What is "folklore" for a modern person? These are songs, fairy tales, proverbs, the epics and other creativity of our ancestors, which was created and passed from the mouth of the mouth once a long time ago, and now remained in the form of beautiful books for children and repertoire of ethnographic ensembles. Well, maybe somewhere unimaginably far away from us, in the deaf villages there were still some old women who still remember something. But it is only until civilization arrived there.

Modern people do not tell each other fairy tales, do not sing after the work of the songs. And if something is composed of "for the soul", it immediately writes it.

It will take quite a bit of time - and folklinists will have to study only what they managed to collect their predecessors, or change the specialty ...

Is it so? Yes and no.

From the epic to the Chastowka

Recently, in one of the LJ discussions, the sad observation of the school teacher flashed, who found that his disciples say nothing to the name Cheburashka. The teacher was ready for the fact that the children of the unfamiliar neither with the king of Saltan or the mistress of the copper mountain. But Cheburashka?!

Approximately the same feelings experienced two years ago all formed Europe. The fact that the centuries were transmitted from generation to the generation, which was as if dissolved in the air and what seemed to be impossible not to know, suddenly began to forget, crumble, go into the sand.

It was suddenly discovered that a new generation was grew throughout (and especially in cities), which an ancient oral culture is known only in meaningless scraps or an ignorant at all.

The answer to this was the explosion of gathering and publications of samples of folk art.

In the 1810s, the collections of German folk fairy tales begin to publish Jacob and Wilhelm Grimma. In 1835, Elias Lehrota produces the first edition of "Kalevalai", which shook the cultural world: it turns out that in the most deaf angle of Europe among the small, who never had its own statehood of the people is still the heroic EPOS, in terms of the volume and complexity of the structure comparable to the ancient Greek myths! Collecting the folklore (so in 1846, the English scientist William Toms called the entire set of people's "knowledge", which is exceptionally orally) to grow across Europe. And at the same time the feeling grew: the folklore goes, the carriers die out, in many areas nothing can be found. (For example, none of the Russians never managed to write out where their action occurs, and in general in the historical "core" of Russian lands. All well-known recordings are made in the north, in the Lower Volga region, on Don, in Siberia - t. e. In the territories of Russian colonization of different times.) It is necessary to hurry, you need to have time to write as much as possible.

During this hurry gathering in the recording of folklinists, something strange has fallen more and more often. For example, short speakers, unlike anything from the fact that they had been sang in the villages.

The exact rhymes, the correct alternation of the shock and unstressed syllables ringed these couplets (the people's folk performers were called by the "couplets") with urban poetry, but the content of texts did not detect connections with any printed sources. Among the folklorists were slimless disputes: to consider whether the chastushki in the full sense of the word folklore or is it a product of the decomposition of folk creativity under the influence of professional culture?

Oddly enough, it was this discussion that made the young even then folkloristic look at the new, arising directly in the eyes of the forms of people's literature.

It turned out very quickly that not only in the villages (traditionally considered the main place of exercise of the folklore), but also in cities there are and circulates a lot of things that in all signs should be attributed to folklore.

Here to make a reservation. In fact, the concept of "folklore" refers not only to verbal works (texts), but in general to all phenomena of popular culture transmitted directly from person to man. The traditional design of the embroidery drawing on a towel in the Russian village or the choreography of the ritual dance of the African tribe is also a folklore. However, in part on objective reasons, it is partly due to the fact that the texts are easier and more fully aware of the record and study, it was they who became the main object of folklores from the very beginning of the existence of this science. Although scientists perfectly understand that for any folk work, no less (and sometimes more) are important features and circumstances of execution. For example, the anecdote necessarily includes the procedure of telling - for which it is absolutely necessary that at least part of the present jokes do not know. Anecdote, known to everyone in this community, is simply not performed in it - and therefore does not "live": after all, the folk product exists only during execution.

But back to modern folklore. It cost researchers to look into the material they (and often their carriers themselves and even the creators) considered "non-serious", deprived of any value, as it turned out that

"New folklore" lives everywhere and everywhere.

A chastushka and romance, anecdote and legend, rite and ritual, and much more such, which in folklore was not suitable names. In the 20s of the last century, all this became the subject of qualified studies and publications. However, in the next decade, a serious study of modern folklore was impossible: real folk creativity categorically did not fit into the image of Soviet society. True, some number of folk texts themselves, carefully selected and combed, from time to time published. (For example, in the popular journal "Crocodile" housed the heading "Just anecdote", where there were often current jokes - naturally, the most innocuous, but their action often was transferred to "abroad".) But scientific research of modern folklore was actually resumed only. In the late 1980s and especially intensified in the 1990s. According to one of the leaders of this work, Professor Sergei Neklyudova (the largest Russian folklorist, head of the center of Semiotics and the Tolklore Center of the RGGU), this happened largely on the principle "there would be no happiness, but misfortune helped": without having funds for normal collector-research expeditions And student practices, Russian folklorists suffered their efforts on what was near.

Omnipresent and multicolored

The assembled material was primarily attracted by abundance and diversity. Each, even the smallest group of people, barely realizing its community and difference from all others, immediately acquired his own folklore. Researchers and used to be known folklore of individual subcultures: prison, soldier, student songs. But it turned out that his folklore was among the climbers and parachutists, the activists of nature conservation and adherents of non-traditional cults, hippies and ready, patients of a particular hospital (sometimes even branches) and regulars of concrete beer, pupils of kindergartens and students of junior classes. In a number of such communities, the personal composition quickly changed - patients went to the hospital and discharged, the children went to kindergarten and ended it - and folk texts continued to circulate in these groups decades.

But even more unexpected was the genre diversity of modern folklore

(or "Post-Folklor", as suggested calling this phenomenon, Professor Nezludov). The new folklore did not take almost any of the genres of Folklore classic, and what took, changed beyond recognition. "Almost all old oral genres go to the past - from the ritual lyrics to the fairy tale," says Sergey Nezlutov. But more and more places occupy not only relatively young forms ("street" songs, jokes), but also texts that are generally difficult to attribute to any particular genre: fantastic "historical and local essays" (about the origin of the name of the city or its parts, On geophysical and mystical anomalies, about the celebrities attending his celebrities, etc.), stories about incredible incidents ("One medical student argued that he would spend the night in the dead ..."), legal incidents, etc. In the concept of folklore I had to include rumors and informal toponymics ("We meet at the head" - that is, the Bust of Nogun at the station "China-City"). Finally, there are a number of "medical" recommendations living under the laws of folklore texts: how to simulate certain symptoms, how to lose weight, how to protect yourself from conception ... In times, when the alcoholics were made to send for forced treatment, the technique was popular among them "Expansion" - what needs to be done to neutralize or at least weaken the action of the "torpedoes" linted under the skin (antabus capsules). This pretty sophisticated physiological machinery was successfully transmitted orally from the old-timers of "medical and labor profilators" to beginners, i.e. was the phenomenon of folklore.

Sometimes, on our eyes, new signs and beliefs are formed - including in the most advanced and educated groups of society.

Who did not hear about cacti, allegedly "absorbing harmful radiation" from computer monitors? It is not known when and where this belief originated, but in any case it could not appear earlier than any wide distribution of personal computers. And continues to develop in our eyes: "The radiation absorbs not any cactus, but only with star-like needles."

However, sometimes in modern society it is possible to detect well-known phenomena - the truth, transformed so much that in order to see their folk nature, special efforts are needed. The Moscow researcher Ekaterina Belousov, analyzing the practice of handling the guinea in Russian maternity hospitals, came to the conclusion: the notorious rudeness and authoritarianity of medical staff (as well as many restrictions for patients and the obsessive fear of "infection") is nothing more than a modern form of the maternity rite - one of The main "transition rites" described by ethnographers in many traditional societies.

From the mouth of the Internet

But if in one of the most modern social institutions under the subtle layer of professional knowledge and household habits suddenly, ancient archetypes are discovered, is it really the difference between the current folklore from the classical? Yes, the forms have changed, a set of genres changed - but this happened before. For example, at some point (presumably in the XVI century), new episons have ceased to develop in Russia - although the already folded continued to live in an oral tradition until the end of the XIX and even until the 20th century, and the historical songs came to replace them. But the essence of folk creativity remained the same.

However, according to Professor Neklyudov, the differences in the post-folklor from the classic folklore is much deeper. First, the main organizing rod fell out of it - the calendar. A rural resident of the seasons change dictates rhythm and filling the entire life, urban - is it not possible to choose clothes. Accordingly, the folklore "unfastened" from the season - and at the same time from the corresponding rites becomes optional.

Secondly,

in addition to the structure of the folklore itself, the structure of its distribution in society has changed.

The concept of "National Folklore" - to some extent, the fiction: the folklore has always been local and dialectagen, and local differences were important for its carriers ("And we don't sing!"). However, if this locality was last literal, geographical, now it has become more socio-cultural: the neighbors on the landing can be carriers of a completely different folklore. They do not understand each other's jokes, can not feed a song ... Self-fulfillment of any songs in the company today becomes rare: if a few decades ago, the definition of "popularly known" was related to the songs that everyone can fake, now - To the songs that everyone ever heard.

But the most, maybe important - marginalization of the Place of Folklore in a person's life.

The most important thing in life is the worldview, and social skills, and concrete knowledge - a modern city dweller, unlike its not such a distant ancestor, not through folklore. With folklore, another significant function - identification and self-identification of a person is almost removed. Folklore has always been a means to declare belonging to a certain culture - and means to check this statement ("ours is one who sings our songs"). Today, folklore performs this role or in marginal and often opposing "large" society subcultures (for example, criminal) or very fragmentary. Let's say if a person is interested in tourism, he can confirm his belonging to the tourist community Knowledge and execution of the corresponding folklore. But besides the fact that he is a tourist, he is still an engineer, Orthodox, the parent - and all these hypostasis, it will manifest in completely different ways.

But, as Sergey Nezlutov notes,

at all without folklore, a person can also do.

Perhaps the most bright and paradoxical confirmation of these words was the emergence and rapid development of the so-called "Network Folklore" or "Internet Laura".

In itself, it sounds like oxymoron: the main and universal feature of all folk phenomena is to exist orally, while all network texts - by definition written. However, as the Deputy Director of the State Republican Center of the Russian Folklore Anna Kostina notes, many of them are inherent in all the main features of folklore texts: anonymity and collectivity of authorship, polyvariance, traditional. Moreover: network texts clearly strive for "overcoming writing" - trading and widespread use of emoticons (allowing at least to designate intonation), and the popularity of "Padonskaya" (intentionally wrong) spelling. At the same time, computer networks that allow you to instantly copy and forward the texts of considerable size, give a chance to revive with large narrative forms. Of course, it is unlikely that something similar to the Kyrgyz heroic epic "Manas" with his 200 thousand lines will ever be born on the Internet. But merry unnamed texts are already widely walking in the network (like famous "American aircraft carriers with Spanish Lighthouse") - absolutely folklore in spirit and poetics, but unable to live in purely oral transmission.

It seems that the folklore can not lose a lot in the information society, but also to acquire something.

The XVIII century - the birth of folklores as science. The appeal of scientists, writers, public figures of the era to the study of the life of the people, his life, poetic and musical creativity. The emergence of a new relationship to folk culture with the release of the Decree of Peter I of 1722.

Coloring and research activities Historian V.N. Tatishchev, scientist-ethnographer S.P. Kraschchenikova, poet and theorist V.K. Tredyakovsky, poet and publicist A.N. Sumarokov, their contradictory attitude towards folk creativity.

The first records and publications of the folk material of the XVIII century: numerous songwrites, collections of fairy tales and proverbs, description of folk images and superstitions: "Collection of different songs" MD Chulkov, his "Dictionary of Russian Superstitions", Songnik V.F. Trotovsky, collection of fairy tales V.A. Levshina et al.

ROLE N.I. Novikov in maintaining a number of folklore beginnings. Requirements for the college activities of folklorists and the publication of genuine folk material.

The interest of the Decembrists to traditional folk creativity and their collective activity (Raevsky N., Sukhorukov V., Ryleev N., Kornilov A., Bestuzhev-Marlinsky A.). A.S. Pushkin is an expressive of the progressive ideas of Russian folklorism.

The beginning of the formation of folkloristic research schools and their scientific value. The position of the interpretation of the phenocre creativity of mythological school. F.I. Buslaev, A.N. Afanasyev - prominent representatives of this school.

School V.F. Miller and its historical foundations in the study of the National Epos. School borrowing. The activities of Russian geographical and archaeological societies in the study and collecting folklore. Functions of the Music and Ethnographic Commission of the Ethnographic Department of the Society of Lovers of Natural Science, Anthropology and Ethnography at Moscow University.

Development of gathering folk art. The first large-scale collector activity of Kireevsky P.V.

Research orientation and scientific interpretation of folk art. Fundamental works of scientists of the ethnographic direction: Sakharov I.P., Snegirev I.M., Tereshchenko A., Kostomarova A. and their meaning for folkloristic theory. Collecting and developing folklore in the second half of the XIX and early XX centuries.

New milestone in the development of domestic folklore. Changes in the subject and images of folklore works.

Orientation on the work of socialist myths of the Soviet era. Idea pathos of folk art. Active genres of folklore of the Soviet period - a song, a chastushka, oral story. Demunning the original traditional genres (epics, spiritual verse, ritual songs, conspiracies).

Civil War is the first stage in the development of the folklore of the Soviet period. The autobiographical nature of the oral poetic creativity of the civil war. The struggle with the old stands of the past is the main topics of folk art 20 - 30s. The popularity of the folk material of essential content. The idea of \u200b\u200binternationalism and its effect on folk independence. Negative role of prostroland in folklore fate.

Activation of interest in the historical past of his fatherland. The first folklore expeditions 1926 - 1929, the creation of a center for folk work under the Union of Soviet writers.

Folk Conferences 1956 - 1937. - an attempt at scientific reflection of folklore in a new ideological situation, the search for a specific folkloristic method of research.

Genres of Folklore during the Great Patriotic War. Post-war integrated expeditions of the Institutes of Ethnography of the Academy of Sciences of the USSR and the history of art of Moscow State University (19959 - 1963), Department of Russian Folk Art of Moscow State University (195-1963).

The theoretical contribution of the scientists of the Soviet period to the domestic folkloristicistics, in the study of its main problems, genres (A.I. Balandin, P.G. Bogatyreva, V.E. Guseva, Brothers B.M. and Yu.M. Sokolov V.Ya. Prippa, V.I. Chicherov, K.V. Chistova).

Contribution MK Azadovsky in the development of domestic folklinistics. TwoDomnik MK Azadovsky on the history of Russian folklorestics is a large-scale work on the two-day development of Russian folklores.

A new wave of revival of interest in folklore during the period of replacing the official ideology and totalitarianism. The problem of a single methodological approach to understanding and interpretation of the folklore.

The role and place of folk activity in modern cultural space. A variety of subcultures of the modern city, generating various types and genres of modern folklore.

The problem of preserving and rebirth of folk creativity, the development and implementation of targeted regional programs for the development of culture. New technologies for the revival and development of folklore at the regional level in dissertation studies.

Multical activity of leading folk organizations: All-Russian Center for Russian Folklore, Russian Folk Academy "Kargod", All-Russian State House of Folk Creativity, State Museum of Musical Culture.

Educational activities of creative universities having branches for training specialists in Folklore: St. Petersburg Conservatory. ON THE. Roman Corsakov, Russian Academy of Music. Gnesins, Moscow State University of Culture and Arts, etc.

New aspects in carrying out folk festivals, competitions, scientific and practical conferences.

Modern audiovideo engineering in collecting and studying folklore. Effective capabilities of computer equipment and modern technologies in the storage and processing of folk material of a particular region, genre, epoch.

The diversity of researchers of folk art on the problems of genesis, nature and sociocultural functions of mythology and folklore gave rise to in the XIX century both in Russia and in foreign countries a number of peculiar research schools. Most often, they did not replace each other, but functioned in parallel. There were no unshakable borders between these schools, and their concepts often crossed. Therefore, the researchers themselves could count themselves to one, then to another school, clarify and change their positions, etc.

The history of scientific schools is interesting for us today, first of all, because it clearly demonstrates the dynamics of research positions, it shows how the science of folklore was formed, what achievements or, on the contrary, miscalculations met on this thorny path.

An important role in the development of the historical and theoretical foundations of folklinistics was played by mythological school. In its Western European version, this school was based on the aesthetics of F. Schelling, and Schlegel and F. Schlegel and received its unfolded embodiment in the widely famous book of the J. and F. Grimm "German Mythology" (1835). Within the framework of the mythological school, the myths were considered "natural religion" and the rosy kidney of artistic culture as a whole.

The nasal and the most prominent representative of mythological school in Russia became F.I. Buslaev. His views are detailed in the fundamental work "Historical essays of Russian People's Literature and Art" (1861), and especially in the first chapter of this work "General concepts about the properties of epic poetry." The emergence of myths was explained here by the deification of nature phenomena. From the myths, according to the theory of Buslaev, fairy tales, epic songs, epic, legends and other folk genres rose. It is characteristic that even the main characters of the Slavic epic. The researcher is trying to associate with those or other myths. Moreover, it was sometimes proven, and sometimes with certain stretch.

Another typical representative of the Russian mythological school can be called A.N. Afanasyev. Mythological position is very characteristic of his books: "People's Russian Fairy Tales" (1855), "Russian folk legends" (1860), and especially for the three-volume work "Poetic views of Slavs in nature" (1865-1868). It is here that the quintessence of his mythological views is presented, in the context of which myths are considered as the basis of development at the subsequent stages of various genres of folklore.

In one way or the least mythological positions F.I. Buslaeva and A.N. Afanasyev corresponded to the glands of A.A. Kotlyarovsky, V.F. Miller and A.A. Pothebni.

The direction that caused particularly many disputes and discussions in Russia has become a borrowing school or a migration theory, as it was also called. The essence of this theory in the fact of recognizing and justifying the stray folklore plots, which spread through the light, moving from one culture to another.

From the work of Russian researchers, the first edition written in this vein was the book A.N. DPIPIN "Essays of the literary history of the ancient ages and tales of Russian" (1858). Then the works of V.V. Stasova "The origin of the Russian epics" (1868), F.I. Buslaeva "Overcome Tale" (1886) and Volume Work V.F. Miller "Excursions to the Russian Folk Epos Region" (1892), where a huge array of Russian epic analyzed, and their relationships with historical facts and folklore plots of other cultures were established. To a certain extent, the influence of the migration theory also affected the views of the author of the "historical poetics" A.N. Veselovsky, who successfully explored fairy tales, epos, ballads and even the Russian ritual folklore.

It should be noted that the adherents of the school borrowing had their advantages and their disadvantages. To the pros, in our opinion, it is legitimately attributed to the relatively folkloristic work done by them. Unlike mythological school, where everything closed on the genesis of popular culture, the school of borrowing came out of a purely mythological framework and did not focus on myths, but on the works of Folklore. As for the minuses, it should be noted here, first of all, a large number of obvious tensiones in the proof of the main thesis concerning the decisive role of ethnographic migrations.

A lot of adherents in Russian folklore had the so-called anthropological school or the school of self-religion of the plots. In contrast to mythological theory, this theory was explained truly common in folklore of different peoples similarity growing from the objective unity of human psyche and the general laws of development of culture. The activity of the anthropological school was noticeably intensified due to the strengthening of general anthropology (E. B. Taylor, A. Lang, J. Mill, etc.). In European folklorestics in line with this school, they worked and Dietrich (Germany), R. Marnett (United Kingdom), S. Reynak (France), our representative of this school is considered by the author of the "Historical Poetics" A.N. Veselovsky, who in his research quite successfully complemented anthropological plants with certain provisions taken from migration theory. Such an unusual approach was really productive, because it allowed to avoid dangerous extremes and brought the researcher to the Golden Middle. A somewhat later tradition in Russia continued V.M. Zhirmunsky and V.Ya. Proppage

The so-called historical school has become very significant in terms of the further development of Russian folklores.

Representatives sought to purposefully explore the folk artistic culture in connection with the national history. They were interested in primarily where, when, in what conditions, on the basis of which events a certain folklore product arose.

The head of this school in Russia after its departure from the adherents of the school of borrowing was V.F. Miller is the author of a very interesting three-volume work "Essays of Russian People's Literature" (work was published in 1910-1924.). "I am more engaged in the history of the epic and the reflection of the history in the eponymies," the Miller characterized the essence of its approach to the study of Russian folklore. V.F. Miller and his like-minded people - hell. Grigoriev, A.V. Markov, S.K. Shambino, N.S. Tikhonravov, N.E. Onchukov, Yu.M. Sokolov - made a huge contribution to the formation of Russian science on folk art. They collected and systematized exceptionally large empirical material, identified historical parallels to many mythological and folk texts, first built the historical geography of Russian heroic epic, etc.

The works of a prominent ethnographer and a specialist in folk artistic culture A.V. were seriously influenced by the development of Russian folkloristicistics. Tereshchenko (1806-1865) - the author of a large-scale study in the 7th parts of the "life of the Russian people."

The development of this problem was particularly relevant due to the fact that the emerging science of folk creativity was necessary to overcome it a purely philological bias. As already noted, the folklore has never developed as "scenic art" and in his realities was directly linked with a festive and ritual culture. Actually only in this incronsing and it was possible to understand its essence, nature and features.

A.V. Tereshchenko did a huge and very useful work. This work was assessed by the public mostly positively. However, without criticism here either did not cost. In 1848, the magazine "Sovremennik" published a detailed and rather sharp review of the famous critic and publicist K.D. Caveline. Cavelin, as an ardent champion of the so-called "professorship culture", reproached Tereshchenko that he though he collected a really rich empirical material, but did not manage to find the key to his scientific analysis and interpretation. Holidays, rites and other household phenomena, according to Cavelina, are wrong with only "home aspect": these are powerful mechanisms of wider social life and to truly analyze them only in its context. In our opinion, in this critical comment really had a lot of fair.

One of the important figures in the sphere of Russian ethnography and folklores can also be considered to be fully considered by Ivan Petrovich Sakharov (1807-1863). After the end of the medical faculty of Moscow University, he worked as a doctor of the Moscow City Hospital for a long time and at the same time he taught in Moscow lyceums and schools at all not similar to the main profession of Paleography - the history of writing on Russian monuments. Sakharov was an honorary member of the geographical and archaeological societies and knew the work of his contemporaries, engaged in the problems of folk artistic culture. He was actively supported by VO. Odoevsky, A.N. Olenin, A.V. Tereshchenko, A.H. East and others, as he said, "good people." Among the main books of Sakharov, it is necessary to name the "songs of the Russian people", "Russian folk tales", "travel of Russian people in other people's lands." A special place in this row occupies the capital dual-volume work "Taken by the Russian people about the family life of their ancestors", published in 1836. The two-volume minister was reissued in 1837, 1841, 1849, and later was once again released by the publisher A.V. Suvorin. One of the most important parts of this popular book is the first systematic arch of the Russian population calendar on all his holidays, customs and rites.

However, it is impossible not to note that I.L. Sakharov was a representative of the early stage of Russian folklinistics, where, along with undoubted achievements, there were a lot of annoying miscalculations. It was often reproached (and, judging by all, fairly) in some folkloristic libations, when, in many cases, data on the place and time of recording was produced in many cases of texts, and especially dialects on a modern generally accepted language, in the rash mixing of gathering with literary writing . In this sense, Sakharov clearly inferior to his main opponent I.M. Snegrevia, whose works were distinguished much greater punctuality, evidence and reliability. But also at I.L. Sakharov were also their advantages: losing other researchers in accuracy and analyticalness, he surpassed many of the excellent image-poetic language, and also had readers to himself by a selfless admiration for the greatest talents of the Russian people.

Among the folklorists of the middle of the XIX century, the colorful figure has already been highlighted by Alexander Nikolayevich Afanasyev (1826-1871). Print your people's and ethnographic articles in the magazines "Contemporary", "Public Notes", as well as in the "Temperter of the Society of History and Antiquities of the Russian" he began during the years of study at Moscow University. Since 1855, his "Russian folk tales" began to be published. In 1860, the book "Russian folk legends" came out of the press. In 1860-69 He was published its main three-volume work "Poetic views of the Slavs in nature." Afanasyev himself called his works of "archeology of Russian life." Stressing the Indo-European sources of Russian folk art, he highly appreciated Slavic mythology and qualified it as the basis of all further folklore.

A. N. Afanasyev was one of the first among Russian folklorists, who solely boldly invaded the previously affected layers of the so-called Russian "naughty" folklore. This attempt received an ambiguous assessment at that time. Already mentioned us "Russian folk fairy tales" compilations were produced with very serious friction. For the second edition of the collections, a ban was imposed, and the third book of the collective cycle "Russian cherished fairy tales" published only abroad (1872) and after the death of the collector. The content of some of the fairy-tale and folk stories presented to them came to a serious contradiction with official state ideas about the religiousness of the Russian people. Some critics saw in them an explicit distortion of the traditional image of a domestic clergyman. Others - presented claims to the moral side of published texts, etc. The assessment of the "cherished fairy tales" remains ambiguous. However, in any case, it is impossible not to note the commendable desire of Afanasyev in the developing and publishing activities to show the domestic folklore, what it is, without emissions and embers.

A major step forward made Russian folklorism at the stage, when a talented philologist, art historian and folkloride, academician of the St. Petersburg Academy of Sciences Fedor Ivanovich Buslaev included in active scientific and creative activities. The undoubted advantage of the scientific research of Buslayev began its attempt to analyze the richest array of folklore works accumulated by this time, produce its classification, streamline the conceptual apparatus used in folkloride. According to the number of links to them in the subsequent years, the book of Academician Buslayev, without a doubt, stand at one of the first places. His full right is considered the creator of university science on folklore.

F.I. Buslaev became one of the first domestic researchers who seriously engaged in the periodization of the processes of development of popular culture. Each of the periods allocated - mythological, mixed (twist), actually Christian, received a thorough qualitative characteristic in his writings.

The originality of the methodological position of Buslaev was that he, essentially, did not adjacent to Slavophils, nor to Westerns and in his own views always remained on the desired band called the "golden middle".

Buslaev surprisingly retained romantic views formed in his youth and at the same time he became a nucleon of a new critical direction in ethnographies, folkloristic and literature. He was not always understood and took the reader's public. There were a lot of sharp collisions with logs. At the same time, the undoubted advantage of Buslayev always remained the ability to look closely to new views, concepts, estimates and never turn into a person who couldned in their once developed postulates. It is enough to note the serious interest in the work of such different areas of researchers, like Mangardt Benpzyn, Taylor, Paris, Kosken, Brothers Grimm, and others.

In their works on the culture of F.I. Buslaev appealed not only to the issues of people's literature. The circle of his interests was much wider. We find here publications on common aesthetics, literature, stories. Excellent erudition helped the researcher approach the study of ethnographic and folk phenomena of Russian life from a wide variety of positions. The readers of his work always amazes the diversity of the subject developed by this author. Here we meet essays about the Bogatlish Epos, spiritual verses, domestic and western mythology, "weird" standards and stories, Russian life, beliefs, superstitions, peculiarities of language, etc.

F.I. Buslaev One of the first in Russian folklore began to spend the most interesting comparisons of the domestic folklore with folklore of other countries. For example, when analyzing the epics of the Kiev-Vladimir cycle, they use many references to such artistic samples, like "Odyssey", "Iliad", romances and Side, Allala songs, etc. In this sense, Buslaev - an expert of the highest class.

F.I. Buslaev managed to put the idea of \u200b\u200bforming a national worldview to the Center for the Study of People's Art Creativity. A new stage in the development of Russian ethno-artistic knowledge is undoubtedly connected with the exit to the light of his two fundamental research - "Historical essays of Russian People's Literature and Arts" (SPB., 1861) and "People's Poetry. Historical Essays" (SPB., 1887).

In its folkloristic surveys of F.I. Buslaev quite successfully used a methodological technique, according to which the "native epic poetry" (the term buslaeva) is analyzed in a constant comparison with what he called "artificial epic poetry". The same described object, by its expression, there are two types of epic who look like different eyes, and that they are valuable as sources of historical and cultural knowledge. In the framework of the folklore "Lead Singer", according to Buslayev, being a wise and experienced teacher, tells about the old days experienced, not hot ... He is "simple," as a child, and tells everything that happened, without being causing Lukovo. In the ancient Russian songs, fairy tales, the eponsions of nature descriptions do not occupy a self-sustaining place, as we often see in novels and the onas. Here the focus of the whole world for the people's author and the performer is the person himself.

People's poetry always gives first place precisely a person, touching nature only by passion and only when it serves as a necessary addition to the work and character of the person. These and many other Buslaev's judgments about Russian folklore clearly indicate an outstanding ability to consider the object under study, original.

A very important role in the development of Russian folklorism was played by a historian, a writer, corresponding member of St. Petersburg A.N Nikolai Ivanovich Kostomarov, the author of two truly wonderful books "On the historical meaning of Russian folk poetry" and "Slavic mythology".

The fooling of this talented person folklore began in student years. Grown at the junction of two great cultures - Russian and Ukrainian, he from the young years he was fond of books by Sakharov, Maksimovich, Szrevnevsky, Metlinsky and other Russian-Ukrainian researchers of folk art. As a novice historian, Folklore attracted Kostomarova with his juice, vitality, immediacy, and the official story with which he acquainted, surprised the annoying indifference to life and the aspirations of the simple people.

"I came to such a question," he wrote in his "autobiography," - why it in all stories are interpreted about outstanding statesmen, sometimes about laws and institutions, but as if they neglect the life of the people's mass? Poor man, farmer-worker as As if it does not exist for the story; Why doesn't the story tell us anything about his life, about his spiritual life, about his feelings, the way of manifestations of his joys and seals? Soon I came to the beliefs that the story needs to be studied not only on dead chronicles and memorization, And in the living people. It can not be that the centuries of the past life are not imprinted in the life and memories of descendants: you just need to search for - and there is a lot of things, which is still missing. "

In his research N.I. Kostomarov skillfully used the method to which many Russian folklorists were resorted. Its meaning is in motion from the essence of folklore images to the system of folk thinking and folk text of life. "True poetry," Kostomarov wrote in this regard, "he does not allow lies and pretenses; minutes of poetry - minutes of creativity: the people experience them and leaves the monuments, - he sings; his songs, his feelings are not lying, they are born and formed then, When the people do not wear masks. "

The folkloristic surveys of Kostomarov were not deprived of certain drawbacks. He was heard, as he was called, one of the "recent romantics", and the influence of the romantic approach was felt in all his work. His cumiors were Schlegel and Crazer. Actually, the key Kostomarovsky concept of "symbols of nature" also came from these idols. In his ideological and political ideas, Kostomarov was a consistent monarchist, for which he had more than once got from representatives of the democratic community. For the work of this researcher, deep religiosity is characterized. It is especially noticeable in his "Slavic mythology" (1847). Here N.I. Kostomarov put his main goal to show mythology as anticipation of Christianity later who came to Russia. For him, in essence, there was no fact that others called "duals". In the context of the religious feeling of reality, they were all perceived integrity and harmoniously. And this imposed an indelible imprint on the understanding of the ethnography and folklores.

Creative activity N.I. Kostomarova became another example of an active connection to the development of problems of the development of popular culture of domestic historians. On this way, he successfully continued the remarkable tradition of N.K. Karamzin and his followers.

A major contribution to the further multiplication and systematization of materials about leisure, life, about folk art was made by the talented Russian historian Ivan Egorovich Zabelin (1820-1892). He began his work path with an employee in the Armory Chamber, then worked in the archive of the Palace Office, then moved to the Imperial Archaeological Commission. In 1879, Zabelin became the chairman of the Society of History and Antiquities. In 1879 he was elected a corresponding member of the Academy of Sciences; And in 1892, the honorary member of this Academy. I.E. Zhebelin is the author of such unique books as "the history of Russian life from ancient times," "Big Boyarin in his faithful farm", "experiments to study Russian antiquities", "home life of the Russian kings and queens." His undoubted merit is that, on the basis of the analysis of the richest archival handwritten and other previously unknown materials, he managed to show a leisure-household environment of Russian society with exceptional scrupulsiness and reliability. This is what domestic ethnography and folkloreism was so lacked then.

In the period under review, the creative activity of another prominent representative of Russian Science was widely unfolded - Academician of the St. Petersburg Academy of Sciences Alexander Nikolayevich Pupin. In his ideological beliefs, Dwypin remained a man of democratic views.

Close relative N.G. Chernyshevsky, he for many years was a member of the editorial board of the contemporary magazine and took the most active part in his activities. Specialists in the field of philology highly appreciate the fundamental work A.N. Dwypina is a four-volume "history of Russian literature", where, along with philological issues, much attention is paid to the problems of people's artistic creativity, and in particular the relationship between the relationship and the mutual influence of folklore and the ancient Russian literature. In the same vein, his book "Essay in the literary history of the ancient ages and tales of Russians is written."

Essentially, Pypin managed to approve in his writings in many respects the renewed interpretation of folklore. Following Buslaev, whom he appreciated and respected, A.N. Dwypin fiercely opposed everyone who tried to squeeze the folk creativity beyond the cultural field and considered this creativity as a certain fatalized primitive. Folklore, in his opinion, is very importantly complemented by the history of the nation, making it more specific, detailed and reliable, helps to see the true tastes and interests, the addiction of the labor man. It is possible to approve with full right that the excellent knowledge of folk art was largely helped by A.N. Dupin lay the foundations of factual renewed Russian ethnography.

It turned out to be valuable in the writings of Dspina, first of all, the fact that folk theory and practice were presented here as a peculiar history of the development of popular self-consciousness. The author was able to associate the problems under consideration with the real issues of Russian public life. For the first time, folk art was analyzed for the first time in the framework of domestic ethno-artistic knowledge with the development of the production and labor, social and consumer and leisure spheres of Russian society.

In many respects, thanks to the writings of Dwypin, Russian science managed to overcome the initial, purely philological approach to folklore. He one of the first to show the organizing role of production and ritual culture, within which most of ethno-grade works were born and functioned.

A lot of useful in the development of questions of Russian folklores made a contemporary F.I. Buslaeva Academician of the St. Petersburg Academy of Sciences Alexander Nikolaevich Veselovsky. Famous philologist, representative of comparative literary criticism, the conn of the Byzantine Slavic and Western European culture, he paid the closest attention to the problems of the development of world and domestic folklore.

In its approaches to folk art, Veselovsky persistently opposed mythological theory method of strict historical research. He was convinced that the epic is illegally excreted directly from the myth. The dynamics of epic creativity is most closely associated with the development of public relations. Compared to the archaic culture of primitive society, where the myth is really worth in the center of ideological structures, the epic is a new form of the nasal national self-consciousness. It is on these initial installations that the research of A.N. Veselovsky "On Our Lady and Kitovras", "Fairy Tales about John Grozny", and especially its main work "Historical poetics" is built.

Characteristic feature of scientific creativity A.N. Veselovsky his consistent patriotism. In "Notes and Works", Veselovsky contains a very sharp criticism of the concept of V.V. Stasova on the origin of Russian epic. He himself did not exclude certain borrowings that take place in the folklore of any people. However, the main focus of Veselovsky did at the same time an even more important factor in creative adaptation of someone else's experience. For Russian people's literature, in his opinion, this phenomenon is especially characteristic. Here, the processes of non-elementary borrowing, but creative processing "stray and plots" were gradually walked.

"Explaining the similarity of myths, fairy tales, epic stories from different peoples," Velovsky emphasized, the researchers differ usually on two opposite areas: similarity is explained either from the general foundations to which similar legends, or a hypothesis, that one of them borrowed its contents. From another. In essence, none of these theories is applicable individually, but they are thinking only together, for the borrowing implies in the perceive not empty place, but oncoming flows, similar direction of thinking, similar images of imagination. " Veselovsky became the author of a new research principle, according to which the basis for the study of folk creativity is the study of the soil directly by the folklore works. He introduced a productive historical and genetic approach to Russian folkloride to the analysis of artistic culture. Veselovsky's works had a very important methodological importance - they responded to many controversial issues and largely determined the main pathway for the further development of domestic folkloristics

Acquired wide fame, and in the second half of the XIX century, the research activities of the Russian folklorist and ethnographer, Professor of the Moscow University and Academician of the St. Petersburg Academy of Sciences of Vsevolod Fedorovich Miller. Miller is famous for the fact that he, according to the admission of folklinists, made a very important contribution to the study of the epic epic. This is the main meaning and maintenance of its main works - "excursions to the area of \u200b\u200bRussian folk epic" and "essays of Russian people's literature."

Along with constant attention to the domestic folklore, Miller had a close interest in Epos, the literature and the languages \u200b\u200bof the Indo-European East - Sanskrit, Iranian linguistics, and others. It is very significant that he simultaneously considered his teachers, on the one hand, F. I. Buslaeva, And on the other - A.D. Kuna, who was held at one time a biennial internship abroad. Linguist, literary review and folklorist he was unique. However, as it often happens, abundant erudition sometimes generates sometimes in its written overloading by hypotheses, risky parallels, a noticeable "change of milestone" in each next book. In this sense, in our opinion, it is quite fairly criticized by A.N. Veselovsky and N.P. Dashkevich.

An even more (and, in our opinion, reasonably), V. F. Miller was delivered for an unexpectedly nominated the concept of the aristocratic origin of the Russian epic epic. For clarity, we give a few excerpts from his "essays of the Russian People's Literature": "Songs were composed by Princely and Druzhinny singers where there was a demand for them, where the pulse of his life was strung stronger, where there was prosperity and leisure, where the color focused nation, i.e. in rich cities, where life and ta is even more fun ...

Heping by princes and warriors, this poetry wore an aristocratic nature, was, so to speak, the graceful literature of the highest, most enlightened class, more than other segments of the population imbued with the national self-consciousness, a sense of unity of Russian land and in general political interests. "Sometimes Miller says something. Of the people in the prince-friendly circles, it was reached by a simple people, but it could not develop in the "dark environment", "this poetry could not," like the modern eponymous and Arkhangelsk contemporary eponymous eponymous, who have fallen from the environment of professional petaras who have performed them earlier For a richer and cultural class. "Specific examples associated with scientific creativity V.F. Miller clearly demonstrates that the development of domestic folklores was a rather complicated process with the inevitable collision of very controversial trends. It becomes particularly noticeable at the subsequent stages.

In the general direction of the domestic folkloclist survey, numerous publications are occupied by numerous publications devoted to the problems of development in Russia's sceneous art. From the most significant editions of the XIX century, it is legitimate to mention the books of such researchers as P. Arapov "Chronicle of the Russian Theater" (SPB., 1816), A. Arkhangelsk "Theater of the Pre-Petrovskaya Rus" (Kazan., 1884), F. Berg Spectacles of the 20th century in Moscow (sketch) "(SPb., 18861, I. Bozherenov" How to celebrate and celebrates the people of Russian Christmas, New Year, Baptism and Maslenitsa "(SPB., 1894), A. Gaza" Shuza and Skomorchi All Times and peoples "(SPb., 1897), N. Dubrovsky" Maslenitsa "(M., 1870), S. Lyubetsky" Moscow vintage and new gulyan and entertainment "(M., 1855), E. Perematinnik" Russian Theater, His beginning and development "(St. Petersburg, 1887), A. Popov" Pieces of Bratchin "(M., 1854), D. Rovinsky" Russian Folk Pictures "(SPB., 1881-1893), N. Stepanov" Folk holidays on Saint Rusi "(SP b., 1899), A. Faminityin" Scromorocha in Russia "(SPb., 1899), M. Khitrov" Ancient Russia in the Great Days "(SPb., 1899).

As stressed in many of these surveys, the main feature of the scenery was that in the context it was intimidately intertwined by the features of non-professional and professional art. Many authors believe that in the history of the scenement, we see the first and rather rare attempt to achieve the creative interaction of two artistic flows. Due to certain circumstances, such interaction remained no more than an attempt, but its historical and sociocheumatic value of the scenery is not diminished.

Judging by the documents that have reached us, the professionalization in the Russian scrookhov has rarely met and performed clearly in very weak, intensive forms. The bulk of the scrooches was, according to our today's concepts, typical amateur artists. In this sense, it is impossible to disagree with a talented specialist in the history of the Russian scenery A.A. Belkina, which believes that in the villages and villages, the need for somorichah was felt, mainly on the days of the holidays, the part of which folk players were. During the rest of the time, the crumbs are little, what was different from the rest of the villagers. Some part of the screamers who lived in cities, led a similar to the village lifestyle, studying during the periods between the holidays inherent in citizens, crafts, trade, etc. But at the same time, the conditions of urban life gave more opportunities for a professional scenery.

Indeed, life itself produced the selection of the most talented people here and pushed them to the stage platform. There was no special training of art personnel. People learned skill or in the family, or adopted the experience of each other. In essence, there was an ordinary folk process, traditionally based on "cultural and consumer synergetics".

An important feature of the scomerous artistic creativity is, according to many researchers, its entertainment and gaming and satirco-humorous orientation. This life-affirming art was one of the popular forms of folk laughter culture.

There is every reason to believe that the crumbs took an active part in the performance, and in the composition of folklore works. They performed using the fact that it was already created by the people that the people liked and what he himself could take part, as it was supposed to at all festive playing, fraternities, weddings and other traditional fun. But, apparently, from the boggles in the context of such fun and a lot of new things. After all, these were the most talented in artistic terms of people who have had a higher creative and executive experience. Through them, with their help, there was noticeable enrichment of the content and forms of folklore as a whole.

Unfortunately, the problem of such an influence is quite poorly reflected in our folkloristic. Meanwhile, there is every reason to argue that many of the most ancient works of Slavic and Russian folklore were born in a scomeritic medium. Crochetons in Russia were only active participants in rural walks and playing. Up to the well-known Tsarian Decree 1648, these fungic people took the most direct participation in liturgical ideas, for example, in such as "going on dawn", "Cave action" and other stages of biblical and evangelical scenes. It is difficult to overestimate a bundle contribution to the development of folk music. It's about them, as an excellent masters of the game at Domra, Huslyas, Magnies, Beeps are often mentioned in the ancient Russian chronicles. In general, the scomerous performances were fully regarded by many researchers as a kind of transitional stage from free and, in fact, very poorly organized folklore to the ideas already made according to a certain textual canvance, subjected to a certain formulation and to some extent pre-rehearsed. Such submissions, although the principles of active involvement of the public in developing actions were also implemented here in pronounced form, more than purely household forms of artistic execution, assumed the presence of artists and viewers.

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Literature and library studies

The main problems of modern folklores. Modern folklorestics have the same problems as academic schools new. Problems: The question of the origin of the folklore. Problems of studying a new non-traditional folklore.

11. The main problems of modern folklores.

Modern folklorism inherits the wealth of academic schools, while removing exaggerations.

Modern folklorestics have the same problems as academic schools + new ones.

Problems :

The question of the origin of folklore.

Survey problem - The ratios of individual and collective start in folklore.

Was put inXIX. century, but decided inXX century.

Dobrolyubov: "In the book of Afanasyev, the principle of life began" is unknown who and when he recorded the folklore text.

There are different types of obstellers.

In XX The problem was engaged in M.K. Azadovsky

- the problem of interaction of literature and folklore.

Folklore is necessary for adequate perception of literary text.

D.N. Medrish

- the problem of studying various folk genres and concrete works.

The problem of collecting folklore - It is necessary to have time to collect what is still remembered; There are new genres of folklore.

- problems of studying new, unconventional folklore.

Nearby folklore:

Childish

School

Demobian albums

- "Conversational" folklore - a conversation on the phone, a conversation in public transport.

Student folklore.

After the collapse of the USSR, magazines about folklore began to be published:

"Live Older"

"Arbem Mundi. "(" World Tree ")

In XX The age of problems were solved from the point of view of either mythological or historical school.

The state of modern folklore.

Many young people living in our century the rapid development of science and technology are asked "What is modern folklore?".

Folklore - folk creativity, most often it is oral. It implies the artistic collective creative activities of the people, which reflects his life, view, ideals. And they, in turn, are created by the people and are in the folk masses in the form of poetry, songs, as well as applied classes, visual arts.

Fairy tales, epics, tales, proverbs and sayings, historical songs are the legacy of the culture of our distant ancestors. But, probably, the modern folklore must have another kind of other genres.

Modern people do not tell each other fairy tales, do not sing after the work of the songs, do not cry and are not treated at weddings. And if something is composed of "for the soul", it immediately writes it. All works of traditional folklore seem incredibly distant from modern life. Is it so? Yes and no.

Nowadays, there are different genres of folklore. We conducted a survey among students from different ages. The following questions were asked:

1. What is folklore?

2. Is he there now?

3. What genres of modern folklore do you use in your life?

All the respondents were divided into three age groups: younger schoolchildren, middle schoolchildren, senior schoolchildren.

On the first question, 80% of younger students were able to give a complete response, 70% - secondary schoolchildren, 51% - senior schoolchildren.

The second question was given a positive response of 90% of all respondents.As for the use of folklore in everyday life, then, unfortunately, almost all respondents, namely, 92% answered that the folklore does not use. The rest of the respondents indicated that occasionally use riddles and proverbs.

Folklore, translated from English, means "People's Wisdom, People's Knowledge." Thus, the folklore should exist at all times as the embodiment of the consciousness of the people, his life, ideas about the world. And if we do not face the traditional folklore daily, then there must be something else, close and understandable to us, what will be called modern folklore.

The survey showed that students realize that the folklore is not a constant and institutional form of folk art. It is constantly in the process of development and evolution: chastushki can be executed under the accompaniment of modern musical instruments on modern topics, folk music can be influenced by rock music, and modern music itself can include folklore elements.

Often, the material that seems to be frivolous for us, and there is a "new folklore". Moreover, he lives everywhere and everywhere.

Modern folklore is a folklore of intelligentsia, studentism, students of young people, burghers, rural residents. [2 , p.357]

Modern folklore did not take almost anything from the genres of the classical folklore, and the fact that he took, changed beyond recognition. "Almost all old oral genres go to the past - from the ritual lyrics to the fairy tale," says Professor Sergey Nezlutov (the largest Russian folklorist, head of the center of Semiotics and typology of Folklore RGU). [3]

Of course, modern life makes its own adjustments. The fact is that a modern person does not associate his life with the calendar and the season, since in the modern world there is practically no ritual folklore, we have remained only signs.

Today, the great place is occupied by non-heavenly folklore genres. And there are not only amended old genres (riddles, proverbs), not only relatively young forms ("street" songs, jokes), but also texts that are generally difficult to attribute to any particular genre. For example, now appeared 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 the celebrities attending it, etc.), stories about incredible Incidents, legal incidents, etc. The concept of folklore can also include rumors.

Sometimes, on our eyes, new signs and beliefs are formed - including in the most advanced and educated groups of society. Who did not hear about cacti, allegedly "absorbing harmful radiation" from computer monitors? Moreover, this sign has a development: "The radiation absorbs not any cactus, but only with star needles."

Currently, the structure of the distribution of folklore in society has changed. Modern folklore no longer bears the functions of the people's identity as a whole. Most often by carriers of folklore texts are non-residents of certain territories, but members of some sociocultural groups. At tourists, at the ready, parachutists, patients of one hospital or students of one school there are signs, legends, jokes, etc. Each, even the smallest group of people, barely realizing its community and difference from all others, immediately acquired his own folklore. Moreover, the elements of the group may vary, and the folk texts will remain.

For example, once being on acquisitions, I encountered such a promise. During the hike near the fire, many were joked if the girls dried the hair by the fire - to be bad weather. The whole camping of girls from the fire was distilled off. Once at a hike after a while with completely different people and even instructors, I found that we were alive and believe in it. The girls are still distilled off from the fire. Moreover, new opposing signs appear: if you have lingerie by the fire, then the weather will work out, even if someone from the ladies still broke through with wet hair to fire. Here, not only on the face the birth of the new folk text in a certain group of people, but also its development.

The most bright and paradoxical phenomenon of modern folklore can be called a network folklore. The main and universal feature of all folk phenomena is to exist orally, while all network texts - by definition written.

Folklore is an example of the existence and development of a person in society. Without it, it is impossible to imagine modern life. Let everything around changes, but without creativity, it cannot exist, and therefore folklore develops, albeit in unusual forms for us.

Literature

1. Chardnikova M. P. Modern Russian children's mythology in the context of traditional culture and children's psychology. - Ulyanovsk, 1995, 392c.

2. Beetles B. Folklore of our time.Modern people do not tell each other fairy tales, do not sing after the work of the songs // "What's New in Science and Technology" № 3, 2008