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The history of the origin of folklore. L.V

The history of the origin of folklore. L.V

08.03.2019

Russian folklore

Folklore, in translation, means "folk wisdom, folk knowledge." Folklore is folk art, the artistic collective activity of the people, reflecting their life, views and ideals, i.e. Folklore is the folk historical cultural heritage of any country in the world.

Works of Russian folklore (fairy tales, legends, epics, songs, ditties, dances, legends, applied art) help to recreate the characteristic features of the folk life of their time.

Creativity in antiquity was closely connected with human labor activity and reflected mythical, historical ideas, as well as the beginnings of scientific knowledge. The art of the word was closely connected with other types of art - music, dance, decorative art. In science, this is called "syncretism."

Folklore was an art organically inherent in folk life. The different purpose of the works gave rise to genres, with their various themes, images, and style. In the most ancient period, most peoples had tribal traditions, labor and ritual songs, mythological stories, conspiracies. The decisive event that paved the line between mythology and folklore proper was the appearance of fairy tales, the plots of which were based on a dream, on wisdom, on ethical fiction.

In ancient and medieval society, the heroic epic (Irish sagas, Russian epics, and others) took shape. There were also legends and songs reflecting various beliefs (for example, Russian spiritual poems). Later, historical songs appeared, depicting real historical events and heroes, as they remained in the people's memory.

Genres in folklore also differ in the way of performance (solo, choir, choir and soloist) and in various combinations of text with melody, intonation, movements (singing and dancing, storytelling and acting out).

With changes in social life society in Russian folklore, new genres also arose: soldier's, coachman's, burlak's songs. The growth of industry and cities brought to life: romances, anecdotes, worker, student folklore.

Now there are no new Russian folk tales, but the old ones are still told and cartoons are made from them. art films. Many old songs are also sung. But the epics and historical songs in live performance almost do not sound.

For thousands of years, folklore has been the only form of creativity among all peoples. The folklore of each nation is unique, just like its history, customs, culture. And some genres (not only historical songs) reflect the history of a given people.

Russian folk musical culture

There are several points of view that interpret folklore as folk art culture, as oral poetry and as a combination of verbal, musical, game or artistic forms. folk art. With all the variety of regional and local forms, folklore has common features, such as anonymity, collective creativity, traditionalism, close connection with work, life, transmission of works from generation to generation in oral tradition.

Folk musical art originated long before the emergence of professional music of the Orthodox church. In the public life of ancient Russia, folklore played much big role than in later times. Unlike medieval Europe, Ancient Russia did not have a secular professional art. In its musical culture, folk art of the oral tradition developed, including various, including "semi-professional" genres (the art of storytellers, guslars, etc.).

By the time of Orthodox hymnography, Russian folklore already had a long history, an established system of genres and means of musical expression. Folk music, folk art has firmly entered the life of people, reflecting the most diverse facets of social, family and personal life.

Researchers believe that the pre-state period (that is, before the formation of Ancient Russia) the Eastern Slavs already had a fairly developed calendar and household folklore, heroic epic and instrumental music.

With the adoption of Christianity, pagan (Vedic) knowledge began to be eradicated. The meaning of magical actions that gave rise to a particular species people's activity, was gradually forgotten. However, the purely external forms of ancient holidays proved to be unusually stable, and some ritual folklore continued to live, as it were, out of touch with the ancient paganism that gave birth to it.

The Christian Church (not only in Russia, but also in Europe) had a very negative attitude towards traditional folk songs and dances, considering them a manifestation of sinfulness, devilish seduction. This assessment is recorded in many annalistic sources and in canonical church decrees.

Cheerful, cheerful festivities with elements theatrical action and with the indispensable participation of music, the origins of which should be sought in the ancient Vedic rituals, were fundamentally different from temple holidays.

The most extensive area of folk musical creativity Ancient Russia is ritual folklore, testifying to the high artistic talent of the Russian people. He was born in the depths of the Vedic picture of the world, the deification of the natural elements. The most ancient are calendar-ritual songs. Their content is connected with ideas about the cycle of nature, with the agricultural calendar. These songs reflect the various stages of the life of farmers. They were part of the winter, spring, summer rites, which correspond turning points in the change of seasons. Performing this natural rite (songs, dances), people believed that they would be heard by the mighty gods, the forces of Love, Family, Sun, Water, Mother Earth and healthy children would be born, a good harvest would be born, there would be an offspring of livestock, life would develop in love and harmony.

In Russia, weddings have been played since ancient times. Each locality had its own custom of wedding actions, lamentations, songs, sentences. But with all the endless variety, weddings were played according to the same laws. Poetic wedding reality transforms what is happening into a fantastically fabulous world. As in a fairy tale all images are diverse, so the rite itself, poetically interpreted, appears as a kind of fairy tale. A wedding is one of the most significant events human life in Russia, required a festive and solemn frame. And if you feel all the rituals and songs, delving into this fantastic wedding world, you can feel the poignant beauty of this ritual. Colorful clothes, a wedding train rattling with bells, a polyphonic choir of “singers” and mournful melodies of lamentations, the sounds of waxwings and horns, accordions and balalaikas will remain “behind the scenes” - but the poetry of the wedding itself resurrects - the pain of leaving the parental home and the high joy of the festive state of mind - Love.

One of the most ancient Russian genres is round dance songs. In Russia, they danced round dances for almost the entire year - on Kolovorot (New Year), Maslenitsa (seeing off winter and meeting spring), Green Week (round dances of girls around birches), Yarilo (sacred bonfires), Ovsen (harvest holidays). Round dances-games and round dances-processions were widespread. Initially, round dance songs were part of agricultural rituals, but over the centuries they became independent, although the images of labor were preserved in many of them:

And we sowed millet, sowed!
Oh, Did Lado, sowed, sowed!

Dance songs that have survived to this day accompanied male and female dances. Men's - personified strength, courage, courage, women's - tenderness, love, stateliness.

Over the centuries, the musical epic begins to replenish with new themes and images. Epics are born that tell about the struggle against the Horde, about traveling to distant countries, about the emergence of the Cossacks, and popular uprisings.

Folk memory has long kept many beautiful ancient songs for centuries. In the XVIII century, during the formation of professional secular genres (opera, instrumental music), folk art for the first time becomes the subject of study and creative implementation. The enlightening attitude to folklore was vividly expressed by the remarkable humanist writer A.N. Radishchev in the heartfelt lines of his “Journey from St. Petersburg to Moscow”: you will find the education of the soul of our people.” In the 19th century, the assessment of folklore as the “education of the soul” of the Russian people became the basis of aesthetics composer school from Glinka, Rimsky-Korsakov, Tchaikovsky, Borodin, to Rachmaninov, Stravinsky, Prokofiev, Kalinnikov, and the folk song itself was one of the sources of the formation of Russian national thinking.

Russian folk songs of the 16th-19th centuries - "like a golden mirror of the Russian people"

Folk songs recorded in various parts of Russia are a historical monument to the life of the people, but also a documentary source that captures the development of folk creative thought of its time.

The struggle against the Tatars, peasant riots - all this left an imprint on folk song traditions for each specific area, starting with epics, historical songs and up to ballads. Like, for example, the ballad about Ilya Muromets, which is associated with the Nightingale River, which flows in the Yazykovo area, there was a struggle between Ilya Muromets and the Nightingale the Robber, who lived in these parts.

It is known that the conquest of the Kazan Khanate by Ivan the Terrible played in the development of oral folk art, the campaigns of Ivan the Terrible marked the beginning of the final victory over the Tatar-Mongol yoke, which freed many thousands of Russian prisoners from the crowd. The songs of this time became the prototype for Lermontov's epic "Song about Ivan Tsarevich" - a chronicle of folk life, and A.S. Pushkin used oral folk art in his works - Russian songs and Russian fairy tales.

On the Volga, not far from the village of Undory, there is a cape called Stenka Razin; songs of that time sounded there: “On the steppe, steppe of Saratov”, “We had it in Holy Russia”. Historical events of the late XVII early XVIII in. captured in the compilation about the campaigns of Peter I and his Azov campaigns, about the execution of archers: “It’s like the blue sea”, “A young Cossack walks along the Don”.

With the military reforms of the beginning of the 18th century, new historical songs appeared, these are no longer lyrical, but epic. Historical songs preserve the most ancient images of the historical epic, songs about the Russian-Turkish war, about recruiting and the war with Napoleon: “The French thief boasted of taking Russia”, “Don’t make noise, mother green oak tree”.

At this time, epics about "Surovets Suzdalets", about "Dobrynya and Alyosha" and a very rare tale of Gorshen were preserved. Also in the work of Pushkin, Lermontov, Gogol, Nekrasov, Russian epic folk songs and legends were used. The ancient traditions of folk games, disguise and a special performing culture of Russian song folklore have been preserved.

Russian folk theatrical art

Russian folk drama and folk theatrical art in general are the most interesting and significant phenomenon of Russian national culture.

Dramatic games and performances as early as the end of the 18th and the beginning of the 20th century constituted an organic part of the festive folk life, whether it was village gatherings, soldiers' and factory barracks, or fair booths.

The geography of the distribution of folk drama is extensive. Collectors of our days have found peculiar theatrical "centers" in the Yaroslavl and Gorky regions, Russian villages of Tataria, on Vyatka and Kama, in Siberia and the Urals.

Folk drama, contrary to the opinion of some scholars, is a natural product of the folklore tradition. It compressed the creative experience accumulated by dozens of generations of the widest sections of the Russian people.

At urban, and later rural fairs, carousels and booths were arranged, on the stage of which performances were played on fairy-tale and national historical themes. The performances seen at the fairs could not completely affect the aesthetic tastes of the people, but they expanded their fairy-tale and song repertoire. Lubok and theatrical borrowings largely determined the originality of the plots of folk drama. However, they "lay down" on the ancient playing traditions of folk games, disguise, i.e. on the special performing culture of Russian folklore.

Generations of creators and performers folk dramas developed certain techniques for plotting, characterization and style. Expanded folk dramas are inherent strong passions and irresolvable conflicts, the continuity and speed of successive actions.

A special role in the folk drama is played by songs performed by the characters at different moments or sounding in chorus - as comments on ongoing events. The songs were a kind of emotional and psychological element of the performance. They were fulfilled for the most part fragmentarily, revealing the emotional meaning of the scene or the state of the character. Songs at the beginning and end of the performance were obligatory. The song repertoire of folk dramas consists mainly of author's songs of the 19th and early 20th centuries, popular in all sectors of society. These are the soldiers' songs "The White Russian Tsar Went", "Malbrook went on a campaign", "Praise, praise to you, hero", and the romances "I walked in the meadows in the evening", "I'm leaving for the desert", "What is clouded, clear dawn " and many others.

Late genres of Russian folk art - festivities

The heyday of the festivities falls on the 17th-19th centuries, although certain types and genres of folk art, which constituted an indispensable accessory of the fair and city festive square, were created and actively existed long before the indicated centuries and continue, often in a transformed form, to exist to this day. Such is the puppet theater, bear fun, partly the jokes of merchants, many circus numbers. Other genres were born from the fairground and died out with the end of the festivities. These are comic monologues of farce barkers, raeks, performances of farce theaters, dialogues of parsley clowns.

Usually, during festivities and fairs in traditional places, entire pleasure towns were erected with booths, carousels, swings, tents, in which they sold - from popular prints to songbirds and sweets. In winter, ice mountains were added, access to which was completely free, and sledding from a height of 10-12 m brought incomparable pleasure.

With all the diversity and variegation, the city folk festival was perceived as something integral. This integrity was created by the specific atmosphere of the festive square, with its free speech, familiarity, unrestrained laughter, food and drinks; equality, fun, festive perception of the world.

Herself holiday square amazed by the incredible combination of all kinds of details. Accordingly, outwardly, it was a colorful loud chaos. Bright, motley clothes of those walking, catchy, unusual costumes of "artists", flashy signboards of booths, swings, carousels, shops and taverns, handicrafts shimmering with all colors of the rainbow and the simultaneous sound of hurdy-gurdies, trumpets, flutes, drums, exclamations, songs, cries of merchants , loud laughter from the jokes of "farce grandfathers" and clowns - everything merged into a single fireworks fair that fascinated and amused.

A lot of guest performers from Europe (many of them keepers of booths, panoramas) and even southern countries (magicians, animal tamers, strongmen, acrobats and others) came to large, well-known festivities “under the mountains” and “under the swings”. Foreign speech and overseas curiosities were commonplace at capital festivities and large fairs. It is understandable why urban spectacular folklore was often presented as a kind of mixture of "Nizhny Novgorod with French".

The basis, heart and soul of Russian national culture is Russian folklore, this is the treasure trove, this is what filled the Russian person from the inside from ancient times and this inner Russian folk culture ultimately gave rise to a whole galaxy of great Russian writers, composers, artists, scientists, military men, philosophers, whom the whole world knows and reveres:
Zhukovsky V.A., Ryleev K.F., Tyutchev F.I., Pushkin A.S., Lermontov M.Yu., Saltykov-Shchedrin M.E., Bulgakov M.A., Tolstoy L.N., Turgenev I.S., Fonvizin D.I., Chekhov A.P., Gogol N.V., Goncharov I.A., Bunin I.A., Griboyedov A.S., Karamzin N.M., Dostoyevsky F. .M., Kuprin A.I., Glinka M.I., Glazunov A.K., Mussorgsky M.P., Rimsky-Korsakov N.A., Tchaikovsky P.I., Borodin A.P., Balakirev M. .A., Rachmaninov S.V., Stravinsky I.F., Prokofiev S.S., Kramskoy I.N., Vereshchagin V.V., Surikov V.I., Polenov V.D., Serov V.A. ., Aivazovsky I.K., Shishkin I.I., Vasnetsov V.N., Repin I.E., Roerich N.K., Vernadsky V.I., Lomonosov M.V., Sklifosovsky N.V., Mendeleev D.I., Sechenov I.M., Pavlov I.P., Tsiolkovsky K.E., Popov A.S., Bagration P.R., Nakhimov P.S., Suvorov A.V., Kutuzov M. I., Ushakov F.F., Kolchak A.V., Solovyov V.S., Berdyaev N.A., Chernyshevsky N.G., Dobrolyubov N.A., Pisarev D.I., Chaadaev P.E. ., there are thousands of them, which, one way or another, the whole earthly world knows. These are world pillars that grew up on Russian folk culture.

But in 1917, a second attempt was made in Russia to break the connection between times, to break the Russian cultural heritage of ancient generations. The first attempt was made back in the years of the baptism of Russia. But it did not succeed in full, since the power of Russian folklore was based on the life of the people, on their Vedic natural worldview. But already somewhere in the sixties of the twentieth century, Russian folklore began to be gradually replaced by pop-pop genres of pop, disco and, as it is customary to say now, chanson (prison thieves folklore) and other types of Soviet art. But a special blow was struck in the 1990s. The word "Russian" was secretly forbidden even to pronounce, allegedly, this word meant - inciting ethnic hatred. This position remains to this day.

And there was no single Russian people, they scattered them, they made them drunk, and they began to destroy them at the genetic level. Now in Russia there is a non-Russian spirit of Uzbeks, Tajiks, Chechens and all other inhabitants of Asia and the Middle East, and in the Far East there are Chinese, Koreans, etc., and an active, global Ukrainization of Russia is being carried out everywhere.

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Introduction

1. History of folklore

2. The essence and concept of the term "folklore"

3. Specific features of folklore

4. The relevance of the study of folklore

Bibliography

Introduction

Folklore is folk wisdom. Folklore is the study of folklore. Folklore combines different types arts (music, pagan and Christian rites and traditions). The core of folklore is the word. Folklore is a phenomenon, not an art, it combines the arts. And above all, it is a synthetic phenomenon. At the time of the formation of folklore, syncretism should be attributed (mutually; penetration; fusion; connectedness.) One of the most important qualities of folklore is the oral nature of its existence. The genre of folklore dies when its creativity ceases to be passed from mouth to mouth. In folklore, variability is widely developed (everyone who hears information conveys it in his own way.). Tradition in folklore is the rules, the framework that must be observed. Contamination is the merging of several stories into one. Folklore reflects the people's position, upbringing, morality, worldview.

1. History of folklore

The spoken word, ancient stories passing from generation to generation, from mouth to mouth, were the beginning from which, through the millennia, folk tales about the Gods, fairy tales and anecdotes grew, and then history, science, and literature.

This oral word, the rhythms of tunes, the peoples carried from the primeval forest through the centuries and settled on the earth, and, creating this or that culture in every corner, put the word and rhythm at the basis of their oral and musical creativity.

"The Russian people have created a huge oral literature: wise proverbs and cunning riddles, funny and sad ritual songs, solemn epics - spoken in a singsong voice, to the sound of strings - about the glorious deeds of heroes, defenders of the land of the people - heroic, magical, everyday and ridiculous tales.

It is vain to think that this literature was only the fruit of popular leisure. She was the dignity and mind of the people. It formed and strengthened his moral image, was his historical memory, the festive clothes of his soul and filled with deep content his whole measured life, flowing according to customs and rituals associated with his work, nature and veneration of fathers and grandfathers. Under the editorship of V.P. Anikin; - M.: Art Lit., 1985. - p. 3.

The term "folklore" was introduced into science by the English scientist William Thoms in 1846. The term is accepted in international science and in translation means - the wisdom of the people. It is difficult to give a short definition of such a concept. Folklore is the life of the people, its history, its gradual development. Folklore is not invented from above, it is created by the people in the process of life and for the good.

2. Essence and conceptterm" folklore"

Folklore is folk art, most often it is oral; artistic collective creative activity of the people, reflecting their life, outlook, ideals, principles. Folklore includes works that convey the main key ideas people about the main life values: work, family, love, public duty, homeland. Our children are brought up on these works even now. Knowledge of folklore can give a person knowledge about the Russian people, and ultimately about himself.

Folklore - artistic folk art, artistic creative activity of the working people; poetry, music, theater, dance, architecture, fine and decorative arts created by the people and existing among the masses. In collective artistic creativity, the people reflect their labor activity, social and everyday life, knowledge of life and nature, cults and beliefs. folklore ethnography rite

The folklore that has developed in the course of social labor practice embodies the views, ideals and aspirations of the people, their poetic fantasy, the richest world of thoughts, feelings, experiences, protest against exploitation and oppression, dreams of justice and happiness.

Folklore is national, and this is its merit. Every nation has traditions, customs, symbols of worship. The nation cherishes its cultural acquisitions and passes from mouth to mouth as the most valuable. "Each national culture has its own spiritual acquisitions and discoveries, its own dramas and tragedies, its own vision of the world ... The future of every nation is connected with the national culture, which is the guarantor of life for it. This idea has its own immanent logic: it is she who lays the spiritual and intellectual potential of the nation, strengthens the spiritual health of the people, creates it moral ideal". Arnoldov L.I. National cultures: a modern vision. M: IPCC, 1992. P. 5.

Folklore is a historical category. Heroes who became famous for victories in wars and unprecedented discoveries live in the works of folk art. In songs and epics, events of ancient years appear, proverbs and sayings born at the place of work, and not just words. Each generation accepts its cultural gifts and continues them. I.V. Malygina believes that cultural heritage is a very important, very significant part of each national culture, but not always fully realized and understood if it is considered only from the point of view of modernity. Therefore, in order to comprehend the original image of the world of a particular people, it is necessary to expand the time frame for the study of culture. The author refers national culture to the category of historical sciences.

Folk art is a natural process. The people and works of art are integral parts.

Folklore is a long chain of its works. Passed from mouth to mouth, from generation to generation, the works changed, acquired new forms of existence, but the people kept them and brought them to this day. The works of folk art have neither authorship nor any affiliation, they are an invaluable asset of every nation. Folklore works are not the creations of individuals, but the result of individual and mass creativity, dialectically interconnected. They are a reflection of reality in the minds of the masses, the result of the processing of this reality in folk fantasy, and therefore allow us to look for an expression of folk ideals, aspirations, moods, feelings in folklore.

Many writers, philosophers, and thinkers were engaged in unraveling the mystery of the authorship of works of folklore. The intriguing process of the eternal life of some works made us think about its beginning.

Science is full of different opinions about the beginning of folk art. Many scientists are trying to understand the phenomenon of the existence of folk traditional culture. The problem of national heredity, expressed in the system of genres and in the implementation of the diachronological transfer of the wealth of national folklore from generation to generation, worries many ethnographers from the point of view of the historical and genetic tree of the nation.

Folklore

The science of folklore - folkloristics - is a completely independent, lively and interesting science, closely related to another science close to it - ethnography. Ethnography deals with the description and study of the life of various peoples, their economy, crafts, artistic crafts, household tools and household items, clothing and weapons, beliefs, rituals and games. Every nation develops its way of life in its own way, develops unequally in different material and social conditions and his historical life. And folklore, reflecting the life of the people in various manifestations, each nation has its own characteristics. "The true history of the working people cannot be known without knowing the oral folk art" "The Book of Russian Folklore" / N. Kolpakova; - L .: A guide for students high school, 1948. - p. eleven.

Folkloristics studies a complex of verbal, verbal-musical, musical-choreographic, game and dramatic types of folk art. Its basic object is Russian folklore, the folklore of the peoples of Russia and foreign countries.

o theory, history, textology of folklore;

o its classification and systematization;

o issues of its collection and archiving;

o studying the interaction of folklore and professional arts;

o methodology of folklore research;

o history of collecting and studying folklore.

For folkloristics, the development of already established industries and the creation of new ones are relevant. Philological folklore studies the traditional spiritual culture of the people in its linguistic expression.

About folklore in the words of great people.

"Folklore (English folk-lor) - folk wisdom, folk knowledge, works of folk poetic and musical creativity. Folklore - the science of folk poetic creativity (folklore)." Accurately, briefly, laconically B.A. Vvedensky Famous Soviet and Russian scientist in the field of radiophysics. defines the broad concept of folklore.

A.S. Kargin, Deputy Director of the Research Institute of Cultural Studies of the Ministry of Culture of the Russian Federation and the Russian Academy of Sciences, gives the following definition: "Folklore is the most important element that makes up the history of culture, its protagonist, reflecting, on the one hand, the largest events in the life of the people and the state, on the other hand, certain cycles of human life, times At the same time, folklore is an independent form of spiritual practice that develops according to its own laws and has its own capabilities and means of influencing the history of a person, his thoughts and actions. Kargin L.S. Folk art culture: a course of lectures. M., 1997. S. 182.

L.L. Kupriyanova Academician and Scientific Secretary of the Republican Academy of Additional Education, characterizing the phenomenon of "folklore", calls it "the repository of the wisdom and vitality of the people."

L.V. Shamina Doctor of Pedagogical Sciences, Honored Art Worker of the Russian Federation, Professor of the Gnessin Russian Academy of Music, calls folklore a collection of genres of folk art, united by functionality, features of poetics, origin and historical destiny.

M.S. Kolesov, who believes that "folklore is a special sphere of non-professional spiritual culture of society, which: in content expresses the worldview and psychology of the masses; in form it is art; has its social carrier the people as a community of direct producers of material goods; performs both aesthetic and and practical functions.

3. Specific features of folklore

According to D.S. Likhachev, the attitude to the past forms its own national image. Each person is a bearer of the past and a bearer of a national character, he is a part of society and a part of its history. Not preserving the memory of the past in himself, he destroys part of his personality, and tearing himself away from national, family and personal roots, he dooms himself to premature decay.

Any nation has its own characteristics of development and life. But these features are also influenced by some factors - geographical location, climatic conditions, historical background. Each nation finds its own forms of self-expression with a certain idea and meaning.

The specific properties of the culture of the people affect not only the entire history of the country, but also on each individual. A person cannot live apart from his roots, he grows and absorbs the culture of his ancestors. Therefore, it is often and quickly possible to determine what nationality a person is, and to judge his genetic characteristics. "Every historical culture imposes certain permanent features on the individual and, knowing its general character, we can guess individual living faces under it, even if we did not see them at all, just as vice versa, seeing such faces, we can understand the general meaning of culture, which for some reason became unclear or forgotten. "Rozanov V.V. Religion and culture. M: Pravda, 1990. P. 82.

Culture is the basis for the development of an individual and society as a whole. culture individual people specific, that's why all nations are so different, but the meaning, the idea of high morality, artistic vision the world connects everyone. Culture, despite constant intellectual change, is fundamental basis social development, one of the productive means of formation and development of man.

Cultures are specific, but the constant interaction of the peoples of different countries brings creativity closer. The culture of one nation cannot live separately, just as a person cannot exist outside of this process. A complex act of merging and coexistence of cultures of different peoples is necessary for each of them. Thanks to this difficult action, the culture of an individual people is enriched. The boundaries and possibilities of each other's knowledge are expanding. In the process, commonalities emerge and differences are accepted.

It is characteristic of all types of folklore that the creators of a work are at the same time its performers, and the performance, in turn, can be the creation of variants that enrich the tradition; also important is the closest contact between performers and people who perceive art, who themselves can act as participants in the creative process.

The main features of folklore include the long-lasting indivisibility, the highly artistic unity of its types: poetry, music, dance, theater, decorative arts; in public dwelling architecture, carving, painting, ceramics, embroidery created an inseparable whole; folk poetry is closely related to music and its rhythm, musicality, and the nature of the performance of most works, while musical genres are usually associated with poetry, labor movements, and dances. The works and skills of folklore are directly passed down from generation to generation.

Functions of folklore

Folklore contributes to the deepening of knowledge about the folk spiritual culture in its past and present. Folklore introduces the life, traditions, customs of one's own and "neighboring people".

With the help of folklore, the assimilation of moral and behavioral cultural norms and values enshrined in the culture of any people is carried out. Moral and behavioral norms and values are expressed in a system of images. Revealing the characters of fairy-tale characters, delving into the essence of their actions, the student understands what is good and what is bad, thereby easily determines his likes and dislikes, comprehends folk ideas about human beauty. Wise folk proverbs and sayings inform about behavioral norms.

With the help of folklore, it is possible to cultivate a respectful attitude towards the culture of one's own ethnic group, as well as a tolerant attitude towards other ethnic cultures. Studying folklore, the child realizes that the people are the creator, creator cultural heritage to be admired and proud of. Folklore is a centuries-old folk work that preserves the history of an ethnic group.

Folklore contributes to the development of aesthetic taste. The child feels the beauty of folk thought, he has a need to communicate with the people. He seeks to understand what means the people use in their work, and tries to apply them in the future.

The functions of folklore as a whole and its individual genres could not but change depending on the general changes in the structure of the entire spiritual culture, on the type of correlation between folklore and, relatively speaking, "non-folklore" forms and types of spiritual culture.

The aesthetic function of many folklore genres, upon closer examination, turns out to be not the only one, not the dominant one. In its more or less pure form, it was formed relatively late. However, it was formed late even in the sphere of professional culture. So, in the history of Russian literary prose what might be called fiction, for which aesthetic function became dominant, arose only in the XVII century.

Folklore classification.

Various attempts to classify folklore were made already at the end of the last century, and they were directly related to discussions about the scope of the concept of "folklore". However, they reflect different methodological principles. different directions in science. Without claiming to be a complete review of general classifications, I will focus on some of them that are of fundamental interest ( special classifications certain types of folklore will be indicated below, in the course of presentation).

Naturally, those numerous folklorists who consider folklore as an aggregate various types folk culture, solve the problem of classification as a grouping of these species. Thus, J. L. Gomm combined all the products of the folk tradition into two main groups: one was myths, fairy tales, legends, the other - customs, ceremonies, actions and beliefs (or, in other terminology, customs, rituals, actions) .1 A more developed classification was proposed by Sh.S. Ben. She combined all types of folklore into three main groups with the following subdivisions.

I. Beliefs and actions relating to: earth and sky; plant worldp; the world of animals; human existence; things made by man; soul and the other world; superhuman existence (gods, deities, etc.); omens and predictions; the art of magic; disease and healing.

II. Customs: social and political institutions; rituals of individual life; occupations and production; calendar holidays; games, dancing, sports and entertainment.

III. Prose, singing and sayings: stories perceived as true (as true), i.e. myths, legends, heroic tales, etc.; stories for entertainment (fairy tales in all their varieties); songs and ballads; Proverbs and sayings; proverbs and nursery rhymes; local sayings.

Sentive divided folklore into three major sections of the life of the "folk classes": A) "material life", B) "intellectual life" and C) "social life". In the first group, he included all types of folk material culture and various forms of productive activity of the masses. In the second group - vernacular, folk knowledge, folk philosophy, magical rites, religious beliefs and prejudices of the masses, folk aesthetics with the following divisions: 1) folk art - graphics, decorations of household utensils, clothes, dwellings; folk imagery; the art of sound - singing and instrumental music; 2) folk literature- riddles, dances, songs and ballads; fairy tales, fables and folk theater; folk books; rhythmic language and singing. The third group includes family relations, various associations, unions and societies that unite "ordinary people" - up to amateur sports, hunting, singing, etc. societies, as well as various workers' organizations, trade unions, etc.

American folklorist R.S. Boggs, who included only verbal creativity in the field of folklore, in the 40s proposed limiting himself to dividing folklore into three large groups: A) literary folklore, B) linguistic folklore and C) scientific folklore (the system of ideas and beliefs of the masses, their prejudices, etc.). Another American folklorist - A. Taylor, who understands folklore more widely, distinguishes the following areas of his - "folklore of physical objects", or different kinds folk material culture, "folklore of gestures and games", "folklore of ideas" and, finally, "oral folklore", or "folklore of words".

genres of folklore.

All folklore genres are usually grouped, as in literature, into three groups or three types: dramatic, prose and song. Any folklore originates in small genres, which include riddles, proverbs and sayings.

A proverb is understood as a well-aimed figurative saying of an instructive nature, typifying the most diverse phenomena of life and having the form of a complete sentence.

Proverbs satisfied many of the spiritual needs of the working people: cognitive-intellectual (educational), production, aesthetic, moral, etc. Proverbs are not antiquity, not the past, but the living voice of the people: the people retain in their memory only what they need today and will need tomorrow . When a proverb talks about the past, it is evaluated from the point of view of the present and the future - it is condemned or approved, depending on the extent to which the past reflected in the aphorism corresponds to the people's ideals, expectations and aspirations. The proverb is created by all the people, therefore it expresses the collective opinion of the people. It contains the people's assessment of life, the observations of the people's mind. A successful aphorism, created by an individual mind, does not become a popular proverb if it does not express the opinion of the majority. Folk proverbs have a form favorable for memorization, which enhances their significance as ethnopedagogical means. Proverbs are firmly embedded in memory. Their memorization is facilitated by a play on words, various consonances, rhymes, rhythm, sometimes very skillful. The ultimate goal of proverbs has always been education, since ancient times they have acted as pedagogical means. On the one hand, they contain a pedagogical idea, on the other hand, they have an educational impact, carry out educational functions: they tell about the means, methods of educational influence that correspond to the ideas of the people, give characterological assessments of the personality - positive and negative, which, in one way or another, determine the goals of personality formation. , contain a call for education, self-education and re-education, condemn adults who neglect their sacred duties - pedagogical, etc.

There is a lot of practical material in proverbs: everyday advice, wishes in work, greetings, etc.

The most common form of proverbs is admonition. From a pedagogical point of view, teachings of three categories are interesting: teachings that instruct children and youth in good morals, including the rules of good manners; teachings that call adults to decent behavior, and, finally, instructions of a special kind, containing pedagogical advice, ascertaining the results of education, which is a kind of generalization of pedagogical experience. They contain a huge educational and upbringing material on the issues of upbringing. According to proverbs, positive and negative personality traits are presented as the goals of upbringing and re-education, suggesting an all-round improvement in the behavior and character of people. At the same time, it is noteworthy that all peoples recognize the infinity of human perfections. Any person, no matter how perfect he is, can climb one more step of perfection. This step leads not only man, but also mankind to progress. Many proverbs are motivated and reasoned calls for self-improvement.

AT " Literary Encyclopedia"The riddle is characterized as" an intricate poetic description of an object or phenomenon that tests the ingenuity of the guesser. "The definitions of the riddle are based on the same signs:

The description is often framed in the form of an interrogative sentence;

The description is concise and the rhythm is inherent in the riddle.

Thus, a riddle is a brief description of an object or phenomenon, often in poetic form, containing an intricate task in the form of an explicit (direct) or alleged (hidden) question.

Riddles are designed to develop the thinking of children, teach them to analyze objects and phenomena from various fields surrounding reality; moreover, the presence of a large number of riddles about the same phenomenon made it possible to give a comprehensive description of the object (phenomenon). But the significance of riddles in mental education is far from being exhausted by the development of thinking; they also enrich the mind with information about nature and knowledge from the most diverse areas of human life. The use of riddles in mental education is valuable in that the totality of information about nature and human society acquired by the child in the process of active mental activity.

Riddles contribute to the development of the child's memory, his imaginative thinking, the speed of mental reactions.

The riddle teaches the child to compare the features of various objects, to find common things in them, and thereby forms in him the ability to classify objects, to discard their insignificant features. In other words, with the help of a riddle, the foundations of theoretical creative thinking are formed.

The riddle develops the observation of the child. The more observant the child, the better and faster he guesses riddles. A special place in the process of raising children is occupied by the diagnostic function of the riddle: it allows the teacher, without any special tests and questionnaires, to identify the degree of observation, ingenuity, mental development, as well as the level of creative thinking of the child.

Saying - from the simplest poetic works, what are a fable or a proverb, they can stand out and independently go into live speech, elements in which thicken their content; this is not an abstract formula of the idea of the work, but a figurative allusion to it, taken from the work itself and serving as its deputy (for example, "a pig under an oak", or "a dog in the manger", or "he takes out dirty linen from the hut")

A saying, unlike a proverb, does not contain a generalizing instructive meaning.

Proverbs and sayings are comparative or allegorical statements and contain worldly wisdom people. From these two sprouts, metaphors (in riddles) and figurative comparisons (in sayings), folk poetry grows.

Song genres of folklore are represented by epic songs and ballads, ritual and lyrical songs, ditties, labor songs and improvisations. To song genre join and lamentations.

The songs reflect the age-old expectations, aspirations and innermost dreams of the people. The songs are unique in their musical and poetic design of the idea - ethical, aesthetic, pedagogical. Beauty and goodness in the song act in unity. Good fellows, sung by the people, are not only kind, but also beautiful. Folk songs have absorbed the highest national values, focused only on good, on the happiness of man.

Songs are a more complex form of folk poetry than riddles and proverbs. The main purpose of the songs is to instill a love for the beautiful, to develop aesthetic views and tastes. The song is characterized by high poeticization of all aspects of folk life, including the upbringing of the younger generation. The pedagogical value of the song is that beautiful singing was taught, and it, in turn, taught beauty and kindness. The song accompanied all the events of folk life - work, holidays, games, funerals, etc. The whole life of people passed in the song, which best expressed the ethical and aesthetic essence of the individual. A complete song cycle is a person's life from birth to death. Songs are sung to the baby in the cradle, who has not yet learned to understand, to the old man in the coffin, who has already ceased to feel and understand. Scientists have proven the beneficial role of gentle songs in the mental development of a child in the womb. Lullabies not only lull the baby to sleep, but also caress him, soothe, and bring joy. Some categories of songs are designed for specific age groups, although, of course, most songs cannot be sharply demarcated and distributed by age. Small children sing other songs of adults with special enthusiasm. Therefore, we can only talk about the predominant performance of certain songs at a particular age.

Noteworthy means of educational influence are pestles and nursery rhymes. In them, the growing child completely occupies the attention of an adult. Pestushki got their name from the word to nurture - to nurse, carry in their arms. These are short poetic refrains that accompany the movements of the child during nurturing.

Pestlets make sense only when accompanied by their tactile reception - a light bodily touch. Gentle massage, accompanied by a cheerful unpretentious song with a distinct pronunciation of poetic lines, causes a cheerful, cheerful mood in a child. In pestles, all the main points of the physical development of the child are taken into account. When he begins to stand on his feet, he is told one thing; a child taking the first steps is taught to stand firmly on its legs and at the same time other pests speak.

The pestles gradually turn into nursery rhymes that accompany the child's games with fingers, arms, legs. In these games, there is often also a pedagogical one - instruction in diligence, kindness, friendliness.

The song is a complex form of folk poetry. The main purpose of the songs is aesthetic education. But they are aimed at the implementation of other aspects of personality formation, i.e. are a complex means of influencing the individual.

The songs reveal the external and internal beauty of a person, the meaning of beauty in life; they are one of the best means of developing aesthetic tastes in the younger generation. Beautiful melodies enhance the aesthetic impact of the poetic words of the songs. The influence of folk songs on peasant youth has always been enormous, and their significance has never been limited to the beauty of verse and melody (external beauty, beauty of form). The beauty of thoughts, the beauty of content are also among the strengths of folk songs.

And the words of the songs themselves, and the conditions, and the nature of their performance contribute to the strengthening of health, the development of diligence. The songs glorify health, it is called happiness, the highest good. The people have always believed that songs develop the voice, expand and strengthen the lungs: "To sing loudly, you must have strong lungs", "A sonorous song expands the chest."

The importance of the song in the labor education of children and youth is invaluable. As mentioned above, the songs accompanied and stimulated the labor process, they contributed to the coordination and unification of the labor efforts of the workers.

Fairy tales are an important educational tool, worked out and tested by the people over the centuries. Life, folk practice of education convincingly proved the pedagogical value of fairy tales. Children and a fairy tale are inseparable, they are created for each other, and therefore acquaintance with the fairy tales of one's own people must necessarily be included in the course of education and upbringing of each child.

The most characteristic features of fairy tales are nationality, optimism, the fascination of the plot, imagery and fun, and, finally, didacticism.

The material for folk tales was the life of the people: their struggle for happiness, beliefs, customs, and the surrounding nature. In the beliefs of the people there was a lot of superstitious and dark. This is dark and reactionary - a consequence of the difficult historical past of the working people. Most of the fairy tales reflect the best features of the people: diligence, talent, loyalty in battle and work, boundless devotion to the people and homeland. The embodiment of the positive traits of the people in fairy tales made fairy tales an effective means of transmitting these traits from generation to generation. Precisely because fairy tales reflect the life of the people, their best features, cultivate these features in the younger generation, the nationality turns out to be one of the most important characteristics fairy tales.

Many folk tales inspire confidence in the triumph of truth, in the victory of good over evil. As a rule, in all fairy tales, the sufferings of the positive hero and his friends are transient, temporary, joy usually comes after them, and this joy is the result of a struggle, the result of joint efforts. The optimism of fairy tales is especially liked by children and enhances the educational value of folk pedagogical means.

The fascination of the plot, imagery and amusingness make fairy tales a very effective pedagogical tool.

Imagery- an important feature of fairy tales, which facilitates their perception by children who are not yet capable of abstract thinking. In the hero, those main character traits that bring him closer to the national character of the people are usually very convex and vividly shown: courage, diligence, wit, etc. These features are revealed both in events and through various artistic means, such as hyperbolization. Thus, as a result of hyperbolization, the feature of industriousness reaches the maximum brightness and convexity of the image (in one night to build a palace, a bridge from the hero’s house to the king’s palace, in one night to sow flax, grow, process, spin, weave, sew and clothe the people, sow wheat , grow, harvest, thresh, grind, bake and feed people, etc.). The same should be said about features such as physical strength, courage, courage, etc.

Imagery is complemented funnyness fairy tales. The wise educator-people took special care to make fairy tales interesting and entertaining. AT folk tale- not only bright and lively images, but also subtle and cheerful humor. All peoples have fairy tales, the special purpose of which is to amuse the listener.

Didacticism is one of the most important features of fairy tales. Fairy tales of all peoples of the world are always instructive and instructive. It was precisely noting their instructive nature, their didacticism, that A.S. Pushkin at the end of his "Tale of the Golden Cockerel":

The tale is a lie, but there is a hint in it!

Good fellows lesson.

Due to the features noted above, fairy tales of all peoples are an effective means of education. Fairy tales are a treasure trove of pedagogical ideas, brilliant examples of folk pedagogical genius.

The folk theater, which exists in forms organically connected with oral folk art, originated in ancient times: the games that accompanied the hunting and agricultural holidays contained elements of reincarnation. Theatricalization of the action was present in calendar and family ceremonies (Christmas costumes, weddings, etc.).

In the folk theater, a theater of live actors and a puppet theater are distinguished. The Russian theater of Petrushka was close to the Ukrainian nativity scene, the Belarusian batleika.

The most characteristic feature folk theater(as in general folk art) is an open conventionality of costumes and props, movements and gestures; during the performances, the actors communicated directly with the audience, which could give cues, intervene in the action, direct it, and sometimes take part in it (sing along with the choir of performers, portray secondary characters in crowd scenes).

The folk theater, as a rule, had neither a stage nor scenery. The main interest in it is focused not on the depth of disclosure of the characters of the characters, but on the tragic or comical nature of situations and situations.

The folk theater acquaints young spectators with verbal folklore, develops memory, figurative thinking. Comic characters ridicule the vices of people, dramatic ones teach empathy. By participating in their simple productions, the child learns to speak correctly and beautifully, to make a speech in front of the public, to overcome shyness.

Folk dance is one of the oldest types of folk art. The dance was part of folk performances at festivals and fairs. The appearance of round dances and other ritual dances is associated with folk rituals. Gradually moving away from ritual actions, round dances were filled with new content, expressing new features of life.

The peoples engaged in hunting, animal husbandry, reflected in the dance their observations of the animal world. The character and habits of animals, birds, domestic animals were conveyed figuratively and expressively: the Yakut bear dance, the Russian crane, the gander, etc. grape). The folk dance often reflects the military spirit, valor, heroism, battle scenes are reproduced (Georgian horumi, berikaoba, Cossack dances, etc.). great place in dance folk art, the theme of love occupies: dances expressing nobility of feelings, respectful attitude towards a woman (Georgian kartuli, Russian Bain's quadrille).

Dance allows you to develop plasticity, special coordination of movements, methods of correlation of movement with music. Children learn to move rhythmically, to communicate with each other in motion (round dance, stream).

In folk arts and crafts, the non-voluminous, eternally living soul of the people, its rich practical experience and aesthetic taste. In Belarus, woodworking, pottery, weaving, painting, weaving and embroidery were the most developed.

In some features of folk art, the norms of work and life, culture and beliefs can be traced. The most common element is the ornament born in antiquity, which helps to achieve the organic unity of the composition and is deeply interconnected with the technique of execution, the feeling of the object, the plastic form, the natural beauty of the material. Folk craftsmen have been highly valued since ancient times. The secrets of their craft were passed down from generation to generation, from father to son, combining the wisdom and experience of the past and the discovery of the present. Children from an early age were involved in work, helping their parents. Joint work helps children to better master the craft, learn from the experience of a mentor (parents), instills diligence.

4. The relevance of the study of folklore

Attention to folklore, ancient layers of culture, tradition in general, as an inexhaustible source of education and development of a person, has been especially active in the socio-pedagogical environment in recent years. This is due to the functional features of the genres of folklore, with the deep spirituality and wisdom of folk art, with the continuity of the process of transferring national culture from generation to generation.

At the beginning of the new century, there is an increased interest in national culture, ethnic processes, traditional art, and folklore. Scientists note a special growth of the historical and national self-consciousness of each nation, explaining this by socio-psychological, political reasons.

Preservation and development of national culture, its roots is the most important task, which requires careful attitude to historical and cultural monuments, to traditional folk art. The revival of folklore folk customs, rituals and holidays, traditional arts and crafts and fine arts - this is an urgent problem of our time. Folklore, its genres, means, methods most fully fill the whole picture of folk life, give bright picture life of the people, their morality, spirituality. Folklore reveals the soul of the people, its dignity and features. From the point of view of science, folklore is a phenomenon that deserves special study and careful evaluation.

Bibliography

1. Adonieva S.B. Pragmatics of modern folklore. - St. Petersburg: St. Petersburg. state un-t, 2000.

2. Gusev V.E. Folklore: (The history of the term and its modern meanings) / / SE. - 1966. - N 2.

3. Kagarov E.G. What is folklore // artistic folklore. T. 4/5. - M., 1929.

4. Putilov B.N. Folklore and folk culture. - SPb., 1994.

5. Rusin M.Yu. Folklore: Traditions and Modernity. - Kyiv, 1991.

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Introduction

Folklore is folk wisdom. Folklore is the study of folklore. Folklore combines different types of arts (music, pagan and Christian rites and traditions). The core of folklore is the word. Folklore is a phenomenon, not an art, it combines the arts. And above all, it is a synthetic phenomenon. At the time of the formation of folklore, syncretism should be attributed (mutually; penetration; fusion; connectedness.) One of the most important qualities of folklore is the oral nature of its existence. The genre of folklore dies when its creativity ceases to be passed from mouth to mouth. In folklore, variability is widely developed (everyone who hears information conveys it in his own way.). Tradition in folklore is the rules, the framework that must be observed. Contamination is the merging of several stories into one. Folklore reflects the people's position, upbringing, morality, worldview.

History of folklore

Folk art.

Each work of oral folk art not only expresses the thoughts and feelings of certain groups, but is also collectively created and distributed. However, the collectivity of the creative process in folklore does not mean that individuals did not play any role. Talented masters not only improved or adapted existing texts to new conditions, but sometimes created songs, ditties, fairy tales, which, in accordance with the laws of oral folk art, were distributed without the name of the author. With the social division of labor, peculiar professions arose associated with the creation and performance of poetic and musical works (ancient Greek rhapsodes, Russian guslars, Ukrainian kobzars, Kyrgyz akyns, Azerbaijani ashugs, French chansonniers, etc.).

In Russian folklore in the 18-19 centuries. there was no developed professionalization of singers. Storytellers, singers, storytellers remained peasants, artisans. Some genres of folk poetry were widespread. The performance of others required a certain skill, a special musical or acting gift.

The folklore of each nation is unique, just like its history, customs, culture. So, epics, ditties are inherent only in Russian folklore, thoughts - in Ukrainian, etc. Some genres (not only historical songs) reflect the history of a given people. The composition and form of ritual songs are different, they can be dated to the periods of the agricultural, pastoral, hunting or fishing calendar, enter into various relationships with the rites of the Christian, Muslim, Buddhist or other religions. For example, the ballad among the Scots acquired clear genre differences, while among the Russians it is close to a lyrical or historical song. Some peoples (for example, Serbs) have poetic ritual lamentations, while others (including Ukrainians) have them in the form of simple prose exclamations. Each nation has its own arsenal of metaphors, epithets, comparisons. So, the Russian proverb “Silence is gold” corresponds to the Japanese “Silence is flowers”.

Despite the bright national coloring of folklore texts, many motives, images and even plots are similar among different peoples. Thus, a comparative study of the plots of European folklore led scientists to the conclusion that about two thirds of the plots of the fairy tales of each nation have parallels in the fairy tales of other nationalities. Veselovsky called such plots "stray", creating a "theory wandering plots”, which has been repeatedly criticized by Marxist literary criticism.

For peoples with a common historical past and speaking related languages(for example, the Indo-European group), such similarities can be explained by a common origin. This similarity is genetic. Similar features in the folklore of peoples belonging to different language families, but who have been in contact with each other for a long time (for example, Russians and Finns) are explained by borrowing. But in the folklore of peoples living on different continents and probably never communicated, there are similar themes, plots, characters. So, in one Russian fairy tale it is said about a clever poor man who, for all his tricks, was put in a sack and is about to be drowned, but he, having deceived the master or the priest (they say, huge shoals of beautiful horses graze under water), puts him in a sack instead of himself. The same plot exists in the tales of Muslim peoples (stories about Khadja Nasreddin), and among the peoples of Guinea, and among the inhabitants of the island of Mauritius. These works are independent. This similarity is called typological. At the same stage of development, similar beliefs and rituals, forms of family and social life are formed. And consequently, both ideals and conflicts coincide - the opposition of poverty and wealth, intelligence and stupidity, diligence and laziness, etc.

From mouth to mouth.

Folklore is stored in the memory of the people and reproduced orally. The author of a literary text does not have to directly communicate with the reader, while the work of folklore is performed in the presence of listeners.

Even the same narrator voluntarily or involuntarily changes something with each performance. Moreover, the next performer conveys the content differently. And fairy tales, songs, epics, etc. pass through thousands of mouths. Listeners not only influence the performer in a certain way (in science this is called feedback), but sometimes they themselves are connected to the performance. Therefore, any work of oral folk art has many options. For example, in one version of the fairy tale, the Frog Princess, the prince obeys his father and marries the frog without any talk. On the other hand, he wants to leave her. In different ways in fairy tales, the frog helps the betrothed to complete the tasks of the king, which are also not the same everywhere. Even such genres as epic, song, ditty, where there is an important restraining beginning - rhythm, chant, have great options. Here, for example, is a song recorded in the 19th century. in the Arkhangelsk province:

Sweet nightingale,

You can fly everywhere

Fly to merry countries

Fly to the glorious city of Yaroslavl...

Approximately in the same years in Siberia they sang to the same motive:

You are my rassy little dove,

You can fly everywhere

Fly to foreign countries

To the glorious city of Yeruslan…

Not only in different territories, but also in different historical eras, the same song could be performed in versions. So, songs about Ivan the Terrible were remade into songs about Peter I.

In order to memorize and retell or sing some work (sometimes quite voluminous), the people developed techniques polished over the centuries. They create a special style that distinguishes folklore from literary texts. In many folklore genres there is a common beginning. So, the folk storyteller knew in advance how to start a fairy tale - In a certain kingdom, in a certain state ... or Once upon a time .... The epic often began with the words As in a glorious city in Kyiv .... In some genres, endings are repeated. For example, epics often end like this: Here they sing glory to him .... A fairy tale almost always ends with a wedding and a feast with a saying I was there, I drank honey-beer, it flowed down my mustache, but it didn’t get into my mouth, or And they began to live and live and make good.

There are other, most diverse repetitions in folklore. Individual words can be repeated: Past the house, past the stone one, // Past the garden, the green garden, or the beginning of the lines: At dawn it was at dawn, // At the dawn it was at morning.

Entire lines are repeated, and sometimes several lines:

He walks along the Don, walks along the Don,

A young Cossack walks along the Don,

And the maiden cries, and the maiden cries,

And the maiden weeps over the swift river,

And the maiden weeps over the swift river.

In the works of oral folk art, not only words and phrases are repeated, but also entire episodes. On the triple repetition of the same episodes, epics, fairy tales, and songs are built. So, when Kaliki (wandering singers) heal Ilya Muromets, they give him a “honey drink” to drink three times: after the first time he feels a lack of strength in himself, after the second - an excess, and only after drinking for the third time, he receives as much strength as he needs.

In all genres of folklore there are so-called common or typical places. In fairy tales - the rapid movement of the horse: The horse runs - the earth trembles. "Vezhestvo" (politeness, good breeding) epic hero is always expressed by the formula: He laid the cross in the written way, but he led the bows in the learned way. There are formulas of beauty - Not in a fairy tale to say, not to describe with a pen. Command formulas are repeated: Stand before me, like a leaf before grass!

Definitions are repeated, the so-called constant epithets, which are inextricably linked with the word being defined. So, in Russian folklore, the field is always clean, the moon is clear, the girl is red (red), etc.

Other artistic techniques also help with listening comprehension. For example, the so-called method of stepwise narrowing of images. Here is the beginning of the folk song:

There was a glorious city in Cherkassk,

New stone tents were built there,

In the tents, the tables are all oak,

A young widow is sitting at the table.

A hero can also stand out with the help of opposition. At a feast at Prince Vladimir:

And how everyone is sitting here, drinking, eating and boasting,

But only one sits, does not drink, does not eat, does not eat ...

In a fairy tale, two brothers are smart, and the third (the main character, the winner) is a fool for the time being.

For certain folk characters enduring qualities. So, the fox is always cunning, the hare is cowardly, the wolf is evil. There are certain symbols in folk poetry: the nightingale - joy, happiness; cuckoo - grief, trouble, etc.

According to researchers, from twenty to eighty percent of the text consists, as it were, of finished material that doesn't need to be remembered.

Folklore, literature, science.

Literature appeared much later than folklore, and always, to one degree or another, used his experience: themes, genres, techniques are different in different eras. Yes, stories ancient literature based on myths. Author's fairy tales and songs, ballads appear in European and Russian literature. Due to folklore is constantly enriched literary language. Indeed, in the works of oral folk art there are many ancient and dialect words. With the help of affectionate suffixes and freely used prefixes, new expressive words are created. The girl is sad: You are parents, destroyers, my slaughterers .... The guy complains: Oh, sweetie-twist, cool wheel, twirled my little head. Gradually, some words enter the colloquial, and then into literary speech. It is no coincidence that Pushkin called: "Read folk tales, young writers, in order to see the properties of the Russian language."

Folklore techniques were especially widely used in works about the people and for the people. For example, in Nekrasov's poem Who in Russia should live well? - numerous and varied repetitions (situations, phrases, words); diminutive suffixes.

At the same time, literary works penetrated folklore and influenced its development. As works of oral folk art (without the name of the author and in various versions), the rubies of Hafiz and Omar Khayyam, some Russian stories of the 17th century, Pushkin's Prisoner and Black Shawl, the beginning of Nekrasov's Korobeinikov (Oh, the box is full, full, // There are chintz and brocade.// Have pity, my sweetheart, // Valiant shoulder...) and much more. Including the beginning of Ershov's fairy tale The Little Humpbacked Horse, which became the beginning of many folk tales:

Beyond the mountains, beyond the forests

Beyond the wide seas

Against heaven on earth

An old man lived in a village.

Poet M.Isakovsky and composer M.Blanter wrote the song Katyusha (Apple and pear trees blossomed…). The people sang it, and about a hundred different Katyushas appeared. So, during the Great Patriotic War they sang: Apple and pear trees do not bloom here ..., The Nazis burned apple and pear trees .... The girl Katyusha became a nurse in one song, a partisan in another, and a signalman in the third.

In the late 1940s, three students - A. Okhrimenko, S. Christie and V. Shreiberg - composed a comic song:

In an old and noble family

Lived Lev Nikolayevich Tolstoy,

He ate neither fish nor meat,

I walked barefoot through the alleys.

It was impossible to print such poems at that time, and they were distributed orally. More and more versions of this song began to be created:

Great Soviet writer

Leo Nikolaevich Tolstoy,

He didn't eat fish or meat.

I walked barefoot through the alleys.

Under the influence of literature, rhyme appeared in folklore (all ditties are rhymed, there is rhyme in later folk songs), division into stanzas. Under the direct influence of romantic poetry (see also ROMANTICISM), in particular ballads, a new genre of urban romance arose.

Oral folk poetry is studied not only by literary critics, but also by historians, ethnographers, and culturologists. For the most ancient, pre-literate times, folklore often turns out to be the only source that conveyed to the present day (in a veiled form) certain information. So, in a fairy tale, the groom receives a wife for some merits and exploits, and most often he marries not in the kingdom where he was born, but in the one where his future wife comes from. This detail of a fairy tale, born in ancient times, suggests that in those days a wife was taken (or abducted) from another kind. Is in fairy tale and echoes of the ancient rite of initiation - the initiation of boys into men. This rite usually took place in the forest, in the "men's" house. Fairy tales often mention a house in the forest inhabited by men.

Late-time folklore is the most important source for studying the psychology, worldview, and aesthetics of a particular people.

In Russia at the end of the 20th - beginning of the 21st centuries. increased interest in the folklore of the 20th century, those aspects of it that not so long ago remained outside the boundaries of official science (political anecdote, some ditties, folklore of the Gulag). Without studying this folklore, the idea of the life of the people in the era of totalitarianism will inevitably be incomplete and distorted.

Introduction…………………………………………………………………….
1. Psychological patterns of children's early interest in folklore works.................................................................. ......................
1.1. Folklore genres. History of occurrence. Variety of verbal folklore……………………………………………………...
1. 2. Didactic principles and methods of introducing children to folklore…………………………………………………………………….
2. Interaction of children's Russian folklore and fiction .............................................................. .........................

Conclusion ……………………………………………………………….
Bibliography …............................................... ................................

Introduction

The word "folklore" literally translated from English means folk wisdom. Folklore is poetry created by the people and existing among the masses, in which it reflects its labor activity, social and everyday way of life, knowledge of life, nature, cults and beliefs. Folklore embodies the views, ideals and aspirations of the people, their poetic fantasy, the richest world of thoughts, feelings, experiences, protest against exploitation and oppression, dreams of justice and happiness. It's oral, verbal artistic creativity, which arose in the process of the formation of human speech. M. Gorky said: "... The beginning of the art of the word is in folklore."

In the process of development of society, various types and forms of oral verbal creativity. The question of the origin of many works of folk poetry is much more complicated than that of literary works. Not only the name and biography of the author - the creator of this or that text are unknown, but also the social environment in which the fairy tale, epic, song, time and place of their composition was formed is unknown. The ideological intention of the author can only be judged by the surviving text, often written down many years later.

An important circumstance that ensured the development of folk poetry in the past was the absence of "sharp differences in the mental life of the people." In such historical conditions, works appeared that were created by "the whole people, as one moral person." Thanks to this, folk poetry permeates the collective principle.

images folk heroes express the best features of the Russian national character; the content of folklore works reflects the most typical circumstances of folk life. At the same time, pre-revolutionary folk poetry could not but reflect the historical limitations and contradictions of the peasant ideology. Living in oral transmission, the texts of folk poetry could change significantly. However, having reached full ideological and artistic completeness, the works were often preserved for a long time almost unchanged as poetic legacy of the past as a cultural wealth of enduring value.

On the chronological interval from ancient times to the present day, folklore occupies an intermediate position, is a link in cultural space centuries.

Children's folklore is formed under the influence of many factors. Among them are the influence of various social and age groups, their folklore; mass culture; existing ideas and much more.

Children's creativity is based on imitation, which serves as an important factor in the development of the child, in particular his artistic ability. The task of the teacher, relying on the tendency of children to imitate, is to instill in them skills and abilities, without which creative activity is impossible, to educate them in independence, activity in the application of this knowledge and skills, to form critical thinking, purposefulness. Foundations are laid at preschool age creative activity child, which manifest themselves in the development of the ability to plan and implement it, in the ability to combine their knowledge and ideas, in the sincere transmission of their feelings.

Psychological patterns of children's early interest in folklore

Psychologists and teachers (A. N. Leontiev, A. M. Fonarev, S. L. Novoselova, N. M. Aksarina, V. V. Gerbova, L. N. Pavlova) note that knowledge of the laws of development of emotional and mental life child allows you to competently build your interaction with the baby, and, therefore, provide him with the joy of being and knowing the world. It is at an early age that the foundation of cognitive activity is laid, which will ensure further comprehension of the secrets of nature and the greatness of the human spirit.

According to scientists, early age has a special fertile susceptibility. Visual-figurative thinking and imagination are intensively formed in the child, speech develops, mental life is enriched with experience, the ability to perceive the world and act according to the idea arises. The appearance of some generalized knowledge about objects and phenomena is milestone in acquaintance with the surrounding world through folk art.

In recent years, along with the search for modern models of education, interest in folklore is growing, the best examples of folk pedagogy are being revived. Folklore is one of its effective and vivid means, concealing huge didactic possibilities. Acquaintance with folk works enriches the feelings and speech of children, forms an attitude to the world around them, and plays an invaluable role in the comprehensive development.

An interesting study by L. N. Pavlova, which, in particular, shows the role and place of folklore in modern pedagogy early childhood. It is noted that folklore is an effective method of humanizing education from the first years of a child's life, as it contains many stages of pedagogical influence on children, taking into account their age capabilities.

The purposeful and systematic use of folklore works in kindergarten will lay the foundation for the psychophysical well-being of the child, which determines the success of his overall development in the preschool period of childhood.

The first acquaintance of a child with folk poetry begins with small folklore forms: pestles, nursery rhymes, jokes, counting rhymes, sayings, tongue twisters, fabled songs. And although they consist of several lines of unpretentious content and simple form, however, they conceal considerable genre riches.

Children's folklore is a vast area of oral folk poetry. This is a whole world - bright, joyful, filled life force and beauty. He coexists with the world of adults, but is not subject to it and lives according to his own laws in accordance with his knowledge of nature and human relations. Children look with keen interest into the lives of adults and willingly borrow their experience, but modify and cut out what they have acquired. The thought of children is connected with specific images- this is the key to the secrets of children's artistic creativity.

Folklore for children created by adults includes lullabies, pestles, nursery rhymes, jokes, fairy tales. This area of folk art is one of the means of folk pedagogy. G.S. Vinogradov wrote: “The people had and have certain ideas, views on life, on the education and training of emerging new generations, the goals and objectives of educating and educating them, the means and ways of influencing young generations, their totality and interdependence, and give what should be called folk pedagogy".

Poetry of nurturing, maternal poetry opens with lullabies, the purpose of which is to lull, lull the baby to sleep. When a child begins to understand speech, to recognize loved ones, he is amused with songs and short rhymes- pestles. Their purpose is to evoke joyful, cheerful emotions in the child. They are followed by nursery rhymes - poems and poems for the first games with fingers, arms, legs. Later comes the turn of jokes, songs and poems, interesting, primarily for their amusing content, then fairy tales.

The content of small works of folk poetry is multifaceted. In nursery rhymes and songs, natural phenomena come to life (“Night has come, brought darkness”, “Sun-bucket”, “Heated calves, lambs and even little children”, a rainbow-arc “high and tight” appeared in the sky), animals act (kisonka -murysonka, chicken - ryabushechka, magpie - white-sided and many other characters). Their description is not only poetic, but also figurative: a hen - a ryabushka goes to the river for some water - to water the chickens; kisonka - murisonka goes to the mill to bake gingerbread; magpie - white-sided cooks porridge - feed the children; the cat goes to Torzhok and buys a pie; zainka sweeps the fire, etc. The characters are hardworking, affectionate and caring: the dog does not bark so as not to frighten the children, and the cat shakes the cradle, cradles the baby, etc.

Oral folk art is fraught with inexhaustible opportunities for awakening cognitive activity, independence, bright individuality of the baby, for the development of speech skills. Therefore, it is necessary to use it as widely as possible in the upbringing of children.

The teacher should know that young children have unique characteristics in general development and take this into account in the organization and methods of acquaintance with folk poetry. Folklore and game classes with kids are a specific activity and require professional knowledge and skills in the field of folk art. The teacher must learn to master artistic means (sing, dance, play the folk instruments), only then will he be able to bring elements of artistry, individuality in the performance of folk works into classes. Then the folklore and game classes will be held not in the traditional form, but as a vivid communication with the kids. On execution folk art the educator must ensure that the semantic content of his children is understood, thanks to the emotional coloring of speech, a change in the timbre of the voice. Thus, verbal interaction with the child is established, figurative perception and visual-figurative thinking develop.

The simplicity and melodiousness of the sound of nursery rhymes help children remember them. They begin to introduce folk rhymes into their games - while feeding the doll or putting it to bed. Highly great importance have nursery rhymes for educating kids in friendliness, goodwill, a sense of empathy. If one of the children in the group cries, then the rest try to calm them down, saying: "Don't cry, don't cry, I'll buy a roll."

Educators can introduce into games - fun well-known children's nursery rhymes, to give them the opportunity to show speech activity. For example, in the game - fun "My daughter" kids hear already familiar to them "Bayu-bayushki-bayu", "Katya, little Katya."

In the entertainment "Sunshine, look through the window":

Sunshine, sunshine

Look into the window.

Children are waiting for you

The kids are waiting.

Rain, rain

Pour full

Wet small children.

In nursery rhymes, in which there is onomatopoeia of the voices of animals and their habits are specifically described, kids catch a kind, humane attitude towards all living things:

Cockerel, cockerel,

golden scallop,

Why do you get up so early

Do you let the kids sleep?

Our ducks in the morning:

Quack, quack, quack.

Our geese by the pond:

Ha-ha! Ha-ha! Ha-ha! Our chickens in the window:

Ko-ko, ko-ko, ko-ko.

On the oak tree

There are two doves here.

They have blue necks

They have golden feathers.

At an early age, it is very important to accelerate the “birth” of the first conscious words in a child. Small forms of folklore will help to increase the vocabulary, in which his attention is drawn to objects, animals, people. Sonority, rhythm, melodiousness, entertaining nursery rhymes attract children, cause a desire to repeat, remember, which, in turn, contributes to the development of colloquial speech.

I would like to note the special role of the family in introducing children to folk poetic word. In the first years of life, the child is almost always surrounded by the people closest to him, and only the family is able to develop his selfish feelings, interest and love for the wealth and beauty of everything that surrounds him, for folk art. Therefore, it is necessary to use the possibilities of the family as widely and as diversely as possible. If you simply sing a lullaby to your child or, while stroking him, say a nursery rhyme, a joke, he is already attached to folk art, and thus you give him a particle of your inspiration.

So, early period The life of a child largely depends on the adults who raise the child. It is great if parents and educators fill the life of a child with the light of kindness and affection, if they are able to enrich the environment in which he grows up, he will bloom with all colors.

folklore genres. History of occurrence. Variety of verbal folklore

Folk poetic creativity - mass verbal artistic creativity of a particular people; the totality of its types and forms is folklore. Verbal artistic creativity arose in the process of the formation of human speech. In a pre-class society, it is closely connected with other types of human activity, reflecting the beginnings of his knowledge and religious and mythological ideas. In the process of social differentiation of society, various types and forms of oral verbal creativity arose, expressing the interests of different societies, groups and strata. The most important role in its development was played by the creativity of the working masses. With the advent of writing, literature arose that was historically associated with oral folklore.

Wealth of genres

In the process of existence, the genres of verbal folklore experience "productive" and "unproductive" periods ("ages") of their history (emergence, distribution, entry into the mass repertoire, aging, extinction), and this is ultimately connected with social and cultural domestic changes in society. The stability of the existence of folklore texts in folk life is explained not only by their artistic value, but also by the slowness of changes in the way of life, worldview, tastes of their main creators and keepers - the peasants. The texts of folklore works of various genres are changeable (albeit to varying degrees). However, in general, traditionalism has an immeasurably greater power in folklore than in professional literary creativity.

The richness of genres, themes, images, poetics of verbal folklore is due to the variety of its social and everyday functions, as well as the methods of performance (solo, choir, choir and soloist), the combination of text with melody, intonation, movements (singing, singing and dancing, storytelling, acting out , dialogue, etc.). In the course of history, some genres have undergone significant changes, disappeared, new ones appeared. In the most ancient period, most peoples had tribal traditions, labor and ritual songs, and incantations. Later, magic, everyday tales, tales about animals, pre-state (archaic) forms of the epic appear. During the formation of statehood, a classic heroic epic was formed, then historical songs and ballads arose. Still later, an extra-ceremonial lyric song, romance, ditty and other small lyrical genres and, finally, working folklore (revolutionary songs, oral stories, etc.) were formed.

Despite the bright national coloring of the works of verbal folklore of different peoples, many motives, images and even plots are similar in them. For example, about two-thirds of the plots of fairy tales European nations have parallels in the tales of other peoples, which is caused either by development from one source, or by cultural interaction, or by the emergence of similar phenomena on the basis of general patterns of social development.

Song lyrics

Folk lyrical song differs significantly from other genera and types of folklore. Its composition is more diverse than the heroic epic, fairy tales and other genres. Songs were created at far from the same time. Each time composed its own songs. The duration of the life of each song genre is not the same.

Childhood songs are a complex complex: these are adult songs composed specifically for children (lullabies, nursery rhymes and pestles); and songs that gradually passed from the adult repertoire to the children's (carols, stoneflies, chants, game songs); and songs composed by the children themselves. Children's poetry also includes jokes, counting rhymes, teasers, tongue twisters, riddles, fairy tales.

In infancy, mothers and grandmothers lull their children with gentle lullabies, entertain them with pestles and nursery rhymes, playing with their fingers, arms, legs, tossing them on their knees or on their hands. Well-known: “Magpie-crow, cooked porridge…”; “Okay, okay! Where were you? - By Grandma…".

Folk songs, nursery rhymes, pestles are also a wonderful speech material, which can be used in the classroom for the development of speech of preschool children. So, when forming grammatical structure speech, teaching children the formation of single-root words, it is possible to use.

Pestushki - songs and rhymes that accompany the first conscious movements of the child. For example:

"Oh, sing, sing

Nightingale!

Ah, sing, sing

Young;

young,

Pretty,

Pretty."

Nursery rhymes - songs and rhymes for the first games of a child with fingers, arms, legs. For example:

"Sniffs, little pigs!

Rotok - talkers,

Hands are grasping

Legs are walkers."

Calls - children's song appeals to the sun, rainbow, rain, birds:

Spring is red! What did you come for?

On a bipod, on a harrow,

On an oatmeal sheaf

On a rye spike.

Sentences are verbal appeals to someone. For example, they say in the bath:

From gogol - water,

From a baby - thinness!

Roll off all.

There were a lot of actual children's games. Watching the life of adults, children often imitated calendar and family rituals in their games, while performing the corresponding songs.

fairy tale like folk genre

Of all the folklore genres, the fairy tale is the most structured and, more than all other genres, subject to certain laws.

The word "fairy tale" first occurs in the seventeenth century as a term for those types of oral prose that are primarily characterized by poetic fiction. Until the middle of the nineteenth century, fairy tales were seen as "one fun" worthy of the lower strata of society or children, so fairy tales published at this time for the general public were often altered and altered according to the tastes of publishers. At about the same time, among Russian literary critics, interest was growing precisely in genuine Russian fairy tales - as in works that could become the foundation for the study of the so-called. "real" Russian people, their poetic creativity, and therefore able to contribute to the formation of Russian literary criticism.

The idea in the fairy tale is very simple: if you want happiness for yourself, learn your mind.

Fairy tales are a kind of moral code of the people, their heroism is, although imaginary, but examples of true human behavior. Fairy tales express the joyful acceptance of being - the destiny of an honest person who knows how to stand up for his dignity.

Thus, fairy tales teach children not to submit to maltreatment, not to give up when problems arise, but to boldly fight troubles and defeat them.

Diverse fairy fund. Here, fairy tales are extremely simple in content and form (“Rocked Hen”, “Turnip”), and fairy tales with a sharp exciting plot (“Cat, Rooster and Fox”, “Geese-Swans”).

In many fairy tales, the attention of children is drawn to natural phenomena, to the peculiarities appearance birds, animals and insects. Such fairy tales teach to figurative perception of the richness and diversity of the world around us, bring up interest in it.

It is important that the child not only listens to this or that fairy tale, but also realizes its idea, thinks about the details of what is happening.

The completeness of the perception of a fairy tale also depends largely on how it is read, how deep the narrator's penetration into the text is, how expressively he conveys the images of the characters, conveys both the moral orientation and the sharpness of situations, and his attitude to events. Children are sensitive to intonation, facial expressions, and gestures. The child mentally participates in all the vicissitudes of the fairy tale, deeply experiences the feelings that excite her characters.

This inner activity - "life with the hero" - as it were, raises all the spiritual forces of the child to a new level, makes it possible to intuitively, with feelings, know what he cannot yet comprehend with his mind.

Bringing in a mood of intricacy, playful fun, and sometimes some pampering - this is the priority of folklore activities.

That is why it can be argued that the full mastery of the methodology of folklore classes is the pinnacle of pedagogical skill. It is no coincidence that it is in folklore classes that many educators “discover” themselves. Emancipation, the opportunity to realize oneself in work, orientation to individual style - the effective implementation of the principles of democratic education.

The history of the origin of folklore. L.V

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The folklore that has developed in the course of social labor practice embodies the views, ideals and aspirations of the people, their poetic fantasy, the richest world of thoughts, feelings, experiences, protest against exploitation and oppression, dreams of justice and happiness.

Folk art is a natural process. The people and works of art are integral parts.

Many writers, philosophers, and thinkers were engaged in unraveling the mystery of the authorship of works of folklore. The intriguing process of the eternal life of some works made us think about its beginning.

Folklore

Folkloristics studies a complex of verbal, verbal-musical, musical-choreographic, game and dramatic types of folk art. Its basic object is Russian folklore, the folklore of the peoples of Russia and foreign countries.

o theory, history, textology of folklore;

o its classification and systematization;

o issues of its collection and archiving;

o studying the interaction of folklore and professional arts;

o methodology of folklore research;

o history of collecting and studying folklore.

For folkloristics, the development of already established industries and the creation of new ones are relevant. Philological folklore studies the traditional spiritual culture of the people in its linguistic expression.

About folklore in the words of great people.

L.L. Kupriyanova Academician and Scientific Secretary of the Republican Academy of Additional Education, characterizing the phenomenon of "folklore", calls it "the repository of the wisdom and vitality of the people."

L.V. Shamina Doctor of Pedagogical Sciences, Honored Art Worker of the Russian Federation, Professor of the Gnessin Russian Academy of Music, calls folklore a collection of genres of folk art, united by functionality, features of poetics, origin and historical destiny.

3. Specific features of folklore

Any nation has its own characteristics of development and life. But these features are also influenced by some factors - geographical location, climatic conditions, historical background. Each nation finds its own forms of self-expression with a certain idea and meaning.

Functions of folklore

Folklore contributes to the deepening of knowledge about the folk spiritual culture in its past and present. Folklore introduces the life, traditions, customs of one's own and "neighboring people".

Folklore contributes to the development of aesthetic taste. The child feels the beauty of folk thought, he has a need to communicate with the people. He seeks to understand what means the people use in their work, and tries to apply them in the future.

The functions of folklore as a whole and its individual genres could not but change depending on the general changes in the structure of the entire spiritual culture, on the type of correlation between folklore and, relatively speaking, "non-folklore" forms and types of spiritual culture.

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