The main directions of the development of folklore in the XIX century. Modern folklore

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Kaminskaya Elena Albertovna. Traditional folklore: cultural meanings, current state and problems of actualization: dissertation... doctors: 24.00.01 / Kaminskaya Elena Albertovna; [Place of defense: Chelyabinsk State Institute of Culture], 2017.- 365 p.

Introduction

CHAPTER 1. Theoretical aspects of the study of traditional folklore .23

1.1. Theoretical foundations for understanding traditional folklore in modern times 23

1.2. Analysis of aspects of the definition of folklore as a socio-cultural phenomenon 38

1.3. Properties of traditional folklore: clarification of essential characteristics 54

CHAPTER 2 Interpretation of the features of traditional folklore in the semantic field of culture 74

2.1. Cultural meanings: essence and embodiment in various forms of culture 74

2.2. Cultural Meanings of Traditional Folklore 95

2.3. Anthropological foundations of meaning-making in traditional folklore 116

CHAPTER 3 Traditional folklore and problems of historical memory 128

3.1. Traditional folklore as a specific embodiment of cultural and historical tradition 128

3.2. Place and role of traditional folklore in historical memory 139

3.3. Traditional folklore as a cultural monument in the context of the relevance of cultural heritage 159

CHAPTER 4 Modern folklore culture and the place of traditional folklore in its context 175

4.1. Traditional folklore in the structural and content space of modern folklore culture 175

4.2. Functional significance of traditional folklore in the context of contemporary folklore phenomena 190

4.3. Sociocultural environment of modern folklore culture 213

CHAPTER 5 Ways and Forms of Folklore Actualization in Modern Socio-Cultural Conditions 233

5.1. Professional artistic culture as a sphere of existence of traditional folklore 233

5.2. Amateur art as one of the mechanisms for updating traditional folklore 250

5.3. Mass media in the actualization of traditional folklore 265

5.4. Traditional folklore in the context of educational systems 278

Conclusion 301

Bibliographic list 308

Introduction to work

The relevance of research. In modern conditions of increasing intensity of modernization trends, culture appears to be a self-renewing system in which there is an increasingly rapid change in patterns, styles, and options for cultural practices. The increase in the complexity and density of heterogeneous cultural and communicative processes enhances the fluidity and permanent changeability of the state of culture. At the same time, the effects of unification, characteristic of globalization and innovation processes, are clearly manifested, to a certain extent weakening, blurring the specific, original features that make up the uniqueness of the content of each national culture. Under such conditions, the search for fundamental grounds for the preservation of cultural identity is clearly manifested, which, in turn, determines, among other things, a closer attention to traditions in all their manifestations. That is why such significant importance is attached to those cultural phenomena, its forms and methods of organization, which are based to varying degrees on the traditional manifestations of the content of being and the mechanisms of its existence, which determines all new appeals to the problems of preserving traditional folklore, both from the point of view of theoretical studies , and from the standpoint of real cultural practices.

Despite the rather frequent use of the concept of "traditional folklore" in scientific research, primarily in the field of folklore, nevertheless, even among experts in this field, sometimes there are doubts about the legitimacy of its use. It should be noted that when referring to the analysis of certain phenomena that are included in the vast sphere of various artifacts and cultural practices of a folklore nature, which is by no means unitary homogeneous, one should develop a division of the main options for their implementation. Relying on

the works of V. E. Gusev, I. I. Zemtsovsky, A. S. Kargin, S. Yu. Neklyudov, B. N. Putilov and others, we believe that there are all objective grounds for differentiating the historically established forms and types of folklore, including archaic folklore, traditional folklore (in some cases another name is used - classical), modern folklore, etc. It should be noted that the emergence of new historically conditioned folklore phenomena does not exclude the continuation of the life of traditionally existing folklore and their event in the cultural space . This means that in modern times one can find their various manifestations, and not only in a “pure” form, but also in diverse forms of interaction both with each other and with other cultural phenomena.

Focusing on the traditional nature of folklore (as follows from
the title of the work), it is proposed to consider, first of all, the most
stable, lasting and rooted,
manifestations of folklore, including in modern sociocultural
practices. In its meaningful forms, traditional folklore
shows a kind of "connection of times", which contributes to the strengthening
sense of identity and, in general, necessitates careful
relationship to him. The relevance of scientific appeal to the traditional
folklore is also emphasized by the fact that in modern
sociocultural situation, he turns out to be one of the special carriers
historical memory, and as such is capable of a peculiar
artistic and figurative representation of the diversity of cultural and

historical fate of the people.

It should also be recognized as an important circumstance that traditional folklore specifically, in the context of modern folklore culture, reveals actual existence, therefore its scientific understanding becomes not only one of the essential theoretical tasks, but also has a pronounced practical

significance. However, modern conditions do not always favor its preservation in viable forms. All this determines the increased research attention to traditional folklore, the need to understand how these problems can be resolved, based on modern circumstances.

Thus, the relevance of the study of traditional

folklore is conditioned, first of all, by the conditions of the culture itself, in
which both constant and

transformation elements. Significant predominance of the latter
can lead to a situation of "innovation fever" when
society will be unable to cope with the flow and speed
changes in the content aspects of culture. It is the stable

elements of culture, to which, undoubtedly, belongs

traditional folklore, in this case acquire special significance as a constitutive component of its development. Theoretical coverage of the specifics and significance of traditional folklore in modern culture will make it possible to more deeply and accurately see its natural place in the synchronic and diachronic aspects of cultural life, its cultural potential in the most relevant contexts.

Thus, we can state a contradiction between

objective needs of modern society based on
stable, constituting cultural identity, deep
traditional foundations, one of which is the traditional
folklore, its potentialities that it demonstrated
throughout the centuries-old history of its development and does not lose in
modernity, the essential expediency of their practical

embodiment at the present stage of development of culture and society, complicated by a number of current trends, and an insufficient level of conceptual culturological understanding of the associated

problems, which, in part, limits the realization of this potential. This contradiction is the main problem of the study.

Despite the fact that traditional folklore is a significant cultural phenomenon, it has not been studied deeply enough and fully from the point of view of understanding its essential role in the modern cultural situation, determining the forms and ways of its actualization, although in the humanities degree of scientific development The topic we have chosen has, at first glance, a fairly significant volume. So, when analyzing traditional folklore, including determining its place and significance in modern culture, it became logical to turn to works that highlight the issues of its genesis and historical dynamics of development (V.P. Anikin, A.N. Veselovsky, B. N. Putilov, Yu. M. Sokolov, V. I. Chicherov and many others); its genus-species-genre structure, components and features are studied (V. A. Vakaev, A. I. Lazarev, G. A. Levinton, E. V. Pomerantseva, V. Ya. Propp, etc.). Ethnic, regional, class features of folklore are presented in the works of V. E. Gusev, A. I. Lazarev, K. V. Chistov and many others. others

At the same time, a holistic vision of folklore as a cultural phenomenon in its
genesis, development and current states remains, in our opinion,
insufficiently defined. In this regard, it seems necessary
turn to studies that highlight the problems of traditional
folklore among other cultural phenomena (such as tradition,

traditional culture, folk culture, folk art culture, etc.). This issue is considered quite thoroughly in the works of P. G. Bogatyrev, A. S. Kargin, A. V. Kostina, S. V. Lurie, E. S. Markaryan, N. G. Mikhailova, B. N. Putilov, I. M. Snegireva, A. V. Tereshchenko, A. S. Timoshchuk, V. S. Tsukerman, K. V. Chistov, V. P. Chicherov, K. Levi-Strauss and others. correlations of traditional folklore and other phenomena have found an exhaustive explanation. So, for example, it is far from always distinguished cultural and

semantic aspects of such interactions, researchers quite rarely resort to peculiar comparative approaches that can more clearly show the historical interconnection of these phenomena.

Issues of conservation, use and, in part, updating
traditional folklore as a component of folk art
culture, the studies of L. V. Dmina, M. S. Zhirov,

N. V. Solodovnikova and others, in which some ways of solving such urgent problems are also proposed. But it is worth paying attention to the fact that, as a rule, these are mechanisms to a greater extent of preserving traditional cultural phenomena, in part - their use, and to a lesser extent - inclusion in current socio-cultural practices.

Turning to the analysis of the cultural meanings of the traditional
folklore, we relied on the works of S. N. Ikonnikova, V. P. Kozlovsky,
D. A. Leontiev, A. A. Pelipenko, A. Ya. Fliera, A. G. Sheikin and others.
Of considerable interest were works that shed light on the problems
embodiment of meanings in such phenomena as mythology (R. Barth, L. Levi-
Brühl, J. Fraser, L. A. Anninsky, B. A. Rybakov, E. V. Ivanova,
V. M. Naidysh and others), religion (S. S. Averintsev, R. N. Bella, V. I. Garadzha,
Sh. Enshlen and others), art (A. Bely, M. S. Kagan, G. G. Kolomiets,
V. S. Solovyov and others) and science (M. M. Bakhtin, N. S. Zlobin, L. N. Kogan and others).
However, it should be noted that issues related to cultural
meanings of directly traditional folklore, in the presented
works have not been considered in sufficient detail.

No less important for us was the problem of meaning, considered in the works of A. V. Goryunov, N. V. Zotkin, A. B. Permilovskaya, A. V. Smirnov and others, which present individual characteristics, models for the analysis of certain other phenomena of folk art culture. To a certain extent, they contributed to the development of our proposed variants of the traditional folklore meaning-making model.

When characterizing traditional folklore as one of the carriers of historical memory, the works of S. Aizenshtadt, J. Assman, A. G. Vasiliev, A. V. Kostina, Yu. M. Lotman, K. E. Razlogov, Zh. T. Toshchenko, P. Hutton, M. Halbwachs, E. Shils and others, covering the problems of historical memory in conjunction with various aspects of the manifestation of this phenomenon (social memory, cultural memory, collective memory, etc.). In the context of the problems of the work, it was important to understand the filling of its content as a kind of description of the historical past and evidence of it, its preservation, retention and reproduction, which can be carried out, including by oral communication. This made it possible to formulate the position that folklore, for which this type of communication seems to be the dominant basis of existence, can act as a special carrier, synthesizing, reflecting, embodying most of its aspects in artistic and figurative forms.

Modern sociocultural practices are largely
built on the use of historical memory and cultural heritage,
as self-valuable grounds. The latter includes, among others,
material and non-material monuments of culture. Describing
traditional folklore as a kind of cultural monument,

specifically combining statuary and procedural, we turned to the works of E. A. Baller, R. Tempel, K. M. Khoruzhenko and others, to the regulatory legal acts of the Russian Federation and UNESCO, which to some extent reflect this problems. At the same time, as the analysis of the materials shows, insufficient attention is paid to the actualization of the intangible cultural heritage, to which traditional folklore also belongs.

Particular attention was drawn to the work, in one way or another
turned to folklore culture, including its modern
forms. These are the works of V.P. Anikin, E. Bartminsky, A.S. Kargin,

A. V. Kostina, A. I. Lazareva, N. G. Mikhailova, S. Yu. Neklyudova and others. modernity. They do not pay enough attention to the interaction of types and forms of folklore culture among themselves, with the surrounding cultural environment, leading, among other things, to the emergence of "borderline" folklore phenomena.

When determining the place of traditional folklore in modern folklore culture, the work uses a structural vision of the relationship between the center and the “periphery”, including that presented in the theories of the “central cultural zone” (E. Shils, S. Eisenstadt). Based on this, the functional role of traditional folklore as an essential-central zone in relation to folklore culture as a whole is shown.

The object of the presented study is traditional folklore, subject of study - cultural meanings, current state and problems of updating traditional folklore.

purpose of work. Based on the study of traditional folklore as an integral cultural phenomenon, determine its cultural and semantic aspects, functions, features of existence in the context of modern culture and present ways and forms of its actualization in modern socio-cultural conditions.

Work tasks:

to identify cultural aspects of understanding traditional folklore in modern times based on the study of research approaches to its being as an integral cultural phenomenon;

modern states;

to characterize cultural phenomena whose semantic fields are closest to traditional folklore, to show the diversity of cultural meanings embodied in them in the space of culture;

present a model of the meaning of traditional folklore through the definition of ways to embody its semantic aspects;

to identify the specifics of traditional folklore as a special, historically predetermined and irremovable cultural form of the embodiment of cultural and historical tradition;

reveal the specificity of traditional folklore in the context of the existence of historical memory through the analysis of mnemonic aspects of the artistic and imaginative reinterpretation of eventual, linguistic, stylistic aspects of historical phenomena in folklore artifacts;

describe the specific functionality of traditional folklore in the socio-cultural status of a cultural monument;

to characterize the significance and variants of representation of traditional folklore in the structural and functional space of modern folklore culture;

to interpret the main conditions and factors of the socio-cultural environment of the existence of modern folklore culture from the standpoint of their influence on the nature of its functioning and interaction with various socio-cultural spheres;

analyze the potential of professional artistic culture, present the possibilities of amateur performances, identify the resources of the mass media and consider the activities of educational systems in the context of the problems of updating traditional folklore.

Methodology and methods of dissertation research.

The complexity and diversity of the subject of research determined the choice of a fairly wide range of methodological and theoretical foundations for studying the subject of research.

Key points systemic and structural and functional approaches made it possible to consider traditional folklore as a special phenomenon in an integral system of culture. Moreover, to formulate the concept of traditional folklore as an independent and full-fledged phenomenon, to characterize its essential features, to describe the genus-species-genre structure and its change in historical dynamics, to determine the structure of modern folklore culture and to identify the specific position of folklore itself in it.

The use of a systematic approach is due to the integrity and
the extreme complexity of such a phenomenon as traditional folklore. AT
within the framework of a systematic approach, as already emphasized, it is considered,
firstly, in the system of culture as a whole and in the system of modern

folklore culture. Secondly, folklore itself is analyzed as
systemic phenomenon. Thirdly, the principles of a systematic approach

used in the development of a theoretical model and the subject embodiment of folklore culture as a system. The same approach allows us to consider the systemic properties of sociocultural institutions in the processes of updating folklore.

However, in the system itself, the foundations are immanently laid.
structural and functional vision of the problem under study. AT
In this study, culture is seen as

functionally complex system, which includes subsystems that perform various functions. One of such complex subsystems is traditional folklore. Its functions changed depending on the socio-cultural development of society, transformed, partially transferred to other subsystems, sometimes to the detriment of culture itself, leading to its impoverishment.

Logic of research based on polyphonic being
traditional folklore, led to the use of elements

dialectical, anthropological, semiotic, hermeneutical,

evolutionary, psychological approaches. From point of view

dialectical approach shows the interdependent inconsistency
existence of folklore (sacrality combined with profanity,

artistry and pragmatism, utilitarian beingness,

collective and individual, etc.). Within the framework of the anthropological approach, the intrinsic value of folklore is presented, the cultural meanings of which are found at the intersection of experiencing the essential moments of cultural life as significant for the human community and the desire to convey this in a figurative, effective form. The semiotic approach made it possible to consider the codes (signs, symbols) of traditional folklore and their relationship with cultural meanings and values. The hermeneutic approach, which complemented the semiotic approach, was used to describe the cultural meanings of traditional folklore and phenomena close to it in terms of semantic fields, and to compile a model of its meaning-setting. In particular, from the entire arsenal of this approach, the method of cultural and historical interpretation was used, for example, to characterize traditional folklore stylistically and identify its identity with other phenomena of modern folklore culture, which made it possible to present the semantic interpretation of folklore texts. The evolutionist approach led to the vision of the development of folklore from archaic forms to modern representation in folklore culture as a process of complication and differentiation in content and forms, integration with other cultural phenomena that are close to it in cultural and semantic fields, style, functions, due to the cultural and historical development of society. The psychological approach made it possible to define the cultural meanings of folklore in comparison with the cultural meanings of myths, religion, art and science as "clumps of experiences" of the most significant collisions of life and to give the author's definition of traditional folklore.

In the course of the work, such general scientific methods as analysis, synthesis, induction and deduction, methods of description and comparison, etc. were used, which were supplemented by comparative analysis, the modeling method and the socio-cultural historical-genetic method. Comparative analysis, which makes it possible to compare specific areas of culture, has been used, for example, to compare mass media and traditional folklore; professional culture and traditional folklore. The modeling method was used to present the main aspects of the subject under study that are most significant for us: showing variants of the traditional folklore meaning-making model and describing the structural-functional model of modern folklore culture, “designing” and characterizing the competence model of a specialist in the field under study. The historical-genetic method made it possible to trace the genesis and development of both the most traditional folklore and the phenomena of modern folklore culture. Its application is due to the need to consider traditional folklore as a developing cultural phenomenon, to identify its significance in modern folklore culture as the fundamental principle of post-folklore and folklorism, as well as a number of "boundary" phenomena, the interaction between them, and with other phenomena of modern culture in general, to describe their genetic and functional ratio.

Scientific novelty of the research:

revealed the disciplinary, contextual and thematic framework of studies that study the issues of the existence of traditional folklore in modern socio-cultural conditions; the culturological grounds for its study as an integral phenomenon of culture are determined;

normative and activity aspects; its most important socio-cultural characteristics are determined, which are of essential importance in the process of its genesis, modern life and have a decisive influence on the processes of its actualization;

- contextually characterized the phenomena of culture, whose
semantic fields are genetically related to traditional folklore in their
historical relationships: mythology, serving as a semantic
an ancestral phenomenon of folklore; religion as a semantic transpersonal
the equivalent of folklore, which is in dynamic relationship with it;
art as a sphere of artistic meanings, located with
folklore in a situation of interpenetration; science, semantic field
which in the early historical stages included the participation of folklore as
source of pre-scientific ideas;

- variants of the model of meaning are presented
traditional folklore (understood and as a sphere of endowing with meanings
objects and processes, and as sense-revealing) in synchronous and
diachronic aspects, allowing to analyze semantic intentions
folklore texts in the context of a specific historical situation;

the functional significance of traditional folklore is analyzed from the standpoint of identity with the functions of cultural and historical tradition as a whole; the specificity of the folklore embodiment of tradition as a synthesis of historical-event and emotional-figurative principles, presented in an effective form, unique in its originality and expressiveness of the means of its objectification, is confirmed;

traditional folklore is shown as a special carrier of historical memory, the specificity of which lies in the embodiment of images of the historical past in the selective representation of the most important moments of life, events, language constructs in an experienced, effective form, which contributes to the living nature of cultural continuity;

the definition of a cultural monument is given, contextual in relation to the problems of our study; traditional folklore is considered as a monument of culture in modern times, the specificity of which is determined by a special ratio of statuary and procedural: the figurative-effective form of its existence prevails over the static-textual forms of fixation;

traditional folklore is considered as a “central cultural zone” in the structural and functional model of modern folklore culture, which is a set of folklore practices based to a certain extent on the features inherent in folklore; it has been established that in the variety of manifestations of modern folklore culture: the modernization of traditional folklore, post-folklore (including Internet folklore, quasi-folklore), folklorism, etc., the high functional significance and potentiality of traditional folklore in its culturogenic, effectively relevant properties are inextricably contained;

established a kind of contradictory duality of artistic culture as one of the spheres of existence of traditional folklore; the possibilities of professional artistic culture are determined and the characteristics of amateur art activities are identified as potentially significant in the actualization of traditional folklore;

the resources of the mass media are identified as the most important socio-cultural mechanism for updating traditional folklore,

prisoners in informing, popularizing, promoting, shaping and developing the positive image of traditional folklore;

- developed and presented the theoretical foundations of a professional model of a specialist who is able to effectively solve the problems of updating traditional folklore, including knowledge, cognitive-psychological, hermeneutic, technological components in their relationship.

Provisions for defense:

Traditional folklore is the process and result of the common people's experience of the most significant, stable and typically reproducible situations of socio-cultural life, as well as the most significant social events, and the embodiment of this in artistic and aesthetic, semantic-rich images containing value-normative dominants.

The cultural meanings of traditional folklore are aspects of the collective picture of the world, syncretically combining elements of mythological, religious, scientific, artistic pictures of the world, providing a connection between sacral-symbolic and profane meanings expressed in an artistic-figurative form, as well as ideas and experiences inherent in the people's consciousness that preserve relevance at the level of mental foundations of cultural identity.

To identify the cultural meanings of traditional folklore works, it is advisable, along with others, to use variants of the meaning-setting model, which is considered from various angles as a combination of several fundamental aspects. The first version of the model makes it possible to reveal the organic unity of personal and social meanings and meanings, to show the relationship between man and society in a holistic picture of the world, but precisely of the era in which folklore exists historically. The second version of the model demonstrates the path from sensory perception to the image and

emotional experience of the constants inherent in it,

traditional values, and on this basis - to the possibility of updating folklore works in modern culture. Verification of the proposed models shows the significance and potential viability of traditional folklore in modern conditions.

Traditional folklore is, among other things, one of the embodiments of the cultural and historical tradition as a whole, performing functions similar to it: a kind of "repository" of traditions, patterns, samples of historical experience; a meaningful combination of eventfulness (plot) and normativity (prescriptions); specific embodiment of socio-historical consciousness; translation of significant value-normative and figurative-semantic content of the historical past; strengthening and maintaining cultural and social identity through the actual legitimation of historical "precedent" materials; regulatory significance in the present and projective possibilities for the future; sociocultural effectiveness of figurative and emotional characteristics of the content; relationships with other areas of historical experience (knowledge) based on the principles of complementarity and equivalence.

From the point of view of the existence of historical memory, traditional folklore acts as one of its carriers, the specificity of which is expressed in the ability to artistically and figuratively form, preserve and broadcast a mnemonically integral picture of the historical past. At the same time, the selective representation of the most important existential moments, events, language constructs occurs and is embodied in an experienced, effective form, which helps to keep cultural continuity alive.

Traditional folklore is a specific cultural monument in the understanding of it as a historically emerged and verified object (artifact), potentially carrying

cultural values ​​and meanings that testify to the historical
past, and combining statuary and procedural in various
forms of its implementation. It is dynamic, imaginative in nature
processuality, organically inherent in folklore, makes it

"monumentary" is very specific, since existence in the process of performance, reproduction, perception is for him the main functional and semantic dominant. Without this, traditional folklore ceases to be a living, effective cultural phenomenon.

Modern folklore culture is a set of folklore practices based largely on the properties of folklore, primarily on the "common" way of perceiving and experiencing situations of sociocultural life; reproduction of the features of the style of folklore works; predominantly collective nature of communications; objectification of activity in artistic and aesthetic forms. The structural and functional model of modern folklore culture, due to the combination of a certain degree of traditionalism and the necessary adaptive compliance with current sociocultural conditions, includes various variants of its manifestations (traditional folklore, postfolklore, folklorism, etc.), forms (from the simplest (small genres of folklore)) to complex (festivals based on materials of a folklore nature), representation in various areas of culture: political, scientific, artistic culture, everyday culture, mass media and media, in interpersonal communications.

The existence of modern folklore culture as a really existing open system takes place in a socio-cultural environment, which can be conditionally divided into external and internal. The structural components of the internal environment act for each other as genetically related components that are in a relationship of interchange and reinterpretation: folklore for postfolklore and

folklorism; post-folklore for folklorism; folklorism for
post-folklore. The external cultural environment is a set
factors that contextually determine the state and processes
folklore culture. It includes ethnic, national,
regional, local culture; artistic culture, culture
habitats, leisure culture, economic and political
circumstances, psychological and educational factors, cultural
state policy, etc. The functioning of modern folklore
culture takes place in constant dialogue with other spheres and phenomena
cultural environment, including situations of mutual adaptation,

cultural receptions, transformations and mutual enrichment.

9. Artistic culture in various variations

procedurally carries out the actualization of traditional folklore, but
this process is not always purposeful, systematic, often sporadic
and contradictory. This is also due to the versatility and
multi-thematic character of the artistic culture itself, defined
self-sufficiency of artistic reinterpretation of folklore
material. Pronounced focus of professional artistic
culture to traditional folklore as the richest source
plots and style coexist with self-sufficiency

self-expression of the artist and his artifacts, in which
the effect of distancing from folklore origins, which makes it difficult
opportunity to update them. Specificity of sociocultural status
participant in amateur performances as a direct
representative of the people's environment; possibility of direct access to everything
range of folklore works, from authentic versions to
stylizations; the inclusion of amateur folklore materials in
a wide range of cultural practices of varying scale and nature
determine the special role of amateur performances in

relation to traditional folklore, not always fully

realizable. Because of this, the relatively purposeful activity of updating traditional folklore in the field of artistic culture determines the need for a special kind of specialists who are able to demonstrate their competencies in the field of modern professional artistic culture, and in the field of folklore, and in the field of mastering the technologies of their interaction using various fields and methods.

Mass media, as one of the effective socio-cultural mechanisms of modern culture, are characterized by internal socio-cultural similarity, genetic proximity and partial intersection of functional and meaningful features with folklore, due to which they are able, on the basis of their communicative specificity, to perform the tasks of actively “introducing” traditional folklore into the field of modern culture. With the optimal inclusion of the media in the processes of updating traditional folklore, a combination of a more significant embodiment of its positive potential in modern conditions and, in turn, enriching the expressive and effective possibilities of the media itself, organically arises.

The developed and presented model of competencies that a specialist should have who is able to solve the problems of updating traditional folklore includes a “knowledge” component both in the field of modern culture and in the field of traditional folklore; "cognitive-psychological" component associated with the ability to experience cultural meanings; the “hermeneutic” component, which allows to adequately interpret the content and conditions of traditional folklore in modern times and, among other things, determines the idea of ​​the target orientation of the traditional folklore actualization; "technological" component, based on knowledge and skills to apply various teaching methods,

popularization, directing, critics, producing, etc.

traditional folklore.

Theoretical significance. The paper presents a new vision of traditional folklore in special, previously unexplored aspects:

traditional folklore is considered as a "concentrate" of the value-semantic root foundations of culture, which are actually significant for its modern conditions;

an idea is given of traditional folklore as a translator that ensures cultural continuity in its deepest foundations, including such specific ones as historical memory;

its centering position in the context of folklore culture as an integral phenomenon is shown.

In addition, theoretical justifications for the need to update traditional folklore in modern conditions are given. Theoretical versions of the folklore sense-making model are described in synchronic and diachronic aspects; competence model of a specialist in the field of modern folklore practices.

Practical significance The research lies in the fact that the study of traditional folklore as one of the forms of embodiment of cultural meanings makes it possible in the conditions of modern culture to solve the problems of its actualization, which has a real socio-cultural effect. The results of the study can be used in determining the directions and development of cultural policy programs at various levels, including programs for the preservation and use of cultural heritage, in the creation of cultural, educational and scientific and methodological projects and initiatives in the field of folk art culture and traditional folklore as its essential component; in educational and pedagogical activities in the development of basic educational programs, curricula, content of academic disciplines and modules; in implementation

competence model of a specialist in the field of folklore culture.

The provisions of the study can be implemented in the activities of active subjects of culture (creative groups, artistic directors, critics, media and media, creative workers, etc.) for a more complete and accurate understanding of modern culture, the place and meaning of traditional culture in it, including folklore phenomena; for the effective and competent use of folklore materials; for reasonable assessments of folklore aspects of various spheres of culture, etc.

The findings obtained in the work can serve as a basis for
formation of modern cultural centers, associations,

organizations, including public ones, for a conscious,

purposeful development, preservation, use, popularization of folklore samples.

The provisions of the work are applicable to the folklore of various peoples and ethno-cultural groups inhabiting the Russian Federation, when adapted to regional conditions and can be used in the activities of regional organizations and institutions of culture and education, artists, teams, individuals.

Reliability results dissertation is confirmed

justified statement of the problem, definition of the subject,

allowing to highlight the characteristics of the object; its argumentation
the most important theoretical provisions consistent with the verified
the results of the analysis of specific incarnations of traditional folklore in
cultural practices; set of analyzed scientific
literature; based on methodological foundations representing
is a unity of systemic and structural-functional approaches, a number of
general scientific and special methods; adequate use
techniques in the analysis of materials of a specific historical nature.
Research ideas are based on the correct use

Approbation work. Research highlights

published in two monographs, fifty-five articles and abstracts (in
including 16 articles in journals recommended by the Higher Attestation Commission of the Russian Federation). results
studies are presented at 7 international, 7 all-Russian,
7 interregional, regional, interuniversity, university scientific and
scientific and practical conferences and forums, including

"Innovative processes in education" (Chelyabinsk, 2004), "Spiritual and
moral culture of Russia: Orthodox heritage” (Chelyabinsk, 2009),
"Philology and cultural studies: modern problems and prospects
development” (Makhachkala, 2014), “Actual problems of formation
creative personality in a single cultural space
region” (Omsk, 2014), “Problems and trends in social

economic development and social management of modern Russia"
(Republic of Bashkortostan, Sterlitamak, 2014), "Traditions and modern
culture i mastatsva" (Republic of Belarus, Minsk, 2014), "Art history
in the context of other sciences in Russia and abroad. Parallels and
interaction” (Moscow, 2014), “Lazarev readings “Faces

traditional culture” (Chelyabinsk, 2013, 2015), etc. Materials
research was used in the development of educational and methodological

documentation, manuals, anthologies, as well as when reading
training courses "Theory and history of folk art culture",
"Folk Musical Creativity", "Folk Art

creativity” at the Chelyabinsk State Institute of Culture; in the activities of creative teams led by the author of the dissertation.

Dissertation structure. The research consists of five chapters (sixteen paragraphs), introduction, conclusion, bibliography. The total volume of the text is 365 pages, the bibliographic list includes 499 titles.

Analysis of aspects of the definition of folklore as a socio-cultural phenomenon

The author sees any changes in the foundations of folk culture as an irreversible process that violates its integrity, as a loss of root traditions, which leads to the “disappearance” of the people in general. The author offers his own definition of folk culture: "... folk is a fundamental stable level of spiritual culture, functioning at the ordinary level of social, aesthetic consciousness" . In our opinion, this is a narrowed view of folk culture, which, in addition to a wide range of aesthetic manifestations of spirituality, undoubtedly includes an equally significant layer of material culture. At the same time, in the second chapter of this dissertation, the author clearly contradicts the proposed definition, because, considering the types of folk culture, he singles out, among other things, the object-thing, indicating that they are all inextricably linked. Describing each type in detail, the author at the same time does not give a complete picture of the current state of folk culture, the ways of its preservation, reproduction, etc. Despite this, this study is important for our work, because, firstly, , considers not individual forms, types of folk culture, but their totality, which allows you to see its integrity; secondly, it emphasizes the importance and necessity of preserving folk culture, and, therefore, traditional folklore, in modern times.

Another work that highlights the issues of traditional culture as an integral phenomenon is the study by N. V. Savina “Traditional culture of the people as a decisive factor in the self-preservation of an ethnos when it enters the global world” . It describes the traditional culture of the people as the carrier of the foundations of the culture of the ethnos, containing the most important ethnic experience, as a universal basis for the upbringing and education of the individual, and also suggests ways to preserve and develop it. Like the previous author, N. V. Savina points out that in modern society one should talk about “accelerating the cycles of selection of traditions from innovations and shortening the life span of modern tradition” . The condition for the preservation of traditional culture, in her opinion, is the value orientations that set the guidelines for the development of the people.

In our opinion, the internal components (value orientations) cannot act as circumstances for the external development of a phenomenon (traditional culture) in a direct way, since processes of this kind require the real presence in the socio-cultural environment of mediating mechanisms for shaping and translating the value-semantic content of the phenomenon of tradition. Unfortunately, with the loss of traditional culture, both the values ​​it contains and its value orientations may disappear. Another process may also take place - these values ​​and orientations in them will be transformed by other cultural phenomena with varying degrees of preservation and, which is extremely important, with a slightly different sociocultural effect. But its own value-semantic field of traditional culture must necessarily find its own mechanisms of actualization in modernity.

Among the studies that consider folk culture as a holistic phenomenon, one should mention the work of A. M. Malkanduev "The systemic nature of the traditions of ethnic culture" . Preservation, careful attitude, cultivation of traditions are, according to the author, the most important factors of "survival of the national community", and the traditions themselves are considered as a self-developing system.

In the projection on our work, this is an important conclusion, since traditions are potentially capable of development and self-development, and, therefore, purposeful work is possible to maintain, improve, isolate the necessary facets, which should ultimately contribute to their actualization. If it is permissible to update traditions by influencing them, then with a high degree of probability we can talk about the possibility of updating traditional folklore, as one of the incarnations of traditions.

It is important, in our opinion, to dwell on the work of A. S. Timoshchuk "Traditional Culture: Essence and Existence". In this study, traditional culture is considered as a specific way of organizing life, based on the inheritance of collective (dominant) meanings, values, norms. This is an important conclusion, since traditional folklore, being a part of traditional culture at a certain historical stage of existence, preserves and conveys deep cultural meanings. Based on the research of V. A. Kutyrev, A. S. Timoshchuk emphasizes that traditional culture is a haven of existential meanings embodied in sacred texts in which a dominant meaning is formed. In clarifying the above statement, we consider it important to point out that meanings are inherent not only in sacred texts. In works of folklore, sacredness and profanity are dialectically combined, as well as a number of other binary oppositions, which will be discussed in more detail below.

Describing the current state of society, A. S. Timoshchuk points to the formatting of the semantic environment and the departure from the cultural circulation of traditional norms and values. The best development of the culture of modernity, according to the author of this study, is the optimal inheritance of the value-semantic core through a "special type of social memory" . We will consider social memory as a component of historical memory, one of the carriers of which is traditional folklore.

We must agree with A.S. Timoshchuk that one of the mechanisms for preserving tradition and, as a result, traditional folklore can be the transfer of cultural meanings that are potentially embedded in it. But first, these meanings need to be defined, identified, described, and in the future to consider the mechanisms of their inheritance and actualization.

E. L. Antonova’s study “The Values ​​of Folk Culture in the Historical Dimension” states that the values ​​expressed in the form of semantic images “represented a synthesis of “objectified” samples of peasant experience and universal components of the worldview that comprised the main life meanings of the peasant society. Having received a specific / stable form of expression - the form of meanings - the values ​​of folk culture are universals of culture. At the same time, the author emphasizes that it is the life-meaning values ​​that are the universal formula for “programming” the existence of mankind, which determined the development of history. And at the present stage, according to the author, it is necessary to combine the "universalism of urban culture" with the "values ​​of folk culture", which will contribute to the "new social construction of society" .

It should be noted that all these studies were carried out within the framework of philosophical and cultural understanding of the problem. And this is no coincidence. After all, it is precisely these sciences that claim the most complete, holistic consideration of certain issues of traditional culture.

Among them, one should point to the work “Folklore and the Crisis of Society” by A. S. Kargin and N. A. Khrenov, which points out the difficulty of considering folklore in the context of modern culture. He not only “transfers” some of his functions to her, but also interacts with her, processing and rethinking her values, allowing him to “naturally and organically be included in the context of human life, perform various social functions” . This is an important idea for our study, emphasizing the possibility and necessity of actively incorporating traditional folklore into current cultural practices.

Cultural Meanings of Traditional Folklore

Thus, having considered the problem of cultural meanings presented in various spheres of culture, we came to the conclusion that they are the most important factor in the development and self-preservation of culture, representing a special section of its ontological foundations. Each of the presented forms of culture has its own dominant cultural meaning, which in the process of socio-cultural development is capable of varying, supplementing with other semantic sounds in the general semantic field. At the same time, in relation to the considered spheres, traditional folklore acts as a relatively independent phenomenon, the semantic field of which, in synchronous and diachronic perspectives, is in a situation of historically determined dynamic relationships with the semantic content of other cultural phenomena.

Based on the analysis of the phenomenon of general cultural meanings given in the paragraph, we will further consider, in the interests of our study, some features of the cultural meanings of traditional folklore.

The relevance and cultural significance of traditional folklore is largely based on its semantic richness and sound. In this regard, clarifying the weight of its cultural meanings, both in the past and in the present, is extremely important. Based on the position that “cultural meaning is the information accumulated by culture, through which society (community, nation, people) creates its own picture of the world ...”, we propose to consider the cultural meanings of traditional folklore in this particular perspective.

Cultural meanings embodied in folklore are to a large extent aspects of the collective model of the world (V. N. Toporov) characteristic of a particular people (recently, in cultural studies, there has been a tendency to refer to the picture of the world as a worldview or model of the world. Considering the terminological and content similarity, we will use the terms "picture of the world" and "model of the world" as close in meaning). As models of the world differ among different peoples, their cultural meanings and their folklore will also differ.

Pictures of the world and their models are very diverse. Researchers offer multiple features and criteria for their description. After analyzing a number of works, we came to the conclusion that it is possible to single out some criteria (features) of pictures of the world, which are most often indicated by researchers. As analysis shows, these include: emotional coloring; conformity and adherence to a culture-specific standard of thinking; determinism of the world order; basis of worldview; attitude, outlook; specificity of this or that picture of the world. At the same time, most researchers note that almost all pictures of the world (with the possible exception of the scientific one) are emotionally colored due to the fact that the picture of the world is some kind of experienced representation of a person about it. At the same time, the artistic picture of the world will be most emotionally colored, since it is in it that the emotions of the individual are able to express themselves with maximum amplitude. And in the mythological and religious pictures of the world, these emotions will be conditioned by the figurative equivalents of ideas, dogmas, and traditions.

The same all-encompassing sign of the picture of the world is following the standard of thinking of a certain era or type of culture. It is inherent in all pictures of the world without exception, but to varying degrees. Again, it should be noted that in this case, in art, there is both adherence to the standard and the rejection of it. Since this is not included in the tasks and scope of our study, we will not dwell on the issues of the "standard" in different pictures of the world, only stating the fact that it is inherent in everyone.

All pictures of the world demonstrate the conditionality of the world order by certain postulates, such as: representations in the mythological picture of the world, beliefs in the religious, traditionalism in the folklore, knowledge in the scientific. The greatest differences in the pictures of the world are found in the triad of worldview - worldview - worldview. The mythological picture of the world is characterized by direct experience of the objects of the world as the basis of world perception. It is expressed in mythological representations and the creation of certain “locuses”: the world of gods, the world of people, the world of nature, their relationships, mutual influences and interpenetration, etc. At the same time, the basis of this triad will be the position on the direct relationship of man and Gods.

The transcendent worldview is characteristic of the religious picture of the world. The attitude is based on faith and allows you to create a symbolic picture of the world with the superiority of God over man. An emotionally figurative worldview is characteristic of an artistic picture of the world, where the idea of ​​a Creator Man (with a complex system of relationships between man and nature, man and God, man and society) is affirmed through the image and artistic and figurative reflection of the world. Rational perception of the world is the basis of the scientific picture of the world, in which, through cognition, a rational, theoretical reflection of the world and the idea of ​​the possibility of its transformation are formed. There is an elimination of God from the scientific picture of the world.

Place and role of traditional folklore in historical memory

We consider it legitimate to use the term museification in relation to traditional folklore, although we know that this concept is most often used in relation to objects of material heritage, to cultural monuments in their traditional sense (as material carriers). In our opinion, the transformation of any historical and cultural object or phenomenon into a museum exhibit is museumification. The presentation of folklore on tangible media (most often audio and video recordings) in museum collections, accompanied by any exhibitions of works of arts and crafts, often reduces its significance to the function of accompaniment (“decorative” background) in relation to the material objects of folk traditional culture. In itself, the use of such a technique is quite positive. But to be limited to this, even in the museological space, seems to be extremely insufficient. Indeed, in this case, the traditional folklore itself ceases to exist in the “museum” culture as an intrinsically valuable, significant phenomenon that preserves the genetic cultural code, the mental foundations of culture. In its continuous functioning, it connects the culture of the present with the culture of the past. In this, in fact, its mission coincides with the purpose of the museum. On the basis of understanding this, one can imagine the activity of such a specific project as the "Museum of Folklore", which organically combines the material and non-material forms of folklore creativity in a single action.

Thus, in such a specific space as a museum, in our opinion, one can see the potential of presenting living forms of folklore creativity, albeit not as the main direction of their actualization. Each time, a folklore work is recreated from memory, "reconstructed" with varying degrees of accuracy (which may be due to the specifics of the ritual action, genre features, local traditions, etc.), and is perceived. Thus, we must state the fact that, for example, a folk song is understood (and, therefore, alive and relevant) only in the process of its performance. As soon as it is no longer performed, at best, it is rethought, "recoded", and at worst - oblivion and loss. As S. N. Azbelev rightly notes: “... the vast majority of his works (traditional folklore - E.K.) perished irrevocably only because, with the loss of public interest or due to other social reasons, these works ceased to be performed.”

Consequently, traditional folklore is a unique phenomenon in culture, reflecting both a specific historical era with its historical and cultural realities, and worldview attitudes, and cultural meanings. It is an invaluable cultural monument, the state of which today causes concern among researchers and practitioners of various profiles: culturologists, art historians, ethnologists, teachers, etc. This fear is associated with the loss of most of the living carriers of folklore. At the same time, there is almost no direct transmission from generation to generation. Thus, the vertical vector of the traditional structure (continuity) is destroyed, the diachronic dimension of culture is distorted. The difficulties of the real inclusion of traditional folklore in current cultural processes lead to insufficient use of its potential in the reproduction of the genetic code of culture, its root, fundamental foundations. For traditional folklore, the loss of continuity is especially terrible, because, as we have shown, it exists only as a living tradition in the unity of creation (recreation) - reproduction / performance - perception. Thus, in a complex dialectical unity there are historical memory (we do not separate this term from the term "cultural memory"), which, of course, accumulates and preserves traditions, and tradition, which, in turn, extracts the necessary formations from historical memory, itself being one of the elements included in the historical memory. If at least one element is excluded from this system, then traditional folklore will exist only as a relic of the historical past, an exotic exhibit of an ethnographic museum. Its living memory of “common folk” history, embodied in strong, effective images, will be lost, which predetermined many modern conditions, and partly, in its deepest meanings and moral attitudes, is still acutely relevant today. However, in practice, we see that today traditional folklore is often pushed to the periphery of culture, that is, it is outside the totality of cultural practices relevant to the community. Even those organizations that seem to be designed to preserve cultural heritage, cultural monuments are also not very significant in relation to traditional folklore in the modern cultural space. And this is not accidental, because this complex problem cannot be solved by the usual methods of preserving cultural monuments (museum and exhibition activities, publications and preservation in libraries, etc.). ). In our opinion, one of the ways out of this problem will be the formation of a special socio-cultural mechanism for the reproduction of living carriers of the folklore tradition, as people embodying the values, meanings, and functional purpose of traditional musical folklore. Due to the complexity of the problem posed, its solution, of course, is impossible from the standpoint of only one discipline (folklore, musicology, cultural history, art history, etc.). In order to see the problem and ways to solve it in the aggregate, an interdisciplinary cultural approach is needed, synthesizing the provisions of various sciences into integrity.

Functional Significance of Traditional Folklore in the Context of Modern Folklore Phenomena

Folklore culture manifests itself in everyday life, which is perceived as "habitual", "repetitive", "traditional". In it, first of all, in leisure forms, post-folklore phenomena, folklorism, and traditional folklore itself can realize themselves. At the same time, they ambiguously correlate with each other: in the festivity and ritualism inherent in folklore culture, there is no everyday life, the themes of everyday life appear in peculiar, “transformed” forms. Such a dialectical unity again suggests that folklore culture is not a frozen phenomenon of the past, not a relic of civilization, but a really existing integral culture, with its internal rather complex structure, development, mobility of borders, readiness to interact with the surrounding cultural environment.

Interpersonal communications, being basic for the oral way of functioning of traditional folklore, have retained their significance for modern oral-written information culture. It is in a dialogue that can be viewed very broadly: as a dialogue between people of the same generation, between different living generations, between living and ancestors (in festivities, theatrical productions, etc.). Nevertheless, interpersonal communications to a greater extent involve a direct direct exchange of information, as a rule, of an oral type, including not only verbal, but also non-verbal signs. In interpersonal communications, folklore culture is spreading in all its manifestations. Of course, she does not dominate them. But it is capable of existence, development and actualization precisely through the use of all means of transmitting information.

Modern folklore culture, as we have repeatedly pointed out, actively interacts with other phenomena of modern culture, exists in their context. One of them is the cultural environment as an “atmosphere” in which folklore culture exists, develops, and transforms. "Being the background of diverse transformations, the cultural environment is aimed at an objective perception of modern changes in order to achieve progress in all areas of life" . For all the independence and significance of any cultural phenomenon, its very existence, and its qualities, and its content, and functioning, and properties are largely determined contextually, i.e., precisely by the cultural environment.

Under the cultural environment, we, relying on the opinion of A. Ya. Flier, we will understand "a complex of cultural preferences of the population, localized within the boundaries of a certain space" . The structure of the cultural environment, from his point of view, is a symbolic activity, normative social behavior, language, customs (ibid.). At the same time, A. Ya. Flier includes folklore in symbolic activity as one of its products. Therefore, from this point of view, folklore is in the cultural environment as one of its components. This once again proves the need to preserve and update traditional folklore, because in the event of its loss, the content of the symbolic activity of the cultural environment will also be lost. And this, in turn, will lead to the impoverishment of the culture itself.

Understanding the cultural environment as a set of material, spiritual and social components that determine the formation and development of a phenomenon (object, social community, personality, etc.) with which these phenomena interact is characteristic of Russian philosophy and cultural studies. The cultural environment, being just a manifestation of culture, acts as a full-fledged, diverse, self-organizing phenomenon. For us, it is significant to establish those parameters, factors, conditions, circumstances that have the greatest impact on the content, development, transformation, and dynamics of modern folklore culture. Of course, for each structural component of folklore culture, all the others act as elements of a genetically related cultural environment. Traditional folklore determines the formation, existence, development of post-folklore and folklorism forms, being the basic basis for them. Post-folklore acts as a part of the cultural environment of folklore (“provides” images, plots, genres, etc.) and traditional folklore (generates borderline phenomena). Folklorism is a factor in the cultural environment for post-folklore (in turn, defining images, plots) and traditional folklore (popularizing its works, causing the development of individual genres). In this case, the forms, types of modern folklore culture act as elements of the internal cultural environment in relation to each other.

The external cultural environment includes such phenomena as ethnic, national, folk culture, regional culture, habitat culture, artistic culture, leisure culture, etc. In addition, they include economic and political circumstances, psychological and educational factors, the cultural policy of the state . With regard to the latter, it should be noted that a number of researchers, relying on a broad interpretation of education as one of the cultural practices, propose to consider the cultural environment as a cultural and educational environment. At the same time, it should be noted that not all cultural factors are relevant and significant for all forms, types, structural components of folklore culture.

Undoubtedly, the cultural policy of the state as a whole has a significant impact on the actual development of culture. This is a purposeful legal, regulatory, economic activity of the state to determine the main priorities for the development of culture, its vectors, structural components, forms, etc. Activities such as the creation of the “Culture of Russia” program, in which a significant role is assigned to the preservation and reconstruction of material cultural heritage; the announcement of the "years of folk art", all-Russian folklore festivals and competitions contributes to the popularization of traditional folklore. At the same time, it is in the state cultural policy (at all levels - both at the national level and at the level of subjects of the Russian Federation) that it is necessary to develop mechanisms for the preservation and actualization of traditional folklore as the deepest layer of culture.

We have already noted the socio-economic conditionality of turning to folklore. Indeed, turning points in the life of society and the subsequent stages of economic growth in history have always been accompanied by a revival of interest in traditional phenomena, including the phenomena of traditional culture, traditional folklore, and folk art. This means that economic factors will influence the existence and actualization of traditional folklore.

XVIII century - the birth of folklore as a science. Appeal of scientists, writers, public figures of the era to the study of the life of the people, their way of life, poetic and musical creativity. The emergence of a new attitude to folk culture with the issuance of the decree of Peter I of 1722.

Collecting and research activities of the historian V.N. Tatishchev, ethnographer S.P. Krashechnikov, poet and theorist V.K. Trediakovsky, poet and publicist A.N. Sumarokov, their contradictory attitude to folk art.

The first recordings and publications of folklore material of the 18th century: numerous songbooks, collections of fairy tales and proverbs, descriptions of folk images and superstitions: "Collection of various songs" by M.D. Chulkov, his own Dictionary of Russian Superstitions, songbook by V.F. Trutovsky, a collection of fairy tales by V.A. Levshina and others.

The role of N.I. Novikov in maintaining a number of folklore initiatives. Requirements for the collecting activities of folklorists and the publication of genuine folklore material.

The interest of the Decembrists in traditional folk art and their collecting activities (N. Raevsky, V. Sukhorukov, N. Ryleev, A. Kornilov, A. Bestuzhev-Marlinsky). A.S. Pushkin is the spokesman for the progressive ideas of Russian folklorism.

The beginning of the formation of research schools of folklore and their scientific value. The position of interpretation of the phenomena of folk art of the mythological school. F.I. Buslaev, A.N. Afanasiev are prominent representatives of this school.

School V.F. Miller and its historical foundations in the study of the national epic. School of borrowing. The activities of the Russian geographical and archaeological societies in the study and collection of folklore. Functions of the musical and ethnographic commission of the ethnographic department of the Society of Lovers of Natural Science, Anthropology and Ethnography at Moscow University.

The development of the collection of folk art. The first large-scale collecting activity of Kireevsky P.V.

Orientation to the study and scientific interpretation of folk art. Fundamental works of scientists of the ethnographic direction: Sakharova I.P., Snegireva I.M., Tereshchenko A., Kostomarova A. and their significance for the theory of folklore. Collection and development of folklore in the second half of the 19th and early 20th centuries.

A new milestone in the development of national folklore. Changing themes and images of folklore works.

Orientation to the work of socialist myths of the Soviet era. Ideological pathos of folk art. Active genres of folklore of the Soviet period - song, ditty, oral story. Dying away of original traditional genres (epics, spiritual verse, ritual songs, incantations).

The Civil War is the first stage in the development of the folklore of the Soviet period. The autobiographical nature of the oral poetry of the civil war. The fight against the old foundations of the past are the main themes of folk art in the 1920s and 1930s. The popularity of folklore material of acute social content. The idea of ​​internationalism and its influence on folklore independence. The negative role of Proletcult in the fate of folklore.

Activation of interest in the historical past of their fatherland. The first folklore expeditions of 1926 - 1929, the creation of a center for folklore work under the Union of Soviet Writers.

Folklore Conferences 1956 - 1937 - an attempt to scientifically comprehend folklore in a new ideological situation, the search for a specific folklore research method.

Genres of folklore during the Great Patriotic War. Post-war complex expeditions of the institutes of ethnography of the Academy of Sciences of the USSR and the history of art of Moscow State University (19959 - 1963), Department of Russian Folk Art of Moscow State University (195 - 1963).

The theoretical contribution of scientists of the Soviet period to Russian folklore, to the study of its main problems, genres (A.I. Balandina, P.G. Bogatyrev, V.E. Gusev, brothers B.M. and Yu.M. Sokolov V.Ya. Propp, V. I. Chicherov, K. V. Chistova).

Contribution of M.K. Azadovsky in the development of national folklore. Two-volume M.K. Azadovsky on the history of Russian folklore is a large-scale work on the two-century development of Russian folklore.

A new wave of revival of interest in folklore during the period of change of official ideology and totalitarianism. The problem of a unified methodological approach to the understanding and interpretation of folklore.

The role and place of folklore activity in modern cultural space. A variety of subcultures of the modern city, giving rise to various types and genres of modern folklore.

The problem of preservation and revival of folk art, the development and implementation of targeted regional programs for the development of culture. New technologies for the revival and development of folklore at the regional level in dissertation research.

The multifaceted activities of the leading folklore organizations: the All-Russian Center of Russian Folklore, the Russian Folklore Academy "Karagod", the All-Russian State House of Folk Art, the State Museum of Musical Culture.

Educational activities of creative universities that have departments for the training of specialists in folklore: St. Petersburg Conservatory. ON. Rimsky-Korsakov, Russian Academy of Music. Gnesins, Moscow State University of Culture and Arts, etc.

New aspects in holding folklore festivals, competitions, scientific and practical conferences.

Modern audiovisual technology in the collection and study of folklore. Effective possibilities of computer technology and modern technologies in the storage and processing of folklore material of a particular region, genre, era.

What is "folklore" for modern man? These are songs, fairy tales, proverbs, epics and other works of our ancestors, which were created and passed from mouth to mouth a long time ago, and now remain in the form of beautiful books for children and the repertoire of ethnographic ensembles. Well, maybe somewhere unimaginably far from us, in remote villages, there are still some old women who still remember something. But this is only until civilization comes there.

Modern people do not tell each other fairy tales, do not sing songs at work. And if they compose something “for the soul”, then they immediately write it down.

Very little time will pass - and folklorists will have to study only what their predecessors managed to collect, or change their specialty ...

Is it so? Yes and no.

From epic to ditty

Recently, in one of the LiveJournal discussions, a sad observation of a school teacher flashed by, who discovered that the name Cheburashka did not say anything to his students. The teacher was prepared for the fact that the children were unfamiliar with either Tsar Saltan or the Mistress of the Copper Mountain. But Cheburashka?!

Approximately the same feelings were experienced two hundred years ago by the whole of educated Europe. That which had been passed down from generation to generation for centuries, that was as if dissolved in the air and that it seemed impossible not to know, suddenly began to be forgotten, crumble, disappear into the sand.

It was suddenly discovered that everywhere (and especially in cities) a new generation had grown up, to which the ancient oral culture was known only in meaningless fragments or was unknown at all.

The response to this was an explosion of collecting and publishing samples of folk art.

In the 1810s, Jacob and Wilhelm Grimm began to publish collections of German folk tales. In 1835, Elias Lenrot published the first edition of Kalevala, which shocked the cultural world: it turns out that in the most remote corner of Europe, among a small people that never had their own statehood, there is still a heroic epic, comparable in volume and complexity of structure to ancient Greek myths! The collection of folklore (as in 1846 the English scholar William Thoms called the totality of folk "knowledge" that exists exclusively in oral form) grew throughout Europe. And at the same time, the feeling grew: folklore is disappearing, carriers are dying out, nothing can be found in many areas. (For example, not one of the Russian epics has ever been recorded where their action takes place, and indeed in the historical “core” of the Russian lands. All known records were made in the North, in the lower Volga region, on the Don, in Siberia - that is, in Siberia. that is, in the territories of Russian colonization of different times.) You need to hurry, you need to have time to write down as much as possible.

In the course of this hurried gathering, something strange more and more often found its way into the records of folklorists. For example, short chants, unlike anything that was previously sung in the villages.

Precise rhymes, the correct alternation of stressed and unstressed syllables made these verses (folk performers themselves called them "chastushkas") related to urban poetry, but the content of the texts did not reveal any connection with any printed sources. There were serious disputes among folklorists: should ditties be considered folklore in the full sense of the word, or is it a product of the decomposition of folk art under the influence of professional culture?

Strange as it may seem, it was precisely this discussion that made folkloristics, still young then, take a closer look at the new forms of folk literature that were emerging right before our eyes.

It quickly became clear that not only in the villages (traditionally considered the main place of existence of folklore), but also in cities, a lot of things arise and circulate that, by all indications, should be attributed specifically to folklore.

A caveat should be made here. In fact, the concept of "folklore" refers not only to verbal works (texts), but in general to all the phenomena of folk culture that are transmitted directly from person to person. The traditional, centuries-old pattern of embroidery on a towel in a Russian village or the choreography of the ritual dance of an African tribe is also folklore. However, partly for objective reasons, partly due to the fact that texts are easier and more complete to record and study, they have become the main object of folklore from the very beginning of the existence of this science. Although scientists are well aware that for any folklore work, the features and circumstances of performance are no less (and sometimes even more) important. For example, an anecdote necessarily includes a storytelling procedure - for which it is absolutely necessary that at least a part of those present do not know this anecdote yet. An anecdote known to everyone in this community is simply not performed in it - and therefore, does not "live": after all, a folklore work exists only during the performance.

But back to modern folklore. As soon as the researchers peered into the material that they (and often its carriers and even the creators) considered “frivolous”, devoid of any value, it turned out that

"new folklore" lives everywhere and everywhere.

Chastushka and romance, anecdote and legend, rite and ritual, and much more, for which there were no suitable names in folklore. In the 1920s, all this became the subject of qualified research and publications. However, already in the next decade, a serious study of modern folklore turned out to be impossible: real folk art categorically did not fit into the image of "Soviet society". True, a certain number of folklore texts themselves, carefully selected and combed, were published from time to time. (For example, in the popular magazine "Crocodile" there was a column "Just an anecdote", where topical anecdotes were often found - naturally, the most harmless, but their action was often transferred "abroad" just in case.) But the scientific study of modern folklore was actually resumed only in the late 1980s and especially intensified in the 1990s. According to one of the leaders of this work, Professor Sergei Neklyudov (the largest Russian folklorist, head of the Center for Semiotics and Typology of Folklore of the Russian State Humanitarian University), this happened largely according to the principle “if there were no happiness, but misfortune helped”: without funds for normal collecting and research expeditions and student practices, Russian folklorists shifted their efforts to what was nearby.

Omnipresent and multifaceted

The material collected was striking in its abundance and diversity. Each, even the smallest group of people, barely realizing their commonality and difference from all others, immediately acquired their own folklore. Researchers have known the folklore of individual subcultures before: prison, soldier, student songs. But it turned out that its own folklore exists among climbers and paratroopers, nature conservation activists and adherents of non-traditional cults, hippies and “goths”, patients of a particular hospital (sometimes even departments) and regulars of a particular pub, kindergarten students and elementary school students. In a number of such communities, the personal composition changed rapidly - patients went to the hospital and were discharged, children entered kindergarten and graduated from it - and folklore texts continued to circulate in these groups for decades.

But even more unexpected was the genre diversity of modern folklore.

(or "post-folklore", as Professor Neklyudov suggested calling this phenomenon). The new folklore did not take almost anything from the genres of classical folklore, and what it did take was changed beyond recognition. “Almost all the old oral genres are becoming a thing of the past, from ritual lyrics to fairy tales,” writes Sergei Neklyudov. But more and more space is occupied not only by relatively young forms (“street” songs, anecdotes), but also by texts that are generally difficult to attribute to any particular genre: fantastic “historical and local history essays” (on the origin of the name of the city or its parts, about geophysical and mystical anomalies, about celebrities who visited him, etc.), stories about incredible incidents (“one medical student bet that he would spend the night in a dead room ...”), legal incidents, etc. In the concept of folklore I had to include both rumors and unofficial toponymy (“we meet at the Head” - that is, at the bust of Nogin at the Kitai-Gorod station). Finally, there are a number of “medical” recommendations that live according to the laws of folklore texts: how to simulate certain symptoms, how to lose weight, how to protect yourself from conception ... At a time when it was customary to send alcoholics for compulsory treatment, the technique "sewing" - what needs to be done to neutralize or at least weaken the effect of the "torpedo" implanted under the skin (capsule with an antabuse). This rather sophisticated physiological technique was successfully transmitted orally from the old-timers of the "medical and labor dispensaries" to the newcomers, that is, it was a phenomenon of folklore.

Sometimes, right before our eyes, new signs and beliefs are formed - including in the most advanced and educated groups of society.

Who hasn't heard of cacti supposedly "absorbing harmful radiation" from computer monitors? It is not known when and where this belief arose, but in any case, it could not have appeared before any widespread use of personal computers. And it continues to develop before our eyes: "not every cactus absorbs radiation, but only with star-shaped needles."

However, sometimes in modern society it is possible to discover well-known phenomena - however, they are so transformed that in order to see their folklore nature, special efforts are needed. Moscow researcher Ekaterina Belousova, after analyzing the practice of treating women in labor in Russian maternity hospitals, came to the conclusion that the notorious rudeness and authoritarianism of the medical staff (as well as many restrictions on patients and the obsessive fear of “infection”) is nothing more than a modern form of the birth rite - one of major "rites of passage" described by ethnographers in many traditional societies.

Word of mouth over the Internet

But if in one of the most modern social institutions, under a thin layer of professional knowledge and everyday habits, ancient archetypes are suddenly discovered, is the difference between modern folklore and classical folklore so fundamental? Yes, the forms have changed, the set of genres has changed - but this has happened before. For example, at some point (presumably in the 16th century), new epics ceased to take shape in Russia - although the already composed ones continued to live in the oral tradition until the end of the 19th and even until the 20th century - and they were replaced by historical songs. But the essence of folk art remained the same.

However, according to Professor Neklyudov, the differences between post-folklore and classical folklore are much deeper. First, the main organizing core, the calendar, fell out of it. For a rural dweller, the change of seasons dictates the rhythm and content of all life, for an urban dweller, perhaps only the choice of clothing. Accordingly, folklore is “detached” from the season - and at the same time from the corresponding rites, it becomes optional.

Secondly,

in addition to the structure of folklore itself, the structure of its distribution in society has changed.

The concept of “national folklore” is to some extent a fiction: folklore has always been local and dialectal, and local differences were important for its speakers (“but we don’t sing like that!”). However, if before this locality was literal, geographical, now it has become more socio-cultural: neighbors on the landing can be carriers of completely different folklore. They don’t understand each other’s jokes, they can’t sing along to a song ... Independent performance of any songs in a company is becoming a rarity today: if a few decades ago the definition of “popularly known” referred to songs that everyone can sing along, now - to songs that everyone has heard at least once.

But the most important, perhaps, is the marginalization of the place of folklore in human life.

All the most important things in life - worldview, social skills, and specific knowledge - a modern city dweller, unlike his not so distant ancestor, receives not through folklore. Another important function, the identification and self-identification of a person, has almost been removed from folklore. Folklore has always been a means of claiming belonging to a particular culture – and a means of verifying this claim (“ours is the one who sings our songs”). Today, folklore fulfills this role either in marginal and often opposing "big" society subcultures (for example, criminal), or in a very fragmentary way. For example, if a person is fond of tourism, then he can confirm his belonging to the tourism community by knowing and performing the relevant folklore. But besides being a tourist, he is also an engineer, an Orthodox Christian, a parent – ​​and he will manifest all these incarnations of his own in completely different ways.

But, as Sergei Neklyudov notes,

A person cannot do without folklore either.

Perhaps the most striking and paradoxical confirmation of these words was the emergence and rapid development of the so-called "network folklore" or "Internet lore".

In itself, this sounds like an oxymoron: the main and universal feature of all folklore phenomena is the existence in oral form, while all network texts are, by definition, written. However, as Anna Kostina, deputy director of the State Republican Center for Russian Folklore, notes, many of them have all the main features of folklore texts: anonymity and collective authorship, polyvariance, traditionalism. Moreover: the network texts are clearly striving to “overcome writing” - due to both the widespread use of emoticons (allowing at least to indicate intonation), and the popularity of “padonian” (deliberately incorrect) spelling. At the same time, computer networks that make it possible to instantly copy and send texts of considerable size give a chance for a revival of large narrative forms. Of course, it is unlikely that something similar to the Kyrgyz heroic epic Manas with its 200 thousand lines will ever be born on the Internet. But funny untitled texts (like the famous “radio conversations between an American aircraft carrier and a Spanish lighthouse”) are already widely circulating on the net - absolutely folklore in spirit and poetics, but incapable of living in a purely oral transmission.

It seems that in the information society, folklore can not only lose a lot, but also gain something.

Introduction.

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 of the people. In collective artistic creativity, the people reflect their labor activity, social and everyday way of life, knowledge of life and nature, cults and beliefs. 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. Having absorbed the centuries-old experience of the masses, folklore is distinguished by the depth of artistic development of reality, the truthfulness of images, and the power of creative generalization. The richest images, themes, motifs, forms of folklore arise in the complex dialectical unity of individual (though, as a rule, anonymous) creativity and collective artistic consciousness. For centuries, the folk collective has been selecting, improving and enriching the solutions found by individual masters. The continuity and stability of artistic traditions (within which, in turn, personal creativity is manifested) are combined with variability, the diverse implementation of these traditions in individual works. 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 also include the long-standing indivisibility, the highly artistic unity of its types: poetry, music, dance, theater, and decorative arts merged in folk ritual actions; in the folk 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.

1. Wealth of genres

In the process of existence, 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 associated with social and cultural and everyday 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 the tales of European peoples 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.

2. The concept of children's folklore

It is customary to call children's folklore both works that are performed by adults for children, and those composed by the children themselves. Children's folklore includes lullabies, pestles, nursery rhymes, tongue twisters and incantations, teasers, rhymes, absurdities, etc. Children's folklore is formed under the influence of many factors. Among them - the influence of various social and age groups, their folklore; mass culture; existing ideas and much more. The initial sprouts of creativity can appear in various activities of children, if the necessary conditions are created for this. The successful development of such qualities depends on upbringing, which in the future will ensure the participation of the child in creative work. Children's creativity is based on imitation, which serves as an important factor in the development of the child, in particular his artistic abilities. The task of the teacher is, relying on the tendency of children to imitate, 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. At preschool age, the foundations of the child's creative activity are laid, which are manifested 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. Perhaps folklore has become a kind of filter for the mythological plots of the entire totality of the Earth's society, letting the universal, humanistically significant, and most viable plots into literature.

3. Modern children's folklore

Sat on the golden porch

Mickey Mouse, Tom and Jerry,

Uncle Scrooge and three ducklings

And Ponka will drive!

Returning to the analysis of the current state of the traditional genres of children's folklore, it should be noted that the existence of such genres of calendar folklore as incantations and sentences remains almost unchanged in terms of text. The most popular are still appeals to the rain (“Rain, rain, stop ...”), to the sun (“Sun, sun, look out the window ...”), to a ladybug and a snail. The half-belief traditional for these works is preserved in combination with the playful beginning. At the same time, the frequency of use of incantations and sentences by modern children is decreasing, there are practically no new texts, which also allows us to talk about the regression of the genre. Riddles and teasers turned out to be more viable. Remaining popular in the children's environment, they exist both in traditional forms (“I went underground, found the little red cap”, “Lenka-foam”), and in new versions and varieties (“In winter and summer in one color” - Negro , dollar, soldier, dining room menu, alcoholic's nose, etc.). Such an unusual variety of the genre as riddles with drawings is rapidly developing. Folklore records of recent years contain a fairly large block of ditties. Gradually dying out in the adult repertoire, this type of oral folk art is rather readily picked up by children (this happened at one time with works of calendar folklore). Ditty texts heard from adults are usually not sung, but recited or chanted in communication with peers. Sometimes they "adapt" to the age of the performers, for example:

Girls hate me

They say that he is small in stature,

And I'm in the kindergarten Irinka

Kissed me ten times.

Such historically established genres as pestles, nursery rhymes, jokes, etc., almost completely disappear from oral use. Firmly fixed in textbooks, manuals and anthologies, they have now become part of the book culture and are actively used by teachers, educators, are included in the programs as a source of folk wisdom, filtered for centuries, as a sure means of developing and educating a child. But modern parents and children in oral practice use them very rarely, and if they reproduce, then as works familiar from books, and not transmitted by word of mouth, which, as you know, is one of the main distinguishing features of folklore.

4. Modern genre of children's horror stories.

Children's folklore is a living, constantly renewing phenomenon, and in it, along with the most ancient genres, there are relatively new forms, the age of which is estimated at only a few decades. As a rule, these are genres of children's urban folklore, for example, horror stories. Scary stories are short stories with a tense plot and a scary ending, the purpose of which is to scare the listener. According to the researchers of this genre O. Grechina and M. Osorina, “in a horror story, the traditions of a fairy tale merge with the actual problems of a child’s real life.” It is noted that among children's horror stories one can find plots and motifs traditional in archaic folklore, demonological characters borrowed from bylichki and anecdotes, however, the group of plots in which objects and things of the surrounding world turn out to be demonic beings is predominant. Literary critic S.M. Loiter notes that being influenced by a fairy tale, children's horror stories acquired a clear and uniform plot structure. The task inherent in it (warning or prohibition - violation - retribution) allows us to define it as a "didactic structure". Some researchers draw parallels between the modern genre of children's horror stories and older literary types of scary stories, for example, the writings of Korney Chukovsky. Writer Eduard Uspensky collected these stories in the book "Red Hand, Black Sheet, Green Fingers (scary stories for fearless children)".

Horror stories in the described form, apparently, became widespread in the 70s of the XX century. Literary critic O. Yu. Trykova believes that "at present, horror stories are gradually moving into the" stage of conservation. Children still tell them, but there are practically no new plots, and the frequency of performance also becomes less. Obviously, this is due to a change in life realities: in the Soviet period, when an almost total ban in the official culture was imposed on everything catastrophic and frightening, the need for the terrible was satisfied through this genre. Currently, there are many sources, in addition to horror stories, that satisfy this craving for the mysteriously frightening (from news releases, various newspaper publications savoring the "terrible" to numerous horror films). According to the pioneer in the study of this genre, psychologist M. V. Osorina, fears that a child copes with in early childhood on his own or with the help of his parents become the material of the collective consciousness of children. This material is worked out by children in group situations of telling scary stories, fixed in the texts of children's folklore and passed on to the next generations of children, becoming a screen for their new personal projections.

The main character of horror stories is a teenager who encounters a “pest” (stain, curtains, tights, a coffin on wheels, a piano, a TV, a radio, a record, a bus, a tram). Color plays a special role in these items: white, red, yellow, green, blue, indigo, black. The hero, as a rule, repeatedly receives a warning about a trouble threatening from a pest, but does not want (or cannot) get rid of it. His death is most often due to strangulation. The hero's assistant is a policeman. horror stories are not reduced only to the plot, the ritual of storytelling is also essential - as a rule, in the dark, in the company of children in the absence of adults. According to the folklorist M.P. Cherednikova, the involvement of a child in the practice of telling horror stories depends on his psychological maturation. At first, at the age of 5-6, the child cannot hear scary stories without horror. Later, from about 8 to 11 years old, children are happy to tell scary stories, and at the age of 12-13 they no longer take them seriously, and various parodic forms are becoming more common.

As a rule, horror stories are characterized by stable motifs: “black hand”, “bloody stain”, “green eyes”, “coffin on wheels”, etc. Such a story consists of several sentences, as the action develops, the tension increases, and in the final phrase it reaches its peak.

"Red spot". One family got a new apartment, but there was a red spot on the wall. They wanted to delete it, but nothing happened. Then the stain was covered with wallpaper, but it appeared through the wallpaper. And every night someone died. And the stain after each death became even brighter.

"The black hand punishes theft." One girl was a thief. She stole things and one day she stole a jacket. At night, someone knocked on her window, then a black-gloved hand appeared, she grabbed a jacket and disappeared. The next day, the girl stole the nightstand. At night, the hand reappeared. She grabbed the nightstand. The girl looked out the window, wanting to see who was taking things. And then a hand grabbed the girl and, pulling her out the window, strangled her.

"Blue Glove" Once upon a time there was a blue glove. Everyone was afraid of her, because she pursued and strangled people who returned home late. And then one day a woman was walking along the street - and this street was dark, very dark - and suddenly she saw that a blue glove was peeking out of the bushes. The woman was frightened and ran home, followed by a blue glove. A woman ran into the entrance, went up to her floor, and the blue glove followed her. She began to open the door, and the key got stuck, but she opened the door, ran home, suddenly - a knock on the door. She opens, and there is a blue glove! (The last phrase was usually accompanied by a sharp movement of the hand towards the listener).

"Black House". In one black, black forest stood a black, black house. This black, black house had a black, black room. In this black, black room there was a black, black table. On this black, black table is a black, black coffin. In this black, black coffin lay a black, black man. (Until this moment, the narrator speaks in a muffled monotonous voice. And then - abruptly, unexpectedly loudly, grabbing the listener by the hand.) Give me my heart! Few people know that the first poetic horror story was written by the poet Oleg Grigoriev:

I asked the electrician Petrov:
“Why did you wrap a wire around your neck?”
Petrov does not answer me,
Hangs and only shakes bots.

After him, sadistic rhymes appeared in abundance in both children's and adult folklore.

The old woman suffered for a short time
In high voltage wires,
Her charred carcass
Scared the birds in the sky.

Horror stories are usually told in large companies, preferably in the dark and in a frightening whisper. The appearance of this genre is associated, on the one hand, with the craving of children for everything unknown and frightening, and on the other hand, with an attempt to overcome this fear. As they grow older, horror stories cease to scare and cause only laughter. This is also evidenced by the appearance of a peculiar reaction to horror stories - parodic anti-horror stories. These stories begin just as intimidating, but the ending turns out to be funny:

Black-black night. A black-black car was driving along a black-black street. On this black and black car was written in large white letters: "BREAD"!

Grandfather and grandmother are sitting at home. Suddenly, the radio transmits: “Throw away the closet and refrigerator as soon as possible! A coffin on wheels is coming to your house!” They threw it away. And so they threw everything away. They sit on the floor, and they broadcast on the radio: “We broadcast Russian folk tales.”

As a rule, all these stories end with no less terrible endings. (These are only "official" horror stories, in books, combed to please the publisher, sometimes they are provided with happy endings or funny endings.) And yet, modern psychology considers creepy children's folklore a positive phenomenon.

“A children's horror story affects different levels – feelings, thoughts, words, images, movements, sounds,” psychologist Marina Lobanova told NG. - It makes the psyche, with fear, not get up with tetanus, but move. Therefore, a horror story is an effective way to work, for example, with depression. According to the psychologist, a person is able to create his own horror film only when he has already completed his own fear. And now Masha Seryakova shares her valuable psychic experience with others through her stories. “It is also important that the girl writes using emotions, thoughts, images that are specific to the children's subculture,” says Lobanova. “An adult will not see this and will never create it.”

Bibliography

"Mythological stories of the Russian population of Eastern Siberia". Comp. V.P. Zinoviev. Novosibirsk, "Nauka". 1987.

Dictionary of literary terms. M. 1974.

Permyakov G.L. "From proverb to fairy tale". M. 1970.

Kostyukhin E.A. "Types and forms of the animal epic". M. 1987.

Levina E.M. Russian folk tale. Minsk. 1983.

Belousov A.F. "Children's Folklore". M. 1989.

Mochalova V.V. "The World Inside Out". M. 1985.

Lurie V.F. "Children's Folklore. Younger teenagers. M. 1983

• Specialty HAC RF17.00.09
• Number of pages 187

Chapter 1. Conceptual and methodological foundations for the study of folklore

1. 1. Folklore in the context of modern research approaches: methodological prerequisites for analysis.

1. 2. The phenomenon of folklore and the conceptual facets of its study.

Chapter 2

2.1. Origins and genesis of folklore activity and folklore consciousness.

2.2. Folklore as a specific phenomenon of artistic consciousness.

Chapter 3. Folklore in the aesthetic culture of society

3.1. -Folklore in the functional field of artistic and aesthetic culture.

3.2. Artistic and aesthetic reflection of reality in the development of forms and genres of folklore.

Introduction to the thesis (part of the abstract) on the topic "Folklore as a Phenomenon of the Aesthetic Culture of Society: Aspects of Genesis and Evolution"

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