Learning to extract folktale keywords

Manually assigned keywords provide a valuable means for accessing large document collections. They can serve as a shallow document summary and enable more efficient retrieval and aggregation of information. In this paper we investigate keywords in the context of the Dutch Folktale Database, a large collection of stories including fairy tales, jokes and urban legends. We carry out a quantitative and qualitative analysis of the keywords in the collection. Up to 80% of the assigned keywords (or a minor variation) appear in the text itself. Human annotators show moderate to substantial agreement in their judgment of keywords. Finally, we evaluate a learning to rank approach to extract and rank keyword candidates. We conclude that this is a promising approach to automate this time intensive task

The Technological Developments of the Dutch Folktale Database (1994–2016)

L’any 1994, la base de dades holandesa de contes populars va començar com una base de dades independent i es va posar en línia el 2004. Des de l’any 2016 i després de dos projectes importants, tots els tipus de metadades es poden afegir de manera automàtica i semisupervisada: idiomes, noms, paraules clau, resums, subgèneres, motius i tipus de contes. Amb aquesta finalitat, la base de dades va analitzar una nova plataforma anomenada Omeka que s’adapta a les necessitats de moltes bases de dades en les humanitats, i que pot gestionar tot tipus de connectors. S’han utilitzat les tècniques següents: n-grames, detecció del llenguatge, reconeixement d’entitats nombrades, extracció de paraules clau, resum, bossa de paraules, aprenentatge automàtic i processament de llenguatge natural. A més de MOMFER, també s’ha afegit un motor de cerca de motius. La interpretació de dades es facilita amb els nous mitjans de visualització: mapes geogràfics, línies de temps, una xarxa de contes similars i núvols de paraules. Com que la base de dades compleix els requisits de Dublin Core, es pot connectar a bases de dades similars o a un recol·lector de dades. Recentment, s’ha creat una aplicació de mineria de dades transatlàntica per construir un recol·lector anomenat ISEBEL: Intelligent Search Engine for Belief Legends (motor de cerca intel·ligent de llegendes de creences). El recol·lector ha de ser capaç de buscar en una  base de dades holandesa, danesa i alemanya simultàniament. Més endavant s'hi poden afegir altres bases de dades

Extracting Narrative Patterns in Different Textual Genres: A Multilevel Feature Discourse Analysis

We present a data-driven approach to discover and extract patterns in textual genres with the aim of identifying whether there is an interesting variation of linguistic features among different narrative genres depending on their respective communicative purposes. We want to achieve this goal by performing a multilevel discourse analysis according to (1) the type of feature studied (shallow, syntactic, semantic, and discourse-related); (2) the texts at a document level; and (3) the textual genres of news, reviews, and children’s tales. To accomplish this, several corpora from the three textual genres were gathered from different sources to ensure a heterogeneous representation, paying attention to the presence and frequency of a series of features extracted with computational tools. This deep analysis aims at obtaining more detailed knowledge of the different linguistic phenomena that directly shape each of the genres included in the study, therefore showing the particularities that make them be considered as individual genres but also comprise them inside the narrative typology. The findings suggest that this type of multilevel linguistic analysis could be of great help for areas of research within natural language processing such as computational narratology, as they allow a better understanding of the fundamental features that define each genre and its communicative purpose. Likewise, this approach could also boost the creation of more consistent automatic story generation tools in areas of language generation.This research work is part of the R&D project “PID2021-123956OB-I00”, funded by MCIN/AEI/10.13039/501100011033/ and by “ERDF A way of making Europe”. Moreover, it was also partially funded by the project “CLEAR.TEXT: Enhancing the modernization public sector organizations by deploying natural language processing to make their digital content CLEARER to those with cognitive disabilities” (TED2021-130707B-I00), by the Generalitat Valenciana through the project “NL4DISMIS: Natural Language Technologies for dealing with dis- and misinformation” with grant reference CIPROM/2021/21, and finally by the European Commission ICT COST Action “Multi-task, Multilingual, Multi-modal Language Generation” (CA18231)

Textualization Strategies, Typological Attempts, Digital Databases: What is the Future of Comparative Charm Scholarship?

In the article I present an overview of transformations in approaches to textualizing and typologizing folklore texts over the past 150 years using the example of incantations from anthologies to digital databases with a view to highlighting the new horizons digital databases can open up for research. In the first part of the article, I show how the textological characteristics of the incantation genre and the often implicit questions of researchers influenced the textological strategies of classic incantation editions. These primarily typological considerations largely determined subsequent potential interpretations. Using the dimensions of comparability established by Lauri Honko (phenomenology of tradition, the historicity of tradition, and ecology of tradition) I summarize recent attempts at classification by international folklore studies of charms pointing out the pitfalls and shortcomings of typologies as well as the fundamental incompatibility of the different typological conceptualizations. In the second part of the article, after briefly describing the responses of computational folkloristics to the textological, typological and comparatist problems of folklore texts I come to the conclusion that the elaboration of an international guide to textology, standardizing the textualization techniques of digital editions of incantations, would be more important for comparative studies than the creation of further national and international incantation catalogues. To this end and to generate discussion and debate I conclude with the outline of a set of possible multidimensional textological features to be taken into consideration in the creation of future digital databases of verbal charms

Sounding Girl(y), Girl(y) Sounds: Music and Girlhood in Contemporary French Cinema

This thesis explores the relationship between music and girlhood in contemporary French cinema, arguing that music provides a means of navigating the experiences and sensations of girlhood, while also retaining a certain opacity and privacy for the girl subject. Where current postfeminist media studies present a predominantly Anglo-centric approach to the girl figure, this thesis opens up the study of cinematic girlhood representation into a Francophone context. Music, with its ability to transcend linguistic restrictions and slip between the verbal and the non-verbal, is particularly compelling for this analysis, and has typically been ignored, both in studies of girlhood representation, and in French film studies more generally. This thesis therefore identifies and tackles two main gaps in current scholarship. On the one hand, it addresses the need to move beyond the current Anglo-centric approach to the girl figure, demonstrating the need for linguistic and locational diversity within the field. On the other hand, it addresses the lack of scholarly interventions that deal with film music in a specifically French context, extending and enriching the existing field of film music study beyond Hollywood and arguing that music is highly significant to French cinema. Exploring a range of French girlhood films spanning the decade between 2005 and 2015, the thesis develops detailed case studies to highlight specific modes of meaning and identification. These studies bring together work in both film studies and musicology, presenting an interdisciplinary approach to film music that is rarely seen in scholarship. Asking why these two disciplines so rarely speak to each other, the thesis demonstrates the benefits of combining detailed musicological analysis with film theory and cultural studies, in order to fully examine the different layers of meaning that manifest in film music. By exposing these layers of meaning, this thesis maintains that it is important to listen to, as well as watch, the girl figure. Arguing that music enables a means of girlhood expression that escapes the confines of the body and transcends the verbal, this thesis moves beyond current studies of girlhood representation which focus determinedly on the visible, highlighting music’s vital role in making the girl experience accessible and putting forward a theory of girlhood audibility

A Hybrid Representational Proposal for Narrative Concepts: A Case Study on Character Roles

In this paper we propose the adoption of a hybrid approach to the computational representation of narrative concepts, combining prototype-based and ontology-based representations. In particular we focus on the notion of narrative roles. Inspired by the characterization provided by the TvTropes wiki, where narrative devices are discussed across old and new media, we provide a representation of roles based on the integration of a set of typicality-based semantic dimensions (represented by using the Conceptual Spaces framework) with their corresponding classical characterization in terms of necessary and sufficient conditions (represented in terms of Formal Ontologies)

Structuralism

Article

Narrative Space and Spatial Transference in Jacob and Wilhelm Grimmʼs Fairy Tales

Abstract Owing to the lack of concrete information provided by the narratives and the genreʼs unspecified setting, narrative space in fairy tales has been largely overlooked or dismissed as an inactive background for the action. Research which has considered this topic typically views it in terms of its symbolic potential, studying space in order to learn about other narrative elements (e.g. characters) or the implied meanings of the texts. This dissertation views narrative space as a concrete, material aspect of the narrative which is significant in itself. The main research question posed in the dissertation is: what do fairy tales tell us about narrative space and what does narrative space tell us about fairy tales? The main aim of the dissertation is therefore twofold: first, it examines how narrative space is structured in fairy tales and how the fairy tale conveys space-related information; second, it asks whether there is anything about the traits and structure of fairy-tale space that can be seen as genre-specific, i.e. that sets the fairy tale apart from other short prose narrative genres. The research is based on a textual analysis of the English translation of Jacob and Wilhelm Grimmʼs collection Kinder- und Hausmärchen (Childrenʼs and Household Tales, 1857). While its primary focus is on fairy tales, the dissertation also considers other genres included in the collection (animal tales, legends, religious tales, etc.). The research combines the knowledge produced within fairy-tale scholarship (folklore and literature studies) with the methodological tools of narratology. By considering narrative space and spatial transference, the dissertation aims to prompt a reconsideration of the fairy-tale genre and its definitions. One of its key findings is therefore a revised definition of the fairy tale as a genre which encompasses two domains – the magical and the non-magical – separated by a firm boundary, which must be crossed in the course of the story. What sets this interdomain boundary apart is the fact that it can be crossed from both sides, but only temporarily and only if certain conditions are met. The examination of genres through the prism of the domain has led to a reconsideration of our initial genre classification and prompted the conclusion that aetiological tales, Schwank tales, and didactic tales, which were initially listed as independent genres, are modes (subgenres) rather than genres. The thesis also shows that fairy-tale space is dynamic and relational, and that the lack of explicit spatial information should not be seen as an indication of the insignificance of space, but rather an expression of the genreʼs stylistic parsimony. Although the findings are based on the study of the Grimmsʼ fairy tales, the dissertation aims to provide an analytical framework that is applicable to other fairy-tale corpora. KEYWORDS: fairy tale, narrative space, spatial transference, Jacob and Wilhelm Grimm, Kinder- und Hausmärchen, narratology, genreTiivistelmä Väitöskirja tarkastelee narratiivista tilaa ja tilallista siirtymää Jacob ja Wilhelm Grimmin julkaisemassa satukokoelmassa Kinder- und Hausmärchen (Lasten ja kotitalouksien tarinat, 1857). Tutkimuskohteen korpus, joka koostuu 215 erilaisesta tekstistä, on jaettu kahteen osaan: primaarikorpukseen, johon perinteiset sadut kuuluvat, ja sekundaarikorpukseen, johon kuuluvat eläinsadut, opettavaiset sadut, etiologiset sadut, kansantarinat, formulatarinat, legendat, uskonnolliset tarinat ja humoristiset (Schwank) tarinat. Sekundaarikorpuksen avulla voi analysoida perinteisiä satuja vertailemalla niitä muihin lyhytproosan narratiivisiin lajityyppeihin. Narratiivista tilaa ei ole tähän mennessä riittävästi tarkasteltu tieteellisessä kirjallisuudessa, jossa se tavallisesti käsitetään pelkkänä passiivisena taustana tapahtumille, joiden täytyy sijoittua jonnekin. Tällainen näkemys on jossain määrin ymmärrettävä ottaen huomioon pitkään jatkunut kiinnostuksen puute tilallisiin kysymyksiin humanistissa tieteissä ja sosiaalitieteissä (ennen ns. spatiaalista käännettä) sekä perinteisten satujen tilallinen epämääräisyys. Säästeliäänä laji-tyyppinä perinteinen satu nimittäin jättää kertomatta kaiken, mikä ei suoraan vaikuta juoneen, kuten henkilöiden ja ympäristön tarkemman kuvailun. Aikaisempi tutkimus keskittyy enimmäkseen perinteisen sadun abstraktiin ja epämääräiseen tilaan tai sen symboliseen ja metaforiseen merkitykseen. Huomion keskipisteessä ei siis ole tila sinänsä, vaan se mitä tila kertoo itse tarinan tai sen henkilöiden merkityksestä. Aikaisemmasta tutkimuksesta poiketen tämä väitöskirja tarkastelee narratiivista tilaa aineellisena kolmiulotteisena ympäristönä sekä autonomisena ja välttämättö-mänä kerronnan keinona, jolla on merkitystä sinänsä. Tutkimus keskittyy perinteisen sadun rakenteeseen, sen esittämiseen (ts. niihin narratiivisiin ja lingvistisiin strategioihin, joiden avulla tilaan liittyvää informaatiota välitetään) sekä eräisiin yleispiirteisiin. Väitöskirjassa tarkastellaan myös tilallista siirtymää tärkeänä edelly-tyksenä ihmisprotagonistin ja maagisen aineksen vuorovaikutukselle, joka puolestaan on perinteisen sadun lajityypin tärkein tekijä. Lisäksi tilallinen siirtymä toimii keinona kytkeä yksittäiset paikat laajempaan tilalliseen verkostoon. Tutkimus sijoittuu satujen tutkimuksen teoreettiseen viitekehykseen sekä narratologian metodologiseen ja analyyttiseen kehikkoon. Se ei sitoudu yhtenkään erityiseen satujen tutkimuksen teoriaan, vaan systematisoi ja kehittää edelleen eri lähestymistapojen tuottamaa tietoa. Erityisen tärkeitä tälle tutkimukselle ovat satujen tutkimuksen puolella Max Lüthin ja Alfred Messerlin sekä narratologian puolella Marie-Laure Ryanin ja Katrin Dennerleinin työt. Satujen rakenteen analyysissa sovelletaan Marie-Laure Ryanin kehittämää mallia, joka koostuu viidestä tilallisesta yksiköstä: tilallisesta kehyksestä, tarinan asetelmasta, tarinan tilasta, tarinan maailmasta ja narratiivisesta universumista. Sovellettaessa satuun tätä mallia paljastuvat sadun narratiivisen tilan moniker-roksisuus sekä monimutkaiset prosessit, joilla tilaa rakennetaan lukijan ja tekstin jatkuvassa vuorovaikutuksessa. Soveltaakseen yleistä mallia perinteisen sadun analysointiin tutkimus laajentaa mallia lisäämällä käyttöön uuden kategorian – alueen – johon kuuluvat ne tilat, joissa vallitsevat samanlaiset luonnonlait. Perin-teinen satu sisältää kaksi aluetta: ei-maagisen ja maagisen. Kahden kvalitatiivisesti vastakkaisen alueen olemassaolo ei ole luonteenomaista ainoastaan perinteisille saduille, vaan sama ilmiö tavataan myös eräissä narratiivisen lyhytproosan lajityypeissä kuten legendoissa ja uskonnollisissa kertomuksissa. Väitöskirja esittääkin sadun ominaispiirteiden syntyvän kahden alueen vuorovaikutuksesta ja niiden välisen rajan ylittämisen tavoista. Tarkemmin sanoen alueiden välinen raja on mahdollista ylittää sen kummaltakin puolelta, mutta vain tilapäisesti (liikkuvan henkilön on tarinan lopussa palattava omalle alueelleen) ja tiettyjen edellytysten vallitessa. Vaikka kyseiset edellytykset ovat erilaiset ei-maagisille ja maagisille henkilöille, ne tyypillisesti riippuvat kontaktin luomisesta kohdealueeseen, yleensä portinvartijan kautta. Maagiselle alueelle päästäkseen ei-maagisten henkilöiden on osoitettava myönteisiä ominaisuuksia kuten sääliä, rohkeutta ja anteliaisuutta tai seurattava tarinaan kuuluvia automaattisia ohjeita. Maagiselle alueelle joutuvat eksyneet tai hyljätyt henkilöt, mutta se voi myös houkutella ihmisiä puoleensa poikkeuksellisilla esineillä, eläimillä sekä visuaalisilla tai auditiivisilla signaaleilla joko auttaakseen tai vahingoittaakseen heitä tai pyytääkseen heidän apuaan. Pahantahtoinen maaginen voi pyytämättä tunkeutua ei-maagiselle alueelle tai manipuloida ei-maagista henkilöä kutsumalla häntä luokseen. Hyväntahtoinen maaginen sen sijaan saapuu ei-maagiselle alueelle (usein tahattomasti) ei-maagisen henkilön kutsusta, joka voi olla verbaalinen (eksplisiittinen kutsu, häälupaus, toive, maaginen tai muu verbaalinen formula, avunhuuto) tai ei-verbaalinen (itku, pahat ajatukset, lannistuminen tai epätoivoa ilmaiseva ele tai käytös). Toissijaisen korpuksen analysointi tilallisesta näkökulmasta johti tutkimuksessa sen alkuperäisen luokittelun tarkennukseen. Tietyntyyppisillä narratiiveilla (didaktiset, etiologiset, Schwank) ei näet ole pysyvää tilallista rakennetta, vaan niihin kuuluvien alueiden lukumäärä ja luonne voivat vaihdella. Niinpä päädytään siihen, etteivät nämä lajityypit ole riippumattomia, vaan niiden edustajat ovat alalajeja sellaisista lajityypeistä, joilla on vakiintunut määrä alueita. Tulokset sitä paitsi johtavat perinteisen sadun alkuperäisen työmääritelmän uudelleenarviointiin, jota (tilallisuus huomioon ottaen) voidaan luonnehtia sellaiseksi lajityypiksi, joka kuvaa kahta selvästi toisistaan erottuvaa ja laadultaan erilaista aluetta: ei-maagista ja maagista. Tarinan edetessä näiden alueiden on (tilapäisesti) jouduttava kosketuksiin, minkä aikaansaa tilallinen siirtymä – nimittäin alueiden välisen rajan ylitys. Rajan voi ylittää sen kummaltakin puolelta, mutta vain tilapäisesti ja mikäli tietyt ehdot täyttyvät. Tällä tapaa tutkimus korostaa narratiivisen tilan mahdollisuuksia lajityyppiluokittelun yhtenä mahdollisena kategoriana. Tutkimus osoittaa myös, ettei eksplisiittisen tilallisen tiedon puuttumista perinteisestä sadusta pidä tulkita sen merkityksettömyydeksi, vaan osoitukseksi kyseisen lajityypin säästeliäästä luonteesta. Toisin sanoen se tosiseikka, että perinteinen satu harvemmin kertoo tilasta avoimesti ja yksityiskohtaisesti, ei tarkoita tilan merkityksettömyyttä, vaan on osoitus siitä, että kyseisellä lajityypillä on muita keinoja välittää tilallista informaatiota joko paikkoja suoraan kuvaamalla ja nimeämällä tai kerronnan epäsuorilla viittauksilla henkilöihin, esineisiin, paikkoihin ja materiaaleihin. Kaiken kaikkiaan tämä tutkimus tunnistaa perinteisen sadun narratiivisen tilan kerronnan dynaamisena osana, joka rakentuu henkilöiden, esineiden, tapahtumien ja muiden tilojen vuorovaikutuksesta. Siinä mielessä tila ei ole (kuten sen aikaisempien määritelmien perusteella voisi luulla) pelkkä tapahtumien näyttämö ja tausta, vaan monimutkaisen suhdeverkoston osatekijä ja myös lajityyppiluokittelun tärkeä tekijä. AVAINSANAT: satu, narrativiinen tila, tilalllinen siirtymä, Kinder- und Hausmärchen, Jacob ja Wilhelm Grimm, narratologia, lajiSažetak U doktorskom se radu istražuju pripovjedni prostor i prostorno premještanje u bajkama objavljenim u zbirci Kinder- und Hausmärchen (Djetinje i kućne bajke, 1857.) Jacoba i Wilhelma Grimma. Korpus istraživanja, koji obuhvaća 215 žanrovski raznolikih tekstova, podijeljen je na dva djela: primarni korpus, koji obuhvaća bajke, te sekundarni korpus, koji obuhvaća priče o životinjama, poučne priče, etiološke priče, (usmene) pripovijetke, formulne priče, predaje, legende, vjerske priče i šaljive priče. Sekundarni korpus omogućava poredbenu analizu bajke i drugih kratkih proznih žanrova. Tema pripovjednog prostora u bajkama podzastupljena je u znanstvenoj literaturi, gdje se prostor bajke uglavnom tretira kao pasivna pozadina zbivanja koja ni na koji način ne utječe na njihov razvoj, te postoji naprosto jer se radnja mora negdje odvijati. Ovakav stav donekle je razumljiv s obzirom na dugotrajan manjak interesa za prostorne teme u humanističkim i društvenim znanstvenima (prije tzv. prostornog obrata), kao i slabo definirane prostorne parametre koje nudi sama bajke. Naime, u svom tradicionalnom obliku, bajka kao jezično ekonomičan žanr uglavnom izbjegava sve što izravno ne pridonosi razvoju radnje, poput opisa likova ili okoline. Postojeća istraživanja uglavnom naglašavaju apstraktnu, slabo definiranu prirodu prostora bajke ili su usmjerena na njegova simbolička i metaforička značenja. U središtu zanimanja stoga nije prostor kao takav, već kao izvor informacija o značenju priče ili drugim pripovjednim elementima (npr. likovima). Za razliku od dosadašnjih istraživanja, ovaj doktorski rad pripovjedni prostor bajke razumije kao materijalnu, trodimenzionalnu okolinu te autonoman i nužan pripovjedni element koji je značajan sam po sebi. U središtu istraživanja su struktura prostora bajke, njegova prezentacija (tj. pripovjedne i jezične strategije kojima se prenose informacije o prostoru) i opće odlike. Osim pripovjednim prostorom, doktorski se rad bavi i prostornim premještanjem koje je glavni preduvjet za ostvarivanje kontakta između ljudskog protagonista i čarobnog, što se pak smatra ključnom osobinom žanra bajke. Nadalje, premještanje omogućava povezivanje pojedinih lokaliteta u širu prostornu mrežu. Istraživanje je smješteno unutar teorijskog okvira tzv. istraživanja ili studija o bajkama (fairy-tale studies), te metodološko-analitičkog okvira naratologije. Pritom ne slijedi jedinstveni pravac unutar istraživanja bajke, već sistematizira znanje nastalo unutar različitih teorijskih orijentacija. Od osobite važnosti za ovo istraživanje radovi su Maxa Lüthija i Alfreda Messerlija (istraživanja o bajkama), te Marie-Laure Ryan i Katrin Dennerlein (naratologija). Analiza strukture pripovjednog prostora oslanja se na model koji je ponudila Marie-Laure Ryan, sastavljen od pet prostornih jedinica: prostornog okvira, smjestišta (eng. setting), prostora priče, pripovjednog svijeta i pripovjednog svemira. Primjena ovog modela na analizu bajke otkrila je slojevitost njenog pripovjednog prostora i složenost procesa njegove konstrukcije, koji se odvija kroz kontinuirano pregovaranja između čitatelja i teksta. Kako bi ovaj opći model prilagodilo istraživanju bajke, istraživanje ga je dopunilo novom kategorijom domene, koja obuhvaća prostore u kojima je na snazi određeni sustav prirodnih zakona. Bajka se sastoji od dvije domene: ne-čarobne („realistične“) i čarobne. Samo po sebi, postojanje dvaju kvalitativno oprečnih domena nije jedinstveno bajci, već obilježava i druge kratke prozne žanrove, poput legende i vjerske pripovijetke. U doktorskom se radu stoga tvrdi da osobitost žanra bajke proizlazi iz interakcije među domenama i načinima prelaska granice koja ih dijeli. Točnije, spomenuta se granica može prijeći s obje strane, ali samo privremeno (mobilni lik do kraja priče mora se vratiti u svoju ishodišnu domenu) i pod određenim uvjetima. Iako se uvjeti za prelaženje granice razlikuju za ljudske i čudesne likove, zajednička im je pretpostavka uspostavljanje kontakta s ciljnom domenom, najčešće otjelovljenom u liku čuvara ulaza. Kako bi ušli u čarobnu domenu, ljudski likovi moraju dokazati da posjeduju pozitivne kvalitete poput suosjećanja, hrabrosti ili velikodušnosti, ili da su upoznati s automatskim pravilima priče. U čarobnu se domenu pripuštaju izgubljeni ili zlostavljani likovi. Čarobno može i navabiti ljudske likove uz pomoć predmeta, životinja, te vizualnih ili auditivnih signala kako bi im naštetilo ili zatražilo njihovu pomoć. Zloćudno čarobno u ne-čarobnu domenu može nasilno prodrijeti ili manipulacijom iznuditi poziv od strane ljudskog lika. Dobroćudno čarobno u ne-čarobnu domenu stupa na poziv ljudskog lika. Taj poziv često je nehotičan, a javlja se u obliku verbalnih (izravan poziv, dopuštenje, vjenčani zavjet, želja, čarolije i druge verbalne formule, poziv u pomoć) i neverbalnih zaziva (plakanje, negativne misli, odustajanje, geste i ponašanje koji odaju očaj). Analiza sekundarnog korpusa istraživanja kroz prizmu prostora potaknula je reviziju njegove početne klasifikacije. Naime, uočeno je da pojedine skupine priča (konkretno, poučne, etiološke i šaljive priče) nemaju stabilnu prostornu strukturu, te da se broj i kvaliteta njihovih domena mijenjaju. Za njih je, stoga, zaključeno da nisu samostalni žanrovi već potkategorije ili modusi drugih žanrova, koje odlikuje stabilan broj domena. Osim toga, rezultati istraživanja potaknuli su i reviziju početne definicije žanra bajke, koji se (uzimajući prostor u obzir), može opisati kao pripovjedni žanr koji prikazuje dvije jasno razdvojene i kvalitativno oprečne domene: ne-čarobnu i čarobnu. U toku priče, te domene moraju stupiti u (privremeni) kontakt, koji je uvjetovan prostornim premještanjem, poglavito prelaženjem granice među domenama. Ta se granica može prijeći s obje strane, ali samo privremeno i pod određenim uvjetima. Istraživanje ovime upućuje na potencijal pripovjednog prostora kao relevantne kategorije klasifikacije žanrova. Istraživanje nadalje pokazuje da manjak eksplicitnih informacija o prostoru u bajkama ne treba tumačiti kao znak njegove nevažnosti, već kao odraz ekonomičnosti žanra. Drugim riječima, činjenica da bajka rijetko izravno i detaljno progovara o prostoru ne znači da njen prostor nije važan, već naprosto da je – zbog jezične ekonomičnosti – razvila alternativne strategije kojima na izravne (imenovanje, izravni opis) i neizravne (opisno pripovijedanje, uputnice na likove, predmete i materijale) načine otkriva detalje vlastitog pripovjednog prostora. Na koncu, istraživanje opisuje prostor bajke kao dinamičan pripovjedni element kreiran kroz brojne odnose između likova, predmeta, događaja i drugih prostora. U tom smislu, prostor nije, kao što sugeriraju starije definicije, tek spremnik za likove i pozadina događanja, već sudionik složenih odnosa kao i važan faktor klasifikacije žanrova. KLJUČNE RIJEČI: bajka, pripovjedni prostor, prostorno premještanje, Kinder- und Hausmärchen, Jacob i Wilhelm Grimm, naratologija, žan

Metric Variation in the Finnic Runosong Tradition : A Rough Computational Analysis of the Multilingual Corpus

This article represents a first step in the corpus-based study of metric variation in Finnic runosong, a poetic tradition shared by several Finnic peoples and documented extensively in the 19th and 20th centuries. Runosong metre has generally been assumed to be a syllabic tetrametric trochee with specific rules about the placement of stressed syllables according to their quantity: long stressed syllables occupy the strong positions in the trochaic schema while short stressed syllables appear in the weak positions. Recent studies by Mari Sarv (2008, 2015, 2019) of Estonian runosong metre have shown, however, that due to linguistic changes, it has gradually lost its quantitative properties and acquired the features of accentual metre. Using computational methods, this study aims to give a preliminary overview of the extent of metric variation on the quantitative-accentual scale across the entire Finnic runosong area. After an approximate syllabification, we apply two separate indirect methods for estimating variation. These appear to generate coherent results: quantitative runosong metre dominates in the north-east and has gradually been replaced by accentual runosong metre towards the south-west. Subsequent studies should verify these results through more precise and detailed investigations.Peer reviewe