What is a folklore in literature 4. Folklore - oral folk creativity

No in the worlds not a single person who would not like folk tales, songs and dancing. You can find everything in them - the immediacy, the thinnest sadness and dull joy. And, probably, the most important thing is that the modern person attracts in them is a unique charm of antiquity and a certain nostalgic aroma of deep antiquity. So, folklore - what is it and what is its main signs?

Basic definition

The folklore is called the collective creativity of the people, expressing his worldview and ideals, as well as serving a complete reflection of his mentality. This is usually the oral creation - epics, tales, proverbs, conspiracies, riddles. Considering the question of whether the folklore is what it is, it is impossible not to mention about the very meaning of this word. Translated "Folk-Lore" - literally " folk wisdom"Or" People's Cognition ". In this term, this term was introduced in 1846. English researcher William Toms.

In our country, many enlightened people are a huge contribution to the study of this field of culture - M. Lomonosov, A.S. Pushkin, G. Dervin, N. Rerich, I.I. Shishkin and many other writers, artists, historians and scientists. After the revolution much attention The question is, folklore - what it is, Maxim Gorky has given. It is thanks to this chief proletarian writer that the main problems of Soviet folklinistics were developed.

Main characteristics

So, folklore - what is it and what are his signs? The main distinguishing features of folk art can be called prettyness, verbality, of course, collectivity and deep traditional. This is, in fact, the only area of \u200b\u200bculture on which the state and power cannot have completely no effect. For centuries from the Father, the tales, epics and legends were transmitted to his son. In addition to the literary sphere, the mentality and traditions are manifested in all other areas of folk art - in dance, music, etc.

Basic varieties and genres of folklore

The main folk creativity can be attributed to the epics, a riddle, proverb, and inhibiting.

Oral tradition, dance, crafts and songs are the main varieties of the folklore itself. It is also worth allocating its ritual species. This art area usually has a pagan root and manifests itself as a certain oppression of a new religion. However, this is not always the case. For example, during the years of the USSR, when any cults were banned, it was the Christian ritual folklore very much. In this light, folk creativity can be considered a reflection of even some opposition to the simple people and power, and anyone.

Works of folklore reflect the Millennium's experience. And regardless of what level of social development is one or another people, fairy tales and epics are one of the most valuable sources of knowledge of its history. Perhaps the Russian baloveman of the fate of Ivan-Durak, beauty Vasilisa, the villain of Greek Prometheus and Hercules, German Freya, Scandinavian trolls, etc. Capable to tell about what events occurred on Earth in antiquity, much more than it may seem at first glance.

Folklore (FOLK-LORE) - International term of English origin, first introduced into science in 1846 by the scientist William Toms. In a literal translation, it means "People's Wisdom", "People's Knowledge" and means different manifestations of folk spiritual culture.

Other terms were entrenched in Russian science: People's Poetic Creativity, People's Poetry, People's Literature. The name "Oral Creativity of the People" emphasizes the oral nature of the folklore in his difference from written literature. The name "People's Poetic Creativity" indicates artistic as a sign that is distinguished by a folklore product from beliefs, customs and rites. Such a designation puts folklore in one row with other types of folk artistic creativity and fiction. one

Folklore is complex synthetic art. Often in his works are combined elements of various types of arts - verbal, musical, theatrical. It is studied by different sciences - history, psychology, sociology, ethnology (ethnography) 2. It is closely connected with folk life and rituals. It is no coincidence that the first Russian scientists approached folklore widely, recording not only the works of verbal art, but also fixing various ethnographic details and realities of the peasant life. Thus, the study of folklore was for them a peculiar area of \u200b\u200bthe class 3.

The science studies folklore is called folkloristic. If under the literature to understand not only written artistic creativity, and verbal art in general, then the folklore is a special department of literature, and folklorism is thus part of literary studies.

Folklore is verbal oral creativity. He is inherent in the properties of the word art. This is close to literature. However, he has his own specific features: syncretism, traditional, anonymity, variability and improvisation.

The background of the appearance of folklore appeared in the primitive-communal strict with the beginning of the formation of art. The ancient art of the word was inherent utility - the desire to practically influence nature and human affairs.

The oldest folklore was in syncretic condition (from the Greek word synkretismos - connection). Syncretic state is a state of fusion, absentia. Art was still not separated from other types of spiritual activities, existed in conjunction with other types of spiritual consciousness. Later, the state of syncretism was selected by the allocation of artistic creativity together with other types of public consciousness into an independent region of spiritual activity.

Folklore works anonymous. Their author is the people. Any of them is created on the basis of tradition. At one time V.G. Belinsky wrote about the specifics of the folklore work: there are no "famous names, because the author of the literature is always the people. No one knows who has folded his simple and naive songs in which the inner life of the young people or the tribe, and the tribe, is so undisputed and bright. Song from the kind in the genus, from generation to generation; and it changes over time: it will see it, it will be lengthened, then they will convert it with another song, then the other song will be built in addition to it - and here the poems come out of the songs Which the author can only call himself the people. " four

Certainly Rights Academician D.S. Likhachev, who noted that the author in the folklore product is not only because information about it, if he was lost, but also because it falls out of the poetics of folklore; It is not needed from the point of view of the structure of the work. In folk art, there may be a performer, a narrator, a teacher, but there is no author in it, writer as an element of the most artistic structure.

Traditional continuity Encompasses large historical gaps - whole century. According to Academician A.A. Pottny, folklore occurs "from memorable sources, i.e. it is transmitted from memory from the mouth to the mouth as much as the memory is enough, but certainly passed through a significant layer of popular understanding" 5. Each folklore carrier creates within the boundaries of the generally accepted tradition, leaning on the predecessors, repeating, changing, complementing the text of the work. The writer and reader are present in the literature, and in Folklore, the performer and listener. "On the works of Folklore always lies with the seal of the time and the environment in which they lived for a long time, or" existed ". For these reasons, folklore is called folk mass creativity. He has no individual authors, although there are many talented performers and creators, perfectly Owning with generally accepted traditional techniques of affiliation and singing. Folklore is directly peoped on the content - that is, according to thoughts and feelings, in it expressed. Folklore People's and in style - i.e., in the form of transmission of the content. Folklore People by origin, for all signs and the properties of traditional figurative content and traditional style forms. " 6 This consists of the collective nature of the folklore. Traditional - the most important and basic specific property of folklore.

Any folk product is in large quantities. options. Option (lat. Variantis - changing) - Each new execution of the folklore product. Oral works had a movable variation.

A characteristic feature of the folk work is improvisation. It is directly related to text variability. Improvisation (IT. Improvvisazione - unforeseen, suddenly) - the creation of a folk product or its parts directly during the execution process. This feature More is characteristic of lamenting and crying. However, improvisation did not contradict the tradition and was in certain artistic framework.

Given all these signs of the folklore work, we give the extremely brief definition of folklore, given V.P. Ainica: "Folklore is the traditional artistic creativity of the people. It equals relates both to an oral, verbal and other fine artAs with old creativity and to the new, created in the new time and creatible today. "7

Folklore, like literature, is the art of the word. It gives reason to use literary terms: epos, Lyrics, Drama. They are called childbirth. Each race covers a group of works of a certain type. Genre - type of art form (fairy tale, song, proverb, etc.). This is a narrower group of works than genus. Thus, there is a method of image of reality, under the genome - the type of artistic form. The story of Folklore is the story of changing his genres. They are in folklore have greater stability, compared with literary, genre borders in literature wider. New genre forms in folklore arise not as a result creative activity individuals, as in the literature, and should be supported by the entire mass of the participants in the collective creative process. Therefore, their shift does not occur without the necessary historical grounds. At the same time, genres in folklore are not unchanged. They occur, develop and die off, are replaced by others. For example, the epics arise in ancient Russia, develop in the Middle Ages, and in the XIX century are gradually forgotten and die away. With the change in the conditions of the existence, the genres is collapsed and conjured. But this does not testify to the decline of folk art. Changes in the genre composition of folklore is a natural consequence of the development of artistic collective creativity.

What is the relationship between reality and its display in folklore? Folklore combines a direct reflection of life with conditional. "There is no compulsory reflection of life in the form of life itself, conventionality is allowed." 8 It is characteristic of associativity, thinking by analogy, symbolism.

english Folklore-folk wisdom) - adopted in the international scientific (including aesthetic) terminology name of folk art. The term was introduced in 1846 by the English. Scientist W. J. Toms; Subsequently, he entered the scientific way in all countries. The concept of "F." Originally covered all the areas of the spiritual (and sometimes material) of the culture of the masses, then gradually the value was prested. In Sovr. Science does not have a single generally accepted consumption of the term. In bourgeois aesthetics and cultural studies prevailing the identification of the concepts of "F." and "culture of uncivilized peoples", or "primitive, community culture"; The definition of f. as "relics of primitive culture in the culture of civilized OB-B"; At the same time, it is determined by it as "culture of folk classes in civilized countries", etc. Three OSN coexist in socialist countries. Concepts defining F. as: 1) oral-poetic creativity; 2) a set of verbal, musical, gaming, dramatic and choreographic species of folk art; 3) folk art. Culture as a whole (including visual and decorative and applied arts). The second concept dominates. The reduction of F. only to verbal forms tear the organic ties existing in the folk statement between the word, music, game, and other elements of the art. creativity. The expansion understanding of F. as the whole art. Culture ignores specific differences between non-fixed and fixed ("subject") forms of folk art. Marxist aesthetics comes from a dialectic and matte-rialist understanding of F. as a socially determined and historically developing art. The activities of the masses with a set of interconnected specific signs (the collectivity of the creative process, the traditionalness, non-fixed forms of transmission of the production of the generation to generation, poly-element, variation), closely related to the work, the life, customs of the people. Arriving as the previously, throughout the centuries-old history of mankind F. was simultaneously the lawsuit and not a lawsuit, connecting aesthetic and nonesthetical functions. Not still "artistic production as such" (Marx), F. should not be identified with professional art (although it does not exclude the appearance of masters). As the source of lit-ry, composer music, theater, F. does not lose its relatively independent place in the story of the claim. He represents a system of species, not fully correlated with a system of childbirth and genres of professional lawsuit. F. of each people is distinguished by the originality and pronounced ethnic peculiarity, wealth of regional and local style forms within each national claim. At the same time, F, all peoples, expressing the worldview of the working masses, is characterized by the similarity of social and aesthetic ideals and ideological content.

Excellent definition

Incomplete definition ↓

Folklore

english Folklore, Folk-Lore) - folk creativity, the art created by the people and today in the wide masses (epics, fairy tales, chastushki, proverbs, songs, dancing, etc.). Different folklore verbal (folk poetic creativity), musical, dance, etc. (in the cultural aspect)? In the "Wide" sense, all the folk traditional peasant spiritual and partly material culture and "narrow" - oral peasant verbal art. tradition. Folklore is a totality of structures integrated in a word, speech, regardless of what inclusive elements they are connected. It is probably more accurate and more definite to use long and from the 20-30s. Separated terminology. The phrase "oral literature" or not very specific sociological. Restriction "Oral People's Literature". Such a consumption of the term is determined by various concepts and interpretations of bonds of the object of folklores with others. Forms and layers of culture, an unequal structure of culture in different countries of Europe and America in those decades of the last century, when ethnography and folklorism occurred, various rates of subsequent development, different composition The main fund of texts, which used science in each of the countries. In contemporary Folkloristic is the largest authority to enjoy four basic concepts, which are constantly interacting at the same time: a) folklore - orally transmitted commonary experience and knowledge. In this case, all forms of spiritual culture are meant, and with the maximum expanded interpretation - and some form material culture. Only a sociological limitation is introduced ("common") and historical and cultural criteria - archaic forms that dominate or functioning as remnants. (The word "commonary" is definitely more than "national", in sociological terms, and does not contain an estimated meaning (" national artist”, “people's poet "); b) Folklore is common artistic creativity or, according to a more modern definition, "Art Communication". This concept allows us to disseminate the use of the term "folklore" on the sphere of musical, choreographic, depicting. etc. common creativity; c) Folklore is an ordinary verbal tradition. At the same time, those who are associated with the Word are allocated from all forms of priority activities; d) Folklore - Oral Tradition. At the same time, the perception is of paramount importance. This allows you to select folklore from other verbal forms (first of all to oppose it lith-re). So We have the following concepts: sociological (and historical and cultural), aesthetic., Philology. And theoretical and communicative (oral, direct communication). In the first two cases, this is a "wide" consumption of the term "folklore", and in the last two - two variants of "narrow" use. The unequal use of the term "folklore" by supporters of each concept indicates the complexity of the folkloristic object, about its relationships with various kinds of humans. Activities and human. Life. Depending on what kind of connections are attached particular importance and which are considered secondary, peripherals, the fate of the main term folklores in a framework of a particular concept. Therefore, these concepts in a certain sense not only intersect, but sometimes they would not contradict each other. So, if the most important signs of folklore recognize verbality and a perception, then this does not necessarily entail a denial of communication with others. Art. Forms of activity or, especially, the reluctance to reckon with the fact that the folklore always existed in the context of popular household culture. Therefore, there was no one day the dispute was not once broken - it is folklorism with a science of philological or ethnographic. If we are talking about verbal structures, their study will inevitably be called philological, but since these structures function in people's life - they are studied by ethnography. In this sense, folklorism is at the same time an integral part and that, and other science, at every moment of its existence. However, this does not prevent it from being in a certain way of independent - the specifics of the same research methods of folklores inevitably develops on the crossed of these two sciences, as well as music studies (ethnomiscology - see ethnomiscology), social psychology, etc. It is characteristic that after the disputes of the 50-60s. about the nature of the folklore (and not only in our country) folklorism is noticeably philologized and at the same time ethnographed and became close to the musicology and common theory Cultures (work by E.S. Markaryan, M.S. Kagan, the theory of Ethnos Yu.V. Bromleus, semiotics of culture, etc.). The first and most will expand. The concept in its concrete outlines could have emerged at the early course of the development of ethnography and folklinistics. These sciences could still offer a single method of studying such various areas of folk culture as a fairy tale (or ballad), folk dwelling, epic song and blacksmithing craft. They were not ready to be at the same time the differential consideration of different spheres of traditional culture. The second concept (aesthetic), being rigidly programmed (only art. Forms of folk culture), is fraught with ignoring the natural nature of traditional archaic forms of folklore in the context of folk culture. The clear allocation of adjective "artistic" constantly threatens with its transformation into an estimated category, the criterion of K-Roy is very relative. Aesthetic. The function of many folk genres under the clue is not the only one that is not dominant. In its more or less pure form It was formed relatively late. However, she was late formed even in the sphere of professional culture. So, in the history of Rus. Lit. Prose what could be called fiction, for a to-Roy aesthetic. The function has become dominant, it appeared only at 17 V. Medieval lit-ra, music, choreography, depicting. Art is very perceived as predominantly art phenomena, however, in most cases, the dominant for them was a practical, information, magical, religious, and aesthetic. The function very often remained a secondary concomitant, which occurred at least in syncretic. Unity with the above or other features. Dissection for artistic and non-educated with such a situation is impossible: one transfers to another and exists in the organic complex. Moreover, such a dissection is impossible in the sphere of folklore. Folklore genres are grouped into two units: in the first of them, some extraesthetic dominates. The function, in the second - aesthetic. The first includes a ritual folklore, conspiracies (the main function of the magic - magical and also ritual), due (for those reasons), it means. Part of the legends and legends, Byulovek (the function of the reinforcement, first of all, the information and k-rye retells far from always "artistically", at least such psychological. Installations have not been). In the second - fairy tales, epic and historical. Songs (in combination with the function of the information, serving in the form of historical. Memory), ballads, historical. Songs and some other genres. Said comparable to the situation, K-paradium has always been characteristic of folk art. In the peasant life almost there were almost no things that did not have practical. destination. Thread on the front of the hut, the painting and carving on the spread, shape and ornament on household ceramics, decorations on women's clothing and heads, etc. organically combined practical and artistic. The study of folk art is one of the natural sections of ethnography, but in the same extent - the history of art, just as the verbal folklore is one of the sections of philology and ethnography. Even the folk music, considered in all its volume ("music of the oral tradition", as it is sometimes called musicists), contains forms with very distinct practical. function. Such is, for example, shepherd music, especially developed in mountainous areas, as well as forms associated with the most medo. magical actions. Of course, there are also complexes (song, instrumental), aesthetic. The function of the to-rye is sufficiently developed, but they can be understood due to those complexes, for reactive practical. The function is just as important or simply dominated. The third of the above-mentioned concepts allocates verbal (verbal) forms, recognizes the folklore of speech, verbal communication. At the same time there are two problems. The first is the allocation of folklore from ordinary, business, practical. speech. If any language is not just a tool for speaking or writing, but a system that simulates human. The world, ideas about the world, the picture of the world, then the folklore (as well as mythology, lith-ra) is a secondary modeling system that uses the language as a material. The second problem is that, in contrast to everyday speech practice, generating one-time texts according to a certain rules (grammatical, logical, etc.), in its totality component of the language of the language, the speakers are communicated, folklore tradition - this is a transmission Texts, entry of texts in the tradition, assimilation of them and playback. There is no clearly indicated border here. Texts are supplied to the tradition precisely in the process of speech communication. Originally create one-time texts, including future folklore. These are the texts of the minimum volume - phraseological units, stable speech turnover, acquiring a secondary sense, a secondary modeling character, it's like "secondary words", which are among the speech in the tradition of the language. They acquire their function and become the simplest elementary folklore forms. Maximum texts - contaminated fairy tales, epic poems, etc. Between the elementary and maximum forms, there is an all variety of folk genres that have a wide variety of functions and structure. A differentiated approach to closed and open structures is required (compare fairy tales and due or lullaby songs), as well as to structures that have strong (all ritual folklore, game songs, etc.) and weak bonds (epic songs, ballads, many species lyrical songs et al.) Embossed links - one of the most important criteria for distinguishing whole group Folk genres and lit-ry. And finally, the fourth concept makes focus on the perception as the most important features Folklore. It is closely related to the third philological concept and is built on the desire to allocate oral among the verbal forms, to associate the main features of the folklore with fundamentally different, as in Lit-Reta, the type of communication - direct and contact (Fase to Fase Communication, Direkte Kommunikation), as well as The role of memory in the preservation and functioning of the folklore, with the functioning of the text as the means that implements both the process and the result of communication, with varying and role in it in the artist (subject of communication) and perceiving (recipient) as a potential performer. Theoretically, the problem is equally important. feedback , the dependences of the performer and its text from the listeners and their reaction in the process of perception of the text, as well as the process of forming verbal formulas - stereotypes (about the role of k-ry in the process of execution, A. Lord and its followers wrote, and in Russia in the middle of the 19th century. - A.F. Hilferding). Development of a permissions in 20 V. Actually, it was not discovered as specific. phenomena. The "perception" and "nationality" (\u003d simpleness) appeared in all four concepts, about the re-mentioned above. This obliges us to evaluate the "nationality", at least purely theoretically as sociological. The category that constantly appears in the works of folklorists. It originated in connection with the folklore in the period, which is usually called romantic in the history of public thought. It was the time of aging folkloristic (equal and ethnography) as science. In the historical and cultural sense, it was the initial period of urbanization of the most developed countries of Europe, when the process of constructing archaic traditions began. Ethnography and folklorism arose at the time when the soil began to leave them under their feet. The carriers of the archaic tradition were increasingly found people from social bases - peasants and lower layers of citizens. They were folklinists the only keepers of Ethnic. Tradition, which is at the time of ripening National. European self-consciousness. Peoples have gained special importance and special cultural status. Parting with the archaic tradition stimulated the creation of a kind of illusion - the society of the New Time began to seem to be deprived of any tradition compared to the outgoing "society of traditional". Modern cultural studies emphasizes the relationship of "culture and tradition." There is no organization without culture, i.e., by E.S. Markaryan, an adaptive adaptive mechanism that ensures the functioning of the OBA. A similar mechanism cannot be formed without the "non-mental memory of the collective" (Yu.M. Lotman), i.e. without tradition, K-paradium to. Extent is a system of socially significant stereotypes. The transition from the pre-industrial OB-WA to the industrial and urbanized was not accompanied by the liquidation of tradition as such or (which in this case is the same) culture as such, but by changing one system of traditions of another, one type of culture to others. So The opposition of the pre-industrial OB-VA as a "traditional" industrial as "unconventional" has no theoretical. The bases and persist in the inertia or (which is more often) very conditionally. This also applies to folklore. Any transmission of text, folk or literary, oral or enshrined on a letter commonly common, replicating a manuscript or a typographic way of a manufactured book, is a tradition. The difference between them is the difference in the content of what is transmitted through direct or mediated communication, in the methods of forming such a transmission, a set of stereotypes, pace and methods of their update. After expressed considerations associated with the four main concepts of the use of the term "folklore", the question arises: whether it is impossible to give the definition of folklore, to-ry, it could still be "through", i.e. Correct, for of different nations On different stages of history? If you focus on the narrow definition of the folklore associated with the philological and theoretical and informative concept, but at the same time take into account and wider ethnographic. Context, it would be possible to say that folklore is a set of verbal or verbal-non-verbal structures operating in everyday life. In this case, there are in mind the structures operating heredge in contact groups (family, community, settlement, district, region, ethnicity and within the range of a language or other language or bilingual). In this definition there is no characteristics of the content, stylistry. features, genre, scene repertoire, because with all the traditional of folklore - he, if we consider his centuries-old history, was a dynamic phenomenon. At least on different stages History of spiritual culture, he acquired certain (not always known to us) features. The functions of the folklore as a whole and the individual genres could not but change depending on the general changes in the structure of the entire spiritual culture, on the type of the ratio of folklore and, conventionally, "non-community" forms and species of spiritual culture. If you keep in mind only the aspect of interest, we could talk about the three stages of the development of spiritual culture. Their first of them could be designated as a syncretic (archaic type society). Folklore forms, incl. And those who were already familiar to the aesthetic to some extent. Function in its archaic. Varieties (often secondary and non-dominant) were closely intertwined with the variekteric complexes, later the most different branches of spiritual culture - rites, beliefs, religion, myths, historic. Presentations, songs, narrative genres, etc. At this stage, the folklore can be considered all forms of spiritual culture related to the tongue, or more precisely, all traditional verbal texts forming secondary language modeling systems (monofolklorism). Already at this stage, complex systems of folklore texts that serve the various needs of Archaich are functioning and functioning. OB-VA - Communicative, educational, socially classification, semiotic, practical (enshrined in the Word experience of economic classes, hunting, fisheries, military clashes, etc.). Archaich. The period of development of spiritual culture is replaced by the stage of dualism (or, on the terminology of Y. Kristeva (see Cryshev), the "postsencontal" period), for course it is characterized by a gradual transition from homogeneous monofolristics to the parallel existence of household and, relatively speaking, "outstanding" forms spiritual culture associated with the language, i.e. Forms arising outside the life of the primary contact social group (including the so-called professional forms) or, on the contrary, by it, but consumed outside it. In this sense, spiritual culture has evolved not separately, but according to general laws covering both the material culture and the sphere social organization about Bright examples In this sense, Folklore and Lit-Ra. The appearance of writing was an extremely important event. If the execution of folk works and their perception were always simultaneous and carried out within the framework of the primary formal or informal social group of contact nature, then the author literary work And his reader communicate through the written text recorded, can be separated from each other with decades or hundreds of kilometers or those and others at the same time. Archaic syncretic. The complex is increasingly differentiated. Near the folklore, lit-ra is gradually formed, professional will depict. Art and theater. Inside the folk layer continues the process of genre differentiation. Genres are distinguished with dominant aesthetic. Function (fairy tale, epic song, love song, etc.) and genres, in the foil extraesthetic. The function continues to continue to dominate (spells and conspiracies, ritual songs, the so-called "non-zeal prose", spiritual poems, etc.). The second group of genres retains its syncretic. Structure, strong unnecessary bonds, etc. Archaich. Features. Folklore ceases to be the only form of culture associated with the language, but on the scale of the ethnos, it still continues to prevail, because In the life of the people's masses still playing crucial role. Over time, the folklore gradually begins to lose some of its functions, transfers them, in a greater or less, lit-re, professional theater, professional music and choreography. New features generated by the development of the organization, especially cause new forms, existing in parallel with folklore, sometimes genetically associated with them, but no longer folklore. Most Europe. the peoples throughout the entire CP.-century and in the first centuries after him folklore was permeated by life not only the simpleness, but also medium, and upper layers about Before the invention of typography, the number of handwritten copies of any lit. The works were insignificant. Yes, and Lit-Ra, for example, in Russia, as already mentioned, another 17 century. Only started to form as fiction, for the fooy characteristic of the dominance of aesthetic. Functions. If in professional art, we are constantly meeting with various varieties of "folklorism", i.e. with the secondary use of folklore elements, then folk beetUsually still knows the continuous (primary) continuation of the tradition. Neolkolore in its origin, texts, falling into an oral and common sector, are usually experiencing intensive adaptation to tradition and traditional methods of operation. The third stage of the ratio of folk and non-community forms of spiritual culture is historically connected with a new time. It can be conventionally called the stage of urbanization. Gradual or faster reorientation of the village on urban values \u200b\u200band forms of culture, liquidation of mass illiteracy, development of education systems, typography, presses, later - radio, television, etc. Technical media leads to the fact that the social range of folk forms continues (and now decisively) narrow. There are common. Forms of language and art. Culture. Folklore heritage is more or less actively used when creating them, however, the generalization will compare. Uniformity (homogeneity) of spiritual culture is not developing in the folklore sphere, but in the sphere of professional forms of literary, musical, theatrical, etc. creativity, just as a common. Language develops as a written Nadaileek language. This stage is characterized by all the growing penetration of professional forms in the life of the nation (including the lowest, and its highest social layers) through the book, periodic printing, movies, radio, television, sound- (and later and video) reproducing mechanisms, etc. . With a very wide distribution of written forms under mass literacy, new oral (more precisely - audiovisual and audiovisual) technicians are obtained. The forms of non-rigorous communication, which are used, in particular, for transmissions of texts as a literary and folk (or conditionally folk, secondary) character. A network of over- (super-) contact links is formed, K-paradium covers entire regions globe and overlaps the links of contact groups of different scale. The latter plays an increasingly role in the process of transmission and culture accumulation. Folklore heritage is increasingly stored in generalized, or secondary forms. Such was the main direction of development. However, in the 20th century. In a number of countries that have grown highly suffering from gigantic military clashes, it is possible to note the periods when something like a diverse movement was made, resuscitation of oral forms of domestic nature. This was especially brightly manifested in Russia during the civil and great years. Patriotic War. Contemporary Folklorism, seeking to know the general patterns of the development of folklore, cannot but reckon with the fact that it is perceived by the peoples themselves as a precious expression of ethnic. Specific, spirit of the people. Of course, the ratio of universal and specifically ethnic every time is due to the specific conditions for the development of the ethnos - the degree of its consolidation, the nature of its contacts with other ethnic groups, the peculiarities of the settlement, the mentality of the people, etc. If you use categories of a generative grammar, it would be possible to say that general, boarding school. Patterns, as a rule, manifest themselves at the level of deep structures, and specific national - at the level of surface structures. If you contact, for example, to fairy tales or plot epic. Songs (their international repeatability is well studied), it is impossible not to state that their plots means. The degree of international, and their incarnation in real texts vary in different ethnic. and local traditions, acquiring certain ethnic. The features (language, intimately associated with folklore, the realities of life, beliefs, a set of characteristic motives, from which A.N. Veselovsky said, "plots", especially the images of heroes and their behavior, natural conditions, in which the action is developing characteristic social relations etc.). And fabulous, and epic traditions create as if their own world that does not have direct analogies in reality. This world is fined collective fantasy, it is a converted reality. However, no matter how difficult the connection of fabulous reality and reality is genuine, it exists and reflects not just and not only something universal, but also the peculiarities of being and thinking of a certain people. Lit.: Kagarov E.G. What is folklore // Art folklore. T. 4/5. M., 1929; Gusev V.E. Folklore: (The history of the term and its modern meanings) // SE. 1966. N 2: He same. Folklore aesthetics. L., 1967; Rusin M.Yu. Folklore: Traditions and modernity. Kiev, 1991; Folklore in the modern world: aspects and ways of research. M., 1991; Putilov B.N. Folklore and folk culture. St. Petersburg, 1994; Historical and ethnographic studies on folklore. M., 1994; Mirolyubov Yu.P. Russian Public folklore: Essays of life and morals. M., 1995. K. V. Chistov. Culturality of the twentieth century. Encyclopedia. M.1996.

(English. Folklore is a folk wisdom) - this is the designation of the artistic activities of the masses, or oral folk creativity, which arose in the additional period. This term was first introduced into the scientific use of the English Azer-Cheolog of W. J. Toms in 1846 and was understood as widely as a totality of the spiritual and material culture of the people, his customs, beliefs, rites, various art forms. Over time, the maintenance of the ter mines was sore. There are several points of view, treating folklore as a folk artistic culture, such as oral poetic creativity and as a combination of verbal, musical, game species of folk art. With all the variety of regional and local folklore forms inherent in common features, such as anonymity, creativity of creativity, traditional, close relationship with labor activity, life, transmission of works from in charge to generation by means of natural memory. Collective life determined the appearance of of various nations Simplicate genres, plots, such measures of artistic expressiveness, as hyper-bol, parallelism, various types of repetitions, permanent and complex epithet, comparisons. The role of Folklore was especially strong during the prevalence of Mi-Fopoethic consciousness. With the advent of writing, many types of folklore developed in parallel with the fiction literature, interacting with it, providing on it and other forms of artistic creativity influence and experiencing the opposite effect.

Excellent definition

Incomplete definition ↓

FOLKLORE

english Folklore - national knowledge, folk wisdom), folk poetry, folk poetic creativity, oral folk creativity, are a set of various types and forms of mass oral art. Creativity one or several. Peoples. The term "F." introduced in 1846 English. Archaeologist W. J. Toms, as scientific. The term is officially adopted by the English. Folklore in the "Folklore Society", Osn. In 1878. Original "F." Meaning both the subject of research and the corresponding science. In Sovr. Historiomies Science, studying the theory and history F. and its interaction with other types of art, called. Folkloristic. Definition F. cannot be definitely for all East. Stages, since his social and aesthetic. Functions, content and poetics are directly dependent on the presence or absence of a culture system. of this nation Dr. Its forms and species (handwritten or printed book, professional Theater. and pop and others) and a variety of ways to spread verbal arts. works (cinema, radio, television, phonoisy, etc.). F. originated in the process of forming human speech and in ancient era covered all forms of spiritual culture. It is characterized by comprehensive syncretism - functional and ideological. (In F. contained the primitives of art. Creativity, East. Knowledge, science, religion, etc.), Social (F. served all sectors of society), genre (epos, fairy tale, legend, myth, song, etc. Not differentiated), formal (the word performed in an inextricable unity with t. n. Elective elements - intonation, entangle, gesture, facial expressions, dance, sometimes depicting. lawsuit). In the future, in the process of social differentiation of society and the development of culture, various types and forms of F., expressing interests, have arisen. social layers and classes were formed folk genreswho had different socio-domestic appointments (production, socio-organizing, ritual, gaming, aesthetic., Cognitive). They were characterized various degrees Development aesthetic. started various combinations text and ejecting elements, aesthetic. et al. functions. In general, F. continued to remain multifunctional and syncretic. The application of writing to fix the text allocated Lit-Ru from the verbal arts preceding it. creativity. Writing and lith-ra since its appearance were the property of higher social layers. At the same time, lit-ra was first, as a rule, was not yet a phenomenon. artistic (eg, chronicles and chronicles, diplomacy. and publicist. cit., ritual texts, etc.). In connection with this, actively aesthetic. The needs of society as a whole were satisfied for a long time mainly by oral tradition. The development of lit-ry and growing social differentiation led to the fact that in the LateFode. Period F. began to. (And in many nations exclusively) the property of workers by Nar. The masses, since the literary forms of creativity remained inaccessible to them. Social differences in the medium created literary and folklore works led to the emergence of determination. The circle of ideas and various arts. flavors. This was accompanied by the development of specifics. Literary systems (story, novel, poem, poem, etc.) and folklore (epos, fairy tale, song, etc.) genres and their poetics. Transition from oral forms of creating and transferring art. Works, for to-ry, characterized by the use of native. Means of communication (voice - rumor, movement - vision), to fixing and stabilizing the text and his reading meant not only a more perfect way to accumulate and preserve the achievements of culture. He was accompanied and determined. Losses: spatial and temporary breaking the moment of creating (reproduction) of art. Works and its perceptions, loss of justice. Contact between its creator (writer) and perceiving (reader), the loss of bonded elements, contact empathy and the possibility of the implementation of textual and other changes depending on the reaction of perceive. The materiality of these losses is confirmed by the fact that even in conditions of universal literacy continues to exist and again, not only traditionally folklore, but also other synthetic. Forms, and some of them have a contact nature (theater, pop, readers, speeches of writers in front of the audience, the execution of poems under the guitar, etc.). Characteristic features of F. in conditions of its coexistence with lit-swarm and in contrasting it: a permanent, collectivity, nationality, variability, combination of words with art. Elements of other arts. Each work arose on the basis of poetics developed by the team, was intended for the famous circle of listeners and acquired East. Life if it was accepted by the team. Changes, to-rye contributed off. The performers could be quite different - from stylistry. Variations to a significant processing of plan and, as a rule, did not go beyond ideology and aesthetics. medium. The collectivity of the work. The process in F. did not mean its dismissions. Talented masters not only created new songs, fairy tales, etc., but also influenced the process of distribution, improvement or adaptation of traditions. Texts to the historically changed needs of the team. Dialectic. The unity of the collective and individual was in F., as in Lit-Re, contradictory, however, in general, the tradition in F. was more important than in the literature. In conditions of societies. The separation of labor on the soil of the oral tradition in parallel with mass and non-professional performers, which is characteristic of F. of all nations, there were peculiar professions related to the creation and execution of poetic., Musical and other works (Dr.-Greek. Rhase and AIDS; Rome Mima and histories; Rus. Scromorchi; Franz. Jugglers; it. Spielmans; Later - Rus. Guzzlyrah; Ukr. Kobzari; Kazakh. and Kirg. Akyna and Zhyshshi; Franz. chanson, etc.). In the ranked designer. The period was allocated performers who served dominant social layers. The transitional type of the singer-poet arose, closely connected with the knighthood (Franz. Troubadura or him. Minnezinger), later with the Burgerty (Maternal Mainsingers) or Clerical and Student Medium (Franz or him. Vagatants; Polish, Ukr. And Belarus . Verputs). In some countries and areas in the conditions of slow motion, the patriarchal-feud. Uklade was formed transitional forms peculiar oral lithing. Poetic. Works were created defined. Persons, spread hersal, outlined the desire to stabilize their texts. At the same time, the tradition retained the names of the creators (toktogul in Kyrgyzstan, Kemine and Mollanepes in Turkmenistan, Sayat-Nova in Armenia, Georgia and Azerbaijan, etc.). In rus. F. was not developed by the professionalization of singers. You can only speak about off. The names mentioned in the writing of the ancient Russia (singer Mitus; perhaps, Boyan). Each genre or group of folk genres was performed defined. Socio-household functions. This led to the formation of deployment. genres F. with the topics characteristic of them, images, poetics, style. In the oldest, most peoples had generic legends, labor and ritual songs, mythologies. Stories, early forms of fairy tales, spells, conspiracies. Later, at the turn of the transition from a profile society to the classroom, Sovrose arose. Types of fairy tales (magic, domestic, about animals) and Archaich. Epos forms. During the formation of the state, the heroic was formed. Epos, then epic. Songs of Balladny and East. Contents, East. Traditions. Later, Dr. Classic genres. F. formed outcompanic lyrics. Song and Romance, late species of Nar. Drama and even later - the genres of the working F. - Revolution. Songs, Marsh, Satirich. Songs, oral stories. The process of occurrence, development Depth. genres F., especially the duration of their productive period, the relationship of F. with Lit Roy and others. Types of professional art. creativity is determined by the features of the East. Development of each people and the nature of its contacts with other peoples. So, the generic legends are forgotten among some nations (eg, the Vost. Slavs) and formed the basis of East. Traditions from others (eg, Icelandic saga from Icelanders). The ritual songs, as a rule, were timed to different periods of agriculture., Cottle-breeding, hunting Pals of a fishing calendar, entered into various ratios with rites of Christ., Muslim., Buddhist and other religions. The degree of communication of the epic with mythologies. Representations are due to specific socio-economic. conditions. An example of this kind of communication is the NARTAN legends of the peoples of the Caucasus, Karelian Fin. Runes, Dr. Greek. Epos. Really early gone from the oral existence of the GEM. And Zap.-Romanesque Epos. Long existed and acquired the late forms of the Epos of the Turkic peoples, southern. and east. Slavs. Different genre options of AFR fairy tales, Australia, Asian and Europe. Peoples. The ballad in some nations (for example, Scots) acquired clear genre differences, from others (eg, Russians) is close to Lyrich. or East. song. F. Each people are typical of a kind of combination of genres and a certain role of each of them in the overall system of oral creativity, which has always been multi-layered and heterogeneous. Despite the bright nat. The color of folklore texts, many motifs, plots and even patterns of characters in F. of different nations are strikingly similar. Such similarity could arise as a result of the development of F. from the general source (General Archaich. The features of F. Slavs or Finno-Ugric peoples, which go go to the general Praslavyan or Prafinsky inheritance), or as a result of the cultural interaction of peoples (for example, the exchange of fairy tales Russians and Karel), or independent origin of similar phenomena (eg, general stories Tales of American Indians and Peoples Center. Europe) influenced by the general laws of the development of social system, material and spiritual culture. In the LateFode. Time and in the period of capitalism in Nar. Wednesday is more active than before, litit began to penetrate. works; Some-shaped lith. Creativity has gained mass distribution (romances and songs lit. origin, etc. National Books, Rus. "Lubok", it. "Bilderbogen", etc.). It had an impact on the plot, stylistics, the content of folklore works. Creativity by Nar. The list acquired some features of lit. creativity (individualization, psychologism, etc.). In socialist. Society Availability of education ensured equal opportunity to develop the dating and professionalization of people, got the distribution of various ows. Forms of mass wondering arts. Cultures - amateur lithing. Creativity (including partly in tradition. Folklore forms), club amateur, song creativity by Nar. Chorans, etc. Non-rye from these forms have creative, other - performing character. Registration of folklores in self. Science refers to the 30-40th. 19th century Formation of folklores and the beginning of scientific. Gathering and publishing F. was associated with three land. factors: lit. Romanticism, which was one of the forms of expressing the self-consciousness of the creaked Bourges. nations (eg, in Germany, France, Italy), National.-Free. The movement (eg, at the south. and Zap. Slavs) and the spread socially free. and educational ideas (eg, in Russia - A. I. Herzen, N. G. Chernyshevsky, N. A. Dobrolyubov; in Poland - A. Mitskevich, etc.). Romance (scholars I. G. G. German, L. Armen and K. Brentano, Brothers V. and Ya. Grimm, et al.; English - T. Percy and J. Makferson et al.; Serb. -R. Karadzic et al.; Fin. - E. Lenroid et al.; Russian. Decembrists) seen in F. Expression of nat. Spirit and Nats. Traditions and used folk products for the reconstruction of East. Facts that are not reflected in written sources. Arriving in the framework of romanticism. Mythologic. School (Him. Scientists A. Kun, V. Schwartz, V. Manhardt et al.; English . De Gapernatis et al.; Rus. - F. I. Buslaev, A. N. Afanasyev, etc.), based on the achievements of Indo-Eulation. Linguistics, F. Europe believed. Peoples are a heritage of the oldest Pyranceo-Eastern. myth-making. Romance in Glory. Countries seen in F. General Glory. Inheritance, in different extent preserved from different branches of Slavs, just as it. Romantics were seen in F. Sovr. German-speaking nations General inheritance of the ancient Germans. In the 2nd floor. 19th century on the basis of philos. Positivism developed evolutionary schools in folkloristic, which is associated with the growing realization of the unity of the patterns of the development of F. and the repeatability of folklore plots and motifs in various ethnic. environments. So representatives of the T. N. Anthropological. Schools (E. Tyallor, E. Lang and J. Fraser - in England; N. Sumztsov, A. I. Bricks, A. N. Veselovsky - in Russia, etc.) explained the global repeatability of folk phenomena by the unity of human. Psychology. At the same time, the development of the T. N. Comparative (comparative historical. Method), explaining similar phenomena more or less mechanical. borrowing or "migration of plots" (it. - T. Benfee, Franz. - G. Paris, Cesh. - J. Polyvka, Rus. - V. V. Stasov, A. N. Pypin, A. N. Veselovsky and others .), And "Historical School" (the most vivid expression in Russia - V. F. Miller and his students; K. and M. Chadwiki in England, etc.), striving to tie F. every people with his history and who did a great job By comparison, East. docking and folklore plots (especially epic). However, " historical school"It was a simplified understanding of the art mechanism. Reflection of reality in F. and (as well as some other drills of Bourge. Folklores Kon. 19 - Nach. 20 centuries) The desire to prove that the drugs only were mechanically perceived and kept art. Values \u200b\u200bcreated by the upper social layers. In the 20th century. Freuddism was distributed (interpreted folklore plots As a subconscious expression of inhibited sexual and other complexes), ritualist. Theory (binding the origin of verbal art will be transmit. with Magich. Rites; Franz. Scientists P. Seniv, J. Dumezil, English - F. Raglan, Gol. - Ya. De Friz, Amer. - R. Karenter, etc.) and Finnish School, establishing historical geographic. Areas of distribution of plots and developing the principles of classification and systematization F. (K. Krun, A. Aarn, V. Anderson, etc.). The origin of the Marxist direction in folkloristic is associated with the names of P. Lafarga, G. V. Plekhanova, A. M. Gorky. In the 20-30s. 20 V. The formation of Marxist folklores in the USSR continued, after the 2nd World War, 1939-45 was widespread in socialist. countries (B. M. and Yu. M. Sokolov, M. K. Azadovsky, B. M. Zhirmunsky, V. Ya. Prippet, P. G. Bogatyrev, N. P. Andreev et al. - In the USSR; . Dinekov, Ts. Romanka, S. Perekova et al. - In Bulgaria; M. Pop and others - in Romania; D. Ortutaii, etc. - in Hungary; Yu. Kshizhanovsky and others - in Poland; J. Gora , Ya. Ex, O. Sirovatka, V. Gasparykova et al. - In Czechoslovakia; V. Steinets and others - in the GDR). She considers F., on the one hand, as an oldest form of poetic. creativity, treasury of art. experience nar. Mass, as one of the components of the classic. Heritage nat. Art. Cultures of each people and, with others. Parties as the most valuable East. a source. When studying the oldest egs of human history, F. is often (together with archaeology) an indispensable East. The source, especially for the study of East. Development of ideology and social psychology nar. masses. The complexity of the problem lies in the fact that Archaich. Folk works are known, as a rule, only in the records of 18-20 centuries. or in earlier lit. Processing (eg, it. "Song about Nibelunga), or Archaich. Elements are included in later aesthetic. Systems. Therefore, the use of F. for East. Reconstructions requires great caution and first of all the involvement compares. Materials. The features of the reflection of reality in various genres of F. are also taken into account, in different ways of aesthetic., Cognitive, ritual and other functions. The experience of studying genres, which were realized by the performers as the expression of East. Knowledge (Prosaich. East. Traditions and legends, Song East. Epos), showed the complexity of the ratio of plots, characters, time, to K-Roma their actions are attributed, epic. geography, etc. and genuine East. events, their real chronological, social and geographical. medium. Development of art. -Or. Thinking people went not from empiric. And the specific image of the events to their poeticization and generalization or legendary fiction. Processing as the events oblivion, but on the contrary - from t. n. Mythologic. Epos representing fantastics. Reflection of reality in mythological. Categories (for example, the successes of humanity in the mastery of fire, crafts, seaflings, etc.: Personifier in F. in the form of a "cultural hero" of Promethevsky type), to heroic. Epos and, finally, to East. Songs, in the recently drawn significantly more specific East. Situations, events and persons, or East. Ballades, in reactive nameless heroes or heroes with fictional names, act in the situation close to the actual historical. In deposit same plots of East. legends or epitch. Songs are reflected more not empiric. East. Facts, and typical social east. Collisses, East. Status politicism. and art. The consciousness of the people and the folk traditions of the preceding centuries, the East is perceived through the prism. reality. However, both to East. legends and song historical epic. Works often persisted the most valuable from East. point of view of details, names, geographical. Names, domestic realities, etc. So, G. Schliman found the location of the Troy, using the data of Dr.-Greek. Epic. Songs "Iliad" and "Odyssey", although not accurately determined the location of the "Homer's" layer in the cultural layers of the Trojan excavations. Even more difficult to reflect the East reflection. reality in nar. fairy tales, lyrics. and household songs. Songs of the ritual nature, conspiracies, etc., do not reflect no east. Reality as such, and the domestic consciousness of the people and themselves are facts of Nar. Life. T. about. F. In general, it did not passively reproduced empiric. Facts socio-economic. and politics. reality or life, but was one of the most important means of expression by Nar. Aspirations. Much also has F. to clarify the history of ethnic. Contacts, Ethnographic formation process. Groups and historical and ethnographic. regions. Lit.: Chicherov V.I., K. Marx and F. Engels about Folklore. Bibliography. Materials, "OB. Folklore", 1936, NO 4-5; Bonch-Bruyevich V. D., V. I. Lenin about oral folk art, "Sov. Ethnography", 1954, NO 4; Friedlander G. M., K. Marx and F. Engels and questions of literature, 2 ed., M., 1968 (ch. Folklore); Propp V. Ya., Specificity of Folklore, In Sat.: "Tr. Jubilee Scientific. Session of LSU. Section Philology. Sciences, L., 1946; his own, historical roots of the magic fairy tale, L., 1946; his own, folklore and Reality, Russian Literature, 1963, NO 3; Its, the principles of the classification of folk genres, "owls. Ethnography ", 1964, NO 4; its own, fairy tale morphology, 2 ed., M., 1969; Zhirmunsky V. M., to the question of nar. creativity," uch. Zap. Leningr. Ped. In-she. A. I. Herzen, "1948, vol. 67; his own, folk heroic Epos., M.-L., 1962; Gusev V. E., Marxism and Rus. Folklicy of the end of the XIX - NCH. XX century, M.-L., 1951; His problems of folklore in the history of aesthetics, M.-L., 1963; His folklore. The history of the term and his owf. Meaning, "Sov. Ethnogr", 1966, NO 2; His aesthetics of Folklore, L., 1967; Putilov B. N., about the main signs of Nar. poetic. creativity, "uch. Zap. Grozny Ped. In-Ta. Ser. Philology. Sciences", c. 7, 1952, NO 4; His historic. Study Rus. Folklore, in the book: Rus. Folklore, c. 5, M.-L., 1960; Kokkyar J., History of folklores in Europe, per. from Ital., M., 1960; Virusladze E. B., the problem of the specifics of the folklore in the Sovr. Bourges. Folklore, in the book: The literary locations of the Institute of East. cargo. lit., c. 9, TB., 1955 (Summary for Rus. Yaz.); Azadsky M. K., History Rus. Folklores, t. 1-2, M., 1958-63; Muletinsky E. M., the hero of the magic fairy tale, M., 1958; His origin of heroic. Epos. Early forms and archaic monument, M., 1963; Chistov K.V., Folklorism and modernity, "Sov. Ethnography", 1962, NO 3; His, Sovr. Problems of textology rus. Folklore, M., 1963: His. On the relationship of folklores and ethnography, "sts. Ethnography", 1971, NO 5; its own, the specificity of the folklore in the light of the theory of information, "rep. Philosophy", 1972, NO 6; Folklore and ethnography, L., 1970; Bogatyrev P. G., Questions of the theory of Nar. Arts, M., 1971; Zemtsovsky I. I., Folklirism as a science, in Sat.: Glory. musical folklore , M., 1972; Kagan M. S., Morphology of Art, L., 1972; Early forms of art, M., 1972; Corso R., Folklore. Storia. ObbieTto. Metodo. BIBLIOGRAPHIE, ROMA, 1923; Gennep A. Van, Le Folklore, P., 1924; Krohn K., Die Folkloristische Arbeitsmethode, Oslo, 1926; Croce V., Poesia Popolare E Poesia D'arte, Bari, 1929; Brouwer S., Die Volkslied in Deutschland, Frankreich, Belgien Und Holland, Groningen-Haag., 1930; Saintyves P., Manuel de Folklore, P., 1936; Varagnac A., D? Finition du Folklore, P., 1938; ALFORD V., Introduction to English Folklore, L., 1952; Ramos A., Estudos de Folk-Lore. Definic? O E Limites Teorias de Interpretac? O, Rio de J., (1951); Weltfish G., The Origins of Art, Indianapolis-N. Y., 1953; Marinus A., Essais Sur La Tradition, Brux., 1958; Jolles A., Einfache Formen, 2 ED., Halle / Saale, 1956; Levi-Strauss S., La Pendee Sauvage, P., 1962; Bawra S. M., PRIMITIVE SONG, N. Y., 1963; Krappe A. H., The Science of Folklore, 2 ED., N. Y., 1964; Bausinger H., Formen der "Volkspoesie", b., 1968; Weber-Kellermann J., Deutsche Volkskunde Zwischen Germanistik und Sozialwissenschaften, Stuttg., 1969; Vrabie G., Folklorue Obict. Principii. Metoda, Categorii, Buc, 1970; Dinekov P., Bulgarian Folklore, Parva Frequent, 2 ed., Sofia, 1972; ORTUTAY G., HUNGARIAN FOLKLOR. Essays, BDPST, 1972. Bibl.: Akimova T. M., Seminary on Nar. poetic. creativity, Saratov, 1959; Melts M. Ya., Questions of the theory of folklore (materials for bibliography), in the CN; Russian folklore, t. 5, M.-L., 1960; Its, modern folklore bibliography, in the book: Russian folklore, t. 10, M.-L., 1966; Kouchner Z. I., Folklore of the Peoples of the USSR. Bibliography. source. to rus. Yaz. (1945-1963), M., 1964; Sokolova V. K., Sov. Folkloristics to the 50th anniversary of October, "Sov. Ethnography", 1967, NO 5; Volkskundliche Bibliographie, V.-LPZ., 1919-57; INTERNATIONALE Volkskundliche Bibliographie, Basel-Bonn, 1954-; Coluccio F., Diccionario Folklorico Argentino, B.-Aires, 1948; Standard Dictionary of Folklore, Mythology and Legend, Ed. By M. Leach, V. 1-2, N. Y., 1949-50; Erich O., Beitl R., W? Rterbuch Der Deutschen Volkskunde, 2 aufl., Stutt., 1955; Thompson S., Motif-Index of Folk-Literature, V. 1-6, Bloomington, 1955-58; Its, Fifty Years of Folktale Indexing, "Humanoria", N. Y., 1960; Dorson R. M., Current Folklore Theories, "Current Anthropology", 1963, v. 4, NO 1; Aarne A. And Thompson S., The Types of Folktale. A classification and bibliography, 2 Rev., Hels., 1961; Slownik Folkloru Polskiego, Warsz. , 1965. K. V. Chistov. Leningrad.

Folklore is a kind of mapping of popular consciousness. And it distinguishes it from other forms of language art, including from literature, in which the author is expressed by the person. It may also be a purely personal perception of the surrounding, while the folklore combines collective, public vision. Modern literary criticism is increasingly referring to the phenomenon of mass literature and the peculiarities of its functioning within Russia. The authors of the XXI century have recently show a tendency to active interpretation of traditional culture mining. The growth of popularity of mass literature is ensured by the use of the reader's ability writers to reproduce the images and plots presented in the work. Very often, such a "base" is folklore.

Folklore motifs

Folklore motifs sooner or later use all writers of both mass and elite literature, the difference lies in their functions at this level. In mass literature, folklore is primarily the "factor of education of national literature", that is, the guarantor of the correlation of text with generally accepted literature standards, which is ready to consume a reader. Under such circumstances, literary crowns are trying to determine: what is the folklore in the literature, how the folklore motives interact with the works of mass literature and what the features of their influence on the author's text, as well as transformations that folklore text are being included as it is included in the plane of a modern literary product and change it traditional values. The researchers establishes the limits of entering the folklore text to the text of the literary and trace transformations of universal folklore archetypes. One of the main tasks will find out what folklore is in the literature, to investigate their mutual influence and links in the works of mass literature.

Traditional folklore

Mass literature authors the main task When writing, the work put the reader's interest. For this, first of all, they strive for the workshop of intrigue. Zofya Mitosk in the article "The End of Monezis" writes that "the construction of intrigues is the game of traditions and innovations." And if under the concept of traditions to keep in mind "Transfer from one generation to other traditional forms of activity and communication, as well as related customs, rules, ideas, values", then for the reader Folklore is a worthy representative of the tradition in the literature. In modern society, you must instill with the younger generation the need to study the traditional folklore.

School Program: Literature (Grade 5) - Genres of Folklore

The fifth grade is an important phase in the development of schoolchildren's linguistic education. Appeal to works with the use of folk materials is due to the need for self-affirmation, the substantial susceptibility of the fifth grade students to folk creativity, the compliance of the folklore as an oral word to the active speech of the child at the constant development stage. Such education in high school gives a student of the lesson of literature.

Genres of Folklore, which should be studied in modern school:

Ritual creativity

• Calendar ritual poetry.
• Folk drama.
• Heroic epic.
• Duma.

Ballads and lyrical songs

• Ballads.
• Family and domestic songs.
• Social and household songs.
• Rifle and rebel songs.
• Chastushki.
• Songs of literary origin.

Fabulous and non-surrender historical prose

• Folk tales.
• Legends and legends.

Popular Pamiography

• Proverbs and sayings.
• Puzzles.
• Folk beliefs.
• Basni.

Folklore - "Genetic" element of minigration

The artistic action in the plot of works of literature is most often simple and clear, designed to respond to the ordinary consciousness of the reader. Folklore is a "genetic" element of minigration and, as a rule, is detained into consciousness with the first songs, fairy tales, riddles from childhood. So, at school, the features of folklore works gives a student a literature lesson (grade 5). Folklore makes the world clearer, trying to explain the unknown. Therefore, when the functions of folklore and literature interacts, a powerful resource is created to influence the consciousness of the recipient, in which the text is able to mythologize human consciousness and even cause the transformation of the rational sphere of human thinking. The answer to the question "What is a folklore in the literature" is determined by a whole direction of inalienable creative understanding and use. In the works of folklore, the ideas of creativity are often revealed on the verge of intersection with literature. Perhaps this affects the original ritual folklore. Literature (Grade 5) in the modern school is increasingly returning to the topical theme of spiritual and cultural rebirth today, in the primancy of the existence of our people, one of the main media of the information about which is a folklore.

Tradition analysis

Nowadays, a certain tradition of analyzing what folklore in the literature, according to which equating creativity to standards is considered inappropriate: despite the label of "massiness" of the novels, they have their own style, creative manor and, most importantly, the theme of works. They "regenerated" from the depths of the soul eternal themesThe interest in which the reader dreamed from the beginning of the new era. The beloved themes of the ancient authors there is a village and the city, the historical connection of generations, mystical stories with love-erotic color. On well-minded historical images, the modern style of "direct" description of events is built, traditional culture is fed in a modified version. The heroes of the works are characterized by the lack of comprehension of life and psychological experience, the descriptions of their characters are emphasized by reminiscence to the history and culture of our people, which are most often manifested in the author's retreats and remarks.

Deskralization of folklore

The accents are made on the visualization of paintings, which is carried out with the help of increased dynamism of the presentation of events and the effect of inactive, which stimulates the reader to the creative "cooperation". In each novel, the hero exists in the personally created by the author of the world, with its own geography, history, mythology. But if reading the recipient perceives this space as already known, that is, it penetrates the atmosphere of the work from the first pages. Such effect authors achieve due to the inclusion of various folk schemes; that is, we are talking about the "imitation of myth not mythological consciousness", according to which folk elements Speakers under your traditional context And they acquire another semantic value, but at the same time perform the identification function by the reader already known to it ancient meanings. Thus, in the texts of the mass literature, the traditions and folklore are descralized.

The phenomenon of the modification of the past and present

The phenomenon of the modification of the past and the present can be traced even in the nature of building almost all works. Texts are replete with proverbs and sayings, which allows in a compressed, condensable form to convey the centuries-old experience of the people. In the works, the main thing is that they act as elements of monologues and the characters of the Hero - most often the characters of wisdom carriers and morality are used. Signs and sayings also perform a hint function on tragic fate Heroes of that time. They are carrying deep meaningOne sign can tell about all the hero.

Folklore is the harmony of the inner world

So, certain mythologization and attribution to folklore in the works is natural and the same integral part of the world created, as the specifics of the peasantry, ethnic flavor and living, real broadcasting. Mass literature is built on the "basic models" of the consciousness of the reader of this people (which are based on "initial intentions"). In the works such "source intensions" are folk elements. With the help of folk motifs, there is proximity to nature, the harmony of the inner world, and the remaining functions of the folklore are departed into the background, sacrality simplifies.