Between the Folktale and the Death of the Author Ibrahim Mohamed (Syria)

Ibrahim Mohamed (Syria)

Anybody who denies such a relation should be asked about the type of narration and its aesthetic dimension in the folktale. Certainly the folktale is older than the concept of the death of the author. A preliminary comparison for the structure of the relation between both of them would definitely put us in front of a thrilling atmosphere. Consequently more attention should be drawn for the richness of the folktale. The folktale is always a head of us, whenever we look to it, we are correcting a cultural relation, and we are giving consideration for the active powers in our psychological, moral and biological make-up. As far as we are widening the concept of time, we are dealing with the concept of the death of the author. Such a concept is related to the signified dynamism of the folktale. Those who have strong belief in the modernity of the concept are going to loose being pioneers and initiators. The folktale has not any specific nationality. Every folktale, the moment it gains a title, it goes beyond the narrator and the one who documents it. Language is not more than a bodily tattooing, and the echo in the folktale is not more than a media to extract it from its silence. The folktales, moreover, unified fates of the people. There is no accurate history for the folktale. It goes back deep in the history and it allows history to move. History has a different goal with the folktale, but the boundaries of the folktale represent a private domain for those who are living the folktale. Any folktale is very active even from a certain perspective. Some folktales have the power of surpassing those who are concerned, without neglecting them. All this is not available in the triple name of the author; probably he has an extra sign which distinguishes him. However, the allegation of the death of the author is a narration application.