Genres of musical folklore. What folk works are closely related
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\u003e\u003e Folklore and fiction
The emergence of fiction preceded a long period when, still long before in-
over the centuries of writing, for many centuries, ancient peoples created the true art of the artistic word - folklore. "The beginning of the art of the word is in folklore," Alexey Maksimovich Gorky rightly argued. Reflecting on the main features (signs) in the life of the ancient people and the understanding of them around the world, Gorky wrote:
"The signs of these reached us in the form of fairy tales and myths, in which we heard the exhaust work on the tearing of animals, on the discovery of the healing herbs, the invention of workers. Already in deep ancient times, people dreamed of the possibility of flying through the air - they tell us the legends about Faeton, Dedalie and the Son of His Ikara, as well as fairy tales about the "carpet-plane". Dreamed of accelerating the movement on the ground - a fairy tale of "Spear boots". Thought about the possibility of spinning and weave in one night a huge amount of matter - created a biller, one of the oldest tools of labor, a primitive manual machine for textiles and created a fairy tale about Vasilis Wolly ... "
In ancient Russia, new types of oral poetic creativity were created: songs, legends, legends, epics, explaining the origin of cities, villages, a barrel 1, Kurganov, telling about the heroic feats of defenders of the native land.
Many of them entered the first works of written literature - the chronicle. So, the chronicle of the "Tale of Bygone Years" (XI-XII centuries) contains folk legends about the foundation of Kiev in three brothers - Kiwa, cheek and choriv, \u200b\u200bwhich were known even in Tsargrad, where they gave them a great honor. In the "Tale of Bygone Years" you can find both oral-poetic legends about Russian princes - Oleg, Igor, Olga, Svyatoslav, etc. Legend of Oleg, for example, talks about the outstanding Old Russian commander, which won the Greeks
not only by force, but also wise ingenuity.
Later, with the spread of writing and the appearance of the first books, oral folk art not only did not lose their role in the life of the people, but also had the most beneficial effect on the development of fiction.
In an effort to penetrate deeper into the essence of a folk life, many writers drenched from Folklore not only information about life, but also topics, stories, images, ideals 2, studied art bright, expressive speech. In most people's literatures, works have been created, which had spread in folklore: songs, ballads, romances8, fairy tales.
You know well that your wonderful ballad "Song about the name Oleg" Alexander Pushkin wrote on
the basis of the folk legend he heard about the death of Prince Oleg, allegedly predicted by the Magi (priest of the Slavic God of Perun). In his fabulous poem, Ruslan and Lyudmila, Pushkin widely used since childhood, from the words of Nanny Arina Rodionna, who remembered the fabulous episodes and images.
The imagination of readers is striking the entry into this poem ("At Lukomorya Oak is green ..."), in which the familiar images of the mermaids are surprisingly at everyone since childhood, the hut on the bitter legs, women of the jagi with a step, wrapped and other magic from Russian fairy tales . The poet exclaims: "There is a Russian spirit, there it smells!"
Tract - A plot that differs from the surrounding area, such as a swamp, forest among the field.
Ideal- What is the highest goal of activities, aspirations.
Romance- a small vocal product of a lyrical nature.
Pushkinskaya "Tale of the Dead Tsarevna and about seven heroes" is the poetic processing of the Russian folk fairy tale "Self-behable mirror".
Based on folk plots, Hans Christian Andersen ("Wild Swans"), French Charles Perra (Cinderella), the Germans Brothers Wilhelm and Jacob Grimm ("Bremen Musicians"), etc.
In the minds of people of many generations, the fairy tales of writers merged with the fairy tales of the people. And this is explained by the fact that every writer, no matter how original his own creativity, is experiencing a deep connection with the folklore of its people. It was in oral folk creativity that writers found bright examples of loyalty to moral polls, the expression of the dream of the people about a fair, happy life.
Great place in Russian folklore occupy episodes of heroic songs telling about the mighty Russian heroes, defenders of the Motherland. Heping the warriors, the eyes were called to the feat of the glory of the Fatherland, raised the spirit of the people into the hard way, brought up in young love for their native land and the desire to protect it from conquerors. The epics of invincible heroes inspired Russian writers and poets to create their own works on the fearless and glorious warriors of the Russian land. Get acquainted with the passage of the poem Nikolai Rynkov, in which the poet told his impressions from the epics about Ilya Muromets, who told him grandfather. This is how he represented the hero of the hero:
Winter and childhood. Evening evening
Under the crown of close housing.
Stands up over the grandfather's epic
Peasant Muromets Ilya.
Not to amaged in the pure field,
He hurries in Kiev without roads,
And nightingale robber whistle
He could not stop him.
Many writers, seeking deeper to show the life of the people, the national characteristics of the heroes, use folk songs, legends, legends and other types of oral folk creativity in their works. Recall how I worked on my book "Evening on the farm near Dikanka" Nikolai Vasilyevich Gogol. In a letter to the mother, he asked to tell him everything she knows about the nravas and customs of his countrymen: "This is very, very, very necessary ... if there is, in addition, any houses, then about them more about them with their names and affairs ; A lot is worn between the simple people of belief, terrible legends, legends, different jokes, and so on., So, and so on. Everything will be extremely entertaining for me ... "
You know from literature lessons, how unprecedented was the success of the first book of "Evenings on the farm near Dikanka". Pushkin wrote: "Now I read the" Evenings on the farm near the Dikanka. " They amazed me. Here is real fun, sincere, relaxed, without a fanishness of 1, without prim. And places what kind of poetry! What sensitivity! All this is so unusually in Pasha literature that I did not make a job. Congratulations to the public with a truly fun book ... "
In the future, your knowledge of the inseparable communication of the folklore with works of fiction will be expanded and delved, but it should always be remembered by the main thing: for artists the words folklore - an inexhaustible source of unshakable ideas of the people about good, justice, true love and wisdom.
Let's talk
1. What types of oral poetic creativity created the people long before the emergence of fiction? Name those of them that entered the first annals.
2. Why do writers in their work often turn to folk work?
3. Name the work of oral folk creativity, which formed the basis of the literary works known to you.
4. Among the Russian folk fairy tales there is a fairy tale called "Golden Fish", the plot of which completely coincides with the Pushkin "fairy tale about fisherman and fish." Why do you think this folk tale has become the basis for creating one of the most beloved and popular fairy tales of the Great Poet?
5. If you know well the content of the "nights on the farm near Dikanka" Nicholas Gogol, remember what popular beliefs, legends used a writer in his posts "Evening on the eve of Ivan Kupala", "May night, or a drowning", "terrible revenge."
6. In 1785, the German writer Rudolf Erich was published by the book "The Adventures of Baron Münhghausen", which was a literary processing of fantastic stories of really living in Germany Baron Münhghausen. Over time, this book has acquired worldwide fame. Which of the adventure described in the book do you know? What do you think, this book attracts readers around the world?
7. Why A. M. Gorky argued that "the beginning of the art of the word in folklore"?
L. A. L_Teatura: Perchnik for 7 CL. Zagalinosvіtnіh in the forefronts of Movyov's Movie. - K.: Pepha, 2007. 288 p.: Іl. - Mova Rosіyska.
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1. Introduction …………………………………………………………………………….………………. 3.
2. Main part ................................................................................................ four
2.1 Genres of Russian folklore ..................................................................... ... 4
2.2 Place of folklore in Russian literature ................................................... 6
3. Conclusion .........................................................................................................................1.1
4. List of references used .................................................................. .13
Introduction
Folklore - [English Folklore] Folk creativity, a set of folk action.
The relationship of literature with oral folk creativity is the actual problem of modern literature in the context of the development of world culture.
In recent decades, the whole direction of the creative use of folklore has been determined in the domestic literature, which is represented by talented prose plates that reveal the problems of reality at the level of intersection of literature and folklore. Deep and organic development of different forms of oral folk art has always been an integral property of genuine talent
In the 1970-2000s, many Russian writers working in a variety of literary directions appear to interpretation of folk creativity. What are the reasons for this literary phenomenon? Why at the turn of the centuries writers of various literary directions, styles turn to folklore? First of all, two primary factors must be taken into account: intrasectural patterns and socio-historical situation. There is no doubt the tradition plays his role: the writers treated to the oral folk creativity throughout the entire time of development of literature. Another, no less important, the cause is the line of centuries, when Russian society, summing up the next century, is trying to find answers to important questions of being, returning to the national spiritual and cultural sources, and the richest folklore heritage is the poetic memory and history of the people.
The problem of the role of folklore in Russian literature on the threshold of the XXI century is natural because it has now acquired a special philosophical and aesthetic value.
Folklore is an archaic, impersonal, collective type of artistic memory that has become a literature cradle.
Main part.
Genres of Russian folklore.
Russian national poetic creativity has passed a significant path of historical development and the multilaterally reflected the life of the Russian people. The genre composition is rich and diverse. The genres of Russian folk poetic creativity will appear in front of us in the following scheme: I. Foreign Poetry: 1) Calendar (Winter, Spring, Summer and Autumn Cycles); 2) family-household (maternity, wedding, funeral); 3) conspiracies. II. Bad Poetry: 1) Epic Prose Genres: * a) Fairy Tale, B) Tradition, c) Legend (and Byilichka as its appearance); 2) Epic poems genres: a) epic, b) historical songs (primarily older), c) ballad songs; 3) Lyrical poems genres: a) songs of social content, b) love songs, c) Family songs, d) Small lyrical genres (chastushki, debris, and so on.); 4) Small Neliric genres: a) proverbs; o) sayings; c) riddles; 5) Dramatic texts and acts: a) rude, games, dance; b) scenes and plays. In scientific folkloristic literature, you can find a question of the issue of mixed or intermediate generic and genre phenomena: about lyric epic songs, about legends fairy tales, etc.
However, it must be said that this kind of phenomenon in Russian folklore is very rare. In addition, the introduction of a similar type of works in the classification of genres is controversial because mixed or intermediate genres has never been stable, no one period of the development of Russian folklore was not the main and did not determine its overall picture and historical movement. The development of childbirth and genres is not to be mixed, but in the creation of new artistic forms and dying the old. The occurrence of genres, as well as the formation of their entire system, is determined by many circumstances. First, the public need for them, and consequently, the tasks of the cognitive, ideological and aesthetic nature, which raised the most diverse reality for the folk creativity. Secondly, the originality of the reality reflected; For example, the epics arose in connection with the struggle of the Russian people against nomads-Pechenegs, Polovtsy and Mongol-Tatars. Third, the level of development of the artistic thought of the people and its historical thinking; In the early stages, complex forms could not be created, the movement went, probably from simple and small forms to complex and large, for example, from the proverb, parables (short story) to a fairy tale and legend. Fourth, preceding artistic legacy and traditions previously established genres. Fifth, the influence of literature (writing) and other types of art. The occurrence of genres -protsess is legitarious; It is determined by the external socio-historical factors, and the internal laws of the development of folklore.
The composition of the genres of the folklore and their connection between themselves is also due to the problem of multilateral reproduction of reality for them, and the functions of genres are distributed in such a way that each genre has its own particular task - an image of one of the parties of life. The works of one group of genres have their subject story of the people (epics, historical songs, legends), the other - labor and life of the people (calendar ritual songs, labor songs), the third - personal relationships (family and love songs), the fourth - the moral views of the people and His life experience (proverbs). But all the combined genres together are widely covered by life, labor, history, public and personal relations of people. The genres are interconnected in the same way as interconnected different sides and phenomena of reality itself, and therefore form a unified ideological and artistic system. The fact that the folklore genres have the general ideological essence and the overall task of multilateral artistic reproduction of life, causes the well-known community or similarities of them, plots and heroes. For folk genres, the generality of the principles of folk aesthetics is characteristic - simplicity, brevity, economy, story, the poetry of nature, the certainty of moral estimates of the heroes (positive or negative). The genres of oral folk creativity are also related to the general system of folklore folklore, the composition of the composition (leitmotif, the unity of the topic, the chain connection, the screensaver-carin nature, the types of repetitions, general places), symbolism, special types of epithets. This system historically developing has a pronounced national peculiarity, due to the peculiarities of the language, life, history and culture of the people. Relationship of genres. In the formation, development and coexistence of the genres of folklore, the process of complex interaction occurs: mutual influence, mutual enrichment, adaptation to each other. The interaction of genres has diverse forms. It serves as one of the reasons for significant changes in oral folk art.
Place of folklore in Russian literature.
"The Russian people created a huge hectic literature: wise proverbs and cunning riddles, funny and sad ritual songs, solemn epics, - told the challenges, under the son of the string, - about the glorious expansion of the heroes, the defenders of the land of the people - heroic, magical, household and swinging fairy tales.
Folklore - This is a folk creativity, very necessary and important for studying people's psychology today. Folklore includes works that transmit the main most important submission of the people about the main life values: work, family, love, public debt, homeland. Our children are raised on these works now. Knowledge of folklore can give a person knowledge about the Russian people, and ultimately about himself.
In folklore, the initial text of the work is almost always known, since the author of the work is not known. The text is transmitted from the mouth to the mouth and up to this day it comes to the form in which writers recorded it. However, writers retell them in their own way to make it easy to read and understand. Currently, a lot of collections have been released, including one or several genres of Russian folklore. These are such, for example, as "epics" L. N. Tolstoy, "Russian People's Poetic Creativity" T. M. Akimova, "Russian Folklore" edited by V. P. Anikina, "Russian ritual songs" Yu. G. Kruglov, "Rounded strings: essays about Russian folklore" V. I. Kalugina, "Russian Soviet Folklore" edited by K. N. Femenkov, "On Russian Folklore" E. V. Pomeranceva, "People's Russian legends" and "People-artist: Myth, folklore, literature "A. N. Afanasyev," Slavic Mythology "N. I. Kostomarova," Myths and Traditions "K. A. Zurabova.
In all publications, the authors distinguish several genres of folklore - these are fortune-telling, conspiracies, ritual songs, epics, fairy tales, proverbs, sayings, riddles, fasting, cubs, shafs, chastushki, etc. due to the fact that the material is very huge, and for a short It is impossible to study it, I use only four books issued to me in the Central Library. These are "Russian ritual songs" of Yu. Kruglov, "String Rockotha: Essays about Russian folklore" V. I. Kalugina, "Russian Soviet Folklore" edited by K. N. Femenkov, "Russian People's Poetic Creativity" T. M. Akimoy.
Modern writers often use folklore motifs in order to give the narrative is a fatal character, combine individual and typical.
Oral People's Poetry and Book Literature originated and developed on the basis of the national riches of the language, their subjects were associated with the historical and social life of the Russian people, his life and work. In folklore and literature, the poetic and prosaic genres were largely created, childbirth and species of poetic art arose and improved. Therefore, creative ties between the folklore and literature are completely natural and regularly are naturally naturally, their permanent ideological and artistic mutual influence.
Oral folk poetic creativity, arising in deep antiquity and achieving perfection by the time of introducing writing in Russia, it became a natural way for ancient Russian literature, a kind of "poetic cradle". Based on the richest poetic treasury of Folklore to a large extent, and originally Russian written literature arose. It was the folklore, according to many researchers, made a strong ideological and artistic jet in the work of the Old Russian literature.
Folklore and Russian literature represent two independent areas of Russian national art. At the same time, the history of their creative relationships was to be the subject of independent study and folklores, and literary studies. However, such targeted studies in Russian science appeared not immediately. They were preceded by the long stages of the autonomous existence of folklore and literature without proper scientific understanding of the processes of their creative influence on each other.
The creativity of Tolstoy, facing children, extensively in volume, polyphonic sounding. It exhibits its artistic, philosophical, pedagogical views.
Everything written by Tolstoy about children and for children marked a new era in the development of domestic and largely world literature for children. After the life of the writer, his stories from the "ABC" were translated into many languages \u200b\u200bof the peoples of Russia, they were distributed in Europe.
The theme of childhood in the work of Tolstoy received philosophically deep, psychological meaning. The writer introduced new topics, a new reservoir of life, new heroes, enriched the moral problematics of works facing young readers. The huge merit of a fat, writer and a teacher, in the fact that the learning literature (alphabet), traditionally worn applied, functional character, he raised to the level of this art.
Lion Tolstoy is the fame and pride of domestic literature. 2 The beginning of the pedagogical activity of Tolstoy belongs to 1849. When he opened his first school for peasant children.
Problems of education and upbringing Tolstoy did not leave attention until the last days of life. In the 80s and 90s, he was engaged in the publication of literature for the people, I dreamed of creating an encyclopedic dictionary for the peasants, a series of textbooks.
Permanent interest L.N. Tolstoy to Russian folklore, to the folk poetry of other nations (primarily Caucasian) - the fact is well known. He not only written himself and actively promoted fairy tales, legends, songs, proverbs, but also used them in their artistic work, in pedagogical activities. Especially fruitful in this plan were the 70s of the XIX century - the time of intensive work on the "alphabet" (1872), the "new alphabet" and complementary books to read (1875). Initially, in the first edition, the "ABC" was a single complex of educational books. Tolstoy summarized teaching experience in the Yasnocation school, reworked stories for children printed in the appendix to the "Casual Polyana". First of all, I would like to mention a serious, thoughtful attitude of L.N. Tolstoy to folk material. The author of both "ABC" was strictly focused on the original sources, avoided arbitrary changes and interpretations and allowed himself some adjustments only to adapt the folk texts difficult to perceive. Tolstoy studied the experience of Ushinsky, critical responded about the language of study books of his predecessor, too, from his point of view, conditional, artificial, did not accept the descriptions in the stories for children. The positions of both teachers were close in assessing the role of oral folk creativity, the experience of spiritual culture in the development of the native language.
Proverbs, sayings, riddles in the "alphabet" alternate with short sketches, microscopes, small stories from folk life 3 ("Katya went on the mushrooms," "Vari had chizh", "found hedgehogs", "carried bone bone"). They are all close to the peasant child. Read in the book, the scene is filled with special significance, exacerbates the observation: "put the skids. It was hot, it was difficult, but everyone sang. " "My grandfather was bored at home. The granddaughter came, sang a song. " Characters of small stories Tolstoy, as a rule, generalized - mother, daughter, sons, old man. In the traditions of folk pedagogy and the Christian morality, Tolstoy spent a thought: Love work, respect the elders, are good. Other household sketches are made so masterfully that they gain a high generalized meaning, approach the parable. For example:
"The grandmother had a granddaughter; Before, the granddaughter was small and all slept, and grandmother baked breads, chalk hungry, soap, sewn, nailed and failed on her granddaughter; And after the grandmother became old and lay down on the stove and he slept. And the granddaughter of the bake, soap, sewn, failed and nailed to the grandmother. "
Several lines of simple double words. The second part is almost a mirror reflection first. And what is the depth? The wise course of life, the responsibility of generations, the transfer of traditions ... everything is concluded in two sentences. Here every word as if weighing, specially accented. Classic became parables about the old man, planting apple trees, "Old Grandfather and granddaughters", "Father and Sons".
Children are the main characters of the stories of Tolstoy. Among his characters, kids, simple, peasant guys and Barsky children. Tolstoy does not focus on the social difference, although in each story children in their environment. Rustic kid of Philippoints, in the Big Father's Cap, overcoming fear, fighting against other people's dogs, goes to school. No less courage costs a small hero of the story "As I learned to ride the top" to simplify adults to take it into a playpen. And then, without frightening the fall, it is again on the Chervonchik.
"I missed me, I understood everything. I am a persecution passion, "Phillip speaks about himself, defeated his name on warehouses. Such "trouble and deft" heroes are many in the stories of Tolstoy. Boy Vasya selflessly protects the kitten from hunting dogs ("kitten"). And an eight-year-old Vanya, manifesting an enviable moderator, saves the life of a small brother, sister and an old grandmother. The plots of many stories are thick dramatic. Hero - a child must overcome himself, decide on the act. This plan is characterized by the tense dynamics of the story "Jump". four
Children are often disobedient, incorrect actions, but the writer does not seek to give them a direct assessment. The moral conclusion to the reader will have to make himself. A conciliation smile can cause Vany's misconduct, secretly eating a plum ("bone"). The carelessness of seryl ("bird") was worthwhile to see. And in the story of the Cow, the hero in the situation is even more difficult: the fear of punishment for a broken glass led to serious consequences for a large peasant family - the death of the cormalitsa burlyushki.
Famous teacher dd. Semenov, the contemporary of Tolstoy, called his stories "the riding perfection, as in psychological. And in artistic terms ... What is the expressiveness and image patterns, that for power, compression, simplicity, at the same time, the grace of speech ... In every thought, in every story, there is a morality ... Moreover, it does not get into the eyes, It does not bother children, but hidden in an artistic image, and therefore it asks in the soul of the child and deeply chosen in it "5.
The talent of the writer is determined by the significance of its literary discoveries. Immortally what does not repeat and uniquely. The nature of the literature does not tolerate the secondaryness.
The writer creates his image of the real world without satisfying a stranger on reality. The more this image reflects the essence, and not the visibility of phenomena, the deeper the writer penetrates into the first-axis of being, the more precisely, their immanent conflict is expressed in his work, which is a paradigm of the genuine literary "conflict", the more durable work is the work.
In the number of forgotten works fall things that reduce the idea of \u200b\u200bthe world and man. This does not mean that the work is intended to reflect a holistic picture of reality. Just in the "private truth" of the work should be a conjugacy with a universal meaning.
Question about nationalitya particular writer cannot be resolved to the end without analyzing his connection with folklore. Folklore - impersonal creativity, closely connected with the archaic world.
Conclusion
Thus, the creation of a thick cycle of "folk stories" of 1880 - 1900s is due to the aggregate and external, and internal reasons: social and historical factors, the patterns of the literary process of the late XIX - the beginning of the 20th century, religious and aesthetic priorities of the late Tolstoy.
In the conditions of socio-political instability in Russia, 1880 -1890s, the trends of the radical reorganization of the Company by violent methods that sowing a disintegration, disagreement of people, Tolstoy enforces the idea of \u200b\u200b"active Christianity" - a religious and philosophical teaching on spiritual enlightenment on the basis of Christian axiomatics, Earned for a quarter of a century, and the following, according to the writer, should inevitably lead to the spiritual progress of society.
Objective reality, being unnatural, receives aesthetic condemnation by a writer. In order to oppose reality, the image of harmonious reality, Tolstoy develops the theory of religious art as the most relevant needs of the day, and radically changes the nature of its own creative method. The chosen method of "spiritual truth", synthesizing the real and ideal as a way to implement a harmonious reality, was most pronounced in the cycle of works with the conditional genre definition of "folk stories".
In the context of the growing interest of modern literary studies, the study of "people's stories" in the context of the spiritual prose of the end of the 19th - the beginning of the 20th century, which makes it possible to represent the spiritual literature of this period as an integral phenomenon of the beginning of the XX century.
Bibliography.
1. Akimova T. M., V.K. Arkhangelskaya, V. A. Bakhtin / Russian People's Poetic Creativity (a guide to seminar classes). - M.: Higher. School, 1983. - 208 p.
2. Gorky M. Sob. cit., vol. 27
3. Danilevsky I.N. Ancient Rus with the eyes of contemporaries and their descendants (XI - XII centuries). - M., 1998. - P. 225.
5. Kruglov Yu. G. Russian ritual songs: studies. Manual for ped. In-Tovpospeps "Rus. Yaz. or T.". - 2nd ed., Act. and add. - M.: Higher. shk. 1989. - 320 p.
6. Semenov D.D. Election Ped. Cit. - M., 1953
Signs, Folklore properties
The researchers are notified by many features, properties characteristic of folklore and allowing to approach understanding its essence:
Bifunctionality (combination of practical and spiritual);
Polyelectivity or syncretism.
Any folk product of polyelement. We use the table:
Mimic element
Genres of oral prose
Sliver element
Pantomime, Mimic Dances
Ritual action, dance spent, folk drama
Wonderful musical (song genres)
Dance element
Music-choreographic genres
music element
Collectivity;
Safe;
Variable multiplicity;
Traditional.
For phenomena associated with the development of folklore in other types of culture, the name is folklorism - (introduced at the end of the 19th century by the French researcher P. Sebio), as well as the "secondary life", "secondary folklore".
In connection with its widespread, the concept of a folklore actually arose, its clean forms: so, the term authentic (from Greek AUTENTICUS- genuine, reliable) was established.
Folk creativity is the basis of the whole national culture. The wealth of its content and genre diversity - sayings, proverbs, riddles, fairy tales and more. A special place of songs in the works of the people accompanying human life from the cradle to the grave, reflecting it in the most diverse manifestations and representing the overall imperative ethnographic, historical, aesthetic, moral and high artistic value.
Features of the folklore.
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. At the same time, it has its 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 is more likely to be labeled. 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. Anica: "Folklore is the traditional artistic creativity of the people. It equals both to the interpretation, verbal and other visual arts, both to the old creativity and to the new one, created in the new time and creative today." 7.
Folklore, like literature, is the art of the word. This 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 of creative activities of individuals, as in the literature, but 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.
Russian folklore
Folklore, in translation, means "folk wisdom, folk knowledge." Folklore - folk art, artistic collective activities of the people, reflecting his life, view and ideals, i.e. Folklore is a national historical cultural heritage of any country in the world.
The works of Russian folklore (fairy tales, legends, epics, songs, chastushki, dancing, legends, applied art) help recreate the characteristic features of the people's life of their time.
Creativity in antiquity was closely associated with human labor activities and reflected mythical, historical ideas, as well as the primitive scientific knowledge. The art of the word was closely connected with other types of art - music, dancing, decorative art. In science, this is called "syncretism".
Folklore was an art organically inherent in folk everyday life. The various purpose of the works gave rise to genres, with their diverse themes, images, style. In the oldest period, most peoples were generic legends, labor and ritual songs, mythological stories, conspiracies. The decisive event, which laid the frontier between mythology and actually folklore, was the appearance of fairy tales, the stories of which were based on a dream, for wisdom, to ethical fiction.
In the ancient and medieval society, the heroic epos (Irish sagas, Russian epics and others) were formed. Legends and songs, reflecting various beliefs, also arose (for example, Russian spiritual poems). Later, historical songs depicting real historical events and heroes appeared, which they remained in popular memory.
Genres in folklore are also distinguished by the method of execution (solo, choir, chorus and soloist) and various combination of text with melody, intonation, movements (singing and dance, told and playing).
With changes in the social life of society in Russian folklore, new genres arose: Soldier, Yamchichsky, Burlats songs. The growth of industry and cities caused to life: romances, jokes, worker, student folklore.
Now new Russian folk fairy tales does not appear, but the old are still told and they are filming cartoons and feature films. Sing and many old songs sing. But there are almost no historical songs in the lively execution.
Throughout the millennium, all the peoples folklore had the only form of creativity. Folklore of every people unique, as well as his story, customs, culture. And some genres (not only historical songs) reflect the history of this nation.
Russian folk musical culture
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 or artistic species of folk art. With all the variety of regional and local folklore forms inherent in general features, such as anonymity, the collectivity of creativity, traditional, close relationship with labor activity, life, the transfer of works from generation to generation in oral tradition.
Popular musical art originated long before the occurrence of professional music of the Orthodox church. In the public life of ancient Russia, Folklore played a much larger role than in subsequent times. Unlike medieval Europe, the ancient Rus did not have secular professional art. In her musical culture, the folk art of oral tradition developed, including various, including "semi-professional" genres (the art of narutors, guzzlyers, etc.).
By the time of Orthodox gymography, Russian folklore had already had a centuries-old history, a prevailing system of genres and means of musical expressiveness. Folk music, folk art firmly entered the life of people, reflecting the most diverse verge of social, family and personal life.
The researchers believe that the gloor period (that is, before the ancient Russia) Eastern Slavs had already had a fairly developed calendar and family household folklore, heroic epos and instrumental music.
With the adoption of Christianity, the pagan (Vedic) knowledge will be eradicated. The meaning of the magical acts that spawned one or another type of national activity was gradually forgotten. However, purely external forms of the ancient holidays were extremely stable, and some ritual folklore continued to live as if out of connection with the ancient paganism that had given it.
The Christian Church (not only in Russia, but also in Europe) very negatively belonged to traditional folk songs and dances, considering them by the manifestation of sinfulness, devilish eyes. This assessment is recorded in many chronicle sources and in canonical church decrees.
Dorny, funny folk festivities with elements of theatrical act and with the indispensable participation of music, the origins of which should be sought in the ancient Vedic rites, fundamentally differed from the temple holidays.
The most extensive area of \u200b\u200bthe popular musical creativity of ancient Russia is a ritual folklore, indicating the high artistic gifting of the Russian people. He was born in the depths of the Vedic painting of the world, the deification of natural elements. The most ancient are calendar and ritual songs. Their content is associated with the ideas about the cycle of nature, with the agricultural calendar. These songs reflect various stages of the life of farmers. They were entered in winter, spring, summer rites that correspond to the turning points in the change of seasons. Making this natural ritual (songs, dancing), people believed that they would hear the mighty gods, the forces of love, the kind, the sun, the water, the Earth and the healthy children will be born, there will be a good harvest, there will be a livetle rating, life will develop life in love and harmony.
In Russia, weddings were played since ancient pore. In each area, there was a custom of wedding actions, exemptions, songs, sentences. But with all the infinite variety of weddings were played by the same laws. Poetic wedding reality transforms what is happening in the fantastic fabulous world. As in the fairy tale, all images are diverse and the rite itself is poetically interpreted, appears a peculiar fairy tale. Wedding, being one of the most significant events of human life in Russia, demanded a festive-solemn framing. And if you feel all the rituals and songs, delving into this fantastic wedding world, you can feel the degrading beauty of this ritual. Colorful clothes will remain "for the stem", a wedding train, a multi-voice "Pereselnits" choir and guide melodies, the sounds of waxers and dodgers, harmony and balalalak - but the poetry of the wedding resurrects - pain care from the parent home and the high joy of the festive state of the soul - Love.
One of the most ancient Russian genres - dance songs. In Russia, dance drove dance throughout almost a year - to Kollet (New Year), Maslenitsa (Wires and Spring Wires), Zelen Week (gorors of girls around Birch), Yarilo (sacred bonfires), oxen (harvest holidays). Raturated dance games and historical processions. Initially dangling songs were included in agricultural rites, but over the centuries they became independent, although the images of labor were preserved in many of them:
And we got sown, sowed!
Oh, Did Lado, sowed, sowed!
Preserved to our days, dance songs accompanied men's and women's dances. Men's - personified strength, courage, courage, female - tenderness, love, statism.
Over the centuries, the musical epic begins to be replenished with new topics and images. The epics, talking about the struggle against the Ordans, about traveling to distant countries, the emergence of the Cossacks, folk uprisings.
People's memory has kept for a long time for centuries many beautiful ancient songs. In the XVIII century, during the formation of professional secular genres (opera, instrumental music), folk art is first becoming the subject of study and creative implementation. Educational attitude towards Folklore vividly expressed a wonderful writer by Humanist A.N.radishchev in the penetrated lines of his "travel from St. Petersburg to Moscow": "Who knows the voices of Russian folk songs, he admits that there are something in them, pain spiritual meaning ... in They will find the formation of the soul of our people. " In the XIX century, the valuation of the folklore as the "education of the soul" of the Russian people became the basis of the aesthetics of the composer school from Glinka, Roman-Kororsakov, Tchaikovsky, Borodin, to Rakhmaninov, Stravinsky, Prokofiev, Kalikina, and the People's song itself was one of the sources of formation of Russian national thinking.
Russian folk songs of the XVI-XIX centuries - "As a Golden Mirror of the Russian People"
The folk songs recorded in various parts of Russia is a historical monument of the life of the people, but also a documentary source, imprinted the development of the folk creative thought of their time.
Fighting the Tatars, peasant rebellion - all this was postponed for each particular area imprint on folk song traditions, starting with epic, historical songs and to ballad. As, for example, the ballad about Ilya Muromets, which is connected with the river nightingale flowing in the area of \u200b\u200bthe lugguro, there was a struggle between Ilya Muromers and the Solovy-robber who lived in these territories.
It is known that in the development of oral folk creativity, the conquest of Ivan the Terrible of Kazan Khanate was played, the campaigns of Ivan Grozny marked the beginning of the final victory over the Tatar-Mongolian igm, who freed many thousands of Russian prisoners from the Polon. Songs of this time became a prototype for the epics of Lermontov "Song about Ivan Tsarevich" - the chronicle of the folk life, and A.S. Pushkin in his works used oral folk creativity - Russian songs and Russian fairy tales.
On the Volga not far from the village of Undora, there is a cape called - Stenka Razin; There were songs of that time: "On the steppes, the Saratov steppes", "we had in the Holy Rus." Historical events of the late XVII early XVIII century. They are captured in compilation on the campaigns of Peter I and its Azov campaigns, about the execution of Sagittarov: "Just as in the sea is blue," the Cossack is walking on Don.
With military reforms of the beginning of the XVIII century, new historical songs arise, these are not lyric, but epic. Historical songs retain the most ancient images of the historic epic, the songs about the Russian-Turkish war, about the recruit sets and war with Napoleon: "Thief Frenchman has praised Russia to take Russia", "You are not the noise of your mother Green Dubravushka."
At this time, the epics about the "Surovs of Suzdal" were preserved, about "Dobryne and Aleche" and a very rare tale of Gorge. Also in the work of Pushkin, Lermontov, Gogol, Nekrasov used Russian epic folk songs and legends. The ancient traditions of folk playing, richness and special performing culture of Russian song folklore are preserved.
Russian folk theatrical art
Russian folk drama and folk theatrical art as a whole are the most interesting and significant phenomenon of Russian national culture.
Dramatic games and ideas at the end of the 18th century and at the beginning of the twentieth century were the organic part of the festive people's life, be it rustic gatherings, soldiers and factory barracks or fair bolands.
The geography of the spread of the folk drama is extensive. People's peculiar theatrical "foci" of the gatherers of our days were discovered in the Yaroslavl and Gorky regions, Russian villages of Tataria, on Vyatka and Kame, in Siberia and in the Urals.
Folk drama, contrary to the opinion of some scientists, is the natural sergement of folklore tradition. It crossed the creative experience accumulated by dozens of generations of the widest layers of the Russian people.
On urban, and later, rural fairs were arranged Carousels and Balagans, on the stage of which played performances on fabulous and national historical topics. The performances seen at fairs could not fully affect the aesthetic tastes of the people, but they expanded his fabulous and song repertoire. Funds and theatrical borrowings largely determined the originality of the plots of the folk drama. However, they "lay down" on the ancient gaming traditions of folk playing, richness, i.e. on the special executive culture of Russian folklore.
Generations of the creators and folk drama performers developed certain techniques of plotting, characteristics of characters and style. Strong passions and unsolvable conflicts, continuity and speed of replacing actions are inherent in the expanded folk drama.
Songs playing a special role in the People's Drama played by the characters in different moments or sounding chorus - as comments made by events. Songs were a kind of emotional psychological element of the presentation. They performed mostly fragmentary, revealing the emotional meaning of the scene or the character's condition. We had mandatory songs at the beginning and end of the presentation. The song repertoire of popular drams consists mainly of the copyright in all layers of the Society of the XIX Song of the XX centuries. This and the soldiers' songs "traveled the White Russian Tsar", "Malbruck went to the campaign", "Praise, praise you, hero," and the romances "I'm in the evening in the meadow", "I'm in the desert I am reminding", "What I Blurred, Clear Casual " and many others.
Late genres of Russian folk art - Gulia
Flowering festivals falls at the XVII-XIX century, although the individual species and genres of folk art, which made the indispensable affiliation of the fair and urban festive area, were created and were actively extended long before the designated centuries and continue, often in a transformed form, to this day. Such is a puppet theater, a bearish fun, partly the traveners of merchants, many circus numbers. Other genres were generated by the fairground and left life together with the cessation of festivities. These are comic monologues of the bolagan named, Raek, the presentation of the beabred theaters, the dialogues of the clowns-parsley.
Typically, during the festivities and fairs in traditional places, whole enlightened towns with boards, carousers, swings, tents, which were sold - from the chest paintings to the singers of birds and sweets. In winter, ice mountains were added, access to which was completely free, and the descent on sleds from a height of 10-12 m. Delivered incomparable pleasure.
With all the diversity and the motley, the urban folk holiday was perceived as something whole. The integrity of this created a specific atmosphere of the festive area, with its free word, familiarity, the unrestrainedness of laughter, food and beverages; equality, fun, festive perception of the world.
The festive square itself was hit by an incredible combination of all sorts of details. Accordingly, it also appeared to be a colorful loud chaos. Bright, diverse clothes of walking, catchy, unusual costumes of "artists", screaming plagan signs, swings, carousels, shops and restaurants, transfusions with all the colors of the rainbow products of handfuls and the simultaneous sound of scammers, pipes, flutes, drums, exclamations, songs, shouts of merchants , Loud laughter from the jokes of the "Balagan grandfather" and clowns - everything merged into a single fair firework, which fascinated and fun.
For large, famous walking "under the mountains" and "under the swings", there was a lot of touring from Europe (many of them are the mains of the Balagans, Panorars) and even southern countries (magicians, tamers of animals, silica, acrobats and others). Foreign speech and overseas wondermen were familiar on the capital's festivals and large fairs. It is clear why urban spectacular folklore appeared often as a kind of mixing "Nizhny Novgorod with French."
The base, the heart and soul of the Russian National Culture is Russian folklore, this is the Klastiene, this is what was filled with ancient times of the Russian man from the inside and this inner Russian folk culture gave rise to the end of the XVII-XIX centuries a whole Pleiad of the great Russian writers, composers, artists, scientists , military, philosophers who know and honor the whole world:
Zhukovsky V.A., Ryleev K.F., Tyutchev F.I., Pushkin A.S., Lermontov M.Yu., Saltykov-Shchedrin M.E., Bulgakov M.A., Tolstoy L.N., Turgenev I.S., Fonvizin D.I., Chekhov A.P., Gogol N.V., Goncharov I.A., Bunin I.A., Griboedov A.S., Karamzin N.M., Dostoevsky f ., Kubrin A.I., Glinka M.I., Glazunov A.K., Mussorgsky M.P., Rimsky-Korsakov N.A., Tchaikovsky PI, Borodin A.P., Balakirev M .A., Rakhmaninov S.V., Stravinsky I.F., Prokofiev S.S., Kramskaya I.N., Vereshchagin V.V., Surikov V.I., Polenov V.D., Serov V.A. ., Ivazovsky I.K., Shishkin I.I., Vasnetsov V.N., Repin I.E., Reerich N.K., Vernadsky V.I., Lomonosov M.V., Sklifosovsky N.V., Mendeleev D.I., Sechenov I.M., Pavlov I.P., Tsiolkovsky K.E., Popov A.S., Bagrationon P.R., Nakhimov P.S., Suvorov A.V., Kutuzov M ., Ushakov F.F., Kolchak A.V., Solovyov V.S., Berdyaev N.A., Chernyshevsky N.G., Dobrolyubov N.A., Pisarev D.I., Chaadaev P.EE ., There are thousands of thousands who, anyway, knows the whole earthly world. These are world pillars that have grown in Russian folk culture.
But in 1917, the second attempt to interrupt the connection of times, to interrupt the Russian cultural heritage of the ancient generations. The first attempt was carried out in the years of the baptism of Russia. But she failed in full, as the power of Russian folklore was based on the life of the people, on its Vedic natural worldview. But already somewhere to the sixtieth years of the twentieth century, Russian folklore has become gradually crowded out by pop-popular genres of Pop, disco and how it is customary to speak chanson (prison-cooled folklore) and other types of arts of the Soviet sense. But a special blow was inflicted in the 90s. The word "Russian" was inexplicitly banned even to pronounce, allegedly, this word marked - inciting the national retail. This position is still preserved.
And there was no single Russian people, it was scattered, they were well, and at the genetic level began to destroy. Now in Russia - here the non-Russian spirit of Uzbeks, Tajiks, Chechens and all other residents of Asia and the Middle East, and in the Far East, the Chinese, Koreans, etc., and everywhere the active, global Ukrainization of Russia is carried out everywhere.
Unnexted oral folk creativity. It was created for centuries, there are many types of its varieties. Translated from the English language "Folklore" is "matopic value, wisdom." That is, the oral folk creativity is everything that is created by the spiritual culture of the population for the century of his historic life.
Features of Russian folklore
If you carefully read the works of Russian folklore, it can be noted that it actually reflects a lot: and the game of fantasies of the people, and the history of the country, and laughter, and serious Duma about the human life. Listening to the songs and fairy tales of the ancestors, people thought about the many difficult questions of their family, social and labor life, reflected how to fight for happiness, improve their lives, which should be a person to make fun and porous.
Varieties of folklore
Varieties of folklore include fairy tales, epics, songs, proverbs, riddles, calendar chorus, the grade, sayings - everything that was repeated, passed from generation to generation. At the same time, the performers made often in the favorite text of something, changing individual details, images, expressions, imperceptibly improving and honing the work.
Oral folk creativity for the most part exists in the poetic (poems) form, since it was she allowed to memorize and transmit these works from the mouth for centuries.
Songs
The song is a special verbal musical genre. It is a small luriko-narrative or lyrical product, which was created specifically for singing. The types are as follows: lyrical, dance, ritual, historical. They are expressed in folk songs feelings of one person, but at the same time a lot of people. Love experiences, events of public and family life were reflected in them, reflections on severe fate. In folk songs, the so-called submission of parallelism is often used when they are transferred to the nature of the mood of this lyrical hero.
Historical songs are devoted to various famous personalities and events: the conquest of Siberia Yermak, the rebellion of Stepan Razin, the peasant war under the leadership of Emelyan Pugachev, the battle of Poltava with the Swedes and others. The narration in historical folk songs about some events is combined with the emotional sound of these works.
Epics
The term "epic" was introduced by I. P. Sakharov in the 19th century. It is an oral folk creativity in the form of a song, heroic, epic character. There were epics in the 9th century, it was an expression of the historical consciousness of the people of our country. Bogatyri - the main characters of this kind of folklore. They embody the people's ideal of courage, strength, patriotism. Examples of the Bogatyurians, whom the works of oral folk art were depicted: Dobrynya Nikitich, Ilya Muromets, Mikula Selyaninovich, Alyosha Popovich, as well as a merchant Sadko, Giant Svyatogor, Vasily Buslaev and others. Life foundation, while enriched with some fantastic fiction, constitutes the plot of these works. In them, heroes alone overpowers whole hordes of enemies, fighting with monsters, overcome instantly huge distances. It is very interesting this oral folk creativity.
Fairy tales
We need to distinguish from fairy tales. These works of oral folk art are based on invented events. Fairy tales can be magical (in which fantastic forces are involved), as well as household, where people are depicted - soldiers, peasants, kings, workers, princesses and princes - in a daily atmosphere. From other works, this type of folklore is distinguished by an optimistic plot: it always triumphs over evil, and the latter or tolerate defeat, or ridicule.
Legends
We continue to describe genres of oral folk creativity. Legend, unlike a fairy tale, is a popular oral story. The basis of it is an incredible event, a fantastic image, a miracle that is perceived by a listener or a storytellor as reliable. There are legends on the origin of the peoples, countries, seas, the suffering and exploits of fictional or actually existed heroes.
Puzzles
Oral folk creativity is represented by many riddles. They are an allegoric image of a certain object, usually based on a metaphorical convergence with it. The riddles in volume are very small, have a certain rhythmic structure, often underlined by the presence of rhymes. They are created in order to develop intelligence, guess. Riddles are diverse in content and subject. There may be several of their options about the same phenomenon, an animal, subject, each of which from a certain side characterizes it.
Proverbs and sayings
Genres of oral folk creativity also include sayings and proverbs. The proverb is rhythmically organized, brief, figurative saying, aphoristic folk statement. It usually has a two-part structure, which is supported by rhythm, rhythm, alliterations and associations.
The saying is a figurative expression that evaluates some phenomenon of life. She, unlike the proverb, is not a whole proposal, but only a part of the statement, which is in oral folk creativity.
Proverbs, sayings and riddles are included in the so-called small genres of folklore. What is it? In addition to the above species, it includes other oral folk creativity. Types of small genres are complemented by the following: Lullabous songs, Pestushki, Pestes, Supports, Game chorus, shallows, sentences, riddles. Let's stop a little more on each of them.
Lullabous songs
Small genres of oral folk creativity include lullaby songs. In the people they are called bikes. The name did this happen from the verb "Bat" ("Bailat") - "talk". This word has the following ancient value: "Tap, whisper". Lullaby songs got this name is no coincidence: the oldest of them have a direct relation to the conspiracy poetry. Fighting with a dream, for example, the peasants said: "Dundushka, get away from me."
Pottushki and fun
Russian oral folk creativity also represent the pests and functions. In their center there is an image of the younger child. The name "Pestus" comes from the word "to dream", that is, "go for someone, raise, nursing, wearing in your hands to raise." They are short sentences that in the first months of the baby's life comment on his movements.
You are unnoticed by the Pests go to the fun - the songs accompanying the Games of the baby with the fingers of the legs and the handles. It is very diverse this oral folk creativity. Examples of drills: "Forty", "Ladushka". They often have a "lesson", instruction. For example, in the "forty" Beloboka all fed a porridge, except for one lazy, albeit the smallest (it corresponds to the little finger).
Supports
In the first years of the life of children, nanny and mother sang songs already more complex content that are not related to the game. All of them can be denoted by a single term "add-on". By content they resemble small fairy tales in verse. For example, about the rooster - a gold scallop, flying on a Kulikovo field for oats; About chicken in a row, which "peas of Lesales" and "millet sowed".
In addition, as a rule, a picture of some bright event is given, or it depicts some rapid effect that corresponds to the active nature of the kid. They are noticeable to the plot, but the child for long-term attention is not capable, so they are limited to only one episode.
Sentences, Slashki
We continue to consider oral folk creativity. Its species are complemented by shafts and sentences. Children on the street are very early to study in the peers in various shallows, which are an appeal to birds, rain, rainbow, the sun. Datvora at the case shouting the name of the word in the case. In addition to the chain, in the peasant family, any child knew sentences. They are most often pronounced one by one. Sentences - appeal to the mouse, small bugs, snail. It may be imitued with various bird voices. The verbal sentences and songs are filled with faith in the strength of water, sky, land (then beneficial, then destructive). Their pronunciation acquired to work and the lives of adult peasant children. Sentences and shakes are combined into a special department called "Calendar Children's Folklore". The term emphasizes the existing link between them and the time of the year, the holiday, weather, all the life and building of the village's life.
Game sentences and chorus
Genres of works of oral folk creativity include gaming sentences and chorus. They are no less than ancient than shafts and sentences. They or associate parts of some game, or begin it. They can also perform the role of the ending, determine the consequences that exist when violating conditions.
Amazed games similarity with serious peasant activities: harvest, hunting, sowing flax. Reproduction of these cases in a strict sequence with the help of multiple repetitions made it possible to instill with the child from an early age respect for customs and existing order, teach the rules adopted in society. Game names - "Bear Bor", "Wolf and Geese", "Korshun", "Wolf and Sheep" - talk about communication with life and life of the rural population.
Conclusion
In folk epics, fairy tales, legends, the songs live no less exciting colorful images than in the artworks of classical authors. A peculiar and surprisingly accurate rhymes and sounds, bizarre, beautiful poetic rhythms - as if lace woven in texts of chastushki, flows, booms, riddles. And what bright poetic comparisons we can find in lyrical songs! All this could create only the people - the Great Wizard of the Word.
Folklore, a distinctive national basis of literature at the time of its origin, continues to remain fertile soil that feeds literature in its subsequent development.
Starting with the "Words about the regiment of Igor" and ending with the works of modern poets and writers, Russian oral people's poetic creativity was an inexhaustible source of ideas, images, plots, poetic funds enriched with literature and approaching the people. Turning to the problem of the influence of folklore on Russian literature of the XIX century, the teacher will be able to solve not only training, but also educational tasks.
The main objective of the optional course is the acquaintance of students with folklore as a special artistic system and the formation of ideas about the features of using the folklore of Russian writers of the XIX century. The material of the course will help to bring schoolchildren to understand the features of the work of a separate writer and the literary process as a whole. Due to the fact that this optional course is designed for students of 9 classes that have not yet possess sufficient historical and literary knowledge, its presentation must be extremely concrete, clear, intelligible. It is very important that the teacher leading this course is focused mainly on the reserve of artistic literature, which are owned by students of 9th grade. At the same time, the appeal to the indicated problem in the 9th grades involves an in-depth study by students of such genres of oral folk creativity, like fairy tales, epics, songs, proverbs, sayings, riddles.
The course of the course is a series of artistic works of the XIX century, which brightly confirm the appeal of Russian writers to the plots, images and receptions of oral folk art. The course also provides for the use of such study methods as an analysis of the text of various genres, editing its own statements, the creation of its own product based on folk material.
To reduce the difficulties, naturally arising from the inconsistency between the large volume of material and the limited number of hours to study it, the teacher must lead to a holistic lecture course and practical tasks. Lectures should disclose primarily the most significant and difficult problems relating to the genre diversity of oral folk creativity, as well as separate artistic works. Most practical classes are advisable to devote to the study of artistic texts, especially V.A. Zhukovsky, A.S. Pushkin, M.Yu. Lermontova, N.V. Gogol, N.A. Nekrasov.
Students should receive well-thought-out, clearly designed job tasks. In class, they should be with the analysis of the material proposed by them, with the results and conclusions in the form of brief messages and reports, as well as samples of their own works (creative tasks).
It is necessary to pay more attention to expressive reading, work on understanding read, develop and strengthen the desire to read fiction; It is especially important to instill the skills of their own creative study of folklore and literary works.
The course is focused primarily on students who are interested in literary studies. But along with this course, the course can also be taught by students of non-core classes, which will contribute to increasing their common culture.
Topic 1. Genre variety of oral folk creativity. The effect of folklore on the development of literature
Folklore - Art created by the people and extensive in the wide masses.
Story- The most popular genre of folk art. Types of fairy tales (magic, animal, domestic). Reflection in the fairy tale of folk ideals.
Epics - genre of oral folk creativity. Heroic-patriotic legends on heroes and historical events. Heroes of the epic.
Song- A small lyrical product intended for singing. In folklore arises simultaneously with the melody. The literary song is most often created as a poem, which later places to music. The literary song arose as a continuation and creative development of folklore.
Small genres of folklore (riddles, proverbs, sayings, chastushki). Reflection of knowledge, life experience and wisdom of dozens of generations.
Topic 2. V.A. Zhukovsky. Folklore motifs in the ballad "Svetlana"
Ballad- Epic song. The division of the genre on thematic groups: love, family, historical, socio-household.
Interest V.A. Zhukovsky to "Mila Starin", use in works of folk customs, believes.
An image of the paintings of New Year's fortunes in the Svetlana ballad.
Topic 3. Folk Base of Works A.S. Pushkin "Ruslan and Lyudmila", "Captain's daughter"
The folk basis of the poem "Ruslan and Lyudmila". Proximity of the poems to the world of folk tales
Tale "Captain's daughter". The use of folk songs, proverbs in epigraphs to the story and each chapter separately. Using the riddle in its ancient function - as a secret speech, folk song (beloved song Pugachev).
Allegorical meaning of the fairy tale about Eagle and Voronene.
Topic 4. M.Yu. Lermontov. Fairy Tale "Ashik-Kerib, created on the basis of folklore of the Transcaucasus
Unusual vocabulary and syntax of fabulous text. Comparison of the Turkish fairy tale with Russian fairy tales. Working with illustrations to a fairy tale.
"The song about Tsar Ivan Vasilyevich, the young Ochrichnik and a remote merchant Kalashnikov." The proximity of the poem to the oral folk creativity. Description of a fist combat. Observation of the peculiarities of the language and poetic style. Reflection of folklore of the Penza region in the poem (Tarkan materials).
Topic 5. N.V. Gogol. "Evenings on a Farm Near Dikanka"
The interest of the writer to the legends, legends, popular beliefs that give a special romantic color to their narration.
"Night before Merry Christmas", elements of fabulous fiction in the story. The author's desire to convey the spiritual moral beauty of the people, vacuum images, Oksana.
"Evenings on the eve of Ivan Kupala" - folklore tale, a description of rites.
Theme 6. ON THE. Nekrasov. "Poem" Who lives well in Russia "- genuinely
Mastery N.A. Nekrasov in the image of characteristic human types. Appeal to folk genres: fairy tales, songs, proverbs, sayings, mysteries, as well as to the epic motifs. The image of Savelia, the hero of Svyatarussky.
Topic 7. M.E. Saltykov-Shchedrin. Satyrian fairy tales
The development of Saltykov-generous tradition of folklore in solving satirical topics.
Fairy tales "Like one man of two generals proceeding", "Wild landowner", "Konya". Fabulous zinch, vocabulary, triple repeat, fabulous fiction. Hyperbole, grotesque, parody.
Theme 8. A.K. Tolstoy. Roman "Prince Silver"
The techniques of oral folk creativity in the novel, transmitting the spirit of the Epoch of Ivan the Terrible, helping to create samples-types of the people of the past (Prince Silver, Elena Dmitrievna, Boyar Morozov, Ivan IV and others). Genres of fairy tales, epics, songs recycled by A.K. Tolsty.
Approximate Planning Optional Course
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№№ P / P |
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Activities |
Enterprise Genre variety of Russian oral folk-poetic creativity (fairy tales, epics, proverbs, sayings, riddles, songs) The effect of folklore on the development of literature |
Reports of students Creative task (creating a fairy tale) |
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V.A. Zhukovsky. Folklore motifs in the ballad "Svetlana" |
The concept of folk genre. The combination of principles that allow in this situation to construct a statement of a certain type is called a folk genome (seemingly see by B.N Putylov). Units of formation of the folk genre, if the genre is a set of folklore works, are completed statements, as a unit of speech communication. Unlike the units of speech (words and suggestions), the statement has a recipient, expression and author. From these signs depend on the composition and style of statements. Folk texts are analyzed in aspects: -Social situation provoking the statement - Speaking talking - Good Social Characteristics Talking -Idealochic \\ mental installations -The belt pursues talking -Characteristics of relationships between the fact of the message and the fact - Rental Raccia - language to create a statement(Adonyeva S.B. "Pragmatics ..") The genre is a set of works united by the generality of the poetic system, the domestic appointment of the forms of execution and musical order. Proppet restricted by poetry narrative and lyrical. Dramatic poetry, as well as chastushki, proverbs, sayings, riddles and conspiracies, perhaps will make a subject of other work. Narrate poetry propppet divides on Prosaic I. Poetic Folk prose - one of the fields of folk art Highlights the trail of childbirth and types tale - neither the performer neither the listener believe in the tied (Belinsky) is very important because in other cases attempts to transfer reality, but here the deliberate fiction Magic fairy tales By definition of proppap, they stand out on a completely clear composition, according to their structural features, in their own way, so to speak, the syntax, which is established scientifically exactly exactly what more in the fairy tale morphology and in a tale ticket. Cumulatives are built on a multiple repetition of Vomchch, the creation of a jet, reference. Possess a special composition with a rich colorful language with a rich colorful language (rhythm and rhyme For other types of fairy tales, in addition to the magical and cumulative, the composition has not been studied, and determine and divide them on this basis is not yet. Probably, the unity of the composition they do not possess. If so, then the basis for further systematization is to choose any other principle. Such a principle that has a scientific and cognitive importance may be the definition by the nature of the acting persons. I remember the debate at the beginning of the fairy tale morphology, where the story about Afanasyev and his classification for which no one classififies but it is. From this we get 1 category fairy tales about animals Fairy tales of inanimate nature (all sorts of strength Wind of Wold) Tales of items (Bubble Book Solominka) By animal types (homemade wild) Tales of plants (war mushrooms) 2) Fairy tales of people (they are household) acts of men women and so Here, in fact, we referring a repka that is cumulative Proppage divides them by types of mines in terms of their actions About deft and smart jokes Owned advisors Incorrect \\ faithful wives Robber Evil and good ... and so on The same separation by the types of S.jetov, ATC, as the plot here, is determined by the character of the character, which will argue his actions ... In Folklore, there is no special difference between household lumbers about people and antectati (propppe) 3) Especially - stories about unreal in life events (for example, Munghausen is addressed on this genre) 4) Removal fairy tales - short booms \\ Fees for children when they require fairy tales From the point of view of proppap, the tale is not a genre, here are the types of fairy tales that we allocated these genres can be divided into Rubkriki. The genre is just one of the classification links. Lyrical epic and dramatic poetry is childbirth epic: epic prose \\ Epic poetry The fairy tale is the form of an epic prose. It disintegrates on the above genres they are on types and those on the versions and options. Therefore, has a track of the scheme Next area 2) stories in which believe Here we have A) Ethnologic about the origin of the Earth and everything that is on it (myths about creation) B) about the beasts they are byproof: why the elephant has a long nose C) epics - In most cases, these are terrible stories about the debate, mermaids and so far (about the same, and so D) legends - associated with the Orthodoxy stories, with characters in, n covered, as the legend of these etymologically, what the monks for the meal are read, then with historical persons it will not be charged. In addition to Togog, the question was disposed about the relationship of the legends to Folklore Sokolov considered them the legendary tales of Aarn, Andreev and Afanasyev considered them separate and published in separate collections D) Traditions - this is the historical person and events here E) tases - oral memoirs of individuals who transmit events that have occurred and saved facts Poetic epic poetry It is distinguished by the inseparable link with the music component with the text, that is, the genre is not important - they will always sing. RHYTHM. The plot, verse, entanglements - one artistic art. (Recommend the description of Lord about how the teacher learns to sing the episodas) Hardship expresses a lyrical relation to the plenty. Although each epics separately does not have their own entangle (one tunes can be performed by different episodes and vice versa), the style of epic musical performance in the well-known borders is integral and not applicable to other types of epic creativity. The epic - one of the views of the song epic presentation. The episode itself is not a genre like a fairy tale, but its composition includes those genres. The epics are distinguished by a wild variety of plots so they are harder to classify what fairy tales. The epics in the plot groups, Yu in style and the nature of the trading are divided into heroic epic - "Classic" (the plot is the feats of the NC Russian heroes, as a prologue, as the hero received power), for example, when after Ilya and the Siberiana, the battle of Ilya will begin. Or when after healing Ilya he rides in Kiev defeating the nightingale of the Robber Military (in Kom or the idea tell about the battle with a group of enemies, Halching the Tatars, for example. To add the plot !!! You can track the story and evolution 'B [epic considers propppe) Martial Arts (Muromets and Turkish Khan, Alesha in battle with Tararin) When 2 hero meet in the field will not recognize each other and be fighting (example !!) Werena about the battle with the monster (is it possible to attribute Idolische ?? or nightingale?) They are more ancient and of them paint what battles The epics about Bunte Hero (one of the signs - actions in the interests of the state) These are episodes about Bunte Ilya vs. Vladimir, about Ilya and the Goal of Kabatsky, about Buyan-Bogatira, about Vasily Buslaevich and Novgorod and the death of Vasily Buslaevich. One of the signs of heroic epic is that the hero in them acts in the interests of the state. From this point of view, the heroic epics undoubtedly belongs to the Tuna and his trip for his wife for Vladimir. What is more correct: assume that each of these groups is a special genre, or to believe that, despite the difference in the plots, the heroic epics make up one of the genres of epic creativity? The last position is more correct, because the genre is determined not so much plots as the unity of poetics - style and ideological orientation, and this unity is there. There are fairy-tale characters The antagonist of the hero in these cases is a woman. Unlike fairy tales in which the woman is most often a helpless creature, which he saves, for example, from a snake and on which he marries, or a wise wife or a hero's assistant, women of epic most often creatures are insidious and demonic; They embody some evil, and their hero destroys. Such epics include "Pytk", "Luka Danilovich", "Ivan Godinovich", "Dobrynya and Marinka", "Gleb Volodievich", "Solomon and Vasily Okulovich" and some others. This is the epics, and not fairy tales. The fabulous character gives them the presence of a witchcraft charity, turnover, various miracles; These plots are specific for the epic and do not correspond to the poetics of fairy tale plots. Along with this, there are also fairy tales in the epic epic. Such works do not belong to the epic creativity. Their plots appear in the signs of fairy tales ("Uncompressed sleep", "Stavr Godinovich", "Vanka Udovinku Son, "Sunflower Kingdom", etc.). Such fairy tales should be studied both in the study of the fabulous and in the study of the epic creativity, but it is impossible to take them to the genre of epic only on the basis of the use of epic verses. Such epics usually do not have options. A special case is the epics about Sadko, in which there is no antagonist hero of the type of cunning women of other epic. Nevertheless, her belonging to the fabulous episodes is completely obvious. Is it possible to assume that the episons of a fabulous nature make up one genre with episos heroic? It seems to us that it is impossible. Although the question should still be studied specifically, it is still rather obvious that, for example, the epics about Dobryne and Marinka is a phenomenon of a completely different nature than the epics about the raid of Lithuanians, and that they belong to different genres, despite the communion of the epic verse. Novelistic epics Some of the realistic painted narches, the stories of which differ from those discussed above, are greatly diverse - Will with obstacles On the one hand, the style of the novel and the style of monumental, heroic or fabulous epics are incompatible. On the other hand, in the composition of the epic there is a number of realistic painted narches, the plots of which are essentially different than those discussed above. Conditionally, such epics can be called novelistic. The number is small, but they are distinguished by a large variety. In some of them, it is told about the matchmaking, which, after overcoming some obstacles, ends well ("Solovy Budimirovich", "Hotn Sv-Dovich", "Alesha and Sister Petrovichi"). The intermediate position between the epic fairy tale and novelist occupies the episodes about the departure of Dobryni and the unsuccessful marriage of Alesh. The eponymous and sister of Petrovichy occupies an intermediate position between the genre of the epics and the genre of ballads. The same can be said about "Kozarin". Balanceful character was also wearing the epics about Danil Lovechanin, as we say below, when studying ballad. Other plots, which usually belong to the epics, we would attributed to the ballads ("Churilo and the wrong wife of Bermyites"). The stories of themened epic can be distributed in groups, but here we will not do this. The woman in these episons plays a big role, but there are novelist epics and other character, as, for example, the epics about the competition Duke with Churila or a visit to the Vladimir Father Churila. songs about the saints and their acts (about Alexei man of God.) express the religious representations of the people, but the worldview in them is often not coincided with the church's dogma, has a suspicious egyptation and possess special beauty. In contrast to them there are bodies songs about funny incidents (or not funny but tracker humorous) have many types -Parthodia - Neglitsy - with acute social satire It is not always that the character sometimes is sometimes in the subject of a funny sustilation will not receive special development. The community of genres \u003d primarily the community style. Significantly different from Western European, sphere - the world of human passions, tracked tragically love (family content) Stradalitsa-woman in a chipped role. Medieval Russian reality. The acts of the face mainly belong to the middle or higher class are depicted by the eyes of the peasants. Practice to the image of terrible events, the murder of an innocent woman is a frequent junction and a killer often a member to sie. Prince Roman, Fedor and Marfa, a slander wife. Long-term rally one of the family members with an unexpected random graduation they will not recognize a friend of the food and tragic events (brother robber and scharette) Song recorded by Pushkin? 2) Historical ballads They may have real historical heroes such as Tatars, but they are not attacked by an army and losing a woman. Concentration attention around personal history, characterized by the presence of some intrigue of love or family content The eponym less focused on personalities rather than ballads however there are many more transfers (examples !!) Between the ballads and other genres, it is not always possible to carry out an accurate border. In this case, we can talk about the epic of ballads or about the ballad of the epic warehouse. Such transitional or related cases between the ballad and the epic, ballads and historical songs or ballas and the lyrical song can be found some, although not a very large amount. It is inappropriate for artificial faces. The epics and ballads can be distinguished from both the musical. The epic possesses a certain size and heft of semoretative nature. The poetic dimensions of the ballad are very diverse, as well as naive. From a musical point of view, ballads as a folk-musical genre does not exist. All the above shows that ballads have such a specific character that we can talk about them as a genre. Those sharp differences, which are in the repertoire of epic or fairy tales, is not here. The difference between ballads family, about unrecognized meetings and so-called historical ballads is the difference of types, not genres. Historical songs The question of the genre character of historical songs is very complex. The very name of "historical songs" indicates that these songs are determined by the content and that the subject of historical songs are historical faces or events that occurred in Russian history or at least possess historical character. Meanwhile, as soon as we proceed to consider what is called historical song, so immediately we discover the extreme diversity and the variety of poetic forms. Variety is so great that historical songs do not make up the genre if the genre is determined on the basis of some poetic unity. Here it turns out the same as with a fairy tale and the epic, which we also could not recognize the genre. True, the researcher has the right to specify its terminology and conditionally call historical songs genre. But such terminology would not have a cognitive value, and therefore was the right to B. N. Putilov, when his book dedicated to historical songs, he called "Russian Historical and Song Folklore of the XII-XVI centuries" (M.-L., 1960). Nevertheless, the historical song exists if not like a genre, then as the sum of several different genres of different eras and different forms united by the historicity of their content. The complete and accurate definition of all genres of the historic song cannot be included and our task. But even with a superficial look, without a special and in-depth study, you can install at least some types of historical songs. The nature of historical songs depends on two factors: from the era into which they are created, and on the environment that creates them. This makes it possible to at least schedule the main categories of historical songs. Songs of the Spromed Warehouse Open a list of siteric songs Because the first I have been identified in this genre. About Closher Dudensevich, refers to the 14th century the earliest, composed later songs were different compiled in the 16th century Songs about the Terrible - Scary Songs created in the Moscow City Width-Pushkye (Free-Wall Artillers) Psens were created by the means of epics and the company called them by the antiquities (the anger of Grozny on his son, the capture of Kazan) In the future, the development has lost contact with the epic 3) songs about internal events by the 16th and 18th century Also created in Moscow with ordinary people, these are songs of a certain environment and a certain era., A variety of poetics have the same epics (about the Zemsky Cathedral about the siege of the Osolatsky Monastery) peteubrgian songs With the transfer of the capital to Petersburg, this type of urban songs about the internal events of Russian history ceases to be productive. In St. Petersburg, there are separate songs about the rebellion of the Decembrists, about Arakcheev and some others, but this genre was damaged in the 19th century. The songs of this group are created by the urban environment, from where they later penetrate the peasantry. Cossack songs 16-17 in Choral performance. Strong lyrical songs about Wolnice., About peasant wars. Here songs about Pugacheva are more real than songs about distribution as the St. Petersburg Psemy were influenced by the soldiers Military soldamers 18-20 songs With the advent of the regular army, soldiers are created by the dominant form of Esani from Poltava combat to 2 World War Lyrical songs Forms of existence and use Horovodnaya gaming dance Performed without movements 2) domestic use Labor wedding wedding and TD They are on love, family separation - human life Psens express a survey attitude to the world Satyrian ocked Glit-free nets 3) by execution Broaching atest intermediate semispective 4) Songs on social groups Workers, peasants, burlakov, soldier Hemmall Mass Little Old Starry and For separation to genres, repel from the track of the position Unity of form and content. It is assumed that the first content is as it creates a form Since they created representatives of various social groups, then they have different songs Social Batrakov Group will create a song of a certain content and appropriately to this song will take a certain form. Songs of peasants ran away from the ground Songs workers Social Song Decision Songs of peasants leading agricultural labor Are divided into Ritual F) agricultural Divided on holidays on which they were executed For example, the shints \u003d bargains, Novogod \u003d Round-up for trumps Songs for Each Prazdinka \u003d Separate Genre And) family Proppus considers due, they are +) Funeral For each moment the rite is different for a different artist + _) wedding Other trips executed by the bride or a plastic driver, also sentences of the friend and magnificent parents. This is the emergence of the Wedding Song genres Non-stop Here the proppage focused on the bale, they are named A) recruit, as well as associated with some threads in life, here the other songs not considered by proppage On the form of the execution of the song can be divided into those that are used with the televizations and those bodies are executed without A) dance, gaming, dance Horovodny, game and dance songs have a special style. Usually they have a bought structure (which is not in the songs of voice). Such songs possess special laws of the composition. For example, the last lines of each twig can be repeated with a change in one or two words. Horovodnyy songs are distributed in those figures that constitute a dance (Balakirev distinguishes dance songs "Circular", when the dance moves in a circle, and "running" when singing or go to each other.) Game songs are usually associated with the game, but can be performed alone as a reminder of past games, differ at the place of execution will allow you to erect what the game consisted. Games and game songs are also different by whether they are outdoors in the outdoors or in the hut. Games in winter in the hut and in the summer in the field or on the street there are different. Game songs are closely related to games, and very often from the text of the song can be installed, in which the game consisted. The game song can be found no matter whether it is indicated by the collector as such or not. The boundaries between dance and game songs can not be installed exactly, since the most knowledge of the dance is a genus game In the dance songs, the content of the song is less closely connected with the dance, which is the content of gaming with the game. Any frequent song can be used as a dance, under any frequent song you can dance. However, not at all frequent song will certainly dance. If the game song can be found no matter whether it is designated as such or not, then you can not know the dance in the text. It follows from this that the dance songs actually do not represent the genre. Nevertheless, the use of a song for a dance is an important sign of a number of frequent songs. Fulfilled and choir and singly, just sitting or when working Pronounced broaching Elegy, lyrical, expressing deep feelings singing usually Frequent songs Have a cheerful comic character more often express collective feelings For 1.2 tempo of songs \u003d the character of the song, for 3 it does not matter Semisperate For the side of the song of the song is important Indication of comic character because it is the trait of frequent Attention to the topic In the compatibility of non-heightened songs includes different genres, but they themselves do not make up the genre Songs of peasants cut off from the ground Songs yard Make up undoubted, with a very specific genre. On the one hand, they are reflected in them all the horror, all the humiliation of the peasant, fully dependent on the arbitrariness of the Barin and the brutal spanking for the slightest areas. On the other hand, there are elements of some frivolous or unclear tone, which is completely alien to the songs of peasant and which indicates the corporate of the peasant psyche under the influence of a "civilized" boric environment. Lacéan city songswe are pinching with songs with social orientation Labor PSNIcreated for accompanation work for example Blutski when the song replaces the team and like Dellasti songs -dedicated to the robbers who escaped on the will and became Rubin Hoods (but songs about the fate of fate to the length) Soldier songs - About service and courage for the Fatherland and TP It is very important to watch who performs a song if a girl is more like that is somehow stretching or love, but AESLi guy means removing and so on Prison songs -2 species: suffering and seeking on the will, and the Material Zeki Bravishing Past Folklore of the City Meshchansky Environment - The genre of the cruel romance about the tragic completion of unfortunate love Songs workers -traditions come from literature Although the images and appeals are presence of peasant and crying, too, but the topic is the bitter life and the composition of words and images - other. Early working poetry - 4st Korea \u003d Chastushka. Remose in the songs suitable in meaning the literary works of poets poems. Working songs adopt folklore and literature, among them there are 3 categories Songs created by the workers themselves Satyrian pseks associated with class consciousness Songs-hymns, funeral marches were performed collectively Thus, in the composition of working poetry, several groups of genres can be outlined: it is broaching folklore-type songs, lyrol-epic poems with increasing revolutionary content, satirical works, also with increasing revolutionary consciousness, and high-grade poetry, which already overlooking the folklore . Children's song folklore Adults sing for children Lullared (smooth singing, words from everywhere) Gaming tunes, non-residents Pestees for small Children sing themselves Game songs, not clear without games + conditionally read Songs teasers, mockery Songs of children about the surrounding life (special incolmental, sometimes a set of words) From these signs depend on the composition and style of statements. The specificity of the folklore: collective and individual principles, stability and variability, the concept of traditionality, the method of existence. On Jacobson and Bogatyreva, folklore more about the language than to speech from the theory of sausage. It uses the language, and each speaking is done individually. So in folklore, a certain set of traditions, the building of obscures, beliefs, creativity is used by performers and creators. A tradition is performed as a canvas, a work is created on its basis, it passes collective censorship and after some time turns into a tradition for subsequent works. The existence of a folk product involves the learning and authorizing group. In folklore interpretation - the source of the work. Collective and individual start. In Folklore, we face the phenomenon of collective creativity. Collective creativity is not given to us in any visual experience, and therefore it is necessary to assume the existence of a certain individual creator, the initiator. A typical young brother label, both in linguistics and folkloristic, Vsevolod Miller considered the collective creativity of mass fiction, because he believed, human experience never observed such creativity. Here, undoubtedly, the influence of our daily environment is obtained. Not oral creativity, and written literature is the usual and most well-known form of creativity for us, and thus, the usual performances are egocently projected into the folklore sphere. So, the moment of birth of the literary work is the moment of its consolidation on paper by the author, and by analogy, when the oral work is first objectified, that is, it is executed by the author, interpreted as the moment of his birth, whereas in reality the work becomes folklore only since its adoption by the team . Supporters of the thesis on the individual character of folk creativity are inclined to substitute Anonymous instead of the team. So, for example, in one well-known manual for Russian oral creativity, the following is said: "Thus, it is clear that in the ritual song, if we do not know who was the creator of the rite who was the creator of the first song, then this does not contradict individual creativity, but only says that the rite is so ancient that we cannot specify the author nor the conditions for the emergence of the oldest, closely connected with the rite of song, and that he was created in an environment where the author's personality did not imagine interest why her memory of her and Not survived. Thus, the idea of \u200b\u200b"collective" creativity has nothing to do with "(102, p. 163). It is not taken into account that the rite without a collective sanction can not be that it is a contradictio in adjecto and that, even if in the source of one or another rite lay an individual manifestation, the path from him to the rite is as far as the path from the individual slope in Speech to change in language. In Folklore, the relationship between the artwork, on the one hand, and its objectification, that is! The so-called winners of this work in the performance of its various people, on the other hand, is completely similar to the relationship between Langue and Parole. Like Langue, folklore product is extremely and exists only potentially, it is only a complex of well-known norms and impulses, the canvas of the actual tradition, which performers are coloring patterns of individual creativity, just as the Parole manufacturers in relation to Langue 2. How much these individual neoplasms in the language (respectively In folklore) meet the requirements of the collective and anticipate the natural evolution of Langue (accordingly folklore), so they are socialized and become facts of Langue (respectively, elements of the folk work). The role of the artist of the folklore product should in no way identify with the role of the reader or the reader of the literary work, nor with the role of the author. From the point of view of the performer of the folklore work, these works are the fact of Langue, that is, extraimed, existing independently of the Contractor, although allowing the deformation and introduction of a new creative and topical material. An individual start is possible in folklore only in theory, that is, if he speaks the hernia better than sh, only after the team adopted by the knowledgeable method of the conspiracy will become a folklore product, and not just a local feature of the famous conspiracy (?) Stability and variability Folklore text as text oral shares some features of everyday oral speech, although much more resolved. As in everyday speech, the folklore holds a division into small structural links (in the songs these links can coincide with the string) to be adopted by certain syntactic means, much less severe than in writing speech. But at the same time folk texts are traditional and reproducible in the execution act. This act in one way or a ritualized includes the close relationship of the singer with the audience (its definite and constant society involved in the knowledge of tradition and ritual restrictions) and, which is especially important, is mostly not recitation by heart, but more or less creative reproduction of plot , genre and stylistic models. We emphasize once again: all kinds of repetitions and verbal formulas as the most important bricks help the storage of text in the singer's memory between the acts of its playback before the audience. Singers and teachers are able to memorize thousands and thousands of lines by heart, but the mechanism of creative transmission is far from coming down just to the pronouncement of learned. As already mentioned, the greatest degree of meary, rigorism in reproduction takes place in relation to ritual songs, first of all - conspiracies (due to the sacrality of the magic word), as well as proverbs and choral songs (the choral beginning goes back to the rite, on what A. Particularly insisted N.Veselovsky), although within these limits there is some minimum of variation. Of course, the variability is minimal in sacred poetry (oral, but professional) type of Vedica in India or the ancient Riot Poetry of Filids (and earlier than druids), etc. In songs and fairy tales, already not related to the rite, the scale of varying is much greater, even when repetition of execution by the same singer or a teacher. In principle, variation - the original Folklore feature, and the search for a single prototype of the initial text, as a rule, is a scientific utopia . In general, the archaic folklore, almost completely remaining in the ritual framework, varies to a much lesser extent than the "classic" folklore that exists next to the literature. Depending on the audience and other circumstances, the teacher's singer can reduce its text or expand it at the expense of parallelism, additional episodes, etc. Any kind of repeatability constituting the element of the folklore and the element of the archaic word of the Austality with its hegemony of the ritual start, is the main and most powerful means of structuring the archaic and folk works and the most important feature of the archaic and folk style. Arriving on the basis of rituality and dyedness, repetition of forms, phraseological revolutions, fondic and syntactic elements are perceived at the same time as decorating reception. Permanent epithets, comparisons, contrast comparisons, metaphors, game synonyms, anaphoric and epiphoric repeats, internal rhymes, alliterations and associations are increasingly beginning to be felt like decorations. As already noted, the folklore continues to function and after the appearance of a book literature, but this traditional, or "classic" folklore in some respects is different from the folklore strictly archaic, as if primitive. If such a "primitive" folklore has its basis ancient mythology and a Religious School of Shamansky type, if it is immersed in the atmosphere of primitive syncretism with its hegemony of ritual forms, the traditional folklore develops under the decay of generic relations and changing tribal unions by early-state associations, in conditions transition from kind to family, the birth of the state self-consciousness (which was decisive to create classical forms of the epic), the development of more complex religious and mythological systems, up to the "world religions" and the primaries of historical or, at least quasi-historical ideas, leading to to partial dimitalization and desacralization of the oldest storyfound. A very fundamental factor in differences between earlier and later forms of folklore is the very fact of the existence of a book literature and its influence on oral tradition. The developed folklore is experiencing a multifaceted effect of literature where the credibility and weight of the written word is immeasurably higher and in religious-magic, and in the aesthetic plan. Sometimes an oral word is soldered under the book, reproducing the norms of the written language, especially often in a solemn rhythm speech. On the other hand, the folklorization of book sources is occurring, which often leads to their archae. Along with the actual book influence, it is necessary to take into account the influence of a more developed folklore (often already experienced the influence of the book) on the work of neighboring peoples standing on a more archaic level of cultural development (for example, the influence of Russian folklore on oral literature of some other peoples of the USSR). (Melta, Novik and Others .. The status of the word and the concept of genre) From the fact that every execution of the source of the poison of the trail of the artist (Jacobson) grows the variability of the Falklodic work as such. However, all of them in aggregate are based on a stable tradition \u003d Launge. Variability is observed within the genres, .... The method of existence is oral. Ritual, non-stop. Traditionality - installation on a tradition, exit from tradition is a close relationship. Too overall question !!! Unnexted oral folk creativity. It was created for centuries, there are many types of its varieties. Translated from the English language "Folklore" is "matopic value, wisdom." That is, the oral folk creativity is everything that is created by the spiritual culture of the population for the century of his historic life. Features of Russian folkloreIf you carefully read the works of Russian folklore, it can be noted that it actually reflects a lot: and the game of fantasies of the people, and the history of the country, and laughter, and serious Duma about the human life. Listening to the songs and fairy tales of the ancestors, people thought about the many difficult questions of their family, social and labor life, reflected how to fight for happiness, improve their lives, which should be a person to make fun and porous. Varieties of folkloreVarieties of folklore include fairy tales, epics, songs, proverbs, riddles, calendar chorus, the grade, sayings - everything that was repeated, passed from generation to generation. At the same time, the performers made often in the favorite text of something, changing individual details, images, expressions, imperceptibly improving and honing the work. Oral folk creativity for the most part exists in the poetic (poems) form, since it was she allowed to memorize and transmit these works from the mouth for centuries. SongsThe song is a special verbal musical genre. It is a small luriko-narrative or lyrical product, which was created specifically for singing. The types are as follows: lyrical, dance, ritual, historical. They are expressed in folk songs feelings of one person, but at the same time a lot of people. Love experiences, events of public and family life were reflected in them, reflections on severe fate. In folk songs, the so-called submission of parallelism is often used when they are transferred to the nature of the mood of this lyrical hero. Historical songs are devoted to various famous personalities and events: the conquest of Siberia Yermak, the rebellion of Stepan Razin, the peasant war under the leadership of Emelyan Pugachev, the battle of Poltava with the Swedes and others. The narration in historical folk songs about some events is combined with the emotional sound of these works. EpicsThe term "epic" was introduced by I. P. Sakharov in the 19th century. It is an oral folk creativity in the form of a song, heroic, epic character. There were epics in the 9th century, it was an expression of the historical consciousness of the people of our country. Bogatyri - the main characters of this kind of folklore. They embody the people's ideal of courage, strength, patriotism. Examples of the Bogatyurians, whom the works of oral folk art were depicted: Dobrynya Nikitich, Ilya Muromets, Mikula Selyaninovich, Alyosha Popovich, as well as a merchant Sadko, Giant Svyatogor, Vasily Buslaev and others. Life foundation, while enriched with some fantastic fiction, constitutes the plot of these works. In them, heroes alone overpowers whole hordes of enemies, fighting with monsters, overcome instantly huge distances. It is very interesting this oral folk creativity. Fairy talesWe need to distinguish from fairy tales. These works of oral folk art are based on invented events. Fairy tales can be magical (in which fantastic forces are involved), as well as household, where people are depicted - soldiers, peasants, kings, workers, princesses and princes - in a daily atmosphere. From other works, this type of folklore is distinguished by an optimistic plot: it always triumphs over evil, and the latter or tolerate defeat, or ridicule.
LegendsWe continue to describe genres of oral folk creativity. Legend, unlike a fairy tale, is a popular oral story. The basis of it is an incredible event, a fantastic image, a miracle that is perceived by a listener or a storytellor as reliable. There are legends on the origin of the peoples, countries, seas, the suffering and exploits of fictional or actually existed heroes. PuzzlesOral folk creativity is represented by many riddles. They are an allegoric image of a certain object, usually based on a metaphorical convergence with it. The riddles in volume are very small, have a certain rhythmic structure, often underlined by the presence of rhymes. They are created in order to develop intelligence, guess. Riddles are diverse in content and subject. There may be several of their options about the same phenomenon, an animal, subject, each of which from a certain side characterizes it.
Proverbs and sayingsGenres of oral folk creativity also include sayings and proverbs. The proverb is rhythmically organized, brief, figurative saying, aphoristic folk statement. It usually has a two-part structure, which is supported by rhythm, rhythm, alliterations and associations. The saying is a figurative expression that evaluates some phenomenon of life. She, unlike the proverb, is not a whole proposal, but only a part of the statement, which is in oral folk creativity. Proverbs, sayings and riddles are included in the so-called small genres of folklore. What is it? In addition to the above species, it includes other oral folk creativity. Types of small genres are complemented by the following: Lullabous songs, Pestushki, Pestes, Supports, Game chorus, shallows, sentences, riddles. Let's stop a little more on each of them.
Lullabous songsSmall genres of oral folk creativity include lullaby songs. In the people they are called bikes. The name did this happen from the verb "Bat" ("Bailat") - "talk". This word has the following ancient value: "Tap, whisper". Lullaby songs got this name is no coincidence: the oldest of them have a direct relation to the conspiracy poetry. Fighting with a dream, for example, the peasants said: "Dundushka, get away from me." Pottushki and funRussian oral folk creativity also represent the pests and functions. In their center there is an image of the younger child. The name "Pestus" comes from the word "to dream", that is, "go for someone, raise, nursing, wearing in your hands to raise." They are short sentences that in the first months of the baby's life comment on his movements. You are unnoticed by the Pests go to the fun - the songs accompanying the Games of the baby with the fingers of the legs and the handles. It is very diverse this oral folk creativity. Examples of drills: "Forty", "Ladushka". They often have a "lesson", instruction. For example, in the "forty" Beloboka all fed a porridge, except for one lazy, albeit the smallest (it corresponds to the little finger). SupportsIn the first years of the life of children, nanny and mother sang songs already more complex content that are not related to the game. All of them can be denoted by a single term "add-on". By content they resemble small fairy tales in verse. For example, about the rooster - a gold scallop, flying on a Kulikovo field for oats; About chicken in a row, which "peas of Lesales" and "millet sowed".
In addition, as a rule, a picture of some bright event is given, or it depicts some rapid effect that corresponds to the active nature of the kid. They are noticeable to the plot, but the child for long-term attention is not capable, so they are limited to only one episode. Sentences, SlashkiWe continue to consider oral folk creativity. Its species are complemented by shafts and sentences. Children on the street are very early to study in the peers in various shallows, which are an appeal to birds, rain, rainbow, the sun. Datvora at the case shouting the name of the word in the case. In addition to the chain, in the peasant family, any child knew sentences. They are most often pronounced one by one. Sentences - appeal to the mouse, small bugs, snail. It may be imitued with various bird voices. The verbal sentences and songs are filled with faith in the strength of water, sky, land (then beneficial, then destructive). Their pronunciation acquired to work and the lives of adult peasant children. Sentences and shakes are combined into a special department called "Calendar Children's Folklore". The term emphasizes the existing link between them and the time of the year, the holiday, weather, all the life and building of the village's life. Game sentences and chorusGenres of works of oral folk creativity include gaming sentences and chorus. They are no less than ancient than shafts and sentences. They or associate parts of some game, or begin it. They can also perform the role of the ending, determine the consequences that exist when violating conditions.
Amazed games similarity with serious peasant activities: harvest, hunting, sowing flax. Reproduction of these cases in a strict sequence with the help of multiple repetitions made it possible to instill with the child from an early age respect for customs and existing order, teach the rules adopted in society. Game names - "Bear Bor", "Wolf and Geese", "Korshun", "Wolf and Sheep" - talk about communication with life and life of the rural population. ConclusionIn folk epics, fairy tales, legends, the songs live no less exciting colorful images than in the artworks of classical authors. A peculiar and surprisingly accurate rhymes and sounds, bizarre, beautiful poetic rhythms - as if lace woven in texts of chastushki, flows, booms, riddles. And what bright poetic comparisons we can find in lyrical songs! All this could create only the people - the Great Wizard of the Word. Genres of folklore are diverse. There are large genres, such as the epics, a fairy tale. And there are small genres: proverbs, sayings, shafts. Small genres very often were intended for children, taught them the wisdom of life. Proverbs and sayings allowed people to maintain and transmit folk wisdom from generation to generation. The artistic feature of all small genres is that they are small in volume, easily remembered. They are often created in poetic form, which also helped them better memorize. Proverbs consist of one sentence. But this proposal is very deep and bit according to its content. "Chickens are considered in the fall," our ancestors spoke, and we say today. The proverb is based on everyday wisdom. No matter how many chickens you have in the spring. It is important how much they have grown to autumn. Over time, these words began to have a generalized meaning: do not go out, how much can you get from one or another, look at the result made. Small genres of folklore, intended for children, have their own peculiarity and value. They entered the life of a child from birth and accompanied for many years before his adults. Lullared songs were intended primarily to protect the baby from the terrible, which surrounds it. Therefore, a gray wolf and other monsters often appear in the songs. Gradually, the lullabies stopped playing the role of the Oberega. Their appointment began to plant a child. Another genre of folklore is connected with sometimes infancy. This is a pestup (from the word "to dream"). Mother sangs their baby, confident that they help him grow smart, strong, healthy. Podral, the child himself studied to use in his speech, games various genres. Children in spring or autumn performed shakes. So adults taught them carefully to treat the world of nature, to produce various agricultural work on time. Species Parents developed their children's speech. Artistic peculiarity feature is not that it has a poetic shape. Her value in the other. There was a patter with such a calculation so that words with a complex sounds were included in her. By pronouncing the patter, the children developed the correctness of the speech, achieving clarity in pronunciation. A special place among small genres of folklore is riddled. Her artistic feature is metaphoricity. The riddles were based on the principle of similarity or differences in objects. Rogueing the riddle, the child studied observation, logical thinking. Often, the children themselves began to invent riddles. They also came up with teasers, having ridiculed human flaws in them. Thus, the small genres of folklore with all their varieties served as one goal - figuratively, aptly and accurately convey folk wisdom, teach the younger man of life. The term "folklore" (translated "Folk wisdom") for the first time introduced the English scientist U.J. Toms in 1846. At first, this term covered all the spiritual (beliefs, dances, music, wood carving, etc.), and sometimes material (housing, clothing) the culture of the people. In modern science there is no unity in the interpretation of the concept of "folklore". Sometimes it is used in the initial meaning: an integral part of the people's life, closely intertwined with its other elements. From the beginning of the 20th century The term is used in a narrower, more specific meaning: verbal folk creativity. The most ancient types of verbal art arose in the process of forming human speech in the era of the upper Paleolithic. The verbal creativity in antiquity was closely related to human labor and reflected religious, mythical, historical ideas, as well as the primitive scientific knowledge. The ritual actions through which a primitive person sought to influence the forces of nature, on fate, were accompanied by words: spells were pronounced, conspiracies, to the forces of nature were treated with various requests or threats. The art of the word was closely connected with other types of primitive art - music, dancing, decorative art. In science, this is called "primitive syncretism" traces of it and are now noticeable in folklore. Russian scientist A.N.Veselovsky believed that the origins of poetry were in folk rite. Primitive poetry, according to his concept, originally represented the song of the choir, accompanied by a downtry and a pantomime. The role of the word at first was insignificant and fully subordinate to Rhythm and Mimic. The text was improvised according to the implementation of the execution, until it acquired a traditional character. As humanity has accumulated increasingly significant life experience, which it was necessary to convey the following generations, the role of verbal information increased. The allocation of verbal creativity into an independent type of art is the most important step in the prehistory of folklore. Folklore was verbal art organically inherent folk house. The various purpose of the works gave rise to genres, with their diverse themes, images, style. In the oldest period, most peoples were generic legends, labor and ritual songs, mythological stories, conspiracies. The decisive event, which lasted the frontier between mythology and actually folklore, was the appearance of a fairy tale, the plots of which were realized as fiction. In an antique and medieval society, the heroic epos (Irish saga, Kyrgyz Manas, Russian epics, etc.). There were also legends and songs reflecting religious beliefs (for example, Russian spiritual poems). Later, historical songs depicting real historical events and heroes appeared, which they remained in popular memory. If the ritual lyrics (rites, accompanying calendar and agricultural cycles, family rituals associated with the birth, wedding, death) originated in ancient times, then the lyrics are impaired, with her interest in an ordinary person, it appeared much later. However, over time, the border between the ritual poetry is erased. So, a chastushki sing at the wedding, while at the same time, some of the wedding songs are moving into an unjuginary repertoire. Genres in folklore are also distinguished by the method of execution (solo, choir, chorus and soloist) and various combination of text with melody, intonation, movements (singing, singing and dance, told, playback, etc.) With changes in the social life of society in Russian folklore, new genres arose: Soldier, Yamchichsky, Burlats songs. The growth of industry and cities caused romances, jokes, working, school and student folklore to life. In folklore, there are genres of productive, in the depths of which new works may appear. Now these are chastushki, sayings, urban songs, jokes, many types of children's folklore. There are genres unproductive, but continuing their existence. So, new folk fairy tales does not appear, but the old are still told. Sing and many old songs sing. But there are almost no historical songs in the lively execution. Science of folklore - folklorism - all works of people's verbal creativity, including literary, refers to one of their three genera: Epos, lyrics, drama. Through thousands of years, all peoples folklore had the only form of poetic creativity. But even with the advent of writing for many centuries, up to the period of late feudalism, the oral poetic creativity was widespread not only among the labor people, but also among the highest sections of society: nobility, clergy. Having aroused in a specific social environment, the work could become a nationwide heritage. Collective author.Folklore is a collective art. Each work of oral folk creativity not only expresses the thoughts and feelings of certain groups, but also collectively created and applies. However, the collectivity of the creative process in folklore does not mean that individual individuals did not play any role. Talented masters not only improved or adapted existing texts to new conditions, but sometimes they created songs, chastushki, fairy tales, which, in accordance with the laws of oral folk creativity, were already empty by the author. There were peculiar professions related to the creation and execution of poetic, and musical works (ancient Greek rapes, Russian Huslari, Ukrainian Kobzari, Kyrgyz Akyn, Azerbaijani Ashugi, French Chance, etc.). In Russian folklore in 18-19 V.V. There was no developed professionalization of singers. Fairy tales, singers, patches remained peasants, artisans. Some genres of popular poetic creativity had a mass distribution. The execution of others required a well-known sweating, a special musical or acting gift. Folklore of every people unique, as well as his story, customs, culture. So, the epics, chastushki are inherent in only Russian folklore, the Duma - Ukrainian, etc. Some genres (not only historical songs) reflect the history of this people. Different composition and shape of ritual songs, they can be confined to the periods of agricultural, cattle, hunting or fishing calendar, join a variety of relations with the rites of Christian, Muslim, Buddhist or other religions. For example, the scottled ballad has acquired clear genre differences, while Russians are close to a lyrical or historical song. In some nations (for example, Serbs), poetic rituals are distributed, in others (including Ukrainians) - they existed in the form of simple prosaic exclamations. Each people has their own arsenal metaphor, epithets, comparisons. So, the Russian proverb "Silence - Gold" corresponds to the Japanese "Silence - Flowers". Despite the vivid national color of folk texts, many motives, images and even plots of different peoples are similar. Thus, a comparative study of the European folklore plots led scientists to the conclusion that about two thirds of the plots of fairy tales of each people have parallels in the fairy tales of other nationalities. Veselovsky called similar plots "stray", creating "the theory of stray plots", which was repeatedly criticized by Marxist literary studies. For peoples with a single historical past and related languages \u200b\u200b(for example, Indo-European Group), such similarities can be explained by general origin. This is a similarity genetic. Similar features in the folklore of peoples belonging to different language families, but has long been contacting each other (for example, Russian and Finns) are explained by borrowing. But in the folklore of peoples living on different continents, and probably never communicated, there are similar topics, plots, characters. So, in one Russian fairy tale, the poor man says, who was planted for all his practices in the bag and they are going to drown, but he, deceiving the Barin or Pop (they say, the huge shoals of beautiful horses graze under water), plant him in the bag instead of themselves. There are the same plot in the fairy tales of Muslim peoples (history about Hadju Nasreddin), and among the peoples of Guinea, and the inhabitants of the island of Mauritius. These works arose independently. Such similarity is called typological. At the same stage of development, similar beliefs and rites, forms of family and public life are added. And, consequently, the ideals and conflicts are the opposition of poverty and wealth, mind and nonsense, hard work and laziness, etc. From mouth to mouth.Folklore is stored in the memory of the people and played orally. The author of the literary text is not necessary to communicate directly with the reader, the product of the folklore is executed if there are listeners. Even the same narrator at each execution voluntarily or involuntarily changes something. Moreover, the following performer transfers the content. And fairy tales, songs, epics, etc. pass through thousands of mouth. The listeners not only affect the performer (in science it is called feedback), but sometimes they are connected to execution. Therefore, any product of oral folk creativity has many options. For example, in one fairy tale Princess Frog Tsarevich listens to the Father and marries a frog without any conversations. And in the other - wants to get away from her. Different in fairy tales helps the frog, narrowed to perform the tasks of the king, which are also the same everywhere. Even such genres, like epics, song, a chastushka, where there is an important restraining beginning - rhythm, entanglement, have excellent options. For example, a song recorded at 19 V. In the Arkhangelsk province: Soloveyushka premium Around the same years in Siberia sang on the same motive: You are my darling, Not only in different territories, but also in various historical epochs, the same song could be performed in the options. So, the songs of Ivan Grozny were converted to the songs of Peter I. To remember and retell or sing a piece (sometimes quite voluminous), the people have developed intakes polished by centuries. They create a special style that distinguishes folklore from literary texts. Many folk genres have a common stained. So, the folk response knew in advance how to start a fairy tale - In some kingdom, in some state ... or Lived once…. Epics often began with words As in a glorious city in Kiev .... Some genres are repeated and ending. For example, the epics often end like this: Here he and glory sing .... The magic fairy tale almost always ends with a wedding and a pyrse with a promsion I was there, honey beer drank, flowed across the mustache, and did not get into my mouth or And they began to live-wait and well. Meet in folklore and other, most diverse reasons. Separate words can be repeated: Past at home, past the stone, // past the garden, green gardens, or start rows: At the dawn, it was on the dawn, // at the dawn it was in the morning. Repeat entire lines, and sometimes several lines: On Don walks, it walks along Don In the works of oral folk art, not only words and phrases are repeated, but also entire episodes. On a three-time repetition of the same episodes, episodes, and fairy tales are built and songs. So, when the caligics (stray singers) heal Ilya Muromsz, they give him a drink "Piece Breaking" three times: after the first time he feels a lack of force, after the second - an excess and only drinking for the third time, he gets so much strength as He needs. In all genres of folklore, there are so-called common, or typical, places. In fairy tales - fast movement of the horse: Horse runs - the earth trembles. "Numbness" (politeness, pupil) of the epic hero is always expressed by the formula: Cross, he put in writing, yes, but a scientist conducted. There are beauty formulas - Neither in a fairy tale say no pen. Remedies are repeated: Stand in front of me like a leaf before grass! The definitions are repeated, the so-called constant epithets that are not unremitted with the defined word. So, in Russian folklore, the field is always clean, month is clear, the girl is red (red), etc. Other artistic techniques helps perception. For example, the so-called taking step narrowing of images. Here is the beginning of the folklore song: In the glorious city in Cherkassk, The hero may be allocated by opposition. At the feast of Prince Vladimir: And how are everyone sitting here, drink, eat and boast, In the fairy tale, two brothers are smart, and the third (protagonist, winner) for the time being a fool. Sustainable qualities are fixed for certain folklore characters. So, Lisa is always tricky, the hare is a cowardly, wolf - evil. There are folk poetic creativity and certain symbols: nightingale - joy, happiness; Cuckoo - Mountain, trouble, etc. According to the estimates of researchers, from twenty to eighty percent of the text, it seems from the finished material that does not need memorization. Folklore, literature, science.Literature appeared much later than folklore, and always, to some extent, used his experience: themes, genres, techniques - excellent in different epochs. So, the stories of antique literature rely on myths. In European and Russian literature, author's tales and songs, ballads appear. Due to the folklore, a literary language is constantly enriched. Indeed, in works of oral folk creativity, many old and dialect words. With the help of stuffing suffixes and freely used consoles, new expressive words are created. Girl sadness: You are parents, deserted, my roses .... The guy complains: You, Milka-Cool, cool wheel, tied me a head. Gradually, some words are included in the conversational, and then into a literary speech. It was not by chance that Pushkin called: "Read the common fairy tales, young writers to see the properties of the Russian language." Folklore techniques were especially widely used in the works of the people and for the people. For example, in the poem of Nekrasov Who lives well in Russia? - numerous and varied repetitions (situations, phrases, words); Sympticking suffixes. At the same time, literary works penetrated the folklore and influenced its development. As works of oral folk art (without the name of the author and in various versions), Rubai Hahifes and Omar Khayam, some Russian tale of the 17th century, were extended. Prisoner and Black shawl Pushkin, Beginning Korobeinikov Nekrasova ( Oh, full, full of battleship, // There are sits and a brocade. // Sick, my gaznobushka, // youtello shoulder ...) and much more. Including the beginning of the fairy tales of Ershov The Little Humpbacked Horsewhich became the inspired by many folk fairy tales: Beyond the mountains, behind the forests, Poet M.Sakovsky and composer M. Blanter wrote a song Katyusha (Blowed apple and pears ...). Her people were singing, and about one hundred different appeared Katyusha. So, during the Great Patriotic War sang: Do not bloom here apple trees and pears ..., Fascists' fascists and pears .... Katyusha's girl in one song became a nurse, in another - a guerrilla, in the third one-sense. In the late 1940s, three student - A.Ohrimenko, S. Kriste and V. Shreiberg - composed a comic song: In an old and noble family To print such poems at that time it was impossible, and they spread herself. All new and new options for this song began to be created: Great Soviet writer Under the influence of literature in Folklore, rhyme appeared, (all chastushki rhymed, there is a rhyme and late folk songs), division into stanzas. Under the direct influence of romantic poetry ( see also Romanticism), in particular ballads, there was a new genre of the city romance. Learn the oral folk poetic creativity not only literary critics, but also historians, ethnographers, cultureologists. For the oldest, complementary times, folklore often turns out to be the only source, reported to this day (in veiled form), certain information. So, in a fairy tale, the bridegroom receives his wife for some merits and feats, and most often he marries not in that kingdom, where he was born, but from where his future spouse comes from. This detail of the magic fairy tale born in deep antiquity, says that in those days a wife was taken (or kidnapped) from another kind. There is in the magic fairy tale and the exhaust of the ancient rite of initiation - dedication of boys in men. The rite of this was usually in the forest, in the "male" house. In fairy tales, the house standing in the forest inhabited by men is often mentioned. Late time folklore is the most important source of study of psychology, worldview, aesthetics of this or that nation. In Russia at the end of 20 - early 21 centuries. Increased in the folklore of the 20th century, the aspects that have not yet remained so long outside official science. (Political joke, some chastushki, folklore of the Gulag). Without studying this folklore, the idea of \u200b\u200bthe life of the people in the era of totalitarianism will inevitably be incomplete, distorted. Lyudmila Polikovskaya Azadsky MK History of Russian folklores. TT., 1-2. M., 1958-1963 Find "folklore" on Only one side of the case is defined by all: this is determined by the social nature of the folklore, but this has not yet been said about all other signs of it. The above signs are clearly not enough to distinguish the folklore into a special type of creativity, and folkloristic is special science. But they define a number of other signs, already specifically folk in essentially. First of all, we install that folklore is a product of a special type of poetic creativity. But poetic creativity is also literature. And indeed, between folklore and literature, there is a closest connection between folkloristic and literature. Literature and folklore primarily coincide in their poetic clauses and genres. True, genres that are specific only for literature and are impossible in folklore (for example, novel) and, on the contrary: there are genres specific for folklore and impossible in the literature (for example, a conspiracy). Nevertheless, the very fact of the presence of genres, the possibility of classification here and there by genre, there is a fact belonging to the field of poetics. Hence the community of some tasks and techniques for the study of literary studies and folklores. One of the tasks of folklores is the task of the allocation and study of the category of the genre and each genre separately, and this task is literary. One of the most important and most difficult tasks of folklores is a study of the internal structure of works, in short, is the study of the composition, building. Fairy tale, epos, riddles, songs, conspiracies - all this has some more studied laws of addition, structure. In the field of epic genres, there is a study of the string, the course of action, junction, or, otherwise, the laws of the plot structure. The study shows that folklore and literary works are built differently that the folklore has its own specific structural laws. It is not possible to explain this specific pattern of literature, but it is possible to establish it only by receptions of literary analysis. The region includes the study of the funds of the poetic language and style. The study of the funds of the poetic language is a purely literary task. Here again it turns out that the folklore has specific means for it (parallelism, repetition, etc.) or that the usual means of the poetic language (comparison, metaphors, epithets) are filled with completely different content than in the literature. This can be installed only by literary analysis. In short, the folklore has a completely special, particular poetic poetic for him other than the poetics of literary works. The study of this poetics will open extraordinary artistic beauties laid down in folklore. Thus, we see that there is not only a close relationship between folklore and literature, but that folklore is such a phenomenon of literary order. He is one of the species of poetic creativity. Folklore in the study of this side of the folklore, in its descriptive elements - the science of literary. The connection between these sciences is so close that there is often a sign of equality between the folklore and literature and the corresponding sciences; The method of studying the literature is fully transferred to the study of folklore, and this is limited. However, literary analysis can, as we see, only to establish the phenomenon and the pattern of folklore poetics, but it is unable to explain to them. To protect yourself from a similar error, we must establish not only the similarity between the literature and the folklore, their relatives and to some extent are unique, but also to establish the difference between them, to determine their difference. Indeed, folklore has a number of specific features, so much distinguishing it from literature that the methods of literary research is not enough to permit all problems associated with folklore. One of the most important differences is that literary works are always and certainly have the author. Folklore works may not have the author, and in this one of the specific features of the folklore. The question must be supplied with all possible clarity and clarity. Or we recognize the presence of folk creativity as such as the phenomena of the public and cultural historical life of peoples, or we do not recognize it, argue that it is poetic or scientific fiction and that there is only the work of individual individuals or groups. We stand on the point of view that folk art is not a fiction, but it exists exactly as such, and that studying it is the main task of folklores as science. In this regard, we solidify with our old scientists, like F. Buslaev or O. Miller. The fact that the old science felt instinctively, expressed naively, ineptly, and not so much scientifically, how much emotionally, it should be cleared of romantic errors and raised to the proper height of modern science with its thoughtful methods and accurate techniques. Literary traditionally educated in school, we often cannot imagine that the poetic work could arise differently than the literary work arises in individual creativity. It seems to us that someone had to compose it or fold the first. Meanwhile, completely different ways of the emergence of poetic works are possible, and their study is one of the main and very complex problems of folkloristic. There is no possibility to enter the entire width of this problem. It is enough to indicate here only that genetically folklore should be closer not with literature, but with a language that also does not invent anyone and has neither the author nor authors. It occurs and varies completely naturally and regardless of the will of people, everywhere where the relevant conditions have been created in the historical development of peoples. The phenomenon of global resemblance does not represent problems for us. For us, it would be an inexplicable lack of such similarity. The similarity indicates a pattern, and the similarity of folklore works is only a particular case of historical patterns leading from the same forms of material culture to the same or similar social institutions, to similar production tools, and in the field of ideology - to similarity of forms and categories of thinking, religious performances, The ritual life, languages \u200b\u200band folklore lives, is interdependent, changes, grows and dies. Returning to the question of how to empirically imagine the occurrence of folklore works, here it will be enough to indicate at least that the folklore can initially compose the integrating part of the rite. With the degeneration or fall of the ritual, the folklore will disassemble from it and begins to live an independent life. This is only an illustration to the overall position. Proof can be given only by concrete research. But the ritual origin of the folklore was clear, for example, A. N. Veselovsky in the last years of his life. The difference here is so fundamentally that it already forces it to allocate folklore into a special type of creativity, and folkloristic is special science. The historian of literature, wanting to explore the origin of the work, looking for his author. V.Ya. Proppage Folklore poetics - M., 1998 The oral poetic creativity of the people presents a greater social value consisting of its cognitive, ideological and aesthetic values \u200b\u200bthat are inextricably linked. The informative value of the folklore is primarily manifested in the fact that it reflects the features of real-life phenomena and gives extensive knowledge about the history of public relations, labor and life, as well as the idea of \u200b\u200bthe worldview and psychology of the people, about the nature of the country. The cognitive value of the folklore increases the fact that the plots and images of its works usually conclude wide typisation, contain generalizations of the phenomena of the life and characters of people. Thus, the images of Ilya Muromets and Mikula Selyaninovich in the Russian epicers give an idea of \u200b\u200bthe Russian peasantry in general, one image characterizes a whole social layer of people. The cognitive value of the folklore increases by the fact that in its works not only are represented, but also explained paintings of life, the events of the history and image of heroes. So, the eponym and historical songs explain why the Russian people endured the Mongol-Tatar Igo and went out the winner in the fight, explain the meaning of the feats of the warriors and the activities of historical persons. M. Gorky said: "The genuine history of the labor people cannot be known, not knowing oral folk creativity." Gorky M. Satr. cit., vol. 27, p. 311. The ideological-educational value of Folklore is that the best of its works are inspired by high progressive ideas, love for the Motherland, the desire for peace. Folklore depicts warriors as the defenders of the motherland and causes a sense of pride for them. It poets Russian nature - and the mighty river (Volga-Mother, wide Dnieper, quiet Don), and the steppes are separated, and the fields are wide - and this brings up love for her. In the works of Folklore recreated the image of the Russian Earth. Folk art expresses life aspirations and social views of the people, and often revolutionary moods. It has played an important role in the struggle of the people for national and social liberation, for its socio-political and cultural development. Modern folk art contributes to the communist cultivation of the masses. In all this, and the ideological and educational significance of popular poetic creativity is manifested. The aesthetic value of folklore works is that they are the wonderful art of the word, differ in large poetic skill, which affects them in their construction, and in the creation of images, and in the language. Folklore skillfully uses fiction, fantastics, as well as symbolism, i.e. allegorical transmission and characteristics of phenomena and their poetry. Folklore is expressed by the artistic tastes of the people. The shape of his works of the centuries is grounded by the work of wonderful masters. Therefore, folklore develops aesthetic feeling, the feeling of the beautiful, feeling of form, rhythm and language. By virtue of this, it is of great importance for the development of all types of professional art: literature, music, theater. The work of many great writers and composers is closely related to popular poetry. For folklore, the disclosure of the beautiful in nature and man, the unity of aesthetic and moral began, the connection of real and fiction, bright image and expressiveness. All this serves as an explanation why the best works of folklore deliver a large aesthetic pleasure. Folklore science. Science of folklore - folklorism - examines the oral folk creativity, the verbal art of the masses. It puts and solves a significant range of important issues: on the peculiarities of folklore - its life content, social nature, ideological entity, artistic peculiarities; about its origin, development, originality at different stages of existence; about its attitude to literature and other types of art; about the peculiarities of the creative process in it and the forms of existence of individual works; On the specifics of genres: epic, fairy tales, songs, proverbs and others. Folklore is complex, synthetic art; Often, elements of various types of art are connected in its works - verbal, musical, theatrical. It is closely associated with folk diet and rites, reflected in itself the features of various periods of history. That is why they are interested in and studying it various sciences: linguistics, literary criticism, art history, ethnography, history. Each of them explores the folklore in various aspects: linguistics - the verbal side, the reflection of the history of the language and relations with dialects in it; Literary criticism is the common features of the folklore and literature and their differences; Art history - musical and theater elements; Ethnography - the role of folklore in the national life and his relationship with rites; History - the expression in it of a national understanding of historical events. In connection with the uniqueness of Folklore as arts into the term "folklore" in different countries is invested by various software. Its volume content, and therefore it is understood in different ways the subject of folklores. In some foreign countries, folklourism is engaged not only by the study of the poetic, but also the musical and choreographic sides of people's poetic works, that is, elements of all types of arts. In our country, under folkloristic, the science of popular poetic creativity is understood. Folklorestics have its own subject of study, their own special tasks, developed their methods and research techniques. However, the study of the verbal side of oral folk creativity does not come off from studying the other parties: cooperation of folkloristic sciences, literals, literary studies, art history, ethnography and history is very fruitful. Birth, genres and genre varieties. Folklore, like literature, is the art of the word. This gives the founding of folkloristic to use the concepts and terms that were developed by literary studies, naturally applying them to the peculiarities of oral folk art. Such concepts and terms serve, species, genre and genre variety. Both in literary criticism, and in folklore, there is still no one-to-state idea of \u200b\u200bthem; Researchers disagree in opinions and argue. We will accept the working definition, which we will use. The phenomena of literature and folklore, which are called genres, genres and genre varieties, are groups of works similar to among themselves in structure, ideological and artistic principles and functions. They have developed historically and have relative stability, changing only in a slight degree and pretty slow. The difference in childbirth, genres and genre varieties is important for performers of works, and for their listeners, and for researchers who study folk creativity, since these phenomena are substantive forms, occurrence, development, shift and fission - an important process in history Literature and folklore. In literary and folkloristic terminology in our time, the concept and term "appearance" were almost outered; Most often, they are replaced by the concept and the term "genre", although they previously delimited. We also take as a working concept of "genre" - a narrower group of works than the genus. In this case, under the origin, we will intelligible the image of the image of reality (epic, lyrical, dramatic), under the genome - type of artistic form (fairy tale, song, proverb). But you have to enter and even a narrower concept - "genre variety", which is a thematic group of works (fairy tales of animals, fairy tales Magic fairy tales of social and domestic, songs love, family-household songs, etc.). There may be allocated even more minor groups of works. So, in socio-household fairy tales there is a special group of works - satirical fairy tales. However, in order to present the overall picture of the classification (distribution) of the types of works of Russian national poetic creativity, another number of circumstances should be taken into account: first, the ratio of genres to the so-called rites (special religious actions), secondly, the ratio of verbal text to singing and action, which is characteristic of some types of folklore works. Works may be associated with ritual and singing and may not be connected with them. The term "folklore" (translated "Folk wisdom") for the first time introduced the English scientist U.J. Toms in 1846. At first, this term covered all the spiritual (beliefs, dances, music, wood carving, etc.), and sometimes material (housing, clothing) the culture of the people. In modern science there is no unity in the interpretation of the concept of "folklore". Sometimes it is used in the initial meaning: an integral part of the people's life, closely intertwined with its other elements. From the beginning of the 20th century The term is used in a narrower, more specific meaning: verbal folk creativity. The most ancient types of verbal art arose in the process of forming human speech in the era of the upper Paleolithic. The verbal creativity in antiquity was closely related to human labor and reflected religious, mythical, historical ideas, as well as the primitive scientific knowledge. The ritual actions through which a primitive person sought to influence the forces of nature, on fate, were accompanied by words: spells were pronounced, conspiracies, to the forces of nature were treated with various requests or threats. The art of the word was closely connected with other types of primitive art - music, dancing, decorative art. In science, this is called "primitive syncretism" traces of it and are now noticeable in folklore. Russian scientist A.N.Veselovsky believed that the origins of poetry were in folk rite. Primitive poetry, according to his concept, originally represented the song of the choir, accompanied by a downtry and a pantomime. The role of the word at first was insignificant and fully subordinate to Rhythm and Mimic. The text was improvised according to the implementation of the execution, until it acquired a traditional character. As humanity has accumulated increasingly significant life experience, which it was necessary to convey the following generations, the role of verbal information increased. The allocation of verbal creativity into an independent type of art is the most important step in the prehistory of folklore. Folklore was verbal art organically inherent folk house. The various purpose of the works gave rise to genres, with their diverse themes, images, style. In the oldest period, most peoples were generic legends, labor and ritual songs, mythological stories, conspiracies. The decisive event, which lasted the frontier between mythology and actually folklore, was the appearance of a fairy tale, the plots of which were realized as fiction. In an antique and medieval society, the heroic epos (Irish saga, Kyrgyz Manas, Russian epics, etc.). There were also legends and songs reflecting religious beliefs (for example, Russian spiritual poems). Later, historical songs depicting real historical events and heroes appeared, which they remained in popular memory. If the ritual lyrics (rites, accompanying calendar and agricultural cycles, family rituals associated with the birth, wedding, death) originated in ancient times, then the lyrics are impaired, with her interest in an ordinary person, it appeared much later. However, over time, the border between the ritual poetry is erased. So, a chastushki sing at the wedding, while at the same time, some of the wedding songs are moving into an unjuginary repertoire. Genres in folklore are also distinguished by the method of execution (solo, choir, chorus and soloist) and various combination of text with melody, intonation, movements (singing, singing and dance, told, playback, etc.) With changes in the social life of society in Russian folklore, new genres arose: Soldier, Yamchichsky, Burlats songs. The growth of industry and cities caused romances, jokes, working, school and student folklore to life. In folklore, there are genres of productive, in the depths of which new works may appear. Now these are chastushki, sayings, urban songs, jokes, many types of children's folklore. There are genres unproductive, but continuing their existence. So, new folk fairy tales does not appear, but the old are still told. Sing and many old songs sing. But there are almost no historical songs in the lively execution. Science of folklore - folklorism - all works of people's verbal creativity, including literary, refers to one of their three genera: Epos, lyrics, drama. Through thousands of years, all peoples folklore had the only form of poetic creativity. But even with the advent of writing for many centuries, up to the period of late feudalism, the oral poetic creativity was widespread not only among the labor people, but also among the highest sections of society: nobility, clergy. Having aroused in a specific social environment, the work could become a nationwide heritage. Collective author.Folklore is a collective art. Each work of oral folk creativity not only expresses the thoughts and feelings of certain groups, but also collectively created and applies. However, the collectivity of the creative process in folklore does not mean that individual individuals did not play any role. Talented masters not only improved or adapted existing texts to new conditions, but sometimes they created songs, chastushki, fairy tales, which, in accordance with the laws of oral folk creativity, were already empty by the author. There were peculiar professions related to the creation and execution of poetic, and musical works (ancient Greek rapes, Russian Huslari, Ukrainian Kobzari, Kyrgyz Akyn, Azerbaijani Ashugi, French Chance, etc.). In Russian folklore in 18-19 V.V. There was no developed professionalization of singers. Fairy tales, singers, patches remained peasants, artisans. Some genres of popular poetic creativity had a mass distribution. The execution of others required a well-known sweating, a special musical or acting gift. Folklore of every people unique, as well as his story, customs, culture. So, the epics, chastushki are inherent in only Russian folklore, the Duma - Ukrainian, etc. Some genres (not only historical songs) reflect the history of this people. Different composition and shape of ritual songs, they can be confined to the periods of agricultural, cattle, hunting or fishing calendar, join a variety of relations with the rites of Christian, Muslim, Buddhist or other religions. For example, the scottled ballad has acquired clear genre differences, while Russians are close to a lyrical or historical song. In some nations (for example, Serbs), poetic rituals are distributed, in others (including Ukrainians) - they existed in the form of simple prosaic exclamations. Each people has their own arsenal metaphor, epithets, comparisons. So, the Russian proverb "Silence - Gold" corresponds to the Japanese "Silence - Flowers". Despite the vivid national color of folk texts, many motives, images and even plots of different peoples are similar. Thus, a comparative study of the European folklore plots led scientists to the conclusion that about two thirds of the plots of fairy tales of each people have parallels in the fairy tales of other nationalities. Veselovsky called similar plots "stray", creating "the theory of stray plots", which was repeatedly criticized by Marxist literary studies. For peoples with a single historical past and related languages \u200b\u200b(for example, Indo-European Group), such similarities can be explained by general origin. This is a similarity genetic. Similar features in the folklore of peoples belonging to different language families, but has long been contacting each other (for example, Russian and Finns) are explained by borrowing. But in the folklore of peoples living on different continents, and probably never communicated, there are similar topics, plots, characters. So, in one Russian fairy tale, the poor man says, who was planted for all his practices in the bag and they are going to drown, but he, deceiving the Barin or Pop (they say, the huge shoals of beautiful horses graze under water), plant him in the bag instead of themselves. There are the same plot in the fairy tales of Muslim peoples (history about Hadju Nasreddin), and among the peoples of Guinea, and the inhabitants of the island of Mauritius. These works arose independently. Such similarity is called typological. At the same stage of development, similar beliefs and rites, forms of family and public life are added. And, consequently, the ideals and conflicts are the opposition of poverty and wealth, mind and nonsense, hard work and laziness, etc. From mouth to mouth.Folklore is stored in the memory of the people and played orally. The author of the literary text is not necessary to communicate directly with the reader, the product of the folklore is executed if there are listeners. Even the same narrator at each execution voluntarily or involuntarily changes something. Moreover, the following performer transfers the content. And fairy tales, songs, epics, etc. pass through thousands of mouth. The listeners not only affect the performer (in science it is called feedback), but sometimes they are connected to execution. Therefore, any product of oral folk creativity has many options. For example, in one fairy tale Princess Frog Tsarevich listens to the Father and marries a frog without any conversations. And in the other - wants to get away from her. Different in fairy tales helps the frog, narrowed to perform the tasks of the king, which are also the same everywhere. Even such genres, like epics, song, a chastushka, where there is an important restraining beginning - rhythm, entanglement, have excellent options. For example, a song recorded at 19 V. In the Arkhangelsk province: Soloveyushka premium Around the same years in Siberia sang on the same motive: You are my darling, Not only in different territories, but also in various historical epochs, the same song could be performed in the options. So, the songs of Ivan Grozny were converted to the songs of Peter I. To remember and retell or sing a piece (sometimes quite voluminous), the people have developed intakes polished by centuries. They create a special style that distinguishes folklore from literary texts. Many folk genres have a common stained. So, the folk response knew in advance how to start a fairy tale - In some kingdom, in some state ... or Lived once…. Epics often began with words As in a glorious city in Kiev .... Some genres are repeated and ending. For example, the epics often end like this: Here he and glory sing .... The magic fairy tale almost always ends with a wedding and a pyrse with a promsion I was there, honey beer drank, flowed across the mustache, and did not get into my mouth or And they began to live-wait and well. Meet in folklore and other, most diverse reasons. Separate words can be repeated: Past at home, past the stone, // past the garden, green gardens, or start rows: At the dawn, it was on the dawn, // at the dawn it was in the morning. Repeat entire lines, and sometimes several lines: On Don walks, it walks along Don In the works of oral folk art, not only words and phrases are repeated, but also entire episodes. On a three-time repetition of the same episodes, episodes, and fairy tales are built and songs. So, when the caligics (stray singers) heal Ilya Muromsz, they give him a drink "Piece Breaking" three times: after the first time he feels a lack of force, after the second - an excess and only drinking for the third time, he gets so much strength as He needs. In all genres of folklore, there are so-called common, or typical, places. In fairy tales - fast movement of the horse: Horse runs - the earth trembles. "Numbness" (politeness, pupil) of the epic hero is always expressed by the formula: Cross, he put in writing, yes, but a scientist conducted. There are beauty formulas - Neither in a fairy tale say no pen. Remedies are repeated: Stand in front of me like a leaf before grass! The definitions are repeated, the so-called constant epithets that are not unremitted with the defined word. So, in Russian folklore, the field is always clean, month is clear, the girl is red (red), etc. Other artistic techniques helps perception. For example, the so-called taking step narrowing of images. Here is the beginning of the folklore song: In the glorious city in Cherkassk, The hero may be allocated by opposition. At the feast of Prince Vladimir: And how are everyone sitting here, drink, eat and boast, In the fairy tale, two brothers are smart, and the third (protagonist, winner) for the time being a fool. Sustainable qualities are fixed for certain folklore characters. So, Lisa is always tricky, the hare is a cowardly, wolf - evil. There are folk poetic creativity and certain symbols: nightingale - joy, happiness; Cuckoo - Mountain, trouble, etc. According to the estimates of researchers, from twenty to eighty percent of the text, it seems from the finished material that does not need memorization. Folklore, literature, science.Literature appeared much later than folklore, and always, to some extent, used his experience: themes, genres, techniques - excellent in different epochs. So, the stories of antique literature rely on myths. In European and Russian literature, author's tales and songs, ballads appear. Due to the folklore, a literary language is constantly enriched. Indeed, in works of oral folk creativity, many old and dialect words. With the help of stuffing suffixes and freely used consoles, new expressive words are created. Girl sadness: You are parents, deserted, my roses .... The guy complains: You, Milka-Cool, cool wheel, tied me a head. Gradually, some words are included in the conversational, and then into a literary speech. It was not by chance that Pushkin called: "Read the common fairy tales, young writers to see the properties of the Russian language." Folklore techniques were especially widely used in the works of the people and for the people. For example, in the poem of Nekrasov Who lives well in Russia? - numerous and varied repetitions (situations, phrases, words); Sympticking suffixes. At the same time, literary works penetrated the folklore and influenced its development. As works of oral folk art (without the name of the author and in various versions), Rubai Hahifes and Omar Khayam, some Russian tale of the 17th century, were extended. Prisoner and Black shawl Pushkin, Beginning Korobeinikov Nekrasova ( Oh, full, full of battleship, // There are sits and a brocade. // Sick, my gaznobushka, // youtello shoulder ...) and much more. Including the beginning of the fairy tales of Ershov The Little Humpbacked Horsewhich became the inspired by many folk fairy tales: Beyond the mountains, behind the forests, Poet M.Sakovsky and composer M. Blanter wrote a song Katyusha (Blowed apple and pears ...). Her people were singing, and about one hundred different appeared Katyusha. So, during the Great Patriotic War sang: Do not bloom here apple trees and pears ..., Fascists' fascists and pears .... Katyusha's girl in one song became a nurse, in another - a guerrilla, in the third one-sense. In the late 1940s, three student - A.Ohrimenko, S. Kriste and V. Shreiberg - composed a comic song: In an old and noble family To print such poems at that time it was impossible, and they spread herself. All new and new options for this song began to be created: Great Soviet writer Under the influence of literature in Folklore, rhyme appeared, (all chastushki rhymed, there is a rhyme and late folk songs), division into stanzas. Under the direct influence of romantic poetry ( see also Romanticism), in particular ballads, there was a new genre of the city romance. Learn the oral folk poetic creativity not only literary critics, but also historians, ethnographers, cultureologists. For the oldest, complementary times, folklore often turns out to be the only source, reported to this day (in veiled form), certain information. So, in a fairy tale, the bridegroom receives his wife for some merits and feats, and most often he marries not in that kingdom, where he was born, but from where his future spouse comes from. This detail of the magic fairy tale born in deep antiquity, says that in those days a wife was taken (or kidnapped) from another kind. There is in the magic fairy tale and the exhaust of the ancient rite of initiation - dedication of boys in men. The rite of this was usually in the forest, in the "male" house. In fairy tales, the house standing in the forest inhabited by men is often mentioned. Late time folklore is the most important source of study of psychology, worldview, aesthetics of this or that nation. In Russia at the end of 20 - early 21 centuries. Increased in the folklore of the 20th century, the aspects that have not yet remained so long outside official science. (Political joke, some chastushki, folklore of the Gulag). Without studying this folklore, the idea of \u200b\u200bthe life of the people in the era of totalitarianism will inevitably be incomplete, distorted. Lyudmila Polikovskaya Azadsky MK History of Russian folklores. TT., 1-2. M., 1958-1963 Find "folklore" on \u003e\u003e Folklore and fiction The emergence of fiction preceded a long period when, still long before in- "The signs of these reached us in the form of fairy tales and myths, in which we heard the exhaust work on the tearing of animals, on the discovery of the healing herbs, the invention of workers. Already in deep ancient times, people dreamed of the possibility of flying through the air - they tell us the legends about Faeton, Dedalie and the Son of His Ikara, as well as fairy tales about the "carpet-plane". Dreamed of accelerating the movement on the ground - a fairy tale of "Spear boots". Thought about the possibility of spinning and weave in one night a huge amount of matter - created a biller, one of the oldest tools of labor, a primitive manual machine for textiles and created a fairy tale about Vasilis Wolly ... " In ancient Russia, new types of oral poetic creativity were created: songs, legends, legends, epics, explaining the origin of cities, villages, a barrel 1, Kurganov, telling about the heroic feats of defenders of the native land. Many of them entered the first works of written literature - the chronicle. So, the chronicle of the "Tale of Bygone Years" (XI-XII centuries) contains folk legends about the foundation of Kiev in three brothers - Kiwa, cheek and choriv, \u200b\u200bwhich were known even in Tsargrad, where they gave them a great honor. In the "Tale of Bygone Years" you can find both oral-poetic legends about Russian princes - Oleg, Igor, Olga, Svyatoslav, etc. Legend of Oleg, for example, talks about the outstanding Old Russian commander, which won the Greeks Later, with the spread of writing and the appearance of the first books, oral folk art not only did not lose their role in the life of the people, but also had the most beneficial effect on the development of fiction. In an effort to penetrate deeper into the essence of a folk life, many writers drenched from Folklore not only information about life, but also topics, stories, images, ideals 2, studied art bright, expressive speech. In most people's literatures, works have been created, which had spread in folklore: songs, ballads, romances8, fairy tales. You know well that your wonderful ballad "Song about the name Oleg" Alexander Pushkin wrote on The imagination of readers is striking the entry into this poem ("At Lukomorya Oak is green ..."), in which the familiar images of the mermaids are surprisingly at everyone since childhood, the hut on the bitter legs, women of the jagi with a step, wrapped and other magic from Russian fairy tales . The poet exclaims: "There is a Russian spirit, there it smells!" Tract - A plot that differs from the surrounding area, such as a swamp, forest among the field. Pushkinskaya "Tale of the Dead Tsarevna and about seven heroes" is the poetic processing of the Russian folk fairy tale "Self-behable mirror". Based on folk plots, Hans Christian Andersen ("Wild Swans"), French Charles Perra (Cinderella), the Germans Brothers Wilhelm and Jacob Grimm ("Bremen Musicians"), etc. In the minds of people of many generations, the fairy tales of writers merged with the fairy tales of the people. And this is explained by the fact that every writer, no matter how original his own creativity, is experiencing a deep connection with the folklore of its people. It was in oral folk creativity that writers found bright examples of loyalty to moral polls, the expression of the dream of the people about a fair, happy life. Great place in Russian folklore occupy episodes of heroic songs telling about the mighty Russian heroes, defenders of the Motherland. Heping the warriors, the eyes were called to the feat of the glory of the Fatherland, raised the spirit of the people into the hard way, brought up in young love for their native land and the desire to protect it from conquerors. The epics of invincible heroes inspired Russian writers and poets to create their own works on the fearless and glorious warriors of the Russian land. Get acquainted with the passage of the poem Nikolai Rynkov, in which the poet told his impressions from the epics about Ilya Muromets, who told him grandfather. This is how he represented the hero of the hero: Winter and childhood. Evening evening Many writers, seeking deeper to show the life of the people, the national characteristics of the heroes, use folk songs, legends, legends and other types of oral folk creativity in their works. Recall how I worked on my book "Evening on the farm near Dikanka" Nikolai Vasilyevich Gogol. In a letter to the mother, he asked to tell him everything she knows about the nravas and customs of his countrymen: "This is very, very, very necessary ... if there is, in addition, any houses, then about them more about them with their names and affairs ; A lot is worn between the simple people of belief, terrible legends, legends, different jokes, and so on., So, and so on. Everything will be extremely entertaining for me ... " You know from literature lessons, how unprecedented was the success of the first book of "Evenings on the farm near Dikanka". Pushkin wrote: "Now I read the" Evenings on the farm near the Dikanka. " They amazed me. Here is real fun, sincere, relaxed, without a fanishness of 1, without prim. And places what kind of poetry! What sensitivity! All this is so unusually in Pasha literature that I did not make a job. Congratulations to the public with a truly fun book ... " In the future, your knowledge of the inseparable communication of the folklore with works of fiction will be expanded and delved, but it should always be remembered by the main thing: for artists the words folklore - an inexhaustible source of unshakable ideas of the people about good, justice, true love and wisdom. Let's talk 6. In 1785, the German writer Rudolf Erich was published by the book "The Adventures of Baron Münhghausen", which was a literary processing of fantastic stories of really living in Germany Baron Münhghausen. Over time, this book has acquired worldwide fame. Which of the adventure described in the book do you know? What do you think, this book attracts readers around the world? L. A. L_Teatura: Perchnik for 7 CL. Zagalinosvіtnіh in the forefronts of Movyov's Movie. - K.: Pepha, 2007. 288 p.: Іl. - Mova Rosіyska. Folklore - Art beginning Mythological principle Folkliristics people's Literature Basic signs of folklore: Unscorators (sang them) 3) variationality · Student folklore · Army folklore · Bloom folklore · Soldier folklore · Blotsky · Political prisoners In due (the text was crushed) 9) Functionality 10) inclusiveness Ticket 2. The system of genres of Russian folklore from antiquity to modernity. The genre staff of Russian national poetic creativity is rich and diverse, as it passed a significant path of historical development and the multilaterally reflected the life of the Russian people. When classifying, it is necessary to take into account that in folklore, as in the literature, two forms of speech are used - poetic and prosaic, therefore, elementary species (epic, historical song, ballad) and prosaic (fairy tale, legend, legend) should be distinguished. The lyric generation of works uses only a poetic shape. All poetic works are distinguished by the compound of the word and pit. Prose articles are told, and do not come. To present the overall picture of the classification (distribution) of the types of works of Russian folk poetic creativity, one more circumstances should be taken into account, namely: first, the ratio of genres to the so-called rites (special reluctance), secondly, the ratio of verbal text Some types of folklore works are characteristic of singing and action. Works may be associated with ritual and singing and may not be connected with them. I ritual poetry: 1) Calendar (Winter, Spring, Summer and Autumn Cycles) 2) family-household (maternity, wedding, funeral) 3) conspiracy II Bediatric Poetry: 1) Epic Prose Genres A) fairytale B) Tradition C) legend (and fastity as her appearance) 2) Epic poems genres: A) epics B) historical songs (primarily older) C) ballad songs 3) Lyrical poems genres A) Social content songs B) love songs C) family songs D) Small lyrical genres (chastushki, gyrovki and so on.) 4) Small Neliric Genres A) Proverbs B) riddles 5) Dramatic texts and acts A) rude, games, dances B) scenes and plays. Ticket 3. Ancient (archaic) genres of folklore (labor songs, conspiracies, magical fairy tales, etc.). Folklore as a special form of art occurs in ancient times. The process of its occurrence is difficult to restore due to the lack of materials of that time. The oldest (archaic) period of the history of human society is the period of the preparation of its structure (primitive system). The folklore of the profile, primitive-commission building in many nations had common features due to the fact that the peoples of the world mainly passed the similar level of historical development. The folklore of this social formation is characterized by the following features: · It is still clearly saved by labor relations · Traces of thinking of an ancient era - animism, magical views, totemism, mythology; · Real phenomena are intertwined with fictional, fantastic; · Some features of realistic are developing: the specificity of the image of nature and man; the loyalty of reality in the content and forms (the convention of the image appears later); · Gradually make up childbirth, species and genres, of which the most ancient - proverbs, fairy tales, riddles, conspiracies, legends; At the last stage of the formation, heroic epos and legends are born; · The collective, choral start of creativity is dominated, however, the singer will be allocated; · Works still do not exist in a sustainable traditional form, as in the later stages of the development of folklore, but have the form of improvisation, i.e. text created during execution; · Gradually enriched plots, imagery, expressive agents, artistic forms that are becoming increasingly traditional. Animism manifested itself in the spiritualization of the forces and phenomena of nature, such as the Sun and the month, in songs about their marriage, in the spiritualization of the earth ("Mother of Cheese Earth"), water, plants, in the images of water and lash, in the personification of frost, spring, carnival, strides . In conspiracies - usually appeal to the dawn Zaryanitsa. In fairy tales there are marine king, month, wind, frost. Magic affected conspiracies and spells, in fortune telling about the weather and harvest, in the stories about the sorcerer, in the transformation of scallop in the forest, and towels in the river, in such wonderful items as a touch-based self-backer and a carpet. Totemism was expressed in the Bear cult and in the image of the assistant bear. In fairy tales and epics there are stories about the wonderful origin of the heroes from animals, from the snake. In the songs of Balladny type there are stories about speaking plants growing on the graves of people. In fairy tales (especially in fairy tales of animals, but not only in them) are often images of animal speaking and acting as people. The mythology of the ancient Russian tribes has already taken the form of a certain system of representations. It included the creatures of two types: gods and spirits. For example, Svarog is the God of the Sun, Dazhibogogo - God-Self-God, Perun - God of Thunder, Striboga - God of Wind, Yarilo - God of Light and Heat, Veles - God-Patron Cattle. The spiritualization of the forces and phenomena of nature were water, led, field. Ancient Russian tribes has been widely developed a cult of ancestors associated with the generic system. He affected the personification of the genus and the births, who were sacrificed victims, in funeral rites and commemoration of ancestors (Radunitsa, Rusalya, Semit). Slavic mythology was not such a complete system as Greek. This is due to the fact that the Slavs in their historical development passed the slave-ownership, the reasons for the development of agriculture and settlement, as well as frequent clashes with southern nomads, which demanded the creation of a feudal type state. Therefore, in the mythology of Slavs, there are only the reservation of the gods on the elder and junior states in accordance with the publication of the state. It is clear that in the ancient Russian folklore there were not only genres, which reflected animism, totemism, magic and mythology, but also genres of a family-party, as there were personal relationships inside the genus, a pair marriage. Finally, the labor and life experience was accumulated, which imprinted in proverbs. Classification I on the result 1) White - aimed at getting rid of ailments and troubles and containing prayer elements (sample) 2) Black - aimed at bringing damage, harm, used without prayer words (witchcraft associated with unclean force) II on topics 1) Medical (from the disease and the painful state of people and pets, as well as from damage.) 2) Economic. (Agrarian, cattle breeding, commercials - from drought, weeds, for taming pets, hunting, fishing.) 3) Love: a) love spells (inans); b) challenges (hence) 4) Social (intended to regulate public and relationships between people; to attract honorable or mercy, campaign to the judge, for example) III in form 1) Epic Deployed, big 1.1 epic picture 1.2 conspiracy built on spoken formulas 1.3 rest (Amen \u003d "Let it be so") 2) formulas brief conspiracies consisting of 1-2 sentences; They do not have bright images - an order or request 3) conspiracy-dialogues 4) abracadabra This is 99 percent of the women's tradition (because no normal man does not do with this). Conspiring Mafia is secretive. Characters: 1) human World 1.1 neutral (Red Girl) 1.2 christian: a) real (Jesus, Virgin), b) fictional (Bogorodicina daughter, Herods sons), c) History characters (Nikolai Radish), d) Christian evil (devils) 1.3 fictional 2) animal Mira 2.1 Reviews 2.2 Fantastic Typical conspiracy art techniques: 1) on lexical, morphological and even sound levels (????????) 2) abundance of epithets 3) Comparison 4) stepped narrowing of images or deployment (gradation) Classic legends. 1.1. Cosmogonic For example, about the cition, which fell to the bottom of the reservoir, captured a little water in the keyboard - spoiled - the Earth appeared (or the mountains - not to figure it out) 1.2. Etiological Legends about the creation of the animal world. For example, there was a legend about the occurrence of lice. God often acts as a punishing force The legends always believed. Legend is an independent view of the world around. Most likely they were myths before. In the myths of the Indians, there are also ideas about the origin of animals (for example, Kangaroo bag), but there are no religious motives, as in our legends. 1.3. Anthropological myths. There is some example of the legend about the person of the patient, but with God's soul (???). and about the dog that protected a person and for that God gave her a fur coat or not 1.4. Agiographic legends Agiographic legends Life legends (about saints); For example, Nikolai Millicine (Wonderworker) · Community saints · Mountain saints · Obrahristian · Orthodox Saint Highria (George Victorious) Warrior / Saint Patron of home cattle and wolves 1.5. Eschatology. One of the sections of church philosophy. Legends about the end of the world. Features of classic legends: 1. Artistic time classic legends - this is the time of distant, indefinite, abstract past 2. Artistic space is also abstract 3. In these legends we are talking about global changes (the emergence of the sea, mountains, animals) 4. All stories are narrated by the 3rd person. The narrator is not a hero of legends. Legend of local edge. Heroes: Local sacred (saints) Natural objects. For example, holy sources, trees, stones, groves, or local icons, as well as local stairs and blissful. ! Partly remind the gifts, but have a religious character. For example, a dunechka, which was shot by the Red Army. She is a predictor. He sent a man to earn money in Arzamas, and not to Samara (he earned, and those who went to Samara - no), that is, predictions mostly domestic Pigeons woven over a carriage in which Dunechka led to the shooting, covering off his screaming Nimbe overhead during execution After the house began to burn in the village - they decided to arrange a comment 2 times a year - they stopped burning Yreek. Blessed \u003d Yurozhny, which figuratively communicates with people. Pasha Sarovskaya gave a piece of red cloth Nicholas I and said "Sinichka on the pants" on the time of glorification (prep. Seraphim - Sost.) Lived in Diveyev, famous for the whole of Russia. The sovereign with all the great princes and three Metropolitans proceeded from Sarov in Diveevo. Predicted death (9 soldiers, potatoes in the uniform). Got a piece of red matter from the bed and says: "This is your son's sown." - predicted the appearance of a son. Legend of man. The legend of the legend about a person is a meeting of a person with a wonderful force. A typical example: Saint tells man how to find the road to the forest. Holy is people in the dream "Call of Saint" Pilgrims Migrants - Holy is and calling to his monastery. Ticket 8. Artistic space and time in a magical fairy tale. Types of heroes and composition. Artistic space and time in magical fairy tales conditionally, there is a different world. The world is real and the world of magical fairy tales can be compared with the paintings, for example, Vasnetsov and Bilibin. In the magic fairy tale, 7 types of characters are distinguished (propppe): 1 . The hero is the one who makes all actions, and at the end marries. 2 . Antagonist, or antipode - the one hero fights and who wins. 3 . Wonderful assistant. 4 . A wonderful donor is the one who gives the hero of a wonderful assistant or a wonderful thing. 5. Tsarevna - the one, on which, as a rule, marries the hero and who lives, as a rule, in another country, very far. 6 . The king - appears at the end of the fairy tales, the hero marries his daughter or at the beginning of a fairy tale, as a rule, he sends a sophisticate one somewhere. 7. A false hero - assigns the merits of the real hero. You can try to classify and differently, but the essence will remain the same. First of all, two groups of characters: negative and positive. The central place is positive heroes, as if "the characters of the first row." They can be divided into 2 groups: heroes - heroes and "ironic", which are facilitated by luck. Examples: Ivan-Tsarevich and Ivanushka-fool. "The characters of the second row" are the helpers of the hero, animated and not (magic horse, a magic sword). "The third row" is an antagonist. An important place is occupied by the heroines of women, ideals of beauty, wisdom, kindness - Vasilisa is beautiful or led, Elena is beautiful or led. Antagonists often include Baba Yaga, snakes and wicked immortal. The victory of the hero above them is a celebration of justice. Composition - structure, building a fairy tale. 1.) Some fairy tales begin with promscakes - joking booms that are not associated with the plot. They are usually rhythmic and rhymed. 2.) Stained, which, as if tolerates the listener to the fabulous world, shows the time, place of action, the situation. It is an exposure. Popular stained "lived - was" (hereinafter - who, and what circumstances) or "in some kingdom, some state." 3.) Act. Some fairy tales begin immediately with action, for example, "conceived Tsarevich marry ..." 4.) The fairy tale has an ending, but not always, sometimes a fairy tale is completed with the completion of the action. The ending switches attention from the fabulous world to real. 5.) In addition to the ending, there may be a surcharge, which sometimes connects with the ending - "The wedding was played, drank for a long time, and I was there, honey drank, I have been teaching through the mustam, but I did not get into my mouth." The narrative in the magical fairy tales is developing consistently, the action is dynamically, the situations are stressed, terrible events may occur, a triple repetition is common (three brothers three times go fish-birds). Emphasizes the unreliability of the told. Communication with the rite of initiation. Hood space Abstract; there is a border / transition space; Spatial movements are not shown. Hood time is also abstract, closed, does not have a reality; Develops from episode to episode, returation. The magic fairy tale is the most archaic - initially she was not intended for children, according to their origin goes back to rites. Rite initiation. You can see superstitious ideas about the light. For example, Baba Yaga: "The nose in the ceiling in the ceiling", "the knee into the wall was ridiculed", bone leg - that ite without meat - on the stove she lies like in a coffin Those. She is a border character between the world of the dead and alive - between the world and the threatened kingdom. Spring cycle. Carnival and carnival rituals. In the center of the village of Carnival, there is a symbolic image of the carnival. The holiday itself consists of three parts: meetings on Monday, rampant or fracture in the so-called Wide Thursday and farewell. Songs on the carnival can be divided into two groups. The first - meeting and honoring, has the kind of magnifications. They are hampered by a wide honest carnival, her jurisdiction, entertainment. It is completely large - an Avdot of Rivel. Character of songs cheerful, progress. Songs, accompanying wires, are somewhat different - they say about the coming post. Singing regret, about the ending holiday. Here the Maslenitsa is already a overthrown idol, it is no longer big, but is called an indisciboryly "deceiver." Carnival was usually interpreted mainly as a celebration of the victory of spring over in winter, life over death. Spring post - Clean Monday - the beginning of spring calendar rolling. Woven in the bath, soapy houses, jumped out all the dishes, jokes with pancakes - hung on a tree, gave the cattle. Cross / medigative week - fourth after a great post; Way breaks - baked lean cookies; The fortune telling is a coin - a coin in the cookie, a few crosses - a coin, a sins, ring, gave the cattle crosses. March 30 - the day of forty martyr (cookies in the form of larks); Spring meeting, arrive first birds; March 17, on the day of Grigory Grachevnik, baked the rules. Signs: Many birds - good luck, drifts - harvest, icicles - crop flax. The first spring holiday - the Spring Meeting - falls on March. These days in the villages baked from the test of the bird figurines and distributed them to girls or children. Western - ritual lyrical songs of the spell genre. The rite of "spell" of spring was penetrated by the desire to influence nature in order to obtain a good harvest. Imitation of the flight of birds (raging the larks from the test) was supposed to cause the arrival of real birds, a friendly offensive of spring. For spring, the form of a dialogue or treatment in imperative inclination is peculiar. Unlike conspiracy, Vezhniki, like carols. Performed collectively. Annunciation - April 7: "Birds nest do not curl, girls do not braid hair"; It is impossible to light the light, work with the Earth-Birthday; Sell \u200b\u200bfracture - removed Sani, got the cart. Palm Sunday (Last Sunday before Easter) - "Entrance of the Main in Jerusalem." They brought the Verq's house and kept the whole year of the icons, the children were sanctified; They allowed the willow and water icons. Passion week - week before Easter. The Great Thursday (in Religion - Friday) - the most terrible day; Whitening of huts, getting rid of hollows from cockroaches by the method of freezing, cutting the wings in poultry, all the water is holy. Easter - dyeing eggs (either no silence, no easter); do not go to the cemetery, only on the next red / fomine week - Tuesday and Saturday-Radunitsa); Singer egg year stored at the icon. Binding songs - songs that are on Saturday or on Sunday the first, post-hours congratulated newlyweds. Song content: Wish young happy family life. May 6 - Egoriev Day (Georgy Victoronec); High Orria is god; The first time was given livestock in the field Ascension (40 days after Easter) Semitsky ritual songs - the 7th week after Easter was called Semitsky. Thursday of this week was called seven, and her last day (Sunday) - Trinity. Special rites were accompanied, which were accompanied by songs. The main rite "curling" wreath. Dressing festive outfits, girls walked into the forest, looking for a young birch, tilted birch branches and gave them away from her grass, after a few days the birch was cut off, they wore her around the village, then they were treated in the river or threw into rye. From the tops of two birches of the girl weave the arch and passed under it. Then there was a rite of fortune-wreath. The topic of marriage and family attitudes takes an increasing place in the semitsky songs. Perfume day - you can not work with the earth. Summer cycle. Calendar rites were accompanied by special songs. Troitsko-Semiitskaya week: Seventh seventh Thursday after Easter, Trinity - Seventh Sunday. Girls, smartly dressed and capturing a treat with them, walked "curling" birks - govels herbs. The girl's holiday was accompanied by fortunate. Girls, whipped wreaths and threw them into the river. The fortune telling in the wreaths was widely reflected in the songs who performed both during divination and whatever it. Holiday Ivan Kupala (John Forerunner / Baptist) - Night from June 23-24. In the Kupalie holidays, the land does not help, but, on the contrary, try to take everything from it. This night collect healing herbs. Who will find a fern, how it was thought to find a treasure. On the dew put the shawls of the girl and then they wash them; broke birch brooms for a bath; The youth bathed at night, cleansing, jumped through fires. Trinity - 7th Sunday after Easter. Cult birch. Formation of a new swadd cycle. Formation of the bride layer. Songs, dances (selection of bride and groom), Song-Okanny only on Trinity. The meaning is duplicated at several levels - in action, in words, in music, in the subject. Next Sunday after Titis celebrated winters of winter. Autumn cycle. (just in case ) Autumn rites from the Russian people were not as rich as winter and spring-summer. They accompany harvesting. Hagming (beginning of harvest), Dogs or cranks (the end of the harvest) were accompanied by songs. But these songs do not have a magical nature. They are associated directly with the labor process. More diverse on the subject and artistic techniques of horseradish songs. They are told about the harvest and customs of treats. In the driving songs there are elements of the magnitude of the rich owners, well hung up. It was believed that the crop need to be protected, because Unclean power can lead it. They put the sheath in the form of a cross, from wormwood and nettle. Striga / Sunshine Fields Babied Vintage. noting the first sheaf, cooked the first porridge-novel, scaled cattle and chickens. The last sheaf / the last spikes remains on the field, did not bind, they were associated with a nodule and call the beard. Having finished the harvest, the women rode the land: "Znitel-shirt, give your sofa." After many calendar rituals turned into holidays, which, in addition to the ritual function, have a very important social function - the association of people, the rhythm of life. Ticket 14. The epics of the oldest period. (Ox Vslavsky, Sadko, Danube, Svyatogor, Volga and Mikola) Among the Russian epics there is a group of works that almost all folklorists are among the more ancient. The main difference between these epics is that there are significant features of mythological representations. 1.) "Will Veslavievich". The episodes about the womb consists of 2 parts. In the first it is depicted as a wonderful hunter, which has the ability to turn into a beast, bird, fish. Hunting, he is mined for a squad food. In the second grace - the leader of the campaign to the Indian kingdom, which he conquers and ruins. The second part almost came out of the existence, since its topic did not correspond to the ideological essence of the Russian epic. But the first part has long been in the people. The image of a wonderful hunter researchers relate to deep antiquity, however, historical features were layered on this image, tied the episodium with the Kiev cycle, which is why Likhachev and other scientists compared the wolf, for example, with Oleg. The image of India is fabulous, not historical. 2.) The epics about Sadko. The basis of the epic was based on 3 plots: Sadko gets wealth, Sadko competes with Novgorod, Sadko Gostko at the sea king. These three plots exist separately in compounds. The first plot has 2 different versions. First: Sadko 12 years walked along the Volga; Having decided to go to Novgorod, thanks the Volga, dropping bread into it with salt; Volga gave him an order to praise the "glorious Lake Ilmen"; Ilmen, in turn, rewarded with riches, advised to catch fish, and caught fish turned into coins. Another version: Sadko, poor Husar, goes to the coast of Ilmenya, plays, and it comes to a maritime king and rewards with wealth. This is expressed by people's opinion on the value of art; Utopicity: the poor thing became rich. The second story: Having received wealth, Sadko came up, and conceived to face wealth with Novgorod himself, but was defeated. In a rare version there is a plot with Sadko's victory. The third story: Sadko got into the underwater kingdom, was loved by the sea game on the humps, and decided the king to leave him and marry the Girl in Cernavy; But Sadko deceived the king with the help of St. Nichola Mozhaysky, and escaped, built in honor of the Holy Church and stopped riding on the blue sea. The eponymis about Sadko is distinguished by the completeness of each of three parts, dramatic tension of action. Proppet attributed "epics about Sadko" to the episodes of matchmaking, and considered the main plot - "Sadko at the Maritime King". Belinsky saw the main social conflict Sadko and Novgorod. Fability is peculiar to the first and third epic. 3.) The eponymis about saint is special form - prose. Some of the scientists consider it proof of their antiquity, others are novelty. They contain a number of episodes: about the meeting of Ilya Muromsz and the Siberiana, about the wrong wife of the Siberiana, about the Suma with the terrestrial burden. These epics are ancient, as well as the type of the Bogatyr of the Siberian Sea, in which there are many mythical traces. Scientists consider this image as an embodiment of old orders, which should disappear, because the death of holy is inevitable. In the eponym about Svyatogore and the coffin, Ilya first approxes the coffin, but he is great, and the Suprair is just in size. When Ilya covered the coffin with a lid, it was already impossible to remove it, and he received a part of the power of the Siberiana. Prope said that there was a change of two eras here, and Ilya Muromets came to replace the epic hero. Svyatogor is the bogatyr of an unprecedented force, but in the episode with the terrestrial burden, which Svyatogor cannot raise, shows the existence of strength even more powerful. Wolga and Mikula epic - the most significant of the group of socio-household epic. Her main idea is to oppose the peasant Pahar and Prince. Social antithesis made it possible for some scientists to attach the addition of the episodes to later times when social conflicts were aggravated, in addition, it was attributed to the Novgorod epic. But the price of the prince is not very characteristic of Novgorod epic, and the conflict is put in the situation of early refortel. Wolga goes to collect tribute, he has a brave squad; Mikula is not a warrior, but heroes, he mighty and surpasses the whole squad of Volga, who cannot pull his sushka from the furrow; Prince and squad can not catch up with Mikula. But Mikula is opposed to Volga not only as a mighty bogatyr, but also like a man of labor, he lives with no charges from the peasants, but by his work. Mikule is easy to easily, he collects a rich harvest. The scientist Sokolov saw in this dream of the peasantry tired of the unbearable physical labor. The peasant work, the image of Mikula - the embodiment of the forces of the labor nation. Ticket 1. Basic signs of folklore. Folklore - Art beginning Mythological principle Folkliristics Folklore was called folk poetry, but it is not so (not everything is poetry) At the end of the 19th century, the term appeared people's Literature (emphasis on the word - again not the correct definition for example the rite of causing rain - murder of a frog - no words) In the 20th century - Russian folk creativity. Basic signs of folklore: 1) a perception (oral system, culture, phenomenon) only orally 2) Do not have written fixation Sacred letters - Exception Written plots, questionnaires, diaries (girl album) Dembel album Unscorators (sang them) 3) variationality Those. Modifying one text Minus that we do not know which option was before 4) locality (all the texts and genres of folklore have local derisions) Thus, the Russian folklore is a set of genres and in each locality he is yours. 5) Folklore - folk culture; People are the lower layers of the population (peasants) · Student folklore · Army folklore · Youth / informal groupings · Bloom folklore · Soldier folklore · Blotsky · Political prisoners 6) Folklore is collective creativity. The creator of folklore is not one person. 7) Typification; Most works and genres of folklore contain typical motifs, plots, verbal forms, types of heroes For example, the number 3, Red Maiden, Bogati: All strong, beautiful, winners 8) Sinnotism - ("connecting") the combination of different arts in one art. For example, a wedding rite (songs, inhibiting, wearing a Christmas tree (dressed up a little girl and wore around the village - such as the bride of the tree)) Horror (Dancing, Song, Suit + game) People's Theater: Parsley Theater In due (the text was crushed) 9) Functionality Each genre performs a specific function. For example, the lullaby served to ritmization of movements during the teaching of the child; In due - to mourn. 10) inclusiveness · Folklore includes historical, family, labor, sound memory of the people · Folklore itself is organically incorporated into the labor and economic life of the people. Russian folklore Folklore, in translation, means "folk wisdom, folk knowledge." Folklore - folk art, artistic collective activities of the people, reflecting his life, view and ideals, i.e. Folklore is a national historical cultural heritage of any country in the world. The works of Russian folklore (fairy tales, legends, epics, songs, chastushki, dancing, legends, applied art) help recreate the characteristic features of the people's life of their time. Creativity in antiquity was closely associated with human labor activities and reflected mythical, historical ideas, as well as the primitive scientific knowledge. The art of the word was closely connected with other types of art - music, dancing, decorative art. In science, this is called "syncretism". Folklore was an art organically inherent in folk everyday life. The various purpose of the works gave rise to genres, with their diverse themes, images, style. In the oldest period, most peoples were generic legends, labor and ritual songs, mythological stories, conspiracies. The decisive event, which laid the frontier between mythology and actually folklore, was the appearance of fairy tales, the stories of which were based on a dream, for wisdom, to ethical fiction. In the ancient and medieval society, the heroic epos (Irish sagas, Russian epics and others) were formed. Legends and songs, reflecting various beliefs, also arose (for example, Russian spiritual poems). Later, historical songs depicting real historical events and heroes appeared, which they remained in popular memory. Genres in folklore are also distinguished by the method of execution (solo, choir, chorus and soloist) and various combination of text with melody, intonation, movements (singing and dance, told and playing). With changes in the social life of society in Russian folklore, new genres arose: Soldier, Yamchichsky, Burlats songs. The growth of industry and cities caused to life: romances, jokes, worker, student folklore. Now new Russian folk fairy tales does not appear, but the old are still told and they are filming cartoons and feature films. Sing and many old songs sing. But there are almost no historical songs in the lively execution. Throughout the millennium, all the peoples folklore had the only form of creativity. Folklore of every people unique, as well as his story, customs, culture. And some genres (not only historical songs) reflect the history of this nation. Russian folk musical culture  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 or artistic species of folk art. With all the variety of regional and local folklore forms inherent in general features, such as anonymity, the collectivity of creativity, traditional, close relationship with labor activity, life, the transfer of works from generation to generation in oral tradition. Popular musical art originated long before the occurrence of professional music of the Orthodox church. In the public life of ancient Russia, Folklore played a much larger role than in subsequent times. Unlike medieval Europe, the ancient Rus did not have secular professional art. In her musical culture, the folk art of oral tradition developed, including various, including "semi-professional" genres (the art of narutors, guzzlyers, etc.). By the time of Orthodox gymography, Russian folklore had already had a centuries-old history, a prevailing system of genres and means of musical expressiveness. Folk music, folk art firmly entered the life of people, reflecting the most diverse verge of social, family and personal life. The researchers believe that the gloor period (that is, before the ancient Russia) Eastern Slavs had already had a fairly developed calendar and family household folklore, heroic epos and instrumental music. With the adoption of Christianity, the pagan (Vedic) knowledge will be eradicated. The meaning of the magical acts that spawned one or another type of national activity was gradually forgotten. However, purely external forms of the ancient holidays were extremely stable, and some ritual folklore continued to live as if out of connection with the ancient paganism that had given it. The Christian Church (not only in Russia, but also in Europe) very negatively belonged to traditional folk songs and dances, considering them by the manifestation of sinfulness, devilish eyes. This assessment is recorded in many chronicle sources and in canonical church decrees. Dorny, funny folk festivities with elements of theatrical act and with the indispensable participation of music, the origins of which should be sought in the ancient Vedic rites, fundamentally differed from the temple holidays. The most extensive area of \u200b\u200bthe popular musical creativity of ancient Russia is a ritual folklore, indicating the high artistic gifting of the Russian people. He was born in the depths of the Vedic painting of the world, the deification of natural elements. The most ancient are calendar and ritual songs. Their content is associated with the ideas about the cycle of nature, with the agricultural calendar. These songs reflect various stages of the life of farmers. They were entered in winter, spring, summer rites that correspond to the turning points in the change of seasons. Making this natural ritual (songs, dancing), people believed that they would hear the mighty gods, the forces of love, the kind, the sun, the water, the Earth and the healthy children will be born, there will be a good harvest, there will be a livetle rating, life will develop life in love and harmony. In Russia, weddings were played since ancient pore. In each area, there was a custom of wedding actions, exemptions, songs, sentences. But with all the infinite variety of weddings were played by the same laws. Poetic wedding reality transforms what is happening in the fantastic fabulous world. As in the fairy tale, all images are diverse and the rite itself is poetically interpreted, appears a peculiar fairy tale. Wedding, being one of the most significant events of human life in Russia, demanded a festive-solemn framing. And if you feel all the rituals and songs, delving into this fantastic wedding world, you can feel the degrading beauty of this ritual. Colorful clothes will remain "for the stem", a wedding train, a multi-voice "Pereselnits" choir and guide melodies, the sounds of waxers and dodgers, harmony and balalalak - but the poetry of the wedding resurrects - pain care from the parent home and the high joy of the festive state of the soul - Love.  One of the most ancient Russian genres - dance songs. In Russia, dance drove dance throughout almost a year - to Kollet (New Year), Maslenitsa (Wires and Spring Wires), Zelen Week (gorors of girls around Birch), Yarilo (sacred bonfires), oxen (harvest holidays). Raturated dance games and historical processions. Initially dangling songs were included in agricultural rites, but over the centuries they became independent, although the images of labor were preserved in many of them: And we got sown, sowed! Preserved to our days, dance songs accompanied men's and women's dances. Men's - personified strength, courage, courage, female - tenderness, love, statism.  Over the centuries, the musical epic begins to be replenished with new topics and images. The epics, talking about the struggle against the Ordans, about traveling to distant countries, the emergence of the Cossacks, folk uprisings. People's memory has kept for a long time for centuries many beautiful ancient songs. In the XVIII century, during the formation of professional secular genres (opera, instrumental music), folk art is first becoming the subject of study and creative implementation. Educational attitude towards Folklore vividly expressed a wonderful writer by Humanist A.N.radishchev in the penetrated lines of his "travel from St. Petersburg to Moscow": "Who knows the voices of Russian folk songs, he admits that there are something in them, pain spiritual meaning ... in They will find the formation of the soul of our people. " In the XIX century, the valuation of the folklore as the "education of the soul" of the Russian people became the basis of the aesthetics of the composer school from Glinka, Roman-Kororsakov, Tchaikovsky, Borodin, to Rakhmaninov, Stravinsky, Prokofiev, Kalikina, and the People's song itself was one of the sources of formation of Russian national thinking. Russian folk songs of the XVI-XIX centuries - "As a Golden Mirror of the Russian People" The folk songs recorded in various parts of Russia is a historical monument of the life of the people, but also a documentary source, imprinted the development of the folk creative thought of their time. Fighting the Tatars, peasant rebellion - all this was postponed for each particular area imprint on folk song traditions, starting with epic, historical songs and to ballad. As, for example, the ballad about Ilya Muromets, which is connected with the river nightingale flowing in the area of \u200b\u200bthe lugguro, there was a struggle between Ilya Muromers and the Solovy-robber who lived in these territories. It is known that in the development of oral folk creativity, the conquest of Ivan the Terrible of Kazan Khanate was played, the campaigns of Ivan Grozny marked the beginning of the final victory over the Tatar-Mongolian igm, who freed many thousands of Russian prisoners from the Polon. Songs of this time became a prototype for the epics of Lermontov "Song about Ivan Tsarevich" - the chronicle of the folk life, and A.S. Pushkin in his works used oral folk creativity - Russian songs and Russian fairy tales. On the Volga not far from the village of Undora, there is a cape called - Stenka Razin; There were songs of that time: "On the steppes, the Saratov steppes", "we had in the Holy Rus." Historical events of the late XVII early XVIII century. They are captured in compilation on the campaigns of Peter I and its Azov campaigns, about the execution of Sagittarov: "Just as in the sea is blue," the Cossack is walking on Don. With military reforms of the beginning of the XVIII century, new historical songs arise, these are not lyric, but epic. Historical songs retain the most ancient images of the historic epic, the songs about the Russian-Turkish war, about the recruit sets and war with Napoleon: "Thief Frenchman has praised Russia to take Russia", "You are not the noise of your mother Green Dubravushka." At this time, the epics about the "Surovs of Suzdal" were preserved, about "Dobryne and Aleche" and a very rare tale of Gorge. Also in the work of Pushkin, Lermontov, Gogol, Nekrasov used Russian epic folk songs and legends. The ancient traditions of folk playing, richness and special performing culture of Russian song folklore are preserved. Russian folk theatrical art Russian folk drama and folk theatrical art as a whole are the most interesting and significant phenomenon of Russian national culture.  Dramatic games and ideas at the end of the 18th century and at the beginning of the twentieth century were the organic part of the festive people's life, be it rustic gatherings, soldiers and factory barracks or fair bolands. The geography of the spread of the folk drama is extensive. People's peculiar theatrical "foci" of the gatherers of our days were discovered in the Yaroslavl and Gorky regions, Russian villages of Tataria, on Vyatka and Kame, in Siberia and in the Urals. Folk drama, contrary to the opinion of some scientists, is the natural sergement of folklore tradition. It crossed the creative experience accumulated by dozens of generations of the widest layers of the Russian people. On urban, and later, rural fairs were arranged Carousels and Balagans, on the stage of which played performances on fabulous and national historical topics. The performances seen at fairs could not fully affect the aesthetic tastes of the people, but they expanded his fabulous and song repertoire. Funds and theatrical borrowings largely determined the originality of the plots of the folk drama. However, they "lay down" on the ancient gaming traditions of folk playing, richness, i.e. on the special executive culture of Russian folklore. Generations of the creators and folk drama performers developed certain techniques of plotting, characteristics of characters and style. Strong passions and unsolvable conflicts, continuity and speed of replacing actions are inherent in the expanded folk drama.  Songs playing a special role in the People's Drama played by the characters in different moments or sounding chorus - as comments made by events. Songs were a kind of emotional psychological element of the presentation. They performed mostly fragmentary, revealing the emotional meaning of the scene or the character's condition. We had mandatory songs at the beginning and end of the presentation. The song repertoire of popular drams consists mainly of the copyright in all layers of the Society of the XIX Song of the XX centuries. This and the soldiers' songs "traveled the White Russian Tsar", "Malbruck went to the campaign", "Praise, praise you, hero," and the romances "I'm in the evening in the meadow", "I'm in the desert I am reminding", "What I Blurred, Clear Casual " and many others. Late genres of Russian folk art - Gulia  Flowering festivals falls at the XVII-XIX century, although the individual species and genres of folk art, which made the indispensable affiliation of the fair and urban festive area, were created and were actively extended long before the designated centuries and continue, often in a transformed form, to this day. Such is a puppet theater, a bearish fun, partly the traveners of merchants, many circus numbers. Other genres were generated by the fairground and left life together with the cessation of festivities. These are comic monologues of the bolagan named, Raek, the presentation of the beabred theaters, the dialogues of the clowns-parsley. Typically, during the festivities and fairs in traditional places, whole enlightened towns with boards, carousers, swings, tents, which were sold - from the chest paintings to the singers of birds and sweets. In winter, ice mountains were added, access to which was completely free, and the descent on sleds from a height of 10-12 m. Delivered incomparable pleasure.  With all the diversity and the motley, the urban folk holiday was perceived as something whole. The integrity of this created a specific atmosphere of the festive area, with its free word, familiarity, the unrestrainedness of laughter, food and beverages; equality, fun, festive perception of the world. The festive square itself was hit by an incredible combination of all sorts of details. Accordingly, it also appeared to be a colorful loud chaos. Bright, diverse clothes of walking, catchy, unusual costumes of "artists", screaming plagan signs, swings, carousels, shops and restaurants, transfusions with all the colors of the rainbow products of handfuls and the simultaneous sound of scammers, pipes, flutes, drums, exclamations, songs, shouts of merchants , Loud laughter from the jokes of the "Balagan grandfather" and clowns - everything merged into a single fair firework, which fascinated and fun.  For large, famous walking "under the mountains" and "under the swings", there was a lot of touring from Europe (many of them are the mains of the Balagans, Panorars) and even southern countries (magicians, tamers of animals, silica, acrobats and others). Foreign speech and overseas wondermen were familiar on the capital's festivals and large fairs. It is clear why urban spectacular folklore appeared often as a kind of mixing "Nizhny Novgorod with French."  The base, the heart and soul of the Russian National Culture is Russian folklore, this is the Klastiene, this is what was filled with ancient times of the Russian man from the inside and this inner Russian folk culture gave rise to the end of the XVII-XIX centuries a whole Pleiad of the great Russian writers, composers, artists, scientists , military, philosophers who know and honor the whole world: But in 1917, the second attempt to interrupt the connection of times, to interrupt the Russian cultural heritage of the ancient generations. The first attempt was carried out in the years of the baptism of Russia. But she failed in full, as the power of Russian folklore was based on the life of the people, on its Vedic natural worldview. But already somewhere to the sixtieth years of the twentieth century, Russian folklore has become gradually crowded out by pop-popular genres of Pop, disco and how it is customary to speak chanson (prison-cooled folklore) and other types of arts of the Soviet sense. But a special blow was inflicted in the 90s. The word "Russian" was inexplicitly banned even to pronounce, allegedly, this word marked - inciting the national retail. This position is still preserved. And there was no single Russian people, it was scattered, they were well, and at the genetic level began to destroy. Now in Russia - here the non-Russian spirit of Uzbeks, Tajiks, Chechens and all other residents of Asia and the Middle East, and in the Far East, the Chinese, Koreans, etc., and everywhere the active, global Ukrainization of Russia is carried out everywhere.
Unnexted oral folk creativity. It was created for centuries, there are many types of its varieties. Translated from the English language "Folklore" is "matopic value, wisdom." That is, the oral folk creativity is everything that is created by the spiritual culture of the population for the century of his historic life. Features of Russian folkloreIf you carefully read the works of Russian folklore, it can be noted that it actually reflects a lot: and the game of fantasies of the people, and the history of the country, and laughter, and serious Duma about the human life. Listening to the songs and fairy tales of the ancestors, people thought about the many difficult questions of their family, social and labor life, reflected how to fight for happiness, improve their lives, which should be a person to make fun and porous. Varieties of folkloreVarieties of folklore include fairy tales, epics, songs, proverbs, riddles, calendar chorus, the grade, sayings - everything that was repeated, passed from generation to generation. At the same time, the performers made often in the favorite text of something, changing individual details, images, expressions, imperceptibly improving and honing the work. Oral folk creativity for the most part exists in the poetic (poems) form, since it was she allowed to memorize and transmit these works from the mouth for centuries. SongsThe song is a special verbal musical genre. It is a small luriko-narrative or lyrical product, which was created specifically for singing. The types are as follows: lyrical, dance, ritual, historical. They are expressed in folk songs feelings of one person, but at the same time a lot of people. Love experiences, events of public and family life were reflected in them, reflections on severe fate. In folk songs, the so-called submission of parallelism is often used when they are transferred to the nature of the mood of this lyrical hero. Historical songs are devoted to various famous personalities and events: the conquest of Siberia Yermak, the rebellion of Stepan Razin, the peasant war under the leadership of Emelyan Pugachev, the battle of Poltava with the Swedes and others. The narration in historical folk songs about some events is combined with the emotional sound of these works. EpicsThe term "epic" was introduced by I. P. Sakharov in the 19th century. It is an oral folk creativity in the form of a song, heroic, epic character. There were epics in the 9th century, it was an expression of the historical consciousness of the people of our country. Bogatyri - the main characters of this kind of folklore. They embody the people's ideal of courage, strength, patriotism. Examples of the Bogatyurians, whom the works of oral folk art were depicted: Dobrynya Nikitich, Ilya Muromets, Mikula Selyaninovich, Alyosha Popovich, as well as a merchant Sadko, Giant Svyatogor, Vasily Buslaev and others. Life foundation, while enriched with some fantastic fiction, constitutes the plot of these works. In them, heroes alone overpowers whole hordes of enemies, fighting with monsters, overcome instantly huge distances. It is very interesting this oral folk creativity. Fairy talesWe need to distinguish from fairy tales. These works of oral folk art are based on invented events. Fairy tales can be magical (in which fantastic forces are involved), as well as household, where people are depicted - soldiers, peasants, kings, workers, princesses and princes - in a daily atmosphere. From other works, this type of folklore is distinguished by an optimistic plot: it always triumphs over evil, and the latter or tolerate defeat, or ridicule.
LegendsWe continue to describe genres of oral folk creativity. Legend, unlike a fairy tale, is a popular oral story. The basis of it is an incredible event, a fantastic image, a miracle that is perceived by a listener or a storytellor as reliable. There are legends on the origin of the peoples, countries, seas, the suffering and exploits of fictional or actually existed heroes. PuzzlesOral folk creativity is represented by many riddles. They are an allegoric image of a certain object, usually based on a metaphorical convergence with it. The riddles in volume are very small, have a certain rhythmic structure, often underlined by the presence of rhymes. They are created in order to develop intelligence, guess. Riddles are diverse in content and subject. There may be several of their options about the same phenomenon, an animal, subject, each of which from a certain side characterizes it.
Proverbs and sayingsGenres of oral folk creativity also include sayings and proverbs. The proverb is rhythmically organized, brief, figurative saying, aphoristic folk statement. It usually has a two-part structure, which is supported by rhythm, rhythm, alliterations and associations. The saying is a figurative expression that evaluates some phenomenon of life. She, unlike the proverb, is not a whole proposal, but only a part of the statement, which is in oral folk creativity. Proverbs, sayings and riddles are included in the so-called small genres of folklore. What is it? In addition to the above species, it includes other oral folk creativity. Types of small genres are complemented by the following: Lullabous songs, Pestushki, Pestes, Supports, Game chorus, shallows, sentences, riddles. Let's stop a little more on each of them.
Lullabous songsSmall genres of oral folk creativity include lullaby songs. In the people they are called bikes. The name did this happen from the verb "Bat" ("Bailat") - "talk". This word has the following ancient value: "Tap, whisper". Lullaby songs got this name is no coincidence: the oldest of them have a direct relation to the conspiracy poetry. Fighting with a dream, for example, the peasants said: "Dundushka, get away from me." Pottushki and funRussian oral folk creativity also represent the pests and functions. In their center there is an image of the younger child. The name "Pestus" comes from the word "to dream", that is, "go for someone, raise, nursing, wearing in your hands to raise." They are short sentences that in the first months of the baby's life comment on his movements. You are unnoticed by the Pests go to the fun - the songs accompanying the Games of the baby with the fingers of the legs and the handles. It is very diverse this oral folk creativity. Examples of drills: "Forty", "Ladushka". They often have a "lesson", instruction. For example, in the "forty" Beloboka all fed a porridge, except for one lazy, albeit the smallest (it corresponds to the little finger). SupportsIn the first years of the life of children, nanny and mother sang songs already more complex content that are not related to the game. All of them can be denoted by a single term "add-on". By content they resemble small fairy tales in verse. For example, about the rooster - a gold scallop, flying on a Kulikovo field for oats; About chicken in a row, which "peas of Lesales" and "millet sowed".
In addition, as a rule, a picture of some bright event is given, or it depicts some rapid effect that corresponds to the active nature of the kid. They are noticeable to the plot, but the child for long-term attention is not capable, so they are limited to only one episode. Sentences, SlashkiWe continue to consider oral folk creativity. Its species are complemented by shafts and sentences. Children on the street are very early to study in the peers in various shallows, which are an appeal to birds, rain, rainbow, the sun. Datvora at the case shouting the name of the word in the case. In addition to the chain, in the peasant family, any child knew sentences. They are most often pronounced one by one. Sentences - appeal to the mouse, small bugs, snail. It may be imitued with various bird voices. The verbal sentences and songs are filled with faith in the strength of water, sky, land (then beneficial, then destructive). Their pronunciation acquired to work and the lives of adult peasant children. Sentences and shakes are combined into a special department called "Calendar Children's Folklore". The term emphasizes the existing link between them and the time of the year, the holiday, weather, all the life and building of the village's life. Game sentences and chorusGenres of works of oral folk creativity include gaming sentences and chorus. They are no less than ancient than shafts and sentences. They or associate parts of some game, or begin it. They can also perform the role of the ending, determine the consequences that exist when violating conditions.
Amazed games similarity with serious peasant activities: harvest, hunting, sowing flax. Reproduction of these cases in a strict sequence with the help of multiple repetitions made it possible to instill with the child from an early age respect for customs and existing order, teach the rules adopted in society. Game names - "Bear Bor", "Wolf and Geese", "Korshun", "Wolf and Sheep" - talk about communication with life and life of the rural population. ConclusionIn folk epics, fairy tales, legends, the songs live no less exciting colorful images than in the artworks of classical authors. A peculiar and surprisingly accurate rhymes and sounds, bizarre, beautiful poetic rhythms - as if lace woven in texts of chastushki, flows, booms, riddles. And what bright poetic comparisons we can find in lyrical songs! All this could create only the people - the Great Wizard of the Word. Russian folklore
Folklore, in translation, means "folk wisdom, folk knowledge." Folklore - folk art, artistic collective activities of the people, reflecting his life, view and ideals, i.e. Folklore is a national historical cultural heritage of any country in the world. The works of Russian folklore (fairy tales, legends, epics, songs, chastushki, dancing, legends, applied art) help recreate the characteristic features of the people's life of their time. Creativity in antiquity was closely associated with human labor activities and reflected mythical, historical ideas, as well as the primitive scientific knowledge. The art of the word was closely connected with other types of art - music, dancing, decorative art. In science, this is called "syncretism". Folklore was an art organically inherent in folk everyday life. The various purpose of the works gave rise to genres, with their diverse themes, images, style. In the oldest period, most peoples were generic legends, labor and ritual songs, mythological stories, conspiracies. The decisive event, which laid the frontier between mythology and actually folklore, was the appearance of fairy tales, the stories of which were based on a dream, for wisdom, to ethical fiction. In the ancient and medieval society, the heroic epos (Irish sagas, Russian epics and others) were formed. Legends and songs, reflecting various beliefs, also arose (for example, Russian spiritual poems). Later, historical songs depicting real historical events and heroes appeared, which they remained in popular memory. Genres in folklore are also distinguished by the method of execution (solo, choir, chorus and soloist) and various combination of text with melody, intonation, movements (singing and dance, told and playing). With changes in the social life of society in Russian folklore, new genres arose: Soldier, Yamchichsky, Burlats songs. The growth of industry and cities caused to life: romances, jokes, worker, student folklore. Now new Russian folk fairy tales does not appear, but the old are still told and they are filming cartoons and feature films. Sing and many old songs sing. But there are almost no historical songs in the lively execution.  Throughout the millennium, all the peoples folklore had the only form of creativity. Folklore of every people unique, as well as his story, customs, culture. And some genres (not only historical songs) reflect the history of this nation. Russian folk musical culture 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 or artistic species of folk art. With all the variety of regional and local folklore forms inherent in general features, such as anonymity, the collectivity of creativity, traditional, close relationship with labor activity, life, the transfer of works from generation to generation in oral tradition. Popular musical art originated long before the occurrence of professional music of the Orthodox church. In the public life of ancient Russia, Folklore played a much larger role than in subsequent times. Unlike medieval Europe, the ancient Rus did not have secular professional art. In her musical culture, the folk art of oral tradition developed, including various, including "semi-professional" genres (the art of narutors, guzzlyers, etc.).  By the time of Orthodox gymography, Russian folklore had already had a centuries-old history, a prevailing system of genres and means of musical expressiveness. Folk music, folk art firmly entered the life of people, reflecting the most diverse verge of social, family and personal life. The researchers believe that the gloor period (that is, before the ancient Russia) Eastern Slavs had already had a fairly developed calendar and family household folklore, heroic epos and instrumental music. With the adoption of Christianity, the pagan (Vedic) knowledge will be eradicated. The meaning of the magical acts that spawned one or another type of national activity was gradually forgotten. However, purely external forms of the ancient holidays were extremely stable, and some ritual folklore continued to live as if out of connection with the ancient paganism that had given it. The Christian Church (not only in Russia, but also in Europe) very negatively belonged to traditional folk songs and dances, considering them by the manifestation of sinfulness, devilish eyes. This assessment is recorded in many chronicle sources and in canonical church decrees. Dorny, funny folk festivities with elements of theatrical act and with the indispensable participation of music, the origins of which should be sought in the ancient Vedic rites, fundamentally differed from the temple holidays. The most extensive area of \u200b\u200bthe popular musical creativity of ancient Russia is a ritual folklore, indicating the high artistic gifting of the Russian people. He was born in the depths of the Vedic painting of the world, the deification of natural elements. The most ancient are calendar and ritual songs. Their content is associated with the ideas about the cycle of nature, with the agricultural calendar. These songs reflect various stages of the life of farmers. They were entered in winter, spring, summer rites that correspond to the turning points in the change of seasons. Making this natural ritual (songs, dancing), people believed that they would hear the mighty gods, the forces of love, the kind, the sun, the water, the Earth and the healthy children will be born, there will be a good harvest, there will be a livetle rating, life will develop life in love and harmony. In Russia, weddings were played since ancient pore. In each area, there was a custom of wedding actions, exemptions, songs, sentences. But with all the infinite variety of weddings were played by the same laws. Poetic wedding reality transforms what is happening in the fantastic fabulous world. As in the fairy tale, all images are diverse and the rite itself is poetically interpreted, appears a peculiar fairy tale. Wedding, being one of the most significant events of human life in Russia, demanded a festive-solemn framing. And if you feel all the rituals and songs, delving into this fantastic wedding world, you can feel the degrading beauty of this ritual. Colorful clothes will remain "for the stem", a wedding train, a multi-voice "Pereselnits" choir and guide melodies, the sounds of waxers and dodgers, harmony and balalalak - but the poetry of the wedding resurrects - pain care from the parent home and the high joy of the festive state of the soul - Love. One of the most ancient Russian genres - dance songs. In Russia, dance drove dance throughout almost a year - to Kollet (New Year), Maslenitsa (Wires and Spring Wires), Zelen Week (gorors of girls around Birch), Yarilo (sacred bonfires), oxen (harvest holidays). Raturated dance games and historical processions. Initially dangling songs were included in agricultural rites, but over the centuries they became independent, although the images of labor were preserved in many of them: And we got sown, sowed! Preserved to our days, dance songs accompanied men's and women's dances. Men's - personified strength, courage, courage, female - tenderness, love, statism. Over the centuries, the musical epic begins to be replenished with new topics and images. The epics, talking about the struggle against the Ordans, about traveling to distant countries, the emergence of the Cossacks, folk uprisings. People's memory has kept for a long time for centuries many beautiful ancient songs. In the XVIII century, during the formation of professional secular genres (opera, instrumental music), folk art is first becoming the subject of study and creative implementation. Educational attitude towards Folklore vividly expressed a wonderful writer by Humanist A.N.radishchev in the penetrated lines of his "travel from St. Petersburg to Moscow": "Who knows the voices of Russian folk songs, he admits that there are something in them, pain spiritual meaning ... in They will find the formation of the soul of our people. " In the XIX century, the valuation of the folklore as the "education of the soul" of the Russian people became the basis of the aesthetics of the composer school from Glinka, Roman-Kororsakov, Tchaikovsky, Borodin, to Rakhmaninov, Stravinsky, Prokofiev, Kalikina, and the People's song itself was one of the sources of formation of Russian national thinking. Russian folk songs of the XVI-XIX centuries - "As a Golden Mirror of the Russian People" The folk songs recorded in various parts of Russia is a historical monument of the life of the people, but also a documentary source, imprinted the development of the folk creative thought of their time. Fighting the Tatars, peasant rebellion - all this was postponed for each particular area imprint on folk song traditions, starting with epic, historical songs and to ballad. As, for example, the ballad about Ilya Muromets, which is connected with the river nightingale flowing in the area of \u200b\u200bthe lugguro, there was a struggle between Ilya Muromers and the Solovy-robber who lived in these territories.  It is known that in the development of oral folk creativity, the conquest of Ivan the Terrible of Kazan Khanate was played, the campaigns of Ivan Grozny marked the beginning of the final victory over the Tatar-Mongolian igm, who freed many thousands of Russian prisoners from the Polon. Songs of this time became a prototype for the epics of Lermontov "Song about Ivan Tsarevich" - the chronicle of the folk life, and A.S. Pushkin in his works used oral folk creativity - Russian songs and Russian fairy tales. On the Volga not far from the village of Undora, there is a cape called - Stenka Razin; There were songs of that time: "On the steppes, the Saratov steppes", "we had in the Holy Rus." Historical events of the late XVII early XVIII century. They are captured in compilation on the campaigns of Peter I and its Azov campaigns, about the execution of Sagittarov: "Just as in the sea is blue," the Cossack is walking on Don. With military reforms of the beginning of the XVIII century, new historical songs arise, these are not lyric, but epic. Historical songs retain the most ancient images of the historic epic, the songs about the Russian-Turkish war, about the recruit sets and war with Napoleon: "Thief Frenchman has praised Russia to take Russia", "You are not the noise of your mother Green Dubravushka." At this time, the epics about the "Surovs of Suzdal" were preserved, about "Dobryne and Aleche" and a very rare tale of Gorge. Also in the work of Pushkin, Lermontov, Gogol, Nekrasov used Russian epic folk songs and legends. The ancient traditions of folk playing, richness and special performing culture of Russian song folklore are preserved. Russian folk theatrical art Russian folk drama and folk theatrical art as a whole are the most interesting and significant phenomenon of Russian national culture.  Dramatic games and ideas at the end of the 18th century and at the beginning of the twentieth century were the organic part of the festive people's life, be it rustic gatherings, soldiers and factory barracks or fair bolands. The geography of the spread of the folk drama is extensive. People's peculiar theatrical "foci" of the gatherers of our days were discovered in the Yaroslavl and Gorky regions, Russian villages of Tataria, on Vyatka and Kame, in Siberia and in the Urals. Folk drama, contrary to the opinion of some scientists, is the natural sergement of folklore tradition. It crossed the creative experience accumulated by dozens of generations of the widest layers of the Russian people. On urban, and later, rural fairs were arranged Carousels and Balagans, on the stage of which played performances on fabulous and national historical topics. The performances seen at fairs could not fully affect the aesthetic tastes of the people, but they expanded his fabulous and song repertoire. Funds and theatrical borrowings largely determined the originality of the plots of the folk drama. However, they "lay down" on the ancient gaming traditions of folk playing, richness, i.e. on the special executive culture of Russian folklore. Generations of the creators and folk drama performers developed certain techniques of plotting, characteristics of characters and style. Strong passions and unsolvable conflicts, continuity and speed of replacing actions are inherent in the expanded folk drama. Songs playing a special role in the People's Drama played by the characters in different moments or sounding chorus - as comments made by events. Songs were a kind of emotional psychological element of the presentation. They performed mostly fragmentary, revealing the emotional meaning of the scene or the character's condition. We had mandatory songs at the beginning and end of the presentation. The song repertoire of popular drams consists mainly of the copyright in all layers of the Society of the XIX Song of the XX centuries. This and the soldiers' songs "traveled the White Russian Tsar", "Malbruck went to the campaign", "Praise, praise you, hero," and the romances "I'm in the evening in the meadow", "I'm in the desert I am reminding", "What I Blurred, Clear Casual " and many others. Late genres of Russian folk art - Gulia  Flowering festivals falls at the XVII-XIX century, although the individual species and genres of folk art, which made the indispensable affiliation of the fair and urban festive area, were created and were actively extended long before the designated centuries and continue, often in a transformed form, to this day. Such is a puppet theater, a bearish fun, partly the traveners of merchants, many circus numbers. Other genres were generated by the fairground and left life together with the cessation of festivities. These are comic monologues of the bolagan named, Raek, the presentation of the beabred theaters, the dialogues of the clowns-parsley. Typically, during the festivities and fairs in traditional places, whole enlightened towns with boards, carousers, swings, tents, which were sold - from the chest paintings to the singers of birds and sweets. In winter, ice mountains were added, access to which was completely free, and the descent on sleds from a height of 10-12 m. Delivered incomparable pleasure.  With all the diversity and the motley, the urban folk holiday was perceived as something whole. The integrity of this created a specific atmosphere of the festive area, with its free word, familiarity, the unrestrainedness of laughter, food and beverages; equality, fun, festive perception of the world. The festive square itself was hit by an incredible combination of all sorts of details. Accordingly, it also appeared to be a colorful loud chaos. Bright, diverse clothes of walking, catchy, unusual costumes of "artists", screaming plagan signs, swings, carousels, shops and restaurants, transfusions with all the colors of the rainbow products of handfuls and the simultaneous sound of scammers, pipes, flutes, drums, exclamations, songs, shouts of merchants , Loud laughter from the jokes of the "Balagan grandfather" and clowns - everything merged into a single fair firework, which fascinated and fun. For large, famous walking "under the mountains" and "under the swings", there was a lot of touring from Europe (many of them are the mains of the Balagans, Panorars) and even southern countries (magicians, tamers of animals, silica, acrobats and others). Foreign speech and overseas wondermen were familiar on the capital's festivals and large fairs. It is clear why urban spectacular folklore appeared often as a kind of mixing "Nizhny Novgorod with French."  The base, the heart and soul of the Russian National Culture is Russian folklore, this is the Klastiene, this is what was filled with ancient times of the Russian man from the inside and this inner Russian folk culture gave rise to the end of the XVII-XIX centuries a whole Pleiad of the great Russian writers, composers, artists, scientists , military, philosophers who know and honor the whole world: But in 1917, the second attempt to interrupt the connection of times, to interrupt the Russian cultural heritage of the ancient generations. The first attempt was carried out in the years of the baptism of Russia. But she failed in full, as the power of Russian folklore was based on the life of the people, on its Vedic natural worldview. But already somewhere to the sixtieth years of the twentieth century, Russian folklore has become gradually crowded out by pop-popular genres of Pop, disco and how it is customary to speak chanson (prison-cooled folklore) and other types of arts of the Soviet sense. But a special blow was inflicted in the 90s. The word "Russian" was inexplicitly banned even to pronounce, allegedly, this word marked - inciting the national retail. This position is still preserved. And there was no single Russian people, it was scattered, they were well, and at the genetic level began to destroy. Now in Russia - here the non-Russian spirit of Uzbeks, Tajiks, Chechens and all other residents of Asia and the Middle East, and in the Far East, the Chinese, Koreans, etc., and everywhere the active, global Ukrainization of Russia is carried out everywhere.
\u003e\u003e Folklore and fiction The emergence of fiction preceded a long period when, still long before in- "The signs of these reached us in the form of fairy tales and myths, in which we heard the exhaust work on the tearing of animals, on the discovery of the healing herbs, the invention of workers. Already in deep ancient times, people dreamed of the possibility of flying through the air - they tell us the legends about Faeton, Dedalie and the Son of His Ikara, as well as fairy tales about the "carpet-plane". Dreamed of accelerating the movement on the ground - a fairy tale of "Spear boots". Thought about the possibility of spinning and weave in one night a huge amount of matter - created a biller, one of the oldest tools of labor, a primitive manual machine for textiles and created a fairy tale about Vasilis Wolly ... " In ancient Russia, new types of oral poetic creativity were created: songs, legends, legends, epics, explaining the origin of cities, villages, a barrel 1, Kurganov, telling about the heroic feats of defenders of the native land. Many of them entered the first works of written literature - the chronicle. So, the chronicle of the "Tale of Bygone Years" (XI-XII centuries) contains folk legends about the foundation of Kiev in three brothers - Kiwa, cheek and choriv, \u200b\u200bwhich were known even in Tsargrad, where they gave them a great honor. In the "Tale of Bygone Years" you can find both oral-poetic legends about Russian princes - Oleg, Igor, Olga, Svyatoslav, etc. Legend of Oleg, for example, talks about the outstanding Old Russian commander, which won the Greeks Later, with the spread of writing and the appearance of the first books, oral folk art not only did not lose their role in the life of the people, but also had the most beneficial effect on the development of fiction. In an effort to penetrate deeper into the essence of a folk life, many writers drenched from Folklore not only information about life, but also topics, stories, images, ideals 2, studied art bright, expressive speech. In most people's literatures, works have been created, which had spread in folklore: songs, ballads, romances8, fairy tales. You know well that your wonderful ballad "Song about the name Oleg" Alexander Pushkin wrote on The imagination of readers is striking the entry into this poem ("At Lukomorya Oak is green ..."), in which the familiar images of the mermaids are surprisingly at everyone since childhood, the hut on the bitter legs, women of the jagi with a step, wrapped and other magic from Russian fairy tales . The poet exclaims: "There is a Russian spirit, there it smells!" Tract - A plot that differs from the surrounding area, such as a swamp, forest among the field. Pushkinskaya "Tale of the Dead Tsarevna and about seven heroes" is the poetic processing of the Russian folk fairy tale "Self-behable mirror". Based on folk plots, Hans Christian Andersen ("Wild Swans"), French Charles Perra (Cinderella), the Germans Brothers Wilhelm and Jacob Grimm ("Bremen Musicians"), etc. In the minds of people of many generations, the fairy tales of writers merged with the fairy tales of the people. And this is explained by the fact that every writer, no matter how original his own creativity, is experiencing a deep connection with the folklore of its people. It was in oral folk creativity that writers found bright examples of loyalty to moral polls, the expression of the dream of the people about a fair, happy life. Great place in Russian folklore occupy episodes of heroic songs telling about the mighty Russian heroes, defenders of the Motherland. Heping the warriors, the eyes were called to the feat of the glory of the Fatherland, raised the spirit of the people into the hard way, brought up in young love for their native land and the desire to protect it from conquerors. The epics of invincible heroes inspired Russian writers and poets to create their own works on the fearless and glorious warriors of the Russian land. Get acquainted with the passage of the poem Nikolai Rynkov, in which the poet told his impressions from the epics about Ilya Muromets, who told him grandfather. This is how he represented the hero of the hero: Winter and childhood. Evening evening Many writers, seeking deeper to show the life of the people, the national characteristics of the heroes, use folk songs, legends, legends and other types of oral folk creativity in their works. Recall how I worked on my book "Evening on the farm near Dikanka" Nikolai Vasilyevich Gogol. In a letter to the mother, he asked to tell him everything she knows about the nravas and customs of his countrymen: "This is very, very, very necessary ... if there is, in addition, any houses, then about them more about them with their names and affairs ; A lot is worn between the simple people of belief, terrible legends, legends, different jokes, and so on., So, and so on. Everything will be extremely entertaining for me ... " You know from literature lessons, how unprecedented was the success of the first book of "Evenings on the farm near Dikanka". Pushkin wrote: "Now I read the" Evenings on the farm near the Dikanka. " They amazed me. Here is real fun, sincere, relaxed, without a fanishness of 1, without prim. And places what kind of poetry! What sensitivity! All this is so unusually in Pasha literature that I did not make a job. Congratulations to the public with a truly fun book ... " In the future, your knowledge of the inseparable communication of the folklore with works of fiction will be expanded and delved, but it should always be remembered by the main thing: for artists the words folklore - an inexhaustible source of unshakable ideas of the people about good, justice, true love and wisdom. Let's talk 6. In 1785, the German writer Rudolf Erich was published by the book "The Adventures of Baron Münhghausen", which was a literary processing of fantastic stories of really living in Germany Baron Münhghausen. Over time, this book has acquired worldwide fame. Which of the adventure described in the book do you know? What do you think, this book attracts readers around the world? L. A. L_Teatura: Perchnik for 7 CL. Zagalinosvіtnіh in the forefronts of Movyov's Movie. - K.: Pepha, 2007. 288 p.: Іl. - Mova Rosіyska. St. Petersburg Humanitarian University of Trade Unions TEST discipline __ subject ___________________________________________________________________ Student (ka) _____ correspondence faculty specialty _____________________________ _____________________________ FULL NAME. _____________________________ St. Petersburg ______________________________________________________________ Signature Surname Chetko - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - (cutting line) Student (ka) _____ course ______________________________________________________________ (FULL NAME.) correspondence faculty specialty ____________________________________________________ discipline___________ subject________________ Register __________________ "_______" ___________________ 200 ______ date of receipt of work at the university Evaluation ________________________ "_________" ________________________ 200 _____. Reviewer teacher ____________________________ / _____________________________________ Signature Surname Chetko 1. Introduction …………………………………………………………………………….………………. 3. 2. Main part ................................................................................................ four 2.1 Genres of Russian folklore ..................................................................... ... 4 2.2 Place of folklore in Russian literature ................................................... 6 3. Conclusion .........................................................................................................................1.1 4. List of references used .................................................................. .13 Introduction Folklore - [English Folklore] Folk creativity, a set of folk action. The relationship of literature with oral folk creativity is the actual problem of modern literature in the context of the development of world culture. In recent decades, the whole direction of the creative use of folklore has been determined in the domestic literature, which is represented by talented prose plates that reveal the problems of reality at the level of intersection of literature and folklore. Deep and organic development of different forms of oral folk art has always been an integral property of genuine talent In the 1970-2000s, many Russian writers working in a variety of literary directions appear to interpretation of folk creativity. What are the reasons for this literary phenomenon? Why at the turn of the centuries writers of various literary directions, styles turn to folklore? First of all, two primary factors must be taken into account: intrasectural patterns and socio-historical situation. There is no doubt the tradition plays his role: the writers treated to the oral folk creativity throughout the entire time of development of literature. Another, no less important, the cause is the line of centuries, when Russian society, summing up the next century, is trying to find answers to important questions of being, returning to the national spiritual and cultural sources, and the richest folklore heritage is the poetic memory and history of the people. The problem of the role of folklore in Russian literature on the threshold of the XXI century is natural because it has now acquired a special philosophical and aesthetic value. Folklore is an archaic, impersonal, collective type of artistic memory that has become a literature cradle. Main part. Genres of Russian folklore. Russian national poetic creativity has passed a significant path of historical development and the multilaterally reflected the life of the Russian people. The genre composition is rich and diverse. The genres of Russian folk poetic creativity will appear in front of us in the following scheme: I. Foreign Poetry: 1) Calendar (Winter, Spring, Summer and Autumn Cycles); 2) family-household (maternity, wedding, funeral); 3) conspiracies. II. Bad Poetry: 1) Epic Prose Genres: * a) Fairy Tale, B) Tradition, c) Legend (and Byilichka as its appearance); 2) Epic poems genres: a) epic, b) historical songs (primarily older), c) ballad songs; 3) Lyrical poems genres: a) songs of social content, b) love songs, c) Family songs, d) Small lyrical genres (chastushki, debris, and so on.); 4) Small Neliric genres: a) proverbs; o) sayings; c) riddles; 5) Dramatic texts and acts: a) rude, games, dance; b) scenes and plays. In scientific folkloristic literature, you can find a question of the issue of mixed or intermediate generic and genre phenomena: about lyric epic songs, about legends fairy tales, etc. However, it must be said that this kind of phenomenon in Russian folklore is very rare. In addition, the introduction of a similar type of works in the classification of genres is controversial because mixed or intermediate genres has never been stable, no one period of the development of Russian folklore was not the main and did not determine its overall picture and historical movement. The development of childbirth and genres is not to be mixed, but in the creation of new artistic forms and dying the old. The occurrence of genres, as well as the formation of their entire system, is determined by many circumstances. First, the public need for them, and consequently, the tasks of the cognitive, ideological and aesthetic nature, which raised the most diverse reality for the folk creativity. Secondly, the originality of the reality reflected; For example, the epics arose in connection with the struggle of the Russian people against nomads-Pechenegs, Polovtsy and Mongol-Tatars. Third, the level of development of the artistic thought of the people and its historical thinking; In the early stages, complex forms could not be created, the movement went, probably from simple and small forms to complex and large, for example, from the proverb, parables (short story) to a fairy tale and legend. Fourth, preceding artistic legacy and traditions previously established genres. Fifth, the influence of literature (writing) and other types of art. The occurrence of genres -protsess is legitarious; It is determined by the external socio-historical factors, and the internal laws of the development of folklore. The composition of the genres of the folklore and their connection between themselves is also due to the problem of multilateral reproduction of reality for them, and the functions of genres are distributed in such a way that each genre has its own particular task - an image of one of the parties of life. The works of one group of genres have their subject story of the people (epics, historical songs, legends), the other - labor and life of the people (calendar ritual songs, labor songs), the third - personal relationships (family and love songs), the fourth - the moral views of the people and His life experience (proverbs). But all the combined genres together are widely covered by life, labor, history, public and personal relations of people. The genres are interconnected in the same way as interconnected different sides and phenomena of reality itself, and therefore form a unified ideological and artistic system. The fact that the folklore genres have the general ideological essence and the overall task of multilateral artistic reproduction of life, causes the well-known community or similarities of them, plots and heroes. For folk genres, the generality of the principles of folk aesthetics is characteristic - simplicity, brevity, economy, story, the poetry of nature, the certainty of moral estimates of the heroes (positive or negative). The genres of oral folk creativity are also related to the general system of folklore folklore, the composition of the composition (leitmotif, the unity of the topic, the chain connection, the screensaver-carin nature, the types of repetitions, general places), symbolism, special types of epithets. This system historically developing has a pronounced national peculiarity, due to the peculiarities of the language, life, history and culture of the people. Relationship of genres. In the formation, development and coexistence of the genres of folklore, the process of complex interaction occurs: mutual influence, mutual enrichment, adaptation to each other. The interaction of genres has diverse forms. It serves as one of the reasons for significant changes in oral folk art. Place of folklore in Russian literature. "The Russian people created a huge hectic literature: wise proverbs and cunning riddles, funny and sad ritual songs, solemn epics, - told the challenges, under the son of the string, - about the glorious expansion of the heroes, the defenders of the land of the people - heroic, magical, household and swinging fairy tales. Folklore - This is a folk creativity, very necessary and important for studying people's psychology today. Folklore includes works that transmit the main most important submission of the people about the main life values: work, family, love, public debt, homeland. Our children are raised on these works now. Knowledge of folklore can give a person knowledge about the Russian people, and ultimately about himself. In folklore, the initial text of the work is almost always known, since the author of the work is not known. The text is transmitted from the mouth to the mouth and up to this day it comes to the form in which writers recorded it. However, writers retell them in their own way to make it easy to read and understand. Currently, a lot of collections have been released, including one or several genres of Russian folklore. These are such, for example, as "epics" L. N. Tolstoy, "Russian People's Poetic Creativity" T. M. Akimova, "Russian Folklore" edited by V. P. Anikina, "Russian ritual songs" Yu. G. Kruglov, "Rounded strings: essays about Russian folklore" V. I. Kalugina, "Russian Soviet Folklore" edited by K. N. Femenkov, "On Russian Folklore" E. V. Pomeranceva, "People's Russian legends" and "People-artist: Myth, folklore, literature "A. N. Afanasyev," Slavic Mythology "N. I. Kostomarova," Myths and Traditions "K. A. Zurabova. In all publications, the authors distinguish several genres of folklore - these are fortune-telling, conspiracies, ritual songs, epics, fairy tales, proverbs, sayings, riddles, fasting, cubs, shafs, chastushki, etc. due to the fact that the material is very huge, and for a short It is impossible to study it, I use only four books issued to me in the Central Library. These are "Russian ritual songs" of Yu. Kruglov, "String Rockotha: Essays about Russian folklore" V. I. Kalugina, "Russian Soviet Folklore" edited by K. N. Femenkov, "Russian People's Poetic Creativity" T. M. Akimoy. Modern writers often use folklore motifs in order to give the narrative is a fatal character, combine individual and typical. Oral People's Poetry and Book Literature originated and developed on the basis of the national riches of the language, their subjects were associated with the historical and social life of the Russian people, his life and work. In folklore and literature, the poetic and prosaic genres were largely created, childbirth and species of poetic art arose and improved. Therefore, creative ties between the folklore and literature are completely natural and regularly are naturally naturally, their permanent ideological and artistic mutual influence. Oral folk poetic creativity, arising in deep antiquity and achieving perfection by the time of introducing writing in Russia, it became a natural way for ancient Russian literature, a kind of "poetic cradle". Based on the richest poetic treasury of Folklore to a large extent, and originally Russian written literature arose. It was the folklore, according to many researchers, made a strong ideological and artistic jet in the work of the Old Russian literature. Folklore and Russian literature represent two independent areas of Russian national art. At the same time, the history of their creative relationships was to be the subject of independent study and folklores, and literary studies. However, such targeted studies in Russian science appeared not immediately. They were preceded by the long stages of the autonomous existence of folklore and literature without proper scientific understanding of the processes of their creative influence on each other. The creativity of Tolstoy, facing children, extensively in volume, polyphonic sounding. It exhibits its artistic, philosophical, pedagogical views. Everything written by Tolstoy about children and for children marked a new era in the development of domestic and largely world literature for children. After the life of the writer, his stories from the "ABC" were translated into many languages \u200b\u200bof the peoples of Russia, they were distributed in Europe. The theme of childhood in the work of Tolstoy received philosophically deep, psychological meaning. The writer introduced new topics, a new reservoir of life, new heroes, enriched the moral problematics of works facing young readers. The huge merit of a fat, writer and a teacher, in the fact that the learning literature (alphabet), traditionally worn applied, functional character, he raised to the level of this art. Lion Tolstoy is the fame and pride of domestic literature. 2 The beginning of the pedagogical activity of Tolstoy belongs to 1849. When he opened his first school for peasant children. Problems of education and upbringing Tolstoy did not leave attention until the last days of life. In the 80s and 90s, he was engaged in the publication of literature for the people, I dreamed of creating an encyclopedic dictionary for the peasants, a series of textbooks. Permanent interest L.N. Tolstoy to Russian folklore, to the folk poetry of other nations (primarily Caucasian) - the fact is well known. He not only written himself and actively promoted fairy tales, legends, songs, proverbs, but also used them in their artistic work, in pedagogical activities. Especially fruitful in this plan were the 70s of the XIX century - the time of intensive work on the "alphabet" (1872), the "new alphabet" and complementary books to read (1875). Initially, in the first edition, the "ABC" was a single complex of educational books. Tolstoy summarized teaching experience in the Yasnocation school, reworked stories for children printed in the appendix to the "Casual Polyana". First of all, I would like to mention a serious, thoughtful attitude of L.N. Tolstoy to folk material. The author of both "ABC" was strictly focused on the original sources, avoided arbitrary changes and interpretations and allowed himself some adjustments only to adapt the folk texts difficult to perceive. Tolstoy studied the experience of Ushinsky, critical responded about the language of study books of his predecessor, too, from his point of view, conditional, artificial, did not accept the descriptions in the stories for children. The positions of both teachers were close in assessing the role of oral folk creativity, the experience of spiritual culture in the development of the native language. Proverbs, sayings, riddles in the "alphabet" alternate with short sketches, microscopes, small stories from folk life 3 ("Katya went on the mushrooms," "Vari had chizh", "found hedgehogs", "carried bone bone"). They are all close to the peasant child. Read in the book, the scene is filled with special significance, exacerbates the observation: "put the skids. It was hot, it was difficult, but everyone sang. " "My grandfather was bored at home. The granddaughter came, sang a song. " Characters of small stories Tolstoy, as a rule, generalized - mother, daughter, sons, old man. In the traditions of folk pedagogy and the Christian morality, Tolstoy spent a thought: Love work, respect the elders, are good. Other household sketches are made so masterfully that they gain a high generalized meaning, approach the parable. For example: "The grandmother had a granddaughter; Before, the granddaughter was small and all slept, and grandmother baked breads, chalk hungry, soap, sewn, nailed and failed on her granddaughter; And after the grandmother became old and lay down on the stove and he slept. And the granddaughter of the bake, soap, sewn, failed and nailed to the grandmother. " Several lines of simple double words. The second part is almost a mirror reflection first. And what is the depth? The wise course of life, the responsibility of generations, the transfer of traditions ... everything is concluded in two sentences. Here every word as if weighing, specially accented. Classic became parables about the old man, planting apple trees, "Old Grandfather and granddaughters", "Father and Sons". Children are the main characters of the stories of Tolstoy. Among his characters, kids, simple, peasant guys and Barsky children. Tolstoy does not focus on the social difference, although in each story children in their environment. Rustic kid of Philippoints, in the Big Father's Cap, overcoming fear, fighting against other people's dogs, goes to school. No less courage costs a small hero of the story "As I learned to ride the top" to simplify adults to take it into a playpen. And then, without frightening the fall, it is again on the Chervonchik. "I missed me, I understood everything. I am a persecution passion, "Phillip speaks about himself, defeated his name on warehouses. Such "trouble and deft" heroes are many in the stories of Tolstoy. Boy Vasya selflessly protects the kitten from hunting dogs ("kitten"). And an eight-year-old Vanya, manifesting an enviable moderator, saves the life of a small brother, sister and an old grandmother. The plots of many stories are thick dramatic. Hero - a child must overcome himself, decide on the act. This plan is characterized by the tense dynamics of the story "Jump". four Children are often disobedient, incorrect actions, but the writer does not seek to give them a direct assessment. The moral conclusion to the reader will have to make himself. A conciliation smile can cause Vany's misconduct, secretly eating a plum ("bone"). The carelessness of seryl ("bird") was worthwhile to see. And in the story of the Cow, the hero in the situation is even more difficult: the fear of punishment for a broken glass led to serious consequences for a large peasant family - the death of the cormalitsa burlyushki. Famous teacher dd. Semenov, the contemporary of Tolstoy, called his stories "the riding perfection, as in psychological. And in artistic terms ... What is the expressiveness and image patterns, that for power, compression, simplicity, at the same time, the grace of speech ... In every thought, in every story, there is a morality ... Moreover, it does not get into the eyes, It does not bother children, but hidden in an artistic image, and therefore it asks in the soul of the child and deeply chosen in it "5. The talent of the writer is determined by the significance of its literary discoveries. Immortally what does not repeat and uniquely. The nature of the literature does not tolerate the secondaryness. The writer creates his image of the real world without satisfying a stranger on reality. The more this image reflects the essence, and not the visibility of phenomena, the deeper the writer penetrates into the first-axis of being, the more precisely, their immanent conflict is expressed in his work, which is a paradigm of the genuine literary "conflict", the more durable work is the work. In the number of forgotten works fall things that reduce the idea of \u200b\u200bthe world and man. This does not mean that the work is intended to reflect a holistic picture of reality. Just in the "private truth" of the work should be a conjugacy with a universal meaning. Question about nationalitya particular writer cannot be resolved to the end without analyzing his connection with folklore. Folklore - impersonal creativity, closely connected with the archaic world. Conclusion Thus, the creation of a thick cycle of "folk stories" of 1880 - 1900s is due to the aggregate and external, and internal reasons: social and historical factors, the patterns of the literary process of the late XIX - the beginning of the 20th century, religious and aesthetic priorities of the late Tolstoy. In the conditions of socio-political instability in Russia, 1880 -1890s, the trends of the radical reorganization of the Company by violent methods that sowing a disintegration, disagreement of people, Tolstoy enforces the idea of \u200b\u200b"active Christianity" - a religious and philosophical teaching on spiritual enlightenment on the basis of Christian axiomatics, Earned for a quarter of a century, and the following, according to the writer, should inevitably lead to the spiritual progress of society. Objective reality, being unnatural, receives aesthetic condemnation by a writer. In order to oppose reality, the image of harmonious reality, Tolstoy develops the theory of religious art as the most relevant needs of the day, and radically changes the nature of its own creative method. The chosen method of "spiritual truth", synthesizing the real and ideal as a way to implement a harmonious reality, was most pronounced in the cycle of works with the conditional genre definition of "folk stories". In the context of the growing interest of modern literary studies, the study of "people's stories" in the context of the spiritual prose of the end of the 19th - the beginning of the 20th century, which makes it possible to represent the spiritual literature of this period as an integral phenomenon of the beginning of the XX century. Bibliography. 1. Akimova T. M., V.K. Arkhangelskaya, V. A. Bakhtin / Russian People's Poetic Creativity (a guide to seminar classes). - M.: Higher. School, 1983. - 208 p. 2. Gorky M. Sob. cit., vol. 27 3. Danilevsky I.N. Ancient Rus with the eyes of contemporaries and their descendants (XI - XII centuries). - M., 1998. - P. 225. 5. Kruglov Yu. G. Russian ritual songs: studies. Manual for ped. In-Tovpospeps "Rus. Yaz. or T.". - 2nd ed., Act. and add. - M.: Higher. shk. 1989. - 320 p. 6. Semenov D.D. Election Ped. Cit. - M., 1953 Folklore - Art beginning Mythological principle Folkliristics people's Literature Basic signs of folklore: Unscorators (sang them) 3) variationality · Student folklore · Army folklore · Bloom folklore · Soldier folklore · Blotsky · Political prisoners In due (the text was crushed) 9) Functionality 10) inclusiveness Ticket 2. The system of genres of Russian folklore from antiquity to modernity. The genre staff of Russian national poetic creativity is rich and diverse, as it passed a significant path of historical development and the multilaterally reflected the life of the Russian people. When classifying, it is necessary to take into account that in folklore, as in the literature, two forms of speech are used - poetic and prosaic, therefore, elementary species (epic, historical song, ballad) and prosaic (fairy tale, legend, legend) should be distinguished. The lyric generation of works uses only a poetic shape. All poetic works are distinguished by the compound of the word and pit. Prose articles are told, and do not come. To present the overall picture of the classification (distribution) of the types of works of Russian folk poetic creativity, one more circumstances should be taken into account, namely: first, the ratio of genres to the so-called rites (special reluctance), secondly, the ratio of verbal text Some types of folklore works are characteristic of singing and action. Works may be associated with ritual and singing and may not be connected with them. I ritual poetry: 1) Calendar (Winter, Spring, Summer and Autumn Cycles) 2) family-household (maternity, wedding, funeral) 3) conspiracy II Bediatric Poetry: 1) Epic Prose Genres A) fairytale B) Tradition C) legend (and fastity as her appearance) 2) Epic poems genres: A) epics B) historical songs (primarily older) C) ballad songs 3) Lyrical poems genres A) Social content songs B) love songs C) family songs D) Small lyrical genres (chastushki, gyrovki and so on.) 4) Small Neliric Genres A) Proverbs B) riddles 5) Dramatic texts and acts A) rude, games, dances B) scenes and plays. Ticket 3. Ancient (archaic) genres of folklore (labor songs, conspiracies, magical fairy tales, etc.). Folklore as a special form of art occurs in ancient times. The process of its occurrence is difficult to restore due to the lack of materials of that time. The oldest (archaic) period of the history of human society is the period of the preparation of its structure (primitive system). The folklore of the profile, primitive-commission building in many nations had common features due to the fact that the peoples of the world mainly passed the similar level of historical development. The folklore of this social formation is characterized by the following features: · It is still clearly saved by labor relations · Traces of thinking of an ancient era - animism, magical views, totemism, mythology; · Real phenomena are intertwined with fictional, fantastic; · Some features of realistic are developing: the specificity of the image of nature and man; the loyalty of reality in the content and forms (the convention of the image appears later); · Gradually make up childbirth, species and genres, of which the most ancient - proverbs, fairy tales, riddles, conspiracies, legends; At the last stage of the formation, heroic epos and legends are born; · The collective, choral start of creativity is dominated, however, the singer will be allocated; · Works still do not exist in a sustainable traditional form, as in the later stages of the development of folklore, but have the form of improvisation, i.e. text created during execution; · Gradually enriched plots, imagery, expressive agents, artistic forms that are becoming increasingly traditional. Animism manifested itself in the spiritualization of the forces and phenomena of nature, such as the Sun and the month, in songs about their marriage, in the spiritualization of the earth ("Mother of Cheese Earth"), water, plants, in the images of water and lash, in the personification of frost, spring, carnival, strides . In conspiracies - usually appeal to the dawn Zaryanitsa. In fairy tales there are marine king, month, wind, frost. Magic affected conspiracies and spells, in fortune telling about the weather and harvest, in the stories about the sorcerer, in the transformation of scallop in the forest, and towels in the river, in such wonderful items as a touch-based self-backer and a carpet. Totemism was expressed in the Bear cult and in the image of the assistant bear. In fairy tales and epics there are stories about the wonderful origin of the heroes from animals, from the snake. In the songs of Balladny type there are stories about speaking plants growing on the graves of people. In fairy tales (especially in fairy tales of animals, but not only in them) are often images of animal speaking and acting as people. The mythology of the ancient Russian tribes has already taken the form of a certain system of representations. It included the creatures of two types: gods and spirits. For example, Svarog is the God of the Sun, Dazhibogogo - God-Self-God, Perun - God of Thunder, Striboga - God of Wind, Yarilo - God of Light and Heat, Veles - God-Patron Cattle. The spiritualization of the forces and phenomena of nature were water, led, field. Ancient Russian tribes has been widely developed a cult of ancestors associated with the generic system. He affected the personification of the genus and the births, who were sacrificed victims, in funeral rites and commemoration of ancestors (Radunitsa, Rusalya, Semit). Slavic mythology was not such a complete system as Greek. This is due to the fact that the Slavs in their historical development passed the slave-ownership, the reasons for the development of agriculture and settlement, as well as frequent clashes with southern nomads, which demanded the creation of a feudal type state. Therefore, in the mythology of Slavs, there are only the reservation of the gods on the elder and junior states in accordance with the publication of the state. It is clear that in the ancient Russian folklore there were not only genres, which reflected animism, totemism, magic and mythology, but also genres of a family-party, as there were personal relationships inside the genus, a pair marriage. Finally, the labor and life experience was accumulated, which imprinted in proverbs. Classification I on the result 1) White - aimed at getting rid of ailments and troubles and containing prayer elements (sample) 2) Black - aimed at bringing damage, harm, used without prayer words (witchcraft associated with unclean force) II on topics 1) Medical (from the disease and the painful state of people and pets, as well as from damage.) 2) Economic. (Agrarian, cattle breeding, commercials - from drought, weeds, for taming pets, hunting, fishing.) 3) Love: a) love spells (inans); b) challenges (hence) 4) Social (intended to regulate public and relationships between people; to attract honorable or mercy, campaign to the judge, for example) III in form 1) Epic Deployed, big 1.1 epic picture 1.2 conspiracy built on spoken formulas 1.3 rest (Amen \u003d "Let it be so") 2) formulas brief conspiracies consisting of 1-2 sentences; They do not have bright images - an order or request 3) conspiracy-dialogues 4) abracadabra This is 99 percent of the women's tradition (because no normal man does not do with this). Conspiring Mafia is secretive. Characters: 1) human World 1.1 neutral (Red Girl) 1.2 christian: a) real (Jesus, Virgin), b) fictional (Bogorodicina daughter, Herods sons), c) History characters (Nikolai Radish), d) Christian evil (devils) 1.3 fictional 2) animal Mira 2.1 Reviews 2.2 Fantastic Typical conspiracy art techniques: 1) on lexical, morphological and even sound levels (????????) 2) abundance of epithets 3) Comparison 4) stepped narrowing of images or deployment (gradation) Classic legends. 1.1. Cosmogonic For example, about the cition, which fell to the bottom of the reservoir, captured a little water in the keyboard - spoiled - the Earth appeared (or the mountains - not to figure it out) 1.2. Etiological Legends about the creation of the animal world. For example, there was a legend about the occurrence of lice. God often acts as a punishing force The legends always believed. Legend is an independent view of the world around. Most likely they were myths before. In the myths of the Indians, there are also ideas about the origin of animals (for example, Kangaroo bag), but there are no religious motives, as in our legends. 1.3. Anthropological myths. There is some example of the legend about the person of the patient, but with God's soul (???). and about the dog that protected a person and for that God gave her a fur coat or not 1.4. Agiographic legends Agiographic legends Life legends (about saints); For example, Nikolai Millicine (Wonderworker) · Community saints · Mountain saints · Obrahristian · Orthodox Saint Highria (George Victorious) Warrior / Saint Patron of home cattle and wolves 1.5. Eschatology. One of the sections of church philosophy. Legends about the end of the world. Features of classic legends: 1. Artistic time classic legends - this is the time of distant, indefinite, abstract past 2. Artistic space is also abstract 3. In these legends we are talking about global changes (the emergence of the sea, mountains, animals) 4. All stories are narrated by the 3rd person. The narrator is not a hero of legends. Legend of local edge. Heroes: Local sacred (saints) Natural objects. For example, holy sources, trees, stones, groves, or local icons, as well as local stairs and blissful. ! Partly remind the gifts, but have a religious character. For example, a dunechka, which was shot by the Red Army. She is a predictor. He sent a man to earn money in Arzamas, and not to Samara (he earned, and those who went to Samara - no), that is, predictions mostly domestic Pigeons woven over a carriage in which Dunechka led to the shooting, covering off his screaming Nimbe overhead during execution After the house began to burn in the village - they decided to arrange a comment 2 times a year - they stopped burning Yreek. Blessed \u003d Yurozhny, which figuratively communicates with people. Pasha Sarovskaya gave a piece of red cloth Nicholas I and said "Sinichka on the pants" on the time of glorification (prep. Seraphim - Sost.) Lived in Diveyev, famous for the whole of Russia. The sovereign with all the great princes and three Metropolitans proceeded from Sarov in Diveevo. Predicted death (9 soldiers, potatoes in the uniform). Got a piece of red matter from the bed and says: "This is your son's sown." - predicted the appearance of a son. Legend of man. The legend of the legend about a person is a meeting of a person with a wonderful force. A typical example: Saint tells man how to find the road to the forest. Holy is people in the dream "Call of Saint" Pilgrims Migrants - Holy is and calling to his monastery. Ticket 8. Artistic space and time in a magical fairy tale. Types of heroes and composition. Artistic space and time in magical fairy tales conditionally, there is a different world. The world is real and the world of magical fairy tales can be compared with the paintings, for example, Vasnetsov and Bilibin. In the magic fairy tale, 7 types of characters are distinguished (propppe): 1 . The hero is the one who makes all actions, and at the end marries. 2 . Antagonist, or antipode - the one hero fights and who wins. 3 . Wonderful assistant. 4 . A wonderful donor is the one who gives the hero of a wonderful assistant or a wonderful thing. 5. Tsarevna - the one, on which, as a rule, marries the hero and who lives, as a rule, in another country, very far. 6 . The king - appears at the end of the fairy tales, the hero marries his daughter or at the beginning of a fairy tale, as a rule, he sends a sophisticate one somewhere. 7. A false hero - assigns the merits of the real hero. You can try to classify and differently, but the essence will remain the same. First of all, two groups of characters: negative and positive. The central place is positive heroes, as if "the characters of the first row." They can be divided into 2 groups: heroes - heroes and "ironic", which are facilitated by luck. Examples: Ivan-Tsarevich and Ivanushka-fool. "The characters of the second row" are the helpers of the hero, animated and not (magic horse, a magic sword). "The third row" is an antagonist. An important place is occupied by the heroines of women, ideals of beauty, wisdom, kindness - Vasilisa is beautiful or led, Elena is beautiful or led. Antagonists often include Baba Yaga, snakes and wicked immortal. The victory of the hero above them is a celebration of justice. Composition - structure, building a fairy tale. 1.) Some fairy tales begin with promscakes - joking booms that are not associated with the plot. They are usually rhythmic and rhymed. 2.) Stained, which, as if tolerates the listener to the fabulous world, shows the time, place of action, the situation. It is an exposure. Popular stained "lived - was" (hereinafter - who, and what circumstances) or "in some kingdom, some state." 3.) Act. Some fairy tales begin immediately with action, for example, "conceived Tsarevich marry ..." 4.) The fairy tale has an ending, but not always, sometimes a fairy tale is completed with the completion of the action. The ending switches attention from the fabulous world to real. 5.) In addition to the ending, there may be a surcharge, which sometimes connects with the ending - "The wedding was played, drank for a long time, and I was there, honey drank, I have been teaching through the mustam, but I did not get into my mouth." The narrative in the magical fairy tales is developing consistently, the action is dynamically, the situations are stressed, terrible events may occur, a triple repetition is common (three brothers three times go fish-birds). Emphasizes the unreliability of the told. Communication with the rite of initiation. Hood space Abstract; there is a border / transition space; Spatial movements are not shown. Hood time is also abstract, closed, does not have a reality; Develops from episode to episode, returation. The magic fairy tale is the most archaic - initially she was not intended for children, according to their origin goes back to rites. Rite initiation. You can see superstitious ideas about the light. For example, Baba Yaga: "The nose in the ceiling in the ceiling", "the knee into the wall was ridiculed", bone leg - that ite without meat - on the stove she lies like in a coffin Those. She is a border character between the world of the dead and alive - between the world and the threatened kingdom. Spring cycle. Carnival and carnival rituals. In the center of the village of Carnival, there is a symbolic image of the carnival. The holiday itself consists of three parts: meetings on Monday, rampant or fracture in the so-called Wide Thursday and farewell. Songs on the carnival can be divided into two groups. The first - meeting and honoring, has the kind of magnifications. They are hampered by a wide honest carnival, her jurisdiction, entertainment. It is completely large - an Avdot of Rivel. Character of songs cheerful, progress. Songs, accompanying wires, are somewhat different - they say about the coming post. Singing regret, about the ending holiday. Here the Maslenitsa is already a overthrown idol, it is no longer big, but is called an indisciboryly "deceiver." Carnival was usually interpreted mainly as a celebration of the victory of spring over in winter, life over death. Spring post - Clean Monday - the beginning of spring calendar rolling. Woven in the bath, soapy houses, jumped out all the dishes, jokes with pancakes - hung on a tree, gave the cattle. Cross / medigative week - fourth after a great post; Way breaks - baked lean cookies; The fortune telling is a coin - a coin in the cookie, a few crosses - a coin, a sins, ring, gave the cattle crosses. March 30 - the day of forty martyr (cookies in the form of larks); Spring meeting, arrive first birds; March 17, on the day of Grigory Grachevnik, baked the rules. Signs: Many birds - good luck, drifts - harvest, icicles - crop flax. The first spring holiday - the Spring Meeting - falls on March. These days in the villages baked from the test of the bird figurines and distributed them to girls or children. Western - ritual lyrical songs of the spell genre. The rite of "spell" of spring was penetrated by the desire to influence nature in order to obtain a good harvest. Imitation of the flight of birds (raging the larks from the test) was supposed to cause the arrival of real birds, a friendly offensive of spring. For spring, the form of a dialogue or treatment in imperative inclination is peculiar. Unlike conspiracy, Vezhniki, like carols. Performed collectively. Annunciation - April 7: "Birds nest do not curl, girls do not braid hair"; It is impossible to light the light, work with the Earth-Birthday; Sell \u200b\u200bfracture - removed Sani, got the cart. Palm Sunday (Last Sunday before Easter) - "Entrance of the Main in Jerusalem." They brought the Verq's house and kept the whole year of the icons, the children were sanctified; They allowed the willow and water icons. Passion week - week before Easter. The Great Thursday (in Religion - Friday) - the most terrible day; Whitening of huts, getting rid of hollows from cockroaches by the method of freezing, cutting the wings in poultry, all the water is holy. Easter - dyeing eggs (either no silence, no easter); do not go to the cemetery, only on the next red / fomine week - Tuesday and Saturday-Radunitsa); Singer egg year stored at the icon. Binding songs - songs that are on Saturday or on Sunday the first, post-hours congratulated newlyweds. Song content: Wish young happy family life. May 6 - Egoriev Day (Georgy Victoronec); High Orria is god; The first time was given livestock in the field Ascension (40 days after Easter) Semitsky ritual songs - the 7th week after Easter was called Semitsky. Thursday of this week was called seven, and her last day (Sunday) - Trinity. Special rites were accompanied, which were accompanied by songs. The main rite "curling" wreath. Dressing festive outfits, girls walked into the forest, looking for a young birch, tilted birch branches and gave them away from her grass, after a few days the birch was cut off, they wore her around the village, then they were treated in the river or threw into rye. From the tops of two birches of the girl weave the arch and passed under it. Then there was a rite of fortune-wreath. The topic of marriage and family attitudes takes an increasing place in the semitsky songs. Perfume day - you can not work with the earth. Summer cycle. Calendar rites were accompanied by special songs. Troitsko-Semiitskaya week: Seventh seventh Thursday after Easter, Trinity - Seventh Sunday. Girls, smartly dressed and capturing a treat with them, walked "curling" birks - govels herbs. The girl's holiday was accompanied by fortunate. Girls, whipped wreaths and threw them into the river. The fortune telling in the wreaths was widely reflected in the songs who performed both during divination and whatever it. Holiday Ivan Kupala (John Forerunner / Baptist) - Night from June 23-24. In the Kupalie holidays, the land does not help, but, on the contrary, try to take everything from it. This night collect healing herbs. Who will find a fern, how it was thought to find a treasure. On the dew put the shawls of the girl and then they wash them; broke birch brooms for a bath; The youth bathed at night, cleansing, jumped through fires. Trinity - 7th Sunday after Easter. Cult birch. Formation of a new swadd cycle. Formation of the bride layer. Songs, dances (selection of bride and groom), Song-Okanny only on Trinity. The meaning is duplicated at several levels - in action, in words, in music, in the subject. Next Sunday after Titis celebrated winters of winter. Autumn cycle. (just in case ) Autumn rites from the Russian people were not as rich as winter and spring-summer. They accompany harvesting. Hagming (beginning of harvest), Dogs or cranks (the end of the harvest) were accompanied by songs. But these songs do not have a magical nature. They are associated directly with the labor process. More diverse on the subject and artistic techniques of horseradish songs. They are told about the harvest and customs of treats. In the driving songs there are elements of the magnitude of the rich owners, well hung up. It was believed that the crop need to be protected, because Unclean power can lead it. They put the sheath in the form of a cross, from wormwood and nettle. Striga / Sunshine Fields Babied Vintage. noting the first sheaf, cooked the first porridge-novel, scaled cattle and chickens. The last sheaf / the last spikes remains on the field, did not bind, they were associated with a nodule and call the beard. Having finished the harvest, the women rode the land: "Znitel-shirt, give your sofa." After many calendar rituals turned into holidays, which, in addition to the ritual function, have a very important social function - the association of people, the rhythm of life. Ticket 14. The epics of the oldest period. (Ox Vslavsky, Sadko, Danube, Svyatogor, Volga and Mikola) Among the Russian epics there is a group of works that almost all folklorists are among the more ancient. The main difference between these epics is that there are significant features of mythological representations. 1.) "Will Veslavievich". The episodes about the womb consists of 2 parts. In the first it is depicted as a wonderful hunter, which has the ability to turn into a beast, bird, fish. Hunting, he is mined for a squad food. In the second grace - the leader of the campaign to the Indian kingdom, which he conquers and ruins. The second part almost came out of the existence, since its topic did not correspond to the ideological essence of the Russian epic. But the first part has long been in the people. The image of a wonderful hunter researchers relate to deep antiquity, however, historical features were layered on this image, tied the episodium with the Kiev cycle, which is why Likhachev and other scientists compared the wolf, for example, with Oleg. The image of India is fabulous, not historical. 2.) The epics about Sadko. The basis of the epic was based on 3 plots: Sadko gets wealth, Sadko competes with Novgorod, Sadko Gostko at the sea king. These three plots exist separately in compounds. The first plot has 2 different versions. First: Sadko 12 years walked along the Volga; Having decided to go to Novgorod, thanks the Volga, dropping bread into it with salt; Volga gave him an order to praise the "glorious Lake Ilmen"; Ilmen, in turn, rewarded with riches, advised to catch fish, and caught fish turned into coins. Another version: Sadko, poor Husar, goes to the coast of Ilmenya, plays, and it comes to a maritime king and rewards with wealth. This is expressed by people's opinion on the value of art; Utopicity: the poor thing became rich. The second story: Having received wealth, Sadko came up, and conceived to face wealth with Novgorod himself, but was defeated. In a rare version there is a plot with Sadko's victory. The third story: Sadko got into the underwater kingdom, was loved by the sea game on the humps, and decided the king to leave him and marry the Girl in Cernavy; But Sadko deceived the king with the help of St. Nichola Mozhaysky, and escaped, built in honor of the Holy Church and stopped riding on the blue sea. The eponymis about Sadko is distinguished by the completeness of each of three parts, dramatic tension of action. Proppet attributed "epics about Sadko" to the episodes of matchmaking, and considered the main plot - "Sadko at the Maritime King". Belinsky saw the main social conflict Sadko and Novgorod. Fability is peculiar to the first and third epic. 3.) The eponymis about saint is special form - prose. Some of the scientists consider it proof of their antiquity, others are novelty. They contain a number of episodes: about the meeting of Ilya Muromsz and the Siberiana, about the wrong wife of the Siberiana, about the Suma with the terrestrial burden. These epics are ancient, as well as the type of the Bogatyr of the Siberian Sea, in which there are many mythical traces. Scientists consider this image as an embodiment of old orders, which should disappear, because the death of holy is inevitable. In the eponym about Svyatogore and the coffin, Ilya first approxes the coffin, but he is great, and the Suprair is just in size. When Ilya covered the coffin with a lid, it was already impossible to remove it, and he received a part of the power of the Siberiana. Prope said that there was a change of two eras here, and Ilya Muromets came to replace the epic hero. Svyatogor is the bogatyr of an unprecedented force, but in the episode with the terrestrial burden, which Svyatogor cannot raise, shows the existence of strength even more powerful. Wolga and Mikula epic - the most significant of the group of socio-household epic. Her main idea is to oppose the peasant Pahar and Prince. Social antithesis made it possible for some scientists to attach the addition of the episodes to later times when social conflicts were aggravated, in addition, it was attributed to the Novgorod epic. But the price of the prince is not very characteristic of Novgorod epic, and the conflict is put in the situation of early refortel. Wolga goes to collect tribute, he has a brave squad; Mikula is not a warrior, but heroes, he mighty and surpasses the whole squad of Volga, who cannot pull his sushka from the furrow; Prince and squad can not catch up with Mikula. But Mikula is opposed to Volga not only as a mighty bogatyr, but also like a man of labor, he lives with no charges from the peasants, but by his work. Mikule is easy to easily, he collects a rich harvest. The scientist Sokolov saw in this dream of the peasantry tired of the unbearable physical labor. The peasant work, the image of Mikula - the embodiment of the forces of the labor nation. Ticket 1. Basic signs of folklore. Folklore - Art beginning Mythological principle Folkliristics Folklore was called folk poetry, but it is not so (not everything is poetry) At the end of the 19th century, the term appeared people's Literature (emphasis on the word - again not the correct definition for example the rite of causing rain - murder of a frog - no words) In the 20th century - Russian folk creativity. Basic signs of folklore: 1) a perception (oral system, culture, phenomenon) only orally 2) Do not have written fixation Sacred letters - Exception Written plots, questionnaires, diaries (girl album) Dembel album Unscorators (sang them) 3) variationality Those. Modifying one text Minus that we do not know which option was before 4) locality (all the texts and genres of folklore have local derisions) Thus, the Russian folklore is a set of genres and in each locality he is yours. 5) Folklore - folk culture; People are the lower layers of the population (peasants) · Student folklore · Army folklore · Youth / informal groupings · Bloom folklore · Soldier folklore · Blotsky · Political prisoners 6) Folklore is collective creativity. The creator of folklore is not one person. 7) Typification; Most works and genres of folklore contain typical motifs, plots, verbal forms, types of heroes For example, the number 3, Red Maiden, Bogati: All strong, beautiful, winners 8) Sinnotism - ("connecting") the combination of different arts in one art. For example, a wedding rite (songs, inhibiting, wearing a Christmas tree (dressed up a little girl and wore around the village - such as the bride of the tree)) Horror (Dancing, Song, Suit + game) People's Theater: Parsley Theater In due (the text was crushed) 9) Functionality Each genre performs a specific function. For example, the lullaby served to ritmization of movements during the teaching of the child; In due - to mourn. 10) inclusiveness · Folklore includes historical, family, labor, sound memory of the people · Folklore itself is organically incorporated into the labor and economic life of the people. |
