1,720,974 research outputs found
"Cosas que entre vivientes no se dicen": la reticencia como estrategia narrativa en Primo Levi
No full textEl artículo analiza el papel de la reticencia en las obras autobiográficas de Primo Levi que narran su cautiverio en el campo de exterminio de Auschwitz. Su concepción de la narración autobiográfica, elevada a testimonio y sometida a una rigurosa reducción de lo narrable como experiencia directa, puede deducirse a través de las numerosas autorreflexiones del propio autor. Levi examina las diferentes problemáticas que se derivan, entre las cuales la memoria y la complejidad de la figura del testigo, que (se) considera insuficiente desde el punto y hora en que no ha sufrido la demolición proyectada por el sistema de los campos de concentración. Mientras tales aspectos se explicitan de forma extensiva, el autor, por el contrario, se abstiene de comentar otro tipo de omisiones que a nivel estilísitco son características de su producción autobiográfica como la reticencia. La naturaleza de la reticencia es doble: por un lado se une a lo inenarable; por otro, reclama la atención precisamente sobre aquello que se evita narrar invitando al lector a completar el sentido del enunciado. El artículo explora la hipótesis de que la reticencia, en los textos de Levi, se relaciona con aquellos momentos de intensa carga emotiva, que emanan de los testimonios de la persecución sufrida por el autor y por toda la comunidad judía y de los cuales el escritor se hace portavoz. La reticencia se configura como una eficaz estrategia narrativa, un modo de narrar lo indecible, haciendo hincapié sobre la intensidad de sentimientosThe article analyses the role of reticence in Primo Levi’s autobiographical works which narrate his imprisonment at the Auschwitz death camp. The author’s numerous comments allude to his conception of autobiographical narrative, elevated to testimony and subjected to a rigorous reduction of that which can be narrated to direct experience. Levi examines the various issues arising from this conception, including memory and the complex figure of the witness, considered as deficient for not having undergone the demolition programmed by the concentration system. While these issues are rendered thoroughly explicit, however, the author refrains from commenting on another, stylistic type of omission which is characteristic of his autobiographical production: reticence. The nature of reticence is essentially two-fold: while on the one hand, it is connected to that which cannot be narrated, on the other hand, it draws attention precisely to what is not being narrated by inviting the reader to complete the meaning of the utterance. The article explores the hypothesis that reticence in Levi’s texts is connected to moments of intense emotion arising from the testimony of persecution suffered by the author and by the entire Jewish community, on behalf of which the author acts as a spokesperson. Reticence appears as an effective narrative strategy, a way of narrating that which cannot be told through creating pathos
La contemporanéité de la forme brève dans les récits de Valeria Parrella
No full textInternational audienceThe article examines short stories by Valeria Parrella (1974). The analysis is based onthe three short stories collections that have so far been published by the author: Mosca più balena (2003), Per grazia ricevuta (2005) and Troppa importanza all’amore (2015). The presence of the city of Naples and of its urban environment, in which predominates the human aspect, is identified as one of the key elements that constitute the modernity of these texts. Their modernity is manifested through literary figures immersed in urban environments, who attempt to face the requirements of their everyday lives whilst displaying high awareness of modernity.Dans cet article sont étudiés les récits brefs de Valeria Parrella (1974). L’analysese concentre sur des textes réunis dans les trois recueils jusqu’ici publiés par l’auteure :Mosca più balena (2003), Per grazia ricevuta (2005) et Troppa importanza all’amore (2015). La présence de la ville de Naples et de son paysage urbain dans lequel prédomine l’aspect humain y est identifiée comme l’un des éléments clés qui constituent la modernité de ces textes. Celle-ci s’y manifeste à travers des personnages intégrés dans des milieux urbains dans lesquels ils cherchent à faire face aux nécessités de la vie quotidienne, tout en faisant preuve d’une vive conscience de la contemporanéité
HISTORICAL ORIGINS OF THE ITALIAN FOLK TALE: an analysis of three Florentine tales from the collection of Italo Calvino’s Fiabe italiane
No full textV magistrski nalogi je obravnavan svet pravljic in kako so si te kratke zgodbe skozi zgodovino utrle pot v svetovno literaturo. V času evropskega romantičnega gibanja se je v ljudeh ponovno zbudilo zanimanje za preteklost in korenine lastnega naroda. Brata Grimm sta s svojo zbirko pravljic spodbudila mnoge učenjake doma in po svetu, da so začeli zapisovati in skrbno beležiti vse, kar je spadalo v okvir ljudskega izročila. Delo se osredotoča na Italijo in na začetke zbiranja ljudskega pripovedništva na tem območju. Rdeča nit naloge je zbirka italijanskih pravljic, Fiabe italiane, izpod peresa Itala Calvina. Naloga se posveča toskanskim pravljicam, natančneje trem iz firenškega okrožja. Znotraj teh pripovedi se je pod drobnogled vzel specifičen predmet oz. motiv, ki bi lahko v povezavi z antičnimi tradicijami pravljico prikazali v drugačni luči. Magistrska naloga se posveča vprašanju ali je v italijanskih ljudskih pravljicah možno najti povezave s preteklimi kulturami, običaji, verovanji, mitološkimi zgodbami in legendami.The master’s thesis presents the world of fairy tales and how these short stories have paved their way throughout history into the world literature. During the European romantic movement, people reconnected with their nations past and origins. With the appearance of the Grimm brother’s collection of fairy tales, came the urge to write down and document the worlds traditions and folklore. The thesis focuses on Italy and its beginnings of documentation and collection of folk literature. The attention is dedicated to fairy tales, Fiabe italiane, written by Italo Calvino. The thesis focuses on Tuscany fairy tales, specifically on three Florentine narrations. It examines a specific object or motif that could be connected with ancient traditions or could portray the tale in a different light. The master’s thesis focuses on the question of whether connections can be made with past cultures, customs, beliefs, mythological stories and legends with Italian folk tales
La contemporanéité de la forme brève dans les récits de Valeria Parrella
No full textInternational audienceThe article examines short stories by Valeria Parrella (1974). The analysis is based onthe three short stories collections that have so far been published by the author: Mosca più balena (2003), Per grazia ricevuta (2005) and Troppa importanza all’amore (2015). The presence of the city of Naples and of its urban environment, in which predominates the human aspect, is identified as one of the key elements that constitute the modernity of these texts. Their modernity is manifested through literary figures immersed in urban environments, who attempt to face the requirements of their everyday lives whilst displaying high awareness of modernity.Dans cet article sont étudiés les récits brefs de Valeria Parrella (1974). L’analysese concentre sur des textes réunis dans les trois recueils jusqu’ici publiés par l’auteure :Mosca più balena (2003), Per grazia ricevuta (2005) et Troppa importanza all’amore (2015). La présence de la ville de Naples et de son paysage urbain dans lequel prédomine l’aspect humain y est identifiée comme l’un des éléments clés qui constituent la modernité de ces textes. Celle-ci s’y manifeste à travers des personnages intégrés dans des milieux urbains dans lesquels ils cherchent à faire face aux nécessités de la vie quotidienne, tout en faisant preuve d’une vive conscience de la contemporanéité
Ginia and Clelia - two Pavese\u27s female characters in the historical and sociological context
No full textPredmet raziskave sta Ginia in Clelia, ženska lika v Pavesejevih delih La bella estate in Tra donne sole. Želeli smo potrditi oziroma ovreči tezo, da obnašanje in način življenja obeh protagonistk ne sledi družbenim normam obdobij, v katerih so dela nastala. Roman La bella estate je nastal v obdobju med 2. sv. vojno (l. 1940)Tra donne sole pa je nastal l. 1949. Kar se tiče lika Ginie, je bila naša teza tu ovržena. V romanu ni indicev, ki bi nakazovali na njeno odstopanje od družbenih norm v času 2. sv. vojne. Kljub temu, da je Ginia zaposlena, opravlja delo, kjer ne zasluži veliko in ki ni zaželeno s strani moških. Na začetku se zdi, da poroka, ki je bila v tistem času največji dosežek ženske, Ginie ne zanima. Ko pa postaja vedno bolj zaljubljena v Guida, se izkaže, da tudi Ginia sanjari o tradicionalnem življenju za tisti čas – želi si namreč poroke. Edino dejstvo, ki nakazuje na Giniino modernost oz. «kršenje» norm, je to, da ima spolne odnose pred poroko. Kar se tiče lika Clelie, je bila naša teza v celoti potrjena, saj ni poročena, nima otrok in si jih niti ne želi, svojemu delu je izjemno predana. Prav tako ima svoboden pogled na ljubezen, ni pretirano romantična in ima avanturo s svojim kolegom. V magistrski nalogi smo izpostavili primere, kjer se kaže Cleliina samozavest (zna se postaviti zase, zavrača nadležne predloge moških in pravzaprav je ona tista, ki prevzame pobudo v avanturi z Becucciom). To so pokazatelji, da protagonistka ne sledi poti večine žensk, ki so živele v obdobju po 2. sv. vojni in ki kažejo na njeno sodobnost.The subject of the research are Ginia and Clelia, the female characters in Pavese’s La bella estate and Tra donne sole. We wanted to confirm or refute the thesis that the behaviour and lifestyle of the two female protagonists do not follow the social norms in which the works were created. La bella estate was written during the World War II (1940)Tra donne sole was written in 1949. As for the character of Ginia, our thesis has been refuted here. There is no indication in the novel that she deviated from social norms during the World War II. Although Ginia is employed, she has a job where she does not earn much and which is not desirable by men. At the beginning, marriage, which at that time was a woman\u27s greatest achievement, does not seem to interest Ginia. However, as she falls more and more in love with Guido, it turns out that Ginia also dreams of a traditional life for that time - she wants to get married. The only fact that indicates Ginia’s modernity or «breaking» of norms is that she is sexually active before marriage. As far as the character of Clelia is concerned, our thesis was completely confirmed, because she is not married, she does not have children and she even doesn’t want them, she is very dedicated to her work. She also has a liberal outlook on love, is not overly romantic and has an adventure with her colleague. In the Master\u27s thesis, we have highlighted examples where Clelia’s self-confidence is evident (she is able to stand up for herself, she rejects annoying proposals from men and in fact it is she who takes the initiative in the adventure with Becuccio). These are indicators that the protagonist is not following the path of most women who lived in the post-World War II era, and which point to her modernity
Recepcija del Giorgia Bassanija v Sloveniji
No full textThe article examines the reception of Giorgio Bassani’s works in Slovenia. The current state of translations of Bassani’s works into Slovene is characteristic of the availability of Slovene editions of Italian authors, which often seems desultory despite the relatively high number of literary translations from Italian published after World War II. In the past, the translations were typically published later than the original texts and without a global strategy. This situation partly persists to the present day: whilst the translations of some authors are sufficiently present, others continue to be absent, which is probably due to the limitations of the Slovene book market. As few as three of Bassani’s texts have been translated into Slovene, namely the novel Il giardino dei Finzi-Contini (1978), translated by Stabej, excerpts from the short story Una lapide in via Mazzini (1994), translated by Ožbot, and a selection of poems from In rima e senza (2008), translated by Dekleva. Il giardino dei Finzi-Contini, the only text to have been translated in an unabridged version, was also the subject of linguistic research by Miklič and Premrl. Whilst no doubt interesting for specialists, the results of their research most likely did not reach a wider public. Even though the translation of Bassani’s novel was followed by the release of the film adaptation, whilst the poetry collection received critical acclaim, Bassani remains a relatively little-known author in Slovenia to this day. Moreover, as many as thirteen years have passed since the publication of the last translation.The article examines the reception of Giorgio Bassani’s works in Slovenia. The current state of translations of Bassani’s works into Slovene is characteristic of the availability of Slovene editions of Italian authors, which often seems desultory despite the relatively high number of literary translations from Italian published after World War II. In the past, the translations were typically published later than the original texts and without a global strategy. This situation partly persists to the present day: whilst the translations of some authors are sufficiently present, others continue to be absent, which is probably due to the limitations of the Slovene book market. As few as three of Bassani’s texts have been translated into Slovene, namely the novel Il giardino dei Finzi-Contini (1978), translated by Stabej, excerpts from the short story Una lapide in via Mazzini (1994), translated by Ožbot, and a selection of poems from In rima e senza (2008), translated by Dekleva. Il giardino dei Finzi-Contini, the only text to have been translated in an unabridged version, was also the subject of linguistic research by Miklič and Premrl. Whilst no doubt interesting for specialists, the results of their research most likely did not reach a wider public. Even though the translation of Bassani’s novel was followed by the release of the film adaptation, whilst the poetry collection received critical acclaim, Bassani remains a relatively little-known author in Slovenia to this day. Moreover, as many as thirteen years have passed since the publication of the last translation.Članek proučuje recepcijo del Giorgia Bassanija v Sloveniji. Današnje stanje prevodov del Giorgia Bassanija v slovenščino je značilno za razpoložljivost slovenskih izdaj italijanskih avtorjev, ki se pogosto zdi dokaj naključna kljub relativno visokemu številu prevodov iz italijanščine, ki so izšli po drugi svetovni vojni. V preteklih letih so prevodi običajno izhajali veliko pozneje od izvirnih besedil in niso temeljili na kakšni globalni strategiji. Do določene mere je to značilno še danes: medtem ko so prevodi nekaterih italijanskih avtorjev v Sloveniji dovolj prisotni, so nekateri drugi avtorji še vedno popolnoma odsotni, kar gre verjetno pripisati omejenemu knjižnemu trgu. V slovenščino so prevedena le tri Bassanijeva besedila, in sicer roman Vrt Finzi-Continijevih (1978), ki ga je prevedel Jože Stabej, odlomki iz kratke zgodbe Spominska plošča v Mazzinijevi ulici (1994) v prevodu Martine Ožbot in izbor pesmi iz zbirke Z rimo in brez (2008), ki jih je izbral in prevedel Milan Dekleva. Vrt Finzi-Continijevih je zaenkrat edino Bassanijevo delo, ki je bilo v slovenščino prevedeno v celoti. Ta roman je postal tudi predmet znanstvenih raziskav, saj sta ga z lingvističnega vidika analizirali Tjaša Miklič in Mirjam Premrl. Čeprav so izsledki njunih raziskav nedvomno zanimivi za strokovno javnost in študente italijanistike, najverjetneje niso dosegli širše javnosti. Objavi prevoda Bassanijevega romana je sledila projekcija istoimenskega filma, poleg tega pa je bil izid njegove pesniške zbirke deležen pohvalnih kritik, vendar Bassani v Sloveniji vse do danes ostaja razmeroma malo poznan avtor. Temu gre prišteti tudi dejstvo, da je od zadnjega objavljenega prevoda minilo že trinajst let
The Influence of Dante Alighieri on Spanish Poetry in the 15th century: The example of Juan de Mena
No full textDante Alighieri velja za enega najvplivnejših italijanskih avtorjev v evropski književnosti. Magistrska naloga se osredotoča na Dantejev vpliv na ravni španske poezije v 15. stoletju. Obravnavana naloga temelji na predpostavki, da je vpliv Danteja mogoče prepoznati tudi v delih Labirint sreče in Kronanje španskega pisatelja Juana de Mene. V prvem, teoretičnem delu naloge sta predstavljena pojma intertekstualnost in literarni vpliv. Sledi predstavitev obeh avtorjev ter poglavje, ki oriše zgodovinski, družbeni in literarni kontekst 15. stoletja v Španiji. Posebej je obravnavan tudi vpliv Dantejeve literature v španskem prostoru. Osrednji del naloge analizira povezave med Alighierijem in Meno ter izpostavlja Dantejev vpliv v Menovem pesniškem ustvarjanju, zlasti v delih Labirint sreče in Kronanje. Naloga se zaključi s poglobljeno analizo omenjenih del.Dante Alighieri is regarded as one of the most influential Italian authors in European literature. This master’s thesis examines Dante’s influence on Spanish poetry in the 15th century. The study is based on the hypothesis that Dante’s impact can also be recognized in the works Laberinto de Fortuna and Coronación by the Spanish writer Juan de Mena. The first, theoretical part of the thesis presents the concepts of intertextuality and literary influence. It is followed by an overview of both authors and a chapter outlining the historical, social, and literary context of the 15th century in Spain. Special attention is given to the Dante’s literary influence in the Spanish context. The central part of the thesis analyzes the connections between Alighieri and Mena, emphasizing Dante’s influence on Mena’s poetic work, particularly in Laberinto de Fortuna and Coronación. The thesis concludes with a detailed comparative analysis of these two works
Monologhi interiori in Caos calmo di Sandro Veronesi e in Los enamoramientos di Javier Marías
No full textV magistrski nalogi sta analizirani dve deli: Caos Calmo Sandra Veronesija, objavljeno leta 2005, in Los enamoramientos Javierja Maríasa, objavljeno leta 2011. Oba sta sodobna romana, za katera so značilne filozofske teme in psihološka globina likov. Pripovedovalca sta človeka, ki opazujeta, razmišljata, poslušata in predvsem razmišljata o stvareh, ki jih slišita in vidita. Izpostavljata številne teme, od ljubezni in izgube do smrti in nekaznovanosti, ter odpirata številna eksistencialna vprašanja in sodobne izzive. Magistrsko delo je razdeljeno na tri večje sklope: v prvem so splošni podatki o obeh avtorjih, nato pa o njunih delih, ki so analizirana v nadaljevanju. Drugi sklop obravnava prevladujoče teme in občutja obeh glavnih pripovedovalcev, saj v romanih prevladujejo monologi, razmišljanja in opažanja. Zadnji del, ki je najobsežnejši, analizira oba glavna pripovedovalska glasova ter predstavlja notranje monologe in razmišljanja, ki se pojavljajo in so značilni za obe deli.Il presente lavoro analizza due opere: Caos calmo di Sandro Veronesi, pubblicato nel 2005, e Los enamoramientos di Javier Marías, pubblicato nel 2011. Entrambi sono romanzi contemporanei caratterizzati da temi filosofici e dalla profondità psicologica dei loro personaggi. Le due voci narranti, sono persone che osservano, pensano, ascoltano e soprattutto riflettono sulle cose che sentono e vedono affrontando una vasta gamma di temi, dall\u27amore e la perdita alla morte e all’impunità, aprendo molte domande esistenziali e sfide moderne. La tesi magistrale si divide in tre grandi sezioni: nella prima parte si parla più in generale dei due autori, e delle loro opere, che sono analizzate in seguito. La seconda sezione riguarda i temi dominanti e i sentimenti dei due narratori principali, dato che si tratta di romanzi che si sviluppano attraverso monologhi, riflessioni e osservazioni. L’ultima parte, che è la più estesa, analizza le due voci narranti principali e presenta monologhi interiori e riflessioni che sono presenti e sono caratteristici di entrambe le opere
L\u27insegnamento della cultura dei paesi spagnoli e italiani attraverso le canzoni
Full text linkNamen pričujočega magistrskega dela je potrditi hipotezo, da so pesmi uporabno in avtentično gradivo pri poučevanju španščine in italijanščine kot tujega jezika v Sloveniji. Uporaba pesmi pri poučevanju tujih jezikov ima že dokaj dolgo zgodovino, čeprav so le-te po navadi služile za prikaz določenih slovničnih struktur, uvedbi novega besedišča ali motiviranju učencev, le redko pa se profesorji omenjenih jezikov odločijo, da bodo s pomočjo pesmi prikazali določen kulturni vidik špansko in italijansko govorečih držav. Kljub temu je analiza učbenikov, priročnikov in spletnih strani, ki so na voljo profesorjem obeh jezikov, pokazala, da obstaja možnost predstavitve kulture špansko in italijansko govorečih držav s pomočjo pesmi in da obstaja tudi nekaj gradiv, ki so posvečena prav temu. Dodatek k magistrskemu delu (Anexo) predstavlja didaktizacije italijanskih in španskih pesmi, ki jih je mogoče uporabiti v razredu in preko katerih je mogoče uvesti različne kulturne teme. Didaktizacije so namenjene različnim nivojem jezika (v skladu s Skupnim evropskim jezikovnim okvirjem).The present master\u27s thesis seeks to confirm the hypothesis that songs are helpful and authentic materials for teaching Spanish and Italian as foreign languages in Slovenia. Using songs in foreign language lessons has a fairly long history, however, they have mostly served to provide examples of certain grammatical structures, introduce new vocabulary or to motivate students, since teachers of the aforementioned languages seldom decide to acquaint 3 students with a certain cultural aspect of Spanish and Italian speaking countries through songs. The analysis of textbooks, manuals and websites available to teachers of both languages has nevertheless shown that presenting the cultures of Spanish and Italian speaking countries by using songs is achievable and that there are even some teaching materials intended for that use. The Annex (Anexo) to the master\u27s thesis serves to introduce the didactization of Italian and Spanish songs suitable for classroom use and for the discussion on selected cultural topics. Examples of didactization are designed for different language proficiency levels (based on the Common European Framework of Reference for Languages)
Fiaba come strumento didattico nell\u27insegnamento dell\u27italiano come lingua straniera nel secondo triennio della scuola elementare
Full text linkMagistrsko delo preučuje pravljico in njeno vlogo pri pouku italijanščine v drugem vzgojnoizobraževalnem obdobju osnovne šole. Najprej je predstavljena pravljica kot literarna zvrst, zgodovina njenega raziskovanja in teoretični pristopi, ki so se pri tem oblikovali. Sledi poglavje o pravljici kot literarni zvrsti namenjeni otroku in o njenem vplivu na različnih področjih otrokovega razvoja. Vsa ta spoznanja so vplivala na to, da je pravljica postala zanimiva tudi na področju poučevanja tujih jezikov. Razlogi za njeno uporabo pri pouku tujega jezika so številnipravljica motivira, spodbuja domišljijo, seznanja z ritmom in intonacijo tujega jezika, služi za razvoj različnih jezikovnih zmožnosti in prinaša drugačen pristop k poučevanju tujega jezika. Pravljica je otrokom razumljiva, ker se z njo srečujejo že v maternem jeziku. Poleg tega ima veliko besedilnih in jezikovnih značilnosti, ki olajšujejo razumevanje besedila v tujem jeziku, kar učence motivira za nadaljnje učenje. Med te značilnosti štejemo: časovno sosledje, ponavljanja, predvidljivost, preprosto slovnico, konkretno besedišče in konkretno vsebino. Kljub temu morajo učitelji pravljico didaktično pripraviti, da lahko z njo dosegajo zastavljene učne cilje in razvijajo jezikovne zmožnosti v tujem jeziku. Empirični del naloge tako poskuša prikazati uporabo pravljice pri pouku italijanščine. V empiričnem delu smo zajeli poglede treh učiteljic, ki pri pouku italijanščine uporabljajo tudi pravljico. Izkazalo se je, da jih je k uporabi pravljice spodbudila priprava na tekmovanje, v sklopu katere so učence seznanile s pravljico v italijanščini. Spoznale so, da pravljica učence motivira in ima številne lastnosti, ki jih lahko uporabijo pri poučevanju tujega jezika. Poznavanje vsebine pravljice, bogato slikovno gradivo, preproste slovnične strukture in konkretno besedišče učencem olajšajo učenje italijanščine. Didaktična priprava pravljice se je razlikovala glede na to, kakšne pravljice so intervjuvane učiteljice izbrale. Tiste pravljice, ki so že prirejene za pouk tujega jezika, ne potrebujejo dodatnih priprav, saj so že same naravnane tako, da učitelja usmerjajo pri delu. Za razliko od teh pa potrebujejo avtentične pravljice podrobnejšo didaktično pripravo, kjer učitelj navadno poenostavi slovnični čas in besedišče ter po potrebi pravljico tudi skrajša. Med intervjuvanimi učiteljicami se je razlikovala tudi sama uporaba pravljice pri pouku. Učencem so pravljico posredovale na različne načines pripovedovanjem ali s predvajanjem posnetka. Aktivnosti, ki so jih izvedle po poslušanju, so se navezovale predvsem na razumevanje besedila ter na razvoj besedišča. Pred poslušanjem pravljice pa aktivnosti niso izvajale, oziroma so se te navezovale zgolj na predstavitev likov ali poteka učne ure.The dissertation studies the fairytale and its role in in the second educational period of elementary schools Italian classes. Firstly, the fairytale is introduced as a literary genre with history of its research and theoretical approaches that were formed in the process. This in followed by a chapter about the fairytale as a literary genre that is meant for children and about its influence on different areas of the child`s development follows. All these findings have influenced the interest in the use of fairytale in the area of teaching foreign languages. There are many reasons for its use in foreign language: fairytales motivate, encourage imagination, familiarize with the rhythm and intonation of a foreign language, serve for the development of diverse language capabilities and bring a different approach to teaching a foreign language. The fairytale is understandable to children as they already encounter it in their mother tongue. In addition, it has many textual and linguistic features that relieve the comprehension of the text in foreign language, which motivates the students for further learning. This characteristics are considered to be: time sequence, repetitions, predictability, simple grammar, concrete text and content. Nevertheless, the teachers have to prepare the fairytale didactically, so they can achieve the imposed curriculum goals and develop language skills in the foreign language with it. Therefore the empirical part tries to present the use of fairytales in the Italian classes. In the empirical part, we have gathered the perspective of three teachers that use fairytales in their Italian lessons. It was shown that they were encouraged in the use of fairytales by preparing for a competition in which they had to familiarize the students with a fairytale in Italian. They have realised that fairytales motivate students and have many features that can be used in teaching a foreign language. Knowing the contents of a fairytale, rich visual material, simple grammar structures and specific vocabulary facilitates learning Italian for the students. Didactic preparation of the fairytale varies according to the fairytale that the interviewed teachers have chosen. The fairytales that are already rearranged for the foreign language lessons do not need additional preparations, as they are already oriented to direct the teacher at work. As opposed to these, authentic fairytales need a more detailed didactic preparation, where the teacher usually simplifies the grammar tense and text and if necessary, shortens the fairytale. Among the interviewed teachers the sole use of fairytales in the classroom differed. They delivered the fairytale in different wayswith narration or with video streaming. Activities that they have carried out after the listening were mostly related to text comprehension and vocabulary development. However, they did not perform any activities before the listening or these were simply linked to character introduction or the course of lessons
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