To the answer to the question: "Modern folklore and its forms"
Alekseevsky M.D.
On the question of defining contemporary folklore// Modern folklore. Reference edition. Materials for discussion. M., 2012
(Alekseevsky M.D., Candidate of Philology, Head of the Sector of Modern Folklore of the State Republican Center of Russian Folklore).
First moment, which he stipulates in the article, is connected with the generalization of research practice: what is understood today by modern folklore? Trying to answer this question, researchers usually contrast traditional peasant folklore with modern urban folklore, noting its distinctive features. For example, N.I. Tolstoy believed that urban folklore is “a kind of antifolklore, capable of having both oral and written form, but retaining, as a rule, anonymity ”(Tolstoy N.I. From A.N. Veselovsky to the present day / / Living Starina. 1996. No. 2. P. 5). About the fundamental differences between classical folklore and modern neoplasms wrote S.Yu.Neklyudov, who proposed to use the term " post-folklore"(Neklyudov S.Yu. Folklore of the modern city // Modern urban folklore. M., 2003. P.5-24; aka. After folklore // Living antiquity. 1995. No. 1.S.2-4). V.P. Anikin made a sharp criticism of the term "postfolklore",<…>this concept “excludes the existence of folklore in general, at best it implies its replacement with something else”, the scientist proposed the term "neofollore"(Anikin V.P. Not “postfolklore”, but folklore (to posing the question of its modern traditions) / / Slavic traditional culture and the modern world: Collection of materials of the scientific and practical conference. Issue 2.M., 1997. P.224 -240). A nihilistic critique of all these terms was made by A.A. Panchenko, who drew attention to the conventionality of the concept of “classical folklore”: “I believe that, subject to a certain analytical distance, the peasant culture of the New Age turns out to be a little more “folklore” or “traditional” than Mass culture modern city<…>”(Panchenko A.A. Panchenko A.A. Folklore as a science // First All-Russian Congress of Folklorists. Collection of reports. M., 2005. V.1. S.3-5).
second moment article is related to the consideration of the criteria« modernity" regarding folklore. M.D. Alekseevsky believes that there can be no abrupt transition from “old” to “new” folklore: many phenomena and traditions that are archaic in origin actively exist and develop today, and some modern folklore new formations, upon closer examination, turn out to be not so new. Without setting rigid time frames, one should focus on “modernity” in the very literally this word, as to what is happening here and now. If this or that folklore phenomenon actively exists and develops in our days before our eyes, then it is legitimate to refer to it as “modern folklore”, regardless of when it arose. Conspiracies can be cited as a typical example: although both the conspiracy tradition and the texts of many conspiracies are very archaic in origin, at present the popularity of the practice of using conspiracies is extremely high both in rural and urban environments. At the same time, the installation on the "here and now" should not be absolutized, this is just a guideline. Soot, jokes about M.S. Gorbachev during Perestroika are practically non-existent at the present time and certainly not developed, so in the strict sense of the word they cannot be called “modern folklore”. At the same time, they are one of the stages in the evolution of a political anecdote, a folklore genre that continues to be relevant and a “living” genre at the present time, so if we consider anecdotes about Gorbachev in this context, they can be attributed to modern folklore, albeit with certain stipulations.
The third point in the article correlated with the criterion "folklore". When working with peasant folklore, researchers singled out its basic characteristics: traditional, collectivity, anonymity, variability, orality, the presence creativity. However, in reality, as practice shows, folklorists do not require strict adherence to all these characteristics in order to call a certain cultural phenomenon "folklore" and begin to study it. For example, the same incantations also exist in writing, that is, they do not meet the criterion of being oral, but folklorists continue to study them. At the same time, it is obvious that the greater the number of listed parameters corresponds to the phenomenon, the more effective is the methodology of folklore for its analysis. Thus, by modern folklore, we will mean that which exists in modern times. cultural phenomena for which, to a greater or lesser extent, the indicated characteristics of “classical folklore” are typical: traditionalism, collectivity, anonymity, variability, orality, the presence of creativity.
Major areas of contemporary folklore:
1.ritual culture. Texts:
Maternity rites
Wedding ceremonies (bride price, visits to wedding attractions)
hosts, wedding toastmaster). wedding scenario
Calendar ceremonies (Christmas and Christmas time, Maslenitsa, Easter, Trinity).
Divination. Conspiracies
Funeral and memorial rites (venerating the places of death)
Rites of passage and initiation (children, adolescents, students,
military, professional, subcultural)
2. Religious ritual practices. Spiritual verses. Legends. Prayers.
Holy / circular letters
3. Holiday culture:
March 8
June twelfth
Day of the city, town, village
Day of Peter and Fevronia
Victory Day and Days of Remembrance
Birthday
Valentine's Day
New Year
April first
may Day
Fourth of November
Corporate holiday
Professional holiday
equator/meridian
Skit
halloween
4. Genres / texts of "classical folklore" and neoplasms:
Anecdote and its varieties (children's, political, subcultural, etc.)
Bylichka
teaser
Mystery
Game (calendar, children's, yard, salon)
The legend and its varieties (urban, family, about miracles, toponymic
Baby tricks
Paremias
Songs and their varieties (bard, urban, student, alterations)
Traditions and their varieties (historical, toponymic)
Signs and their varieties (calendar, professional, student)
Rhymes (sadistic, "pies", etc.)
Scary stories for children
Chastushka
Freebie/ball
5. Written folklore:
Albums and their varieties (girlish, demobilization, prison, etc.)
Naive literature
The standard is modern
Songbook handwritten
Warning Letters
Chain letters
clichéd congratulations
Lists-lists
Videolor
SMS lore
8. Internet folklore:
Demotivators
Fanfiction
8. Street and other promotions:
Demonstrations
Late-traditional folklore is a collection of works of different genres and different directions, created in a peasant, urban, soldier, working and other environment since the beginning of the development of industry, the growth of cities, the collapse of the feudal village.
Late traditional folklore is characterized by a smaller number of works and, in general, a lower artistic level compared to classical folklore - a rich, developed, centuries-old culture generated by feudal life and a patriarchal worldview.
Late traditional folklore is distinguished by a complex interweaving of the new with the old. In the village repertoire, the transformation of classical genres took place, which began to be influenced by literary poetics. Proverbs and sayings showed their vitality, anecdotal tales, folk songs of literary origin, children's folklore. The old lingering song was strongly pressed by the city's "cruel romances", as well as the rapidly and widely spread ditty. At the same time, epics, old historical songs, old ballads and spiritual poems, fairy tales. Folk rites and the poetry that accompanied them lost their utilitarian character over time. magical meaning especially in urban areas.
WITH late XVIII V. in Russia, the first state factories and serf manufactories appeared, in which civilian workers from impoverished peasants, convicts, passportless vagrants, etc. worked. In this motley environment, works arose that laid the foundation for a new phenomenon - the folklore of workers. With the development of capitalism and the growth of the proletariat, the topics expanded, the number of works of oral creativity of workers increased, which was characterized by the influence of book poetry.
A new phenomenon was urban folklore - the oral works of the "grassroots" population of cities (it grew along with the growth of the cities themselves, constantly flowing from the impoverished countryside). Cultural contacts between the city and the countryside had in Russia centuries of history- it is enough to recall the role of Kyiv, Novgorod and other cities in the plots of Russian epics. However, only in the second half of the XIX century. formed cultural traditions actually urban, detached from the land of the population. Along with the old forms and genres, such as the folklore of the market place, the folklore of the fairs, the cries of pedlars (small merchants), the city developed its own song culture (romances), its own non-fabulous prose, and its own rituals; the long tradition of handwritten collections (song books, albums with poems) received a new development. All this in one form or another continues to live in our time.
As A. S. Kargin noted, urban folklore began to be seriously studied only in the 1980s. The researcher wrote: “Many folklorists only in the last quarter of the 20th century intuitively felt, and then admitted that a new layer of culture declared itself at the top of its voice, which did not fit into the established patterns of traditional folklore. It became obvious that the city had formed a kind of folklore culture, very contradictory, different from the peasant tradition".
In the XX century. the process of the extinction of traditional rites and the death of old genres of folklore accelerated. This was partly facilitated by the fact that in the post-October period, the official attitude towards many phenomena of folklore was negative: they were declared "obsolete" and "reactionary". This extended to agricultural holidays, ritual songs, incantations, spiritual poems, some historical songs, and so on. At the same time, new works of different genres emerged that reflected new problems and realities of life. It is possible to single out the eating and eating stages of the development of Russian folklore after 1917: the civil war; interwar period; Great Patriotic War 1941-1945; post-war period; modern period.
The modern oral repertoire of the people and late traditional folklore are different concepts. The modern repertoire is all those works that people remember or perform, regardless of the time of their creation. The modern repertoire includes some works of classical folklore and even relic elements of early traditional folklore. Late traditional folklore is an integral part of the modern repertoire, works created after the collapse of the feudal village.
Old national folklore performed important functions in later historical and socio-economic conditions. Known for its consolidating role during the fratricidal civil war when all participants tragic events performed traditional works condemning evil and violence. During the Great Patriotic War, epics and old soldiers' songs, which agitators and artists turned to, intensified the patriotic feeling of the people.
In the folklore created in the 20th century, researchers note a mosaic pattern: different age, social orientation and different ideological orientation. It reflected the historical inconsistency of the worldview and aspirations of the country's population, rural and urban residents. A number of works supported the beginnings and achievements of the Soviet government: the elimination of illiteracy, collectivization, industrialization, the defeat of the Nazi invaders, the restoration of the national economy destroyed during the war, Komsomol construction projects, space exploration, and so on. Along with them, works were created in which dispossession and other repressions were condemned. GULAG folklore arose among the prisoners in the camps (a scientific conference in St. Petersburg in 1992 was dedicated to it).
Modern folklore is the folklore of the intelligentsia, students, students, petty bourgeois, rural residents, participants in regional wars, and so on. Folklore of the last quarter of the 20th century. changed so much from earlier forms that it is sometimes called post-folklore. Nevertheless, late-traditional folklore has preserved the continuity of folk oral-poetic traditions. This was expressed in the creation of new works in the form of pre-existing genres, as well as in the partial use of old folklore poetics and stylistics.
In the modern folklore process, the ratio of the collective and individual principles has changed, the role of the individual creative person has increased. A striking sign of late traditional folklore is the works of professional and semi-professional authors, assimilated by the people.
Late traditional folklore is a complex, dynamic and not fully defined system, the development of which continues. Many phenomena of late-traditional folklore have only been designated or begun to be developed by science. Among them: urban folklore; folklore of the Gulag; folklore of participants in regional wars (in Afghanistan, in Chechnya); folklore of different social groups(for example, student); modern children's folklore; modern non-fairytale prose; joke. Special topics - the relationship of Russian folklore and the folklore of those peoples of Russia, among which Russians are settled; folklore of Russian diasporas abroad.
It is necessary to critically evaluate the experience already accumulated in the study of late traditional folklore (for example, the folklore of the Civil War and the 1920s-1930s in general was covered one-sidedly and incompletely). When referring to published texts of late traditional folklore, one should take into account the possibility of falsifications.
In characterizing the genres and genre systems of classical folklore, we have already touched upon the problem of their late development, the question of book influences. In this chapter, ditties, the folklore of workers and the folklore of the period of the Great Patriotic War will be considered.
Zueva T.V., Kirdan B.P. Russian folklore - M., 2002
NOVOSIBIRSK STATE TECHNICAL UNIVERSITY
ABSTRACT
Subject: Folklore
Item: Culturology
First-year students of NSTU
Group No. 043y
Popkova Elena Vitalievna
Code number 33110124
Option number 24
Home address:
633007 Berdsk, st. Cr. Siberia, 110 - 13
Berdsk
1. Introduction. …………………………………………………………… page 3.
2. About Russian folklore ……………………………………………... page 5.
3. Russian heroic epic ……………………………………….. page 7.
4. Song lyrics ……………………………………………………p. 9.
5. Conspiracies …………………………………………………………….p. 13.
6. Russian Soviet folklore………………………………………p. 15.
7. Conclusion ………………………………………………………… page 18.
8. Used literature …………………………………….p. 19.
1. Introduction.
“The Russian people have created a huge oral literature: wise proverbs and cunning riddles, funny and sad ritual songs, solemn epics, - spoken in a singsong voice, to the sound of strings, - about the glorious deeds of heroes, defenders of the land of the people - heroic, magical, everyday and funny tales.
It is vain to think that this literature was only the fruit of public leisure. She was the dignity and mind of the people. She made and strengthened him moral character, was his historical memory, the festive clothes of his soul and filled with deep content his whole measured life, flowing according to customs and rituals associated with his work, nature and veneration of fathers and grandfathers.
The words of A. N. Tolstoy very clearly and accurately reflect the essence of folklore. Folklore is folk art, which is very necessary and important for the study of folk psychology today. Folklore includes works that convey the main key ideas people about the main life values: work, family, love, public duty, homeland. Our children are brought up on these works even now. Knowledge of folklore can give a person knowledge about the Russian people, and ultimately about himself.
In folklore, the original text of a work is almost always unknown, since the author of the work is not known. The text is passed from mouth to mouth and reaches our days in the form in which the writers wrote it down. However, writers retell them in their own way so that the works are easy to read and understand. At present, a lot of collections have been published, including one or several genres of Russian folklore at once. These are, for example, “Epics” by L. N. Tolstoy, “Russian Folk poetic creativity» T. M. Akimova, “Russian folklore” edited by V. P. Anikin, “Russian ritual songs” by Yu. edited by K. N. Femenkov, “On Russian Folklore” by E. V. Pomerantseva, “Folk Russian Legends” and “The People-Artist: Myth, Folklore, Literature” by A. N. Afanasyev, “Slavic Mythology” by N. I. Kostomarov, "Myths and Traditions" by K. A. Zurabov.
riddles, bylichki, pestles, chants, ditties, etc. Due to the fact that the material is very huge, and for a short time it is impossible to study it, I use only four books in my work, given to me in the central library. These are “Russian Ritual Songs” by Yu. G. Kruglov, “Roaring Strings: Essays on Russian Folklore” by V. I. Kalugin, “Russian Soviet Folklore” edited by K. N. Femenkov, “Russian Folk Poetic Art” by T. M. Akimova.
In more detail on the pages of the abstract, such issues as the Russian heroic epic, song lyrics, incantations, as well as Russian Soviet folklore will be considered.
2. About Russian folklore.
The word folklore in literal translation from English means folk wisdom. Folklore is poetry created by the people and existing among the masses, in which it reflects its labor activity, social and everyday way of life, knowledge of life, nature, cults and beliefs. Folklore embodies the views, ideals and aspirations of the people, their poetic fantasy, the richest world of thoughts, feelings, experiences, protest against exploitation and oppression, dreams of justice and happiness. It's oral, verbal artistic creativity, which arose in the process of the formation of human speech. M. Gorky said: "... The beginning of the art of the word is in folklore"
In a pre-class society, folklore is closely connected with other types of human activity, reflecting the rudiments of his knowledge and religious and mythological ideas. In the course of the development of society, different kinds and forms of oral verbal creativity. Some genres and types of folklore have lived a long life. Their originality can be traced only on the basis of circumstantial evidence: on the texts of later times that have preserved archaic features content and poetic structure, and on ethnographic information about the peoples at the pre-class levels historical development. Only from the 18th century and later are authentic texts of folk poetry known. Very few records survive from the 17th century. The question of the origin of many works of folk poetry is much more complicated than that of literary works. Not only the name and biography of the author - the creator of this or that text are unknown, but also the social environment in which the fairy tale, epic, song, time and place of their composition was formed is unknown. About ideological concept the author can only be judged by the surviving text, moreover, often written down many years later.
An important circumstance that ensured the development of folk poetry in the past was, according to N. G. Chernyshevsky, the absence of "sharp differences in the mental life of the people." "Mental and moral life, - he points out, - is the same for all members of such a people - therefore, the works of poetry generated by the excitement of such a life are equally close and understandable, equally sweet and related to all members of the people. In such historical conditions, works appeared that were created by "the whole people, as one moral person." Thanks to this, folk poetry permeates the collective principle. It is present in the appearance and perception by listeners of newly created works, in their subsequent existence and processing. Collectivity is manifested not only externally, but also internally - in the folk poetic system itself, in the nature of the generalization of reality, in images, etc. In the portrait characteristics of heroes, in certain situations and images of folklore works, there is little individual characteristics, occupying such a prominent place in fiction.
As a rule, at the time of creation, the work is experiencing a period of special popularity and creative flourishing. But there comes a time when it begins to distort, collapse and be forgotten. New times require new songs. The images of folk heroes express the best features of the Russian national character; the content of folklore works reflects the most typical circumstances of folk life. At the same time, pre-revolutionary folk poetry could not but reflect the historical limitations and contradictions of the peasant ideology. Living in oral transmission, the texts of folk poetry could change significantly. However, having reached full ideological and artistic completeness, the works were often preserved for a long time almost unchanged as poetic legacy of the past as a cultural wealth of enduring value.
3. Russian heroic epic.
Russian heroic epic (epics) - a wonderful legacy of the past, evidence ancient culture and art of the people. It has been preserved in a living oral existence, perhaps in the original form of the plot content and the main principles of the form. The epic got its name from the word “reality” that is close in meaning. This means that the epic tells about what once actually happened, although not everything in the epic is true. Epics were written down from storytellers (often illiterate), who adopted them according to tradition from previous generations. Epics were recorded only on the territory of Russia, mainly in the North and Siberia. In the southern regions - in the Volga region and on the Don -
they were in a heavily altered and dilapidated form. Meanwhile, it should be assumed that the main number of plots was created within Kyiv state, i.e., in those places that are depicted in them. But epics were not found on the territory of Ukraine. There are no Ukrainianisms in their language either. The source of every heroic song there was some historical fact. In the epic, as in the folk tale, there is a lot of fiction. Bogatyrs are people of extraordinary strength, they ride mighty horses through rivers and forests, lift weights on their shoulders that are beyond the power of any person. For example, the bogatyr Syatogor is described in this way in the epic “Svyatogor the bogatyr”, described by L. N. Tolstoy:
... Did Svyatogor go for a walk in an open field,
He did not care for anyone Svyatogor,
With whom to measure the strength of the heroic;
And he himself feels great power in himself,
Feels - zhivchik spreads through the veins .. 1
Here is how N. M. Karamzin describes the hero Ilya Muromets:
... He is like a gentle myrtle:
Thin, straight and majestic.
His gaze is faster than an eagle's,
And the moon is brighter and clearer.
Who is this knight? - Ilya Muromets.
Bylina - old song, and not everything in it is clear, it is told in a leisurely, solemn tone. Many Russian epics speak of heroic deeds folk heroes. For example, epics about Volga Buslaevich, the winner of Tsar Saltan Beketovich; about the hero Sukhman, who defeated the enemies - nomads; about Dobryn Nikitich. Russian heroes never lie. Ready to die but not get off native land, they honor the service of the fatherland as their first and holy duty, although they are often offended by princes who do not trust them. Epics told to children teach them to respect human labor and love their homeland. They united the genius of the people.
However, epics do not always tell about heroes. The epic “About Avdotya Ryazanochka” is very interesting, who was not afraid of the Khan of the Golden Horde himself and rescued from captivity not only her relatives - her husband, son and brother, but the whole Ryazan is full.
The heroes did not liken their favorite heroes to either Venus or Diana, whom they had never seen. They drew comparisons from the nature of the things they saw. For example, when they wanted to praise the one they like, they said that she had:
falcon eyes,
sable eyebrows,
peacock gait;
Walking around the yard
Historical songs are a separate genre of folklore. Their artistic originality remains understudied. In pre-revolutionary science, they were often recognized as a degradation of the heroic epic, a scrap from epics, and in this regard, motives, images and stylistic devices common with epics (as if residual phenomena) were considered their dignity. Let me disagree with the authors of the collection. "Song of the Prophetic Oleg", "Songs of Stepan Razin" can be put today on a par with "the captain's daughter", "Pugachev's story" and others historical works. They also represent a huge artistic value. This is an expression of the historical self-knowledge of the people. The Russian people in their historical songs realized their historical significance. It is also a work of art and history about the past. Its attitude to the past is active: it reflects the historical views of the people to an even greater extent than historical memory. The historical content in the songs is conveyed by the storytellers consciously. Preservation of the historically valuable in the epic (be it names, events, relationships) is the result of a conscious, historical attitude of the people to the content of the epic. The people in their work proceed from fairly clear historical ideas about time. Consciousness historical value transmitted and original ideas of the people, and not just mechanical memorization, determine the stability of the historical content of the songs.
4. Song lyrics.
Folk lyrical song differs significantly from other genera and types of folklore. Its composition is more diverse than the heroic epic, fairy tales and other genres. Songs were created at far from the same time. Each time composed its own songs. The life expectancy of each song genre. For example, women's songs of a family theme, starting with wedding songs, as the oldest and most traditional ones, are remembered better than others. The recruit songs of the 18th century and a little more than half of the 19th century, lived a little more than a century and completely disappeared from folk repertoire after military reform 70s of the 19th century.
The age of remote songs was also short. Arising as a counteraction to serfdom, they were supported by the attention of progressive poets and caused many responses and imitations in fiction. But they were quickly forgotten after the reform, giving way to new works and new forms of struggle and protest.
The songs are very different. For example, songs for children and different types songs of the wedding ceremony or round dance are not similar in content or design. For a more complete presentation. Let's dwell on some of them.
Pestushki - songs and rhymes that accompany the first conscious movements of the child. For example:
"Oh, sing, sing
Nightingale!
Ah sing, sing
Young;
young,
Pretty,
Nursery rhymes - songs and rhymes for the first games of a child with fingers, arms, legs. For example:
"Sniffs, little pigs!
Rotok - talkers,
Hands are grasping
Legs are walkers."
Calls - children's song appeals to the sun, rainbow, rain, birds:
Spring is red! What did you come for?
On a bipod, on a harrow,
On an oatmeal sheaf
On a rye spike.
Sentences are verbal appeals to someone. For example, they say in the bath:
From gogol - water,
From a baby - thinness!
Roll off all.
Submissive songs. These songs were used in divination and got their name in connection with the game that accompanied divination. Each player put his own object (usually a ring) into the dish, then “sub-sample” songs were sung. The host of the game, without looking, took out the first ring that came to hand from the dish. The content of the song was attributed to the one whose ring was taken out. The image of the underdog song contained an allegory, a hint by which the future was judged. The song had an obligatory refrain that reinforced the divination. For example;
The cat beckons the koshurka into the stove:
Come on, koshurka, sleep in the stove
Is it warm in my oven,
And a light bed.
To whom did we sing
That's good
Who will take out
The most important place was occupied by songs in the composition of the wedding ceremony: they belong to the ceremony and are not performed outside the ceremony. Their function is ritual, they give publicity to the beginning, course and end of the wedding as a domestic legal act. These songs combine their purpose with the poeticization of the traditional ritual. A distinctive feature of wedding songs is the epic, narrative style.
Magnification is a genre of song praising mainly the groom, the bride. For example;
What, what is the red girl?
She is tall
Neither small nor great
face, face
White-round,
Eyes, eyes
What a clear falcon
Eyebrows like a black sable.
The girl herself is brave,
Initially, the function of magnificence in a wedding was connected with incantational magic: the well-being, happiness of the bride and groom, their relatives seemed to be real, already arrived. In later forms, incantational magic in greatness was supplanted by an expression of the ideal type moral behavior, beauty, household prosperity out of touch with magic. These songs created idealized images of a girl and a guy, a bride and groom.
Lamentations are lyrical works that directly convey the feelings and thoughts of the bride, her relatives and friends, other participants in the wedding:
... In the tower, Feklusha washes,
In high Klimovna washes,
Shedding hot tears,
Somehow I should part with my father,
Somehow I have to say goodbye to my mother ...
Initially, the function of lamentation was entirely predetermined by the rite. The bride imagined her departure from the family as an act against her will in order to avoid the unwanted revenge of the patrons of the hearth. But, it is possible that already in that distant time, crying was to some extent a direct expression of the true feelings of the bride at the time of parting with her family. Later lamentations only partly followed the ancient ritual and for the most part became a direct expression of the feelings of people who were vitally affected by the drama of separation from their families. The most significant stylistic feature of lamentation is the transmission of a person's confused feelings.
The tearful tone of the lamentations, the strict epic nature of the songs and the solemnity of the glorifications at the wedding were well complemented by the so-called reproachful songs - songs - jokes, often parodies of glorifications. Reproachful songs were performed in the family of the bride and groom after the completion of all the main actions of the wedding "rite". Their function is purely entertaining and humorous. The purpose of performing reproachful songs in the rite is to ridicule its participants, reproach them, scold them for their stinginess, unwillingness to reward the singers for performing the song:
... We sang all the songs,
Our throats are dry!
We did not drink beer, the bride,
We did not see the groom,
Bride's beer - like pouring,
However, the purpose of the reproachful songs is different. Within the framework of the ritual genre, the people expressed their views on the very significant phenomena of social and everyday life that interfered with the implementation of the ideals that were discussed in the laudatory songs. Greed, drunkenness, stupidity, family troubles were ridiculed.
Incantation songs are one of the most important means by which the ancient man tried to influence nature, the forces hostile to him. The purpose of such songs is to influence some phenomenon of nature, which was expected to help in the labors of the farmer, on one or another sacred object, to which magical significance was attributed, on an unknown force - fate, which controlled the happiness of a person in his personal life. These songs were mainly performed when preparing a loaf for a wedding:
You, Saint Kuzma - Demyan,
Buy us a wedding
5. Conspiracies.
Conspiracies and spells - prose works magical character and practical purpose. artistic nature The genre is determined, on the one hand, by the spontaneous poetization of ancient beliefs associated with animism, and, on the other hand, by the important, from the point of view of a commoner, practical purpose of the charm word. Hence, they have distinct ideas about the active word as a precise and strong word. ancient poetry conspiracies testifies that beliefs live longer than the reality in which they arose.
At present, conspiracies are scientifically and artistically interesting as the oldest type of poetry, a poetic monument of a person’s struggle with everything hostile and incomprehensible that surrounded him, and faith in that. That evil forces and ailments can be defeated. The popular systematization of conspiracies reflects the idea of them as a necessity in everyday life: “against diseases”, “so that the husband loves his wife”, “from thunder”, “from corruption they squeaked”, “about divination for successful bargaining”, etc. The most common and still conspiracies "for love." When I was studying at senior class high school, my friends and I kept notebooks in which we wrote down such conspiracies, here is one of them, the shortest one, which must be read looking at a candle lit in the hands, in an empty dark room, alone:
“I will light a candle in the darkness of the night, I will bow to it three times humbly and I will say the conspiracy words:“ Oh, you are great spirits, bright, evil-attack from love. You hear me praying to you, do not extinguish the candle that I have lit. I lit it with a pure thought, I didn’t lure someone else’s husband, I didn’t attract someone else’s groom, but I lit it for the sake of my beloved husband (groom), promised by fate itself. And I pray you, spirits of light, endow your fire with strength, good, all-penetrating strength, protecting love from death. You light a fire in the heart of a darling, illuminate all the bends in it, shine it to the very bottom - I feel, there lies a cold piece of ice - the jealousy of a fierce evil lovebird. Melt that prickly ice floe, return it with fuel with a tear. And I also pray you, good spirits, kindle a fire in the blood of the darling, so that in love he is gentle - furious and like a sip of water in the hottest heat, my kiss would be sweet to him. And for the third time I beg you, spirits of light, protect my pure love, save my husband (groom) beloved with a faithful heart, not shared with anyone.
The entire text of this spell is permeated with respect, unconditional faith in spirits that will help, deep meaning. Let me disagree with the authors of the collection "Russian Folk Art", who noted that conspiracies "... do not represent an independent artistic function..” After all, everything in the text is permeated with pain, because love began to fade; fear of losing your happiness, deep faith. The style in which this conspiracy is written is also very interesting.
In conspiracies and folk medicine, they see not only a manifestation of dark superstitions that must be fought, but also folk knowledge, folk philosophical views, mythological ideas, and poetic art.
6. Russian Soviet folklore.
Russian Soviet folklore is mass form folk poetic culture of the socialist era. This culture has its roots in centuries-old folk - poetic traditions, it grows on their basis and is their organic and natural continuation in the new historical conditions. Features of Soviet folklore are closely connected with the history of Soviet society. In the course of the struggle for Soviet power, in the bloody battles in the civil and great patriotic wars, folk poetic creativity was enriched with new features and new content. Compared to the traditional text in Soviet folklore, it acquired a more stable and independent meaning, but even here it is not finally assigned to the author and is not canonized. Therefore, it can be exposed to the folklore laws of existence.
The very concept of “folklore” itself has expanded and lost its former certainty, and in many respects has been filled with new content. It began to be applied to those types and forms of non-professional creativity, which are based on a collective or individual principle, continuing and developing the traditions of Russian folk art.
In traditional folklore Soviet era there were lively and very complex processes associated with both different periods her history, as well as internal development her genres. From mass existence gradually disappeared everything that was due to the historically transient aspects of folk life (religious legends, spiritual verses, some rituals, etc.). This process has not always been consistent. Under certain conditions, certain disappeared genres or certain traditions came to life again and became productive. So, during the Great Patriotic War, lamentations and laments-tales became widespread, especially in the Russian North. Meanwhile, they have long been considered to have lost their significance.
The socialist transformation of our country was accompanied by a struggle for the formation of a new person - the bearer of the communist ideal. This theme is leading throughout the history of Soviet folklore. It is widely represented in songs and ditties created by workers and soldiers during the preparation and conduct of the Great October Socialist Revolution:
Because of the forest, the forest of spears and swords
A company of reckless communards came out,
Hey, hey, let them talk
A company of reckless communards came out.
Ahead of all is their young commander,
Leads a company of Communards behind him.
With the revolutionary breaking of the old way of life, with the process of the birth of a new, socialist, consciousness, many works of Soviet folklore are connected, both from the period of the civil war and to a later time. They reflect the complexity of artistic development. The new was born in a sharp struggle with the old, in overcoming various remnants of the past.
Both during the years of the Civil War and later, the emergence of new works most often occurred through the processing of old ones. For this, well-known and popular motifs and texts were used. First of all, old revolutionary songs and soldiers' songs were reworked, as they were the closest in content to the events of the first years of life. Soviet state. Company and regimental poets hastily subtexted under the old popular soldier's melody new words corresponding to the situation. Often, the objects of alteration coincided on both sides of the front. For example, the romance "White acacias" was remade into a marching song "We will boldly go into battle." The same romance, but in other words, to the same motive was sung in the white army.
The most important theme of the folklore of the civil war is the direct depiction of the struggle itself, its participants and heroes. In most cases, such works are built on very specific events and episodes of the war with the interventionists and the white army.
For the works of Soviet folklore of a later time, a combination of personal and public is characteristic. Their main heroes were the foremost workers of labor, shock workers, Stakhanovites, etc. Among these heroes are people who glorified their homeland with their exploits: pilots who made an unprecedented flight, Chelyuskin and polar explorers, Red Army soldiers and border guards. Detaining spies and rebuffing the enemy. In most cases they have specific names(Chkalov, Stakhanov, Pasha Angelina, Krivonos, etc.). However, for all their specificity, these names embody qualities that are becoming typical for Soviet people and therefore open up the possibility for the emergence of new and new heroes.
With the upsurge in labor that has engulfed the whole country, with the gradually emerging new socialist attitude to work, the emergence of new products of the collective farm village is also connected. Telling about the new collective farm life, works of folk art often try to use the tradition of the old lyrical song, rework individual song plots or images and give them a new meaning. In this sense, the song “you succeed, succeed, lenok” is indicative:
We sow the collective farm, we sow flax.
We sow, we condemn
We nail with chobots:
"You succeed, succeed, lenok,
You succeed, the highest number.
It is based on an old round dance song. The birth of such works in most cases is associated with amateur art, which received a very wide development in these years.
Folk art during the Great patriotic war was an effective weapon in the fight against the Nazi invaders. The leading theme that determines the content of folklore was the patriotic feat of the Soviet people in the struggle for the freedom and independence of our homeland. As in previous periods, the emergence of new works followed two lines: on the one hand, the songs of professional poets and works of Soviet folklore, starting from the time of the civil war, were rethought and reworked; on the other hand, it appeared a large number of original folk art.
The song, which literally became one of the types of weapons during the war, firmly entered the life of Soviet soldiers. She accompanied them on all roads of the war, in all the events of front-line and partisan life. The Russian and Soviet song was of particular importance in the territory occupied by the enemy, as well as in the Nazi death camps. It supported the spirit of the Soviet people, strengthened their will and determination to fight to the end.
7. Conclusion.
I only scratched the surface of some genres of Russian folklore. Many more questions remain unanswered. However, even this superficial study shows what a tremendous path of development Russian folklore has gone through. He entered the history of our country as an active participant in our entire life, each person individually, from birth to his death.
Throughout life, folklore helps a person to live, work, relax, help make decisions, and also fight enemies, as shown above in the examples.
By its specificity, folklore is the most democratic form of art, and under any circumstances - be it peace on earth or war, happiness or sorrow, folklore remains stable and active. The most indicative in this sense is a ditty, invented by the people in the 80s, when many products were not available from the store, and some could only be bought in limited quantities:
We don't drink vodka for a long time,
We don't eat sausage
We’ll probably bring a jar of mash
We listen to Gorbachev.
Here we see that under any circumstances the Russian people do not lose optimism and always hope for the best.
8. used literature.
1. Russian Soviet folklore. Anthology / ed. K. N. Fenomenova. - L., Publishing house - in "Nauka", 1968. - 201 p. ;
2. Russian folklore / Ed. V. P. Anikina; - M.: Hood. Lit., 1985. - 367 p.;
3. T. M. Akimova, V. K. Arkhangelskaya, V. A. Bakhtina / Russian folk poetry (a manual for seminars). - M .: Higher. School, 1983. - 208 p. ;
Russian Soviet folklore. Anthology / ed. K. N. Fenomenova. - L., Publishing house - in "Nauka", 1968. - p. 49.
Russian Soviet folklore. Anthology / ed. K. N. Fenomenova. - L., Publishing house - in "Nauka", 1968. - p. 19.
Russian Soviet folklore. Anthology / ed. K. N. Fenomenova. - L., Publishing house - in "Nauka", 1968. - p. 89.
№24 Modern peasant and urban folklore (in my opinion, complete crap!!! I don’t know who was looking for this answer)
Folklore in the “broad” sense (all folk traditional peasant spiritual and partly material culture) and “narrow” (oral peasant verbal artistic tradition). Folklore is a set of structures integrated by the word, speech, regardless of what non-verbal elements they are associated with. Probably, it would be more accurate and definite to use the old and from the 20-30s. obsolete terminology. the phrase "oral literature" or not very specific sociological. restriction “oral folk literature”. This use of the term is determined by different concepts and interpretations of the connections of the subject of folklore with other forms and layers of culture, the unequal structure of culture in different countries Europe and America in those decades of the last century, when ethnography and folklore arose, with different rates of subsequent development, different composition the main fund of texts used by science in each of the countries. In modern folklore, four main concepts enjoy the greatest authority, which at the same time constantly interact: a) folklore - orally transmitted common people's experience and knowledge. This refers to all forms of spiritual culture, and with the most extended interpretation - and some forms of material culture. Only a sociological restriction (“common folk”) and a historical and cultural criterion are introduced - archaic forms that dominate or function as remnants. (The word "folk" is more definite than "folk" in a sociological sense, and does not contain an evaluative meaning ("people's artist", "people's poet"); b) folklore - folk art or, according to a more modern definition, "artistic communication ". This concept allows us to extend the use of the term “folklore” to the sphere of music, choreography, and depiction. etc. folk art; c) folklore is a folklore verbal tradition. At the same time, those that are associated with the word stand out from all forms of common people's activity; d) folklore is an oral tradition. At the same time, oral language is of paramount importance. This makes it possible to single out folklore from other verbal forms (first of all, to oppose it to literature). we have the following concepts: sociological (and historical-cultural), aesthetic, philological. and theoretical and communicative (oral, direct communication). In the first two cases, these are the "broad" use of the term "folklore", and in the last two - two variants of its "narrow" use.
Modern Folkloristics, seeking to understand the general patterns of development of folklore, cannot but take into account the fact that it is perceived by the peoples themselves as an expression of ethnicity that is precious to them. specificity, the spirit of the people. Of course, the correlation between the universal and specifically ethnic is each time determined by the specific conditions for the development of an ethnos - the degree of its consolidation, the nature of its contacts with other ethnic groups, the characteristics of settlement, the mentality of the people, etc. If we use the categories of generative grammar, we could say that general, international. patterns, as a rule, appear at the level of deep structures, and specific national patterns - at the level of surface structures. If we turn, for example, to fairy tales or story epic. songs (their international recurrence is well studied), it is impossible not to state what their plots mean. degrees are international, and their incarnations in real texts vary in different ethnic groups. and local traditions, acquiring certain ethnic. features (a language intimately associated with folklore, the realities of everyday life, beliefs, a set of characteristic motives, from which, as A.N. action develops, characteristic social relations, etc.). Both fairy tale and epic traditions seem to create their own world, which has no direct analogies in reality. This world is invented by collective fantasy, it is a transformed reality. However, no matter how complex the connection between fairy-tale reality and true reality, it exists and reflects not just and not only something universal, but also the features of being and thinking of a certain people.
THIS IS WHAT I FOUND!!! (KATE)
traditional folklore - these are the forms and mechanisms of artistic culture that are preserved, fixed and transmitted from generation to generation. They capture universal aesthetic values that retain their significance beyond concrete historical social changes.
Modern folklore reflects the current stage of development of folk art. It incorporates modern aesthetics, problems and artistic images. It is also a non-literate culture, the carriers of which are often the marginalized sections of society. In the structure of modern folklore, the so-called neo-folklore can be distinguished. This is everyday artistic creativity of a non-formalized leisure nature, including at the same time forms of folklore, mass and professional art, amateur art, distinguished by aesthetic diversity, style and genre instability, and acting as the "second" wave in modern folklore culture.
Peasant folklore belongs to the peasant subculture. This is a fairly stable art system. It contains labor, ethical, family, marriage and aesthetic values of farmers. Its archaic layers that have come down to us represent in spirit and meaning value system agricultural calendar and the culture of the peasantry, which combined the features of paganism and Christianity.
urban folklore appeared in a later period, its wide distribution dates back to the 18th century. It developed in constant interaction, on the one hand, with author's art in its written (printed) forms, and, on the other hand, with peasant folklore. The processes of borrowing from one layer of culture to another were very characteristic. They took place through petty-bourgeois folklore, ideas, images and artistic techniques which were decisive for urban folklore.
Thus, we can state a wide variety of interpretations of the concept of "folklore". However, gradually the definitions of folklore in the narrow and broad senses turned out to be dominant: as oral folk art and as a combination of all types of folk art in the context of folk life.
Genres of contemporary urban folklore
Urban song folklore
Cruel romance
city song
Pragmatics of oral storytelling
Unfabulous prose of a provincial town
Folklore of communal apartments
family folklore
Modern joke
Contemporary album tradition
magic letters
№25. The concept of "game", game culture. Psychology, fundamentals, functions and nature of the game.
A game- this is a type of activity that does not result in the production of any material or ideal product (with the exception of business and design games for adults and children). Games often have the character of entertainment, they are aimed at getting rest. Sometimes games serve as a means of symbolic relaxation of tensions that have arisen under the influence of the actual needs of a person, which he is not able to weaken in any other way.
gaming culture is understood as one of the subsystems of culture, in which the attributive features of gaming activity are realized and the specificity of its subject, object, procedural, resulting, institutional characteristics is reflected.
There are several game types:
Individual
Group
subject
Story
role-playing
Games with rules.
Signs (features) of the game:
free developing activity, undertaken only at will, for the sake of pleasure from the very process of activity, and not just from the result.
creative, improvisational, active in nature activity.
emotionally intense, elevated, competitive, competitive activity.
activities that take place within the framework of direct or indirect rules that reflect the content of the game.
imitative activity. "The game is not an "ordinary" life and life as such. It is rather an exit from the framework of this life into a temporary field of activity with its own direction. Even a small child knows perfectly well that he is playing only “as if for real”, that it is all “pretend”.
activity isolated from the "ordinary" life by the place of action - the playing area and duration. It "plays out" within certain limits of space and time. Inside the game space reigns its own unconditional order. ( J. Huizinga, 1992).
Availability minimum game situation.
Game Features:
communicative - expansive influence. The game covers all those present (participants, spectators, organizers), i.e., establishes emotional contacts;
activity - revealing the interaction of people with each other and the world around them;
compensatory - restoring energy, life balance, tonic psychological stress;
educational - Organizing human activity. The game allows you to create targeted education and training;
pedagogical, didactic - developing skills and abilities (memory, attention, perception of information of various modalities are trained);
predictive - predictive, experimenting;
modeling - linking reality with the unreal;
entertaining - creating a favorable atmosphere, turning a scientific event into an exciting adventure;
relaxation - relieving emotional stress, positively affecting the nervous system;
psychotechnical - restructuring the player's psyche for the assimilation of large amounts of information;
developing - corrective manifestations of personality in game models of life situations.
There are several concepts in the approach to the phenomenon of the game:
a) German philosopher and psychologist K. Groos; according to it, play is a preliminary preparation for the conditions of the future life;
b) an Austrian psychologist K. Buhler, which defines the game as an activity performed for the sake of obtaining pleasure from the very process of activity;
c) a Dutch scientist F. Beitendijk, considering the game as a form of realization of common primordial inclinations: to freedom, to merge with the environment, to repetition.
G) Z. Freud believed that the game replaces repressed desires.
and) G. Spencer treated the game as a manifestation of excess vitality.
h) G. V. Plekhanov. The game is a product of labor, arising, as it were, from imitation of labor processes.
The nature of the game
The game is meaningful activity, i.e., a set of meaningful actions, united by the unity of a motive.
A game action is not performed for the practical effect it has on the object being played. The game is an expression of a certain attitude of the individual to the surrounding reality.
The game of the individual is always closely connected with the activity on which the existence of the given species is based. In animals, it is associated with the basic forms of instinctive life, through which their existence is maintained; at human"game is a child of labor" .
This connection of the game is hardly vividly captured in the content of the games: all of them usually reproduce certain types of practical non-game activities.
Man game - the product of activity through which a person transforms reality and changes the world.The essence of the human game - in the ability, displaying, transforming reality.
In play, for the first time, the child's need to influence the world is formed and manifested - this is the main, central and most general meaning of play.
The commonality and difference between playing with difficulty is primarily in their motivation.
The main difference between play activity and work activity lies in the general attitude towards one's activity. Working, a person does not only what he has an immediate need or immediate interest in; very often he does what needs to be done or should be done, regardless of the presence of an immediate interest or an immediate need. In their play activities, players do not directly depend on what practical necessity or social duty dictates. The doctor, busy with his work, treats the patient because his professional or official duties require it; the child, playing doctor, "treats" others only because it attracts him. The game expresses a more direct attitude to life, it proceeds from immediate motives - immediate interests and needs.
Essence of the game, is that game motives are not in the utilitarian effect and the material result, which usually gives a given action in a practical non-game plan and not in the activity itself, regardless of its result, but in a variety of experiences, significant for the child, in general for the player .
In play, only the conditions of play are imaginary, in which the child mentally places himself, but the feelings that he experiences in these imaginary conditions are authentic feelings that he really experiencing.
The game is a way of realizing the needs and requests of the child within his capabilities.
№26. Russian wooden architecture. Famous architectural ensembles and residential buildings in Russia.
Since ancient times, wood and clay have been the main building materials for Russian architects. Clay bricks have been widespread in Rus' since the middle of the 10th century, and wood has been used as the main building material since time immemorial. It was wooden architecture that became the basis of a special style of Russian medieval architecture, which implies the optimal combination of beauty and functionality of buildings.
The ax remained the main tool of the builder for many centuries. The fact is that the saw breaks the wood fibers during operation, leaving them open to water. The ax, crushing the fibers, seals the ends of the logs, as it were. Not without reason, they still say: "cut down the hut." Therefore, saws were used exclusively in carpentry.
If we turn to the history of Russian wooden architecture, then the largest and unique reserve of folk art is the Russian North. There are more preserved wooden buildings in the Arkhangelsk province than anywhere else in Russia. It is physically impossible to see all these monuments, so at one time some of them were transferred to one of the most famous architectural museums in Russia in the village of Malye Korely, which is located near Arkhangelsk. Several residential complexes of various districts - Kargopol-Onega, Mezensky, Pinezhsky and Severo-Dvinsky - are recreated in Malyye Korela, while all the buildings are grouped according to a “geographical” feature, as if creating a reduced model of the entire Russian North in the complex.
Another architectural ensemble of unsurpassed beauty is located near the village of Kizhi. In terms of the concentration of heritage sites, the Kizhi historical, cultural and natural complex is a unique historical territory that has no equal in the European North of Russia.
Together with architectural monuments that have been preserved unchanged from the moment of construction or taken out of other areas and recreated on the territory of the reserve, the Kizhi museum collection illustrates the main aspects traditional culture Indigenous peoples of Karelia: Karelians, Vepsians, Russians.
Excellent material for studying the main directions of medieval wooden architecture is provided by Kostroma. The city arose in the Middle Volga region, that is, in an area exceptionally rich in forests, which determined the nature of the development. I must say that stone construction until the very end of the 17th century in Kostroma was an extremely rare phenomenon - even the houses of the richest nobles and merchants and the house of the mother of Tsar Mikhail Romanov - Martha, were wooden. You can restore the image of the ancient wooden temples of Kostroma using architectural monuments preserved in the Museum of Wooden Architecture and on the territory of the Kostroma Region.
The ancient Russian city of Suzdal is exceptionally rich in architectural monuments. Picturesquely and evenly distributed throughout the city, they form an architectural ensemble of rare beauty and integrity. The style chosen by the ancient architects gives charm to the ancient city, whose history dates back almost thousands of years.
At first, this museum arose on a small treeless and almost deserted island of Kizhi on Lake Onega. And once there was a vast settlement here, called in the Novgorod cadastral books "Spassky Kizhi churchyard". Kizhi - from the name of the island, and Spassky - from the name of the church on the churchyard of the island.
Chapel of the Archangel Michael from the village of Lelikozero is one of the architectural gems of the Russian North. In addition, like many other chapels, it was the most beautiful building in the village and gave the inhabitants many bright, festive minutes.
Church of the Resurrection, 1776 Suzdal (Museum of Wooden Architecture)
Windmill. Village Volkostrov (Nasonovshchina), 1928
A windmill from the village of Volkostrov (Nasonovshchina) was built in 1928 by a local craftsman Nikolai Yakovlevich Bikanin (1880 - 1958). The mill is an excellent example of the engineering talent of northern peasants.
Spaso-Preobrazhenskaya Church, XVII century.
The many-domed Transfiguration Church was erected in 1714, at the height of the Northern War, on the site of an old church that had burned down from a lightning strike.
Church of the Intercession Mother of God(dome), XVII century
In 1764 the Church of the Intercession was built. Its nine heads form a strikingly beautiful openwork crown - light, feminine and elegant, and at the same time, solemn, regally majestic: like a Russian beauty in an embroidered pearl dress.
Chapel of Michael the Archangel, XVII-XVIII centuries.
The chapel was a place of communion with God. In troubled times, it became a watchtower, warning with the ringing of bells about the approach of danger.
Chapel of the Assumption of the Virgin, XVIII century.
The ancient Kizhi building has been standing on the shores of Lake Onega for three centuries already (the logs of the chapel were cut down in 1702). As before, the chapel serves as a reference point for fishermen. Its small silhouette gives the island village a special charm of simplicity, reliability and harmony.
Ascension cube church, 1669 Kushereka village, Onega region
On the coast of the White Sea, the type of a cube-shaped temple was widespread. A cube is a complex shape of a coating resembling a tetrahedral onion. A distinctive feature of the architectural appearance of the northern cubic churches is their beauty, grace and harmony.
Village Kondratievskaya.
The exact time of construction of the surviving chambers is unknown; presumably, they were placed in the middle of the 17th century.
Chapel of the Three Saints, 17th century Kavgora village
On the highest hill of a wooded area in the Kondopoga region of Karelia, the village of Kavgora was once located. Here, surrounded by a ring of boulders, next to the giant fir trees, stood the chapel of the Three Saints: Basil the Great, John Chrysostom, Gregory the Theologian.
Sergeeva's house from the village of Lipovitsy, late 19th - early 20th centuries
A typical Zaonezhsky house, built at the turn of the century, in which ancient constructive techniques are combined with new trends in wooden architecture. An excellent example of folk building art.
Wicker fence (detail)
Chapel of Our Lady of All Who Sorrow, 18th century Eglovo village.
This is a traditional Zaonezhsky building. the history of its creation is largely unclear. Until 1882, inclusive, the chapel was not mentioned in the documents of the Kizhi parish. Possibly late 19th century. it was transported from another place, supplemented with planking and roofing iron. Restored in 1983-1984.
19th century Village Kondratievskaya.
Chapel of Saint Macarius, 18th century Fedorovskaya village.
Chapels, which were often built without the permission of church authorities, became widespread in the Russian North. This feature determined the great influence of peasant tastes on the architecture of these buildings.
The architectural ensemble of the Spassky Kizhi Pogost, XVII century.
"The Graveyard of Spassky on Kizhi on Lake Onega. And on the graveyard is the Church of the Transfiguration of the Savior, and another Church of the Intercession of the Holy Mother of God" (from the scribe book of the Moscow clerk Andrei Pleshcheev about the Zaonezhsky graveyards of 1582-1583)
House of Oshevnev (fragment of the veranda), 1876. Village of Oshevnevo
Wooden road-flooring, 19th century.
Village well. Kostroma (Museum of Wooden Architecture)
Chapel of Peter and Paul, XVII-XVIII centuries. Nasonovshchina village.
The chapel stands on an open flat area. On a summer day, the entire Kizhi volost came to her for a chapel feast. The guests were received by residents of the Volkostrov village, or, more precisely, a bush of villages: Nasonovshchina, Posada, Shlyamino ... The chapel was the center and decoration of Volkostrov.
Chapel of the Sign of the Virgin (detail), 18th century Cobra Village.
In the village of Kobra, located in the depths of a small bay, on a cape jutting out into the lake, there is a chapel of the Sign of the Virgin. In the 19th century The building was sheathed with boards and covered with roofing iron. In 1962, after restoration, the chapel acquired its former appearance.
Windmills-pillars on a "ryazhe", 19th century
"Pillar" mills are named for the fact that their barn rests on a pillar. Of course, the barn rests not only on a pillar, but on a frame-ryazhe (from the word "cut" - logs cut not tightly, but with gaps). Rows at the posts can be of different shapes and heights, but not higher than 4 meters.
Spaso-Kizhi churchyard (fragment of a fence), 17th century
The most interesting Kletskaya church of the beginning of the 17th century from the village of Fominsky, Kostroma region.
Architectural ensemble of the Spaso-Kizhi churchyard, XVII century.
The very word "graveyard" speaks of the significance of the settlement. So in the old days they called not only a fairly large administrative-territorial unit, consisting of several volosts, with many villages, villages, exhibitions and repairs, but also its main settlement, which served as an administrative center.
Bell tower, 19th century. Ivanovo village.
Church of the Transfiguration from the village of Spas-Vezhi on the territory of the Ipatiev Monastery. Kostroma.
Judging by the scribe books, the church was built in 1628. This is the largest of the wooden Klet churches that have survived to this day.
Ipatiev Monastery (fragment of the gate)
From the moment of its inception, the Ipatiev Monastery, as it were, took on the role of a fortress, according to legend, already in ancient times it was surrounded by oak walls.
Church of the Cathedral of Our Lady from the village of Kholm, XVI century. Kostroma.
According to some ancient written sources, it was built in 1552. The oldest surviving monument of wooden architecture of the Kostroma region. The church came to us in a rebuilt form, the changes affected the upper, crowning part of the building, and partly its foundation.
Architectural ensemble of the Spaso-Kizhi churchyard, XVII century.
Thousands of people rush here, to the island of Kizhi, to see the "eighth wonder of the world" created by ordinary Zaonezhsky peasants. Now here is a museum-reserve of folk wooden architecture.
Church of the Savior from the village of Fominskoye (tented dome and bell tower), XVIII century. Kostroma.
Church of the Savior from the village of Fominskoe (fragment), XVIII century. Kostroma.
Museum of Wooden Architecture. Kostroma.
Not a single ancient wooden building has been preserved in Kostroma itself, but you can imagine the appearance of the ancient temples of the city from the monuments of wooden architecture that have been preserved on the territory of the Kostroma region. Since 1958, the best of these monuments have been transported to Kostroma, to the Museum of Wooden Architecture.
Church of St. John the Theologian on the Ishni River, 1687-1689 Rostov, Yaroslavl region.
There are not so many legends about any monument on the Rostov land as about this small chopped church. The most poetic of them says that the church was not built, she herself sailed from the lake along the Ishni River in finished form and stood where she stands now.
Fragment of a village house. Kostroma (Museum of Wooden Architecture)
Church of the Cathedral of Our Lady from the village of Kholm (fragment), XVI century. Kostroma.
There was a legend that the builders of this ancient building were buried in the altar of the temple they built. Few were honored with this, because even burial near the walls of a church building was considered a great honor.
Church of the Savior from the village of Fominskoe, 18th century Kostroma.
Spaso-Preobrazhenskaya Church (fragment), 18th century Suzdal (Museum of Wooden Architecture)
The beginning of the museum was laid by the Transfiguration Church of 1756 from the village of Kozlyatyeva, Kolchuginsky district. They built churches from pine, without using iron nails. The domes were covered with silvery aspen plowshares.
Architraves of a village house (deaf carving fragment). Kostroma (Museum of Wooden Architecture)
Bridges. Kostroma (Museum of Wooden Architecture)
Well with a gate. Borosville village.
Fragment of a village house. Kostroma (Museum of Wooden Architecture)
Spaso-Preobrazhenskaya Church (fragment), 18th century Suzdal (Museum of Wooden Architecture)
State of modern folklore.
Many young people, living in our age of rapid development of science and technology, ask themselves the question "What is modern folklore?".
Folklore is folk art, most often it is oral. It implies the artistic collective creative activity of the people, which reflects its life, views, ideals. And they, in turn, are created by the people and exist among the masses in the form of poetry, songs, as well as applied crafts, fine arts.
Fairy tales, epics, legends, proverbs and sayings, historical songs are the heritage of the culture of our distant ancestors. But, probably, modern folklore should have a different look and other genres.
Modern people they don’t tell each other fairy tales, they don’t sing songs at work, they don’t cry and lament at weddings. And if they compose something “for the soul”, then they immediately write it down. All works of traditional folklore seem incredibly far from modern life. Is it so? Yes and no.
Nowadays there are different genres folklore. We conducted a survey among students of different ages. The following questions were asked:
1. What is folklore?
2. Does it exist now?
3. What genres of modern folklore do you use in your life?
All respondents were divided into three age groups: junior schoolchildren, middle schoolchildren, senior schoolchildren.
80% were able to give a complete answer to the first question junior schoolchildren, 70% are middle school students, 51% are high school students.
The second question was answered positively by 90% of all respondents.As for the use of folklore in everyday life, unfortunately, almost all the children surveyed, namely 92%, answered that they do not use folklore. The rest of the respondents indicated that they occasionally use riddles and proverbs.
Folklore, translated from English, means "folk wisdom, folk knowledge." Thus, folklore must exist at all times, as the embodiment of the consciousness of the people, their lives, ideas about the world. And if we do not come across traditional folklore every day, then there must be something else, close and understandable to us, something that will be called modern folklore.
The survey showed that students are aware that folklore is not an invariable and ossified form of folk art. It is constantly in the process of development and evolution: Chastushki can be performed to the accompaniment of modern musical instruments on contemporary themes, folk music may be influenced by rock music, and modern music itself may include elements of folklore.
Often the material that seems frivolous to us is the "new folklore". Moreover, he lives everywhere and everywhere.
Modern folklore is the folklore of the intelligentsia, students, students, philistines, and rural residents. [2 , p.357]
Modern folklore has taken almost nothing from the genres of classical folklore, and what it has taken has changed beyond recognition. “Almost all the old oral genres are becoming a thing of the past - from ritual lyrics to fairy tales,” writes Professor Sergei Neklyudov (the largest Russian folklorist, head of the Center for Semiotics and Typology of Folklore at the Russian State University for the Humanities). [3]
Of course, modern life makes its own adjustments. The fact is that modern man does not associate his life with the calendar and the season, since in the modern world there is practically no ritual folklore, we are left with only signs.
Today great place occupy non-ritual folklore genres. And here, not only altered old genres (riddles, proverbs), not only relatively young forms (“street” songs, jokes), but also texts that are generally difficult to attribute to any particular genre. For example, now there are urban legends (about abandoned hospitals, factories), fantastic "historical and local history essays" (about the origin of the name of the city or its parts, about geophysical and mystical anomalies, about celebrities who visited it, etc.), stories about incredible incidents, legal incidents, etc. Rumors can also be included in the concept of folklore.
Sometimes, right before our eyes, new signs and beliefs are formed - including in the most advanced and educated groups of society. Who has not heard about cacti, supposedly "absorbing harmful radiation» from computer monitors? Moreover, this sign has a development: "not every cactus absorbs radiation, but only with star-shaped needles."
At present, the structure of the distribution of folklore in society has also changed. Modern folklore no longer carries the function of self-consciousness of the people as a whole. Most often, the carriers of folklore texts are not residents of certain territories, but members of some sociocultural groups. Tourists, goths, parachutists, patients of one hospital or students of one school have their own signs, legends, anecdotes, etc. Each, even the smallest group of people, barely realizing their commonality and difference from all others, immediately acquired their own folklore. Moreover, the elements of the group may change, but the folklore texts will remain.
For example, once I was in field conditions, I came across such a sign. During the campfire, many joked that if the girls dry their hair by the fire, the weather will be bad. The whole campaign of the girls was driven away from the fire. Having got on a hike some time later with completely different people and even instructors, I found that the omen is alive and they believe in it. Girls are also driven away from the fire. Moreover, new opposite signs appear: if you dry your laundry by the fire, then the weather will improve, even if one of the ladies nevertheless broke through with wet hair to the fire. Here, not only the birth of a new folklore text in a certain group of people is evident, but also its development.
The most striking and paradoxical phenomenon of modern folklore can be called network folklore. The main and universal feature of all folklore phenomena is the existence in oral, while all network texts are, by definition, written.
Folklore is an example of the existence and development of man in society. Can't imagine without it modern life. Let everything around change, but without creativity a person cannot exist, which means that folklore also develops, albeit in forms that are unusual for us.
Literature
Cherednikova M.P. Modern Russian children's mythology in the context of the facts of traditional culture and child psychology. - Ulyanovsk, 1995, 392c
Zhukov B. Folklore of our time.Modern people do not tell each other fairy tales, do not sing songs at work // "What's new in science and technology" № 3, 2008
