Arts and crafts
In the material and spiritual culture of the ancient Slavs, traces of ancient Greek, Scythian, Sarmatian cultures were preserved, which was reflected in beliefs, clothing, jewelry, household and labor items. Continuity in the depiction of the surrounding world, nature, and love for the native land is reflected in in capable hands ancient masters, for whom ordinary objects became works of art. Nature provided man with raw materials and itself served as the main source of inspiration. But, embodying the artistic concept in their works, the masters did not copy the world around us, and filled it with imagination and expressiveness with their creativity. On the territory of Ancient Rus', archaeologists discover iron processing objects dating back to the beginning of the first millennium new era. Gradually, the craft improved and became more complex, which in general began to represent a special phenomenon of fine folklore in artistic and material performance, covering: artistic processing of wood, stone, metal, bone carving, papier-mâché products ( lacquer miniature), products made of clay, fabric, etc.
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In modern applied arts comes to the fore aesthetics, which permeates the unique products: Khokhloma, Palekh, Volga crafts, Ural gems and other centers of artistic crafts that have turned into cottage industry, where true professional craftsmen and amateurs work. They skillfully use modern technical equipment, based on the great demand for artistic crafts, combining modern trends with truly folk, archaic traditions and the specificity of artistic folklore.
Everyday forms of arts and crafts are often examples neo-folklore– compilative art, functioning in modern life according to the laws of mass artistic creativity, which has lost its sacred ancient meaning, but retaining a truly traditional style.
Folklore – component folk spiritual culture, permeating the moral, labor, social, religious, artistic spheres. Historically, folklore contributed to the natural selection of spiritual values, becoming an active means of education, training, and a bearer of historical, national, and emotional memory. And forgetting the best folk traditions and spiritual ideals leads to a crisis in all spheres of public life, devaluation of qualities such as mercy, compassion, and hard work.
At the early stages of social development, folklore was the main form of human consciousness (tales, proverbs, labor requirements...), therefore it is generally accepted to consider folklore as a common form of life creativity. It has always had a specific historical and symbolic purpose: sacred, ritual, aesthetic, pragmatic. Over time, under the influence of social changes, urban, worker, merchant, and artisan folklore emerged, along with peasant folklore, and later amateur and professional creativity. Modern NHT continues historically established traditions in the use of a variety of types, styles, genres of folklore:
In the figurative presentation of stories
In the nature of communication with the public
In search of various means of expression and techniques
In preserving national, original elements
The theory of NH culture identifies the following subtypes of modern folklore:
· Authentic folklore - primary, original folk culture that has retained its relevance, symbolism, locality, characteristic of a certain social group (the original type of Buranovsky grandmothers)
· Neo-folklore - everyday NHT as part of an archaic, but cultivated artistic expression, manifested in mass singing, ditties, musical plays, visual arts, developing according to the laws mass artistic creativity
· Folklorism is an international phenomenon based on the active development of folk artistic traditions, giving them a certain stage transformation with a bias towards commercialization, industry leisure and entertainment with elements of theatricalization of the “Russian village” and pleasures
· Amateur artistic activity as a stable genre-type structure, including, along with folklore, modernized areas of creativity, but, unlike other types of folklore, it is a learning process, including certain knowledge, skills under the guidance of a specialist, which today is actual problem, since the novelty and modernization of artistic culture should not automatically reject the truly popular traditions of folklore
Therefore, modern folk art culture must fully correspond to the basic functions contemporary creativity:
1. Value-oriented – assimilation of national, cultural, original traditions
2. Social and pedagogical – preservation of the centuries-old foundations of coexistence
3. Social and psychological – supporting vitality, strengthening mutual understanding and interpersonal contacts
4. Cultural and creative – promoting cultural and creative search, self-expression, development of artistic taste, performing skills
5. Entertaining and gaming, hedonistic – activating individual qualities, abilities that reveal a person’s potential capabilities
6. Utilitarian-pragmatic function – facilitating the acquisition of necessary knowledge and skills
7. Socializing
(see below)
IN recent years original norms6, life rules, customs associated with traditional medicine, folk cuisine, way of life, morality, attitude towards nature, components common system historical and cultural traditions.
UDC 8G282.2
MODERN CHILDREN'S FOLKLORE: FEATURES OF EXISTENCE
Arkhipova Nina Gennadievna Ph.D. Philol. n.,
Associate Professor of the Department of Russian Language of Amur state university,
Blagovegtsensk
Email: [email protected]
Anastasia Pavlova, 4th year student of the Faculty of Philology, Amur State University, Blagovegtsensk
KEY WORDS: transitional dialects, folklore, children's folklore,
thematic classification, linguistic features.
ABSTRACT: The article examines the thematic and linguistic features of children's folklore as a special type folk culture, which plays a vital role in the formation and development of the individual, the development of the spiritual values of previous generations, which ensures the continuity and preservation of the spiritual image of the people
Children's folklore- a special type of folk culture that plays a vital role in the formation and development of personality, the development of the spiritual values of previous generations, which ensures the continuity and preservation of the spiritual image of the people. Children's folklore offers the child verbal and poetic means developed over time, necessary for expressing in artistic form a special, childish vision a world generated by age-related mental characteristics. These features and the resulting forms of interaction with the outside world, with peers and adults change extremely significantly as the child develops from birth to adolescence. That is why the area of folk art associated with the world of childhood is so rich and unique.
The life of every child is unusually intense. With her interests and needs, she is connected with the equally multifaceted life of her peers and adults. According to the special purpose in the lives of children who have left infancy, genre cycles within children's folklore proper are determined: children's folk calendar, children's play folklore, children's satire, everyday and legal sentences, “terrible and mysterious”; children's humorous folklore, children's riddles. Each of these cycles and the genres included in it uniquely builds the communication of children among themselves, the communication of different children's generations with each other, and ensures the continuity of cultural life stereotypes.
Despite significant social, cultural and historical changes in the history of the people and the life of modern society, the real and artistic world of childhood is characterized by some general patterns and qualities that are specific specifically to children's culture as a phenomenon different from the culture of adults and at the same time connected with it by strong bonds. This ensures continuity in the culture of the people, on the one hand; on the other hand, it brings new colors to it. Thus, children's folklore is a living, dynamic phenomenon.
Preschoolers and schoolchildren need special forms of relationships accepted in the children's group in play, in self-affirmation among comrades, older children and adults, in regulating emotions, desires, and impulses. All these emotional, ethical, aesthetic, social needs, like many centuries ago, in our time give rise to ever-living forms of children's culture - modern children's folklore. It may differ significantly from the forms of traditional children's oral poetic creativity, but its main, basic laws are still stable, universal, inevitable, just as the path from childhood to adulthood is stable and inevitable for every person. Children's culture helps to follow this path, identify its main stages in the inner world of the individual, provide external ways of consolidating the experience of children's life activities, and build a bridge.
between a person and society, between people, native language, traditional forms of life, values of folk culture.
The work presents texts from both traditional and mainly modern children's folklore (post-folklore). Since the 6070s. In the 20th century, post-folklore texts function more actively in the speech practice of children than traditional folklore texts. Based on the little development of the term “children’s post-folklore” in scientific literature, we offer our interpretation based on observations of practical material.
Children's post-folklore is stable texts created by children on a traditional folk, literary or non-equivalent basis.
Thus, we exclude from children's post-folklore all works that are the work of adults intended for children, and consider only genres and texts created by children and passed on from one child generation to another
The time of appearance of modern children's folklore is mainly the second half of the 20th century - beginning of XXI centuries, although the texts themselves are chronologically heterogeneous. Some of them have been passed down from generation to generation since the beginning of the 20th century, undergoing structural and semantic transformations (“Related bunny for a walk...", "A hedgehog came out of the fog...", "They were sitting on the golden porch"). Many rhymes are represented by numerous options. In particular, characters can be modernized in them. For example, the hedgehog from the rhyme “A hedgehog came out...” transforms into a German, and then into the young pop star Decl. Other texts appeared relatively recently (“There are cars in the garage”).
It is important to note that we include as children’s post-folklore any works of traditional folklore that have been modified by children and are stable in functioning, or transformed author’s literary texts.
The presented corpus of texts was collected in February - March 2004 from students in grades 1-10 of Secondary Secondary School. Upper Poltavka, Konstantinovsky district, Secondary Secondary School No. 11, Blagoveshchensk; in July 2004 in the villages of Zheltoyarovo and Zagan of the Svobodnensky district, Krasnoyarovo and Beloyarovo of the Mazanovsky district of the Amur region. There are rare facts of recording children's folklore from older people. The material was collected through a survey in the conditions of a folklore-dialectological expedition of employees of the laboratory of regional linguistics and students of the Faculty of Philology (recordings were made on audio media and subsequently transcribed).
In the collected material, the following genres of children's folklore can be distinguished: counting rhymes (the most numerous genre), poems (including altered literary works and sacred poems), ditties, chants, little songs, games, songs, teasers, "jokes", tricks, sayings, "invocation".
The field notes are much more extensive than those included in the almanac. For ethical reasons, this did not include poems, some ditties and songs containing invective (expletive) language. The full corpus of texts can be found in the laboratory of regional linguistics of the Department of Russian Philology of Amur State University. Rough and reduced vocabulary is presented according to the initial and final letters (in some cases letter combinations) of words. Variant lexemes, phrases and sentences are presented in brackets with an * (asterisk) directly in the text.
COUNTERS
The most important place in Russian folk culture was and is occupied by children's gaming folklore: gaming preludes (counting tables, drawing lots) and games different types(including verbal, sports, with choruses and sentences).
Game activity has several levels of organization. Sentence barkers gather children to participate in the game and invite them to play. Counting tables and draws distribute playing roles among the players. These are game preludes. Next comes the game itself with strictly defined rules.
As the works of G.S. Vinogradov show. and V.P. Anikin, the origin of the counting rhyme is connected with a type of ancient allegorical speech - with a secret counting. In ancient times, there was a ban on the direct counting of game caught by hunting, on the direct quantitative determination of the offspring of domestic animals and birds. But since it was necessary to know this, our ancestors invented a form of indirect recalculation, in which counting units were replaced by equivalents. These were quantitative and ordinal numbers that were sometimes changed beyond recognition. Some of them are reflected in modern counting rhymes: azi - one, dvazi - two, trizi - three, easy - four, heels - five, latam - six, shuma - seven, rum - eight, oak - nine, cross - ten (cross-shaped notch , denoting ten). Or: first - first-born, first-born; the second - friends, other people, etc.
One of the important artistic features of the counting rhyme is abstruseness and nonsense. Zaum represents words that were considered magical in the early stages of society. It could also arise as a result of listening to a foreign language text - educational or ritual, rhythmic for better memorization.
Unrecognized “adult” words can also turn into gibberish.
Another group of zaumi are the so-called paired words (aty-baty, chiki-brik, and so on), which transform a prosaic text into a poetic work, creating the impression of a harmonious rhyme.
G.S. Vinogradov divides counting material into three groups:
1) counters - numbers containing counting words or their abstruse equivalents;
2) abstruse counting rhymes, which consist entirely or partially of abstruse words;
3) replacement counting rhymes, in which there are no abstruse or counting words. These counting rhymes often end with an exit. Exit is a constructive final element of the overall composition, specific to the genre of counting rhymes. Its function is to definitely and accurately indicate the selected participant in the game.
While collecting texts of children's post-folklore, we came across the rhymes of all
the above types. So, for example, number counters:
One, two, three, four, five - The bunny went out for a walk,
And the hunter wants to shoot.
One, two, three, four - They taught me (the “cat”) to read and write:
The next group is abstruse rhymes:
Eni - beni, ricky - faki,
Turba - urba, synthbrucks,
Deuts, deuts, bam!
Atka-batka kochkatame,
Abl-fabl drumene,
And finally, replacement rhymes:
Tomorrow a blue - blue - blue whale will fly from the sky.
If you believe, stand and wait,
If you don't believe me, come out.
A hedgehog (German) came out of the fog,
He took the knife out of his pocket,
I will cut, I will beat,
Themes, images, plots also come from professional literature. For example, the well-known rhyme “One, two, three, four, five, the bunny went out for a walk...” belongs to a teacher, a teacher of literature, to the poet XIX V. F.B.Miller [cit. according to 2, p.46]. The original six lines that served as the caption to the picture were very popular with children, and now this rhyme has many versions containing the incredible adventures of the bunny.
For example:
One, two, three, four, five - the bunny went out for a walk,
Suddenly the hunter runs out and shoots straight at the bunny.
Bang-bang, oh-oh-oh, my little bunny is dying.
They took him to the hospital - he stole a mitten there,
They took him to the buffet - he stole a hundred grams of sweets,
They took him to the garage - he stole a pencil there,
They took him home - he turned out to be alive.
Counting rhymes are also characterized by an emphasized clear rhythm, sonorous rhyme, objectivity of the image, richness in verbs that carry dynamism in the sphere of events, and a variety of emotional shades in motives, images, and situations.
Developing, varying, changing form and content, the game is still alive. Now the repertoire of children's play folklore has changed significantly. This form of gaming prelude, such as drawing lots, has practically disappeared. But they still retained their importance in the gaming routine of preschool and younger children school age counting rhymes, although the active repertoire that each child performer owns is usually small: 10-20 texts. By the beginning of the 19th century. It can be stated that the counting repertoire as a whole is impoverished. This is likely due to changes in the nature of games and the way hosts are selected.
it is a genre of counting rhymes, sometimes repeating the same text ad infinitum
or performing new ones. The most popular counting rhyme of the last decade
is a modified version of the old text “On the Golden Porch
sat..." IN modern version of this work appear
Disney cartoon characters. Penetration of new images into
traditional genres and texts are also typical for other varieties
children's folklore, actively absorbing everything new,
corresponding to the interests of the modern child. So, during the period of appearance
the first television series in the very different genres children's folklore appear
“slave Isaura”, “just Maria”, heroes of “Santa Barbara”. Nose
With the increase in the number of television series, their influence on the mass public is lost.
consciousness and images gradually disappear from children's folklore. There's more in this
one feature of the recent oral children's repertoire.
All characters in the counting rhymes are people or anthropomorphic creatures.
Animals, unreal characters behave like people - they dance, swim,
knead flour, etc. They have not only physical, but also moral,
ethical, mental, speech and other characteristics.
The themes of the counting rhymes are varied. This could be a description of the usual
pastimes - characters sit, walk, jump, play and
perform other ordinary actions. However, in one counting room it may
fit in a whole story about the drama of life (“On a dark night, mosquitoes
bite..." or a story about the distant future ("Dyuba"),
Among the collected material there are rhymes that can
used for drawing lots and at the same time are games with clapping.
Each line of such counters corresponds to certain types claps -
straight, cross, etc.
Bom - bom - bom,
The album opens.
On Sunday, on Sunday
Twenty-fifth
The Germans jumped from the balcony,
From the second floor.
The first one jumped unsuccessfully
The second one broke his head
The third one jumped on the girl and kissed her,
But the girl couldn’t stand it,
Hit him with a poker,
She ran away and made a wish.
They can also be accompanied by various gestures corresponding to the words (for example, a cookie is shown with the word “never mind” / see counting rhyme No. 55/).
1. On the golden porch sat the Tsar, the prince, the king, the prince,
Shoemaker, tailor.
Who will you be? Speak quickly
(One, two, three - speak!)
2. On the golden porch sat the Tsar, the prince, the king, the prince,
Shoemaker, tailor, policeman, policeman.
Who will you be? Speak quickly
Don't detain good and honest people.
3. On the golden porch sat the Gummi Bears, Tom and Jerry,
Scrooge McDuck and the Three Ducklings (*Uncle Scrooge and the Three Ducklings),
Come out, you will be Ponca.
4. On the golden porch sat the Gammi Bears, Tom and Jerry,
Scrooge McDuck and the three ducklings
Come out, you will be Ponca.
(*Ponka got up and walked away,
It turned out e-run - yes!)
5. They sat on the golden porch,
We watched "Santa Barbara"
If Gina doesn't come,
Then Sisi will kill her.
6. Chiki - briki, throw out your finger.
7. Vadya-nevadya-vadya...
Everyone makes fists with their thumbs up, counting from below. Whose hand is on top is the one who leads.
8. The cuckoo walked past the forest,
And behind her are two dummies.
Cookies - poppies, cookies - poppies,
Remove one fist.
(* Cookies - poppies, cookies - poppies,
Come out, one fist.
*Kuk - poppy, kuk - poppy,
Remove one fist.
*Kuku-ma, kuku-ma,
Remove one fist.
*Chikuma, chikuma,
Remove one fist).
9. The cuckoo walked past the cage,
And behind her are evil children.
Kuku-ma, kuku-ma,
Remove one fist.
10. The cuckoo walked past the garden,
I pecked all the seedlings.
Kuku-ma, kuku-ma,
Remove one fist.
11. The cuckoo walked past the oak tree,
And behind her are two butuzs,
Kuku-ma, kuku-ma,
Remove one fist
12. A cuckoo walked past the forest for some interest,
Inte, inte, interest,
Exit on the letter S.
13. The squirrel jumped, jumped,
And I didn’t get on the branch,
And I ended up in a cat's house,
Get out of the circle!
14. The squirrel jumped, jumped,
And I didn’t get on the branch,
And it got into the cat's mouth,
Come out quickly, freak.
15. The counting begins:
On the oak tree there is a starling and a jackdaw,
The starling flew home
And the countdown ends.
16. A hedgehog (*German) came out of the fog,
He took the knife out of his pocket,
I will cut, I will beat,
You still have to drive (*naked).
17. Decl came out of the fog,
He took the pager out of his pocket,
The pager beeped and died,
Get out of the circle, you sucker!
(*The pager beeped, Decl died;
Because Decl is a sucker).
18. Decl came out of the fog,
He took the pager out of his pocket,
Decl made a sound, ate all the fleas,
That's why I died.
(*That's why he died).
19. The bees flew into the field,
They buzzed, they buzzed,
If the bees are on the flowers,
We play - you drive!
20. Cockerel - cockerel, show me your comb.
The comb is burning with fire, how many feathers are on it, One, two, three, four, five - it’s impossible to count!
21. Two bears were sitting on a thin branch,
One was reading the newspaper, the other was kneading flour.
One peek-a-boo, two peek-a-boo - they both fell into the flour. (*Tail in flour, nose in flour, ear in sour milk).
22. A crocodile walked, smoked a pipe,
The receiver fell and wrote: “Shishel-myshel, p...ul, out.” (*“Chiki-briki, throw out your finger”),
23. Mouse - mouse, long tail, Don't hide deep.
The cat invites you to visit
Drink fresh milk.
The mouse in the hole squeaked:
“Let him look for the eccentric!
I took out a crumb of lard - I’ll do without milk.”
Why are you hiding, little coward? Get out of your hole,
Let's play cat and mouse:
The mouse is you, and the cat is he!
24. Eniki - beniks ate dumplings, Eniki - beniks, kroez (*dumpling; *bread), The sailor came out.
(*The pot-bellied sailor came out).
25. Eniki - beniks ate dumplings Enik fell, benik disappeared.
26. Aty - baty, the soldiers were walking,
Aty-baht, to the market,
What did you buy?
Aty - baht, samovar.
Aty - baht, how much does it cost?
Aty - baht, three rubles,
Who's coming out?
Aty - baty, you and me.
(*Aty - baht, how much is it?
Aty - baht, not a penny).
(*Aty - baht, who’s coming out?
Aty-baty, it's me).
27. The cowardly little hare runs across the field,
Ran into the garden
I found cabbage
I found a carrot
Sits, gnawing,
The owner is coming.
28. A goat walked along the bridge and wagged its tail. I got caught on the railing and landed straight in the river... Who doesn’t believe it? It's him! Get out of the circle! (*Whoever doesn’t believe it, let him check it!)
29. One, two, three, four - Let's count the holes in the cheese,
If the cheese has a lot of holes,
So it will be delicious cheese,
If there is one hole in the cheese,
So it was delicious yesterday.
30. Behind the glass doors there is a bear with pies.
Hello, my friend Bear,
How much does a pie cost?
(*- A pie costs three,
And you will be the one to drive.
(*A pie costs five,
And you should drive again).
31. The baby squirrels came to the meadow,
Bear cubs, badgers.
Come to the green meadow, my friend!
35. One, two, three, four, five - The bunny went out for a walk,
And the hunter wants to shoot.
Bang bang, didn't hit - The gray bunny galloped away.
36. One, two, three, four, five - The bunny went out for a walk,
Suddenly the hunter runs out,
He shoots straight at the bunny.
Bang-bang (*bang-bang), oh - oh - oh,
My little bunny is dying.
37. One, two, three, four, five - The bunny went out for a walk.
Suddenly the hunter runs out,
He shoots straight at the bunny.
Pik - groin, oh - oh - oh,
My little bunny rolled.
They took him to the hospital
He stole a mitten there,
They took him home
He turned out to be alive.
38. One, two, three, four, five - The bunny went out for a walk,
Suddenly the hunter runs out,
He shoots straight at the bunny.
Bang bang, oh - oh - oh,
My little bunny is dying.
They took him to the hospital
He stole a mitten there,
They took him to the buffet,
He stole a hundred grams of sweets
They took him to the garage,
He stole a pencil there
They took him home
He turned out to be alive.
39. One, two, three, four, five - The bunny went out for a walk,
Suddenly the hunter runs out,
He shoots straight at the bunny.
Bang bang, oh - oh - oh,
My little bunny is dying.
They took him to the hospital
He stole a mitten there,
They took him to the buffet,
He stole a hundred sweets there (*They took him to the buffet,
He stole a hundred grams (*bag) of sweets), They took him home,
Head straight into the stove
And from the stove to the pot,
The result was a pie.
40. One, two, three, four, five - The bunny went out for a walk,
Suddenly the fox runs out,
The hare takes aim, shoots - Bang-bang, oh - oh - oh,
The fox won't come home.
41. A man was driving along the road, he broke a wheel on the road, how many nails?
Speak quickly
Don't overthink it.
42. Come on, jump ropes, faster, Let's run out more fun.
Count your jumps, If you get caught, fly out!
43. I will go into the dense forest, I will find a gray hare,
I'll bring it home
This bunny will be mine.
44. Among the white doves, a nimble sparrow gallops. Sparrow - bird,
Gray shirt.
Respond, sparrow, fly out, don’t be shy.
45. Tomorrow a blue - blue - blue whale will fly from the sky. If you believe, stand and wait,
If you don't believe me, come out.
46. Tili-bom, tili-bom,
The bunny hit a pine tree with his forehead. I feel sorry for the bunny
The bunny wears a cone. Hurry up and run into the forest, give the bunny a compress.
47. Inte, inte, interest - Come out with the letter “C”.
48. A car was driving dark forest For some interest,
Inte, inte, interest,
Come out, you idiot. (*Exit with the letter “S”),
49. The car was walking through a dark forest
For some interest.
Inte, inte, interest,
Exit on the letter "S".
The letter "C" didn't fit
Exit on the letter "A".
50. The car was driving through a dark forest for some kind of interest,
Inte, inte, interest - Come out with the letter “C”.
We don't need the letter "C"
But we need the letter “A”.
And on the letter there is a star - Trains pass there.
If the train doesn't pass,
The passenger will go crazy.
So the train didn't pass,
The passenger went crazy.
51. The car was driving through a dark forest for some kind of interest.
I will cut, I will beat - You still have to drive.
52. Three knives flew from the second floor:
Red, blue, blue - Choose any one for yourself.
53. One, two, three, four Multiply by four,
Divide, divide by four,
That makes four.
54. On a dark night, mosquitoes bite,
The king and queen say goodbye on a bench.
The Tsar went abroad, and the Tsarina went to Leningrad. The Tsar bought himself wheat, and the Tsarina bought grapes. There were a lot of grapes, but not a lot of wheat.
The king was a little offended, and the queen: ha-ha-ha - Laughed until the morning and hanged the king.
The king hung, hung, hung and flew away into the trash heap,
And Boris, the chairman, lived in the trash heap dead rats And his wife, Larisa, is a wonderful rat,
(*And his wife Bandyura is a wonderful fool),
And their son Ivan is a wonderful idiot.
55. (*The twenty-fifth of April is the king’s birthday). The Germans jumped from the balcony, from the second floor.
And the girl ran away and made a wish.
(*And the fourth showed his cucumber at the end)
56. The Germans jumped from the balcony, from the second floor.
But the girl couldn’t stand it, she hit him with a poker,
The German couldn’t stand it either, he hit her with a poker,
And the girl ran away and made (*two) wishes.
57. Bom - bom - bom, the album opens.
On Sunday, Sunday the twenty-fifth, the Germans jumped from the balcony, from the second floor.
The first jumped unsuccessfully, the second broke his head, the third jumped on the girl and kissed her,
But the girl couldn’t stand it, she hit him with a poker, ran away and made a wish.
This is a counting rhyme and a game.
58. Zubi-zubi-a!
Minky-hot-ka!
Zambi-pi-hot-ka!
Don't be afraid of me, I'll kill you
And in a year there will be a little son.
The Germans jumped from the balcony, from the second floor.
The first jumped unsuccessfully, the second broke his head, the third jumped on the girl and kissed her.
58. A star fell from the sky right on Detzel’s nose,
All the lads then found out that Detzel had diarrhea.
59. One, two, three, four - they taught me (*cat) to read and write: Don’t read, don’t write, just jump on the floor.
60. One, two, three, four - they taught me (*cat) to read and write: And read, and write, and count by cells.
61.One, two, three, four, five - he taught the cat to play. And write, and count, even play with dolls.
62. Duba, duba, duba, duba,
Duba is a rabid people,
Duba cries and laughs,
Duba sings songs,
Duba - grandfather - one, two, three,
Duba - woman - one, two, three.
What does she want? One, two, three.
Marmalade, chocolate - That's what the old woman needs.
We played dominoes
The number turned out to be zero....
63. Duba - duba - duba - duba.
Duba - doni - doni - a.
And Charlie Bouba, and Charlie Bouba,
And Charlie Bouba. A-a-a.
And doni me, and charlie be, and mi, freeze.
You are my Marusya, don’t be afraid of me,
I won't touch you, don't worry.
In a year, in two you will be my wife,
And in another year there will be a little son,
And next night there will be a little daughter.
Dear Marusya, don’t be afraid of me - I’ll stab you, don’t worry,
And the next night I will kill your daughter.
This is a counting rhyme and a game.
64. Teeth, teeth, teeth, teeth.
The teeth are treated by a doctor.
And I'm afraid. Don't be afraid.
And I will die. Don't worry.
A locust sat in the grass and sang a song: cha-cha-cha.
This is a counting rhyme and a game.
65. Teeth, teeth, teeth, teeth,
The teeth are treated by a doctor.
And I'm afraid - one, two, three.
Don't be afraid - one, two, three.
And I will die - one, two, three.
Don't worry:
In a year, in two, you will be my wife,
And in another year there will be a little son,
And in another five years you will be my neighbor,
And in another 100 years there will be a small skeleton!
At the last words, all players must cross their arms over their chests; the last one to cross them leads.
66. Black hands go around the dial,
Fast wheels, like arrows, knock,
There are sixty seconds in every minute,
The wheels roll and sing a song:
Alyo - Alyo - Alyonushka, Iva - Iva - Ivanushka,
Iri - Iri - Irinushka, Marie - Marie - Marinushka,
Moscow, Moscow, Moscow - river.
Hello - hello, bye - bye.
This is a counting rhyme and a game.
67. Legs, legs, ran along the path,
Through a meadow, a forest, and jumped over hummocks.
They ran to the meadow and lost their shoe.
68. If a siskin flies towards a swift, you go out, I drive.
If a swift flies towards a siskin, you lead, I go out.
69. The crow was cooking porridge: she gave it to him,
She gave it to this one, but she didn’t give it to this one.
70. Once upon a time, were I or you,
An argument arose between us.
Who started it is forgotten
And we are still not friends.
Maybe this time the game will be able to reconcile us.
71. Hedgehog-hedgehog is an eccentric,
I sewed a scratchy jacket.
We have to choose a driver.
72. The devils swam in the lake and didn’t get caught on the roof,
And we got caught in a cat's house,
Get out of the circle.
73. The devils swam in the lake,
The devils were pushing...
The devil pushed the little devil and the little devil drowned.
(❖The devil is lying at the bottom, not breathing,
It’s just shaking my ass).
74. Do, re, mi, fa, sol, la, si.
The cat is taking a taxi.
And the kittens latched on and took a free ride.
(*She wanted to go for a ride, so she sat down.)
75. I’ll go buy a pipe, I’ll go outside.
Louder, pipe, pipe, we're playing, you drive.
76. An apple rolled through the garden and fell straight into the water. Gurgle!
77. An apple rolled through the garden and fell straight into the water. Boom, water, boom, water - a red star came out.
And behind the red star came a golden month,
And behind the month - the moon, a red star came out.
Bool, water, boom, water, you drive, I play.
78. An apple rolled through the garden and fell straight into the water. Boom, water, boom, water - a red star came out.
And behind the red star came a young month,
And behind the month is the moon, the devil hanged the sorcerer.
79. The Greek rode across the river,
He sees a river: there is a crayfish in the river.
Gryok put his hand in the river - Cancer by Gryok's hand - tsag!
80. Oleg’s cart got stuck in the mud,
Oleg should sit until the snow falls.
You will leave the circle and help your friend,
You will deliver Oleg's cart to his overnight stay.
81. One, two, three, four, five - the cat learns to count: Little by little, little by little he adds a mouse to the cat, The answer is: there is a cat, but there are no mice.
82. One, two, three, four, five - together we will count. Slowly, little by little, we add a cat to the mouse. The answer is: there is a cat, but there are no mice.
83. A hare ran through the swamp (*hare ran through the swamp),
He was looking for a job
He didn't find a job
He cried and left.
84. Rock, paper, scissors - Tsu, e, fa.
This is a counting rhyme and a game.
85. Kameno, mangano - tsu, e, fa.
This is a counting rhyme and a game.
86. One, two, three - the fire is lit.
Kocherezhka, get out!
87. One, two, three, four, five,
Six, seven, eight, nine, ten - The king wanted to hang me,
But the queen did not give it and hanged the king.
The king hung, hung, hung, and flew underground,
And in the underground lived diarrhea, he had a green nose.
88. There are cars in the garage - “Volga”, “Chaika” and “Nissan”,
Choose the car yourself!
89. There are cars in the garage - Volgas, Chaikas, Muscovites.
Which one do you get the keys from?
90. A glass of water and you go out.
91. To build a new house,
We stock oak planks,
Bricks, iron, paint,
Nails, tow and putty,
And then, and then we start building a house.
100. - White hare, where did he run?
The forest is dense.
What was he doing there?
Lyko tore.
Where did you put it?
Under the deck.
Who stole?
Get out!
101. Eni - beni, ricky - faki,
Urba - turba, siki - trinkets,
Au - deu - krasnodeu, bam!
102. Eni - beni, ricky - faki,
Turba - urba, synthbrucks,
Deuts, deuts, bam!
103. Atka-batka kochkatame,
Abl-fabl drumene,
Pike - drike - dramatic, fly!
104. Monkey Chi-chi-chi Sold (*stole) bricks,
Didn't have time to sell
105. Monkey Chi-chi-chi sold bricks,
Didn't have time to sell
Fell (*flew away) under the bed.
There's a hole under the bed
The bottle has grown
And in the bottle - New Year,
He dances and sings
(*There is a hippopotamus dancing there;
Come out quickly, degrod).
106. Monkey Chi-chi-chi sold bricks,
She pulled the rope and accidentally kicked.
(*And the workers came:
“Ugh, the bricks stink!”)
107. Ding-dong, ding-dong, the mouse’s house caught fire, the mouse ran out, its eyes bulging,
The cat runs with a bucket to water the mouse’s house. The mouse grabbed it and put it in the bucket.
108. - Hare-hare, what are you doing?
I chew the stalk.
What are you happy about?
That teeth don't hurt.
109. The goat was sitting on a chair,
I counted my goats:
One, two, three - you will be a goat.
110. The old man was sitting on a bench,
Counted my pins.
One, two, three -
You, pin, come out!
111. The turtle tucked its tail and ran after the hare,
Turned out to be ahead.
If you don't believe it, come out.
112. Hare-hare, what time is it?
I'm in a hurry for my birthday.
My watch is standing - They don’t say anything.
113. A suitcase floated on the sea,
There was a sofa in the suitcase,
There is an elephant hidden in the suitcase.
If you don't believe it, get out.
114. A tangerine duck named Irinka was rolling.
I didn’t study my lessons and got a bad grade,
And when I went for a walk I got the number “five”
And when I went to the hospital,
I received one.
115. An orange rolled through the city of Berlin,
I didn’t study my lessons and got a bad grade.
And when I went for a walk.
Got the number five
And when I went to the hospital,
Got one
The unit is not mine
E - di - ni - tsa ko - ro - la.
116. Once upon a time there lived a rat
Named Anfisa.
They sent her beautiful shoes in a basket,
Both shoes and sandals - They gave her a lot.
117. Pih - groin, oh - oh - oh,
My year is flying by.
In a year, in two, you will be my wife.
118. Grandma Ezhka - bone leg
I fell from the stove, broke my leg,
And then he says:
My leg hurts.
119. Grandfather threw a cannonball, hit grandma in the nose,
The grandmother was a sneak and called the sentry.
The sentry said: “So, remove one fist.”
DITTS
Ditty - traditional genre folklore, which also exists in the modern children's community. Children know and actively use adult ditties (including those containing invective vocabulary).
There are also children's ditties themselves - an age-appropriate variety of the adult lyrical genre. It is characterized by a specific theme: school, local (with the use of toponyms). They humorously show the relationships between adults and children, boys and girls. Let us note that many traditional love ditties have passed into the children's environment (“Don’t look at me...”). Children's ditties are predominantly humorous - they contain a lot of irony, self-irony, humor, and joy. Edification and direct moralization are practically absent.
SCHOOL DITS
1. I found a broom in the kitchen and swept the apartment.
And all that was left of him were three straws.
2. Olya tormented the comb,
I was doing my hair in class.
Tormented and tormented
But it turned out to be a stuffed animal.
3. Once Katya asked Lenya:
What are you doing in class, Lenya?
He thought a little and answered: “I’m waiting for the call.”
4. We decided to joke and not teach lessons.
After this joke
There are only ducks in the diaries.
5. Although the grades are not very good,
But our Anton is famous,
Because, by the way,
He screams the loudest among us.
6. Vasya painted a picture.
He is an artist - no doubt about it.
But why did he color us?
In red, yellow, blue?
7. Mom asked us strictly:
Who broke the tape recorder?
I didn’t deny it for long and admitted: “It’s him.”
8. One day last year I was cleaning a frying pan,
And then for four days Mom cleaned me.
9. Tanka looks like a fool
But not out of habit.
Dad just dragged it out
Her pigtails are tight.
10. Igorek found a job - Slap his tongue on the ass,
If you can't find paper,
Then they call him to the toilet.
11. Our Lena, out of melancholy, swallowed three boards,
And after three weeks
The boxes were flying out of the woodwork.
12. In store number five there was a performance:
The sausage danced
The cookies were jumping.
13. There is a glass on the table,
And in the glass there is a cockroach,
Mom thought - raspberries,
I took half a bite
Dad thought it was a cucumber
I bit off the other end.
DITTS FOR ADULTS PERFORMED BY CHILDREN
14. Eh, Semyonovna,
I swam in the river,
Big fish to her
Got caught in my panties.
15. I gave him a handkerchief and said: take care,
And he, the damn infection, wipes his boots.
16. There is a glass on the table,
And in the glass there is a lily.
Why are you looking at me, Crocodile Face?
17. There is a glass on the table,
And in the glass there is a cockroach,
I grab him by the mustache
And he grabbed my panties.
18. Grandma saw off grandfather and cried for grandfather,
And my grandfather had moonshine dripping from his pants.
19. I boiled milk, went far away,
I approached him again - There was no milk in sight.
20. Badger, badger I hung it... on a branch.
The girls thought - raspberries, took half a bite.
21. We went hunting and caught a sparrow.
We ate meat for three weeks
And they sold out of everything.
22. Vasya Reznikov arrived, surprised all the authorities: He ate a rotten can of stew and went around in circles.
23.Don't look at me
You'll break your eyes,
I'm not from your village,
You don't know me.
24. I danced with three legs, I lost my boots, I looked back - My boots are standing.
2 5. I loved a rich man, I thought he was rich. I come to his house
And he is poor there.
26. Oh, girls, trouble,
In our alley, my husband's wife sold him for four rolls.
27. I am a fighting boy, I will remain a fighting boy.
Oh, and it will be difficult for the one who gets me.
2 8. I loved a pilot, I thought he flies,
I arrive at the airport
And he's sweeping there.
29. I fell in love with a tractor driver, I thought he was plowing, I came to his field,
And he's waving his panties.
30. - Oh, my mother-in-law,
Let me have a hangover, Your daughter isn’t moving at all.
Eh, dear son-in-law,
Somehow I can’t believe it.
Under a good man And the log moves.
31. The girls swam in the lake, they found Chupa Chups, they sucked it all day, they didn’t even go to school.
32.The Chinese were driving,
I lost... ah,
The girls thought: raspberries,
We took half a bite.
CHANTS
Shouting is an urban genre common in children's health camps. IN rural areas this genre is few in number. Schoolchildren have only recently begun to appear here. summer camps, and teachers work there as counselors. The purpose of the chant is to organize a children's team for joint activities. Chants are usually performed when moving in formation to the dining room, on sporting events, they are especially popular among fan teams during various competitions.
1. We are driving a tank,
We see a cow
In a hat with earflaps,
With a healthy horn.
Hello cow,
How are you doing?
Do you speak English?
What are you calling me names?
Bald hedgehog on the coal
With a red ball in his hand.
We are, in general, the sixth detachment,
A big hello from us to everyone.
2. Fifth “B” is a champion,
But today he’s fine.
3. Fifth “B” champion - Head on concrete.
4. Fifth "B" with the ball,
Like a cow with a brick.
5. Fifth “B” champion in concrete diving.
6. Fifth "A" champion,
Only he wins
CALLS
Calls are short rhyming sentences associated with the folk calendar. They gave children a poetic form of communication with the natural world - with birds, sun, rain. By origin, chants are associated with the magic of the word, which was supposed to influence the forces of nature.
Over time, ancient ideas lost their practical value. In children's everyday life, chants have been preserved in a transformed form; they correspond well to the worldview of children, who tend to spiritualize nature. For example, in one of the chants there is an appeal to objects of inanimate nature - an airplane.
Nowadays the number of nicknames used by children is small. From appeals to natural phenomena only reference to rain was recorded.
1. Plane, plane, take me on a flight,
And there is a cucumber in the cabbage, and whoever listened - well done,
This is where the fairy tale ends.
2. Plane, plane, take me on a flight,
And in flight it’s empty, cabbage has grown,
And there’s a worm in the cabbage, it’s caught on a hook.
(*And there’s a worm in the cabbage, Vanya the Fool came out).
3. Rain, pour, pour, pour,
To make it more fun.
(*Rain, rain, more,
The grass will be thicker).
Play is a traditional form of children's pastime. This section presents word games and drawn riddles that have become popular among children since the mid-20th century. Magic games -
evocations (“Pannochka”, “Brownie”, “Devil”, etc.) occupy a special place in modern children's folklore. For the first time, “invocations” became the object of research in the works of A.L. Toporkov. This genre includes different shapes oral folk art: games, spells, songs, etc. The purpose of magically playful evocations of characters from children's myth-making (the Queen of Spades, gnomes, the foul-mouthed Devil) is to experience a collective feeling of fear and defeat it. Most of the characters evoked are heroes of books, cartoons, and films that go back to folk demonology or are generated by the imagination of children. The evocations expressed the children's craving for a fairy tale, for a miracle, which provides rich opportunities for the realization of children's imagination.
The purpose of the “summoning” ritual is in the very fact of the appearance supernatural being or discovering the consequences of its arrival. Participants are attracted by the penetration of the miraculous into everyday life, and the fear of possible danger is overcome.
The ritual-play element in evocations almost replaced the verbal side. This genre is synthetic: it involves object attributes (mirror, candy, map, pencils, etc.), actions, performance conditions (in the dark) and a short, standard verbal formula.
Games with choruses originating from the folklore of adults have practically disappeared from the children's gaming repertoire. IN modern folklore the preponderance falls on games in which the word serves as a sign, a command, in case of complete loss artistic function. These are mainly sports games. But games with extensive game dialogue are still popular - “Gardener”, “Paints”. The word plays a service role, far from an artistic function, in such word games as “Broken Phone” and “Cities”, “Names”. But for today's children, play is just as important as it was for their peers in the past.
The texts of the games are a verbatim recording of children's speech.
GAMES - SILENT GAMES
The game of silence usually begins with the words “fish ("fish") - crucian carp,
the game has begun”, and ends - “the fish (*fish) is a shark, the game has drowned.”
1. The Tatars were driving, they lost a cat,
The cat died, the tail came off,
Whoever utters (*a word) will eat (*it).
2. The Tatars were driving, they lost a cat,
The cat died, the tail came off,
Whoever speaks will eat,
And whoever laughs will drink cat's blood.
3. Who was born as a black man, respond!
Possible answer:
What, are you looking for relatives?
4. The sun came out from behind a cloud,
All the worms gathered in groups.
The main worm said:
Who was born as a black man, respond!
The words “Who...” are not necessary, you can just shut up. The first one to say something is called a “worm.”
5. Who sucked the hippopotamus
All four machine guns? Answer me!
"FUCK, NOT ME"
This game consists of shouting the phrase “mind you, not me” after the host’s words. Whoever shouted last lost.
6. Which one of us is the black parrot? C'mon, not me!
7. There is a bus on the mountain, and there is a snake on the bus. C'mon, not me!
8. Who was born with a mustache? C'mon, not me!
GAME WITH CLAPS
9. Clap one by one for each word; if the player who got the last word managed to slap the second player's hand, he won.
A crow in blue trousers was flying, reading a newspaper number...
(any number): one, two, three,...
“OAK, WALNUT OR BATH?”
10. The game starts unexpectedly. At any moment, someone grabs anyone by the back of the neck and squeezes, saying: “Oak, nut or bast?” The one who is being pressed says any of these words.
Oak - knock out the right tooth.
Nut - who are you pinning your sin on?
Bastard - start over.
"ROCK, PAPER, SCISSORS"
11. Two or three play together. The players stand in a circle, the leader says: “Rock, paper, scissors, tsu, e, fa (one, two, three).” At the end of his words, the players extend their hand forward: a fist is a stone, an open palm is paper, the index and middle fingers are scissors. The winner is determined as follows: the paper wraps the stone, the stone dulls the scissors, the scissors cut the paper. Sometimes a well is added - fingers connected into a ring. Play several times. This is how the driver can be determined.
GAMES - CHALLENGES “PANNOCHKA”
12. The one who is to become a lady lies down on his back, closes his eyes and crosses his arms over his chest, like a dead man. One of the players says the spell, the rest repeat the last word. You cannot laugh or smile while pronouncing. If a lady smiles, then she is not a lady.
Our lady died, died, died;
Let's take her soul beyond the black mountains, mountains, mountains;
Let's throw her off the black mountain, mountain, mountain;
Let's bury it under the black oak, oak, oak.
Pannochka, do you see the red spot?
The player nods if he is a lady and begins to catch up with the other players. Pannochka strangles whoever she catches up with, and to remove the “spell” from her, you need to give three slaps.
There is another version of the spell.
Our little lady is dead, dead, dead. Let's bury her holy, holy, holy,
Let's take her soul beyond the black mountains, mountains, mountains,
Rivers, rivers, rivers, seas, seas, seas,
Let's give her a red ("black") cross, cross, cross.
Pannochka, if you are here, show your teeth, if you are not, smile.
13. Any person lies down on a bench or even on the ground. And, twisting their temples like a massage, the players say:
Our lady died - merla - merla - merla,
Let's give it to the gods - am - am,
Let the devils - devils - devils bury her,
To be devoured by the wolves - am - am.
They say this three times. Then they say three times:
“Panna, if you are with us, raise your hands!”
And she gets up. And if she’s not a lady, then nothing will happen, she won’t wake up.
What's happening to her?
They say that she finds herself in another world and is looking for books: the first book is “Pannochka’s Dark Records”, the second is “The Book of Life” and the third is “Silver Book”.
Does she bring these books with her?
She, she will find a book and read. She will find a book, read it, and then, when she wakes up, she will tell it. It basically tells who should not be bewitched, who can, and who should not be bewitched at all. You can also find out how old someone is, who will die at what time. Fairy tales, in short!
For a person to wake up... either the lady will scare him and he will wake up on his own, or a hit on the head.
14. Our lady died, lady, lady,
Let's take her to the black mountain, mountain, mountain,
Let it rise in the skies, skies, skies,
She will close her eyes, eyes, eyes
And her soul, soul, soul will leave.
You repeat this three times. The man lies down with his hands on his chest. He closes his eyes and then, when he already comes to these feelings, he gets up and starts strangling him or something like that.
How can I get him out of this state?
You need to hit him in the heart or just knock him down and hold him by the shoulders.
What is this entertainment?
For us it's entertainment, but for others, I don't know.
And what does the lady say then about what the lady sees there? Nothing. She's just suffocating. She has the intention of killing people.
"PUSHKIN"
15. Put a handkerchief, three cones, a feather, and draw a house and a clearing on the mirror. Put it all on a handkerchief; You also need to put three white stones and cover yourself with something dark and say: “Pushkin, Pushkin, come, write a letter.” Repeat three times. And his head becomes visible on the mirror. It needs to be dark - dark.
"MATERSHINNIK"
16. Take some candy and write on a piece of paper how many swear words you know. Everything is put under the pillow and they say three times: “Swearer, come.” And you order time, and he will swear at you. He will call you by name and swear. And the time is ordered. For example, all night, and he will swear at you all night and write all the words to you with paint.
On the ceiling, on the walls, on the floor. But you can't look anywhere. No one has called yet.
"GNOME-MARSHINIK"
17. You need to take a long thread, tie twelve knots and tie it tightly to something and call: “Gnome - swear word, come,” three times, and name as many people as possible, and say as many swear words. Only in the dark.
18. You need to take a long thread, or twelve pieces of small bread, or hang up twelve sweets and say: “The foul-mouthed gnome, come.” Repeat three times. Say how many people, so many swear words. For example, “The foul-mouthed gnome, come, come, come. There are six of us here,” or however many there are. If anything there either shakes or breaks, then it’s as if he has arrived. But no one heard him swear.
19. Take a thread and attach plasticine at certain intervals. There are six of them. And you say three times: “Damn foul-mouthed man, come.” And he will walk, stumble and swear. This must be done in the dark. And to get him to leave, you say: “Damn foul-mouthed man, go away,” three times. He won’t swear, which means he left.
"VANKA-MARSHINIK"
20. Two chairs are placed, approximately one and a half meters apart. A regular sewing thread is tied. Tied to the backs. And there are many, many knots on this thread. You put candy on one side. I love it. And you say three times: “Vanka the swearer, come out.”
So he comes out. And goes to the candy. This must be done in the dark. And such a small luminous point, approximately five centimeters in diameter. They call after twelve. It comes out and when he trips over a knot, he’s checkmate. If you trip over a knot, the mat will bend. Until the candy comes. For him to leave, you need to turn on the light, and he will leave. If you laugh, he may pinch or bite.
"CHEWING KING"
21. You need to take a blanket so that it is dark, take glass, put a ladle of water on it and put chewing gum. Saying: “Chewing King, come.” Put in one piece of gum, it will come out and there will be a lot of gum. We have already done this and it worked.
"QUEEN OF SPACE"
22. Take a mirror, draw ladders (steps) and say: “Queen of Spades, come” three times. If the steps wear off, well, the stains remain, she goes. Well, if she does this... You don’t want to, then you need to erase the stairs in front there. She'll be back. This is the most terrible fortune telling. She can choke.
23. You still need to put a glass of blood. Next to the mirror. They don’t put a mirror, but put it like this, against the wall, draw ladders, and put a glass of blood. And the words are the same: “Queen of Spades, come.” And repeat three times.
"BOX"
24. Three spoons are placed on the floor and wrapped in paper. Any blank piece of paper. Two are placed vertically, and one is placed horizontally. Two like that
and one is across. Large, tablespoons. They say three times: “Brownie, brownie, come out!” And they will shake. Or there he will start running around the house, stomping, knocking things over.
25. This needs to be done together. Take three pencils and connect the ends together, forming a square, and say: “Brownie, come” three times. And if he comes, the pencils go up. You ask him questions. If he doesn't answer, they go down. And if he doesn’t know, then move away. You put the pencils away and he leaves. This is called anywhere.
26. You need to take a piece of paper and draw two circles, one inside, smaller. IN big circle you need to write numbers up to thirty-two, and in small - letters.
Why up to thirty-two?
It is believed that he is never more than thirty-two. This is the version. Then take a needle and thread, wrap it around your finger and place it in the center of a small circle. And you ask: “Brownie, what’s your name?”
But first you ask: “Brownie, are you here?” And he points to D and A - it turns out “Yes”. Then: how old are you and so on. He answers everything. We tried, and we succeed, it's true.
It is not necessary to call at night, you can call in the evening.
27. The brownie can be called like this. In a dark place, for example, we called in the shower - the shower is very dark - you put a mirror, light a candle, put a chair and, for example, you need two people to stand behind the door.
And you sit down at this chair, close the hook and start saying: “Brownie, come. Look at me, come to me." And you sit down, and when you look in the mirror and say these words, something scary appears on your face. Sometimes there is even a different reflection. Then you need to immediately open the door and run out. And if you couldn’t open the door, then
you will remain so. If the mirror breaks, the person may get sick or something bad might happen.
28. You can also do this. You can take a leaf and ask: “Brownie, how many years do I have left to live?” - and so hold the pen weakly and weakly. And he will write. He writes sixty, which means there are sixty years left. So my grandmother tried to tell fortunes.
"DAMN"
29. Put down a piece of landscape paper. In the dark you close everything glass. Place a needle on a red thread in the center of the leaf. And on a piece of paper you draw such a spectrum... You draw a circle, and in it there is another circle. And in the resulting mug there is a rim. You put all the letters on it, and in the small one you put numbers from zero to nine.
And now you can talk to him. Here is a red thread, and you place it like this so that the needle bends a little. And in one corner of the piece of paper you write “Yes”, and in the other - “No”. And you say: “Damn, are you with us?” The needle will start spinning and will indicate “Yes” if it has arrived.
You can call on any day, in the dark and covering everything made of glass: mirrors, dishes, but it would be better in a separate room. You can say: “How old am I?” - and the needle will show. If you do it at night, you light a candle. But during the day it doesn’t work.
30. Heat the needle on the candle. Draw a little devil, stick this needle into his heart or navel and hold him by the thread and ask: “Spirit of Alexander Sergeevich Pushkin, have you come?”, or someone else’s spirit, or devil.
And the needle spins, and he answers: yes or no. You also need to write “yes”, “no”, the alphabet and numbers on the sheet.
You need to say hello, and when you want him to leave, you say “thank you” and say goodbye.
"SWEET TOOTH"
31. Take any candy, only in a wrapper. You go to some dark place. Dark, dark. And this... You repeat three times: “Sweet tooth, come!” - and you leave for an hour or two. And then you enter this room. And either there is no candy there, or it is lying on the floor. This means he came.
"BETROTHED"
32. You put a mirror and a candle next to it and say: “Mummer, come!” You repeat several times, and as the candle burns, you will see either eyes or a face and guess who your betrothed-mummer is. This must be done any day after twelve at night.
GUESSING THE NUMBER AND GENDER OF CHILDREN
33. Take a needle and thread. Right palm - thumb is set aside, the rest close. To prevent the thread from spinning, it is lowered three times between the thumb and all other fingers. Then onto the palm. If the needle begins to move in one plane from side to side, then it is a boy. And if she spins, then it’s a girl. And how many children she will determine when you do it, do it. As soon as the children run out, it will become so, it will not move above the palm.
“DOLL, BALLETTIRE, CHOOSE....”
34. They play with buttons on clothes. They are counted and for each button they say: “Doll, ballet dancer, imagined, gossip.” Whichever word ends with buttons, that’s you.
"GRANDMA HEDGEHOG"
35. A presenter is selected. Everyone runs away from him and screams/
Grandma Hedgehog, bone leg,
I galloped across the field, looking for grandfathers,
She lost her leg - she was looking for us.
The one who is caught up becomes Grandma Hedgehog.
36. Stand on one leg in a circle. Here's a poem they tell you:
Grandma Hedgehog, bone leg,
I fell from the stove, broke my leg,
She ran into the garden, scared all the people,
She ran into the flock, scared the bunny,
And then he says: “My leg hurts.”
And this... you jump on one leg, catching up with everyone. The last one caught up becomes Grandma Ezhka. If your leg is tired, you can change it.
GAMES ON THE RIVER
37. When they dive, they say:
The woman was sowing peas and said to her grandfather “Oh!”
Basically, the genre of lyrical songs is represented by well-known author's texts rewritten by children. Children's songs have undergone “modernization” (“ solar circle", "A grasshopper was sitting in the grass", "A Christmas tree was born in the forest", "Smile", etc.), songs from Soviet films ("Somewhere in the White World..."), modern pop songs ("My Bunny "). There are also actual children's works - “Chikibubisha”, “It’s Quiet at the Ivanovo Cemetery...”, “The Shepherd Came to Watering.” According to informants, some songs have an established authorship, for example, “Little Mary.”
1. Let there always be vodka,
Sausage and herring,
Cucumbers, tomatoes,
We are such gluttons.
2. Circle of the sun, Germans around,
This is a drawing of a fascist.
He drew on a piece of paper
And signed in the corner:
“Let there always be vodka,
Sausage and herring,
Cucumbers, tomatoes,
Ham and cabbage - It's very, very tasty."
3. Military circle, Germans around,
Hitler went on reconnaissance
He fell into a hole, broke his leg, and said goodbye:
“Let there always be vodka,
Sausage and herring,
Cigarettes in my pocket and my wife in my suitcase.”
4. Somewhere in this world, where it’s always hot, Children and teachers sleep in class,
But Olya can’t sleep, she writes notes to Kolya:
"I love you".
Olya was an athlete, she climbed mountains,
Kolya was an athlete, he climbed on his heels.
Olya flies into the ditch, Kolya flies after her,
Olya is in the hospital, Kolya is lying on top of her.
Olya shouts: “I’m giving birth!”, Kolya shouts: “Who?!”, Olya shouts: “Sheep!”, Kolya shouts: “Wow!”.
5. Julia ran along the grass,
Artyom ran after her.
Julia took off her swimming trunks,
Artyom was lying on top of her.
Julia shouts: “Oh, it hurts!”
Artem shouts: “Be patient!”
Julia shouts: “I’m giving birth!”
Artem shouts: “Who?!”
Julia shouts: “Giraffe!”
Artem shouts: “Wow!!!”
6. A Christmas tree was born in the forest,
And who gave birth to her?
Maria Lopez is a fool and Victor is a crocodile.
7. A Christmas tree was born in the forest,
Zigzag saved her
And Uncle Scrooge was counting the money under the Christmas tree,
And Billy, Willie, Dilly shared the drugs,
And the Magic of Hypnosis Pearl... was under everyone's nose.
8. The bottle will make everyone brighter,
And she will return to you more than once.
And then for sure we will get drunk on cognac and the grasshopper will run to hand over the bottles. He will stumble, fall,
He will break all the bottles and get a green slap on the back of his head.
9. A hippopotamus kicked because of a smile,
The monkey choked on a banana, the dark forest stands there like an idiot,
And he counts his money from his pocket.
And then we'll probably get drunk on cognac,
And the grasshopper will run to hand over the bottles. A river begins with a blue stream, Well, friendship begins with a bottle.
10. A hippopotamus kicked because of a smile,
The monkey choked on a banana.
And then for sure
Suddenly the clouds get drunk and the grasshopper runs to hand over the bottles. Suddenly he stumbles and falls,
He'll hit himself on the left side and get the green back of his head.
11. One, two, three, four - Kuzi stood together in a row, One, two, three, four - Kuzi wanted to drink and eat. One, two, three, four - Valera will lead them,
One, two, three, four - wonderful people.
Across the field, across the field, where the berries are like honey.
Through the forest, through the forest, where porcini mushroom growing.
Through the meadow, through the meadow where the grass is green,
And where the water from the stream is cool and tasty,
And where the water from the stream is cool and tasty.
12. It’s quiet at the Ivanovo cemetery,
Where are the dead people in little white slippers going for a walk today?
You come, my dear,
You, come, my friend,
Come to your grave
Let's rot together.
You come, you come,
Come, nightingale.
On the fence, with its legs dangling, a corpse sits and looks into the distance with glassy eyes,
And a passerby looked at it and fell,
Well, the corpse was not confused and said:
You come, my dear,
You, come, my friend,
Come to your grave
Let's rot together.
You come, you come,
Come, nightingale.
We should dismantle the house board by board,
The two of us should take a walk.
You come, my dear,
You, come, my friend,
Come to your grave
Let's rot together.
You come, you come,
Come, nightingale.
15.The skeleton was sitting on the fence,
The skeleton stared at passers-by.
One passer-by slipped and fell
And the corpse told him:
"Come, my dear, Come to my house,
Come to the grave
We'll rot together.
I’ll give you a sweet bone and a shard - smack-smack.”
16. Sleep, my joy, sleep, Tomorrow you will wake up covered in blood, You will find your teeth on the floor,
Feet are on the ceiling.
17. Mom sewed me pants from birch bark,
So that your butt doesn't sweat,
No mosquito bites.
Here the trousers made of birch bark are torn,
Immediately my butt started to sweat and I was bitten by mosquitoes.
18. New home We built a hedgehog according to the drawing.
House with a tall chimney
With a pointed blue roof. It turned out to be a nice house, There is a door and windows in it, A round table stands in the corner, A soft rug on the floor.
The hedgehog lay down on the carpet,
Got up with a sore throat at dawn,
The back does not bend - At night it blows from the window.
The hedgehog avoids the house with the tall chimney,
Hedgehog protects health,
He lives in an old felt boot.
19. Little Mary
In the distance a white house could be seen, a white, white house.
The alley bloomed around him,
And open window Shalula - Lula
Little Mary was sitting.
Mary's long braid,
Shalula - Lula.
Mary's long eyelashes,
Mary has brown eyes
She's a wonderful girl.
One fine evening,
Shalula-lula,
She fell in love with Arthur.
He is a sign of agreement in love,
Shalula - Lula,
He gave her a bouquet of lilacs.
Don't wait, don't wait, he won't come,
Shalula - Lula,
He fell in love already another,
He leads her down the aisle,
Shalula - Lula,
He says he loves him and kisses him.
The next morning all the people found out
Shalula - Lula,
That little Mary was poisoned,
Arthur found out about this too.
Shalula - Lula,
Arthur's conscience awakened.
He ran towards her without hind legs,
Shalula - Lula,
Fell to his knees at the coffin,
He kissed the cold forehead
Shalula - Lula,
And he said, “Wake up, little Mary.”
could be seen in the distance black house,
Black, black house
Nettles bloomed around him,
And at the closed window,
Shalula - Lula,
Two graves were visible.
20. We will dismantle the school brick by brick,
(* Piece by piece, piece by piece, we’ll dismantle the school)
We will hang the teacher (*we will hang), and we will beat the head teacher (*we will kill).
We'll flush the director down the toilet on a string,
And let an excellent diver save him.
(*Let's cut this thread and it will be super cool!)
(*And let’s lower our Englishwoman into the toilet and let an English diver save her)
21. Chunga-changa, there are three nails in the school,
Chunga-chang, you can’t get it out,
Chunga-changa, there's dynamite at school,
Chunga-changa, he's already smoking,
Chunga-changa, five minutes have passed,
Chunga-changa, the school was destroyed.
(More often, instead of the word “school” the word “f... a” is used)
22. I sit in class and don’t look at the board.
I sit and sit, and tomorrow I’ll get a bad grade.
And the teacher at the blackboard says something quietly,
But I just sit and don’t look at the board.
23. The shepherd came to the watering place - Drink water, wash his underpants. Wow!
The cow kicked... slightly -
She killed thirty-three bulls and shepherds. Wow!
The shepherd flew like an airplane and shot down a German helicopter. Wow!
A microbe runs across the field,
A cyclops is chasing him.
Wow! What impudence!
24. The cows went to the watering place - Drink water, pee... in the bushes.
The cow kicked lightly - Killed thirty-three bulls.
Wow! Wow!
A cyclops is running along the wall,
A microbe is chasing him:
Give me back your panties, they're not your size!
Yes, take them for yourself!
25. My school, I'm your boy,
My pen, I am your finger.
My class at school
I'm at school too
They teach us here, and I am pleased.
I sleep well at night,
Because I love school.
TEASERS AND EXCUSES
Teasers are short rhymed songs and poems in the form of a person’s expanded nickname, satirically ridiculing his shortcomings, imaginary and real, or simply distinctive properties. The habit of giving nicknames was passed down to children from adults, but children are not characterized by rancor, and therefore, after a series of name-calling, excuses and excuses follow. The reason for the offensive words is forgotten, but the image and rhyme are stored in memory and then reproduced in relation to other people.
Some teasers expose the real shortcomings of children: sneaking, dishonesty, uncleanliness, talkativeness, etc.
Yabeda - koryabeda, pickled cucumber,
There are teases with which a child is attacked “not for his cause,” but for physical disabilities, gender, nationality, and they make fun of his first and last name.
Teasing is performed in the form of a verbal “competition” or constant repetition of the same text with the aim of offending one person.
The simplest teaser model: name + rhyming word (Natasha is a bug, Irka is a hole). Important artistic features of the teaser are rhyme, iambic and trochaic meters, a characteristic poetic device is punning interpretation of names (Petka - rooster), epithets-nicknames, hyperboles, repetitions. The "defensive" means is
an excuse (term by M.V. Osorina), which “not only destroys the harmful effect of offensive words on a person, but also turns them against the offender himself.” Excuses are small, usually poetic texts, the function of which is to painlessly avoid a sticky situation that has arisen in the game. Excuses are also used as a means of defense against teasing, ridicule, and “gags.”
TEASERS
1. Butuz has two watermelons, Butuzikha has one.
Butuz walks around the bazaar, and Butuzikha follows him.
2. Andrew the Sparrow, don’t chase the pigeons,
Don't bite the sand, don't dull your toes,
A sock will come in handy for pecking a spikelet.
3. Andrey is a sparrow, don’t chase the pigeons,
Pigeons are afraid and do not sit on the roof.
4. Greedy beef.
5. Greedy beef, pickled cucumber,
Lying on the floor, no one is eating you.
6. The coward is a Belarusian, he rode a horse,
He tore off his arms and legs and was left without panties.
7. Pick-up pig (*repeat),
There's a toy on your nose and a drum on your belly,
Drawn (*drawn there) boar,
And the boar is moving,
Soon Olya (any name) will get married.
8. Red-red, freckled,
Killed my grandfather with a shovel
But I didn’t hit my grandfather,
And I loved my grandfather.
9. Thunder rumbles, the earth shakes, this (name) is rushing to the toilet.
10. Among the roses there is one manure.
11. Among the women there is one foreman
About a boy who is alone among girls
12. There is one pig among the girls.
About a boy who is alone among girls
13. Vanka-Vanka - simplicity,
I bought a horse without a tail,
Sat backwards
And I went to the garden.
14. Yabeda - koryabeda, pickled cucumber,
It's lying on the floor, no one eats it.
The fly flew up, smelled it and ate it.
The cockroach came, crushed it and left.
15. Egor - tomato.
16. Irka is a hole.
17. Irishka is a drinker.
18. Lenka - foam.
19. Masha - Cheburashka.
20. Masha is porridge.
21. Alenka - diaper.
22. Lelya - flat.
23. Yulka is a goat.
24. Yulka is a whistle.
25. Ulka - bullet.
26. Alyoshka is a ladle.
27. Antottka - potato.
28. Hedgehog - fuck a knife.
29. Svetka is a sweetie.
30. Natasha - birdie, green turd.
31. Natasha is a gang.
32. Deniska - toffee.
33. Vovka - carrot, red head.
34. Natasha is a drunk.
35. Natasha is a bug.
36. Lenka - foam, sausage,
There's a wasp on a string.
And the wasp bites
Lenka smiles.
EXCUSES
1. The pharmacy ("school") is closed,
I have the key
Who calls you names - At yourself.
2. I don’t play mean in the Amur region.
3. From the gate to the gate everything goes the other way around.
4. If you speak to me, you translate to yourself.
5. And I’ll put up a ladder and rearrange all the letters.
6. Shark fish - game drowned.
7. Fish-whale - the game will fly.
8. Why lie - talk with your tongue.
9. The first word is more valuable than the second.
10. The first word was eaten by a cow.
Answer: Cows don’t eat words.
11.-I’ll tell my mother everything.
And I'll show you my finger.
But the finger won’t help - It will put you to sleep.
But I don't want to sleep
I'll fly away on a rocket.
And there's a crocodile in the rocket - He grabbed you by the sides.
And I will jump out onto my native street.
12. Why lie, what the hell.
Mirilki are short poems of reconciling content, accompanied by a special ritual. They are pronounced by clasping the little fingers and shaking the arms. Mirilki represent a magical act of children's justice. With their help, children of primary school age decide the outcome of short-term grievances and quarrels, i.e. peacekeeping is a means of resolving a conflict situation.
Although mirilki are a very common genre, the texts themselves are not diverse. Here is presented only one mirilka, recorded in several versions.
1. Make up, make up, make up and don't fight anymore,
What if you fight?
I will bite
And biting has nothing to do with it,
I'll fight with a brick
And the brick breaks,
Friendship begins.
(*Come to my house,
We'll fight with sausage.)
2. Come to my house, we’ll fight with sausage. The sausage breaks - Friendship begins.
This genre is designated in the work of M.Yu. Novitskaya and I.N. Raikova as “underdress”. It develops intelligence, speed of reaction, the ability to listen carefully to the interlocutor, and a sense of humor.
As a rule, the child falls into the “trap” only once and then he himself tries to “pick up” those comrades who do not yet know about the new joke. However, after some time after the first performance, jokes are forgotten by children, and they can be used again..
Types of “gags”: decoys (“Dunya”), decoys
natural dialogue (“There’s an elephant”), jokes (texts No. 9 - 14), riddles (“A, B, L bought a house...”).
The texts of the “jokes” are a verbatim recording of the children’s
1. Look around! I looked around - the navel was inflated!
2. There's a bird... Grab you by the testicle!
3. There's an elephant... Thanks for the bow.
4. A, I, B were sitting on the pipe,
A fell, B disappeared,
Who's left to clean up?
5. - A, I, B were sitting on the pipe,
Anasr...la, B nass...la,
Who's left to clean up?
Of course you are.
6. A, B, L bought a house and lived in it for a very long time.
A - sick, B - in the hospital,
L - went abroad.
Who stayed in the house to live? (A)
7. Place the person facing the wall, with his hands resting against the wall at the same level. You ask simple questions: does he have a mom, dad, sister, brother, cat, etc. If the answer is “yes,” then your hand needs to be moved up a little. Then, when your hands rise to a sufficient height, you ask: “Are you crazy?” - No. - Why are you climbing the wall then?
8. For each positive answer to a question, you need to bend your finger, in turn, all but the thumb. The questions are something like this: do you like ice cream, pastries, cakes, oranges, etc. Last question: - What do you like? - No. - What are you showing then?
9. The hand is closed into a fist. You ask: are your mom, dad, brother, sister poor? If the answer to the question is “no,” then the finger extends. When the last finger remains, you ask: “Are you a beggar?” - No. - Why are you holding out your hand?
10. Imagine that you are having a dream. There are two cars in front of you: a Mercedes and a Zaporozhets. What will you do? (answer any) You are riding on your..., in front of you are two mountains - gold and silver. What will you do? (any answer) You drive further on your..., with your little gold (*silver), and you see two mountains of the city: light and dark. You can't go around them. What will you do? (answer) You need to wake up, because you are dreaming.
11. The orphan runs through the forest and field, through the field and forest (you say this as long as possible). She fell into a hole and cannot get out. A man walks through a field and forest,
forest and field (you say it as many times as you like). He approaches the hole and says: “If I pull you out, I’ll kill your mother, but if I don’t pull you out, I’ll kill my father.”
What should she do? (answer) She’s an orphan, let her pull her out.
12. A man went hunting in winter. It goes through fields and forests, through forests and fields (as much as you want). In front of him is a wide river, but there is a tree growing on the bank. What should he do? (answer) It’s winter, you can walk on the ice.
13. Do you know how DUNYA stands for?
D - fools, U - we have, N - no.
Only you!
1. Which cross is the largest? 120% stupidity. Answer: the one that divides the square.
2. In which of these coffins is the wounded Vasily Ivanovich buried? 120% stupidity. Answer: the wounded are not buried.
3. Write your name. 120% stupidity. Answer: name.
4. What will you do with this apple? 120% stupidity. Answer: they don’t eat what is drawn.
LITERATURE
1. Anikin V.P. Artistic word // Folk wisdom. Human life in Russian folklore. Vol. 2. Childhood. Adolescence / Comp., comp. Texts, intro. Art. and comment. V.P. Anikina. M.: Artist. lit., 1994.
2. Vinogradov G.S. Russian children's folklore. Book one: Game preludes. M.: “Academia”, 1986. P. 65-156.
3. Novitskaya M.Yu. Children's folklore and the world of childhood / M.Yu. Novitskaya, I.N. Raikova // Children's folklore. - M.: Russian book, 2002. - P. 5-53.
4. Trykova O.Yu. ABOUT Current condition children's folklore http://gramota.ru. 10/12/2004
5. Toporkov L.A. Queen of Spades in children's folklore of the early 1980s // School life and folklore. Tallinn, 1992: pp. 3-42.
Introduction
Folk culture, being very firmly rooted in the past, now looks quite blurred, permeable to the most different directions a modern, very multi-layered culture that widely assimilates their elements and traditions and therefore does not have a clear, generally accepted understanding.
The concept of “folk culture” is associated with a variety of everyday associations, mainly value ideas, sometimes of a purely populist nature. In the very general view we can say that folk culture in the public consciousness correlates with many concepts and objects, the name of which contains the definition “folk”. They are represented very widely in culture and language: folk art, folklore, folk art, folk wisdom, rumor, folk traditions, legends, beliefs, songs, dances, proverbs, etc. Let us consider in more detail a part of folk culture - folklore.
The purpose of the work is to describe the phenomenon of modern folklore.
The object of the study is modern folklore.
The subject of the study is the types, genres and features of modern folklore.
The objectives of this study are as follows:
1. Consider the theoretical features of folklore in folk art;
2. Identify the features of modern folklore;
3. Study the types and genres of modern folklore.
This work consists of an introduction, 3 chapters, a conclusion and a list of sources used.
Chapter 1. Theoretical foundations modern folklore.
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 decorative arts.
The term folklore was first introduced into scientific use in 1846 by the English scientist William Toms. Literally translated, “Folk-lore” means: folk wisdom, folk knowledge. This term at first denoted only the subject of science itself, but sometimes it began to be used to also scientific discipline, studying this material; however, then the latter began to be called folkloristics.
What is "folklore" for modern man? These are songs, fairy tales, proverbs, epics and other works of our ancestors, which were created and passed on from mouth to mouth once upon a time, and now remain in the form of beautiful books for children and the repertoire of ethnographic ensembles.
Modern people They don’t tell each other fairy tales, they don’t sing songs while they work. And if they compose something “for the soul,” then they immediately write it down.
Recently, in one of the discussions, it suddenly became clear that everywhere (and especially in the cities) a new generation has grown up, to whom the ancient oral culture is known only in meaningless fragments or is unknown at all.
The response to this was an explosion of collecting and publishing examples of folk art.
In the 1810s, Jacob and Wilhelm Grimm began publishing collections of German folk tales. In 1835, Elias Lenrot published the first edition of Kalevala, which shocked the cultural world: it turns out that in the most remote corner of Europe, among a small people who never had their own statehood, there still exist heroic epic, in volume and complexity of structure comparable to ancient Greek myths! The collection of folklore (as the English scientist William Toms called the entire body of folk “knowledge” existing exclusively in oral form in 1846) grew throughout Europe. And at the same time the feeling grew: folklore is disappearing, its speakers are dying out, and in many areas nothing can be found. (For example, not one of the Russian epics has ever been recorded where their action takes place, or indeed in the historical “core” of Russian lands. All known recordings were made in the North, in the lower Volga region, on the Don, in Siberia, etc. e. in the territories of Russian colonization of different times.) You need to hurry, you need to have time to write down as much as possible.
In the course of this hasty collection, more and more often something strange was found in the records of folklorists. For example, short chants, unlike anything that was previously sung in the villages.
Precise rhymes and the correct alternation of stressed and unstressed syllables made these couplets (the folk performers themselves called them “ditties”) related to urban poetry, but the content of the texts did not reveal any connection with any printed sources. There was serious debate among folklorists: should ditties be considered folklore in the full sense of the word, or is it a product of the decomposition of folk art under the influence of professional culture?
Oddly enough, it was this discussion that forced the then-young folklore studies to take a closer look at the new forms of folk literature emerging right before our eyes.
It quickly became clear that not only in villages (traditionally considered the main place of folklore), but also in cities, a lot of things arise and circulate that, by all indications, should be attributed specifically to folklore.
A caveat must be made here. In fact, the concept of “folklore” refers not only to verbal works(texts), but in general to all phenomena of folk culture that are transmitted directly from person to person. A traditional, centuries-old embroidery pattern on a towel in a Russian village or the choreography of a ritual dance African tribe– this is also folklore. However, partly for objective reasons, partly due to the fact that texts are easier and more complete to record and study, they became the main object of folkloristics from the very beginning of the existence of this science. Although scientists are well aware that for any folklore work, the features and circumstances of performance are no less (and sometimes more) important. For example, a joke necessarily includes a telling procedure - for which it is absolutely necessary that at least some of those present do not already know this joke. A joke known to everyone in a given community is simply not performed in it - and therefore does not “live”: after all, a folklore work exists only during the performance.
Chapter 2. Types and genres of modern folklore.
Types of modern folklore.
Let's return to modern folklore. As soon as researchers took a closer look at the material, which they (and often its bearers and even creators themselves) considered “frivolous”, devoid of any value, it turned out that “new folklore” lives everywhere.
A ditty and a romance, an anecdote and a legend, a rite and a ritual, and much more for which there were no suitable names in folklore. In the 20s of the last century, all this became the subject of qualified research and publications. However, already in the next decade, a serious study of modern folklore turned out to be impossible: real folk art categorically did not fit into the image of “Soviet society.” True, a certain number of folklore texts themselves, carefully selected and combed, were published from time to time. (For example, in the popular magazine “Crocodile” there was a column “Just an Anecdote”, where topical jokes were often found - naturally, the most harmless ones, but their effect was often transferred “abroad” just in case.) But the scientific study of modern folklore actually resumed only in the late 1980s and especially intensified in the 1990s. According to one of the leaders of this work, Professor Sergei Neklyudov (the largest Russian folklorist, head of the Center for Semiotics and Typology of Folklore of the Russian State University for the Humanities), this happened largely according to the principle “if there was no luck, but misfortune helped”: without funds for normal collecting and research expeditions and student practices, Russian folklorists transferred their efforts to what was nearby.
The collected material was primarily striking in its abundance and variety. Each, even the smallest group of people, barely realizing their commonality and difference from all others, immediately acquired their own folklore. Researchers were already aware of the folklore of individual subcultures: prison, soldier, and student songs. But it turned out that their own folklore exists among climbers and parachutists, environmental activists and adherents of non-traditional cults, hippies and “goths”, patients of a particular hospital (sometimes even a department) and regulars of a particular pub, kindergarteners and students junior classes. In a number of these communities, the personal composition changed rapidly - patients were admitted and discharged from the hospital, children entered and graduated from kindergarten - and folklore texts continued to circulate in these groups for decades.
Today, the following types of modern folklore are distinguished:
1. Urban folklore;
2. Children's folklore;
3. Network folklore.
Urban folklore is part of the folklore heritage, which includes, in addition to commonly used types and genres of folk poetry, their specifically urban “modifications.” For example: city folk festivals, city romance, city game songs and dances.
Urban folklore differs from the oral traditions of the rural peasantry that preceded it. First of all, it is ideologically marginal, since the basic ideological needs of townspeople are satisfied in other ways that are not directly related to oral traditions (mass literature, cinema and other entertainment, media products). In addition, urban folklore is fragmented in accordance with the social, professional, clan, age stratification of society, with its disintegration into loosely interconnected cells that do not have a common ideological basis.
Children's folklore - created on the basis of living spoken language. In them one can note the peculiarities of the poetics of the corresponding genres of adult folklore. For example, in the composition of children's fairy tales, as in adult fairy tales about animals, dialogue is widely used. In children's songs, one can note such compositional forms as the form of monologue, dialogue, etc.
Network folklore is a type of modern folklore, which also has all the main features of folklore texts: anonymity and collectivity of authorship, polyvariance, traditionality. Moreover: online texts clearly strive to “overcome writing” - hence the widespread use of emoticons (which allow at least to indicate intonation) and the popularity of “padon” (intentionally incorrect) spelling.
Following folklore poetics, on the one hand, and bookish techniques for depicting the hero and reality, taken by Platonov from everyday and psychological prose, the free style of narration - a clear opposition to folklore, on the other hand - everything suggests that we have before us a new phenomenon that has appeared in the process of processing a Russian folk tale by a writer, and, probably, we can talk not so much about literary processing, but about the creation new fairy tale, different from folklore, i.e. about a literary fairy tale.
Platonov's typology of genres is an undeveloped issue in literary criticism. Researchers note the similarity of novels, stories, short stories, and fairy tales in the way they organize the plot, narration, and authorial presence. E. A. Yablokov speaks of a certain philosophical meta-genre that absorbs elements of many genre formations17.
The fairy tale did not escape a similar fate.
Platonov’s fairy tale is the genre in which everything “Platonic” was clearly manifested: philosophical and poetic illumination of life, the desire for generality and the concentration of this generality, deep faith in the triumph of moral principles, in the miracle of the transformation of life and a socially downtrodden person, hope for the restoration of harmony in the world. Thus, the fairy tale reflects the uniqueness of the writer’s worldview and his deep connections with folklore and the life of the Russian people.
NOTES
1. See: Gurvich A. A. Platonov // Red news.- 1937.- book. 10.
2. See: Messer R. Fellow travelers of the second conscription // Zvezda.- 1930.- No. 4.
3. Vasiliev V. Andrey Platonov. - M., 1982. - P. 175.
4. Shubin L. Searches for the meaning of separate and common existence. - M., 1987.
5. Dalgat U. V. Literature and folklore. - M.: Nauka, 1918. - P. 15.
6. Quote. based on the book: Vasiliev V. Andrey Platonov. - P. 174.
7. On the history of the processing of folk tales by writers, starting from the 18th century, and various techniques of literary editing of the media. On the publications of fairy tales for children. - M., 1955.
8. Platonov A. Fairy tales of the Russian people // Ogonyok.- 1947,- No. 26.- P. 24.
9. See reviews by A. N. Pushkarev, A. Nechaev.
10. Nechaev A. About folk tales in children's literature // About editions of fairy tales for children. - P. 44.
11. Kredov A. I. A. Platonov in work on the collection of fairy tales “The Magic Ring” // Platonov’s works: Articles and messages. - Voronezh, 1970.
12. Anikin V. Writers and folk tales // Russian fairy tales in the processing of writers. - M., 1970.-P. 15.
13. Vasiliev V. Andrey Platonov. Decree. op. P. 176.
14. Fomenko L.P. On the question of the concept of the hero in A. Platonov’s story of the 20s it. // “Platonov’s Creativity. - Voronezh, 1970. - P. 52.
15. Bocharov S. “The Substance of Existence.” Expression in prose // Problems artistic form socialist realism: In 2 vols.-T. 2.- M.: Nauka, 1971.
16. Propp V. Ya. Transformation fairy tales// Propp V. Ya. Folklore and reality, - M., 1976. - P. 155.
17. Yablokov E. A. On the poetics of the novel “Chevengur” in connection with Plato’s concept of the world // Problems of interaction of method, style and genre in literature. - Sverdlovsk, 1989.
G. A. GUBANOVA (Chelyabinsk Institute of Culture and Art)
FOLKLORE AND FOLKLORISTICS: MODERN INFORMATION SITUATION
Specialists involved scientific research, be it a scientist, a university teacher, or a graduate student, inevitably face the problem of bibliographic search for the necessary literature. Whether it will be easy or difficult, quick or time-consuming, depends on how rationally the bibliographic service is organized in a given branch of knowledge.
Currently, a network of universal and sectoral bibliographic centers has been created in the country, which prepare and bring to consumers bibliographic information about literature in current and retrospective terms.
New publications on folklore and folklore studies take into account over 20 current bibliographic sources. However, none of the existing publications provides a holistic picture of the primary folklore-documentary flow.
In universal manuals (Chronicles of the NPO “All-Union Book Chamber”, current indexes of regional, regional and republican libraries, etc.) the section “Folklore. Folkloristics" is placed among the philological disciplines, and publications of works of folklore are included in fiction. Publications on folklore issues are also present in sections on history, ethnography, philosophy, pedagogy, linguistics, and art. This solution is traditional, but it does not take into account the specifics of the development of folkloristics as an independent complex science.
In the industry index of the INION AS USSR “New Soviet literature in the social sciences. Ser. Literary Studies” reflects only part of the materials on folklore, those publications that examine works of folk art that exist in the oral verbal tradition and are associated with the study of folklore as the art of speech. The framework of philological accounting does not provide “entry” to research on interdisciplinary problems, and therefore is included in manuals of other series - “Linguistics”, “History”. Archeology. Ethnography", "Philosophical Sciences", "Problems of Atheism and Religion", etc."
A large number of works on the problems of the relationship between folklore and professional art taken into account in the publications of the Scientific and Research Institute "Informculture" at the State Library of the USSR named after. V. I. Lenin (series: “Music”, “Fine Arts”, “Entertainment Arts”, “Repertoire of amateur performances”, etc.). But there is also no uniform accounting of these materials.
The bibliographic collections of regional universal scientific libraries (including ChOUNL), university libraries (ChSU, ChSPI, ChGIK) contain all current indexes reflecting publications on folklore and folkloristics. However, the high degree of scattering useful information, excessive duplication and inconsistency in determining connections across related industry systems acutely raise the question of the need to organize independent bibliographic records on an industry scale. Today, given the current situation, the functions of concentrating all new scientifically significant literature can still be performed by libraries of universities and research institutes (as those closest to consumers), preparing a special newsletter.
In terms of retrospective accounting, the central place is occupied by the fundamental index by M. Ya. Melts and T. G. Ivanova “Russian folklore” in eight volumes, covering an array of literature for a hundred years - from 1881 to 1980. The manual represents the most reliable and accurate summary of printed products in the industry. Currently, work is underway on the chronological continuation of this work.
Among the genre indexes, the manual by D. M. Batser and B. I. Rabinovich “Russian folk music” is valuable. 1776-1973" (M., 1981-1984). Some personal benefits can be called “M. K. Azadovsky" (Novosibirsk, 1983), "V. E. Gusev" (L., 1984), "A. I. Lazarev" (Chelyabinsk, 1988), in-book indexes dedicated to P. G. Bogatyrev, A. M. Astakhova, V. Ya. Propp, I. I. Zemtsovsky, etc. Many topics and genres of folklore are provided only by book sources
and article lists of references.
Particularly regrettable is the insignificant bibliographic supply of folklore in individual territories and regions. Over the past 15-20 years, almost no local history folklore and bibliographic indexes have been published. There is also no manual on Ural folklore.
Libraries in Chelyabinsk are poorly equipped with retrospective indexes. Almost only two libraries - OUNL and the ChelSU library - have all the main folklore and bibliographic publications. Others, including the Central State Library and the Central Bank of trade union systems, contain only a few isolated retrospective indicators.
The information situation is complicated by the fact that the vast majority of BP on folklore, published in the form of in-book lists of references, bibliographic reviews, or individual chapters in indexes of related topics, are not collected or summarized in any way. Unfortunately, in no library in Chelyabinsk they have not received analytical reflection in the SBA system, they remain hidden to readers and are practically not used in reference and bibliographic services.
Among all sources of bibliographic information, experts place catalogs and card indexes in one of the first places. The systematic catalog (SC) and systematic card index (SCF) are maintained on the basis of library and bibliographic classification (LBC) tables. Section “82 Folklore. Folkloristics" is also placed among the philological disciplines. In our opinion, the most appropriate classification may be considered to be one in which folklore studies will be given an independent place and given the opportunity to reflect in one section all aspects of the study of folk art. Duplication of materials on interdisciplinary topics (folklore-ethnographic, folklore-musical, etc.) in this section in in this case will be fully justified, since it meets the needs of specialists.
In Chelyabinsk libraries (especially public and university ones), the section on folklore and folklore studies in the SK and SKS leaves much to be desired. The materials here, as a rule, are not detailed. Only the most general headings are highlighted, for which there are several dozen cards and no more. There is no clarity in the distribution of materials between sections; even texts are often not separated from research. In SCS, folklore materials are represented very little - a few titles per year, often randomly selected material - articles, notes, reviews, bibliographic lists, anniversary materials, etc.
Some libraries maintain thematic card indexes. Their complete list, as well as the entire composition of the SBA, is contained in the reference book edited by I. G. Morgenstern “Libraries of Chelyabinsk” (Chelyabinsk, 1984).
At the office of Soviet holidays and rituals in the Central City Hospital named after. A. S. Pushkin has a card index “Soviet holidays, rites and rituals”, which also reflects literature on calendar-ritual poetry, although its percentage is not large. Partially folkloric materials are also included in the “Thematic Card Index of Songs” (heading “Chastushki and Russian folk songs") and the "Card Index of Scenarios" (section "Wedding Celebration").
Some folklore sections (“Tales”, “Songs”, “Wedding”) are highlighted in the card index “To help amateur artists” (Central Bank named after A. M. Gorky Central Library of the ChTZ trade union committee). But in general, folklore principles are very poorly represented in amateur performances. The rich possibilities of the song and ditty genres are not taken into account, materials from the folk theater are not presented, ritual folklore. No sections " National holidays", "Folklore in the propaganda team", "Folklorism mass holidays and ideas”, etc.
12 Zak. 4745 89
To summarize, it should be noted that the information situation in the field of folklore and folklore studies continues to be quite complex to this day. The most serious problems are: the lack of independent current accounting, the insufficient development of standard divisions of the LBC for the section of folklore, the need to prepare a detailed rubricator for the alphabetical index in the SBA.
Chelyabinsk libraries are not sufficiently provided with bibliographic aids. Nowhere is work being done to create a “key” to the sources of bibliographic searches. But the paradox that we discovered is that even such a modest arsenal of bibliographic possibilities often remains unknown to consumers - specialists and lovers of folk art. It is important not only to increase your bibliographic awareness, but also to stimulate the development of the bibliographic support system. Many of the above problems can be solved only through the active cooperation of bibliographers and linguistic scholars.
What is modern folklore and what does this concept include? Fairy tales, epics, legends, historical songs and much, much more are the heritage of the culture of our distant ancestors. Modern folklore must have a different appearance and live in new genres.
The purpose of our work is to prove that folklore exists in our time, to indicate modern folklore genres and provide a collection of modern folklore compiled by us.
In order to look for signs of oral folk art in modern times, you need to clearly understand what kind of phenomenon this is - folklore.
Folklore is folk art, most often oral; artistic collective creative activity of the people, reflecting their life, views, ideals; poetry, songs, as well as applied crafts and fine arts created by the people and existing among the masses, but these aspects will not be considered in the work.
Folk art, which originated in ancient times, is the historical basis of the entire world artistic culture, the source of national artistic traditions, and an exponent of national self-awareness. Works of folklore (fairy tales, legends, epics) help to recreate characteristic features folk speech.
Folk art everywhere preceded literature, and among many peoples, including ours, it continued to develop after its emergence along with and alongside it. Literature was not a simple transfer and consolidation of folklore through writing. It developed according to its own laws and developed new forms, different from folklore. But its connection with folklore is obvious in all directions and channels. Can't name a single one literary phenomenon, the roots of which would not go into the centuries-old strata of folk art.
A distinctive feature of any work of oral folk art is variability. Since folklore has been transmitted orally for centuries, most folklore works has several options.
Traditional folklore, created over centuries and reaching us, is divided into two groups - ritual and non-ritual.
Ritual folklore includes: calendar folklore (carols, Maslenitsa songs, freckles), family folklore (family stories, lullabies, wedding songs, etc.), occasional (spells, chants, spells).
Non-ritual folklore is divided into four groups: folk drama(Parsley theater, Vetep drama), poetry (ditties, songs), folklore of speech situations (proverbs, sayings, teases, nicknames, curses) and prose. Folklore prose is again divided into two groups: fairy tale (fairy tale, anecdote) and non-fairy tale (legend, tradition, tale, story about a dream).
What is “folklore” for modern people? These are folk songs, fairy tales, proverbs, epics and other works of our ancestors, which were created and passed on from mouth to mouth once upon a time, and have come down to us only in the form of beautiful books for children or literature lessons. Modern people do not tell each other fairy tales, do not sing songs at work, do not cry or lament at weddings. And if they compose something “for the soul,” then they immediately write it down. All works of folklore seem incredibly far from modern life. Is this true? Yes and no.
Folklore, translated from English language, means “folk wisdom, folk knowledge.” Thus, folklore must exist at all times, as the embodiment of the consciousness of the people, their life, and ideas about the world. And if we do not encounter traditional folklore every day, then there must be something else, close and understandable to us, something that will be called modern folklore.
Folklore is not an immutable and ossified form of folk art. Folklore is constantly in the process of development and evolution: ditties can be performed to the accompaniment of modern musical instruments on modern themes, folk music can be influenced by rock music, and modern music itself can include elements of folklore.
Often the material that seems frivolous is “new folklore”. Moreover, he lives everywhere and anywhere.
Modern folklore has taken almost nothing from the genres of classical folklore, and what it has taken has changed beyond recognition. “Almost all the old oral genres are becoming a thing of the past - from ritual lyrics to fairy tales,” writes Professor Sergei Neklyudov (the largest Russian folklorist, head of the Center for Semiotics and Typology of Folklore at the Russian State University for the Humanities).
The fact is that the life of a modern person is not connected with the calendar and season, such modern world There is practically no ritual folklore, we are left with only signs.
Today great place non-ritual folklore genres occupy. And here there are not only modified old genres (riddles, proverbs), not only relatively young forms (“street” songs, jokes), but also texts that are generally difficult to attribute to any specific genre. For example, urban legends (about abandoned hospitals, factories), fantastic “historical and local history essays” (about the origin of the name of the city or its parts, about geophysical and mystical anomalies, about celebrities who visited it, etc.), stories about incredible incidents, legal incidents, etc. The concept of folklore can also include rumors.
Sometimes, right before our eyes, new signs and beliefs are formed - including in the most advanced and educated groups of society. Who hasn’t heard about cacti that supposedly “absorb harmful radiation” from computer monitors? Moreover, this sign has a development: “not every cactus absorbs radiation, but only those with star-shaped needles.”
In addition to the structure of folklore itself, the structure of its distribution in society has changed. Modern folklore no longer carries the function of self-awareness of the people as a whole. Most often, the bearers of folklore texts are not residents of certain territories, but members of the same sociocultural groups. Tourists, Goths, paratroopers, patients of the same hospital or students of the same school have their own signs, legends, anecdotes, etc. Each, even the smallest group of people, barely realizing their commonality and difference from all others, immediately acquired their own folklore. Moreover, the elements of the group may change, but the folklore texts will remain.
As an example. While camping around the fire, they joke that if girls dry their hair by the fire, the weather is bad. During the entire hike, the girls are driven away from the fire. Having gone on a hike with the same travel agency, but with completely different people and even instructors a year later, you can find that the sign is alive and they believe in it. The girls are also driven away from the fire. Moreover, counteraction appears: you need to dry your underwear, and then the weather will improve, even if one of the ladies still breaks through to the fire with wet hair. Here we can see not only the emergence of a new folklore text in a certain group of people, but also its development.
The most striking and paradoxical phenomenon of modern folklore can be called network folklore. The most important and universal feature of all folklore phenomena is their existence in oral form, while all online texts are, by definition, written.
However, as Anna Kostina, deputy director of the State Republican Center of Russian Folklore, notes, many of them have all the main features of folklore texts: anonymity and collectivity of authorship, variability, traditionality. Moreover: online texts clearly strive to “overcome writing” - hence the widespread use of emoticons (which allow one to indicate intonation) and the popularity of “padon” (intentionally incorrect) spelling. Funny nameless texts are already circulating widely on the Internet, absolutely folkloric in spirit and poetics, but unable to live in a purely oral transmission.
Thus, in the modern information society, folklore not only loses a lot, but also gains something.
We found out that in modern folklore little remains of traditional folklore. And those genres that remained have changed almost beyond recognition. New genres are also emerging.
So, today there is no longer any ritual folklore. And the reason for its disappearance is obvious: the life of modern society does not depend on the calendar, all ritual actions that are an integral part of the life of our ancestors have come to naught. Non-ritual folklore also distinguishes poetic genres. Here you can find urban romance, yard songs, ditties on modern themes, as well as such completely new genres as chants, chants and sadistic poems.
Prosaic folklore has lost its fairy tales. Modern society makes do with already created works. But there remain anecdotes and many new non-fairy tale genres: urban legends, fantastic essays, stories about incredible incidents, etc.
The folklore of speech situations has changed beyond recognition, and today it resembles more of a parody. Example: “He who gets up early lives far from work,” “Don’t have one hundred percent, but have one hundred clients.”
It is necessary to single out a completely new and unique phenomenon - online folklore - into a separate group. Here you can find the “padon language”, and online anonymous stories, and “chain letters” and much more.
Having done this work, we can confidently say that folklore did not cease to exist centuries ago and did not turn into a museum exhibit. Many genres have simply disappeared, while those that remained have changed or changed their functional purpose.
Perhaps in a hundred or two hundred years, modern folklore texts will not be studied in literature classes, and many of them may disappear much earlier, but, nevertheless, new folklore is a modern person’s idea of society and the life of this society, its self-awareness and cultural level. A remarkable description of various social groups of the working population of Russia for its richness of ethnographic details mid-19th century left by V.V. Bervi-Flerovsky in his book “The Position of the Working Class in Russia.” His attention to the peculiar features of the life and culture of each of these groups is revealed even in the very titles of individual chapters: “Tramp Worker”, “Siberian Farmer”, “Trans-Ural Worker”, “Mining Worker”, “Mining Worker”, “Russian Proletarian” " All of these are different social types representing the Russian people in a specific historical situation. It is no coincidence that Bervi-Flerovsky considered it necessary to highlight the characteristics of the “moral mood of workers in industrial provinces,” realizing that this “mood” has many specific features that distinguish it from the “moral mood”<работника на севере», а строй мыслей и чувств «земледельца на помещичьих землях» не тот, что у земледельца-переселенца в Сибири.
The era of capitalism and especially imperialism brings new significant changes in the social structure of the people. The most important factor, which has a huge impact on the entire course of social development, on the fate of the entire people as a whole, is the emergence of a new, most revolutionary class in the history of mankind - the working class, whose entire culture, including folklore, is a qualitatively new phenomenon. But the culture of the working class must also be studied specifically historically, in its development, its national, regional and professional characteristics must be taken into account. Within the working class itself there are different layers, different groups that differ in the level of class consciousness and cultural traditions. In this regard, V. I. Ivanov’s work “The Development of Capitalism in Russia” remains of great methodological importance, which specifically examines the various conditions in which the formation of working class detachments took place in industrial centers, in the industrial south, in the environment of a “special way of life” in the Urals .
The development of capitalist relations in the countryside breaks the rural community, splits the peasantry into two classes - small producers, some of whom are constantly proletarianized, and the rural bourgeois class - the kulaks. The idea of a single supposedly peasant culture under capitalism is a tribute to petty-bourgeois illusions and prejudices, and an undifferentiated, uncritical study of peasant creativity of this era can only strengthen such illusions and prejudices. The social heterogeneity of the people in the context of the struggle of all the democratic forces of Russia against the tsarist autocracy and serfdom remnants for political freedom was emphasized by V. I. Ivanov: “... the people fighting the autocracy consists of the bourgeoisie and the proletariat.” From the history of society it is known that the social structure of the people who carried out the anti-feudal revolution in England, France, the Netherlands, Germany, and Italy was just as heterogeneous. It is also known that, taking advantage of the national gains, the bourgeoisie, having come to power, betrays the people and itself becomes anti-people. But the fact that at a certain stage of historical development it was one of the constituent elements of the people could not but affect the nature of the folk culture of the corresponding era.
Recognition of the complex, constantly changing social structure of a people means not only that the class composition of the people is changing, but also that the relationships between classes and groups within the people are developing and changing. Of course, since the people are made up primarily of the working and exploited masses, this determines the commonality of their class interests and views, the unity of their culture. But, recognizing the fundamental commonality of the people and seeing, first of all, the main contradiction between the exploited masses and the ruling class, as V.I. emphasized. Ivanov, “demands that this word (people) not cover up a misunderstanding of class antagonisms within the people.”
Consequently, the culture and art of the people in a class society, “folk art” is class in nature, not only in the sense that it opposes the ideology of the ruling class as a whole, but also in the fact that it itself is complex and sometimes contradictory in nature. its class and ideological content. Our approach to folklore therefore involves the study of the expression in it of both national ideals and aspirations, and the not entirely coinciding interests and ideas of individual classes and groups that make up the people at different stages of the history of society, the study of reflection in folklore as contradictions between the entire people and the ruling class , and possible contradictions “within the people.” Only such an approach is a condition for a truly scientific study of the history of folklore, embracing all its phenomena and understanding them, no matter how contradictory they may be, no matter how incompatible they may seem with the “ideal” ideas about folk art. This approach serves as a reliable guarantee against the false romantic idealization of folklore and against the arbitrary exclusion of entire genres or works from the field of folklore, as happened more than once during the reign of dogmatic concepts in folklore studies. It is important to be able to judge folklore on the basis not of speculative a priori ideas about folk art, but taking into account the real history of the masses and society.