доробок видатної української вченої Л. Дунаєвської, чий життєвий і науковий шлях тісно пов"язаний із Шевченковим університетом. Обґрунтовано використання персонажної системи чарівної казки Л. Дунаєвської (добротворці, злотворці, знедолені) в українській середній освіті з метою розвитку в учнів міжкультурної, компаративної та лінгвосоціокультурної компетенцій на уроках української й зарубіжної літератур.
The presented article has primarily theoretic and methodologic background and is devoted to the scientific legacy of the outstanding Ukrainian researcher and folklorist Lidiya Dunaevska, whose life and career is closely related to Kyiv Taras Shevchenko National University. In particular, the paper offers methodological grounds for the useof classification of characters in Ukrainian folk fairy-tales elaborated by Dunaevska during the classes of Ukrainian and foreign literature in secondary schools based on Ukrainian and French folklore fairy tales viewed in a comparative perspective. Specifically, there were regarded three groups of characters in these folk tales classified by the scientist as benefactors, mischiefcreators, and outcasts. Their study in two distinct cultures enables discovering similarities, usually archetypal and cau&sed by cross-generic evolution, and, at the same time, differences explained by distinct ethnic peculiarities, cultural worldview, national history or artistic tendencies in different coun tries. We hold that these distinct characteristics can be eff&ectively illustrated in class in order to develop a variety of comparative and cross-cultural competences within Ukrainian school students. To exemplify some of such cases: in Ukrainian fairy tales, benefactors usually appear as simple people or hero&es with a supernatural power magically born, whereas in most cases French benefactors are princes, aristocrats or princesses often paralleled with a noble night or a beautiful lady with roots in the medieval courtesy. In continuation, in French folkl&ore dexterity is usually presented as a courteous wit later implemented to some of Charles Perrault"s literary fairy-tales embraced by French classicism; meanwhile, in the Ukrainian texts tricksters often pass for self-centered achievers. Further, co&mpared to Ukrainian context, where a flying fire-breathing snake can be embodied as a man, usually a peasant, the image of a dragon in French cases is exceptionally animalistic. There are some extra images of both benefactors, such as fairies, as wel&l as mischiefcreators, such as ogres, that have roots in earlier Celtic or Germanic myths and do not appear in Slavic-based Ukrainian context or have other hypostases. Instead, the Ukrainian folkloric image of a demon is more variable and flexible (h&e can appear as a trickster, an antagonistic warrior or even a peasant) than the character of a devil, the embodiment of the absolute evil, in French corpus, etc. These and other examples considered in the paper can be investigated more fully and pro&foundly based on distinct European or Eastern cultural and ethnic contexts, whereas particular observations and discoveries made on the bases of the proposed collection of folkloric material, can be used to empower and facilitate cross-cultural and c&omparative competences with an emphasis on Ukrainian cultural authenticity as obligatory components of the educational curricula for Ukrainian secondary schools in force.
