A large group of cult-animistic works, adjacent to the animal epic, are cumulative tales (from Latin cumulatio - increase, accumulation, cumulare to accumulate, strengthen). They differ from fairy tales of other types in compositional and structural features, which gives reason to single them out as a separate group. Cumulative fairy tales are built on the multiple repetition of one link, with the help of which accumulation occurs: a chain is built, a series of meetings or references, exchanges, etc. The chain, created as a result of repeating the same actions or elements, is broken at the end or unraveled in the reverse order.
Genetically, these works reach deep antiquity and, according to researchers, come from incantations in which they are similar in structure: “The compositional logic of incantations is the logic of a cumulative fairy tale. As cultural historians suggest, the structural commonality of the cumulative fairy tale and spell formulas is a consequence of their genetic commonality. And genetically, both of them originate from the earliest, pre-compositional perception and image of the world. Such illogicality of texts arises due to the lack of thinking and understanding ancient man causality and inheritance. Here there is only the coexistence of phenomena in the space of being.
In cumulative fairy tales, there is no description of events in the plot order (the plot, as such, is generally absent). On the contrary, all minor events are unimportant, therefore a comic contrast is created with their exorbitant increase or unexpected ending. It is in this accumulation that the interest of the tale lies.
V. Propp defines two main types of cumulative tales: 1) chain (from German Kettenmdrchen) or formulaic (from English formulatales) and 2) epic. But even within the two groups, some of their varieties can be distinguished.
Ukrainian folk epic is very rich in cumulative tales of all types with different types of cumulation.
Chain (formula) or annoying tales are obviously the most ancient in origin, closest to conspiracies, and remain connected with ancient system views. Such are the works “How the Chicken Livened the Cockerel” (or “The Cockerel and the Hen”). The plot of the story is that the hen comes across a dead cockerel and runs through the water to revive him. And the sea does not give water, but requires a catch; the hen asks for a boar, and he demands a leaf ... Then the hen goes to the linden for a letter, to the oak for an acorn, to the cow for butter, to the girl for hay, to the merchant for a wreath for the girl, etc. Each time the fabulous start:
Oh, by the field, yes, there are chickens on the mountain, chickens
Yes, and does not breathe, wings, paws do not sway.
At the same time, each new hero she asks again why the chicken is asking for the thing she asks for, and her answer increases each time, forming a chain:
Bill of sale, bill of sale, give me a wreath. - Give Lipa.
Why a wreath? - Why lime?
Give the girl. - Will give the sheet.
Why a girl? - Why a sheet?
The hay will give. - Give the boar.
Why hay? - Why a boar?
Give a cow. - Clov will give.
Why a cow? - Why cry?
Gives oil. - Give the sea.
Why oils? - Why the sea?
Give oak. - Give me water.
Why oak? - Why water?
An acorn will. - Give chicken...
Why stomach?
Then the merchant gives a wreath, and this chain unfolds in the opposite direction, the hen pours water on the cockerel, “And then he“ ku-kuru! kukuruku, kukuruku-u-u!"
There are a number of variants of the fairy tale "Sparrows and Badilinka" similar in compositional terms. Here the sparrow asks the badilinka to beat him, but she refuses. He calls the goat to eat badilinka, the goat asks "Why?", having heard the answer, says "I don't want to." Then the sparrow goes to the wolf to eat the goat; to the archer to shoot the wolf; to the fire to burn the arrow; to the water to flood the fire; to preferred to drink water; to a log to slaughter oxen; to the worms to sharpen the deck. The conversation between the sparrow and each subsequent character accumulates in the form of a chain. At the end - “worms to the stocks, stocks to the oxen, oxen to the water, water to the fire, the fire of the archer, the archer to the wolf, the wolf to the goats, the goat to the badilinki! And the sparrow’s badilink is lu-lu-lu-lu!”
The end of such fairy tales is unexpected, unreasonable: it is not explained why everyone refuses the main character, only one person fulfills his request without hesitation, and the fairy tale ends. In such works, the basis of the narrative is a dialogue that is built from short and similar phrases. Often this dialogue is comical. In it, one of the characters asks the same type of questions; or gives regular answers like: “This is good”, “And this is bad” (sometimes the conversation takes the form of acceleration):
We climbed to pick cherries. - But a pitchfork was sticking out of it.
It's good. - Is that bad.
But the thread is broken. - But we did not fall on the pitchfork.
Is that bad. - It's good.
But there was a haystack under the tree. But we didn't fall on the stack either.
It's good. - Is that bad...
The main motives of such works are repeated repetition, recounting, references, a series of meetings or conversations, etc. The composition of cumulative fairy tales consists of exposition, cumulation and ending (denouement). Having lost the role of conspiracies, these stories pass into the rank of fairy tales, and subsequently into the children's genre of annoying fairy tales.
Epic cumulative tales are a group of works with similar types of cumulation, in which the same links either join each other, listed in a row, or each time complement an existing chain. The difference between this subtype of cumulative tales and the previous one lies in a more pronounced epic beginning. their composition is not more complicated than in the first case, but more attention is paid to the epic connections between the links of the chain. Due to this, epic cumulative tales are much longer, are performed in a casual tone, often with a slowing down of the narration. The exposition of such works is wider (for example, in the fairy tale "Gingerbread Man" the poverty of a grandfather and a woman is described, how a woman bakes a bun from the last flour). As in chain tales, in these tales a common motif of successive meetings of the main character: the bun, having escaped from his grandfather and grandmother, meets with a hare, a wolf, a bear, a fox. There is a certain gradation in these meetings. The connections between the links acquire an epic character: “Here a bun rolls through the forest and rolls. Here a hare meets him ... ".
The motifs often found in cumulative tales of this type are:
One for one, stepping on each other ("Turnip");
Proshuvannya in housing ("Horse's head", "The bear and the inhabitants of the horse's head", "Glove", "Animals in the glove", "Teremok");
Lure out of the house ("Goat-dereza", "Goat in the hare's house", "Goat fierce half-torn", "Cat and cockerel").
Unlike works of the first type, epic cumulative tales, as a rule, end unexpectedly, instantly: a turnip is pulled out, a dereza goat goes into a distant forest, a fox picks up a bun, a bear sits on a horse's head and blows all the animals. Only individual fairy tales end in the same way as chain ones. These include works like “How a man sold an ox”: a man goes to the market to sell an ox, on the way he changes it for a cow, a cow for a calf, a calf for a sheep, a sheep for a goat, a goat for a turkey, a turkey for a goose , a goose - on a duck, a duck - on a chicken, a chicken - on an awl, an awl - on a needle that it destroys in hay. There is also a similar tale about a blacksmith who has to make a plow out of iron, which he did not succeed, because part of the iron burned out; from what is left, the master tries to forge a scythe, then - a shovel, a sickle, glanders, than a needle, which he throws into the water, hears a "zilch" and is left with nothing. The epic nature of these tales is heightened by conversations between a husband going to the market and the people he meets, or a blacksmith with his customer.
A common type of epic cumulative tales are works in which the accumulation from best to worst (from smallest to largest) or vice versa occurs in the imagination or dreams of the main character. One example is “The Tale of Malanku”: a girl who carried milk for sale imagined how to buy chickens for the proceeds, she would sell chickens and eggs, start a household, build a big house and quickly get rich. The ending, as always, is unexpected: “How Malanka jumped up, and the milk sloshed out of the bank.” Such works are epic, because they are performed in a measured, casual tone.
Save - »Cumulative Tales. The finished work appeared.Animal tales are a kind of fairy tale genre. This is a conditional name. people and mushrooms often act in them, sometimes fantastic characters. There are about 10% of them in the Russian repertoire.
Basically, Russian fairy tales about animals are intended for children. Their appearance is based on ancient totemic giving, the animals in them are anthropomorphic. Traditions had a utilitarian designation, they taught how to treat animals. Traces of totemism are preserved, for example, in the tale of a bear on a lime leg.
Totemism assumed the veneration of the ancestors, the totem animal should not be offended. In fairy tales about animals, traces of the ancient primitive vision of the economy have been preserved. Hunting was the main source of life. Hence the plot of the beast in the pit is very popular.
The ability to deceive the beast helped to get food, therefore cunning has become the main feature of the characters. When the cult of animals ceased to be popular, the ironic depiction of the habits of animals entered the tale. For example, this moment is recorded in the fairy tale "The Man and the Bear".
Gradually, the world of animals in a fairy tale began to be perceived as an allegorical depiction of the world of people. There are elements of satire in fairy tales. Animals are capable of various tricks, tk. the basis was the myths about tricksters.
In animal tales, victory over the strong or the simpleton is welcome, victory over the weak is not allowed.
V.Ya Propp singles out six groups of tales of this kind:
- 1. Tales about wild animals (tales about a fox, about a wolf in an ice-hole, a beaten unbeaten one is lucky, a fox and a crane);
- 2. Tales about wild and domestic animals (a wolf visiting a dog, an old dog and a wolf, a cat and wild animals, a wolf and kids.);
- 3. A fairy tale about a man and wild animals (about a peasant, a bear and a fox, a bear is a fake leg);
- 4. Tales about domestic animals about a goat, about a horse and a dog);
- 5. Tales about a bird, a fisherman, etc. (about a crane and a heron);
- 6. Tales about other animals, plants (about a fox and a cancer, a gingerbread man)
Cumulative tales.
Not a very extensive type of fairy tales, which has specific compositional and stylistic features. According to Propp (Russian fairy tale), in the Russian fairy tale repertoire, one can count about 20 different types cumulative stories.
Their main compositional technique consists in the repeated, increasing repetition of the same actions, until the created chain breaks or unwinds in the opposite, decreasing order. The simplest example is “Turnip”, in addition to the principle of the chain, other principles of growth are possible, leading to a sudden comic catastrophe. Hence the name: comulare - pile up, increase.
The whole interest of fairy tales consists in piling up: there are no interesting plot events in them, on the contrary, the event is insignificant, and this insignificance is always in comic contrast, because it entails a catastrophe. An egg is broken, the whole village is on fire.
The composition is simple:
Exposure. Consists of a normal event or life situation. The egg breaks. Grandma bakes a bun. Not even called a plot, because it is not clear where the action develops. It develops unexpectedly, and this is the whole effect. The ways of connecting the chain with the composition are quite different. Turnip and Teremok. In the first case, the chain is motivated, in the second, there is no need for the arrival of new animals.
The principles by which the chain is built up are also very different. Sending, devouring (clay boy), the threat of devouring (kolobok), a series of exchanges (for a chicken duck), the consistent appearance of uninvited guests (teremok), creating a chain of human bodies or animal bodies (turnip)
Also cumulative are fairy tales built on various types of comic, endless dialogues.
Two styles of cumulative tales:
1. Some are told epic, calmly, slowly, like any other fairy tales.
2. piling up and growth is facilitated by the piling up of words. They are called formulas.
The beauty of these stories is in repetition. Their whole meaning is in colorful performance. It requires skill: sometimes it approaches tongue twisters, sometimes fairy tales are sung. These features make them a favorite among children and children's genre.
Tales about animals.
Fairy tales and cumulative fairy tales are distinguished according to the principle of structure. Tales about animals - according to the characters.
In general, everything is debatable, because fairy tales about animals can be classified both as cumulative (for a chicken duck) and magical (a wolf and seven kids) in some cases.
Tales about animals are conditional also because animals and people are interchangeable. “cat, rooster and fox” is the same beginning as in the fairy tale “Baba Yaga and Zhikhar”
Tales about animals will mean such fairy tales, in which the animal is the main object or subject of the narration. There are fairy tales where both animals and people are present. But you need to distinguish which of the characters is in the center of the story, and who is secondary. A fox stealing fish, not a man. The wolf is at the hole, not the women.
It must be remembered that such fairy tales have little in common with reality, that is, they do not reflect the natural habits of animals. Animals are conditional carriers of action. Tales about animals must be recognized as fantastic.
The Russian fairy tale about animals is distinguished not only by the originality of the repertoire, but also by its special character. Our animals live in dens and do not reflect the life of a person to the same extent as Western ones. They give the impression of greater immediacy.
In fairy tales about animals, there is no unity of composition: they are diverse. They are based on elementary actions. (bad advice)
The study of composition reveals two types of tales:
Finished, whole, with a certain plot, development and denouement. They are fabulous types in the conventional sense of the word. Fox and crane.
Most do not have plot independence.
There are stories that the cat is never told separately. Fox and wolf with holes. This connectivity is an internal sign of the animal epic, not inherent in other genres.
Pets are infrequent heroes of fairy tales. If they appear, then in conjunction with the forest, and not as independent characters. This allows us to assume ancient origin fairy tales about animals. Propp (Russian fairy tale)
cumulative tales.
Not a very extensive type of fairy tales, which has specific compositional and stylistic features. According to Propp (Russian fairy tale), in the Russian fairy tale repertoire, one can count about 20 different types of cumulative fairy tales.
Their main compositional technique consists in the repeated, increasing repetition of the same actions, until the created chain breaks or unwinds in the opposite, decreasing order. The simplest example is “Turnip”, in addition to the principle of the chain, other principles of growth are possible, leading to a sudden comic catastrophe. Hence the name: comulare - pile up, increase.
The whole interest of fairy tales consists in piling up: there are no interesting plot events in them, on the contrary, the event is insignificant, and this insignificance is always in comic contrast, because it entails a catastrophe. An egg is broken, the whole village is on fire.
The composition is simple:
Exposure. Consists of a normal event or life situation. The egg breaks. Grandma bakes a bun. Not even called a plot, because it is not clear where the action develops. It develops unexpectedly, and this is the whole effect. The ways of connecting the chain with the composition are quite different. Turnip and Teremok. In the first case, the chain is motivated, in the second, there is no need for the arrival of new animals.
The principles by which the chain is built up are also very different. Sending, devouring (clay boy), the threat of devouring (kolobok), a series of exchanges (for a chicken duck), the consistent appearance of uninvited guests (teremok), creating a chain of human or animal bodies (turnip)
Also cumulative are fairy tales built on various types of comic, endless dialogues.
Two styles of cumulative tales:
1. Some are told epic, calmly, slowly, like any other fairy tales.
2. piling up and growth is facilitated by the piling up of words. They are called formulas.
The beauty of these stories is in repetition. Their whole meaning is in colorful performance. It requires skill: sometimes it approaches tongue twisters, sometimes fairy tales are sung. These features make them a favorite children's and children's genre.
Tales about animals.
Fairy tales and cumulative fairy tales are distinguished according to the principle of structure. Tales about animals - according to the characters.
In general, everything is debatable, because fairy tales about animals can be classified both as cumulative (for a chicken duck) and magical (a wolf and seven kids) in some cases.
Tales about animals are conditional also because animals and people are interchangeable. “cat, rooster and fox” is the same beginning as in the fairy tale “Baba Yaga and Zhikhar”
Tales about animals will mean such fairy tales, in which the animal is the main object or subject of the narration. There are fairy tales where both animals and people are present. But you need to distinguish which of the characters is in the center of the story, and who is secondary. A fox stealing fish, not a man. The wolf is at the hole, not the women.
It must be remembered that such fairy tales have little in common with reality, that is, they do not reflect the natural habits of animals. Animals are conditional carriers of action. Tales about animals must be recognized as fantastic.
The Russian fairy tale about animals is distinguished not only by the originality of the repertoire, but also by its special character. Our animals live in dens and do not reflect the life of a person to the same extent as Western ones. They give the impression of greater immediacy.
In fairy tales about animals, there is no unity of composition: they are diverse. They are based on elementary actions. (bad advice)
The study of composition reveals two types of tales:
Finished, whole, with a certain plot, development and denouement. They are fabulous types in the conventional sense of the word. Fox and crane.
Most do not have plot independence.
There are stories that the cat is never told separately. Fox and wolf with holes. This connectivity is an internal sign of the animal epic, not inherent in other genres.
Pets are infrequent heroes of fairy tales. If they appear, then in conjunction with the forest, and not as independent characters. This suggests an ancient origin for animal tales. Propp (Russian fairy tale)
QUESTION 22. General characteristics of oral non-fairytale prose. The concept of oral narrative.
Memorial
Fabulat - legend, past
certificate
The term "folklore non-fairytale prose" refers to wide circle oral stories, in the English-speaking scientific tradition called legends. These are stories, legends and mythological stories, as well as such specific narrative genres as dream stories, skeptical stories (disbelief stories), modern urban legends.
The works of folklore non-fairytale prose, from the point of view of the people, are important as a source of information, and in some cases as an edification and warning. Consequently, the cognitive and didactic functions prevail over the artistic one.
Non-fairytale prose differs from fairy tales: its works are timed to real time and terrain, and people. Non-fairytale prose is characterized by non-isolation from the flow of everyday speech, the absence of special canons .. in general, the stylistic form of an epic narration about reliable is characteristic: the old people used to say ... my mother told ... here in our village with one woman ...
An important feature of non-fairytale prose is the plot, the content. Usually the plots are one-motif, they can be told both concisely and in detail.
Genres: legends, bylichki and anecdotes. The problem of genre differentiation is complex. Product flexibility. Blurring of genre boundaries led to interactions with fairy tales and among themselves. One and the same plot could take different forms, appearing in the form of a bylichka, a legend, a legend or a fairy tale. It is no coincidence that they were often published in collections of fairy tales.
Today, a generally recognized system of genres of non-fairytale prose operates in the folklorist, preserving the thematic principle at its core. The following thematic (genre) groups are distinguished in it: legend, legend, bylichka, byvalshchina, tale, rumors and gossip. Veselov.
Rapprochement of folk non-fairytale prose and children's scary stories not by chance. Both those and others were formed "under the influence of ideas about the mutual permeability of two worlds," that ", parallel,<…>and "this", inhabited by people who also, under certain conditions, manage to overcome the boundaries of another world and even return from it. Moreover, the emanations of a mythical creature, which contains a magical and some kind of energy force, or the signs-symbols of its locus can serve as completely material things in "this" world, containing, however, one or another spiritual substance" [Krinichnaya
The concept of oral narrative.
Narrative- history (story), historically and culturally based interpretation of some aspect of the world from the perspective of some human personality
an oral narrative story in the first person about events that happened to the narrator himself or to someone of his acquaintances (personal experience stories, or stories personal experience), made for a specific audience., such stories are one of the most common forms of verbal interpersonal communication, occurring at a wide variety of levels of communication, in a variety of ways. different situations.
I.S. Veselov.
Oral story is considered as a combination of three components. First, as a material object - a verbal text that has a beginning and an end, internal structure. Secondly, as an act of interpersonal communication (narrator and listener with their own goals and objectives). Thirdly, as information (knowledge) transmitted to the interlocutor.
Oral story is a verbal form of translation general knowledge, i.e. folklore in nature. Being a folklore text, it meets such qualities as repetition, variability and non-authorship.
The repetition of oral stories is undeniable. The preamble of the texts is references to its regular reproduction: “My mother told me…”, “Grandfather said…”, “We love to remember..”, etc. Thus, judging by these references, even in the absence of material fixations of the same text in different situations, we can talk about its repeatability.
The variability of the text is a consequence of its spontaneous reproduction. Informed listeners react to a change in the text: “Last time you didn’t say so ...”, “Do you remember, there’s more ...”, etc. Variability can be traced in the presence of records of oral conversations and written texts (in memoirs, letters).
The unit that all definitions of narratives operate on is the event. As already mentioned, an event is any violation of the normal course of life ("an event is the crossing of a semantic boundary" - Yu.M. Lotman). An oral story is characterized by indistinguishability between a life event and a text event, since the text has arrogated to itself the right to call an event an event. "Until the incident has received a name, it cannot be identified as an event" . Since the concept of an event is closely related to the norm, it is social. Depending on the nature of the norm of society, completely different incidents will be considered events in it, and they will also be identified in different ways. So, an atheist will not notice a drop of moisture on an icon, but for a believer, myrrh-streaming will be an event called a "miracle."
The next stage in the formation of an oral story is the linking of events into a plot. Some events are given in the text the meaning of the beginning (tie), others - the ending of the plot. The concept of plot in narratology is associated with the figure of the hero. The goals, objectives and desires, the needs of the hero form the beginning of the story, and their implementation / non-realization constitutes its finale. Lack and its replenishment - this is the starting and ending point of the hero's movement. Herocentricity underlies the classical definitions of the plot (V.B. Shklovsky, B.M. Eikhenbaum, Yu.M. Lotman). At the same time, most of the oral stories are distinguished by the passivity of a person, the events in them take place outside the will of a person. A person, at best, is assigned the role of an interpreter. Thus, plots with an active hero and plots with a passive hero (the main character) are distinguished. In texts with a passive hero in modern oral stories, the movement of the plot is associated with the way of interpreting events, building them into cause-and-effect relationships. A person pays attention to an event that breaks the flow ordinary life. Random disrupts the balance of the world order, which can be restored by explaining it, i.e. given the status of law. Thus, the reason (tie) is selected in the past for the existing ending.
1. Causal texts include texts with a passive hero, retrospectively linking events: from the final event-effect to the initial event-cause.
2. "Unfinished" narratives - texts in their structure, associated with cause-and-effect: there is an event that is fraught with interpretation, but the effect or cause is only implied. These texts can be folded into a formula "reminder" of a legend or tradition (etiological formulas) - then the reason is omitted
3. Narratives with an active hero are built according to the classical plot scheme, based on the actions of the hero, who overcomes the "semantic border" (this method of linking events is called "heroocentric" in what follows). The main constructive task is performed by the semantically boundary situation. Since the actor is a person, then the events are located in the sphere of "jurisdiction" of a person: for example, an ethical choice or overcoming social, ideological, bureaucratic barriers. Such plots are focused on literature and are prone to conjecture: these are historical legends, close to historical anecdotes, stories.
The link in oral stories with the active hero is the action hero. It violates, by definition Yu.M. Lotman, a semantic boundary dividing the text space into two semantic subspaces. In classical folklore texts, this definition has direct meaning: the space of the text is really divided into pure and impure, one's own and someone else's. In the texts of modern tales and historical legends, the semantic space has a metaphorical meaning. The boundary often lies not in real spatial coordinates, but in the realm of ethical or cultural imperatives.
In causal texts, the way of interpretation, the ideological attitude of the narrator serves as a plot link of events. Its basis may be ethical rule, an idea of the reason for the appearance of any objects of reality - etiology, beliefs and signs, etc. The bundle focuses semantic meaning story. The genre register of the story depends on the nature of the link. Belief in Divine Providence and Providence interpret events in miracles, the idea of the existence of other worlds - stories about UFOs, poltergeists, etc., belief in witches - stories about the evil eye and corruption
storytelling situation. Storytelling takes place during a conversation, or an established "communication corridor" (S.B. Adonieva's term). Storytelling in general, and especially storytelling folk stories, there is not only the communication of information, but also the manifestation of one's life credo. The exchange of stories demonstrates a high degree of openness of the interlocutors. Various situations of interpersonal communication (families, youth "hanging out", meeting classmates, drinking beer on a Friday night, etc.) correspond to specific topics of conversation and a repertoire of narratives.
The roles of the participants (leading, teaching, listening) depend on the age and gender social status interlocutors.
At all levels of analysis, differential features of the texts were identified:
by the nature of the actor - with an active and passive hero,
according to the way of linking events in the text - causal, "heroocentric",
by the nature of the plot connection - ethical, mythological, religious,
according to the deictic orientation of the spatio-temporal relations of the text - personal and public chronotope,
according to the degree of reliability of the text - strict reliability, non-strict reliability,
feature set,
which together were used in the definition of individual genre complexes of oral stories. At the same time, "genre" is understood not only as a thematic or stylistic commonality of texts, but as a group of texts united by a commonality of syntagmatic, semantic and pragmatic characteristics (what, how and why). Thus, as a result of the dissertation research, it became possible to more clearly define individual genre complexes (terms already established in folklore are used as designations for these complexes).
Bylichki(mythological stories) - texts of a causal type with a mythological plot connection, a personal chronotope, strict or non-strict reliability, with the following possible set of functions: identification, didactic, regulatory, orientational, psychotherapeutic.
lore- texts of a cause-and-effect type with a mythological or ethical plot connection, a social chronotope, strict or non-strict reliability with possible functions: identification, didactic, regulatory, orientational, informational.
Wonders(legends) - texts of a causal type of plot with a religious (Christian) plot connection, a personal or public chronotope, preferably of strict reliability, with an identification, didactic, regulatory, orientational, psychotherapeutic function.
Gossip- texts of a cause-and-effect type of plot with a mythological or ethical link, preferably a social chronotope, of non-strict reliability, with a regulatory, psychotherapeutic, prognostic, informational function.
Bikes(historical anecdotes) - texts with an active hero with an ethical plot connection, a social chronotope, preferably of non-strict reliability, with an identification, regulatory, entertaining function.
QUESTION 23. mythological characters oral prose, a reflection of the traditional worldview in it.
Design and research work
Head: Smirnova N.V.
3rd grade students
MOU "Secondary School No. 3"
PURPOSE
PURPOSE
Show oral value
RESEARCH
RESEARCH
folk art in
culture education
schoolchildren;
Learn to know more deeply
life and customs of the Russian
people
TASKS
TASKS
learn from additional
literature as annoying
fairy tales;
conduct a survey on this topic;
create your own boring tales;
collect a collection of boring tales,
which the teacher can
use in future work
on this topic.
HYPOTHESIS
HYPOTHESIS
Let's assume that annoying
fairy tales were invented
tired storytellers who
wanted to take a break from
inquisitive listeners.
results
results
research
research
67 people participated in the survey
Do you love fairy tales?
Do you love fairy tales?
91% answered YES - that's 61 people
Do you know what boring fairy tales are?
94% answered NO - that's 63 people
Would you like to get acquainted with boring fairy tales?
99% answered YES - this is 66 people
Origin story
Origin story
fairy tales. A fairy tale is a lie, but there is a hint in it,
fairy tales.
A fairy tale is a lie, but there is a hint in it,
good fellows lesson.
good fellows lesson.
A.S. Pushkin
A.S. Pushkin
Fairy tales have come to us from time immemorial.
Written by folk narrators
wonderful stories passed from mouth to mouth
mouth, from generation to generation. After
the time has come when fairy tales began to be collected and
write down.
Sometimes, fairy tales were modified and supplemented
storytellers - after all, the "age" of many fairy tales
counted for thousands of years! Fairy tales are
entertaining stories about extraordinary,
fictional, magical stories,
events, adventures of people, animals,
items.
Existence of cumulative
Existence of cumulative
(boring) fairy tales
(boring) fairy tales
Boring fairy tale - fairy tale
tedious, boring,
annoying. Boring fairy tale
affects any listener if
there is a corresponding prerequisite -
pestering the listener to the storyteller and
unwillingness to speak
fairy tale
“Once upon a time there was a king, the king had a court, on
there was a stake in the yard, a bast was on the stake; not
say from the beginning?
Many explorers and picky
listeners perceive annoying
fairy tales, as "fake", as
Boring tales were invented
tired storytellers who
wanted to take a break from long stories,
but inquisitive listeners still do not
left them alone. These are fairy tales
which consist only of the beginning and
end. These are fairy tales in which many times
repeating the same piece
text.
BORING TALE - a fairy tale in which the same fragment of text is repeated many times.
Such a fairy tale is like a chain with a lot of
repeating links, the number of which depends only
from the will of the performer or listener. Links can
be fastened with a special phrase “do not start
fairy tale first”, after which the fragment repeats
for the next repetition of the tale. The plot of the fairy tale does not develop, the connecting question
again and again. In some of the tedious tales the narrator
causes the listener only bewilderment and annoyance.
asks a question that the listener must answer
The most common boring tales are the tale about white bull
and the tale of the priest and his dog.
give an answer that is used
Example:
- Shall I tell you a fairy tale about a white bull?
- Tell.
- You tell me yes I say yes tell you
a fairy tale about a white bull?
- Tell.
- You say, yes, I say, yes, what will you have,
how long it will be! Should I tell you a fairy tale
about the white bull?
…Tell...
...
The principle of constructing a fairy tale
AT boring fairy tale many times
repeating the same
part of the text, and
number of repetitions of one
and the same phrase can be
endless. It depends
only by desire
storyteller and patience
listeners.
The bear came to the ford
The bear came to the ford
Bultykh in the water!
Bultykh in the water!
He's already wet, wet, wet,
He's already wet, wet, wet,
Already he is kitty, kitty, kitty,
Already he is kitty, kitty, kitty,
Wet, vykis, got out,
Wet, vykis, got out,
dry.
dry.
Got up on the deck - Bultykh
Got up on the deck - Bultykh
in water!
in water!
He's wet, wet, wet...
He's wet, wet, wet...
OUR FAIRY TALES
OUR FAIRY TALES
It's not easy to write stories, but it's interesting.
You can write them about nothing at all. This and
been done by people at all times. When was
nothing to do at all, invented fairy tales
annoying.
These are stories where the end is
the beginning, and the beginning is the end, so their
you can talk endlessly and thus
bother, i.e. bother someone.
Now listen to boring tales 3
"B" class.
Introduction
1. Definition of the concept of "fairy tale"
2. History of collecting fairy tales
3. Cumulative tales
3.3 Style of cumulative tales
4. German fairy tales
Conclusion
Introduction
Empirically, we all understand what a fairy tale is, and we have a more or less clear idea of it. We, perhaps, keep poetic memories of her, we remember her from childhood. We intuitively feel its charm, enjoy its beauties, vaguely understand that we have something very significant in front of us. In understanding and evaluating a fairy tale, we are guided by a poetic instinct.
A poetic flair is absolutely necessary for understanding a fairy tale, and not only a fairy tale, but any works of verbal art. However, poetic perception, although necessary for understanding the tale, is still not enough. It will be fruitful only in conjunction with strict methods scientific knowledge and research.
Science has done a lot to study fairy tales. There is a huge, boundless literature about the fairy tale. Before the war, an encyclopedia of fairy tales, Handwörterbuch des Märchens, was published in Germany, several volumes were published. But the war interrupted this endeavor. In Germany, a new edition of this encyclopedia is being prepared at the level of modern scientific requirements. At the Berlin Academy of Sciences there is an Institute of German Ethnology. This institute publishes a yearbook that reviews everything that is being done in the countries of Europe in the study of fairy tales.
The purpose of this work is to study the cumulative fairy tale within the framework of culture.
The tasks of the work are to consider the history of the fairy tale, to reveal the theme "Fairy tale and modernity", to define the concept of "fairy tale", and also to characterize German fairy tales.
The scientific understanding of the term "fairy tale" has its own history.
One of the definitions adopted in Europe was given by Boltier and Polivka. Its meaning boils down to the following: “a fairy tale from the time of Herder and the Brothers Grimm is understood to be a story based on poetic fantasy, especially from magical world, a story that is not connected with the conditions of real life, which in all walks of life is listened to with pleasure, even if they find it incredible or unreliable.
Although this definition is accepted, it reveals a number of weaknesses:
1. The definition of a fairy tale as "a story based on poetic fantasy" is too broad. Any literary and artistic work is based on poetic fantasy.
2. There is no magic in most fairy tales. It is only in the so-called fairy tales. All non-fairy tales remain outside this definition.
3. The researcher will not agree that a hundred fairy tales "are not connected with the conditions of real life." The question of the relation of fairy tales to real life is very complicated.
4. The formula that a fairy tale delivers aesthetic pleasure, even if the listeners find it "incredible or unreliable", means that the fairy tale can be considered reliable and probable, that it depends entirely on the listener.
The definition is made through the nearest genus and specific difference. In this case, the nearest genus should be understood as a story in general, a narrative. A fairy tale is a story, it belongs to the field of epic art. But not every story can be called a fairy tale.
A fairy tale is defined by its plots. Indeed, when we think of a fairy tale, we think of fairy tales about the fox, about the kidnapped princess, about the firebird, etc., i.e. imagine a range of scenarios.
The plot is very essential for understanding and studying a fairy tale, but a fairy tale is still not determined by its plots. A fairy tale is a story that differs from all other types of narration by the specificity of its poetics.
This definition still does not fully reveal the essence of the tale and requires further additions.
The definition given by A.I. Nikiforov, says: "Fairy tales are oral stories that exist among the people for the purpose of entertainment, having content that is unusual in the everyday sense of events and are distinguished by a special compositional and stylistic construction." This definition has not lost its scientific significance so far. It should form the basis of the understanding of the tale.
This definition is the result scientific understanding fairy tales, expressed in the shortest formula. Here are given all the main features that characterize the tale. Fairy tale, folk tale, there is a narrative folk genre. It is characterized by its form of existence. It is a story passed down from generation to generation only through oral transmission.
A fairy tale is characterized as a story, i.e. it belongs to the narrative genre. A story means something to be told. This means that the people perceive the fairy tale as a narrative genre par excellence.
Another sign established by Nikiforov is that the tale is told for the purpose of entertainment. It belongs to the entertainment genre.
The sign of entertainment stands in connection with another sign of a fairy tale, namely, the unusualness of the event that constitutes the content of the fairy tale. Epic folklore does not tell about the ordinary, worldly, everyday life at all. It serves only as a background for subsequent, always extraordinary events.
Next sign- a special compositional and stylistic construction. Style and composition can be combined general concept poetics and say that a fairy tale is distinguished by its specific poetics. It is this feature that is decisive for determining what a fairy tale is.
There is, however, one sign, although outlined, but not sufficiently disclosed and consisting in the fact that they do not believe in the reality of what is told. That the people themselves understand the fairy tale as fiction. This is one of the main and decisive signs of a fairy tale.
This is a very essential sign of a fairy tale, although at first glance it may seem that this is not a sign of a fairy tale, but a property of the listeners. They are free to believe or not believe.
Thus, we have received a certain definition of a fairy tale, reflecting modern point perspective on it and giving the opportunity for further study of it.
Different types Fairy tales differ not only in external signs, the nature of plots, characters, poetics, ideology, they can turn out to be completely different in their origin and history and require different methods of study.
2. History of collecting fairy tales
At first glance, it seems that it is very easy to write down a fairy tale, that anyone can do it without special preparation.
To some extent this is true. However, in order for such a record to have scientific value, certain conditions must be met, one must know what to record and how to record. In this regard, views on the accumulation (collection) and recording of fairy tales changed dramatically. These views partly depended and now still depend on the general level of the science of folk art, from the socio-political views of the collector and from the goals that the collector sets himself.
In ancient Rus', for example, it never even occurred to anyone to write down fairy tales. Fairy tales were subjected not only to official contempt, as something completely noteworthy, they were persecuted.
The first trends come to Russia from Western Europe and penetrate through Poland. Churchmen were the first compilers of narrative collections. In Catholic worship, it is customary to deliver instructive sermons in churches. These sermons were abstract and boring. To keep the attention of the parishioners and make them listen, the sermons were equipped with interesting stories, which were given some kind of moralizing or religious-philosophical interpretation. For the purpose of such use, collections of short stories were created. They were widely used, were very popular, were translated into the languages of Europe and have come down to us.
In addition to such collections, there are stories of a semi-folklore nature, Western and oriental origin.
3. Cumulative tales
3.1 General characteristics
There is not a very extensive type of fairy tales that have such specific compositional and stylistic features that their identification in a special category does not raise any doubts. These are the so-called cumulative tales.
The existence of cumulative tales as special kind was noticed long ago, but the appropriate conclusions were not drawn either for classification or for studying the tale. So, processing and translating into English language index of Aarne's tales, the American scientist Thompson provides 200 numbers for them. Translating the same index into Russian, prof. Andreev introduces one summary number for all cumulative tales, naming it "Cumulative tales of various kinds." Thus, both researchers were faced with the need to somehow highlight this material, but went in opposite directions: one provides for two hundred types of fairy tales, the other - one. At the same time, however, the question of what kind of tales to call cumulative remains unclear, and a large number of typical cumulative tales are scattered over other categories. Especially many cumulative tales are listed in the section of fairy tales about animals. Aarne's system does not allow for their exact selection, and attempts to introduce corrections into the index are of a compromise nature. What is needed here is not adjustments, but, in essence, new system classification based on the study of the poetics of the fairy tale.
In the Russian fairy tale repertoire, one can count about twenty different types of cumulative fairy tales. It is necessary to resolve the question of what, strictly speaking, cumulative tales are. The vagueness of this question leads not only to a confused classification, but to their false conclusions on the merits of the material being studied.
So, B.M. Sokolov in his folklore course devotes a special chapter to the composition and style of animal tales. This chapter, however, is entirely based on cumulative tales, and the animal tale is not represented by any example.
The main compositional technique of cumulative fairy tales consists in some kind of repeated, ever-increasing repetition of the same actions, until the chain created in this way breaks or unwinds in a reverse, decreasing order. The simplest example of an increase leading to a chain break is the well-known “Turnip”, an example of the reverse development of the chain is the fairy tale “The Cockerel Choked”. In addition to the chain principle, other types of gradual build-up or accumulation are possible, leading to some sudden comic catastrophe. Hence the name of fairy tales - to accumulate, pile up, increase. AT German they are called Kettenmärchen, Häufungsmärchen, Zählmärchen.
All the interest and all the content of fairy tales consists in this piling up. There are no interesting events of the plot order in them. On the contrary, the event itself is insignificant, and the insignificance of this event is sometimes in comic contrast with the monstrous increase in the consequences that follow from it and with the final catastrophe.
These tales are twofold in style and method of execution: some we call formulaic, others - epic. Characteristic and typical of cumulative tales are the first ones, i.e. formulaic.
3.2 Composition of cumulative tales
The composition of cumulative fairy tales is extremely simple: the exposition most often consists of some insignificant event or a very ordinary situation in life: a grandfather plants a turnip, a woman bakes a bun, a girl goes to the river to rinse a mop, an egg breaks, a man aims at a hare. This exposition cannot even be called a plot, since it is absolutely not clear from where the action develops. It develops unexpectedly, and in this unexpectedness one of the main artistic effects of the tale. There are a lot of ways to connect a chain with an exposure. In the fairy tale about the turnip, the creation of the chain is caused by the fact that the grandfather cannot pull it out. In the fairy tale "Terem of the fly" a fly builds a tower or settles in some kind of thrown mitten. But then one after another, usually in increasing order, the animals appear and ask for a hut. The last is the bear, who ends up sitting on this tower.
In the first case (turnip), the creation of a chain is motivated and internally necessary, in the second case (teremok) there is no internal need for the arrival of more and more new animals. On this basis, two types of these tales could be distinguished. The second prevails, the art of such fairy tales does not require any logic.
A whole series of cumulative fairy tales is built on the successive appearance of any uninvited guests. Other tales are built on a series of exchanges, and the exchange can occur in descending order - from best to worst or from worst to best.
The cumulative fairy tales can also include those in which all the action is based on various types of comic endless dialogues.
3.3 Style of cumulative tales
With a perfectly clear composition system, cumulative fairy tales differ from other fairy tales in their style, their verbal attire, and the form of their performance. However, it must be borne in mind that in terms of form and style, as already indicated, there are two types of these tales. Some are told epically calmly and slowly, like all other fairy tales. They can only be called cumulative by their underlying composition.
Along with this, there is another, more vivid and typical type of cumulative fairy tales. The heap or buildup of events here corresponds to the heap of words. These can be called "formula". The boundary between these two species is unstable. The same type can different masters performed in one way or another. But there is undoubtedly an inclination of the types of the tale towards one or another mode of execution. In the latter case, when attaching each new link, all previous links are often repeated. The beauty of these tales lies in repetition. Their whole meaning is in colorful artistic performance. Their execution requires the greatest skill: they sometimes approach tongue twisters, sometimes they are sung. Their whole interest is an interest in the word as such. A heap of words is interesting only when the words themselves are interesting. Therefore, such tales gravitate toward rhyme, verse, consonance and assonance, and in this striving they do not stop at bold new formations.
These features of cumulative fairy tales make them beloved by children who are so fond of new, sharp and bright words, tongue twisters, etc., so cumulative fairy tales can rightfully be called, for the most part, a children's genre.
3.4 Origin of cumulative tales
Now, when even an exact description of cumulative tales has not been made, and often they are not recognized as a special category, the problematics of the cumulative tale cannot yet be resolved with sufficient completeness. The principle of cumulation is felt as relic. The modern educated reader, it is true, will read or listen to a number of such tales with pleasure, admiring mainly the verbal fabric of these works, but these tales do not correspond to our forms of consciousness and artistic creativity. They are the product of earlier forms of consciousness. We have an arrangement of phenomena in a row, where modern thinking and artistic creativity it would no longer begin to enumerate the entire series, but would jump over all the links to the last and decisive one. A detailed study of fairy tales should show exactly what series are present here and what logical processes correspond to them.
Primitive thinking does not know space as a product of abstraction; it does not know generalizations at all. It knows only the empirical state. Space, both in life and in fantasy, is overcome not from the initial link to the final one, but through concrete, really given intermediate links. Stringing is not only an artistic device, but also a form of thinking that affects not only folklore, but also in the phenomena of language. In language this would correspond to agglutination, i.e. name without inflections. But at the same time, fairy tales already show some overcoming of this stage, its artistic use in humorous forms and purposes.
Cumulation as a phenomenon is characteristic not only of cumulative fairy tales. It is part of other tales, such as the tale of the fisherman and the fish, where the growing desires of the old woman are pure cumulation. Cumulation enters the system of some rituals, reflecting the same way of thinking through mediating links.
4. German fairy tales
Jakob and Wilhelm Grimm are prominent representatives of the German fairy tale. The first fairy tales of the Brothers Grimm appeared in three volumes in 1812. This was the first edition of the original folk tales recorded in most directly from the performers. Some texts retain the dialect. True, Wilhelm Grimm subjected the texts to light processing, leveling them under a somewhat conditional folk style, but did so without affecting the plot. With such a reservation, the texts can be recognized as authentic. This was a huge conquest, as a new and correct way was found to understand the true fairy tale.
The second problem posed by the Brothers Grimm is the origin of the fairy tale. This problem occupies science until now.
Thus, the main merit of the Brothers Grimm lies in the new, actually scientific formulation of the questions of studying the fairy tale. And they not only raised questions, but also solved them. The Brothers Grimm were not so much folklorists as philologists, linguists.
The problem of the similarity of fairy tales is solved in the same way as the problem of the similarity of languages, i.e. assertion of the existence of some ancestral home European languages in which lived a single people who spoke the same language. Through gradual settlement and settling, individual peoples who spoke their own language.
Another question, the question of the origin of the tale, was more difficult to resolve, and it was impossible to rely on the data of linguistics. The Brothers Grimm say religious background fairy tales. What has now come down to us as fairy tales was a myth in the era of Indo-European unity. Science did not yet have sufficient means to establish what was the nature of this myth.
Since the purpose of our work is to consider cumulative fairy tales, we will give some examples of such fairy tales taken from the "Tales of the Brothers Grimm".
The first example we will look at is the fairy tale “Der gjldene Schlüssel” (“The Golden Key”).
An example of cumulation here is the following: an action from household topics- Zur Winterzeit, als einmal ein tiefer Schnee lag, musste ein armer Junge hinausgehen und Holz auf einem Schlitten holen. - In winter, when the snow was deep, the poor young man went out of the house to chop wood. This action is directly related to life. Next comes the direct stringing of events. The young man finds the key, looking for a lock to it. Wo der Schlüssel wäre, müsste auch das Schloss dazu sein. And finally finds. In this case, a chain of locks is built, among which the young man is looking for a suitable key for the found one. What else distinguishes this cumulative tale is the simplicity of presentation.
Another example of a cumulative tale is the tale "Die Brautschau" - literally "The Choice of the Bride". In this case, the everyday theme is also considered. There is a stringing of events. The groom chooses his wife from three sisters, trying on a ring for each of them. To whom it suits, she will be his wife. In this case, there is a consistent “sticking” of people to each other. That is, one sister is replaced by the second, the second by the third.
Another example: the fairy tale "Der Fuchs und das Pferd" - "The Fox and the Horse". Here, in addition to the everyday theme: “Es hatte ein Bauer en treues Pferd, das war alt geworden und konnte keine Dienste mehr zu tun” - “One peasant had a faithful horse that had grown old and could no longer perform its service”; the theme of animals is also touched upon, which is also a kind of cumulative fairy tale.
“Der Hase und der Igel” – “The Hare and the Hedgehog” – is an example of a cumulative animal tale. In addition, a stringing of events takes place here: a meeting of a hare and a hedgehog in the forest, then a competition in speed arranged between them, and, as a finale, a comic end - the fast hare remains the loser.
"Das Lügenmärchen" - "A fairy tale is a fiction." A direct example of stringing events and actions. Presented by the author in the form of fiction. The simplicity of the story is observed, in this tale the phenomenon of tongue twister is observed. “Ein Frosch sass und frass eine Pflugschar zu Pfingsten…”. Which is also a sign of a cumulative fairy tale.
All examples given are prominent representatives cumulative stories. Of course, in German fairy tales there is no such stringing of actions or people as in Russian folk tales, for example, "Turnip", "Teremok", but nevertheless similar phenomena are observed.
In Germany, a fairy tale is perceived as a symbol of the deepest wisdom. Approved. That the fairy tale goes back to the myths about the gods. What can be traced in the work of the Brothers Grimm. In many fairy tales, divine and supernatural themes and phenomena are touched upon. "The Tale of the Lonely Boy", "Messengers of Death", etc. The Brothers Grimm collected bit by bit all the data related to the pagan cultures of the ancient Germans. What is reflected in the work of the Brothers Grimm.
Conclusion
Just as a song is sung, a fairy tale tells. A fairy tale is not intended to be read by the eyes, but to be perceived by ear. A fairy tale is a typical folklore phenomenon.
It is impossible to recognize as fairy tales everything that is placed in a collection of fairy tales. The world of the fairy tale is extremely colorful, varied and mobile. The topic of classification, which we touched upon a little in the framework of this work, is important not only because it brings order and system to the motley world of a fairy tale. She has and is pure cognitive value. Different types of fairy tales differ not only in external features, the nature of plots, characters, poetics, ideology, they can turn out to be completely different in their origin in history and require different methods of study.
The purpose of our work was to consider not the entire classification of fairy tales, but only its separate type - the cumulative fairy tale. In paragraph 3 of this work, we gave detailed description this type of fairy tale.
In conclusion of the work, it should be said that the tasks set before us at the beginning of the work have been completed. Since we have given the definition of the concept of "fairy tale", as it is considered by various authors and researchers. We have revealed the theme of the fairy tale and modernity, that is, how the fairy tale is considered today, from what positions and sources it was formed in order to appear before us in its current form. We also disassembled genre types cumulative fairy tales on the examples of German fairy tales, as they are presented by the Brothers Grimm. And also on some examples of Russian folk tales.
Bibliography
1. Akimova A.F. Fairy tales. - Moscow: "Culture", 2001. – 288 p.
2. Brothers Grimm. Children's fairy tales. – Berlin – 2000 – 319 p.
3. Veselovsky A.N. Folklore works. - Moscow: "IMLI-RAN", 2004. – 544 p.
4. Desnitsky V.A. Folklore works. - M., 2003. – 471 p.
5. Propp V.Ya. Russian fairy tale. - St. Petersburg: "University", 1995 - 334 p.
6. Propp V.Ya. Folklore and reality. Selected articles. - Moscow: "Nauka", 2002. – 358 p.
7. Rakhimova E.G. German folklore. - Moscow: "Foreign Literature", 2004. – 511 p.
8. Sokolov B.M. Russian folklore. Story. - Moscow: "Creativity", 2003. – 511 p.
9. Toporkov A.L. Tales of the Brothers Grimm. - Moscow: "Foreign Literature", 2000. – 413 p.
10. Yagich V.I. The work of the Brothers Grimm. - Moscow: "Nauka", 2000. – 219 p.
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