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The role of folklore in human life Performed by: Polina Ziganshina, Vlad Krivonogov, Olga Savinova, students of grade 4 A of State Budget Educational Institution Secondary School No. 30 in Syzran Work leaders: Natalya Gennadievna Zarubina, primary school teacher.
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Currently, the issue of reviving folk traditions in Russia is acute. In this regard, great importance is attached to folklore. Folklore is a special area poetic art. It reflects centuries historical experience of people.
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Relevance: is it worth talking about folklore today? We think it's worth it. In the modern world, where new toys and computer programs for children are created every day, many have simply forgotten about the importance of folklore for the education and development of schoolchildren. We have always been interested in the following questions: why, when grandmothers and mothers sang lullabies to us, did we quickly fall asleep? Why does our mood improve when we sing and listen to ditties? Why are the words of jokes so easy to remember? Why are people's teasing not offensive? Therefore, for the study we chose the topic: “The role of folklore in human life”
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Purpose of the study: to study folklore genres and explore the influence that folklore has on the development and upbringing of children. Research objectives: to study the genres of oral folk art; consider the significance of various forms of folklore in a child’s life; conduct and describe practical research, summarize the results obtained;.
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Our hypothesis: oral folk works are not in demand in the modern world, although their influence on the development of schoolchildren’s education is positive. Objects of research: folklore. Subject of research: forms of folklore.
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Ritual folklore Calendar folklore – reflects folk holidays, appeal to nature: our ancestors turned to Mother Earth and other deities, asking her for protection, a good harvest and grace. Family folklore that described life from the moment of his birth
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Non-ritual folklore 1. Folklore drama 2. Folklore poetry 3. Folklore prose 4. Folklore of speech situations.
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Acquaintance with folklore begins from the first days of a person’s life. Mothers sing lullabies for newborns. These are songs that lull a child to sleep. The words in them are gentle, melodious, and there are no harsh sounds. Such songs most often feature cooing ghouls, house-loving swallows, and a comfortably purring cat. These songs talk about peace and quiet.
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And then songs - pestles - appeared. Pestushka is a short poetic sentence of nannies and mothers, which accompanies the movements of a child in the first months of life. Then the very first games begin - nursery rhymes. A nursery rhyme is a saying song that accompanies the play of a child’s fingers, arms and legs.
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The child can already speak. But he still doesn’t get all the sounds. This is where tongue twisters come to the rescue. A tongue twister is a short poem in which the words are specially chosen to be difficult to pronounce. Children's spells preserve the memory of the prayer requests of our forefathers. Calls are songs in which children turn to the forces of nature with some request. The serious, economic basis of spells was forgotten, only fun remained.
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Children's spells preserve the memory of the prayer requests of our forefathers. Calls are songs in which children turn to the forces of nature with some request. The serious, economic basis of spells was forgotten, only fun remained. Sentences are short poems that children pronounce on various occasions, for example, when addressing living creatures - a snail, a ladybug, birds, pets.
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All primitive peoples had a ritual of initiating boys into full members of the clan - hunters. The child had to show intelligence and intelligence in solving riddles. A riddle is a short allegorical description of an object or phenomenon. Counting books also help develop correct speech. This is a fun, mischievous genre. If during the game you need to choose a driver, counting rhymes are used.
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I remember the words of A. S. Pushkin: “What a delight these fairy tales are!” It is through them that a person learns about the world around him. These are not just funny or instructive, scary or sad fictional stories. In fact, these seemingly simple stories contain deep folk wisdom, a person’s idea of the world and his people, of good and evil, justice and dishonor.
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When meeting with librarian Arifulina Nina Vasilievna, we asked her a question: “Do students of our school often take books with works of oral folk art to read?” Nina Vasilievna answered us: “Unfortunately, not often, only when asked in literature lessons.”
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With the question “What place does the study of works of oral folk art occupy in the literature curriculum?” we turned to the teacher of Russian language and literature, Elena Valentinovna Gulyaeva. The answer pleased her. The study of folklore occupies a significant place in the program. We asked: “Why do so few students go to the school library for books?” Elena Valentinovna answered that many students get information on the Internet, many children have books in their home library.
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. On modern stage National revival requires returning 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 culture 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 ancient traditions, 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 human upbringing and development, has been especially active in recent years 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 is an increased interest in national culture, ethnic processes, traditional artistic creativity, 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 and one’s roots is the most important task, which requires careful treatment of historical and cultural monuments, and traditional folk art. Revival of folklore, folk customs, rituals and holidays, traditional arts and crafts and visual arts– this is a pressing problem of our time. Folklore, its genres, means, and methods most fully fill out the entire picture of people's life, giving 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 significance;
– 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 of the 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 arts and crafts.
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, variety of forms 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 usually not applied (folk architecture, folk arts and crafts, etc.), since it reflects an indisputable fact, all types and genres professional art have their origins in folk art and 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 man sought to influence the forces of nature, fate, were accompanied by words: spells and conspiracies were pronounced, and 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 arts. 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. The separation of verbal creativity into an independent art form is 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 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 to social life societies, new genres also arose in Russian folklore: soldiers', coachmen's, and 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 poetic creativity was widespread not only among the working people, but also among upper strata society: nobility, 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 of 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 feature of folklore - variability.
Folklore works differ from fiction in the features of their artistic form. These features include, first of all, traditional poetics developed by the people over the centuries. Traditional folk symbols, constant epithets, metaphors give folk art a specific flavor.
Folklore is different from written literature and typing 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 of 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 other 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 artistic taste in children, develops the ability to appreciate and understand beauty, and 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 that is 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 the rules of 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 personality traits, 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 of a large number of 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.
A saying - from the simplest poetic works, such as a fable or a proverb, 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, focused only on goodness, on 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 aimed at specific age groups, although, of course, most songs cannot be sharply differentiated 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 internal beauty of a person, 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 poetic word songs. Influence 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 need to 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 there is suffering positive hero and his friends are transient, temporary, joy usually comes after them, 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, the special purpose of which is 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!
Good fellows lesson.
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.
People's Theater, existing in forms organically associated with oral folk art, originated in ancient times: the games that accompanied hunting and agricultural holidays contained elements of reincarnation. Theatricalization of the action was present in calendar and family rituals (Yuletide dressing up, weddings, 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 and imaginative 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 species 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).
Folk arts and crafts immortalize the vast, ever-living soul of the 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. Collaboration helps children better master the craft, learn from the experience of their 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 picturesque landscapes Homelands full of colors, sounds, smells, and 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 it reflects in a highly poetic form the economic and labor activity of a person, his life, experience, flora, fauna, the world as a whole, and to this day it has great artistic significance 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 it? 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 the 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.
The lullaby occupies a special place in folklore.
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 you need to use the entire arsenal folk remedies and educational factors without changes and critical assessment. 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, 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 is passed on from generation to generation, developing and enriching the child’s world. Folklore is a unique means for transmitting folk wisdom and educating children at the initial stage of their development.
Bibliography
1. Baturina G.I., Kuzina T.F. Folk pedagogy in the education of preschool children. M., 1995.-S. 7–8.
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.
6. Volkov, G.N. Ethnopedagogy: Textbook. for students avg. and higher ped. textbook institutions / G.N. Volkov - M.: Publishing center "Academy", 1999. - 168 p.
7. Volodko, V.F. Education / V.F. Volodko; BNTU – Minsk: Law and Economics, 207 – 230 p.
8. Literary encyclopedia. M.A. Puzzles. M., 1964, vol. 2, p. 970.
9. Chernyavskaya Yu.V. Belarusian: touches to a self-portrait. Ethnic self-image of Belarusians in fairy tales / Chernyavskaya Yu.V. – Mn.: “Four Quarters”, 2006. – 244 p.
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Zinchenko Anna, Korcheva Angelika
A study was conducted on how ancient beliefs: totemism, animism, fetishism, magic - were reflected in the folklore of the Russian and Kazakh peoples and modern life.
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Introduction
Today, the problem of moral education of students remains relevant. The modern learning process is aimed at ensuring that schoolchildren not only acquire a certain amount of knowledge, but also master the ability to independently navigate the flow of scientific and political information. Even if society manages to achieve market economy, become rich, no amount of wealth can replace kindness and honesty.
The role of folklore in the education of schoolchildren is great: works of folklore provide rich opportunities for mental development, and especially for the aesthetic and moral education of students. Folk art absorbs life experience, collective wisdom, promoting high moral standards and aesthetic ideals. Each nation created its own value system, its own ideals.
The word "folklore" literally translated from English means folk wisdom. Folklore is poetry created by the people and existing among the masses, in which they reflect their work activities, social and everyday life, knowledge of life, nature, cults and beliefs. Folklore embodies the views, ideals and aspirations of the people, their poetic imagination, richest world thoughts, feelings, experiences, dreams of justice and happiness.
Folklore is a kind of moral code of the people; their heroics are, although imaginary, examples of true human behavior. Fairy tales, for example, reflect the joyful acceptance of existence - the lot of an honest person who knows how to stand up for himself. Folklore works come to us from the depths of centuries, and they reflect the primitive beliefs of man, the beginning of the formation of morality, folk ideas about such important ethical categories as: good and evil, fidelity, devotion, love for the Motherland and betrayal, courage and cowardice.
Goal of the work: in the process of research work, show how primitive beliefs are reflected in folklore and modern life and influence the education of human moral qualities.
Tasks:
- study theoretical material on this topic;
Select practical material;
Conduct a survey among students;
Summarize and systematize the results of the study.
Methods used – comparative analysis, descriptive method, contextual analysis method.
Folklore and the system of primitive beliefs.
Reflection in literature.
The word “myth” comes from the ancient Greek word meaning “tradition, legend”.
Many people think that a myth is just an entertaining fairy tale, but this is not entirely true. Myth is not a story, it is not a narrative, it is a form of culture.
A myth is a legend composed for a specific purpose. As a rule, this is an attempt to explain the structure of the universe or relationships between people. The events described in a myth may seem incredible, but the idea contained in it usually has important religious or social significance.
People, we know, have long sought to unravel the mysteries of the universe. From time immemorial they asked themselves a wide variety of questions:
“Who created the world? ", "Why do storms happen? ", "Why are people different from animals? " And as attempts to answer such questions as human attempts to understand the meaning of everything that happens in the world, myths arose. Consequently, each nation has developed its own system of myths - mythology.
Why are myths not forgotten?
Some myths have successfully stood the test of time and retained their original role for thousands of years. One of the reasons for such an amazing persistence of myths, we believe, is that among most peoples myths had important religious significance. They formed the basis of the beliefs of the people and helped to preserve these beliefs for many generations. People captured the plots of myths in drawings, wrote down ancient legends, or passed them on from mouth to mouth.
Of course, the myth that was quite fascinating had a greater chance of “survival.” Many myths teach people how to behave correctly. And in order to instill these ideas in the listeners, the narrator of the myth must, at all costs, capture the imagination of his audience
So, we have come to the conclusion: myth is eternal, since the mythological concept is present in all cultures, including modern ones.
The way of survival of primitive man was the feeling of his “kinship” with the formidable natural elements; he felt them to be related to himself, animated creatures that could be appeased, spoken to, and sometimes even frightened.
Myth is a way of human existence and perception of the world, entirely based on the semantic “intimacy” of a person with the world. Man experiences natural phenomena in myth as animate beings. A myth is a projection of a person into the world around him, where a person is just a part of it, therefore, in order to survive, a person in this world needs to find powerful patrons (gods), whom he both fears and hopes for. And the role of such gods turns out to be the most significant forces and natural phenomena for a particular tribe.
Mythology is the system of thinking of primitive man, the most primitive level of thinking. Primitive beliefs, reflected in folklore and literature, are associated with primitive thinking. We find their remains in our everyday life, sometimes not realizing that the explanation for our actions must be sought in the distant past.
Primitive belief systems, myth and magic.
Name | essence | Manifestation in modern culture |
totemism | This is a system of beliefs, the essence of which is the worship of some animal or plant and the belief in one’s origin from them | Heraldry (coats of arms of nations), prohibition of eating meat of certain animals |
fetishism | Deification of a special object, which is perceived as a carrier of demonic powers and which is associated with the fate of a given tribe | Amulets, crosses, icons. |
animism | This is a belief in the existence of souls and spirits as the cause of natural phenomena, a belief in the animation of all nature | sacrifices. |
magic | A way of influencing things, where a magical connection acts as an instrument of human will. |
Let's explore the belief system presented in the table. The object of the study is fairy tales and ritual poetry.
Among the archaic beliefs, the first in importance is the attitude towards nature as a living being that has the same properties as humans. This belief was called animism. Animism is associated with the belief in the existence of souls. And we see this in fairy tales and songs - the hero is helped by trees, a river, a stove, stones, etc. For example, in the fairy tale “Geese and Swans,” the girl is helped by a stove, an apple tree, a milk river, and the banks of jelly; in the fairy tale “The Bean Seed,” a river and a linden tree help the chicken.
For example, in the tales of ancient Russian tribes it was clearfeatures of the worldview of that time - animism (spiritualization of natural phenomena by analogy with living beings, veneration of animals or plants associated withconsciousness of the unity of nature and man), totemism ((expressed in the transformation of people into animals), magic (tales about wonderful objects, transformations).
So in the fairy tale “Marya Morevna”: “Thunder struck, the roof fell apart, the ceiling split in two, and an eagle flew in: it hit the floor and became a fine fellow,” “Finist, the clear falcon”: “Hit the damp ground and turned into a prince,” (Russian folk fairy tales), “Tazsha – the bala and the wizard” (the transformation of a son into a sheep, a horse, a baby camel. (Kazakh folk tale). IN Russian fairy tales widely use the motif of the transformation of a beautiful girl-bride into a swan, duck, and frog. “The princess turned into a white swan and flew from the ship”; “It fell, hit the ship, turned into a duck and flew away...” And the frog jumped out onto the porch at night, hit the ground and became a beautiful princess.”
According to our research, northern peoples In the period preceding the taming of wild deer, the most important weapon of hunting magic was the antlers of wild deer or “chuerv-garta”. Having chosen a place in the area of the hunting grounds of the village, the hunter brought here the antlers of the deer he had killed and placed them in two parallel rows, since the antlers were supposed to stand on the deer running one after another.
The custom of throwing horns onto the roofs of houses and nailing them to the facade of a home is also undoubtedly connected with the sacred properties of horns. In many fairy tales of the peoples of the north there was an image of a deer, strong, smart, helping people.
In each village, the most prey hunters had their own chuerv-garts, which not only contributed to hunting success, but also helped the population out when attacked by enemies. It was enough for a person, not even called a sorcerer, but simply “knowing how to wield a chuerv-gart,” to move the antlers of deer, and a terrible storm arose on the lake and drowned the enemies.
Almost the entire world around us is filled with spirits.They also differ in their attitude towards people: evil and good.
In the water element, the ancient Slavs believed, the beregins and the mermen lived. Beregini, and later pitchforks and mermaids, are female spirits of rivers, lakes, ponds, wells, etc. According to popular beliefs, in the spring mermaids come ashore, swing on the branches, comb their long green hair, sing songs, lure passers-by and try tickle them to death. Mermaids are also associated with ideas about women and girls who died in the water. But mermaids are also the spirits of vegetation: trees, herbs, flowers, grains - after all, they give vital moisture to plants, send beneficial rain to the field. Vodyanoy is a shaggy, knee-length beard, an angry, mischievous and vindictive old man who lives at the bottom of rivers and lakes, in whirlpools.
The forest is the kingdom of the goblin, or woodsman, who, according to the poet:
Sovereign Sovereign
Green people
He is to the entire forest power
Judge and governor.
L. A. May
We see this in folk tales: “Varvara is beautiful - long braid”, “Mermaid”
But the consequences associated with the influence of spirits are not always favorable. Failures were understood as a manifestation of the cunning of spirits. The use of amulets, that is, objects whose presence was considered as protection from the harmful influence of evil spirits, was widespread. As a rule, these are pieces of wood, stones, bones, teeth, and animal skins. The ability to store, protect from harm or bring good luck was explained by the presence of magical, miraculous power in the object or the presence of some spirit in it.
Such beliefs are called fetishism (“fetish” is an enchanted thing). This item was prescribed properties that were not inherent to it (the ability to heal, protect from enemies, help in hunting). If, after turning to such an object, a person managed to achieve success, he believes that the fetish helped him in this, and kept it for himself. If a person suffered some kind of failure, then the fetish was thrown out or replaced by another.
In our modern times, we can observe that people have often begun to use a “fetish” - a talisman. In many houses, in cars, they have amulets with them and they also charm them.
Consider another early form of religious belief: totemism - the belief in the existence of a special kind of connection between some group of people and a certain species of animal or plant. Its emergence is closely associated with the economic activities of primitive man - gathering and hunting. Animals and plants that gave people the opportunity to exist became objects of worship.
We know that the Slavs have a belief: a long time ago, all animals were people, but subsequently those of them who took false oaths, insulted their mother, committed crimes, were turned into animals, fish and birds. Any animal sees everything, hears everything and even foresees everything; Moreover, it also knows what a person feels. This divine gift is received in exchange for the gift of speech. Animals, plants and even stones cannot talk to people, but they talk to each other. Hence we see the proverbs: “And the mountain has eyes”, “And the walls have ears”, “And the stones speak.”
In ancient times, the Slavs considered sacred animals their ancestors. For example, they revered the wolf. During the winter solstice, men wore wolf skins to symbolize becoming wolves. This is how they communicated with the animal ancestors, from whom they asked for strength and wisdom. The wolf was considered a powerful protector of the tribe, a devourer of evil spirits. The Slavs believed that whoever worships the wolf helps. We found this in the fairy tales “Ivan Tsarevich and the Gray Wolf” (Russian folk tale): “I feel sorry for you, Ivan Tsarevich, that you were exhausted on foot; I’m also sorry that I killed your good horse. Good! Sit on me, on the gray wolf, and tell me where to take you and why?” “Brother is a wolf”: “Oh, I can’t eat you. Come on, let’s better fraternize!” (Kazakh folk tale)
Analyzing the material, we came to the conclusion that the symbol of the wolf absorbs many positive qualities, and, undoubtedly, that is why it has been a totem among the Turkic peoples since ancient times. The wolf, first of all, supreme symbol freedom in the animal world, a symbol of independence. The wolf is also a symbol of fearlessness. In any fight, the wolf fights until victory or death.
The blue wolf is a sacred animal, which, according to one legend, marked the beginning of the family of Oguz, the forefather of the Turks.
The white wolf was the main totem of the Oghuz - Kipchaks in the 10th -12th centuries.
The wolf totem has been present on Turkic banners since ancient times.
The bear was also especially revered by the Slavs - the owner of the pagan forest, protector from all evil and patron of fertility. The ancient Slavs associated the onset of spring with the spring awakening of the bear. The Slavs believed that the bear was endowed with special wisdom, omniscience, and was able to protect against witchcraft, disease and all kinds of troubles. The bear's paw was considered a very strong amulet against all sorts of misfortunes, so many Slavs kept such a talisman at home. Our ancestors imagined the presence of mythical bears in the skies (hence the names Ursa Major and Ursa Minor). We got acquainted with the legends about the transformation of people into bears and bears into people. The indigenous inhabitants of the Khanty-Mansi Autonomous Okrug-YUGRA are the Khanty and Mansi. So, for the Khanty, the bear is a sacred animal; by killing it, they asked the spirit of the bear for forgiveness, otherwise an irreparable disaster could happen, so the Khanty protect this animal, sacred to them, and worship it. Rituals that include the holiday "Bear Games" (as "Ovolyngort" is translated from the Khanty language) should show the Great Spirit of the Bear how the Khanty respect and worship him. This custom has existed for hundreds of years, and has been passed on from generation to generation among the Khanty people per generation.
And they have this holiday every year.
We see many signs, signs, evidence of the attitude of the Slavic peoples to the bear as a totemic animal, as an ancestor. These are also addresses that record respect for the bear, similar in meaning to addressing an elder in the family - “Old Man”, “Grandfather”, “Mikhailo Potapych”, “Potapych”, and the name itself - bear, “knowing where the honey is” - not the name of the beast, but an allegory, a euphemism, a sign of a secret that only those initiated into this secret know.
We see a reflection of totemic beliefs in fairy tales. In the fairy tale "The Bear", the old man cut off the bear's paw while they were fighting. The bear takes revenge for this: he made himself a linden paw, came to the old man and the old woman and ate them.The totemistic level of consciousness is reflected in stories about marital relations between man and beast. We know Russian fairy tales in which a bear lives with a woman, snakes fly to women at night, a person can be born from a cow, a boar, a dog, a bull, and boys can hatch from eggs.
An example of this is the fairy tale about “Ivashka-Bear’s Ear” - the son of a man and a bear. The bear meets the woman and takes her to the den. A boy is born to them: “completely human, only bear ears” (“a man from the waist down, a bear from the waist down”). This character is distinguished by his extraordinary and irrepressible strength (at the age of six he uproots an oak tree from the ground, etc.). as a result of his half-animal origin hetwo forces: human and bear.The bear also takes a person to the distant kingdom, that is, to another world.The bear is the hero of many folk tales: “The Bear is a Fool”, “The Bear, the Man and the Fox”, “The Frightened Bear and the Wolves”, etc.
Getting acquainted with additional literature, we came to the conclusion that at the primitive stage of culture, combined forms of rituals and beliefs arose, called the general concept of magic (witchcraft, sorcery, sorcery). Magical actions are common among all peoples of the world and are extremely diverse. For example, among the northern peoples.By the shape of the clouds or the boiling of soap in a cauldron, they recognize the future, for example, the arrival of an enemy. The arrival of a guest while fish is being put into the cauldron portends good luck in fishing; a person leaving his home when a fish is taken out of the cauldron entails the fish leaving the trap, etc. Careless movement can scare away game or fish and lead to its disappearance, this is natural. But a careless call or push can frighten a person who is concentrating on something - this is also natural.
But even such an imaginary phenomenon as a person turning into stone from fright does not cause much bewilderment.
Along with magic, fetish seids attracted our imagination. This is a stone that looks like a person. He helped a lot: people got a lot of fish, animals, and birds.
To this day, in any village they will point out two or three stones that were considered seids.
At the heart of magic we see the belief in the possibility of influencing people, objects and phenomena by appealing to mysterious forces.
We know that magical techniques were usually performed by specially trained people - sorcerers and shamans, who sincerely believed in their ability to communicate with spirits and convey requests to them. But the main thing was not that they themselves believed in their extraordinary abilities, but that people believed them and turned to them for help at the most critical moments of their lives. Sorcerers and shamans enjoyed and still enjoy special honor and respect among people. And now many people resort to the services of sorcerers, clairvoyants, they even conduct sessions on television.
IN fairy tales The address to the hut was magical:
“Hut, hut! Stand in the old way, as your mother put it, with your front to me and your back to the forest”)” (“The Frog Princess”), to the horse: “Sivka is a burka, a prophetic kaurka, father’s blessing!” Stand in front of me like a leaf in front of the grass” (“Sivka – Burka”), to a person: “Wake up - wake up, Finist, clear falcon!” I, a beautiful maiden, have come to you; I broke three cast-iron staffs, trampled three pairs of iron shoes - I was still looking for you, dear one!” , "ER - Tostik":
I haven’t forgotten your help, Shalkuiryk!
You were my swift wing, Shalkuiryk!
You were a support for me, Shalkuiryk!
He gave me advice in trouble, Shalkuiryk!
Had three souls, but only one remained.
Float to the surface of the water, Shalkuiryk,
My faithful comrade, I ask you!
Ritual poetry is also closely related to magical actions. For example,lullabies(family ritual poetry):
Bye-bye, bye-bye! When the sun rises,
Sleep, dear child, Dew will fall to the ground,
Before the sun rises, Bye-bye, bye-bye!
Until the end of the month. Dew will fall to the ground
Then Kosciuszka gets up.
Calendar rituals (invocation of spring):
Larks, larks,
Give us summer
And we will winter for you -
We don't have any food.
Bata:
Like a wide lake, let it overflow
Your koumiss and ayran,
And let your mercy reach
To the most distant relatives.
May you have so many cattle that you cannot steal them,
And let your loved ones and relatives honor you.
Let your nomad be of thirty sons,
And you are the head of all of them.
In ancient times, magic accompanied a person from the first days of birth until death. Therefore, a system of rules of behavior was developed, which included numerous prohibitions - taboos. We see this in folklore as well. We see a violation of the ban in the fairy tale “Sister Alyonushka and Brother Ivanushka”:
Sister Alyonushka, there is no urine: I’ll drink from the well!
Don't drink, brother, you'll become a little goat!
Ivanushka did not listen and drank from a goat’s hoof and became a little goat.”
In the fairy tale “Geese and Swans,” violating the ban also led to trouble: the brother was kidnapped by the geese and swans.
In modern life, prohibitions - taboos - have also been preserved: you can’t sweep when a person is getting ready to go on a trip, you can’t take out the trash in the evening, you can’t sew in front of the road if you’ve left the house, you can’t come back, etc.
So, we have traced how primitive beliefs are reflected in folklore and modern life.
Conclusions.
Carrying out research work, we first of all studied and processed theoretical material on this topic, compared theoretical material with folklore and how this is reflected in modern life, conducted a survey among students and parents, processed this material, and took part in dramatizations of fairy tales and folk rituals. Particularly interesting were the performances of rituals and fairy tales for the holidays of Nauryz, New Year, and the Day of Languages of the Peoples of Kazakhstan.
We came to the conclusion that any fairy tale is not only an interesting literary work, but also a kind of global encyclopedia, a source of necessary knowledge about the culture of countries and peoples.
This is especially true when studying oral folk art in Russian literature in the 5th grade, since fairy tales appear before students in a new light - not just as fictional stories long ago, but as a historical work that provides useful knowledge. The actors of our theater, when staging fairy tale performances and staging rituals, turn to emotional-figurative language. For an adequate perception of the image, we use material that gives us a sum of knowledge on the history and culture of the Russian and Kazakh peoples.
Conclusion
Summing up the results of the study, we can draw the following conclusions:
In our modern times, the movement for the preservation and revival of our own national cultures has begun to grow. It is developing in different directions, and one of them is increased attention to the rich cultural heritage of our ancestors.
Folklore of a people is a verbal document. It is history and a chronicle for the people.
Folklore reflects the spirituality of the people, their wise mind, national spirit, their worldview, morals, customs, character and strength.
The concepts of good and evil, justice and many other moral qualities created early beliefs. This is reflected in folklore. This is where interest in monuments of the art of words arises.
There is not a single person in the world who does not like folk tales, songs and dances. You can find everything in them - spontaneity, subtle sadness and daring joy. And, probably, the most important thing that attracts modern people to them is the unique charm of antiquity and a certain nostalgic aroma of deep antiquity. So, folklore - what is it and what are its main features?
Basic definition
Folklore is the collective creativity of a people, expressing its worldview and ideals, and also serving as a complete reflection of its mentality. Usually this is oral creation - epics, tales, proverbs, conspiracies, riddles. Considering the question of what folklore is, one cannot help but mention the very meaning of this word. Translated, “Folk-lore” literally means “folk wisdom” or “folk knowledge.” This term was introduced into use in 1846 by the English explorer William Toms.
In our country, many enlightened people made a huge contribution to the study of this area of culture - M. Lomonosov, A.S. Pushkin, G. Derzhavin, N. Roerich, I.I. Shishkin and many other writers, artists, historians and scientists. After the revolution great attention Maxim Gorky paid attention to the question of folklore - what it is. It was thanks to this main proletarian writer that the main problems of Soviet folklore were developed.
Main characteristics
So, folklore - what is it and what are its characteristics? The main distinctive features of folk art can be called lack of writing, verbality, of course, collectivity and deep traditionality. This, in fact, is the only area of culture on which the state and government cannot have any influence at all. For centuries, tales, epics and legends have been passed down from father to son. In addition to the literary sphere, mentality and traditionalism are also manifested in all other areas of folk art - in dance, music, etc.
Basic varieties and genres of folklore
The main folk art includes epics, riddles, proverbs and lamentations.
Oral tradition, dance, crafts and songs are the main types of folklore proper. At the same time, it is also worth highlighting its ritual types. This area of art usually has pagan roots and appears as a kind of opposition to the new religion. However, this is not always the case. For example, during the years of the USSR, when all cults were prohibited, it was Christian ritual folklore that showed itself very strongly. In this light, folk art can even be considered a reflection of some kind of confrontation between the common people and the authorities, any kind at that.
Works of folklore reflect the experience of thousands of years. And regardless of what stage of social development a particular people stands at, fairy tales and epics are one of the most valuable sources of knowledge of their history. Perhaps the Russian darling of fate Ivan the Fool, the beautiful Vasilisa, the Greek villain Prometheus and Hercules, the German Freya, Scandinavian trolls, etc. are able to tell about what events took place on earth in ancient times, much more than it might seem at first glance.
Folklore how special kind art is a qualitatively unique component of fiction. It integrates the culture of a society of a certain ethnicity at a special stage in the historical development of society.
Folklore is ambiguous: it reveals both boundless folk wisdom and folk conservatism and inertia. In any case, folklore embodies the highest spiritual powers of the people and reflects elements of national artistic consciousness.
The term “folklore” itself (from the English word folklore - folk wisdom) is a common name for folk art in international scientific terminology. The term was first coined in 1846 by the English archaeologist W. J. Thomson. It was first adopted as an official scientific concept by the English Folklore Society, founded in 1878. In the years 1800-1990, the term came into scientific use in many countries of the world.
Folklore (English folklore - “folk wisdom”) - folk art, most often oral; artistic collective creative activity of the 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 arts and crafts.
Folklore is creativity that does not require any material and where the means of realizing the artistic concept is the person himself. Folklore has a clearly expressed didactic orientation. Much of it was created specifically for children and was dictated by the great national concern for young people - their future. “Folklore” serves the child from his very birth.
Folk poetry reveals the most essential connections and patterns of life, leaving aside the individual and special. Folklore gives them the most important and simple concepts about life and people. It reflects what is generally interesting and vital, what affects everyone: human work, his relationship with nature, life in a team.
The importance of folklore as an important part in education and development in the modern world is well known and generally accepted. Folklore always responds sensitively to people's needs, being a reflection of the collective mind and accumulated life experience.
Main features and properties of folklore:
1. Bifunctionality. Each folklore work is an organic part of human life and is determined by practical purpose. It is focused on a specific moment in people's life. For example, a lullaby - it is sung to calm and put a child to sleep. When the child falls asleep, the song stops - it is no longer necessary. This is how the aesthetic, spiritual and practical function of a lullaby is manifested. Everything is interconnected in a work; beauty cannot be separated from benefit, benefit from beauty.
2. Polyelement. Folklore is multi-elemental, since its internal diversity and numerous relationships of an artistic, cultural-historical and socio-cultural nature are obvious.
Not every folklore work includes all artistic and figurative elements. There are also genres in which there is a minimum number of them. The performance of a folklore work is the integrity of the creative act. Among the many artistic and figurative elements of folklore, the main ones are verbal, musical, dance and facial expressions. Polyelementity manifests itself during an event, for example, “Burn, burn clearly so that it doesn’t go out!” or when studying a round dance - the game “Boyars”, where movements take place row by row. In this game all the main artistic and figurative elements interact. Verbal and musical are manifested in the musical and poetic genre of the song, performed simultaneously with choreographic movement (dance element). This reveals the polyelement nature of folklore, its original synthesis, called syncretism. Syncretism characterizes the relationship, integrity of the internal components and properties of folklore.
3.Collectivity. Absence of author. Collectivity is manifested both in the process of creating a work and in the nature of the content, which always objectively reflects the psychology of many people. Asking who composed a folk song is like asking who composed the language we speak. Collectivity is conditioned in performance folklore works. Some components of their forms, for example, the chorus, require the mandatory inclusion of all participants in the action in the performance.
4. Illiteration. The orality of the transmission of folklore material is manifested in the unwritten forms of transmission of folklore information. Artistic images and skills are transferred from the performer, the artist, to the listener and viewer, from the master to the student. Folklore is oral creativity. It lives only in the memory of people and is transmitted in live performance “from mouth to mouth.” Artistic images and skills are transferred from the performer, the artist, to the listener and viewer, from the master to the student.
5.Traditionality. The variety of creative manifestations in folklore only outwardly seems spontaneous. Over the course of a long time, objective ideals of creativity were formed. These ideals became those practical and aesthetic standards, deviations from which would be inappropriate.
6.Variability. Variation network is one of the stimuli of constant movement, the “breathing” of a folklore work, and each folklore work is always like a version of itself. The folklore text turns out to be unfinished, open to each subsequent performer. For example, in the round dance game “Boyars”, children move “row by row”, and the step may be different. In some places this is a regular step with an accent on the last syllable of the line, in others it is a step with a stamp on the last two syllables, in others it is a variable step. It is important to convey the idea that in a folklore work creation - performance and performance - creation coexist. Variability can be considered as the changeability of works of art, their uniqueness during performance or other forms of reproduction. Each author or performer complemented traditional images or works with his own reading or vision.
7. Improvisation is a feature of folklore creativity. Each new performance of the work is enriched with new elements (textual, methodological, rhythmic, dynamic, harmonic). Which the performer brings. Any performer constantly introduces his own material into a well-known work, which contributes to the constant development and change of the work, during which the standard artistic image crystallizes. Thus, the folklore performance becomes the result of many years of collective creativity.
IN modern literature A broad interpretation of folklore as a set of folk traditions, customs, views, beliefs, and arts is widespread.
In particular, the famous folklorist V.E. Gusev in his book “Aesthetics of Folklore” considers this concept as an artistic reflection of reality, carried out in verbal, musical, choreographic and dramatic forms of collective folk art, expressing the worldview of the working masses and inextricably linked with life and everyday life. Folklore is a complex, synthetic art. His works often combine elements of various types of art - verbal, musical, theatrical. It is studied by various sciences - history, psychology, sociology, ethnography. It is closely connected with folk life and rituals. It is no coincidence that the first Russian scientists approached folklore broadly, recording not only works of verbal art, but also recording various ethnographic details and the realities of peasant life.
The main aspects of the content of folk culture include: the worldview of the people, folk experience, housing, costume, work, leisure, crafts, family relationships, folk holidays and rituals, knowledge and skills, artistic creativity. It should be noted that, like any other social phenomenon, folk culture has specific features, among which we should highlight: an inextricable connection with nature, with the environment; openness, the educational nature of Russian folk culture, the ability to contact the culture of other peoples, dialogicality, originality, integrity, situationality, the presence of a targeted emotional charge, preservation of elements of pagan and Orthodox culture.
Traditions and folklore are a wealth developed over generations and conveying historical experience and cultural heritage in an emotional and figurative form. In the cultural and creative conscious activity of the broad masses, folk traditions, folklore and artistic modernity merge into a single channel.
The main functions of folklore include religious - mythological, ceremonial, ritual, artistic - aesthetic, pedagogical, communicative - informational, social - psychological.
Folklore is very diverse. There is traditional, modern, peasant and urban folklore.
Traditional folklore is those forms and mechanisms artistic culture, which are preserved, recorded and passed on from generation to generation. They capture universal aesthetic values that retain their significance outside of specific historical social changes.
Traditional folklore is divided into two groups – ritual and non-ritual.
Ritual folklore includes:
· calendar folklore (carols, Maslenitsa songs, freckles);
· family folklore (wedding, maternity, funeral rites, lullabies, etc.),
· occasional folklore (spells, chants, spells).
Non-ritual folklore is divided into four groups:
· folklore of speech situations (proverbs, sayings, riddles, teasers, nicknames, curses);
Poetry (ditties, songs);
· folklore drama (Petrushka Theater, nativity scene drama);
· prose.
Folklore poetry includes: epic, historical song, spiritual verse, lyrical 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. Fairy-tale prose includes: a fairy tale (which, in turn, comes in four types: a fairy tale, a fairy tale about animals, an everyday tale, a cumulative fairy tale) and an 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).
Ritual folklore is folklore genres performed as part of various rituals. Most successfully, in my opinion, the definition of the ritual was given by D.M. Ugrinovich: “Rite is a certain way of transmitting certain ideas, norms of behavior, values and feelings to new generations. The ritual is distinguished from other methods of such transmission by its symbolic nature. This is its specificity. Ritual actions always act as symbols that embody certain social ideas, perceptions, images and evoke corresponding feelings.” Works of calendar folklore are dedicated to annual folk holidays that were of an agricultural nature.
Calendar rituals were accompanied by special songs: carols, Maslenitsa songs, vesnyankas, Semitic songs, etc.
Vesnyanka (spring calls) are ritual songs of an incantatory nature that accompany the Slavic ritual of calling out spring.
Carols are New Year's songs. They were performed during Christmas time (from December 24 to January 6), when caroling was going on. Caroling - walking around the courtyards singing carols. For these songs, carolers were rewarded with gifts - a festive treat. The main meaning of the carol is glorification. Carolers give perfect description the house of the magnified one. It turns out that before us is not an ordinary peasant hut, but a tower, around which “stands an iron tyn”, “on each stamen there is a crown”, and on each crown “a golden crown”. The people living in it are a match for this tower. Pictures of wealth are not reality, but a wish: carols perform, to some extent, the functions of a magic spell.
Maslenitsa is a folk holiday cycle that has been preserved by the Slavs since pagan times. The ritual is associated with seeing off winter and welcoming spring, lasting a whole week. The celebration was carried out according to a strict schedule, which was reflected in the name of the days of Maslenitsa week: Monday - “meeting”, Tuesday - “flirt”, Wednesday - “gourmet”, Thursday - “revelry”, Friday - “mother-in-law’s evening”, Saturday - “mother-in-law’s gatherings” ", resurrection - "seeing off", the end of Maslenitsa fun.
Few Maslenitsa songs have arrived. According to theme and purpose, they are divided into two groups: one is associated with the rite of meeting, the other with the rite of seeing off (“funeral”) Maslenitsa. The songs of the first group are distinguished by a major, cheerful character. This is, first of all, a majestic song in honor of Maslenitsa. The songs accompanying the farewell to Maslenitsa are in a minor key. The “funeral” of Maslenitsa meant farewell to winter and a spell, welcoming the coming spring.
Family and household rituals are predetermined by the cycle of human life. They are divided into maternity, wedding, recruiting and funeral.
Maternity rites sought to protect the newborn from hostile mystical forces, and also assumed the well-being of the baby in life. A ritual bath of the newborn was performed, and health was charmed with various sentences.
Wedding ceremony. It is a kind of folk performance, where all the roles are written and there are even directors - a matchmaker or a matchmaker. The particular scale and significance of this ritual should show the significance of the event, play out the meaning of the ongoing change in a person’s life.
The ritual educates the behavior of the bride in her future married life and educates all participants in the ritual. It shows patriarchal character family life, her way of life.
Funeral rites. During the funeral, various rituals were performed, which were accompanied by special funeral lamentations. Funeral lamentations truthfully reflected the life, everyday consciousness of the peasant, love for the deceased and fear of the future, the tragic situation of the family in harsh conditions.
Occasional folklore (from the Latin occasionalis - random) - does not correspond to generally accepted use, and is of an individual nature.
A type of occasional folklore are conspiracies.
CONSPIRACIES - a folk-poetic incantatory verbal formula to which magical power is attributed.
CALLS - an appeal to the sun and other natural phenomena, as well as to animals and especially often to birds, which were considered the harbingers of spring. Moreover, the forces of nature were revered as living: they make requests for spring, wish for its speedy arrival, and complain about winter.
COUNTERS are a type of children's creativity, small poetic texts with a clear rhyme-rhythm structure in a humorous form.
The genres of non-ritual folklore developed under the influence of syncretism.
It includes folklore of speech situations: proverbs, fables, signs and sayings. They contain a person’s judgments about the way of life, about work, about higher natural forces, and statements about human affairs. This is a vast area of moral assessments and judgments, how to live, how to raise children, how to honor ancestors, thoughts about the need to follow precepts and examples, these are everyday rules of behavior. In a word, their functionality covers almost all worldview areas.
RIDDLE - works with hidden meaning. They contain rich invention, wit, poetry, figurative structure colloquial speech. The people themselves aptly defined the riddle: “Without a face in a mask.” The object that is hidden, the “face,” is hidden under a “mask” - an allegory or allusion, a roundabout speech, a circumlocution. Whatever riddles you can come up with to test your attention, ingenuity, and intelligence. Some consist of simple question, others are similar to puzzles. Riddles are easily solved by those who have a good idea of the objects and phenomena in question, and also know how to solve them in words. hidden meaning. If a child looks at the world around him with attentive, keen eyes, noticing its beauty and richness, then every tricky question and any allegory in the riddle will be solved.
PROVERB - as a genre, unlike a riddle, is not an allegory. In it, a specific action or deed is given an expanded meaning. In their form, folk riddles are close to proverbs: the same measured, coherent speech, the same frequent use of rhyme and consonance of words. But a proverb and a riddle differ in that a riddle needs to be guessed, and a proverb is a teaching.
Unlike a proverb, a PROVERB is not a complete judgment. This is a figurative expression used in an expanded sense.
Sayings, like proverbs, remain living folklore genres: they are constantly found in our everyday speech. The proverbs contain a capacious humorous definition of the inhabitants of a locality, city, living nearby or somewhere far away.
Folklore poetry is an epic, a historical song, a spiritual verse, a lyrical song, a ballad, a cruel romance, a ditty, and children's poetic songs.
EPIC is a folk epic song, a genre characteristic of the Russian tradition. Such epics are known as “Sadko”, “Ilya Muromets and Nightingale the Robber”, “Volga and Mikula Selyaninovich” and others. The term “epic” was introduced into scientific use in the 40s of the 19th century. folklorist I.P. Sakharov. The basis of the plot of the epic is some heroic event, or a remarkable episode of Russian history (hence the popular name of the epic - “old man”, “old woman”, implying that the action in question took place in the past).
FOLK SONGS are very diverse in composition. In addition to songs that are part of the calendar, wedding and funeral rites. These are round dances. Game and dance songs. A large group of songs are lyrical non-ritual songs (love, family, Cossack, soldier, coachman, bandit and others).
A special genre of song creativity is historical songs. Such songs tell about famous events in Russian history. The heroes of historical songs are real personalities.
Round dance songs, like ritual songs, had a magical meaning. Round dance and game songs depicted scenes from wedding ceremonies and family life.
LYRICAL SONGS are folk songs that express the personal feelings and moods of the singers. Lyrical songs are unique both in content and in artistic form. Their originality is determined by their genre nature and specific conditions of origin and development. Here we are dealing with a lyrical kind of poetry, different from epic in the principles of reflecting reality. ON THE. Dobrolyubov wrote that folk lyrical songs “express an inner feeling excited by the phenomena of ordinary life,” and N.A. Radishchev saw in them a reflection of the people's soul, spiritual sorrow.
Lyrical songs are a vivid example of the artistic creativity of the people. They contributed to national culture a special artistic language and examples of high poetry reflected the spiritual beauty, ideals and aspirations of the people, and the moral foundations of peasant life.
CHASTUSHKA is one of the youngest folklore genres. These are small poetic texts of rhymed verses. The first ditties were excerpts from large songs. Chatushka is a comic genre. It contains a sharp thought, an apt observation. The topics are very diverse. The ditties often ridiculed what seemed wild, absurd, and disgusting.
CHILDREN'S FOLKLORE is usually called both works that are performed by adults for children, and those composed by the children themselves. Children's folklore includes lullabies, pesters, nursery rhymes, tongue twisters and chants, teasers, counting rhymes, nonsense, etc. Modern children's folklore has been enriched with new genres. These are horror stories, mischievous poems and songs (funny adaptations of famous songs and poems), jokes.
Exist different connections folklore and literature. First of all, literature traces its origins to folklore. The main genres of drama that developed in Ancient Greece - tragedies and comedies - go back to religious rites. Medieval romances of chivalry, telling of travels through imaginary lands, fights with monsters and the love of brave warriors, are based on the motifs of fairy tales. Literary lyrical works originate from folk lyrical songs. The genre of small action-packed narratives - short stories - goes back to folk tales.
Very often, writers deliberately turned to folklore traditions. Interest in oral folk art and passion for folklore awoke in the pre-romantic and romantic eras.
The tales of A.S. Pushkin go back to the plots of Russian fairy tales. Imitation of Russian folk historical songs - “Song about Tsar Ivan Vasilyevich...” by M.Yu. Lermontov. N.A. Nekrasov recreated the stylistic features of folk songs in his poems about the difficult lot of peasants.
Folklore not only influences literature, but also experiences the opposite effect. Many of the author's poems became folk songs. The most famous example is the poem by I.Z. Surikov “Steppe and steppe all around..”
Folklore drama. These include: Parsley Theater, religious drama, nativity scene drama.
VERTEP DRAMA got its name from the nativity scene - a portable puppet theater in the shape of a two-story wooden box, whose architecture resembles a stage for performing medieval mysteries. In turn, the name, which came from the plot of the main play, in which the action developed in a cave - nativity scene. This type of theater was widespread in Western Europe, and he came to Russia with traveling puppeteers from Ukraine and Belarus. The repertoire consisted of plays with religious themes and satirical scenes - interludes that were improvisational in nature. The most popular play is “King Herod”.
PETRUSHKA THEATER – glove puppet theater. The main character of the play is the cheerful Petrushka with a large nose, a protruding chin, a cap on his head, with the participation of which a number of scenes are played out with various characters. The number of characters reached fifty, these are characters such as a soldier, a gentleman, a gypsy, a bride, a doctor and others. Such performances used techniques of folk comic speech, lively dialogues with play on words and contrasts, with elements of self-praise, using action and gestures.
The Petrushki Theater was created not only under the influence of Russian, Slavic, and Western European puppet traditions. It was a type of folk theater culture, part of the extremely developed entertainment folklore in Russia. Therefore, it has a lot in common with folk drama, with the performances of farce barkers, with the verdicts of the groomsmen at the wedding, with amusing popular prints, with the jokes of the raeshniks, etc.
The special atmosphere of the city's festive square explains, for example, Petrushka's familiarity, his unbridled gaiety and indiscriminateness in the object of ridicule and shame. After all, Petrushka beats not only class enemies, but everyone in a row - from his own fiancée to the policeman, often beats him for nothing (a blackamoor, an old beggar woman, a German clown, etc.), in the end he gets hit too: the dog mercilessly tugs at his nose. The puppeteer, like other participants in the fair, square fun, is attracted by the very opportunity to ridicule, parody, beat, and the more, louder, more unexpected, sharper, the better. Elements of social protest and satire were very successfully and naturally superimposed on this ancient basis of laughter.
Like all folklore entertainments, “Petrushka” is filled with obscenities and curses. The original meaning of these elements has been studied quite fully, and how deeply they penetrated into the folk culture of laughter and what place swearing, verbal obscenity and demeaning, cynical gestures occupied in it, is fully shown by M.M. Bakhtin.
Performances were shown several times a day in different conditions(at fairs, in front of booths, on city streets, in the suburbs). "Walking" Parsley was the most common use of the doll.
For the mobile folk theater, a light screen, dolls, miniature backstage and a curtain were specially made. Petrushka ran around the stage, his gestures and movements creating the appearance of a living person.
Comic effect episodes were achieved using techniques characteristic of folk laughter culture: fights, beatings, obscenities, the imaginary deafness of a partner, funny movements and gestures, mimicking, funny funerals, etc.
There are conflicting opinions about the reasons for the extraordinary popularity of the theater: topicality, satirical and social orientation, comic character, simple play that is understandable to all segments of the population, the charm of the main character, acting improvisation, freedom of choice of material, the sharp tongue of the puppet.
Parsley is a folk holiday joy.
Parsley is a manifestation of popular optimism, a mockery of the poor at the powerful and rich.
Folklore prose. It is divided into two groups: fairy tale (fairy tale, anecdote) and non-fairy tale (legend, tradition, tale).
TALE - the most famous genre folklore This is a type of folklore prose, distinctive feature which is fiction. Plots, events and characters in fairy tales are fictitious. The modern reader of folklore works also discovers fiction in other genres of oral folk art. Folk storytellers and listeners believed in the truth of tales (the name comes from the word “byl” - “truth”); the word “epic” was invented by folklorists; Popular epics were called “old times.” Russian peasants who told and listened to epics, believing in their truth, believed that the events depicted in them took place a long time ago - in the time of mighty heroes and fire-breathing snakes. They did not believe fairy tales, knowing that they told about something that did not happen, does not happen and cannot be.
It is customary to distinguish four types of fairy tales: magical, everyday (otherwise known as novelistic), cumulative (otherwise known as “chain-like”) and fairy tales about animals.
MAGIC TALES differ from other fairy tales in their complex, detailed plot, which consists of a number of unchanging motifs that necessarily follow each other in a certain order. These are fantastic creatures (for example, Koschey the Immortal or Baba Yaga), and an animated, human-like character denoting winter (Morozko), and wonderful objects (a self-assembled tablecloth, walking boots, a flying carpet, etc.).
Fairy tales preserve the memory of ideas and rituals that existed in ancient times. They reflect ancient relationships between people in a family or clan.
EVERYDAY TALES tell about people, about their family life, about the relationship between the owner and the farmhand, the gentleman and the peasant, the peasant and the priest, the soldier and the priest. A commoner - a farm laborer, a peasant, a soldier returning from service - is always more savvy than a priest or landowner, from whom, thanks to cunning, he takes money, things, and sometimes his wife. Usually, the plots of everyday fairy tales are centered around some unexpected event, an unforeseen turning point that occurs thanks to the hero’s cunning.
Everyday tales are often satirical. They ridicule the greed and stupidity of those in power. They do not talk about wonderful things and travels to the distant kingdom, but talk about things from peasant everyday life. But everyday fairy tales are no more believable than magical ones. Therefore, the description of wild, immoral, terrible actions in everyday fairy tales does not evoke disgust or indignation, but cheerful laughter. After all, this is not life, but a fable.
Everyday fairy tales are a much younger genre than other types of fairy tales. In modern folklore, the heir to this genre was the anecdote (from gr.anekdotos - “unpublished”
CUMULATIVE TALES built on repeated repetition of the same actions or events. In cumulative (from Latin Cumulatio - accumulation) fairy tales, several plot principles are distinguished: accumulation of characters in order to achieve the necessary goal; a heap of actions ending in disaster; a chain of human or animal bodies; escalation of episodes, causing unjustified experiences of the characters.
The accumulation of heroes helping in some important action is obvious in the fairy tale “Turnip”.
Cumulative tales are a very ancient type of fairy tale. They have not been studied enough.
TALES ABOUT ANIMALS preserve the memory of ancient ideas, according to which people descended from ancestors - animals. Animals in these fairy tales behave like people. Cunning and cunning animals deceive others - the gullible and the stupid, and this trickery is never condemned. The plots of fairy tales about animals are reminiscent of mythological stories about heroes - rogues and their tricks.
Non-fairy tale prose is stories and incidents from life that tell about a person’s meeting with characters of Russian demonology - sorcerers, witches, mermaids, etc. This also includes stories about saints, shrines and miracles - about the communication of a person who has accepted the Christian faith with forces of a higher order.
BYLICHKA – folk genre, a story about a miraculous event that supposedly happened in reality - mainly about a meeting with spirits, “evil spirits.”
LEGEND (from Latin legenda “reading”, “readable”) is one of the varieties of non-fairy tale prose folklore. A written legend about some historical events or personalities. Legend is an approximate synonym for the concept of myth; an epic story about what happened in time immemorial; The main characters of the story are usually heroes in the full sense of the word, often gods and other supernatural forces are directly involved in the events. Events in the legend are often exaggerated, and a lot of fiction is added. Therefore, scientists do not consider legends to be completely reliable historical evidence, without denying, however, that most legends are based on real events. In a figurative sense, legends refer to the events of the past, covered in glory and arousing admiration, depicted in fairy tales, stories, etc. As a rule, they contain additional religious or social pathos.
Legends contain memories of ancient events, an explanation of some phenomenon, name or custom.
The words of Odoevsky V.F. sound surprisingly relevant. remarkable Russian, thinker, musician: “We must not forget that from an unnatural life, that is, one where human needs are not satisfied, a painful state occurs... in the same way, idiocy can occur from inaction of thought..., a muscle is paralyzed from an abnormal state of the nerve, - in the same way, a lack of thinking distorts artistic feeling, and the lack of artistic feeling paralyzes thought." In Odoevsky V.F. you can find thoughts about the aesthetic education of children on the basis of folklore, consonant with what we would like to implement in our days in the field of children's education and upbringing: “... in the field of human spiritual activity I will limit myself to the following remark: the soul expresses itself either through body movements, shapes , colors, or through a series of sounds forming singing or playing a musical instrument"