(English folklore - folk wisdom) - this designation artistic activity the masses, or oral folk art, which arose in the preliterate period. This term was first introduced into scientific use by the English archaeologist W. J. Toms in 1846 and was broadly understood as the totality of the spiritual and material culture of the people, their customs, beliefs, rituals, and various forms of art. Over time, the content of the term narrowed. There are several points of view that interpret folklore as folk artistic culture, as oral poetic creativity and as a set of verbal, musical, game types folk art. With all the diversity of regional and local forms, folklore has common features, such as anonymity, collective creativity, traditionalism, close connection with labor activity, everyday life, the transmission of works from generation to generation by means of natural memory. Collective life determined the emergence of various peoples similar genres, plots, such means of artistic expression as hyperbole, parallelism, various types of repetitions, constant and complex epithet, comparisons. The role of folklore was especially strong during the period of predominance of mythopoetic consciousness. With the advent of writing, many types of folklore developed in parallel with fiction, interacting with it, influencing it and other forms artistic creativity influence and experiencing the opposite effect.

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FOLKLORE

English folklore - folk knowledge, folk wisdom), folk poetry, folk poetry, oral folk art - a set of different types and forms of mass oral arts. creativity of one or several. peoples The term "F." introduced in 1846 archaeologist W. J. Toms, as a scientist. the term is officially adopted by English. folklore society "Folklore Society", main. in 1878. Originally "F." meant both the subject of research and the corresponding science. In modern historiography is a science that studies the theory and history of f. and its interaction with other types of art, called. folkloristics. The definition of F. cannot be unambiguous for all historians. stages, because its social and aesthetic. functions, content and poetics are directly dependent on the presence or absence in the cultural system of a given people of its other forms and types (handwritten or printed books, professional theater and pop music, etc.) and various methods of dissemination of literary arts. works (cinema, radio, television, sound recordings, etc.). F. arose in the process of the formation of human speech and in ancient times covered all forms of spiritual culture. It is characterized by comprehensive syncretism - functional and ideological. (F. contained the rudiments of artistic creativity, historical knowledge, science, religion, etc.), social (F. served all layers of society), genre (epic, fairy tale, legend, myth, song, etc. not yet differentiated), formal (the word appeared in inextricable unity with the so-called extra-textual elements - intonation, melody, gesture, facial expressions, dance, sometimes figurative art). Subsequently, in the process of social differentiation of society and the development of culture, various types and forms of f. arose, expressing the interests of the department. social strata and classes, folklore genres were formed that had various social and everyday purposes (production, social-organizing, ritual, gaming, aesthetic, cognitive). They were characterized by varying degrees of aesthetic development. started various combinations text and extra-textual elements, aesthetic. and other functions. In general, F. continued to remain multifunctional and syncretic. The use of writing to record text distinguished literature from the oral forms of literary arts that preceded it. creativity. From the moment of their inception, writing and literature turned out to be the property of the highest social strata. At the same time, literature at first, as a rule, was not yet a phenomenon. artistic (for example, chronicles and annals, diplomatic and journalistic works, ritual texts, etc.). In this regard, the actual aesthetic. The needs of society as a whole were satisfied for a long time mainly by oral tradition. The development of literature and growing social differentiation led to the fact that already in the late feudal period. F.'s period became predominant. (and among many nations exclusively) the property of the working people. the masses, because literary forms of creativity remained inaccessible to them. Social differences in the environment that created literary and folklore works led to the emergence of a definition. range of ideas and various arts. tastes. This was accompanied by the development of specific systems of literary (story, novel, poem, poem, etc.) and folklore (epic, fairy tale, song, etc.) genres and their poetics. The transition from oral forms of creation and transmission of art. works that are characterized by the use of natural elements. means of communication (voice - hearing, movement - vision), to fixing and stabilizing the text and reading it meant not only a more advanced way of accumulating and preserving cultural achievements. He was accompanied and determined. losses: a spatial and temporal gap in the moment of creation (reproduction) of art. the work and its perception, the loss of the immediate. contact between its creator (writer) and the perceiver (reader), loss of extra-textual elements, contact empathy and the possibility of making textual and other changes depending on the reaction of the perceivers. The significance of these losses is confirmed by the fact that even in conditions of universal literacy, not only traditional folklore, but also other oral and at the same time synthetic ones continue to exist and re-emerge. forms, and some of them are of a contact nature (theater, stage, readers, performances of writers in front of an audience, performance of poetry with a guitar, etc.). Character traits F. in the conditions of its coexistence with literature and in opposition to it: orality, collectivity, nationality, variability, combination of words and arts. elements of other arts. Each work arose on the basis of poetics developed by the team, was intended for a certain circle of listeners and acquired its origins. life, if it was accepted by the team. Changes made by the department. performers could be very different - from stylistic. variations until a significant reworking of the plan and, as a rule, did not go beyond the boundaries of the ideology and aesthetics of the definition. environment. Collectiveness creative. process in F. did not mean its impersonality. Talented masters not only created new songs, fairy tales, etc., but also influenced the process of dissemination, improvement or adaptation of traditions. texts to the historically changed needs of the collective. Dialectical the unity of the collective and the individual was contradictory in f., as in literature, but in general tradition in f. was of greater importance than in literature. In social conditions. division of labor on the basis of oral tradition, in parallel with mass and unprofessional performance, which is characteristic of the arts of all nations, unique professions arose associated with the creation and performance of poetic, musical and other works (Ancient Greek rhapsodes and aedas; Roman mimes and French jonglers; later Russian kobzars and chansons. In the early feud. period, performers who served the dominant social strata emerged. A transitional type of singer-poet emerged, closely associated first with chivalry (French troubadours or German minnesingers), later with the burghers (German meistersingers) or the clerical-student environment (French or German vagantes; Polish, Ukrainian and Belarusian . nativity scenes). In some countries and regions, in conditions of slow development, patriarchal-feudalism. way of life, transitional forms of a unique oral literature were formed. Poetic works were created specifically. persons, disseminated orally, there was a desire to stabilize their texts. At the same time, the tradition has preserved the names of the creators (Toktogul in Kyrgyzstan, Kemin and Mollanepes in Turkmenistan, Sayat-Nova in Armenia, Georgia and Azerbaijan, etc.). In Russian F. there was no developed professionalization of singers. We can only talk about the department. names mentioned in the writing of Ancient Rus' (singer Mitus; possibly Boyan). Each genre or group of folk genres fulfilled a specific purpose. social and household functions. This led to the formation of the department. F. genres with their characteristic themes, images, poetics, and style. In the ancient period, most peoples had tribal traditions, work and ritual songs, mythological. stories, early forms of fairy tales, spells, incantations. Later, at the turn of the transition from pre-class society to class society, modern societies arose. types of fairy tales (magical, everyday, about animals) and archaic. epic forms. During the formation of the state, heroic epic, then epic. ballad and historical songs content, history legends. Later other classical genres. F. formed non-ritual lyrical. song and romance, later types of folklore. drama and even later - the genres of worker F. - revolutionary. songs, marches, satire. songs, oral stories. The process of emergence, development of department. genres of f., especially the duration of their productive period, the relationship of f. with literature and other types of professional arts. creativity are determined by the characteristics of history. the development of each people and the nature of its contacts with other peoples. Thus, tribal traditions were forgotten among some peoples (for example, among the Eastern Slavs) and formed the basis of history. legends from others (for example, Icelandic sagas from Icelanders). Ritual songs, as a rule, were timed to different periods of the agricultural, pastoral, hunting or fishing calendar, and entered into various relationships with the rituals of the Christian, Muslim, Buddhist and other religions. The degree of connection between the epic and mythological ideas are determined by specific socio-economic. conditions. An example of this kind of connection is the Nart tales of the peoples of the Caucasus, Karelo-Fin. runes, ancient Greek epic Germanic languages ​​left oral existence relatively early. and Western Roman epic. The epic of the Turkic peoples existed for a long time and acquired later forms. and east Slavs There are different genre versions of African, Australian, Asian and European fairy tales. peoples The ballad among some peoples (for example, the Scots) acquired clear genre differences, while for others (for example, the Russians) it is close to lyrical. or ist. song. The poetry of each people is characterized by a unique combination of genres and a specific role of each of them in the general system of oral creativity, which has always been multi-layered and heterogeneous. Despite the bright national The coloring of folklore texts, many motifs, plots, and even images of characters in the folklore of different peoples are strikingly similar. Such similarities could arise as a result of the development of F. from a common source (common archaic features of F. Slavs or Finno-Ugric peoples, which go back to the common Proto-Slavic or Proto-Finnish heritage), or as a result of the cultural interaction of peoples (for example. , exchange of plots of Russian and Karelian fairy tales), or the independent emergence of similar phenomena (for example, common plots of fairy tales of American Indians and the peoples of Central Europe) under the influence of general patterns of development of the social system, material and spiritual culture. In the late feudal period. time and during the period of capitalism in the people. lit. began to penetrate the environment more actively than before. works; some forms of lit. creativity acquired mass distribution(romances and songs of literary origin, so-called folk books, Russian “lubok”, German “Bilderbogen”, etc.). This influenced the plot, style, content folklore works . People's creativity storytellers acquired certain features of lit. creativity (individualization, psychologism, etc.). In socialist In society, the availability of education has provided an equal opportunity for the development of talents and professionalization of people, and a variety of modern technologies have become widespread. forms of mass literary arts. culture - amateur lit. creativity (including partly in traditional folklore forms), amateur club performances, folk song creativity. choirs, etc. Some of these forms are creative, others are performing in nature. Design of folkloristics in independent work. science dates back to the 30-40s. 19th century The formation of folkloristics and the beginning of scientific research. collecting and publishing F. was associated with three main. factors: lit. romanticism, which was one of the forms of expression of the self-awareness of the emerging bourgeoisie. nations (for example, in Germany, France, Italy), national liberation. movement (for example, among the southern and western Slavs) and the spread of social liberation. and educational ideas (for example, in Russia - A. I. Herzen, N. G. Chernyshevsky, N. A. Dobrolyubov; in Poland - A. Mitskevich, etc.). Romantics (German scientists I. G. Herder, L. Arnim and C. Brentano, brothers W. and J. Grimm, etc.; English - T. Percy and J. Macpherson, etc.; Serbian - V. Karadzic and others; Finnish - E. Lenrot and others) saw in F. an expression of nationalism. spirit and national traditions and used folklore works to reconstruct history. facts not reflected in written sources. Emerging within the framework of romanticism, the so-called. mythological school (German scientists A. Kuhn, W. Schwarz, W. Manhardt and others; English - M. Muller, J. W. Cox and others; French - A. Pictet and others; Italian - A . de Gubernatis and others; Russian - F. I. Buslaev, A. N. Afanasyev, etc.), based on the achievements of Indo-European. linguistics, believed F. European. peoples the heritage of the most ancient Proto-Indo-European. myth-making. Romantics in glory. countries saw F. as a general glory. inheritance, preserved to varying degrees by different branches of the Slavs, just like the Germans. Romantics saw modernism in F. German-speaking peoples share the common heritage of the ancient Germans. In the 2nd half. 19th century based on philosophy. positivism, evolutionist schools in folklore studies developed, which is associated with a growing awareness of the unity of the laws of development of folklore and the recurrence of folklore plots and motifs in different ethnic groups. environments So representatives of the so-called. anthropologist schools (E. Tylor, E. Lang and J. Fraser - in England; N. Sumtsov, A. I. Kirpichnikov, A. N. Veselovsky - in Russia, etc.) explained the global recurrence of folklore phenomena by the unity of people. psychology. At the same time, the so-called comparativism (comparative historical method), which explained similar phenomena more or less mechanically. borrowing or “migration of plots” (German - T. Benfey, French - G. Paris, Czech - J. Polivka, Russian - V.V. Stasov, A.N. Pypin, A.N. Veselovsky, etc. .), and the “historical school” (the most vivid expression in Russia - V. F. Miller and his students; K. and M. Chadwick in England, etc.), which sought to connect the history of each people with its history and did a lot of work by comparison of sources documents and folklore stories (especially epic ones). At the same time" historical school"was characterized by a simplified understanding of the mechanism of artistic reflection of reality in F. and (like certain other trends in bourgeois folklore studies of the late 19th - early 20th centuries) the desire to prove that the masses only mechanically perceived and preserved art. values ​​created by the upper social strata. In the 20th century, Freudianism (interpreted folklore stories as a subconscious expression of inhibited sexual and other complexes), ritualistic. theory (linking the origin of verbal art primarily with magical rites; French scientists P. Centiv, J. Dumezil, English - F. Raglan, Dutch - J. de Vries, American - R. Carpenter, etc.) and "Finnish school", establishing historical and geographical. areas of distribution of plots and developing the principles of classification and systematization of F. (K. Kroon, A. Aarne, W. Anderson, etc.). The origin of the Marxist trend in folklore studies is associated with the names of P. Lafargue, G. V. Plekhanov, A. M. Gorky. In the 20-30s. 20th century The formation of Marxist folklore studies continued in the USSR, after the 2nd World War of 1939-45 it became widespread in socialism. countries (B. M. and Yu. M. Sokolov, M. K. Azadovsky, V. M. Zhirmunsky, V. Ya. Propp, P. G. Bogatyrev, N. P. Andreev, etc. - in the USSR; P Dinekov, C. Romanska, S. Stoykova and others - in Bulgaria; M. Pop and others - in Romania; D. Ortutai and others - in Hungary; , J. Ex, O. Sirovatka, V. Gasparikova and others - in Czechoslovakia; V. Steinitz and others - in the GDR). She considers f., on the one hand, as the oldest form of poetic poetry. creativity, a treasury of arts. people's experience masses, as one of the components of the classic. heritage of the national arts culture of each people and, on the other hand, as the most valuable source. source. When studying the most ancient eras of human history, philosophy is often (together with archeology) an indispensable source of history. source, especially for studying history. development of ideology and social psychology of people. wt. The complexity of the problem lies in the fact that archaic. folklore works are known, as a rule, only in records of the 18th-20th centuries. or in earlier lit. processing (for example, German "Song of the Nibelungs"), or archaic. elements included in later aesthetics. systems. Therefore, the use of F. for history. reconstructions require great care and, above all, the involvement of comparisons. materials. The features of reflecting reality in various genres F., combining aesthetic, cognitive, ritual and other functions in different ways. Experience in studying genres that were perceived by performers as an expression of history. knowledge (prosaic historical traditions and legends, song historical epic), showed the complexity of the relationship between plots, characters, time, to which their actions are attributed, epic. geography, etc. and authentic history. events, their real chronological, social and geographical. environment. Development of artistic history the thinking of the people did not come from empiricism. and a specific depiction of events to their poeticization and generalization or legendary-fantastic. processing as events are forgotten, but vice versa - from the so-called. mythological epic, which is a fantastic reflection of reality in mythological categories (for example, the successes of mankind in mastering fire, crafts, navigation, etc. are personified in F. in the image of a “cultural hero” of the Promethean type), to heroic. epic and, finally, to history. songs, in which much more specific history is drawn. situations, events and persons, or history. ballads, in which nameless heroes or heroes with fictitious names act in a situation close to real-historical ones. In the department the same stories of history. legends or epic. songs are reflected largely non-empirically. ist. facts, but typical socialist. collisions, history state of politics and arts. consciousness of the people and folklore traditions of previous centuries, through the prism of which history is perceived. reality. At the same time, as in the historical legends, and in historical-epic songs. works often preserved the most valuable historical data. points of view details, names, geographical. names, everyday realities, etc. So, G. Schliemann found the location of Troy, using data from ancient Greek. epic songs "Iliad" and "Odyssey", although he did not accurately determine the location of the "Homeric" layer in the cultural layers of the Trojan excavations. The mechanism of reflection of the source is even more complex. in reality in vernacular fairy tales, lyrical and everyday songs. Songs of a ritual nature, conspiracies, etc., to a greater extent, reflect non-history. reality as such, and the everyday consciousness of the people themselves are facts of the people. everyday life That. F. as a whole did not passively reproduce the empirical. socio-economic facts and political reality or everyday life, but was one of the most important means of expressing people. aspirations. Great importance also has F. to clarify the history of ethnicity. contacts, the process of formation of ethnographic. groups and historical-ethnographic. regions. Lit.: Chicherov V.I., K. Marx and F. Engels on folklore. Bibliographical materials, "Soviet folklore", 1936, No. 4-5; Bonch-Bruevich V.D., V.I. Lenin on oral folk art, "Soviet ethnography", 1954, No. 4; Friedlander G.M., K. Marx and F. Engels and questions of literature, 2nd ed., M., 1968 (chapter folklore); Propp V. Ya., Specifics of folklore, in the collection: "Proceedings of the anniversary scientific session of Leningrad State University. Section of Philological Sciences, Leningrad, 1946; his own, Historical roots fairy tale, L., 1946; his, Folklore and Reality, "Russian Literature", 1963, No. 3; his, Principles of classification of folklore genres, "Soviet ethnography", 1964, No. 4; his, Morphology of a fairy tale, 2nd ed., M., 1969; Zhirmunsky V.M., On the issue of people. creativity, "Uch. zap. Leningrad. Pedagogical Institute named after A. I. Herzen", 1948, v. 67; his, Folk heroic epic, M.-L., 1962; Gusev V. E., Marxism and Russian. folkloristics of the late XIX - early. XX century, M.-L., 1951; his, Problems of folklore in the history of aesthetics, M.-L., 1963; his, Folklore. History of the term and its modernity. meaning, "Soviet ethnography," 1966, No. 2; by him, Aesthetics of Folklore, Leningrad, 1967; Putilov B.N., On the main features of people. poetic creativity, "Scholarship of the Grozny Pedagogical Institute. Ser. Philological Sciences", V. 7, 1952, No. 4; him, About the historical. studying Russian folklore, in the book: Rus. folklore, c. 5, M.-L., 1960; Cocchiara J., History of folkloristics in Europe, trans. from Italian, M., 1960; Virsaladze E. B., The problem of the specificity of folklore in modern times. bourgeois folklore, in the book: Literary Research of the Institute of History. cargo. lit., v. 9, Tb., 1955 (summary in Russian); Azadovsky M.K., History of Russian. folkloristics, vol. 1-2, M., 1958-63; Meletinsky E. M., Hero of a fairy tale, M., 1958; his, Origin of heroic. epic Early forms and archaic monument, M., 1963; Chistov K.V., Folklore and modernity, "Soviet ethnography", 1962, No. 3; his, Sovr. problems of textual criticism in Russian. folklore, M., 1963: his own. On the relationship between folklore and ethnography, "Soviet ethnography", 1971, No. 5; his, Specificity of folklore in the light of information theory, "Problems of Philosophy", 1972, No. 6; Folklore and ethnography, Leningrad, 1970; Bogatyrev P. G., Questions of the theory of people. Art, M., 1971; Zemtsovsky I.I., Folklore as a science, in: Slav. musical folklore, M., 1972; Kagan M.S., Morphology of Art, Leningrad, 1972; Early forms of art, M., 1972; Corso R., Folklore. Storia. Obbietto. Metodo. Bibliographie, Roma, 1923; Gennep A. van, Le folklore, P., 1924; Krohn K., Die folkloristische Arbeitsmethode, Oslo, 1926; Croce V., Poesia popolare e poesia d´arte, Bari, 1929; Brouwer S., Die Volkslied in Deutschland, Frankreich, Belgien und Holland, Groningen-Haag., 1930; Saintyves P., Manuel de folklore, P., 1936; Varagnac A., Définition du folklore, P., 1938; Alford V., Introduction to English folklore, L., 1952; Ramos A., Estudos de Folk-Lore. Definic?o e limites teorias de interpretac?o, Rio de J., (1951); Weltfish G., The origins of art, Indianapolis-N. Y., 1953; Marinus A., Essais sur la tradition, Brux., 1958; Jolles A., Einfache Formen, 2 ed., Halle/Saale, 1956; Levi-Strauss S., La pendee sauvage, P., 1962; Bawra S. M., Primitive song, N. Y., 1963; Krappe A. H., The science of folklore, 2 ed., N. Y., 1964; Bausinger H., Formen der "Volkspoesie", B., 1968; Weber-Kellermann J., Deutsche Volkskunde zwischen Germanistik und Sozialwissenschaften, Stuttg., 1969; Vrabie G., Folklorue Obiect. Principle. Metoda, Categorii, Buc, 1970; Dinekov P., Bulgarian folklore, Parva chast, 2nd ed., Sofia, 1972; Ortutay G., Hungarian folklor. Essays, Bdpst, 1972. Bible: Akimova T. M., Seminar on Narratives. poetic creativity, Saratov, 1959; Melts M. Ya., Questions of the theory of folklore (materials for the bibliography), in the book; Russian folklore, vol. 5, M.-L., 1960; his, Modern folklore bibliography, in the book: Russian folklore, vol. 10, M.-L., 1966; Kushnereva Z.I., Folklore of the peoples of the USSR. Bibliographical source in Russian language (1945-1963), M., 1964; Sokolova V.K., Sov. folkloristics for the 50th anniversary of the October Revolution, "Soviet ethnography", 1967, No. 5; Volkskundliche Bibliographie, V.-Lpz., 1919-57; Internationale volkskundliche Bibliographie, Basel-Bonn, 1954-; Coluccio F., Diccionario folklorico argentino, B.-Aires, 1948; Standard dictionary of folklore, mythology and legend, ed. by M. Leach, v. 1-2, N.Y., 1949-50; Erich O., Beitl R., W?rterbuch der deutschen Volkskunde, 2 Aufl., Stutt., 1955; Thompson S., Motif-index of folk-literature, v. 1-6, Bloomington, 1955-58; his, Fifty years of folktale indexing, "Humanoria", N.Y., 1960; Dorson R. M., Current folklore theories, "Current anthropology", 1963, v. 4, No. 1; Aarne A. and Thompson S., The types of folktale. A classification and bibliography, 2 rev., Hels., 1961; Slownik folkloru polskiego, Warsz., 1965. K. V. Chistov. Leningrad.

Introduction

Folklore is the main means of folk pedagogy. Folk pedagogy is an educational subject and type of activity of adults for the upbringing of the younger generation, the totality and interrelation of ideas and ideas, views and opinions and beliefs, as well as the skills and techniques of the people on the development of education and training of the younger generation, reflected in folk art. This is the mentality of the nation in relation to the younger generation, and educational traditions in the family and society, and the connection and continuity of generations.

Folklore is an invaluable national treasure. This is a huge layer of the spiritual culture of Belarusians, which was formed through the collective efforts of many generations over many centuries. At the present stage of national revival, it is necessary to return to what was achieved by our ancestors.

Belarusian national folklore is one of the richest in the Slavic world. It is full of pedagogical experience and folk wisdom. On the basis of folklore, a huge layer of ethical and pedagogical ideas was created: respect for elders, hard work, tolerance, goodwill, tolerance for other people's opinions.

Tolerance, tolerance, virtue, as traditional Christian virtues, gradually became the distinctive features of Belarusians. Moreover, they coexist with such qualities as personal dignity, focus, and activity.

Folklore with educational content, everyday traditions, holidays, Belarusian classical literature - these are the concepts that have a huge impact on the formation national character. It promotes the creative development of children and youth in the world of epics, fairy tales, and legends. Proverbs and sayings can serve as the basis for moral precepts, helping to develop thinking, logic, and interest in the history and culture of the people.

Thus, folklore is the main source of knowledge about the principles of education that have developed in the culture of different nations, its moral, religious and mythical foundations. The figurative and symbolic nature of artistic creativity, its impact on the emotional and sensory sphere of the individual makes it the most adequate means of unobtrusive and at the same time effective educational influence.

Consideration of this course topic is relevant and interesting at the same time.

The educational potential of folklore is limitless. Today our society is reviving forgotten traditions antiquity, using folk experience, creating new models of educational theories and practices.

Attention to folklore, ancient layers of culture, tradition in general, as an inexhaustible source of education and human development, is manifested in last years especially active in the socio-pedagogical environment. This is due to the functional characteristics of folklore genres, the deep spirituality and wisdom of folk art, and the continuity of the process of transmitting national culture from generation to generation.

At the beginning of the new century there has been an increased interest in national culture, to ethnic processes, traditional artistic creativity, to folklore. Scientists note a special growth in the historical and national self-awareness of each people, explaining this by socio-psychological and political reasons.

Preservation and development of national culture, one’s roots is the most important task which requires careful attitude to historical and cultural monuments, to traditional folk art. The revival of folklore, folk customs, rituals and holidays, traditional arts and crafts and fine arts is current problem modernity. Folklore, its genres, means, methods most fully fill out the whole picture folk life, give a vivid picture of the life of the people, their morality and spirituality. Folklore reveals the soul of a people, its virtues and characteristics. From a scientific point of view, folklore is a phenomenon that deserves special study and careful evaluation.

The purpose of the course work is to reveal the significance of folklore in the system of national education.

Coursework objectives:

– characterize the phenomenon of folklore and its educational value;

– characterize the main genres of folklore, based on the educational potential of each;

– show the practical application of the main folklore genres in education.

The object of this coursework is the multifaceted phenomenon of national folklore, and the subject is the genres of folklore and their educational potential.

Methods used when writing coursework - descriptive, comparative analysis, analysis of literary sources.

folklore educational genre

1. Folklore is a means of national education

1.1 The concept and essence of folklore

The term “folklore” (translated as “folk wisdom”) was first introduced by the English scientist W.J. Toms in 1846. At first, this term covered the entire spiritual (beliefs, dances, music, wood carving, etc.), and sometimes the material (housing, clothing) culture of the people. IN modern science There is no unity in the interpretation of the concept of “folklore”. Sometimes it is used in its original meaning: an integral part of folk life, closely intertwined with its other elements. Since the beginning of the 20th century. the term is also used in a narrower, more specific meaning: verbal folk art.

Folklore (eng. folklore) – folk art, most often oral; artistic collective creative activity people, reflecting their life, views, ideals; poetry created by the people and existing among the masses (legends, songs, ditties, anecdotes, fairy tales, epics), folk music (songs, instrumental tunes and plays), theater (dramas, satirical plays, puppet theater), dance, architecture, fine and decorative arts.

Folklore is the collective and tradition-based creativity of groups and individuals, determined by the hopes and aspirations of society, and is an adequate expression of their cultural and social identity.

According to B.N. Putilov, there are five main variants of the meaning of the concept “folklore”:

1. folklore as a set, a variety of forms of traditional culture, that is, a synonym for the concept of “traditional culture”;

2. folklore as a complex of phenomena of traditional spiritual culture, realized in words, ideas, ideas, sounds, movements. In addition to artistic creativity itself, it also covers what can be called mentality, traditional beliefs, and folk philosophy of life;

3. folklore as a phenomenon of artistic creativity of the people;

4. folklore as a sphere of verbal art, that is, the area of ​​oral folk art;

5. folklore as phenomena and facts of verbal spiritual culture in all their diversity.

The narrowest, but also the most stable of these definitions is the one that connects it mainly with the genres of oral folk art, that is, with verbal, verbal expression. This is truly the most developed area of ​​folkloristics, which has made a huge contribution to the development of the science of literature - a direct descendant, “continuator” of oral folk art, genetically related to it.

The concept of “folklore” also means all areas of folk art, including those to which this concept is not usually applied ( folk architecture, folk arts and crafts, etc.), since it reflects the indisputable fact that all types and genres of professional art have their origins in folk art, folk art.

The most ancient types of verbal art arose in the process of the formation of human speech in the Upper Paleolithic era. Verbal creativity in ancient times was closely connected with human labor activity and reflected religious, mythical, historical ideas, as well as the beginnings of scientific knowledge. Ritual actions through which primitive sought to influence the forces of nature, fate, were accompanied by words: spells, conspiracies were pronounced, various requests or threats were addressed to the forces of nature. The art of words was closely connected with other types of primitive art - music, dance, decorative art. In science this is called “primitive syncretism.” Traces of it are still visible in folklore.

As humanity accumulated more and more significant life experience that needed to be passed on to subsequent generations, the role of verbal information increased. Selection verbal creativity into an independent art form - the most important step in the prehistory of folklore. Folklore was a verbal art organically inherent in folk life. The different purposes of the works gave rise to genres, with their various themes, images, and style. In the ancient period, most peoples had tribal legends, work and ritual songs, mythological stories, and conspiracies. The decisive event that paved the line between mythology and folklore itself was the appearance of fairy tales, the plots of which were perceived as fiction.

In ancient and medieval society, a heroic epic took shape. Legends and songs reflecting religious beliefs also arose (for example, Russian spiritual poems). Later, historical songs appeared, depicting real historical events and heroes, as they remained in people's memory. With changes in the social life of society, new genres arose in Russian folklore: soldiers', coachmen's, barge haulers' songs. The growth of industry and cities gave rise to romances, jokes, worker, school and student folklore.

For thousands of years, folklore was the only form of poetic creativity among all peoples. But with the advent of writing for many centuries, right up to the period of late feudalism, oral poetry was widespread not only among the working people, but also among the upper strata of society: the nobility, the clergy. Having arisen in a certain social environment, a work could become a national property.

1.2 Specific features of folklore

One of the most important specific features of folk oral creativity is collectivity. Each piece of oral folk art not only expresses the thoughts and feelings of specific groups, but is also collectively created and disseminated. However, the collectivity of the creative process in folklore does not mean that individuals did not play any role. Talented masters not only improved or adapted existing texts to new conditions, but sometimes also created songs, ditties, and fairy tales, which, in accordance with the laws of oral folk art, were distributed without the name of the author. With the social division of labor, unique professions arose related to the creation and performance of poetic and musical works(ancient Greek rhapsodes, Russian guslars, Ukrainian kobzars, Kyrgyz akyns, Azerbaijani ashugs, French chansonniers, etc.). Collectivity is not a simple co-authorship, but a special long-term process of improving songs, fairy tales, legends, proverbs and sayings. Collectivity is most clearly manifested in the constant process of selection and polishing of works folk poetry: From many works, the people choose and preserve the best, similar to their thoughts and aesthetic views. The collective principle in folklore is not opposed to the individual. Folklore is characterized by an organic combination of the collective and the individual, while collectivity does not interfere with the manifestation of the individual abilities of writers and performers.

The oral form of existence of folklore is organically connected with the collectivity of folk art. Folklore appeared earlier than writing and initially existed only in oral transmission. The oral form of existence of folk poetry leads to the emergence of variants of the same folklore work - this is another specific trait folklore – variability.

Folklore works differ from fiction in features artistic form. These features include, first of all, traditional poetics developed by the people over the centuries. Traditional folk symbolism, constant epithets, metaphors give folk art a specific flavor.

Folklore differs from written literature in its typification features. Literature is characterized by the creation of typical characters in typical settings. A typical character, reflecting the main features of his social environment and his era, is manifested through the individual qualities of the hero, through his individual and unique appearance. The images of oral folk art do not have such individualization.

1.3 Functions and educational potential of folklore

Firstly, folklore helps to deepen knowledge about folk spiritual culture in its past and present. Folklore introduces you to the life, traditions, and customs of your own and the “neighboring people.”

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

Thirdly, with the help of folklore it is possible to develop a respectful attitude both towards the culture of one’s own ethnic group and a tolerant attitude towards others ethnic cultures. By studying folklore, a child realizes that the people are creators, creators of cultural heritage that should be admired and proud. Folklore is a centuries-old folk work that preserves the history of an ethnic group.

Fourthly, folklore contributes to the development of aesthetic taste. The child feels beauty popular thought, he has a need to communicate with people. He strives to understand what means people use in their creativity, and tries to apply them in the future.

Belarusian folklore occupies a special place in the national culture of Belarusians and performs the following functions:

1. aesthetic

2. educational

3. educational

Aesthetic function folklore lies in the fact that it forms in children artistic taste, develops the ability to appreciate and understand beauty, contributes to the formation of a harmoniously developed personality.

The essence educational function lies in the fact that oral folk art, being a means of folk pedagogy, forms the qualities of human character. Proverbs, sayings, fairy tales are filled with high moral and moral sense and give characterological assessments of personality from the positions of “good” and “bad”.

Cognitive significance of folklore lies in the fact that this is a way for a child to get acquainted with the world around him.

1.4 Genres of folklore

All folklore genres are usually grouped, as in literature, into three groups or three types: dramatic, prose and song.

Any folklore originates in small genres, which include riddles, proverbs and sayings.

A proverb is understood as an apt figurative saying of an edifying nature, typifying a wide variety of life phenomena and having the form of a complete sentence.

Proverbs satisfied many of the spiritual needs of workers: cognitive-intellectual (educational), industrial, aesthetic, moral, etc.

Proverbs are not antiquity, not the past, but the living voice of the people: the people retain in their memory only what they need today and will need tomorrow. When a proverb talks about the past, it is assessed from the point of view of the present and the future - it is condemned or approved depending on the extent to which the past reflected in the aphorism corresponds to people's ideals, expectations and aspirations. (6; 36)

A proverb is created by the entire people, therefore it expresses the collective opinion of the people. It contains a popular assessment of life, observations of the people's mind. A successful aphorism, created by an individual mind, does not become a popular proverb if it does not express the opinion of the majority.

Folk proverbs have a form favorable for memorization, which enhances their significance as ethnopedagogical tools. Proverbs remain firmly in memory. Their memorization is made easier by the play of words, various consonances, rhymes, rhythms, sometimes very skillful. The ultimate goal of proverbs has always been education; since ancient times they have acted as pedagogical tools. On the one hand, they contain a pedagogical idea, on the other hand, they have an educational influence and carry out educational functions: they tell about the means and methods of educational influence that correspond to the ideas of the people, they give characterological assessments of the individual - positive and negative, which, in one way or another, determine the goals of personality formation , contain a call for education, self-education and re-education, condemn adults who neglect their sacred duties - pedagogical, etc.

Proverbs contain a lot of practical material: everyday advice, wishes in work, greetings, etc.

The most common form of proverbs is instructions. From a pedagogical point of view, instructions of three categories are interesting: instructions instructing children and youth in good morals, including rules good manners; teachings calling on adults to behave decently, and, finally, instructions of a special kind, containing pedagogical advice, stating the results of education, which is a kind of generalization of pedagogical experience. They contain a huge amount of educational material on issues of upbringing. Positive and negative traits Individuals, according to proverbs, are presented as the goals of education and re-education, implying every possible improvement in the behavior and character of people. At the same time, it is noteworthy that all nations recognize the infinity of human perfection. Any person, no matter how perfect he is, can rise to another level of perfection. This step leads not only a person, but also humanity to progress. Many proverbs are motivated and reasoned calls for self-improvement.

The Literary Encyclopedia describes a riddle as “an intricate poetic description of an object or phenomenon that tests the ingenuity of the guesser.” The definitions of a riddle are based on the same features:

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

– the description is laconic and the riddle has rhythm.

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

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

Riddles contribute to the development of a child’s memory, imaginative thinking, and speed of mental reactions.

A riddle teaches a child to compare the characteristics of different objects, to find commonality in them, and thereby develops his ability to classify objects and discard their unimportant characteristics. In other words, with the help of a riddle, the foundations of theoretical creative thinking are formed.

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

Proverb - from the simplest poetic works What a fable or proverb is, can stand out and independently turn into living speech, the elements in which condense their content; this is not an abstract formula of the idea of ​​the work, but a figurative hint of it, taken from the work itself and serving as its substitute (for example, “a pig under the oak tree”, or “a dog in the manger”, or “he washes dirty linen in public”).

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

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

Song genres of folklore are represented by epic songs and ballads, ritual and lyrical songs, ditties, work songs and improvisations. Lamentations also join the song genre.

The songs reflect the age-old expectations, aspirations and innermost dreams of the people. The songs are unique in their musical and poetic presentation of the idea - ethical, aesthetic, pedagogical. Beauty and goodness appear in unity in the song. Good fellows, praised by the people, are not only kind, but also beautiful. Folk songs have absorbed the highest national values oriented only towards goodness, toward human happiness.

Songs are a more complex form of folk poetry than riddles and proverbs. The main purpose of songs is to instill a love of beauty, to develop aesthetic views and tastes. The song is characterized by a high poeticization of all aspects of folk life, including the education of the younger generation. The pedagogical value of the song is that beautiful singing was taught, and it, in turn, taught beauty and goodness. The song accompanied all events of people's life - work, holidays, games, funerals, etc. The whole life of people passed in song, which best expressed the ethical and aesthetic essence of the individual. A complete song cycle is a person’s life from birth to death. Songs are sung to a baby in a cradle, who has not yet learned to understand, to an old man in a coffin, who has no longer felt and understood. Scientists have proven the beneficial role of gentle song in the mental development of a child in the womb. Lullabies not only put the baby to sleep, but also caress him, soothe him, and bring joy. Some categories of songs are designed for specific age groups, although, of course, most songs cannot be sharply demarcated and distributed by age. Some adult songs are sung by small children with special enthusiasm. Therefore, we can only talk about the predominant performance of certain songs at a given age.

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

Pestlets make sense only when accompanied by a tactile device - a light bodily touch. A gentle massage, accompanied by a cheerful, simple song with clear pronunciation of poetic lines, puts the child in a cheerful, cheerful mood. Pestushki takes into account all the main aspects of the child’s physical development. As he begins to find his feet, he is told one thing; a child taking his first steps is taught to stand more firmly on his feet and at the same time other pestles speak.

Pestushki gradually turn into nursery rhyme songs that accompany the child’s games with fingers, arms, and legs. These games often also contain pedagogical instruction in hard work, kindness, and friendliness.

Song is a complex form of folk poetry. The main purpose of songs is aesthetic education. But they aim to implement other aspects of personality formation, i.e. are a comprehensive means of influencing the individual.

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

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

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

Fairy tales are an important educational tool, developed and tested by people over centuries. Life and folk education practices have convincingly proven the pedagogical value of fairy tales. Children and fairy tales are inseparable, they are created for each other, and therefore familiarity with the fairy tales of one’s people must be included in the education and upbringing of every child.

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

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

Many folk tales inspire confidence in the triumph of truth, in the victory of good over evil. As a rule, in all fairy tales, the suffering of the positive hero and his friends is transitory, temporary, and they are usually followed by joy, and this joy is the result of struggle, the result of joint efforts. Optimism Children especially like fairy tales and enhance the educational value of folk pedagogical means.

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

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

Imagery is complemented funnyness fairy tales The wise teacher-people took special care to ensure that fairy tales were interesting and entertaining. A folk tale contains not only bright and lively images, but also subtle and cheerful humor. All nations have fairy tales, special appointment which - to amuse the listener.

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

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

A lesson to good fellows.

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

Folk theater, existing in forms organically related to oral folk art, originated in ancient times: the games that accompanied hunting and agricultural holidays contained elements of transformation. Theatricalization of the action was present in calendar and family rituals(Yuletide dressing up, wedding, etc.).

In folk theater, a distinction is made between live theater and puppet theater. The Russian Petrushka Theater was close to the Ukrainian nativity scene and the Belarusian batleyka.

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

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

The folk theater introduces young spectators to verbal folklore, develops memory, creative thinking. Comic characters make fun of people's vices, dramatic characters teach empathy. By participating in his simple performances, the child learns to speak correctly and beautifully, give a speech in front of an audience, and overcome shyness.

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

Peoples engaged in hunting and animal husbandry reflected their observations of the animal world in their dance. The character and habits of animals, birds, and domestic animals were figuratively and expressively conveyed: the Yakut dance of the bear, the Russian crane, the gander, etc. Dances on the theme of rural labor appeared: the Latvian dance of reapers, the Hutsul dance of woodcutters, the Estonian dance of shoemakers, the Belarusian lyanka, the Moldavian poame ( grape). IN folk dance The military spirit, valor, heroism are often reflected, battle scenes are reproduced (Georgian khorumi, berikaoba, Cossack dances, etc.). Great place in folk dance art the theme of love is occupied: dances expressing the nobility of feelings, a respectful attitude towards a woman (Georgian kartuli, Russian Baynovskaya quadrille).

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

In folk arts and crafts, the non-volumetric, eternal alive soul people, their rich practical experience and aesthetic taste. In Belarus, artistic woodworking, pottery, weaving, painting, weaving and embroidery were the most developed.

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

2. The practice of using folklore and folklore genres in the system of national education

Folklore promotes the creative development of children and youth in the world of fairy tales, epics, and legends. Findings from the centuries-old history of spiritual traditions, systematized in folklore, should be used in building a modern model of education.

Let's look at practical applications and potential proverbs in national education.

It is difficult to overestimate the importance of labor education in the general system of folk pedagogy; it really is its core. Since ancient times, the labor education of children and youth has been the most important responsibility of parents, and then of educational institutions and other public institutions. That is why there are a great many proverbs praising work and ridiculing laziness among the peoples of the whole world.

He is not good who has a handsome face, but he is good who is good at business (Russian proverb).

Great in body, but small in deed (Russian proverb)

A little deed is better than a lot of idleness (Russian proverb)

If you love to ride, love to carry a sleigh (Russian proverb)

You have to bend down to drink from a stream (Russian proverb)

Gultay for work, and mazol by the hand (Belarusian proverb)

Love for the homeland, one’s native land is the most important theme in the education of patriotism.

The bird that doesn't like its nest is stupid.

The Motherland is your mother, know how to stand up for her.

Someone else's food has someone else's taste.

Each sandpiper praises its swamp.

Where the pine tree grows, there it is red.

The swan has no use for the steppe, the bustard has no use for the lake.

Even the frog sings in his swamp.

Houses and walls help.

On his street there is a dog - a tiger.

A pile hut, like a native womb.

A special place in the system of aphorisms is occupied by proverbs that teach respect for elders.

Shanuy people, then I will pashanuytsya. (4; 302)

Staroga pavazhay, maloga pavuchay.

Proverbs and sayings in artistic images recorded the experience of life lived in all its diversity and inconsistency.

Solving riddles develops the ability to analyze, generalize, forms the ability to independently draw conclusions, inferences, the ability to clearly identify the most characteristic, expressive features of an object or phenomenon, the ability to vividly and concisely convey images of objects, develops in children a “poetic view of reality.”

Reflecting the picturesque landscapes of the homeland, full of colors, sounds, smells, riddles contribute to the education of aesthetic feelings.

Fluffy carpet

Not fabric with your hands,

Not sewn with silks,

In the sun, in the month

Shines like silver (snow)

Riddles help children understand the world around them and introduce them to the world of things.

Here are examples of riddles about household items.

Two rings, two ends, nails in the middle (scissors)

No legs, but I walk, no mouth, but I’ll tell you when to sleep, when to get up, when to start work (clock)

Riddles focus on the habits of animals; riddles about vegetables and fruits, plants and berries indicate Special attention on appearance features.

Sleeps in winter, stirs hives in summer (bear)

Shaggy, mustachioed, scouring the pantries, looking for sour cream (cat)

I will get a round, ruddy apple from the tree

Low and prickly, sweet and fragrant, if you pick the berries, you will rip off all your hands (gooseberry)

The value of the riddle is that in a highly poetic form it reflects the economic and labor activity of a person, his life, experience, flora, fauna, the world as a whole, and to this day has a huge artistic value in raising children.

Fairy tales, being artistic and literary works, they were at the same time for workers and an area of ​​theoretical generalizations in many branches of knowledge. They are a treasury of folk pedagogy; moreover, many fairy tales are pedagogical works, i.e. they contain pedagogical ideas.

The great Russian teacher K.D. Ushinsky had such a high opinion of fairy tales that he included them in his pedagogical system. Ushinsky saw the reason for the success of fairy tales among children in the fact that the simplicity and spontaneity of folk art correspond to the same properties of child psychology.

Fairy tales, depending on the topic and content, make listeners think and make them think. Often a child concludes: “This doesn’t happen in life.” The question involuntarily arises: “What happens in life?” Already the conversation between the narrator and the child, containing the answer to this question, has educational value. But fairy tales also contain educational material directly. It should be noted that the educational significance of fairy tales extends, in particular, to individual details of folk customs and traditions and even to everyday trifles.

For example, in the Chuvash fairy tale “He who does not honor the old will not see the good himself,” it is said that the daughter-in-law, not listening to her mother-in-law, decided to cook porridge not from millet, but from millet, and not in water, but only in oil. What came of this? As soon as she opened the lid, millet grains, not boiled, but fried, jumped out and fell into her eyes and blinded her forever. The main thing in the fairy tale, of course, is the moral conclusion: you need to listen to the voice of the old, take into account their everyday experience, otherwise you will be punished. But for children it also contains educational material: they fry in oil, not boil, therefore, it is absurd to cook porridge without water, in only oil. Children are usually not told about this, because no one does this in life, but in the fairy tale children are given instructions that everything has its place, that there should be order in everything.

Here's another example. The fairy tale “A penny for a miser” tells how a smart tailor agreed with a greedy old woman to pay her one penny for every “star” of fat in her soup. When the old woman was putting in the butter, the tailor encouraged her: “Put it in, put it in, old woman, don’t skimp on the butter, because it’s not for nothing that I ask you: for every “star” I’ll pay a penny.” The greedy old woman put more and more oil in order to get a lot of money for it. But all her efforts yielded an income of one kopeck. The moral of this story is simple: don't be greedy. This is the main idea of ​​the fairy tale. But its educational meaning is also great. Why, the child will ask, did the old woman get one big “star”?

In fairy tales, the idea of ​​the unity of teaching and upbringing in folk pedagogy is realized to the maximum extent.

Folk lyrical song differs significantly from other genera and

types of folklore. Its composition is more diverse than heroic epic, fairy tales and other genres. The songs were created at far from the same time. Each time composed its own songs. The lifespan of each song genre is also not the same.

Children's songs are a complex complex: these are songs of adults, composed especially for children (lullabies, nursery rhymes and pestushki); and songs that gradually passed from the adult repertoire to the children's repertoire (carols, spring songs, chants, game songs); and songs composed by the children themselves.

In infancy, mothers and grandmothers lull their children to sleep with affectionate lullabies, entertain them with nursery rhymes and nursery rhymes, play with their fingers, arms, legs, and bounce them on their knees or in their arms.

Well known: “The magpie-crow was cooking porridge...”; “Okay, okay! Where were you? –

By Grandma…".

Pestushki are songs and rhymes that accompany the child’s first conscious movements. For example:

"Oh, he sings, he sings

Nightingale!

Oh, he sings, he sings

Young;

Young,

Pretty,

Pretty."

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

“Stretchers, stretchers!

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 with?

- On a bipod, on a harrow,

On a sheaf of oatmeal,

On a rye ear.

Sentences are verbal addresses to someone. For example, they say in the bathhouse:

From Gogol - water,

From a baby - thinness!

Roll away, all of you.

A special place in song folklore occupies a lullaby.

Foxes are sleeping

Everything bit by bit,

Martens are sleeping

Everything is in order,

Falcons are sleeping

All in nests,

The sables are sleeping

Where they wanted

Little kids

They sleep in cradles.

In lullabies, mothers talk about the surrounding reality, think out loud about the purpose and meaning of life, and express their worries, joys and sorrows. In the lullaby, the mother finds an outlet for her feelings, an opportunity to fully speak out, express herself and get mental release.

The lullaby is the greatest achievement of folk pedagogy; it is inseparably connected with the practice of raising children at that very tender age, when the child is still a helpless creature requiring constant caring attention, love and tenderness, without which he simply cannot survive.

Folk songs contain joy and sorrow, love and hatred, joy and sadness. The songs reveal the best features of the national character of Belarusians: courage, bravery, truthfulness, humanism, sensitivity, hard work.

Conclusion

The experience of public education among all ethnic groups, nations and peoples is very rich. As an analysis of the traditional culture of education has shown, this experience is characterized by almost identical requirements for the qualities of the personality being formed and the system of means of its upbringing and training. It represents a unique (common to all mankind) folk wisdom, a system of universal human values, proven over centuries. But this does not mean that it is necessary to use the entire arsenal of folk remedies and educational factors without changes and critical evaluation. It is necessary to take those that work today and correlate with our ideas about humanism and universal human values.

It is in vain to think that oral folk art was only the fruit of popular leisure. It was the dignity and intelligence of the people. It formed and strengthened his moral character, it was his historical memory, the festive clothes of his soul and filled with deep content his entire measured life, flowing according to the customs and rituals associated with his work, nature and the veneration of his fathers and grandfathers.

Folklore plays an important role in raising children. Dividing it into genres allows, at a certain age, a child to enrich his spiritual world, develop patriotism, respect for the past of his people, study of its traditions, and assimilation of moral standards of behavior in society.

Folklore develops a child’s oral speech, influences his spiritual development and his imagination. Each genre of children's folklore teaches certain moral standards. So, for example, a fairy tale, by likening animals to people, shows a child the norms of behavior in society, and fairy tales develop not only imagination, but also ingenuity. Proverbs and sayings teach children folk wisdom that has been tested for centuries and has not lost its relevance in our time. An epic epic is a heroic narrative about events that took place in ancient times. And although epics are not so easy for children to understand, they are still aimed at instilling respect for the past people, at studying the traditions and behavior of people at all times, at the patriotism of the Slavic people, who, despite everything, remained faithful to their homeland and defended it in every possible way. Song lyrics also have an impact on raising children. It is mainly used when the child is still very young. For example, lullabies are sung to a baby to calm him down and put him to sleep. Song lyrics also include ditties, jokes, pesters, tongue twisters, and counting rhymes. They are specifically aimed at developing hearing and speech in children, since they use a special combination of sounds.

Thus, the introduction of a child to folk culture begins in childhood, where basic concepts and examples of behavior are laid down. Cultural heritage passed on from generation to generation, developing and enriching the child’s world. Folklore is a unique means of transmitting folk wisdom and educating children in initial stage their development.

Bibliography

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2. Belarusian folklore. Haunted. Issue 2nd dap. Sklali K.P. Kabashnika, A.S. Lis, A.S. Fyadosik, I.K. Tsischanka Minsk, “Higher School”, 1977.

3. Bel. vusna – paet. creativity: Padruchnik for students of Phil. specialist. VNU / K.P. Kabashnika, A.S. Lis, A.S. Fyadosik i insh. – Mn.: Minsk, 20000. – 512 p.

4. Belarusians. T.7. Great creative creativity / G.A. Bartashevich, T.V. Valodzina, A.I. Gurski i insh. Redcal. V.M. Balyavina i insh; Institute of History, Ethnagraphy and Folklore. – Mn.: Bel. Navuka, 2004.-586 p.

5. Berezhnova, L.N. Ethnopedagogy: textbook. aid for students Higher Textbook institutions / L.N. Berezhnova, I.L. Nabok, V.I. Shcheglov. – M.: Publishing house. Center "Academy", 2007. – 240 p.

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Introduction

The works created by the people several centuries ago convey the wisdom, talent, and insight of the people themselves. Fairy tales, proverbs, sayings - all these means of literary expression that people have created over the centuries are not only interesting works that you can spend more than one hour reading, but they are also the moral source of the people.

In the first part of my work, genres of folklore, as well as its subtypes, will be considered. The second part of the work contains material about images evil spirits in national folklore of different peoples. The third part of my work involves comparing similar images of evil spirits.

This work is devoted to the study of the characteristics of national folklore, and it will also consider some of the most famous images evil spirits. Using the example of some of the folklore heroes I have chosen, I will try to consider the path of development literature has taken, and I will also focus on what people believed in and what they worshiped. In my work I touch upon the problem of modern society’s interests in folk art, as well as the relevance of folk art in modern literature.

I chose this topic because it is quite interesting and informative; what also seemed very interesting to me in this topic was that I would have to work mainly with folk tales, and working with texts, especially fairy tales, is always a fascinating and entertaining process. I also found it very interesting that now people practically do not pay attention to images of evil spirits in literature.

This topic is quite relevant in our time. Indeed, lately interest in the unreal and fictional has been lost; fairy tales in our time are rapidly being relegated to the background. They are rarely read, unless to children, and the deep subtext of the content is rarely thought of.

The hypothesis of my work is that people began to “move away” from fairy tales, and, consequently, from the heroes who are present in them.

In my work I have set the following goal: generalization and comparison of images of evil spirits in national folklore.

In this regard, the objectives of the abstract are:

Review and summarize material about the meaning and characteristics of oral folk art.

Study the images of evil spirits in Slavic, Russian and Latvian folklore

Conduct a survey on the topic: “Which heroes of national folklore do you know?”

What is folklore?

Folklore (English folklore - folk wisdom) is a designation for the artistic activity of the masses, or oral folk art, which arose in the pre-literate period. This term was first introduced into scientific use by the English archaeologist W.J. Toms in 1846. And it was understood broadly as the totality of the spiritual and material culture of the people, their customs, beliefs, rituals, and various forms of art. Over time, the content of the term narrowed. There are several points of view that interpret folklore as folk artistic culture, as oral poetry and as a set of verbal, musical, game types of folk art. With all the diversity of regional and local forms, folklore has common features, such as anonymity, collective creativity, traditionalism, close connection with work, everyday life, and the transmission of works from generation to generation in the oral tradition. Collective life determined the appearance among different peoples of the same type of genres, plots, such means of artistic expression as hyperbole, parallelism, various types of repetitions, constant and complex epithet, and comparisons. The role of folklore was especially strong during the period of predominance of mythopoetic consciousness. With the advent of writing, many types of folklore developed in parallel with fiction, interacting with it, influencing it and other forms of artistic creativity and experiencing the opposite effect. An inexhaustible source of Russian musical originality (the most ancient types of folklore) In the social life of ancient Rus', folklore played a much greater role than in subsequent times. Unlike medieval Europe, Ancient Rus' did not have secular professional art. In its musical culture, only two main areas developed - temple singing and folk art of the oral tradition, including various, including “semi-professional” genres (the art of storytellers, buffoons, etc.). By the time of Russian Orthodox hymnography (1), folklore had a long history, an established system of genres and means of musical expression.

Folklore is folk art that originated in ancient times - historical background of the entire world artistic culture, a source of national artistic traditions, an exponent of national self-awareness. Some researchers also classify all types of non-professional art (amateur art, including folk theaters) as folk art. A precise definition of the term “folklore” is difficult, since this form of folk art is not immutable and ossified. Folklore is constantly in the process of development and evolution: Chatushki can be performed to the accompaniment of modern musical instruments on modern themes, new fairy tales can be dedicated to modern phenomena, folk music may be influenced by rock music, and modern music itself may include elements of folklore, folk fine and applied arts may be influenced by computer graphics, etc.

Folklore is divided into two groups -- ritual And non-ritual. Ritual folklore includes: calendar folklore (carols, Maslenitsa songs, freckles), family folklore (family stories, lullabies, wedding songs, lamentations), occasional folklore (spells, chants, counting rhymes). Non-ritual folklore is divided into four groups: folklore drama, poetry, prose and folklore of speech situations. Folklore drama includes: the Parsley Theater, nativity scene drama, and religious drama.

Folklore poetry includes: epic, historical song, spiritual verse, lyric song, ballad, cruel romance, ditty, children's poetic songs (poetic parodies), sadistic rhymes. Folklore prose is again divided into two groups: fairy-tale and non-fairytale. Fairytale prose includes: fairy tale (which, in turn, comes in four types: fairy tale, fairy tale about animals, everyday tale, cumulative tale) and anecdote. Non-fairy tale prose includes: tradition, legend, tale, mythological story, story about a dream. The folklore of speech situations includes: proverbs, sayings, well wishes, curses, nicknames, teasers, dialogue graffiti, riddles, tongue twisters and some others. There are also written forms of folklore, such as chain letters, graffiti, albums (for example, songbooks).

Oral folk art is the richest heritage of every country. Folklore existed even before the emergence writing, this is not literature, but a masterpiece of the art of oral literature. The genera of folklore creativity were formed in the pre-literary period of art on the basis of ceremonial and ritual actions. The first attempts to comprehend literary genera date back to the era of antiquity.

Types of folklore creativity

Folklore is represented by three genera:

1. Epic literature. This genus is represented in prose and poetry. Russian folklore genres of the epic kind are represented by epics, historical songs, fairy tales, tales, legends, parables, fables, proverbs and sayings.

2. Lyric literature. At the heart of everything lyrical works the thoughts and experiences of the lyrical hero are present. Examples of folklore genres of the lyrical direction are represented by ritual, lullabies, love songs, ditties, bayat, haivka, Easter and Kupala songs. In addition, there is a separate block - “Folklore lyrics”, which includes literary songs and romances.

3. Dramatic literature. This is a type of literature that combines epic and lyrical methods of depiction. The basis of a dramatic work is a conflict, the content of which is revealed through the acting of the actors. Dramatic works have a dynamic plot. Folklore genres dramatic kind are represented by family ritual, calendar songs, and folk dramas.

Individual works may contain features of lyrical and epic literature, therefore, a mixed gender is distinguished - lyric-epic, which in turn is divided into:

Works with heroic characters, lyric-epic content (epic, duma, historical song).

Non-heroic works (ballad, chronicle song).

There is also folklore for children (lullaby, nursery rhyme, comfort, pestushka, fairy tale).

Genres of folklore

Folklore genres of folk art are represented in two directions:

1. Ritual works of UNT.

Performed during the rituals:

Calendar (carols, Maslenitsa activities, freckles, Trinity songs);

Family and household (birth of a child, wedding celebrations, celebration of national holidays);

Occasional works - came in the form of spells, counting rhymes, chants.

2. Non-ritual works of UNT.

This section includes several subgroups:

Drama (folklore) - nativity scenes, religious works, theater "Petrushki".

Poetry (folklore) - epics, lyrical, historical and spiritual songs, ballads, ditties.

Prose (folklore) in turn is divided into fairy-tale and non-fairy-tale. The first includes tales about magic, animals, everyday and cumulative tales, and the second is associated with famous heroes and heroes of Rus' who fought witches (Baba Yaga) and other demonological creatures. Also included in non-fairy tale prose are tales, legends, and mythological stories.

Speech folklore is represented by proverbs, sayings, chants, riddles, and tongue twisters.

Folklore genres carry their own individual plot and meaning.

Images of military battles, exploits of heroes and folk heroes observed in epics, vivid events of the past, everyday life and memories of heroes from the past can be found in historical songs.

Stories about the actions of the heroes Ilya Muromets, Dobrynya Nikitich, Alyosha Popovich are epic. The folklore genre of the fairy tale tells about the actions of Ivan the Tsarevich, Ivan the Fool, Vasilisa the Beautiful and Baba Yaga. Family songs are always represented by characters such as mother-in-law, wifey, hubby.

Literature and folklore

Folklore differs from literature in its unique system of constructing works. Its characteristic difference from literature is that the genres of folklore works have starters, beginnings, sayings, retardations, and trinity. Also significant differences in style compositions will be the use of epithet, tautology, parallelism, hyperbole, synecdoche.

Just as in oral folk art (ONT), folklore genres in literature are represented by three genera. This is epic, lyric, drama.

Distinctive features of literature and CNT

Large works of literature, represented by novels, short stories, novellas, are written in calm, measured tones. This allows the reader, without interrupting the reading process, to analyze the plot and draw appropriate conclusions. Folklore contains a saying, a beginning, a saying and a chorus. The technique of tautology is the basic principle of storytelling. Hyperbole, exaggeration, synecdoche and parallelism are also very popular. Such figurative actions are not allowed in literature all over the world.

Small folklore genres as a separate block of UNT works

This system includes mainly works for children. The relevance of these genres continues to this day, because every person gets acquainted with this literature even before he begins to speak.

The lullaby became one of the first works of folklore. The presence of partial conspiracies and amulets is direct evidence of this fact. Many believed that otherworldly forces act around a person; if a child sees something bad in a dream, it will never happen again in reality. This is probably why the lullaby about the “little gray top” is popular even today.

Another genre is nursery rhyme. To understand what exactly such works are, we can equate it to a sentence song or a song with simultaneous actions. This genre promotes the development of fine motor skills and emotional health in a child; the key point is considered to be scenes with the play of fingers “Magpie-Crow”, “Ladushki”.

All of the above small folklore genres are necessary for every person. Thanks to them, children learn for the first time what is good and what is bad, and are taught order and hygiene.

Folklore of nationalities

An interesting fact is that different nationalities, in their culture, traditions and customs, have common points of contact in folklore. There are so-called universal desires, thanks to which songs, rituals, legends, and parables appear. Many peoples hold celebrations and chanting to obtain a rich harvest.

From the above, it becomes obvious that different peoples are often close in many spheres of life, and folklore unites customs and traditions into a single structure of folk art.

Folklore(Folk-lore) is a special historically established area of ​​folk culture.

The word "folklore", which often denotes the concept " folklore", comes from the combination of two English words: folk - “people” and lore - “wisdom”.

The history of folklore goes back to ancient times. Its beginning is connected with the need of people to understand the natural world around them and their place in it. This awareness was expressed in inextricably fused words, dance and music, as well as in works of fine, especially applied, art (ornaments on dishes, tools, etc.), in jewelry, objects of religious worship...

From time immemorial, myths have come to us that explain the laws of nature, the mysteries of life and death in figurative and plot form. The rich soil of ancient myths still nourishes both folk art and literature. Unlike myths, folklore is already art form. Ancient folk art was characterized by syncretism, i.e. indistinction between different types of creativity. In a folk song, not only words and melody could not be separated, but also the song could not be separated from the dance or ritual.

The mythological background of folklore explains why oral works did not have a first author.

Russian folklore is rich and diverse in terms of genres. Like literature, folklore works are divided into epic, lyrical and dramatic. TO epic genres include epics, legends, fairy tales, historical songs. TO lyrical genres These include love songs, wedding songs, lullabies, and funeral laments. TO dramatic - folk dramas (with Petrushka, for example). The initial dramatic performances in Russia were ritual games: seeing off Winter and welcoming Spring, elaborate wedding rituals, etc. In addition, there are small genres of folklore- ditties, sayings, etc.

Over time, the content of the works underwent changes: after all, the life of folklore, like any other art, is closely connected with history.

Significant difference between folklore works and literary works is that they do not have a permanent, once and for all established form. Storytellers and singers have honed their mastery of performing works for centuries.

Folklore is typical natural folk speech , striking in its richness of expressive means and melodiousness. Typical for a folklore work well-developed laws of composition with stable forms the beginning, development plots, endings. His style tends towards hyperbole, parallelism, constant epithets. Internal organization it has so much clear, stable character that even changing over the centuries, it retains its ancient roots.

Any piece of folklore functional- it was closely connected with one or another circle of rituals and was performed in a strictly defined situation.

Oral folk art reflected the whole set of rules of folk life. The folk calendar precisely determined the order of rural work. Rituals family life contributed to harmony in the family, including raising children. The laws of life of the rural community helped to overcome social contradictions. All this is captured in various types of folk art. An important part of life is holidays with their songs, dances, and games.

The best works of folk poetry close and understandable to children, have clearly expressed pedagogical orientation And distinguished by artistic excellence. Thanks to folklore, a child more easily enters into the world around him, more fully feels the beauty of his native nature, assimilates the people’s ideas about beauty, morality, gets acquainted with customs, rituals - in short, along with aesthetic pleasure, he absorbs what is called the spiritual heritage of the people, without which the formation of a full-fledged personality is simply impossible.

Since ancient times, there have been many folklore works specifically intended for children. This type of folk pedagogy has played a huge role in the education of the younger generation for many centuries and right up to the present day. Collective moral wisdom and aesthetic intuition developed a national ideal of man. This ideal fits harmoniously into the global circle of humanistic views.

2.2. The concept of children's folklore. Genres of works by U.N.T. accessible to preschool children.

Children's folklore - a phenomenon unique in its diversity: a huge variety of genres coexist in it, each of which is associated with almost all manifestations of a child’s life. Each genre has its own history and purpose. Some appeared in ancient times, others - quite recently, those are designed to entertain, and these are to teach something, others help a little person navigate big world…

The system of genres of children's folklore is presented in Table 1.

Table 1

Non-fiction folklore

The poetry of nurturing:

Pestushki(from “nurture” - “nurse, raise, educate”) - these are short rhythmic sentences that accompany various activities with a baby in the first months of his life: waking up, washing, dressing, learning to walk. For pestles, both content and rhythm are equally important; they are associated with the physical and emotional development of the child, help him move, and create a special mood. For example, stretches:

Stretch, stretch,

Hurry, wake up quickly.

Lullabies- one of the ancient genres of children's non-fiction folklore, performed by women over the cradle of a child in order to calm him down and put him to sleep; often contains magical (spell) elements. We can say that lullabies are also pester songs, only associated with sleep.

Bye-bye, bye-bye,

You, little dog, don't bark,

Whitepaw, don't whine,

Don't wake up my Tanya.

Jokes- These are small poetic fairy tales in verse with a bright, dynamic plot. of a comic nature, representing a comic dialogue, appeal, funny episode built on illogic. They are not associated with specific actions or games, but are intended to entertain the baby.

And-ta-ta, and-ta-ta,

A cat married a cat,

For the cat Kotovich,

For Ivan Petrovich.

Boring tales- jokes that combine fairy-tale poetics with mocking or mocking content. The main thing in a boring fairy tale is that it is “not real, it is a parody of the established norms of fairy tale technique: beginnings, sayings and endings. A boring fairy tale is a cheerful excuse, a proven technique that helps a tired storyteller fight off the annoying “fairy tale hunters.”

For the first time, several texts of boring fairy tales were published by V.I. Dahlem in 1862 in the collection “Proverbs of the Russian People” (sections “Dokuka” and “Sentences and jokes”). In parentheses after the texts their genre was indicated - “annoying fairy tale”:

“Once upon a time there was a crane and a sheep, they mowed a haystack - should I say it again from the end?”

“There was Yashka, he was wearing a gray shirt, a hat on his head, a rag under his feet: is my fairy tale good?”

Amusing folklore

Nursery rhymes- small rhyming sentences that aim not only to amuse children, but also to involve them in the game.

Among the jokes we must include fables-shifters - a special type of rhyme songs that came into children's folklore from buffoon and fair folklore and cause laughter because they are deliberately displaced and the real connections of objects and phenomena are broken.

In folklore, fables exist both as independent works and as part of fairy tales. At the center of the fable is a obviously impossible situation, behind which, however, the correct state of affairs is easily guessed, because the shapeshifter plays out the simplest, well-known phenomena.

Techniques of folk fables can be found in abundance in original children's literature - in the fairy tales of K. Chukovsky and P. P. Ershov, in the poems of S. Marshak. And here are examples of folk tales-shifters:

Tongue Twisters- folk poetic works built on a combination of words with the same root or similar sound, which makes them difficult to pronounce and makes it an indispensable exercise for speech development. Those. tongue twisters - verbal exercises for quickly pronouncing phonetically complex phrases.

There are genres in children's folklore, reflecting relationships between children, child psychology. These are the so-called satirical genres: teasers and teases.

Teasers- short mocking poems ridiculing this or that quality, and sometimes simply attached to a name - a type of creativity almost entirely developed by children. It is believed that teasing passed on to children from an adult environment and grew out of nicknames and nicknames - rhyming lines were added to the nicknames, and a tease was formed. Now a tease may not be associated with a name, but make fun of some negative character traits: cowardice, laziness, greed, arrogance.

However, for every tease there is an excuse: “Whoever calls you names is called that!”

Underdress- a type of teaser containing a question fraught with a crafty catch. Suspenders are a kind of word games. They are based on dialogue, and dialogue is designed to take a person at his word. Most often it begins with a question or request:

Say: onion.

A knock on the forehead!

Mirilki- in case of a quarrel, peaceful sentences have been invented.

Don't fight, don't fight

Come on, make up quickly!

Game folklore

Counting books- short, often humorous poems with a clear rhyme-rhythm structure, which begin children's games (hide and seek, tag, rounders, etc.). The main thing in a counting rhyme is the rhythm; often the counting rhyme is a mixture of meaningful and meaningless phrases.

Game songs, choruses, sentences- rhymes that accompany children's games, commenting on their stages and the distribution of roles of participants. They either start the game or connect parts of the game action. They can also serve as endings in the game. Game sentences may also contain the “conditions” of the game and determine the consequences for violating these conditions.

Silent women– rhymes that are recited for relaxation after noisy games; After the poem, everyone should fall silent, restraining the desire to laugh or speak. When playing the game of silence, you had to remain silent for as long as possible, and the first person to laugh or let it slip would carry out a pre-agreed task: eat coals, roll in the snow, douse yourself with water...

And here is an example of modern silent games that have become completely independent games:

Hush hush,

Cat on the roof

And the kittens are even taller!

The cat went for milk

And the kittens are head over heels!

The cat came without milk,

And the kittens: “Ha-ha-ha!”

Another group of genres - calendar children's folklore- is no longer associated with the game: these works are a unique way of communicating with the outside world, with nature.

Calls- short rhymed sentences, appeals in poetic form to various natural phenomena, having an incantatory meaning and rooted in ancient ritual folklore adults. Each such call contains a specific request; it is an attempt, with the help of a song, to influence the forces of nature, on which the well-being of both children and adults in peasant families largely depended:

Bucket sun,

Look out the window!

Sunny, dress up!

Red, show yourself!

Sentences- poetic appeals to animals, birds, plants, which have an incantatory meaning and are rooted in the ancient ritual folklore of adults.

Ladybug,

Fly to the sky

Your kids are there

Eating cutlets

But they don’t give it to dogs,

They just get it themselves.

Horror stories- oral stories-scarecrows.

Children's folklore is a living, constantly renewed 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 - short stories with an intense plot and a frightening ending. 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 received new apartment, but there was a red spot on the wall. They wanted to erase it, but nothing happened. Then the stain was covered with wallpaper, but it showed through the wallpaper. And every night someone died. And the spot became even brighter after each death.

Folk songs, their types: lullaby, nursery rhymes, refrains, jokes, fables, etc. Richness of content, close to children's interests. Artistic Features. Principles for selecting works by U.N.T. for children.

Pestushki, nursery rhymes, lullabies, jokes, upside-down fables - this is the so-called maternal poetry. It is intended for the little ones and enters a child’s life literally from the first days.

Lullabies- a true miracle of folk poetry. The experience of many generations has produced and polished their form. The main purpose of a lullaby is to calm the baby and make him sleep, so it is simple and melodic. In the old days, mothers noticed which words and tunes children fell asleep to better, remembered them, and repeated them. She repeated these songs to her younger brothers and sisters eldest daughter. So they passed from generation to generation. Such songs most often talk about peace and quiet. The song has a lot of repetitions and onomatopoeic words:

Bye-bye, bye-bye,

Go to sleep quickly.

And swing, swing, swing,

The rooks flew to us.

They sat on the gate.

The gate is creaking, creaking!

And the knee is sleeping, sleeping.

Mother's love and tenderness is manifested in affectionate addresses to the child: Vasenka, our Lidochka, child, little child. The content of lullabies is related to the immediate environment of the baby: cradle, blanket, pillow, baby; cooing pigeons (“ghouls”, “gulenki”), a dog, a bunny, and killer whales are often mentioned. Diminutive suffixes enhance melodiousness and soften the text. The scary wolf, which is usually used to scare children, is simply a “gray wolf” here.

The most popular character is the cat. Bayun cat is a symbol of home, comfort, peace. He is called upon:

Come, Kotya, spend the night,

Movo Vanechka download

I'm already a cat

I'll pay for the work...

I'll give you a jug of milk

Yes, a piece of cake.

In the simple, unpretentious texts of lullaby poetry, echoes of ancient beliefs were preserved, when the baby was charmed by evil, dark forces. Some mythological Babai, Mamai are the spirits of darkness, and Dream, Drema, Ugomon, on the contrary, are called upon for calm. Sometimes whole poetic pictures emerge:

Sandman wanders near the house,

Dream walks through the hallway,

And Sleep tortures Drema:

“Where is the cradle hanging here?

Where is the baby?

I'll go put them to bed

I’ll close my eyes!”

Over time, most of the spell formulas lost their original meaning and began to be perceived as a purely artistic device, creating a colorful, joyful world of childhood, where everything is unusual, but nothing should be surprising:

At the cat, at the cat

Cradle of gold

And [Kolya] has my

Even better than that.

Each song contains tender love for the child; a happy, rich future is predicted for him: “how he will grow up great, walk in gold, wear pure silver.” The future is connected with work and caring for loved ones.

Just like a hen rows a grain of grain,

So Mashenka takes one berry at a time, -

The peasant mother depicts the quick participation of her daughter-assistant in family affairs. Lullabies allow for many variations: each performer inserts the name of her child, her own special soothing words and sounds. Such songs are often performed one after another, connected by a melodic chorus.

In the repertoire of lullabies there were also those that reflected a hostile attitude towards children, even wishing for death. Apparently, there are several reasons for their occurrence. There were deep echoes of the ancient belief in the substitution of an infant by evil spirits. Sometimes they wished death for a child born out of wedlock. There have been cases of rough treatment of children by young nannies:

Sleep, jack-of-all-trades,

Sleep, it sucks

Sleep, little potion,

Evil root.

You cry for a long time

You won't let me sleep.

In old songs there are elements of intimidation and the threat of punishment:

Hush, Little Baby, Do not Say a Word,

Don't lie on the edge.

The little gray wolf will come,

He'll grab the barrel

And he will drag you into the woods,

Under a broom bush.

IN in this case The nanny’s task was to warn the child from danger (“A child does not know the land”); the abundance of diminutive suffixes relieved emotional tension. This is one of the most popular stories.

The main purpose of lullaby lyrics is to calm and lull the child to sleep. This determines the melodic and poetic structure of the songs. The rhythm corresponds to the movement of a rocking cradle; assonances, i.e., consonances of vowels, noticeably predominate. All this helps you fall asleep quickly. For the same purpose, a melody without words can be performed: “A-a-a, A-a-a.”

Growing up, the baby gets acquainted with nursery rhymes - short play sayings. By listening, repeating and memorizing rhymed lines, the child masters the simplest movements and gestures, learns to speak, think, communicate with others, and express his emotions.

Pestushki. Pestushki (stretchers) are often associated with a lullaby - short rhymes, sentences that accompany the gentle stroking of a child's body, spreading of arms and legs (simple physical exercises).

Stretchers, stretchers!

Across the fat girl

And there are walkers in the legs,

And in the hands of grabbers,

And in the mouth there is a talk,

And come to your senses!

Rhythmic text is combined with active movements, evoking joyful emotions in the baby.

Dybok, Dybok,

Vanyusha will soon be one year old! -

adults say, helping the child stand on his feet. As he grows up, “maturing”, the texts of the pestles become more complex and funnier.

And when the child begins to show a conscious, interested attitude towards the environment, folk pedagogy will offer “funny” songs, or nursery rhymes - short play sayings. By listening, repeating and memorizing rhymed lines, the child masters the simplest movements and gestures, learns to speak, think, communicate with others, and express his emotions.

Nursery rhymes- these are funny songs that accompany games with a child. Here there is “The Horned Goat - Bearded”, which “gores, gores” the one who “doesn’t eat porridge, doesn’t drink milk”, and “Ladushki”, and numerous imitations of horse races accompanied by funny rhythmic verses.

With nuts,

With nuts!

Let's gallop

Let's gallop

With rolls,

With rolls!

The particular popularity of the nursery rhyme “The White-sided Magpie” was noted by the famous collector and researcher of folklore of the last century, I.P. Sakharov: “Magpie, as a children’s game, amuses only children and mothers, and is sacredly observed in family life.” This game gives the child an object lesson in hospitality, generosity and fairness. The smallest finger, the little finger, did not tear the croup, did not carry water, did not chop wood, for which he did not receive any porridge.

The verbal part of the nursery rhyme is accompanied by active flexion and extension of the child’s fingers and stroking the palm. And this is by no means accidental. Brilliant folk wisdom has been confirmed by modern physiology: the development of the fingers of the hand affects the development of the brain of a growing person and his speech skills. It is no coincidence that exercise games like “Magpie” are so widespread among the Slavic peoples and are known to many peoples of Asia and Africa. These games represent the ideal combination of words and actions, beneficially influencing the aesthetic, mental and physical development of the child.

Towards the end of the lullaby period, the child's need for play and fun increases. And jokes are indispensable here.

Jokes- a more complex type of verbal creativity. A joke combines a song, a little fairy tale (pobaska), a tongue twister, and a game. The characters of this entertainment genre: “the long-nosed crane that went to the mill and saw wonders”, and “a bunny with short legs, morocco boots”, and a raven sitting on an oak tree, “playing a trumpet”, and many other birds and animals, well familiar to children. Jokes develop a child's imagination and sense of humor. Note that he is not a passive listener here either - he laughs, claps his hands, stomps to the beat of the words.

Often jokes have a dialogue form: question and answer. This gives the text dynamism, holds the child’s attention, is easily remembered by him and reproduced later. Here, for example, is how the dialogue is structured in the joke about Thomas riding a chicken:

Where are you going, Foma?

Where are you going?

Cut the hay!

- What do you need hay for?

Feed the cows!

What do you need cows for?

Milk it!

What do you need milk for?

Give the kids something to drink!

Among the jokes there are many “stupid absurdities”, fables , built on the displacement of concepts. The world of images familiar to the child appears in unusual, bizarre combinations:

Where have you seen this?

Where have you heard this?

So that the hen brings a bull,

The little piglet laid an egg,

So that a bear flies across the sky,

He waved his black tail.

Playing on incongruities and folkloric jokes characteristic of jokes attract the attention of professional poets. The poetics of fables has given rise to a rich literary tradition. In domestic literature these are poems by K.I. Chukovsky, S.Ya. Marshak, I.P. Tokmakova. Inverted tales have analogies in other languages. The English call this kind of poetry (“upside down” poetry).