Folklore as a special type of art is a qualitatively unique component of fiction. It integrates the culture of a society of a certain ethnicity on a special level historical development 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 theatre), dance, architecture, fine and decorative arts.
Folklore is creativity for which no material is required and where the means of embodiment artistic design is the man 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 modern world is generally 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. Performance of a folklore work is integrity 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 the 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 determined in the performance of 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 thought of as changeability works of art, their uniqueness during performance or other form 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 contributes to famous work own material, 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” examines 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 of artistic culture that 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, lyric song, ballad, cruel romance, ditty, children's poetic songs (poetic parodies), sadistic rhymes. Folklore prose is again divided into two groups: fairy-tale and non-fairytale. 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 calendar folklore timed to coincide with 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) - ritual songs of an incantatory nature that accompany Slavic rite clicks of 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 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 powers, and also assumed the well-being of the infant 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 the patriarchal nature of family life, its 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 – view 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 a 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 unravel the hidden meaning in words. If a child looks at the world with attentive, watchful eyes, noticing its beauty and wealth, 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 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 introduced a special artistic language and examples of high poetry into the national culture, 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.
There are different connections between folklore and literature. First of all, literature traces its origins to folklore. The main genres of dramaturgy that have developed in Ancient Greece, - tragedies and comedies - go back to religious rituals. 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. Style features folk songs N.A. Nekrasov recreated in his poems about the difficult lot of peasants.
Folklore not only influences literature, but also experiences the opposite effect. Many original poems became folk songs. Most famous example- 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”.
THEATER OF PETRUSHKA – glove puppet show. 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, the distinctive feature of 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 is a folklore 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"
FOLKLORE
(English folklore - folk knowledge, folk wisdom), folk poetry, folk poetry, oral folk art - a set of different types and forms of mass oral arts. creativity of one or several. peoples The term "F." introduced in 1846 archaeologist W. J. Toms, as a scientist. the term is officially adopted by English. folklore society "Folklore Society", main. in 1878. Originally "F." meant both the subject of research and the corresponding science. In modern historiography is a science that studies the theory and history of f. and its interaction with other types of art, called. folkloristics.
The definition of F. cannot be unambiguous for all historians. stages, because its social and aesthetic. functions, content and poetics are directly dependent on the presence or absence in the cultural system of a given people of its other forms and types (handwritten or printed book, professional theater and stage, etc.) and in a variety of ways dissemination of literary arts. works (cinema, radio, television, sound recordings, etc.).
F. arose in the process of the formation of human speech and in ancient times covered all forms of spiritual culture. It is characterized by comprehensive syncretism - functional and ideological. (F. contained the rudiments of artistic creativity, historical knowledge, science, religion, etc.), social (F. served all layers of society), genre (epic, fairy tale, legend, myth, song, etc. not yet differentiated), formal (the word appeared in inextricable unity with the so-called extra-textual elements - intonation, melody, gesture, facial expressions, dance, sometimes figurative art). Subsequently, in the process of social differentiation of society and the development of culture, various types and forms of f. arose, expressing the interests of the department. social strata and classes, folklore genres were formed that had various social and everyday purposes (production, social-organizing, ritual, gaming, aesthetic, cognitive). They were characterized by varying degrees of aesthetic development. beginning, various combinations of text and extra-textual elements, aesthetic. and other functions. In general, F. continued to remain multifunctional and syncretic.
The use of writing to record text distinguished literature from the oral forms of literary arts that preceded it. creativity. From the moment of their inception, writing and literature turned out to be the property of the highest social strata. At the same time, literature at first, as a rule, was not yet a phenomenon. artistic (for example, chronicles and annals, diplomatic and journalistic works, ritual texts, etc.). In this regard, the actual aesthetic. The needs of society as a whole were satisfied for a long time mainly by oral tradition. The development of literature and growing social differentiation led to the fact that already in the late feudal period. F.'s period became predominant. (and among many nations exclusively) the property of the working people. mass, because literary forms creativity remained inaccessible to them. Social differences in the environment that created literary and folklore works led to the emergence of a definition. range of ideas and various arts. tastes. This was accompanied by the development of specific systems of literary (story, novel, poem, poem, etc.) and folklore (epic, fairy tale, song, etc.) genres and their poetics. The transition from oral forms of creation and transmission of art. works that are characterized by the use of natural elements. means of communication (voice - hearing, movement - vision), to fixing and stabilizing the text and reading it meant not only a more advanced way of accumulating and preserving cultural achievements. He was accompanied and determined. losses: a spatial and temporal gap in the moment of creation (reproduction) of art. the work and its perception, the loss of the immediate. contact between its creator (writer) and the perceiver (reader), loss of extra-textual elements, contact empathy and the possibility of making textual and other changes depending on the reaction of the perceivers. The significance of these losses is confirmed by the fact that even in conditions of universal literacy, not only traditional folklore, but also other oral and at the same time synthetic ones continue to exist and re-emerge. forms, and some of them are of a contact nature (theater, stage, readers, performances of writers in front of an audience, performance of poetry with a guitar, etc.).
Characteristic features of f. in the conditions of its coexistence with literature and in opposition to it: orality, collectivity, nationality, variability, combination of words and arts. elements of other arts. Each work arose on the basis of poetics developed by the team, was intended for a certain circle of listeners and acquired its origins. life, if it was accepted by the team. Changes made by the department. performers could be very different - from stylistic. variations until a significant reworking of the plan and, as a rule, did not go beyond the boundaries of the ideology and aesthetics of the definition. environment. Collectiveness creative. process in F. did not mean its impersonality. Talented masters not only created new songs, fairy tales, etc., but also influenced the process of dissemination, improvement or adaptation of traditions. texts to the historically changed needs of the collective. Dialectical the unity of the collective and the individual was contradictory in F., as in literature, but in general the tradition in F. had higher value than in the literature. In social conditions. division of labor on the basis of oral tradition, in parallel with mass and unprofessional performance, which is characteristic of the arts of all nations, unique professions arose associated with the creation and performance of poetic, musical and other works (Ancient Greek rhapsodes and aedas; Roman mimes and French jonglers; later Russian kobzars and chansons. In the early feud. period, performers who served the dominant social strata emerged. A transitional type of singer-poet emerged, closely associated first with chivalry (French troubadours or German minnesingers), later with the burghers (German meistersingers) or the clerical-student environment (French or German vagantes; Polish, Ukrainian and Belarusian . nativity scenes). In some countries and regions, in conditions of slow development, patriarchal-feudalism. way of life, transitional forms of a unique oral literature were formed. Poetic works were created specifically. persons, disseminated orally, there was a desire to stabilize their texts. At the same time, the tradition has preserved the names of the creators (Toktogul in Kyrgyzstan, Kemin and Mollanepes in Turkmenistan, Sayat-Nova in Armenia, Georgia and Azerbaijan, etc.). In Russian F. there was no developed professionalization of singers. We can only talk about the department. names mentioned in writing Ancient Rus'(singer Mitus; possibly Boyan).
Each genre or group of folk genres fulfilled a specific purpose. social and household functions. This led to the formation of the department. F. genres with their characteristic themes, images, poetics, and style. In the ancient period, most peoples had tribal traditions, work and ritual songs, mythological. stories, early forms of fairy tales, spells, incantations. Later, at the turn of the transition from pre-class society to class society, modern societies arose. types of fairy tales (magical, everyday, about animals) and archaic. epic forms. During the formation of the state, heroic epic, then epic. ballad and historical songs content, history legends. Later other classical genres. F. formed non-ritual lyrical. song and romance, later types of folklore. drama and even later - the genres of worker F. - revolutionary. songs, marches, satire. songs, oral stories. The process of emergence, development of department. genres of f., especially the duration of their productive period, the relationship of f. with literature and other types of professional arts. creativity are determined by the characteristics of history. the development of each people and the nature of its contacts with other peoples. Thus, tribal traditions were forgotten among some peoples (for example, among the Eastern Slavs) and formed the basis of history. legends from others (for example, Icelandic sagas from Icelanders). Ritual songs, as a rule, were timed to different periods of the agricultural, pastoral, hunting or fishing calendar, and entered into various relationships with the rituals of the Christian, Muslim, Buddhist and other religions. The degree of connection between the epic and mythological ideas are determined by specific socio-economic. conditions. An example of this kind of connection is the Nart tales of the peoples of the Caucasus, Karelo-Fin. runes, ancient Greek epic Germanic languages left oral existence relatively early. and Western Roman epic. The epic existed for a long time and acquired later forms. Turkic peoples, south and east Slavs
There are different genre versions of African, Australian, Asian and European fairy tales. peoples The ballad among some peoples (for example, the Scots) acquired clear genre differences, while for others (for example, the Russians) it is close to lyrical. or ist. song. The art of every nation is characterized by a unique combination of genres and a specific role of each of them in common system oral creativity, which has always been multi-layered and heterogeneous.
Despite the bright national coloring of folklore texts, many motifs, plots and even images of characters in F. different nations strikingly similar. Such similarities could arise as a result of the development of f. from a common source (common archaic features of f. the Slavs or Finno-Ugric peoples, which go back to the common Proto-Slavic or Proto-Finnish heritage), or as a result of the cultural interaction of peoples (for example, the exchange of fairy tale plots Russians and Karelians), or the independent emergence of similar phenomena (for example, common plots of fairy tales of American Indians and peoples of Central Europe) under the influence of general patterns of development social order, material and spiritual culture.
In the late feudal period. time and during the period of capitalism in the people. lit. began to penetrate the environment more actively than before. works; some forms of lit. creativity acquired mass distribution(romances and songs of literary origin, so-called folk books, Russian “lubok”, German “Bilderbogen”, etc.). This influenced the plot, style, and content of folklore works. People's creativity storytellers acquired certain features of lit. creativity (individualization, psychologism, etc.).
In socialist In society, the availability of education has provided an equal opportunity for the development of talents and professionalization of people, and a variety of modern technologies have become widespread. forms of mass literary arts. culture - amateur lit. creativity (including partly in traditional folklore forms), amateur club performances, folk song creativity. choirs, etc. Some of these forms are creative, others are performing in nature.
Design of folkloristics in independent work. science dates back to the 30-40s. 19th century The formation of folkloristics and the beginning of scientific research. collecting and publishing F. was associated with three main. factors: lit. romanticism, which was one of the forms of expression of the self-awareness of the emerging bourgeoisie. nations (for example, in Germany, France, Italy), national liberation. movement (for example, among the southern and western Slavs) and the spread of social liberation. and educational ideas (for example, in Russia - A. I. Herzen, N. G. Chernyshevsky, N. A. Dobrolyubov; in Poland - A. Mitskevich, etc.). Romantics (German scientists I. G. Herder, L. Arnim and C. Brentano, brothers W. and J. Grimm, etc.; English - T. Percy and J. Macpherson, etc.; Serbian - V. Karadzic and others; Finnish - E. Lönrot and others) saw in F. an expression of nationalism. spirit and national traditions and used folklore works to reconstruct history. facts not reflected in written sources. Emerging within the framework of romanticism, the so-called. mythological school (German scientists A. Kuhn, W. Schwarz, W. Manhardt and others; English - M. Muller, J. W. Cox and others; French - A. Pictet and others; Italian - A . de Gubernatis and others; Russian - F. I. Buslaev, A. N. Afanasyev, etc.), based on the achievements of Indo-European. linguistics, believed F. European. peoples the heritage of the most ancient Proto-Indo-European. myth-making. Romantics in glory. countries saw F. as a general glory. inheritance, preserved to varying degrees by different branches of the Slavs, just like the Germans. Romantics saw modernism in F. German-speaking peoples share the common heritage of the ancient Germans. In the 2nd half. 19th century based on philosophy. positivism, evolutionist schools in folklore studies developed, which is associated with a growing awareness of the unity of the laws of development of folklore and the recurrence of folklore plots and motifs in different ethnic groups. environments So representatives of the so-called. anthropologist schools (E. Tylor, E. Lang and J. Fraser - in England; N. Sumtsov, A. I. Kirpichnikov, A. N. Veselovsky - in Russia, etc.) explained the global recurrence of folklore phenomena by the unity of people. psychology. At the same time, the so-called comparativism (comparative historical method), which explained similar phenomena more or less mechanically. borrowing or “migration of plots” (German - T. Benfey, French - G. Paris, Czech - J. Polivka, Russian - V.V. Stasov, A.N. Pypin, A.N. Veselovsky, etc. .), and the “historical school” (the most vivid expression in Russia - V. F. Miller and his students; K. and M. Chadwick in England, etc.), which sought to connect the history of each people with its history and did great job by comparison of sources documents and folklore stories (especially epic ones). At the same time" historical school"was characterized by a simplified understanding of the mechanism of artistic reflection of reality in F. and (like certain other trends in bourgeois folklore studies of the late 19th - early 20th centuries) the desire to prove that the masses only mechanically perceived and preserved art. values created by the top social strata. In the 20th century Freudianism (which interpreted folklore stories as a subconscious expression of inhibited sexual and other complexes), ritualism, became widespread. theory (linking the origin of verbal art primarily with magical rites; French scientists P. Centiv, J. Dumezil, English - F. Raglan, Dutch - J. de Vries, American - R. Carpenter, etc.) and "Finnish school", establishing historical and geographical. areas of distribution of plots and developing the principles of classification and systematization of F. (K. Kroon, A. Aarne, W. Anderson, etc.).
The origin of the Marxist trend in folklore studies is associated with the names of P. Lafargue, G. V. Plekhanov, A. M. Gorky. In the 20-30s. 20th century The formation of Marxist folklore studies continued in the USSR, after the 2nd World War of 1939-45 it became widespread in socialism. countries (B. M. and Yu. M. Sokolov, M. K. Azadovsky, V. M. Zhirmunsky, V. Ya. Propp, P. G. Bogatyrev, N. P. Andreev, etc. - in the USSR; P Dinekov, C. Romanska, S. Stoykova and others - in Bulgaria; M. Pop and others - in Romania; D. Ortutai and others - in Hungary; , J. Ex, O. Sirovatka, V. Gasparikova and others - in Czechoslovakia; V. Steinitz and others - in the GDR). She considers f., on the one hand, as the oldest form of poetic poetry. creativity, a treasury of arts. people's experience masses, as one of the components of the classic. heritage of the national arts culture of each people and, on the other hand, as the most valuable source. source.
When studying the most ancient eras of human history, philosophy is often (together with archeology) an indispensable source of history. source, especially for studying history. development of ideology and social psychology of people. wt. The complexity of the problem lies in the fact that archaic. folklore works are known, as a rule, only in records of the 18th-20th centuries. or in earlier lit. processing (for example, German "Song of the Nibelungs"), or archaic. elements included in later aesthetics. systems. Therefore, the use of F. for history. reconstructions require great care and, above all, the involvement of comparisons. materials. The features of reflecting reality in various genres F., combining aesthetic, cognitive, ritual and other functions in different ways. Experience in studying genres that were perceived by performers as an expression of history. knowledge (prosaic historical traditions and legends, song historical epic), showed the complexity of the relationship between plots, characters, time, to which their actions are attributed, epic. geography, etc. and authentic history. events, their real chronological, social and geographical. environment. Development of artistic history the thinking of the people did not come from empiricism. and a specific depiction of events to their poeticization and generalization or legendary-fantastic. processing as events are forgotten, but vice versa - from the so-called. mythological epic, which is a fantastic reflection of reality in mythological categories (for example, the successes of mankind in mastering fire, crafts, navigation, etc. are personified in F. in the image of a “cultural hero” of the Promethean type), to heroic. epic and, finally, to history. songs, in which much more specific history is drawn. situations, events and persons, or history. ballads, in which nameless heroes or heroes with fictitious names act in a situation close to real-historical ones.
In the department the same stories of history. legends or epic. songs are reflected largely non-empirically. ist. facts, but typical socialist. collisions, history state of politics and arts. consciousness of the people and folklore traditions previous centuries, through the prism of which history is perceived. reality. At the same time, as in the historical legends, and in historical-epic songs. works often preserved the most valuable historical data. points of view details, names, geographical. names, everyday realities, etc. So, G. Schliemann found the location of Troy, using data from ancient Greek. epic songs "Iliad" and "Odyssey", although he did not accurately determine the location of the "Homeric" layer in the cultural layers of the Trojan excavations. The mechanism of reflection of the source is even more complex. in reality in vernacular fairy tales, lyrical and everyday songs. Songs of a ritual nature, conspiracies, etc., to a greater extent, reflect non-history. reality as such, and the everyday consciousness of the people themselves are facts of the people. everyday life That. F. as a whole did not passively reproduce the empirical. socio-economic facts and political reality or everyday life, but was one of the most important means of expressing people. aspirations. F. is also of great importance for elucidating the history of ethnicity. contacts, the process of formation of ethnographic. groups and historical-ethnographic. regions.
Lit.: Chicherov V.I., K. Marx and F. Engels on folklore. Bibliographical materials, "Soviet folklore", 1936, No. 4-5; Bonch-Bruevich V.D., V.I. Lenin on oral folk art, "Soviet ethnography", 1954, No. 4; Friedlander G.M., K. Marx and F. Engels and questions of literature, 2nd ed., M., 1968 (chapter folklore); Propp V. Ya., Specifics of folklore, in the collection: "Proceedings of the anniversary scientific session of Leningrad State University. Section of Philological Sciences, L., 1946; his, Historical roots of a fairy tale, L., 1946; his, Folklore and reality, "Russian Literature", 1963, No. 3; principles of classification of folklore genres, "Sov. ethnography", 1964, No. 4; his own, Morphology of a fairy tale, 2nd ed., M., 1969; Zhirmunsky V.M., On the issue of folk art, "Uch. zap. Leningr. ped. Institute named after A. I. Herzen", 1948, v. 67; his own, Folk heroic epic, M.-L., 1962; Gusev V. E., Marxism and Russian folklore of the late XIX - early XX centuries, M. -L., 1951; his, Problems of folklore in the history of aesthetics, M.-L., 1963; History of the term and its modern meaning. ethnographic.", 1966, No. 2; his own, Aesthetics of Folklore, L., 1967; Putilov B.N., On the main features of folk poetic creativity, "Uch. zap. Groznensky ped. in-ta. Ser. philological Sciences", v. 7, 1952, No. 4; his, On the historical study of Russian folklore, in the book: Russian folklore, v. 5, M.-L., 1960; Cocchiara J., History of folklore in Europe, transl. from Italian, M., 1960; Virsaladze E. B., The problem of the specificity of folklore in modern bourgeois folklore, in the book: Literary research of the Institute of History, vol. 1955 (summary in Russian); Azadovsky M. K., History of Russian folklore, vol. 1-2, M., 1958-63; Meletinsky E. M., Hero of a fairy tale, M., 1958; same, The origin of the heroic epic. Early forms and archaic monument, M., 1963; Chistov K.V., Folklore and modernity, "Sov. ethnography", 1962, No. 3; his own, Contemporary problems of textual criticism of Russian folklore, M., 1963: his own. On the relationship between folklore studies and ethnography, "Sov. ethnography", 1971, No. 5; his, Specifics of folklore in the light of information theory, "Vopr. philosophy", 1972, No. 6; Folklore and ethnography, L., 1970; Bogatyrev P. G., Questions of the theory of folk art, M., 1971; Zemtsovsky I. I., Folklore as a science, in the collection: Slav. musical folklore, M., 1972; Kagan M.S., Morphology of Art, Leningrad, 1972; Early forms of art, M., 1972; Corso R., Folklore. Storia. Obbietto. Metodo. Bibliographie, Roma, 1923; Gennep A. van, Le folklore, P., 1924; Krohn K., Die folkloristische Arbeitsmethode, Oslo, 1926; Croce V., Poesia popolare e poesia d "arte, Bari, 1929; Brouwer S., Die Volkslied in Deutschland, Frankreich, Belgien und Holland, Groningen-Haag., 1930; Saintyves P., Manuel de folklore, P., 1936 ; Varagnac A., Definition du folklore, P., 1938; Alford V., Introduction to English folklore, L., 1952; Ramos A., Estudos de Folk-Lore. (1951); Weltfish G., The origins of art, Indianapolis-N., 1953; Marinus A., Essais sur la tradition, Brux., 1958; Levi-Strauss S., La pendee sauvage, P., 1962; Bawra S. M., Primitive song, N. Y., 1963; Krappe A. H., The science of folklore, 2 ed., N. Y., 1964; "Volkspoesie", B., 1968; Weber-Kellermann J., Deutsche Volkskunde zwischen Germanistik und Sozialwissenschaften, Stuttg., 1969; , Parva chast, 2nd ed., Sofia, 1972; Ortutay G., Hungarian folklor. Essays, Bdpst, 1972.
Bibliography: Akimova T. M., Seminar on Narratives. poetic creativity, Saratov, 1959; Melts M. Ya., Questions of the theory of folklore (materials for the bibliography), in the book; Russian folklore, vol. 5, M.-L., 1960; his, Modern folklore bibliography, in the book: Russian folklore, vol. 10, M.-L., 1966; Kushnereva Z.I., Folklore of the peoples of the USSR. Bibliographical source in Russian language (1945-1963), M., 1964; Sokolova V.K., Sov. folkloristics for the 50th anniversary of the October Revolution, "Soviet ethnography", 1967, No. 5; Volkskundliche Bibliographie, V.-Lpz., 1919-57; Internationale volkskundliche Bibliographie, Basel-Bonn, 1954-; Coluccio F., Diccionario folklorico argentino, B.-Aires, 1948; Standard dictionary of folklore, mythology and legend, ed. by M. Leach, v. 1-2, N.Y., 1949-50; Erich O., Beitl R., Wörterbuch der deutschen Volkskunde, 2 Aufl., Stutt., 1955; Thompson S., Motif-index of folk-literature, v. 1-6, Bloomington, 1955-58; his, Fifty years of folktale indexing, "Humanoria", N.Y., 1960; Dorson R. M., Current folklore theories, "Current anthropology", 1963, v. 4, No. 1; Aarne A. and Thompson S., The types of folktale. A classification and bibliography, 2 rev., Hels., 1961; Slownik folkloru polskiego, Warsz., 1965.
K. V. Chistov. Leningrad.
Soviet historical encyclopedia. - M.: Soviet Encyclopedia. Ed. E. M. Zhukova. 1973-1982 .
Synonyms:See what “FOLKLORE” is in other dictionaries:
- (in the cultural aspect) in the “broad” sense (all folk traditional peasant spiritual and partly material culture) and “narrow” (oral peasant verbal artistic tradition). Folklore is a collection of... ... Encyclopedia of Cultural Studies
Word " folklore» borrowed from in English and literally translates as a folk song. Folklore is, firstly, a collection of texts of various genres: fairy tales, epics, conspiracies, laments and lamentations, ritual and non-ritual songs, historical songs, urban romance, ditties, anecdotes. Secondly, folklore refers to fine folk art and music, traditional toys, folk costumes. Folklore is everything that is created by the people. At the same time, the people are the collective creator of folklore works. This means that folklore works do not have a specific author. They were created and formalized over a long period of time collectively. As a result, a folklore tradition was developed.
Heroes and symbols of folklore
Tradition- This is a key concept for folklore. All folklore works are called traditional. Tradition is a certain established pattern, developed over a long time, according to which individual folklore works are created.
Tradition is closed. For example, a fairy tale has only six possible characters: the hero (Ivan Tsarevich), the sender (the king, the father), the desired character (the bride), the antagonist (Koschei, the serpent Gorynych), the giver (the character who gives something to the hero) and the helper (usually animals that help the hero). This is where her isolation manifests itself. There can't be any other characters here.
Folklore is a means, a tool for consolidating, preserving and transmitting folk wisdom from generation to generation . This means that the performance of fairy tales, epics, and songs is initially necessary in order to convey traditional cultural information and experience from parents to children. For example, fairy tales convey moral standards that every member of society must meet: the hero of fairy tales is brave, hardworking, honors parents and the elderly, helps the weak, wise, noble. IN heroic epics it says that you need to defend your homeland: the hero-defender is strong, brave, wise, ready to stand up for the Russian land.
Folklore is symbolic. This means that folk wisdom is transmitted in symbolic form. A symbol is a sign, the content of which in folklore is the traditional folklore meaning. For example, a drake, a dove, an eagle, an oak are symbols denoting a good fellow. A dove, a duck, a swan, a birch tree, and a willow tree are symbols that represent the red maiden.
Folklore should not be taken literally. It is necessary to learn to see traditional folklore meanings behind symbols. The gold and silver bridle of a heroic horse does not at all mean that it is made of gold and silver. These metals symbolically denote the folklore meaning of “rich, noble.”
Who studies folklore?
Folklore reflects traditional folk culture. Russian traditional folk culture is a fusion of pagan and folk-Orthodox views on nature and society. In works of folklore, the characters are often animals and forces of nature (wind, sun). This reflects the pagan worldview of the people who spiritualized nature, believed in wonderful creatures, and prayed to them. Along with this, there are Christian characters (Virgin Mary, saints) - these are Orthodox Christian traditions.
Folklore is studied by folklorists. They go on expeditions to record works of oral folk art. After this, the symbolism of these works, their content and structure are examined. Outstanding researchers of folklore are V.Ya. Propp, A. N. Afanasyev, S. Yu. Neklyudov, E. M. Meletinsky, B.T. Putilin.
Folklore(folk-lore) is an international term of English origin, first introduced into science in 1846 by the scientist William Toms. Literally translated, it means “folk wisdom”, “folk knowledge” and denotes various manifestations of folk spiritual culture.
Other terms have also become established in Russian science: folk poetry, folk poetry, folk literature. The name “oral creativity of the people” emphasizes the oral nature of folklore in its difference from written literature. The name “folk poetic creativity” indicates artistry as a sign by which a folklore work is distinguished from beliefs, customs and rituals. This designation puts folklore on a par with other types of folk art and fiction. 1
Folklore is 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, ethnology (ethnography) 2. 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. Thus, the study of folklore was for them a unique area of national studies 3 .
The science that studies folklore is called folkloristics. If literature is understood not only as written artistic creativity, but as verbal art in general, then folklore is a special branch of literature, and folkloristics is thus part of literary criticism.
Folklore is verbal oral creativity. It has the properties of the art of words. In this way he is close to literature. At the same time, he has his own specific features: syncretism, traditionality, anonymity, variability and improvisation.
The prerequisites for the emergence of folklore appeared in the primitive communal system with the beginning of the formation of art. Ancient art words were inherent utility- the desire to practically influence nature and human affairs.
The oldest folklore was in syncretic state(from the Greek word synkretismos - connection). A syncretic state is a state of unity, indivisibility. Art was not yet separated from other types of spiritual activity; it existed in conjunction with other types of spiritual consciousness. Later, the state of syncretism was followed by the separation of artistic creativity, along with other types of social consciousness, into an independent field of spiritual activity.
Folklore works anonymous. Their author is the people. Any of them is created on the basis of tradition. At one time V.G. Belinsky wrote about the specifics of a folklore work: there are no “famous names, because the author of literature is always a people. No one knows who composed his simple and naive songs, in which the internal and external life of a young people or tribe was so artlessly and vividly reflected. And he moves on the song from generation to generation, from generation to generation; and it changes over time: sometimes they shorten it, sometimes they lengthen it, sometimes they remake it, sometimes they combine it with another song, sometimes they compose another song in addition to it - and then poems come out of the songs, of which only the people can call themselves the author." 4
Academician D.S. is certainly right. Likhachev, who noted that there is no author in a folklore work not only because information about him, if he existed, has been lost, but also because he falls out of the very poetics of folklore; it is not needed from the point of view of the structure of the work. In folklore works there may be a performer, a storyteller, a storyteller, but there is no author or writer as an element of the artistic structure itself.
Traditional succession covers large historical periods - entire centuries. According to academician A.A. Potebny, folklore arises “from memorable sources, that is, it is passed down from memory from mouth to mouth as far as memory allows, but it has certainly passed through a significant layer of popular understanding” 5 . Each bearer of folklore creates within the boundaries of generally accepted tradition, relying on predecessors, repeating, changing, and supplementing the text of the work. In literature there is a writer and a reader, and in folklore there is a performer and a listener. "Works of folklore always bear the stamp of time and the environment in which they long time lived, or “existed”. For these reasons, folklore is called mass folk art. It does not have individual authors, although there are many talented performers and creators who are fluent in generally accepted traditional techniques of storytelling and singing. Folklore is directly folk in content - that is, in the thoughts and feelings expressed in it. Folklore is also popular in style - that is, in the form of conveying the content. Folklore is folk in origin, in all the signs and properties of traditional figurative content and traditional stylistic forms." 6 This is the collective nature of folklore. Traditionality- the most important and basic specific property of folklore.
Any folklore work exists in large quantities options. Variant (lat. variantis - changing) - each new performance of a folklore work. Oral works had a mobile variable nature.
A characteristic feature of a folklore work is improvisation. It is directly related to the variability of the text. Improvisation (Italian improvvisazione - unforeseen, suddenly) - the creation of a folklore work or its parts directly in the process of performance. This feature is more characteristic of lamentations and crying. However, improvisation did not contradict tradition and was within certain artistic boundaries.
Taking into account all these signs of a folklore work, we present the most short definition folklore given by V.P. Anikin: “folklore is the traditional artistic creativity of the people. It equally applies to oral, verbal, and other visual arts, both to ancient creativity and to new ones created in modern times and created in our days.” 7
Folklore, like literature, is the art of words. This gives reason to use literary terms: epic, lyric, drama. They are usually called childbirth. Each genus covers a group of works of a certain type. Genre- type of artistic form (fairy tale, song, proverb, etc.). This is a narrower group of works than the genus. Thus, by genus we mean a way of depicting reality, by genre - a type of artistic form. The history of folklore is the history of changes in its genres. They are more stable in folklore compared to literary ones; genre boundaries in literature are wider. New genre forms in folklore do not arise as a result of the creative activity of individuals, as in literature, but must be supported by the entire mass of participants in the collective creative process. Therefore, their change does not occur without the necessary historical grounds. At the same time, genres in folklore are not unchanged. They arise, develop and die, and are replaced by others. So, for example, epics arise in Ancient Rus', develop in the Middle Ages, and in the 19th century they are gradually forgotten and die out. As living conditions change, genres are destroyed and consigned to oblivion. But this does not indicate the decline of folk art. Changes in the genre composition of folklore are a natural consequence of the process of development of artistic collective creativity.
What is the relationship between reality and its reflection in folklore? Folklore combines a direct reflection of life with a conventional one. “Here there is no obligatory reflection of life in the form of life itself; convention is allowed.” 8 It is characterized by associativity, thinking by analogy, and symbolism.
Introduction
Folklore is the main means of folk pedagogy. Folk pedagogy is academic subject and the type of activity of adults in educating 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. Based folklore a huge layer of ethical and pedagogical ideas was created: respect for elders, hard work, tolerance, goodwill, tolerance for other people's opinions.
Tolerance, tolerance, virtue, as traditional Christian virtues, gradually became the distinctive features of Belarusians. Moreover, they coexist with such qualities as personal dignity, focus, and activity.
Folklore with educational content, everyday traditions, holidays, Belarusian classical literature - these are the concepts that have a huge impact on the formation national character. It promotes the creative development of children and youth in the world of epics, fairy tales, and legends. Proverbs and sayings can serve as the basis for moral precepts, helping to develop thinking, logic, and interest in the history and culture of the people.
Thus, folklore is the main source of knowledge about the principles of education that have developed in the culture of different nations, its moral, religious and mythical foundations. The figurative and symbolic nature of artistic creativity, its impact on the emotional and sensory sphere of the individual makes it the most adequate means of unobtrusive and at the same time effective educational influence.
Consideration of this course topic is relevant and interesting at the same time.
The educational potential of folklore is limitless. Today, our society is reviving forgotten 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, and folklore. Scientists note a special growth in the historical and national self-awareness of each people, explaining this by socio-psychological, political reasons.
Preservation and development of national culture, one’s roots is the most important task that requires careful attitude to historical and cultural monuments, to traditional folk art. Revival of folklore, folk customs, rituals and holidays, traditional arts and crafts and fine 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.
Target course work– reveal the significance of folklore in the system of national education.
Coursework objectives:
– characterize the phenomenon of folklore and its educational value;
– characterize the main genres of folklore, based on the educational potential of each;
- show practical use 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: component 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 of professional art have their origins in folk art, folk art.
The most ancient types of verbal art arose in the process of the formation of human speech in the Upper Paleolithic era. Verbal creativity in ancient times was closely connected with human labor activity and reflected religious, mythical, historical ideas, as well as the beginnings of scientific knowledge. Ritual actions through which primitive sought to influence the forces of nature, fate, were accompanied by words: spells, conspiracies were pronounced, various requests or threats were addressed to the forces of nature. The art of words was closely related to other types primitive art– music, dancing, 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, which 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 the ancient period, most peoples had tribal legends, work and ritual songs, mythological stories, and conspiracies. The decisive event that paved the line between mythology and folklore itself was the appearance of fairy tales, the plots of which were perceived as fiction.
In ancient and medieval society, a heroic epic took shape. Legends and songs also arose reflecting religious beliefs(for example, Russian spiritual poems). Later, historical songs appeared, depicting real historical events and heroes, as they remained in people's memory. With changes in the social life of society, new genres arose in Russian folklore: soldiers', coachmen's, barge haulers' songs. The growth of industry and cities gave rise to romances, jokes, worker, school and student folklore.
For thousands of years, folklore was the only form of poetic creativity among all peoples. But with the advent of writing for many centuries, right up to the period of late feudalism, oral poetry was widespread not only among the working people, but also among the upper strata of society: the nobility, the clergy. Having arisen in a certain social environment, a work could become a national property.
1.2 Specific features of folklore
One of the most important specific features of folk oral creativity is collectivity. Each piece of oral folk art not only expresses the thoughts and feelings of specific groups, but is also collectively created and disseminated. However, the collectivity of the creative process in folklore does not mean that individuals did not play any role. Talented masters not only improved or adapted existing texts to new conditions, but sometimes also created songs, ditties, and fairy tales, which, in accordance with the laws of oral folk art, were distributed without the name of the author. With the social division of labor, unique professions arose related to the creation and performance of poetic and musical works(ancient Greek rhapsodes, Russian guslars, Ukrainian kobzars, Kyrgyz akyns, Azerbaijani ashugs, French chansonniers, etc.). Collectivity is not a simple co-authorship, but a special long-term process of improving songs, fairy tales, legends, proverbs and sayings. Collectivity is most clearly manifested in the constant process of selection and polishing of works 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 trait 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 symbolism, constant epithets, metaphors give folk art a specific flavor.
Folklore differs from written literature in its typification features. Literature is characterized by the creation of typical characters in typical settings. A typical character, reflecting the main features of his social environment and his era, is manifested through the individual qualities of the hero, through his individual and unique appearance. The images of oral folk art do not have such individualization.
1.3 Functions and educational potential of folklore
Firstly, folklore helps to deepen knowledge about folk spiritual culture in its past and present. Folklore introduces you to the life, traditions, and customs of your own and the “neighboring people.”
Secondly, with the help of folklore, the assimilation of moral and behavioral cultural norms and values enshrined in the culture of a nation is carried out. Moral and behavioral norms and values are expressed in a system of images. Revealing the characters 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, and fairy tales are filled with high moral and ethical meaning and give characterological assessments of a person from the standpoint 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, the mystery is short description 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, to teach them to analyze objects and phenomena from various areas of the surrounding reality; moreover, the presence large quantity riddles about the same phenomenon made it possible to give a comprehensive description of the subject (phenomenon). But the significance of riddles in mental education is far from being limited to the development of thinking; they also enrich the mind with information about nature and knowledge from various areas of human life. The use of riddles in mental education is valuable because the totality of information about nature and human society is acquired by the child in the process of active mental activity.
Riddles contribute to the development of a child’s memory, imaginative thinking, and speed of mental reactions.
A riddle teaches a child to compare the characteristics of different objects, to find commonality in them, and thereby develops his ability to classify objects and discard their unimportant characteristics. In other words, with the help of a riddle, the foundations of theoretical creative thinking are formed.
A riddle develops a child's observation skills. The more observant a child is, the better and faster he solves riddles. A special place in the process of raising children is occupied by the diagnostic function of the riddle: it allows the teacher, without any special tests or questionnaires, to identify the degree of observation, intelligence, mental development, as well as the child’s level of creative thinking.
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 oriented only towards goodness, toward human happiness.
Songs - more complex shape folk poetry than riddles and proverbs. The main purpose of songs is to instill a love of beauty, to develop aesthetic views and tastes. The song is characterized by a high poeticization of all aspects of folk life, including the education of the younger generation. The pedagogical value of the song is that beautiful singing was taught, and it, in turn, taught beauty and goodness. The song accompanied all events of people's life - work, holidays, games, funerals, etc. The whole life of people passed in song, which best expressed the ethical and aesthetic essence of the individual. A complete song cycle is a person’s life from birth to death. Songs are sung to a baby in a cradle, who has not yet learned to understand, to an old man in a coffin, who has no longer felt and understood. Scientists have proven the beneficial role of gentle song in the mental development of a child in the womb. Lullabies not only put the baby to sleep, but also caress him, soothe him, and bring joy. Some categories of songs are designed for specific age groups, although, of course, most songs cannot be sharply demarcated and distributed by age. Some adult songs are sung by small children with special enthusiasm. Therefore, we can only talk about the predominant performance of certain songs at a given age.
Noteworthy means of educational influence are pestles And nursery rhymes. In them, the growing child occupies the entire attention of the adult. Pestushki got their name from the word to nurture – to nurse, to carry in one’s arms. These are short poetic refrains that accompany the child’s movements during nurturing.
Pestlets make sense only when accompanied by a tactile device - a light bodily touch. A gentle massage, accompanied by a cheerful, simple song with clear pronunciation of poetic lines, puts the child in a cheerful, cheerful mood. Pestushki takes into account all the main aspects of the child’s physical development. As he begins to find his feet, he is told one thing; a child taking his first steps is taught to stand more firmly on his feet and at the same time other pestles speak.
Pestushki gradually turn into nursery rhyme songs that accompany the child’s games with fingers, arms, and legs. These games often also contain pedagogical instruction in hard work, kindness, and friendliness.
Song is a complex form of folk poetry. The main purpose of songs is aesthetic education. But they aim to implement other aspects of personality formation, i.e. are a comprehensive means of influencing the individual.
The songs reveal the external and inner beauty human, the meaning of beauty in life; they are one of the best means of developing aesthetic tastes in the younger generation. Beautiful melodies enhance the aesthetic impact of the poetic words of the songs. The influence of folk songs on peasant youth has always been enormous, and their significance has never been limited to the beauty of verse and melody ( external beauty, beauty of form). The beauty of thoughts and the beauty of content are also among the strengths of 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 best features 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 an effective means of transmitting these traits from generation to generation. Precisely because fairy tales reflect the life of a people, their best features, and cultivate these features in the younger generation, nationality turns out to be one of the most important characteristics of fairy tales.
Many folk tales inspire confidence in the triumph of truth, in the victory of good over evil. As a rule, in all fairy tales, the suffering of the positive hero and his friends is transitory, temporary, and they are usually followed by joy, and this joy is the result of struggle, the result of joint efforts. Optimism Children especially like fairy tales and enhance the educational value of folk pedagogical means.
The fascination of the plot, imagery and fun make fairy tales a very effective pedagogical tool.
Imagery- an important feature of fairy tales, which facilitates their perception by children who are not yet capable of abstract thinking. The hero usually very clearly and clearly shows those main character traits that bring him closer to the national character of the people: courage, hard work, wit, etc. These features are revealed both in events and through various artistic means, such as hyperbolization. Thus, the trait of hard work as a result of hyperbolization reaches the utmost brightness and convexity of the image (in one night build a palace, a bridge from the hero’s house to the king’s palace, in one night sow flax, grow, process, spin, weave, sew and clothe the people, sow wheat , grow, harvest, thresh, thresh, bake and feed people, etc.). The same should be said about such traits as physical strength, courage, boldness, etc.
Imagery is complemented funnyness fairy tales The wise teacher-people took special care to ensure that fairy tales were interesting and entertaining. A folk tale contains not only bright and lively images, but also subtle and cheerful humor. All nations have fairy tales, the special purpose of which is to amuse the listener.
Didacticism is one of the most important features fairy tales Fairy tales from all peoples of the world are always instructive and edifying. It was precisely noting their instructive nature, their didacticism, that A.S. wrote. Pushkin at the end of his “Tale of the Golden Cockerel”:
The fairy tale is a lie, but there is a hint in it!
A lesson to good fellows.
Due to the features noted above, fairy tales of all nations are an effective means of education. Fairy tales are a treasure trove of pedagogical ideas, brilliant examples of folk pedagogical genius.
Folk theater, existing in forms organically related to oral folk art, originated in ancient times: the games that accompanied hunting and agricultural holidays contained elements of transformation. Theatricalization of the action was present in calendar and family rituals (Yuletide dressing up, 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, creative thinking. Comic characters make fun of people's vices, dramatic characters teach empathy. By participating in his simple performances, the child learns to speak correctly and beautifully, give a speech in front of an audience, and overcome shyness.
Folk dance is one of the oldest 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). Folk dance often reflects the military spirit, valor, heroism, and reproduces battle scenes (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 from an early age were involved in work and helping their 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 one's homeland native land- the most important topic in the education of patriotism.
The bird that doesn't like its nest is stupid.
The Motherland is your mother, know how to stand up for her.
Someone else's food has someone else's taste.
Each sandpiper praises its swamp.
Where the pine tree grows, there it is red.
The swan has no use for the steppe, the bustard has no use for the lake.
Even the frog sings in his swamp.
Houses and walls help.
On his street there is a dog - a tiger.
A pile hut, like a native womb.
A special place in the system of aphorisms is occupied by proverbs that teach respect for elders.
Shanuy people, then I will pashanuytsya. (4; 302)
Staroga pavazhay, maloga pavuchay.
Proverbs and sayings in artistic images recorded the experience of life lived in all its diversity and inconsistency.
Solving riddles develops the ability to analyze, generalize, forms the ability to independently draw conclusions, inferences, the ability to clearly identify the most characteristic, expressive features of an object or phenomenon, the ability to vividly and concisely convey images of objects, develops in children a “poetic view of reality.”
Reflecting the picturesque landscapes of the homeland, full of colors, sounds, smells, riddles contribute to the education of aesthetic feelings.
Fluffy carpet
Not fabric with your hands,
Not sewn with silks,
In the sun, in the month
Shines like silver (snow)
Riddles help children understand the world around them and introduce them to the world of things.
Here are examples of riddles about household items.
Two rings, two ends, nails in the middle (scissors)
No legs, but I walk, no mouth, but I’ll tell you when to sleep, when to get up, when to start work (clock)
Riddles focus on the habits of animals; riddles about vegetables and fruits, plants and berries indicate Special attention on appearance features.
Sleeps in winter, stirs hives in summer (bear)
Shaggy, mustachioed, scouring the pantries, looking for sour cream (cat)
I will get a round, ruddy apple from the tree
Low and prickly, sweet and fragrant, if you pick the berries, you will rip off all your hands (gooseberry)
The value of the riddle is that 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, which contains the answer to this question, has educational significance. But fairy tales also contain educational material directly. It should be noted that the educational significance of fairy tales extends, in particular, to individual details of folk customs and traditions and even to everyday trifles.
For example, in the Chuvash fairy tale “He who does not honor the old will not see the good himself,” it is said that the daughter-in-law, not listening to her mother-in-law, decided to cook porridge not from millet, but from millet, and not in water, but only in oil. What came of this? As soon as she opened the lid, millet grains, not boiled, but fried, jumped out and fell into her eyes and blinded her forever. The main thing in the fairy tale, of course, is the moral conclusion: you need to listen to the voice of the old, take into account their everyday experience, otherwise you will be punished. But for children it also contains educational material: they fry in oil, not boil, therefore, it is absurd to cook porridge without water, in only oil. Children are usually not told about this, because no one does this in life, but in the fairy tale children are given instructions that everything has its place, that there should be order in everything.
Here's another example. The fairy tale “A penny for a miser” tells how a smart tailor agreed with a greedy old woman to pay her one penny for every “star” of fat in her soup. When the old woman was putting in the butter, the tailor encouraged her: “Put it in, put it in, old woman, don’t skimp on the butter, because it’s not for nothing that I ask you: for every “star” I’ll pay a penny.” The greedy old woman put more and more oil in order to get a lot of money for it. But all her efforts yielded an income of one kopeck. The moral of this story is simple: don't be greedy. This is the main idea of the fairy tale. But its educational meaning is also great. Why, the child will ask, did the old woman get one big “star”?
In fairy tales, the idea of the unity of teaching and upbringing in folk pedagogy is realized to the maximum extent.
Folk lyrical song differs significantly from other genera and
types of folklore. Its composition is more diverse than 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 it is necessary to use the entire arsenal of folk remedies and educational factors without changes and critical evaluation. It is necessary to take those that work today and correlate with our ideas about humanism and universal human values.
It is in vain to think that oral folk art was only the fruit of popular leisure. It was the dignity and intelligence of the people. It formed and strengthened his moral character, it was his historical memory, the festive clothes of his soul and filled with deep content his entire measured life, flowing according to the customs and rituals associated with his work, nature and the veneration of his fathers and grandfathers.
Folklore plays an important role in raising children. Dividing it into genres allows, at a certain age, a child to enrich his spiritual world, develop patriotism, respect for the past of his people, study of its traditions, and assimilation of moral standards of behavior in society.
Folklore develops oral speech child, affects him spiritual development, to 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
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