Folktale Conceptual Model Based On Folktale Classification System of Type, Motif, and Function
Folktale Conceptual Model Based On Folktale Classification System of Type, Motif, and Function
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INTRODUCTION
Every country in this world has its own cultural heritage and it is imperative for it carries
the lineage of past generations to present. Previously, the term cultural heritage reflected
closely to monuments and assortments of physical objects but the notion has changed and
broadens through times. It does not merely cover tangible heritages anymore but also the
equally important intangible heritage of the ancestors (UNESCO, n.d.). The intangible
heritage represents diverse collections of traditions and living expressions of the past. One of
the intangible inheritances is folklore and its art symbolizes cultural and social identity of a
community (UNESCO, 1989). The customary practice of folklore reflects a tradition of a
community such as music, popular credence, and also storytelling, which exists in a form of
verbal expression known as folktale (Chee, 2005; Mohd Hussein, Mohd Nor, & Abdul
Manap, 2001). In addition, Bascom (1965) expounded that folktale, alongside myth and
legend forms three very basic terms of folklore. Folktale exists in a form of stories that carry
meaningful message and embedded cultural identity. It is fabricated and altered by crowds of
people across a timeline of different generations and carries a distinctive style which is
applicable to present and future individuals and occurrences (Porter, 2004).
Cigay (2009) pointed that folktales, myths and legends need to be preserved in this digital
age to avoid from extinction as an outcome of globalization and commercial entertainments.
In relation to that, the necessity of folktale preservation does not only pertain to the
sustenance of culture and heritage but it goes way beyond. Folktale scaffolds and nurtures so
many other things if used prudently. Among many, it teaches morals, attitude transformation,
instill self fortitude, good judgment, and depict distinctiveness of cultures, and also impart
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worth of kindness which leads to stimulation of a country with unsurpassed cultural standards
(Babalola & Onanuga, 2012; Kirmani & Frieman, 1997).
In order to preserve folktale, there are six steps necessary to be taken and identification is
one of them. Identifying folktales involves several efforts and one of them is classification.
According to UNESCO 1989 Recommendation on the Safeguarding of Traditional Culture
and Folklore (UNESCO, 1989), classification is considered as one of the endeavors towards
folktale preservation. There exist many folktale classification systems but three stands out the
most like a beacon namely Stith Thompson’s Motif-Index of Folk Literature, Vladimir
Propp’s Morphology of the Folktale, and also the updated and expanded ATU
(Aarne/Thompson/Uther) Classification and Bibliography of International Folktale System
(Md. Radzi, 2002).
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items, and single incidents), which supports the tale type by providing extra arrangement of
the folktales (Thompson, 1951; Uther, 2011). The third class of motif is the one that covers
most of motifs and capable to exist independently in its own right as a tale. To that end, it is
regards as true tale type since its existence matches the definition of tale type provided
(Thompson, 1951). Believing that sufficient classification of motif is momentous in the study
of tales, 23 motif-index were introduced with equal purpose of type-index, which is to gather
folk literatures, and also organized it in a logical manner (Georges, 1997). Among the motifs
listed are mythological, animals, taboo, magic, the dead, marvels, and many more.
The third folktale classification system opted to be under the spotlight of this study relates
to the structure of folktale (Propp, 1998). This classification system structurally analyse
function and action of folktale’s dramatis personae (actor).This is opposite to Aarne and
Thompson’s analysis and classification of folktale that were grounded on the content of
folktale. There are 31 functions fashioned and all of them appear successively in a tale as an
essential structure. In the case that certain functions are missing from the sequence, this does
not affect the order of the rest of the sequence in a tale. Propp (1998) also specified that
instead of using theme to create folktale type, which he claims to be unclear and verbose,
functions perform the same job with precise and objective structural descriptions.
Consequently, folktales that possess equal functions can be assembled under a same type.
Building on this notion, the collection of tale types based on equality in folktales’ functions
would lead to a formation of type-index classification. Typically, a tale begins with a
particular initial situation such as introduction of hero or family members. Though it is not
considered as part of the functions, still it is one of crucial structures of a tale. The initial
situation in this classification system is labeled using the α sign. After the initial situation,
functions of dramatis personae follow beginning with absentation (β) followed by sequential
assortment of functions and ended up with wedding (W). Table 1 below summarises the three
classification systems.
Table 1: Operational definition of Type, Motif, and Functions in a folktale
Folktale’s unit Operational definition Characteristics/Example
Type A tale that can exist independently or with another Dynamic
tale.
Adaptable
Constructed from a single motif or more.
A combination of plot synopsis with precise details. Can be fused into new
thematic piece and media
Motif Consist of actors, items, and incidents. Mythological, Animals,
Taboo, Magic, The dead,
Supports the tale type by providing extra arrangement
Marvels
of the folktales.
Capable to exist independently in its own right as a
tale.
Function Structurally analyse function and action of folktale’s Focus on action
dramatis personae (actor).
Start with initial situation (α)
Missing function will not affect the sequence in a
Functions of dramatis
tale.
personae beginning with
Can be one of the units to create a tale’s type. absentation (β)
Provide precise structural descriptions. Sequential assortment of
functions
Need structure to support.
Ended with wedding (W)
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It can be comprehended that the first two folktale classification systems are capable to
exist independently but most of the time they are used in pair. Nevertheless, the third one is
clearly treading on a different path. Thus, the next section briefly deliberates on the necessity
of integration of the three classification systems.
INTEGRATION OF THE THREE CLASSIFICATION SYSTEMS
Tale type and motif-index are two folktale classification systems that operate better in duo.
Both systems concentrate on contents of folktale whereas functions, plainly ignores the
contents and focus on the action of dramatis personae in order to classify. Yet, it has been
noted and made known that function is actually dependent on dramatis personae because the
performance and role of dramatis personae dictates the essence and semantic of a folktale
(Liberman, 1997; Louwerse, 1997). Besides, form (function) and content (type and motif) are
of the similar kind for content is built with the support of its structure and structure is the
frames that embrace the content (Levi-Strauss, 1997). In the end, story is just not a solid
object but a peculiar description of experiences and events. Experiences and events are unique
and individualistic content in nature, hence, obliterating the idea that function alone is
sufficed to classify folktale (Georges, 1997). Solidifying the fact that form and content are
inseparable, Kuehnel and Lencek (2012) too advocated the belief that study of motif
grounded on structure of tale is not possible with the abandonment of semantic of the tale.
Consequently, this study elected to use the essence of type, motif, and function to develop a
conceptual model that envisions the connections of the three classification systems, which
displays their cohesive nature to operate as one classification system. The last section
succinctly explains the method used to develop the conceptual model.
CONCEPTUAL MODEL REPRESENTATION METHOD
In developing the conceptual model of folktale, this study adapted pictorial representation
technique. Though the original domain of application is simulation, it is founded that pictorial
representation technique is fitting with what the study aims to achieve with the conceptual
model. The inaugural reason the method is adapted being its aptness to be used during the
stage of conceptual model development and it clearly maintains the information regarding the
configuration and association amid the factors of the issue represented (Larkin & Simon,
1987; Onggo, 2010). Having said that, since the technique communicates complex
non-sequential information effectively via pictures, its adaptation in this study is astute
because folktale classification is by no means simple and sequential. The classification by
type, motif, and function and also the connections and relationship between the units of
folktale exhibit a complex and entangled structure of narrative information. Via the use of
shapes, symbols, and linkage in the technique adapted, the connection in the structure of the
folktale classes could be lucidly envisaged. The succeeding section depicts and explains the
conceptual model proposed.
CONCEPTUAL MODEL OF FOLKTALE
Establishing on the framework of the three folktale classification systems and the concept
of integration of the three, the following Figure 1 presents the conceptual model of folktale
proposed in the study.
Based on the conceptual model depicted in Figure 1, it is apparent that the folktale
classification system as this study perceived is established by three units namely type, motif,
and function. The function is an action of dramatis personae and constituted of 31 sequential
functions adopted from Propp (1998). The motif is the smallest unit that forms a folktale and
it is comprised of three categories: actor, item, and incident. There are 23 motifs adopted from
the motif-index classification (Thompson, 1966). Banking on the supra justification, motif
and function representing content and form of a folktale respectively are amalgamated in
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effort to create a new type of folktale. This purported new type of folktale in this study is of
combination of content and form but it is still guided by the seven types of folktale updated in
the ATU Classification and Bibliography of International Folktale System (Uther, 2011). It is
hoped the blend of the three crucial units of folktale would produce a more complete and
robust folktale classification system.
CONCLUSION
Folktale conceptual model proposed in this study is the pictorial integration result of three
prominent folktale classification systems that individually classifies based on type, motif, and
function. Type and motif are known to represent content of a folktale while function
exemplifies form or structure. Building on the concept that form and content are indeed in
need to be mutually supportive, the study proposed the combination of type, motif, and
function in order to fabricate a more complete and robust folktale classification system.
Future study would include element of culture by incorporating Malaysia folktale into the
development of the conceptual model and entailing folktale classification system.
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