Irina Khoreva
Article "History of the emergence of oral folk art."

Teaching and raising children historically arose with the development of humanity. In order to preserve themselves as a species on Earth, primitive people were already interested in passing on to the younger generation the experience of obtaining food, protection from bad weather, etc. These initial types of training and education, when the child acquired knowledge, skills, and abilities in the process of joint activities with adults, imitating them. The new generation, having taken the experience of their ancestors, used it, making improvements. Along with work experience, the experience of communicating with other people was also passed on. From generation to generation, these relationships were consolidated, developed and improved in language and symbols.

With the development of Russian folk culture, rules for teaching and raising children, advice and instructions, prohibitions and permissions appeared. Already in the most ancient Russian chronicles, in oral folk art, especially in fairy tales and proverbs, the idea is affirmed that a person can be educated and taught, that the most valuable human quality is virtue and it must be instilled, it must be taught, because the cause of many human vices is ignorance, ignorance. Virtue is the ability to act well, and to act well, in our case, is to possess communication skills.

One of the effective means of educating a person, in the family and not only, is folklore like inexhaustible source of art, the basis folk culture, an effective means of aesthetic education of children, proven by the experience of everyone people. The strength of folklore as a means of family education lies in the fact that its content teaches children to distinguish between good and evil, as well as behavior "it's possible", "this is impossible", "This is good", "this is bad", teaches children to give answers to various life questions.

Listening to works oral folk art, the child, with the help of his parents, draws conclusions about his behavior, trying to avoid the mistakes of the heroes. Children perceive folklore works well due to their humor, unobtrusiveness, and familiar life situations.

Folklore- invaluable wealth people, a view on life, society and the rules of behavior and communication in it, developed over centuries.

Many centuries ago, when there was no writing yet, oral folk art arose, fulfilling the same role that literature later performed.

For children people created wonderful fairy tales, songs, nursery rhymes, riddles, sayings, jokes, etc. Works oral folk art has not lost its impact on the child today. These works reflect deep moral ideas, dreams and beliefs people. Simple and convincing "speaks" a fairy tale about the victory of good over evil, truth over lies, and the triumph of justice. The positive hero of the fairy tale always wins. The fairy tale shows work as the basis of life - the hardworking hero is rewarded, the lazy one is punished. The fairy tale glorifies intelligence, resourcefulness, courage, and wisdom.

Most of the songs, nursery rhymes, and jokes were created in the process of working in nature, in everyday life, in the family. Hence their clarity, rhythm, brevity and expressiveness. Over the centuries people selected and kept, passing from mouth to mouth, from generation to generation, these small masterpieces, full of deep wisdom, lyricism, and humor. Thanks to the simplicity and melody of the sound, children easily remember them while playing, acquiring a taste for figurative, apt words and learning to use them in their speech. This is where the depth of influence of small poetic forms on a child comes from. oral folk art. They also have a moral influence - they awaken in the child a feeling of sympathy, love for the people around him, for all living things, interest and respect for work.

With amazing teaching talent "leads" people a child from simple play nursery rhymes to complex poetic images of fairy tales; from lines that are amusing and soothing to situations that require the little listener to exert all his mental strength.

Publications on the topic:

The use of oral folk art in the mathematical development of preschool children Introduction Learning mathematics should not be a boring activity for a child, since children's memory is selective. The child only learns.

The teacher’s task is to plant in children the seeds of love and respect for books, artistic expression, and folklore. I came to the conclusion.

The influence of oral folk art on the moral education of children Municipal autonomous preschool educational institution – kindergarten No. 141 “Teremok” Consultation “The influence of oral folk art.

The influence of oral folk art on the development of speech in children 4–5 years old Educator: Nikolaenko O. N. Topic: “The influence of oral folk art on the development of speech of children 4-5 years old” Purpose of the work: combining efforts.

Children of the junior group "Teremok" and teacher Yarovenko T.V. took part in a regional seminar on the development of speech in preschoolers using.

Using oral folk art in working with young children The development of a child at an early age largely determines his personal development as a whole. In this regard, it is very important to use.

Introduction

There is a huge number of works devoted to the forms of manifestation of folklore consciousness and folklore texts. The linguistic, stylistic, ethnographic features of folklore texts are studied; their compositional structure, including images and motifs; the moral aspect of folklore creativity and, accordingly, the importance of folklore in the education of the younger generation, as well as much more, are analyzed. In this huge stream of literature about folklore, its diversity is striking, starting from folk wisdom and the art of memory and ending with a special form of social consciousness and a means of reflecting and understanding reality.

Folklore includes works that convey the basic, most important ideas of the people about the main values ​​in life: work, family, love, social duty, homeland. Our children are still being brought up on these works. Knowledge of folklore can give a person knowledge about the Russian people, and ultimately about himself.

Folklore is a synthetic art form. His works often combine elements of various types of art - verbal, musical, choreographic and theatrical. But the basis of any folklore work is always the word. Folklore is very interesting to study as an art of words.

Folklore

The emergence of oral folk art

The history of oral folk art has general patterns that cover the development of all its types. The origins must be sought in the beliefs of the ancient Slavs. Folk art is the historical basis of all world culture, the source of national artistic traditions, and an exponent of national self-consciousness. In ancient times, verbal creativity was closely connected with human labor activity. It reflected his religious, mythical, historical ideas, as well as the beginnings of scientific knowledge. Man sought to influence his destiny, the forces of nature through various spells, requests or threats. That is, he tried to come to an agreement with “higher powers” ​​and neutralize hostile forces. To do this, a person needed strict adherence to a number of rules that showed their salvation in the times of their ancestors. However, if these rules are not followed, then turmoil will begin in nature, and life will become impossible. The totality of rituals constitutes the only effective guarantee against all kinds of bad influences that inspire fear and fear. The rituals were reproductions of mythological stories and included dancing, singing, and dressing up.

The basis of Russian artistic culture is ancient Slavic mythology. Many ancient peoples created their own mythological pictures of the structure of the Universe, which reflected their belief in numerous gods - the creators and rulers of the world. Explaining the origin of the world as the acts of the gods, ancient man learned to co-create. He himself could not create mountains, rivers, forests and earth, heavenly bodies, which means that such myths reflected the belief in supernatural forces that participated in the creation of the Universe. And the beginning of all things could only be the primary element, for example, the world egg or the will of the gods and their magic word. For example, the Slavic myth about the creation of the world tells:

That it all started with the god Rod. Before the white light was born, the world was shrouded in pitch darkness. In the darkness there was only Rod - the Progenitor of all things. At the beginning, Rod was imprisoned in an egg, but Rod gave birth to Love - Lada, and with the power of Love destroyed the prison. This is how the creation of the world began. The world was filled with Love. At the beginning of the creation of the world, He gave birth to the kingdom of heaven, and under it He created the heavenly things. With a rainbow he cut the umbilical cord, and with a rock he separated the Ocean from the heavenly waters. He erected three vaults in the heavens. Divided Light and Darkness. Then the god Rod gave birth to the Earth, and the Earth plunged into a dark abyss, into the Ocean. Then the Sun came out of His face, the Moon - from His chest, the stars of heaven - from His eyes. Clear dawns appeared from Rod's eyebrows, dark nights - from His thoughts, violent winds - from His breath, rain, snow and hail - from His tears. Rod's voice became thunder and lightning. The heavens and all under heaven were born for Love. Rod is the Father of the gods, He is born of himself and will be born again, He is what was and what is to be, what was born and what will be born.

It was inherent in the mythological consciousness of our ancestors to connect various gods, spirits and heroes with family relations.

The ancient cult of the gods is associated with certain rituals - conditionally symbolic actions, the main meaning of which is communication with the gods. The ancient Slavs performed rituals in temples and sanctuaries - specially equipped places for worshiping the gods. They were usually located on hills, in sacred groves, near sacred springs, etc.

Ancient myths gave rise to and reflected various forms of religious life of people, in which various types of artistic activity of people arose (singing, playing musical instruments, dancing, the basics of fine and theatrical arts).

As noted earlier, folklore originates in ancient times. It originated and arose when the overwhelming majority of humanity did not yet have writing, and if they did, it was the lot of a few - educated shamans, scientists and other geniuses of their time. In a song, riddle, proverb, fairy tale, epic, and other forms of folklore, people first formed their feelings and emotions, captured them in oral work, then passed on their knowledge to others, and thereby preserved their thoughts, experiences, feelings in the minds and heads of their future descendants.

Life in those distant times was not easy for most living people, it remains so and will inevitably always be so. Many have to work hard and routinely, earning themselves only a small living, with difficulty providing a tolerable existence for themselves and their loved ones. And people have long realized that they need to distract themselves, those around them and their colleagues in misfortune from the work they do every day, with something fun that distracts attention from the pressing everyday life and the unbearable conditions of hard work.

Sections: Literature

The first idea of ​​the literary process is formed in the eighth grade, and the central concept becomes the concept of tradition. The teacher’s task at this stage is to show what permeates literature, makes it stable and at the same time changeable, namely traditions.

At the beginning of the school year, we talk about traditions in folklore, about folk-poetic traditions in literature, we get acquainted with the concept of living tradition and “eternal theme”; The subject of the study is fairy-tale images in modern literature.

The final lesson on a topic is always searching, thinking about how to organize students’ activities, how to encourage them to think. The material for the final lesson in the section “Folklore and Literature” was suggested by one of my students. He brought an audio cassette with recordings of songs by Ivan Kuchin and drew my attention to the song “Man in a Padded Jacket.” I liked the arrangement of the song, the poems sank into my soul, and I was amazed by the skillfully used expressive means of language. I thought: why not take this material to consolidate and generalize knowledge on the topic.

This is how the lesson “Traditions of oral folk art in modern art songs” was born. And the lyrics of Ivan Kuchin’s song “Man in a Padded Jacket” helped make literary studies not boring.

Summary of a literature lesson in the eighth grade.
Program by A. G. Kutuzov.

Subject. Traditions of oral folk art in modern art song. Ivan Kuchin “Man in a Padded Jacket.”

The goal of the lesson is to update students’ knowledge on the topic of the lesson in order to identify the role of expressive language means, folklore traditions for understanding the author’s intention in the song; encourage students to think about the responsibility of each person for their actions, for the fate of loved ones.

During the classes

Open first title slide presentations.

– Find the keyword in the title of the lesson topic. (Tradition)

– What is tradition? (Transfer of historical experience, knowledge, ideas).

– What meaning do we put into the concept of “literary tradition”? (The experience of creating an artistic world, accumulated by many generations of authors who have mastered the art of words).

– How is literary tradition manifested? (In the description of the artistic space, the characters of the characters, the figurative system, staging and resolution “eternal” moral problems, the use of artistic means and techniques).

We will try to see how folklore traditions help Ivan Kuchin to uncover moral problems today in the final lesson in the “Folklore and Literature” section. We have already identified traditions and innovation in “The Tale of Tsar Saltan...” by A. S. Pushkin, comparing it with the folk tale “There is the sun in the forehead, a month on the back of the head, stars on the sides.” We will see today that folklore traditions are tenacious at all times and not only do not reduce the level of artistry of a literary work, but, on the contrary, the use of traditions decorates and strengthens any literary work.

I asked you to get acquainted with the material presented at the “For Lesson” stand about the life and work of Ivan Kuchin.

The second slide is a quick survey. Independent work of students. Voicing answers.

Third slide. Self-test.

For the lesson, you also reviewed the expressive means of language.

The fourth slide is a quick survey.

The fifth slide is verification.

The sixth slide is a reading of Ivan Kuchin’s story about what served as the impetus for writing the song “Man in a Padded Jacket.”

Seventh slide - the song “Man in a Padded Jacket” performed by the author. The player is turned on by pressing the key on the song title. Children have the opportunity to see the lyrics of the song on the slide.

– What are your feelings?

-What is the song about?

Eighth slide – by clicking on the picture you can return to the seventh slide – the lyrics of the song. Questions that are being discussed.

– What are the themes of the song? (There is a conversation about the topic of escaping from prison).

– What do you feel towards the hero of the song, the nameless ZK?

– What linguistic means of expression does Ivan Kuchin use to awaken good feelings towards ZK in us?

– How do you feel about the corporal who fulfilled his official duty to capture the escaped ZK?

The ninth slide is about Kuchin’s attitude towards the corporal.

The tenth slide is working with the text of the song: children find expressive means of language, talk about their functions in the text. As the conversation progresses, artistic paths are highlighted on the slide.

Eleventh slide – Theme of maternal fidelity.

– How is this theme revealed in the song?

Slide twelve - the conversation is about the elements of a fairy tale in a song, their functions in a modern author's work.

– What is the idea of ​​the song?

– What strings did you make sound in our souls? What to think about?

The thirteenth slide is reading a text about a person’s responsibility for his own destiny, the fate of people close to him.

The fourteenth slide is reading the words of Ivan Kuchin.

– What thoughts will you leave the lesson with? What conclusions will you draw for yourself?

The fifteenth slide is reading and writing conclusions about the lesson in a notebook.

Slide sixteen - eighth graders choose one of two tasks to work at home:

– reveal the topic in writing: “Folklore traditions in modern literature”;

- essay: “I am responsible...”.

Assessing the possibilities of using ICT in the classroom:

– photographs of Ivan Kuchin were taken from the Internet. Presented on the slides, they made it possible to see that the author of the song does not smile in any of the photographs, and is absorbed in himself. This can be a person who lives under the yoke of guilt before loved ones;

– text materials helped to better understand the author’s intention in the song, made the author a living person, suffering and talented, not entirely justified, but understood by teenagers – these materials were also taken to the Internet;

– the presentation created in Microsoft Power Point made it possible to present everything visually in the lesson, which made the conversation not only lively, but also complete;

– the use of presentation made it possible to increase the volume of material comprehended in the lesson and to maintain students’ interest in the topic of communication throughout the lesson.

Collective artistic creative activity, reflecting the life of an ethnos, its ideals, its views, has absorbed the folk art of Russia. The people created and circulated from generation to generation epics, fairy tales, legends - this is a genre of poetry, original music sounded - plays, tunes, songs, the favorite festive spectacle was theatrical performances - mainly it was a puppet theater. But dramas and satirical plays were staged there. Russian folk art also penetrated deeply into dance, fine arts, and arts and crafts. Russian dances also originated in ancient times. Russian folk art has built a historical foundation for modern artistic culture, become a source of artistic traditions, and an exponent of the self-awareness of the people.

Orally and in writing

Written literary works appeared much later than those oral gems that filled the precious box of folklore since pagan times. Those same proverbs, sayings, riddles, songs and round dances, spells and conspiracies, epics and fairy tales that Russian folk art has cut to a brilliant shine. The ancient Russian epic reflected the spirituality of our people, traditions, real events, features of everyday life, revealed and preserved the exploits of historical characters. So, for example, Vladimir the Red Sun, everyone’s favorite prince, was based on a real prince - Vladimir Svyatoslavovich, the hero Dobrynya Nikitich - the uncle of Vladimir the First, boyar Dobrynya. The types of oral folk art are extremely diverse.

With the advent of Christianity in the tenth century, great Russian literature and its history began. Gradually, with its help, the Old Russian language took shape and became unified. The first books were handwritten, decorated with gold and other precious metals, gems, and enamel. They were very expensive, so people didn’t know them for a long time. However, with the strengthening of religion, books penetrated into the most remote corners of the Russian land, since the people needed to know the works of Ephraim the Syrian, John Chrysostom and other religious translated literature. The original Russian one is now represented by chronicles, biographies of saints (lives), rhetorical teachings ("Words", one of them - "The Tale of Igor's Campaign"), walks (or walks, travel notes) and many other genres that are not so well known . The fourteenth century produced a number of exceptionally significant folklore monuments. Some types of oral folk art, such as epics, became written. This is how “Sadko” and “Vasily Buslaev” appeared, recorded by the storytellers.

Examples of folk art

Oral creativity served as a reservoir of folk memory. The heroic resistance to the Tatar-Mongol yoke and other invaders was sung from mouth to mouth. It was on the basis of such songs that stories were created that have survived to this day: about the battle on Kalka, where “seventy great and brave” gain our freedom, about Evpatiy Kolovrat, who defended Ryazan from Batu, about Mercury, who defended Smolensk. Russia preserved the facts against the Baskak Shevkal, about Shchelkan Dudentievich, and these songs were sung far beyond the borders of the Tver principality. Compilers of epics conveyed the events of the Kulikovo Field to distant descendants, and old images of Russian heroes were still used by the people for folk works dedicated to the fight against the Golden Horde.

Until the end of the tenth century, the inhabitants of Kievo-Novgorod Rus' did not yet know writing. However, this pre-literary period brought to this day golden literary works passed on from mouth to mouth and from generation to generation. And now Russian folk art festivals are held, where the same songs, tales and epics of a thousand years ago are heard. Ancient genres that still resonate today include epics, songs, fairy tales, legends, riddles, sayings, and proverbs. Most of the folklore works that have reached us are poetry. The poetic form makes it easy to memorize texts, and therefore, over the course of many centuries, folklore works have been passed down through generations, changing according to expediency, polishing from one talented storyteller to another.

Small genres

Small-sized works belong to small genres of folklore. These are parables: puns, tongue twisters, proverbs, jokes, riddles, signs, sayings, proverbs, what oral folk art gave us. Riddles are one such artistic manifestation of folk poetry that originated orally. A hint or allegory, circumlocution, roundabout speech - an allegorical description in a brief form of any object - this is what a riddle is according to V. I. Dahl. In other words, an allegorical image of phenomena of reality or an object that has to be guessed. Even here, oral folk art provided for multivariance. Riddles can be descriptions, allegories, questions, tasks. Most often they consist of two parts - a question and an answer, a riddle and a guess, interconnected. They are diverse in subject matter and are closely related to work and everyday life: flora and fauna, nature, tools and activities.

Proverbs and sayings that have survived to this day from the most ancient times are apt expressions and wise thoughts. Most often they are also two-part, where the parts are proportional and often rhyme. The meaning of sayings and proverbs is usually direct and figurative, containing morality. We often see diversity in proverbs and sayings, that is, many versions of a proverb with the same moral. a generalizing meaning that is higher. The oldest of them date back to the twelfth century. The history of Russian folk art notes that many proverbs have survived to this day shortened, sometimes having lost even their original meaning. So, they say: “He ate the dog on this matter,” implying high professionalism, but the Russian people in the old days continued: “Yes, he choked on his tail.” I mean, no, not that tall.

Music

Ancient types of folk music in Russia are based primarily on the song genre. A song is a musical and verbal genre at the same time, either a lyrical or narrative work, which is intended purely for singing. songs can be lyrical, dance, ritual, historical, and they all express both the aspirations of an individual person and the feelings of many people; they are always in tune with the social internal state.

Whether there are love experiences, reflections on fate, a description of social or family life - this should always be interesting to listeners, and without bringing into the song the state of mind of as many people as possible, they will not listen to the singer. People are very fond of the technique of parallelism, when the mood of the lyrical hero is transferred to nature. “Why are you standing, swaying, “The night has no bright moon,” for example. And it is almost rare to come across a folk song in which this parallelism is absent. Even in historical songs - “Ermak”, “Stepan Razin” and others - it constantly appears. From This makes the emotional sound of the song much stronger, and the song itself is perceived much brighter.

Epic and fairy tale

The genre of folk art took shape much earlier than the ninth century, and the term “epic” appeared only in the nineteenth century and denoted a heroic song of an epic nature. We know epics sung in the ninth century, although they were probably not the first, they simply did not reach us, having been lost through the centuries. Every child knows well the epic heroes - heroes who embodied the ideal of people's patriotism, courage and strength: the merchant Sadko and Ilya Muromets, the giant Svyatogor and Mikula Selyaninovich. The plot of the epic is most often filled with real-life situations, but it is also significantly enriched with fantastic fictions: they have a teleport (they can instantly cover distances from Murom to Kiev), they can defeat an army alone (“if you wave to the right, there will be a street, if you wave to the left, there will be an alley.” ), and, of course, monsters: three-headed dragons - Gorynychi Snakes. The types of Russian folk art in oral genres are not limited to this. There are also fairy tales and legends.

Epics differ from fairy tales in that in the latter the events are completely fictitious. There are two types of fairy tales: everyday and magical. In everyday life, a variety of but ordinary people are depicted - princes and princesses, kings and kings, soldiers and workers, peasants and priests in the most ordinary settings. And fairy tales always attract fantastic forces, produce artifacts with wonderful properties, and so on. The fairy tale is usually optimistic, which is why it differs from the plot of other genre works. In fairy tales, only good usually wins; evil forces are always defeated and ridiculed in every possible way. A legend, in contrast to a fairy tale, is an oral story about a miracle, a fantastic image, an incredible event, which should be perceived as authentic by the narrator and listeners. Pagan legends have reached us about the creation of the world, the origin of countries, seas, peoples, and the exploits of both fictional and real heroes.

Today

Contemporary folk art in Russia cannot represent precisely ethnic culture, since this culture is pre-industrial. Any modern settlement - from the smallest village to a metropolis - is a fusion of various ethnic groups, and the natural development of each without the slightest mixing and borrowing is simply impossible. What is now called folk art is rather a deliberate stylization, folklorization, behind which stands professional art, which is inspired by ethnic motives.

Sometimes this is amateur creativity, like mass culture, and the work of artisans. In fairness, it should be noted that only folk crafts - decorative and applied arts - can be considered the purest and still developing. There is also, in addition to professional, ethnic creativity, although production has long been put on an assembly line and the opportunities for improvisation are scanty.

People and creativity

What do people mean by the word people? The population of the country, the nation. But, for example, dozens of distinctive ethnic groups live in Russia, and folk art has common features that are present in the sum of all ethnic groups. Chuvash, Tatars, Mari, even the Chukchi - don’t musicians, artists, architects borrow from each other in modern creativity? But their common features are interpreted by elite culture. And therefore, in addition to the nesting doll, we have a certain export product, which is our joint calling card. A minimum of opposition, a maximum of general unification within the nation, this is the direction of modern creativity of the peoples of Russia. Today it is:

• ethnic (folklorized) creativity,
• amateur creativity,
• creativity of the common people,
• amateur creativity.

The craving for aesthetic activity will be alive as long as a person lives. And that is why art flourishes today.

Art, creativity hobby

Art is practiced by the elite, where extraordinary talent is required, and works are an indicator of the level of aesthetic development of humanity. It has very little to do with folk art, except for inspiration: all composers, for example, wrote symphonies using the melodies of folk songs. But this is by no means a folk song. The property of traditional culture is creativity as an indicator of the development of a team or an individual. Such a culture can develop successfully and in many ways. And the result of mass culture, like a master’s pattern, presented to the people for feasible repetition, is a hobby, an aesthetics of this kind, which is designed to relieve stress from the mechanical nature of modern life.

Here you can notice some signs of the original beginning, which draws themes and means of expression from artistic folk art. These are quite common technological processes: weaving, embroidery, carving, forging and casting, decorative painting, embossing, and so on. True folk art did not know the contrasts of changes in artistic styles for a whole millennium. Now this has been significantly enriched in modern folk art. The degree of stylization changes as well as the nature of the interpretation of all the old borrowed motifs.

Applied arts

Russian folk arts and crafts have been known since ancient times. This is perhaps the only species that has not undergone fundamental changes to this day. These items have been used to decorate and improve home and public life since ancient times. Rural crafts mastered even quite complex designs that were quite suitable in modern life.

Although now all these items carry not so much a practical, but an aesthetic load. This includes jewelry, whistle toys, and interior decorations. Different areas and regions had their own types of art, crafts and handicrafts. The most famous and striking are the following.

Shawls and samovars

The Orenburg shawl includes shawls, warm and heavy, and weightless scarves and web scarves. Knitting patterns that came from afar are unique; they identify eternal truths in the understanding of harmony, beauty, and order. The goats of the Orenburg region are also special, they produce unusual fluff, it can be spun thinly and firmly. Tula masters are a match for the eternal knitters of Orenburg. They were not discoverers: the first copper samovar was found in excavations in the Volga region city of Dubovka, the find dates back to the beginning of the Middle Ages.

Tea took root in Russia in the seventeenth century. But the first samovar workshops appeared in Tula. This unit is still held in high esteem, and drinking tea from a samovar on pine cones is quite an ordinary occurrence in dachas. They are extremely varied in shape and decoration - barrels, vases, with painted ligature, embossing, decorations on handles and taps, genuine works of art, and also extremely convenient in everyday life. Already at the beginning of the nineteenth century, up to 1200 samovars were produced in Tula per year! They were sold by weight. Brass ones cost sixty-four rubles per pood, and red copper ones cost ninety. This is a lot of money.

INTRODUCTION

One of the pressing problems in our modern society is the problem of studying our native language and literature, oral folk art. Do I need to study my native language, literature, folklore? Yes, it is necessary, because... The mirror of a people’s culture, their psychology and philosophy is their native speech. It is necessary to teach children to effectively use language in a variety of areas; it is necessary to study various speech genres. Oral folk art is a multifunctional phenomenon. Works of folklore reflect the worldview of their creators, the results of their observations of nature, human behavior, human relationships, and represent an interesting source of knowledge of the native language, folk life and a means of educating the younger generation. In folklore you can find everything for the comprehensive development of children. It is imaginative, and therefore develops the child spiritually and emotionally, awakens in him imagination, a sense of beauty and harmony, and carries cheerfulness. Folklore, as an ecology of the soul, is capable of solving many educational problems; it reveals to children the attractive power of the folk word, native language, and cultivates aesthetic taste. All this gives the first shoots of understanding of our roots - love and affection for our home, for our native land. Works of oral folk art (which traditionally include fairy tales, epics, riddles, proverbs, sayings, songs and other types and genres) constitute a treasury of folk artistic culture, including from the point of view of the crystallization in them over many centuries of universally significant spiritual values ​​and moral commandments. Truly unlimited axiological potential of oral folk art, which has not lost over the centuries its dominant essence of “formation of the human in man” from the position of holistic consciousness: moral, ethical, legal, aesthetic, religious and environmental.

Coverage of the problem of collecting and researching oral folk art in Russia is reflected in the works of: Azadovsky M.K., Azbelev S.N., Anikin V.P., Ashukin N.S., Ashukina M.G., Bogatyrev P.G. ., Guseva V.E., Kolesnitskaya I.M., Dalia V.I., Zuevoy T.V., Kirdant B.P., Kolpakovoy N.P., Melts M.Ya., Shapovalova G.G., Adrianova-Peretz V.P., Kapitsa F.S., Kolyadich T.M., Kostyukhina E.A., Kravtsova N.I., Lazutina S.G., Melnikova M.N., Mikhailova O.S., Pomerantseva E.V., Shuklina V.V., Baklanova T.I., Streltsova E.Yu., Zenina S.N., Zhirova M.S., Kokolevoy E.N., Kruglova Yu.G., Kruglova O .Yu., Smirnova T.V.

The purpose of the course work is to identify the features of collecting and researching oral folk art in Russia.

To achieve this goal, it is necessary to solve a number of problems:

Study and analyze literature on the topic of the course work.

Analyzed the concept of oral folk art in Russia.

To identify the features of collecting and researching oral folk art in Russia.

The purpose and objectives of the course work determined the choice of object and subject:

The object is the concept of oral folk art in Russia.

The subject is the peculiarities of collecting and researching oral folk art in Russia.

Coursework consists of:

Introductionschapterschapters

Conclusions

List of used literature. THE CONCEPT OF ORAL FOLK ARTS IN RUSSIA

1 Folklore as art

Folklore occupies a special place among other types of art. Different types of art differ from each other in that they use different materials to create works of art: sculpture - marble, stone, wood; painting - with paints; literature - in a word. Each type of art has its own special means of visual expression. In music, alternation and harmony of sounds are used, in choreography - plastic movements, in literature - the visual and expressive capabilities of words. Folk poetry dates back to ancient times, when people did not know how to write, so naturally it was characterized by an oral form of expression. But folklore is not only oral poetry, not only the art of words. In some genres it combines a word and a tune, as in a song, i.e. merges verbal and musical art. In addition, all works of folklore exist in live performance, therefore they also include elements of theatrical art (gesture, facial expressions, intonation). Thus, folklore is essentially a synthetic art. Any verbal work of folklore is designed not for the reader, but for the listener and assumes direct contact. The same folklore work sounded differently in different areas, because it affected the local dialect, interspersed with local words and peculiarities of speech.

Here is an excerpt from one of the fairy tales recorded by Alexander Nikolaevich Afanasyev:

“Adin, I heard, the king ordered to bring all the kingdoms of all, as there are, all of them to himself, and with this deed he gave them a riddle: “Well, which one of you will attack? I’ll tell you a riddle: who in the world is the fiercest and most evil of all?” So they thought and thought, thought and thought, ganked and ganked, and thought and thought, and thought about everything in order to attack. No, you see, he didn’t attack anyone. So the king let them go. He let me go and punished: “Swear and swear, you will come to me again about these things” ... "

A fairy tale in each region sounds different for each storyteller: the structure of phrases, new everyday words and sayings, lively intonations...

As oral creativity, folklore can be combined with the art of acting (transmission of a character in a fairy tale by voice: a bear, a hare...)

In literature, an imitation of the narrator’s live speech is called a skaz - N.S. Leskov "Lefty". Nationality: works of oral folk art always bear the stamp of time and the environment in which they lived for a long time. Folklore has been absorbing the life of the people for centuries and even millennia, therefore it is folk in content (thoughts, feelings, experience), in style, in origin.

Only a work that people will pass on from mouth to mouth, enriching it with their experience and understanding, will become folklore (after time). At the same time, each new person creates within the boundaries of a generally accepted tradition - a “rut”, relies on the work of his predecessors, from whom he adopts the work, changes, complements it...

A person’s artistic creativity in folklore is never free from the manners and creativity of others - from already existing works. This is collective creativity, reflecting the individuality of the people, not the individual.

Traditionality and variability: the transfer of a work from person to person is carried out in folklore through following tradition, therefore Folklore is a traditional artistic creativity; pure innovations and complete transformation of previous creativity are excluded.

Variability is the way of existence of a folklore tradition. To understand the development of a folklore tradition and folklore works, it is important to take into account variability.

An example of traditionality and variability is a riddle where ceiling boards or logs laid on the main beam - matitsa - are presented in this form:

Twenty five

They sleep on the same pillow.

The ceiling roll is likened to sleeping people.

In the Kursk province it sounded like this:

A hundred well done

They sleep on one head.

In Arkhangelsk province:

Forty bros

They sleep on one head.

In the Vologda province:

Forty brothers

They lie on one pillow.

Improvisation: creating the text of a folklore work, or its individual parts, during the performance process. Improvisation was possible within the framework of certain rules, artistic canons, laws of the genre...

Improvisation is an element of individual creativity in folklore; it gave birth to something new and developed tradition.

Syncretism: a combination of types of artistic creativity:

Round dance: word, music, dance, gesture.

Conspiracy - action, word, rhythm.

Carols: words, music, theatrical, costume performances.

Epic: word, music.

It is necessary to distinguish between syncretism and synthesis: syncretism is an indivisible unity; synthesis - later combinations of different types of art.

Unconscious artistic principle and connection with everyday life.

This feature is more characteristic of the early stage of oral folk art.

Example: the purpose of the conspiracy is to get what you want in everyday life, that is, the goal is everyday, utilitarian. At the same time, the conspiracy has artistic value, but it is introduced unconsciously.

A man wants more sheep in his flock - he pronounces a spell: “Look, clear star, into (name’s) yard, illuminate his white-haired sheep with unquenchable fire. Just as the stars in the sky are countless, so the slave (name of the rivers) would have more sheep.”

Comparisons and epithets are quite artistic, but the artistic side is not the main thing here - it is unconscious.

The conspiracy entered literature, which testifies to the power of its artistic influence (Zhukovsky’s “Svetlana”, Pushkin’s fortune-telling of Tatyana, symbolists and M. Tsvetaeva used conspiracy poetics in their poems).

Repeatability of style and consistency: general images (symbols of animals, plants), plots, constant epithets (damp oak, sharp saber, clean field, blue sea, capital Kiev, Holy Rus'...), formulas (Seven do not expect one thing; Try it on seven times, and cut off one... “Seven Little Goats”...), repetitions, methods of semantic tautology (play and don’t flirt, talk and don’t talk...), contrasts (“the word is soon said, but the deed is not done soon”, “Not a penny of money, but fame good"). Folklore is a set of oral works with a conscious and unconscious artistic attitude, included in the practical life of the people and created in the process of joint work of generations; it is creativity with stable traditional content and traditional form. Folklore is the traditional artistic creativity of the people.

Initially, oral folk art was an unconscious artistic processing of natural and social phenomena with the help of developing imagination, and only then took on the character of a conscious artistic exploration of reality. Reproduction of objective reality is carried out in the subjective world of consciousness. Consciousness is an open system in which not only precise concepts and theoretical knowledge take place, but also emotional-volitional and figurative means of reflecting the world. One of such means of reflecting reality is oral folk art. “Each nation has its own unique spiritual face, arising from the instinctive-spiritual originality of perception of the surrounding world.” At the moment, it is generally accepted to consider oral folk art as the main element of folklore, characterized by a number of specific features. Folklore is created by people who have gone through a certain historical path and serves as a reflection of their life experience, mental makeup (character), moral and aesthetic concepts. A.M. Gorky defined folklore as the oral folk art of the working people, who, in his opinion, are the initiator of the creation of material and spiritual culture, “the first philosopher and poet in time, beauty and genius.” Since oral folk art is initially a means of both self-expression and self-knowledge of the people, it is impossible to understand the peculiarities of national self-knowledge without knowing its origins, therefore all genres of folklore from calendar ritual poetry and ending with ditties and anecdotes are a kind of code for understanding the mentality of our species. Flowers and trees sung in songs, heroes of fairy tales, sometimes lazy, sometimes cunning, sometimes selfless, epic heroes ready to give their lives for their honor and the freedom of Rus', nameless authors of proverbs and sayings, ditties will give out all the information about us, both flattering our pride and hurting her. Kravtsov N.I. and Lazutin S.G. they said that in bourgeois science the opinion was expressed that the creator of folklore is not the people, but the ruling “aristocratic” classes (Keltuyala). This position in no way corresponds to reality. All facts known to science irrefutably indicate that the creators of folklore are not the ruling classes, but the working masses of the people. Before the emergence of classes, folklore was the creativity of the clan and tribe, the collective that constituted them. The folklore we know was mainly formed in a class society. Folklore remained the creativity of the working part of the population - peasants, artisans, workers. From the above it is clear that the content of folklore, its individual genres and works constitutes the life of the people, their worldview, moral and ethical, socio-historical, political, philosophical and artistic-aesthetic views. Radishchev saw in Russian folk songs “the formation of the soul of our people” (Radishchev A.N. Izbr. Soch. M., 1952, p. 63). As Herzen aptly put it, “all the poetic principles that fermented in the soul of the Russian people” received their clearest expression in folk songs. Gorky noted that “proverbs and sayings exemplarily form the entire life socio-historical experience of the working people.” Bright originality and high artistry of folklore. Folklore is distinguished not only by its ideological depth, but also by its high artistic qualities. The artistic system of Russian folklore is very unique. It developed special genre forms of work - epics, fairy tales, proverbs, songs. Some of them are also in literature, but they came there from folk art, while the genre of the novel, for example, was created in literature itself. The differences between folklore works are that they are created not in a bookish, literary language, but in a living, spoken folk language, which has its own lexical and sound features, including stress, which comes from local dialects. Russian writers and critics, highly appreciating the artistic qualities of Russian folklore, saw in oral poetry a manifestation of the enormous talent of the Russian people. Gorky said: “Our people are very talented people in terms of linguistic creativity... Remember how beautifully they make ditties.” Speaking about the specifics of folklore, they usually note, first of all, the peculiarity of its social nature as folk art, pointing out that both the vital content of folklore and its ideological essence reflect this social nature. This characteristic is true primarily for those historical eras when the culture of the masses sharply opposes the culture of the ruling classes - for example, for Russia in the 19th century. Describing the differences between folklore, they talk about its artistic specificity, which is associated with a high degree of collectivity in the creative process. Its specific manifestations are varied and generally quite well known: the traditional nature of aesthetic principles and artistic means (despite the significant role of improvisation), the variability of works, the relatively small proportion of individual creativity of professionals, etc. Such features are most noticeable when we compare, for example, peasant folklore of the 19th century. with professional art of the new time. An important feature of folklore is rightly seen in the fact that its main means is the spoken word (often in combination with a chant). One cannot but agree with the opinion of N.I. Kravtsov and S.G. Lazutin that, unlike literature - the individual creativity of writers - folklore is a collective creativity. However, this does not mean that the individual principle does not have any significance in it. In certain genres and in certain historical periods, the individual principle manifests itself quite noticeably, but it is in peculiar connections with the collective principle. Folklore arose in ancient times as a mass collective creativity. Early forms of folklore were distinguished by the fact that they were dominated by the collective composition and performance of works. At that time, the creative personality did not stand out much from the team. Later, individual talented singers began to play an increasingly important role, who in their work expressed the ideas and views of the clan or tribe, and then the people. Works can be created by a collective (choir, group of people) or by individuals - singers and storytellers. Traditions in folklore, both in their nature and in the forms of manifestation, are much more important than in literature. Traditionality in folk poetry is expressed in the relative stability of the verbal text, melody and nature of performance, the transmission of works, as a rule, without significant changes from generation to generation, the preservation over centuries of works with certain plots and characters, forms and expressive means. Tradition, like the collectivity of creativity, is characteristic not only of verbal folklore. It is also inherent in other types of folk art - music, dancing, carving, embroidery. However, greater stability in folklore does not mean that no changes occur in it. The specificity of folklore lies in the fact that, within the framework of general stability, constant, continuous, never-ending changes occur in it.

The genre composition of folklore may change.

New works can be created and existing ones can be reworked.

Individual elements of poetics may change.

The entire artistic system of folklore may also change significantly.

The reason for changes in folklore is not only socio-historical, but also aesthetic factors. Folklore works are constantly changing in real life. And this leads to the fact that they often simultaneously live in many variants.

Variability is a mandatory feature of folklore works. In real life they exist only in specific variants. If the versions of a work are not known, then there is no certainty that it lives and exists among the people. And a work that does not exist among the people cannot be classified as folklore. The degree of difference between two or several versions of a folklore work may be different.

Options may differ by replacing some words that are similar in meaning.

Options may vary in content.

Options may differ in the degree of preservation (full text or abbreviated text).

Variants of folklore works help to understand the meaning and reasons for the changes that occur in folklore.

Based on the opinion of the author, one cannot but agree that the oral poetic creativity of the people is of great social value, consisting in its cognitive, ideological, educational and aesthetic meanings, which are inextricably linked. The cognitive significance of folklore is manifested primarily in the fact that it reflects the characteristics of real life phenomena and provides extensive knowledge about the history of social relations, work and life, as well as an idea of ​​the worldview and psychology of the people, and the nature of the country. The ideological and educational significance of folklore lies in the fact that its best works are inspired by high progressive ideas, love for the motherland, and the desire for peace. The aesthetic significance of folklore works lies in the fact that they are a wonderful art of words and are distinguished by great poetic skill, which is reflected in their construction, in the creation of images, and in language.

The authors touch on the important point that the science of folklore - folkloristics - studies oral folk art, the verbal art of the masses. It poses and resolves a significant range of important questions: about the characteristics of folklore - its vital content, social nature, ideological essence, artistic originality; about its origin, development, originality at different stages of existence; about his attitude to literature and other forms of art; about the features of the creative process in it and the forms of existence of individual works; about the specifics of genres: fairy tales, songs, proverbs, etc. Balandin A.N. and Gatsak V.M. said that Soviet folkloristics faced the need to expand the study of oral folk art, primarily that side of it called poetics. And since the most important principle of the Marxist-Leninist study of the phenomena of spiritual culture, which includes folklore, is historicism, it is clear that the study of poetics should be historical, or more precisely, should represent historical poetics. Folklore, distinguished by its great stability, traditionality of genres, plots and motifs, types of characters and style, is undergoing profound changes: significant processes of decay and transformation of traditional poetics are taking place in it, and this is a new stage in its history that requires comprehension. The oral creativity of numerous peoples of the Soviet Union represents rich material for understanding the various stages of the development of folklore, which facilitates the study of its evolution, including historical poetics, moreover, in a broad comparative historical perspective. Collections of folklore are published in the union and autonomous republics. These are fairly complete collections of works of folk poetry of various genres. Russian science has the merit of putting forward and beginning a fruitful study of the historical poetics of folklore and developing its system.

It is impossible not to consider the words of Melnikova M.N. about children's folklore. She says that the mental development of a child in preschool age has been studied in sufficient detail. Nevertheless, it is very important to reveal the dynamics of the development of mental processes (perception, memory, thinking, imagination), and the improvement of basic activities (game). Changes are not always noticeable and sometimes cover only certain aspects of the general process, but when studying methods of introducing children to folk art, this must be revealed. The presence in a child of ever-increasing and increasingly complex cognitive activity, along with the lack of systematic training and compulsory work, gives rise to a unique form of activity - role-playing, creative play, which realizes all the basic needs for mental development: cognitive need, need for communication and need for practical action. Children of senior preschool age, from 3-4 to 5-6 years old, they already have elements of arbitrariness in managing their cognitive processes. At the same time, a significant part of children of this age are still characterized by the dominance of involuntary cognitive processes, and it is precisely such processes that the child relies on when learning about the world around him. Those. older children from four to six years old already have such opportunities that help them evaluate themselves as individuals, but still within limited limits, mainly those personality traits and behavioral characteristics that the adults around him repeatedly drew attention to when communicating with the child People . In preschool age, socialization of cognitive functions occurs, including verbalization (speech development is closely related to the development of all processes), arbitrariness (the child begins to independently regulate cognitive processes) and mediation (the development of cognitive processes through the use of tools and signs). The imagination develops, and by the age of four, a child can already create an image of objects based on a verbal description and reproduce them in a drawing. Children listen more and more to music and singing, quickly remember the tunes they like, and imitate the singing of adults. They are happy to make rhythmic movements that correspond to the nature of the music (dancing, marching, walking), and easily make figurative movements. By the age of five, children continue to develop aesthetic senses, their ability to experience the content of songs, to convey the beauty of color in drawings, and to arrange patterns from ready-made shapes in appliques increases. By the age of six, perception becomes more focused: children can look at images or an object for a long time, paying attention to those details that the teacher indicates. At this age, creative imagination develops; children can make simple toys - homemade products from colored paper, cork, pine cones. Children continue to develop musical abilities and creative activity; they sing songs with intonation and improvise dance movements. Perception becomes meaningful, purposeful, and analytical. It highlights voluntary actions - observation, examination, search. Perception at this age can be specially organized, which contributes to better understanding. Thinking is characterized by a transition from visually effective to visually figurative. A preschooler thinks figuratively; he has not yet acquired adult logic of reasoning. Despite the uniqueness of children's logic, preschoolers can reason correctly and solve quite complex problems. Memory in preschool age becomes the dominant function. The child does not set himself the goal of remembering or remembering anything and does not have special methods of memorization. Material that evokes an emotional response is involuntarily remembered. Purposeful memorization and recall appears sporadically. The child is involved in new activities and new systems of relationships, which leads to the emergence of new motives. They are associated with emerging self-esteem, pride, - motives for achieving success, competition, rivalry, motives associated with moral standards being acquired at this time. The emergence of new motives and a mechanism for subordinating motives means the formation of the child’s motivational sphere; stable, dominant motives are identified, having different strengths and significance for a given child. Children are very sensitive to expressive words. They use in their speech certain figurative expressions borrowed from folklore, memorize and enjoy reading nursery rhymes, and make riddles. The use of all these types of folk art in working with preschoolers enlivens the pedagogical process and has a special impact on the education of emotional feelings. Children are introduced to proverbs and sayings for the first time. The people have created short expressions that ridicule laziness and praise modesty and courage. They explain when it is appropriate to use proverbs and sayings. This enriches the life experience of preschool children. Principles of organizing the work of preschool children A child likes activities where he can actively express himself, show results, where the material is entertaining, but at the same time it is difficult for him to overcome obstacles when something is unfamiliar. Therefore, in the classroom, children can show activity and intelligence, provided that the issue of lesson density is correctly resolved: the teacher’s explanations are not drawn out (last 5-6 minutes); most children can speak out; thoughtful selection of material allows children to use their skills; time is enough to complete the task; it is necessary to determine the purpose of the task and the motive for the action. Children develop selective interests. Therefore, it is necessary to improve the knowledge and skills acquired by the child, and to attract his attention to what he has not yet mastered. Sukhomlinsky V.A. believed that the roots of their creative abilities and talents lay in the tips of children's fingers, that the more skill in the child's hand, the smarter the child. Manual labor of a 5-7 year old child is one of the components of his aesthetic activity and introduction to folk art. It is based on the principles of artistic content of decorative and applied arts. The theory of modern design for children and the practice of children's handmade art demonstrates the wide possibilities of productive activities that can captivate children. This fills their free time with interesting, meaningful activities, and thereby develops a desire for beauty, developing taste and respect for folk traditions and folk art. Introducing a child to folk art has evolved over centuries. The formation of handicraft skills has always been associated with the production of necessary and useful household items. The activities of children with various materials in folk pedagogy were classified as follows: processing flax, wool, making yarn and weaving, carving wood, stone, bone, leather, chasing metal, working with clay, making ceramic products. The high artistic level of creative mastery of all available forms of material in modern art allows us to assert that even today artistic creativity is considered as a necessary element of the moral, mental, and aesthetic education of children. Adults should not only form and improve the child’s skills, but also gradually expand the content of folk art, achieving awareness and purposefulness of the motives of work. It is important for a child to develop the ability to foresee the results of his actions in advance, plan the sequence of their implementation, and creatively transform his experience. Psychologist A.V. Zaporozhets wrote that the ability to understand beauty with the mind and heart develops most successfully when a child actively recreates artistic images in his imagination when perceiving works of folk art, while simultaneously participating in the forms of amateur art available to him. Children's artistic creativity as an element of the harmonious development of folk artistic creativity is an integral and harmonious world of a person's special attitude to the life around him, to his work and life. It reflects the worldview, historical situation and social conditions of a person’s life, his thinking, feelings, character, ability to observe and display reality and beauty in nature and social life. Folk art is transformative creativity, that is, artistically changing the surrounding material environment. it is necessary to create things so that they delight with their beauty. Therefore, creativity goes in two directions: figurative reproduction of reality and its decorative transformation. Folk art has well-established traditions in its development. True craftsmen, masters of their craft, based on traditional canons, create masterpieces of folk culture that more than one generation can be proud of. Folk art, while preserving the features of distant centuries, brings into modern times the unique beauty of the past. Folk embroidery, weaving, and wood painting contain visual elements that were carefully selected by the performers and passed on from generation to generation, like fairy tales and songs. Preschool children have great fun working with paints or other materials with or alongside adults. Children's creativity has a special, childish artistry. What was regarded as ineptitude or negligence in adult works may turn out to be an advantage in children's art. As mentioned earlier, children of five years old show great interest in the work of adults, the need to participate with elders in carrying out labor and creative processes. Children's activities are more focused, and their attention is more stable. The correct organization of all types of work is of great importance. Only with good organization does a child experience joy. In the daily routine of the senior group, time for classes increases. This is due to the fact that children have increased opportunities to acquire initial knowledge, abilities, skills, and the desire for collective activities. Classes are organized daily for 25 minutes with a 10-minute break between classes. Children's skills that help them perceive methods. The ability to observe should be taught to children from an early age. Depending on the nature of cognitive tasks in teaching, observations of different types are used: recognizing nature, during which knowledge is formed about the properties and qualities of objects and phenomena (size, structure, shape, color), as well as about the connections of the observed object with others through change and transformation objects (transformation of materials into objects during work, growth, development of plants and animals, seasonal changes in nature, work, and life of people). This type of observation provides knowledge about processes, about objects in the surrounding world in their dynamics, interactions of a reproductive nature, when the state of an object is established by individual characteristics, and in part - a picture of the entire phenomenon (for example, by the color of a berry, children determine its ripeness). These types of observation differ not only in the nature of cognitive tasks, but accordingly in their structure: the relationship between sensory and intellectual processes in the process of observation, the combination of directly perceived and past experience. The broadest sensory basis is represented in observation of a discriminating nature. This type of observation is used in all age groups both when familiarizing with objects new to children in order to form initial ideas, and to clarify and expand existing ideas. In the course of discriminating observation, the basic skills of observation are also formed: accepting the task of focusing perception on the observed object, using survey and search actions. Live communication, direct acquaintance with life during observation arouses interest in the environment, mental and emotional activity. Observations of the transformation of objects, their change or growth and development require more complex mental actions: comparing the given state of the object with the previous one. And this is due to the presence of previously established ideas and the skills to mobilize them, to carry out the comparison process on the basis of memory ideas, skills, to identify among the variety of signs the one that indicates the changes taking place. Observation of the reproductive species is carried out on the basis of the child’s knowledge in the form of specific ideas about objects or phenomena. Reconstructing an image of an object based on a limited number of features requires active recall and active imagination. The word of adults and children is part of any visual and practical method. However, as children develop verbal-logical thinking and accumulate ideas about objects and phenomena in the world around them, verbal methods of teaching acquire the character of independent methods. Their significance lies in the fact that they provide children with a transition in the process of cognition beyond the limits of direct perception, which significantly expands the possibilities of understanding the world. They also ensure the transfer of knowledge to a higher level of generalization and its systematization. The child’s verbal creativity is manifested in finding words, phrases and verbal statements that most accurately reflect the concreteness of images, pictures, phenomena that appear in the child’s mind; These images - ideas formed on the basis of past experience, are not, at the same time, an exact repetition, a copy of what the child saw, heard, experienced. This is the result of imagination, aimed at recreating past experiences in new combinations. Children’s verbal creativity can be expressed in different forms: in word creativity (in the narrow sense), i.e. in creating new words, neologisms in composing poems in composing your own stories and fairy tales, in creative retellings. One of the factors determining the development of children's verbal creativity should be recognized as the influence of folk art. Firstly: folk artistic creativity has an educational influence on the child’s personality, forms artistic abilities, mental properties necessary for such a complex process as verbal creativity. Secondly: folk artistic creativity has a direct impact on the child’s verbal and artistic activity, develops figurative speech, determines structure and style, feeds it with its own material, provides examples, and equips it with a way to construct a narrative. The linguistic style of a fairy tale is more characterized by the expression of effectiveness rather than quality: verbs are widely used among parts of speech, adjectives are less common. The specificity of the artistic means of folk tales for children corresponds to the characteristics of the child’s perception and psyche. The story simultaneously affects the mind, feelings and imagination of children, encouraging them to share their impressions. Children's stories are a method aimed at improving children's knowledge and mental and speech skills. Reading allows you to solve a number of problems: expand and enrich children’s knowledge about the environment, develop children’s abilities to perceive and understand the artistic creativity of the people, and subsequently literary works. Practical part The transfer of craft skills from generation to generation, the creative process of making products under the guidance of adults contributed to the consolidation of positive emotions, the desire to learn and master the specifics of craftsmanship, and the formation of initial ideas about folk art. The concept of heritage, tradition in teaching artistic creativity has always been and still is important. The most valuable product of labor is one that has accumulated not only individual creativity, but also the hereditary experience of previous generations, learned in the process of practical actions. An important point lies in the words of E.A. Kostyukhin, who talks about modern folklore. The history of modern Russian folklore begins with the abolition of serfdom in 1861. Classical Russian folklore was associated with the patriarchal way of life. The era of capitalism has brought fundamental changes to Russian life, destroying patriarchal relations, transforming the way of life and forms of people's leisure. Gone are the folk holidays, where they held round dances, organized games and fun in which entire streets took part.

Old, traditional forms of folklore no longer correspond to new living conditions. This leads to the death of the folklore tradition that has been created over centuries. The old genre system is dying out. Folklore is being replaced by professional art. Already in the 1920s, folklorists noted that in the working environment, “the old poetic world has become obsolete,” as A. M. Smirnov-Kutachevsky put it. Folklore is moving to the periphery of spiritual culture. The spiritual needs of the people are no longer satisfied by oral creativity, but by books.

New folklore traditions are created under the strong influence of literature. Author's works are being distributed. Traditional folklore criteria often stop “working”: modern folk art is created, lives and spreads differently than old folklore - it is incomparably closer to literature.

2 Genres of Russian folklore

Fairy tales, songs, epics, street performances - all these are different genres of folklore, folk oral and poetic creativity. You can’t confuse them, they differ in their specific characteristics, their role in people’s life is different, and they live differently in modern times. At the same time, all genres of verbal folklore have common characteristics: they are all works of verbal art, in their origins they are associated with archaic forms of art, they exist mainly in oral transmission, and are constantly changing. This determines the interaction of the collective and individual principles in them, a unique combination of traditions and innovation. Thus, the folklore genre is a historically developing type of oral poetic work. Anikin V.P. gave his characteristics to folklore. Childbirth: epic, lyric, drama

Types: song, fairy tale, non-fairy tale prose, etc.

Genres: epic, lyrical, historical song, legend, etc.

Genre is the basic unit of study of folklore. In folklore, genre is a form of mastering reality. Over time, depending on changes in everyday life and the social life of the people, the system of genres developed.

There are several classifications of folklore genres:

Historical classification Tatyana Vasilievna Zueva, Boris Petrovich KirdanClassification by functionality Vladimir Prokopyevich AnikinEarly traditional folklore Labor songs, Fortune telling, conspiracies. Classic folklore Rituals and ritual folklore: calendar, wedding, lamentations. Small genres of folklore: proverbs, sayings, riddles. Fairy tales. Non-fairy tale prose: legends, stories, tales, legends. Song epic: epics, historical songs, spiritual songs and poems, lyrical songs. Folklore theatre. Children's folklore. Folklore for children. Late traditional folklore Ditties Workers' folklore Folklore of the WWII period Everyday ritual folklore 1. Work songs 2. Conspiracies 3. Calendar folklore 4. Wedding folklore 5. Lamentations World-wide non-ritual folklore 1. Proverbs 2. Oral prose: legends, tales, tales, legends. 3. Song epic: epics, historical songs, military songs, spiritual songs and poems. Artistic folklore 1. Fairy tales 2. Riddles 3. Ballads 4. Lyrical songs 5. Children's folklore 6. Spectacles and folk theater 7. Romance songs 8. Chastushki 9. Anecdotes

Starting to analyze each genre of folklore, let's start with fairy tales.

Fairy tales are the oldest genre of oral folk art. It teaches a person to live, instills optimism in him, and affirms faith in the triumph of goodness and justice.

A fairy tale is of great social value, consisting in its cognitive, ideological, educational and aesthetic meanings, which are inextricably linked. Like other peoples (Russians, perhaps, more clearly), a fairy tale is an objectified contemplation of the people’s heart, a symbol of their sufferings and dreams, hieroglyphs of their soul. All art is generated by reality. This is one of the foundations of materialist aesthetics. This is the case, for example, with a fairy tale, the plots of which are caused by reality, i.e. era, social and economic relations, forms of thinking and artistic creativity, psychology. It, like all folklore in general, reflected the life of the people, their worldview, moral, ethical, socio-historical, political, philosophical and artistic and aesthetic views. It is closely connected with folk life and rituals. Traditional Russian fairy tales were created and circulated mainly among peasants. Their creators and performers were usually people with extensive life experience, who walked a lot in Rus' and saw a lot. The lower the level of education of people, the more they talk about the phenomena of social life at the level of ordinary consciousness. Maybe that’s why the world reflected in fairy tales is formed at the level of everyday consciousness, on people’s everyday ideas about beauty. Each new era brings tales of a new type, new content and new form. A fairy tale changes along with the historical life of the people, its changes are determined by changes in the people's life itself, because it is a product of the history of the people; it reflects the events of history and features of folk life. Coverage and understanding of the history and life of the people in folklore changes along with changes in popular ideas, views and psychology. In fairy tales one can find traces of several eras. In the era of feudalism, social themes occupied an increasing place, especially in connection with the peasant movement: fairy tales expressed anti-serfdom sentiments. The 16th-18th centuries are characterized by the rich development of fairy tales. It reflects historical motifs (tales about Ivan the Terrible), social ones (tales about judges and priests) and everyday tales (tales about a man and his wife). In the fairy tale genre, satirical motifs are significantly strengthened - the first half of the 19th century. - The last stage of the existence of feudal-serf society. This time is characterized by the development of capitalist relations and the decomposition of the serfdom system. The fairy tale takes on an even more vivid social aspect. It includes new characters, most notably a smart and cunning soldier. In the second half of the 19th - early 20th centuries, which saw the increasingly rapid and widespread development of capitalism in Russia, great changes occurred in folklore. The satirical motives and critical orientation of the tale are intensified; the basis for this was the aggravation of social contradictions; The purpose of satire is increasingly becoming to expose the power of money and the arbitrariness of authorities. Autobiography occupied a greater place, especially in tales about going to the city to earn money. The Russian fairy tale becomes more realistic and acquires a closer connection with modernity. The illumination of reality and the ideological essence of the works also become different.

The educational significance of a fairy tale is manifested, first of all, in the fact that it reflects the features of real life phenomena and provides extensive knowledge about the history of social relations, work and life, as well as an idea of ​​​​the worldview and psychology of the people, and the nature of the country. The ideological and educational significance of the fairy tale is that it is inspired by the desire for good, the protection of the weak, and victory over evil. In addition, a fairy tale develops an aesthetic sense, i.e. sense of beauty .

It is characterized by the revelation of beauty in nature and man, the unity of aesthetic and moral principles, the combination of reality and fiction, vivid imagery and expressiveness.

A fairy tale is a very popular genre of oral folk art, an epic genre, and a plot genre. A fairy tale differs from other prose genres (traditions and legends) in its more developed aesthetic side, which is manifested in its focus on attractiveness. The aesthetic principle, in addition, manifests itself in the idealization of positive heroes, a vivid depiction of the “fairy-tale world”, amazing creatures and objects, miraculous phenomena, and romantic overtones of events. M. Gorky drew attention to the expressions in fairy tales of people's dreams about a better life: “Already in ancient times, people dreamed of the opportunity to fly through the air - this is what the fairy tale talks about, about the flying carpet. We dreamed of accelerating movement on the ground - a fairy tale about running boots...”

In science, it is generally accepted to divide fairy-tale texts into three categories: fairy tales, short-story (everyday) tales, and tales about animals.

Fairy tales were very popular among the people. Fiction in fairy tales has the nature of fantasy. The magical principle includes the so-called survival moments and, first of all, the religious-mythological view of primitive man, his spiritualization of things and natural phenomena, the attribution of magical properties to these things and phenomena, various religious cults, customs, and rituals. Fairy tales are full of motifs containing belief in the existence of the other world and the possibility of returning from there, the idea of ​​death enclosed in some material object (egg, flower), a miraculous birth (from drinking water), and the transformation of people into animals and birds. The fantastic beginning of a fairy tale grows on a spontaneous materialistic basis and remarkably correctly captures the patterns of development of objective reality.

This is what M. Gorky called “an instructive invention - the amazing ability of human thought to look ahead of the fact.” The origin of science fiction has its vital roots in the peculiarities of the way of life and in the dream of people about domination over nature. All these are just traces of mythological ideas, since the formation of the classical form of a fairy tale ended far beyond the historical boundaries of primitive communal society, in a much more developed society. The mythological worldview only provided the basis for the poetic form of the fairy tale.

The important point is that the plots of fairy tales, the miracles they talk about, have a basis in life. This, firstly, is a reflection of the characteristics of the work and life of people of the tribal system, their relationship to nature, and often their powerlessness before it. Secondly, a reflection of the feudal system, primarily early feudalism (the king is the hero’s opponent, the struggle for inheritance).

A character in fairy tales is always a bearer of certain moral qualities. The hero of the most popular fairy tales is Ivan Tsarevich. He helps animals and birds, who are grateful to him for this and, in turn, help him. He is presented in fairy tales as a folk hero, the embodiment of the highest moral qualities - courage, honesty, kindness. He is young, handsome, smart and strong. This is the type of brave and strong hero.

A significant place in fairy tales is occupied by female heroines who embody the folk ideal of beauty, intelligence, kindness, and courage. The image of Vasilisa the Wise reflects the remarkable features of a Russian woman - a beauty, majestic simplicity, gentle pride in herself, a remarkable mind and a deep heart full of inexhaustible love. To the consciousness of the Russian people, this is exactly how female beauty was imagined.

The serious meaning of some fairy tales provided grounds for judgment on the most important issues of life. Thus, some fairy tales embody the freedom-loving aspiration and struggle of the Russian people against tyranny and oppressors. The composition of a fairy tale determines the presence of characters who are hostile to the positive heroes. The hero's victory over hostile forces is the triumph of goodness and justice. Many researchers have noted the heroic side of the fairy tale and its social optimism. A.M. Gorky said: “It is very important to note that folklore is completely alien to pessimism, despite the fact that the creators of folklore lived hard, their slave labor was meaningless by the exploiters, and their personal lives were powerless and defenseless. But with all this, the collective seems to be characterized by the consciousness of its immortality and confidence in victory over all forces hostile to it.” Fairy tales in which social and everyday relations are at the center of the action are called social and everyday tales. In this type of fairy tales, the comedy of actions and verbal comedy are well developed, which is determined by their satirical, ironic, humorous nature. The theme of one group of fairy tales is social injustice, the theme of another is human vices, in which the lazy, stupid, and stubborn are ridiculed. Depending on this, two varieties are distinguished in social and everyday fairy tales. Social and everyday tales arose, according to researchers, in two stages: everyday - early, with the formation of the family and family life during the decomposition of the clan system, and social - with the emergence of class society and the aggravation of social contradictions during the period of early feudalism, especially during the disintegration of the serfdom. and during the period of capitalism. The growing lack of rights and poverty of the masses caused discontent and protest, and were the basis for social criticism. The positive hero of social fairy tales is a socially active, critical person. Hard work, poverty, darkness, and often unequal marriages in terms of age and property status caused complications in family relationships and determined the appearance of stories about an evil wife and a stupid and lazy husband. Socially everyday fairy tales are distinguished by their acute ideological orientation. This is reflected, first of all, in the fact that the stories mainly have two important social themes: social injustice and social punishment. The first theme is realized in plots where a gentleman, merchant or priest robs and oppresses a peasant and humiliates his personality. The second theme is realized in stories where an intelligent and quick-witted man finds a way to punish his oppressors for centuries of lawlessness and makes them look ridiculous. In social and everyday fairy tales, people's aspirations and expectations, the dream of a socially just, happy and peaceful life, are much more clearly expressed. “In these fairy tales one can see the way of life of the people, their home life, their moral concepts and this crafty Russian mind, so inclined to irony, so simple-minded in its craftiness.”

Fairy tales, as well as some other genres of folklore prose, reflecting the strengths and weaknesses of peasant psychology, expressed the centuries-old dream of a happy life, of a certain “peasant kingdom.” The search for “another kingdom” in fairy tales is a characteristic motif. A fairy-tale social utopia depicts the people's material well-being, well-fed contentment; The man eats and drinks to his heart's content and has a "feast for the whole world." N. G. Chernyshevsky noted: “The poverty of real life is the source of life in fantasy.” The peasant judges a “happy” life for himself according to the example of those material goods owned by kings and landowners. The peasants had a very strong faith in the “good king,” and the fairy-tale hero becomes just such a king in many fairy tales. At the same time, the fairy-tale king, in his behavior, way of life, and habits, is likened to a simple peasant. The royal palace is sometimes depicted as a rich peasant courtyard with all the attributes of a peasant farm.

Tales about animals are one of the oldest types of folklore. Going back to ancient forms of reflecting reality in the early stages of human consciousness, fairy tales about animals expressed a certain degree of knowledge of the world.

The truth of fairy tales is that although they talk about animals, they reproduce similar human situations. The actions of animals more openly reveal inhumane aspirations, thoughts, reasons for the actions committed by people. Animal stories are all stories in which there is room not only for fun, but also for the expression of serious meaning. In fairy tales about animals, birds and fish, animals and plants act. Each of these tales has a meaning. For example, in the fairy tale about the turnip, the meaning turned out to be that no amount of strength, even the smallest one, is superfluous, and it happens that it is not enough to achieve a result. With the development of human ideas about nature, with the accumulation of observations, tales include stories about man's victory over animals and about domestic animals, which was the result of their instructions. The identification of similar features in animals and humans (speech - cry, behavior - habits) served as the basis for combining their qualities with human qualities in the images of animals; animals speak and behave like people. This combination also led to the typification of animal characters, which became the embodiment of certain qualities (fox - cunning, etc.). This is how fairy tales acquired an allegorical meaning. Animals began to mean people of certain characters. Animal images became a means of moral teaching. In fairy tales about animals, negative qualities are not only ridiculed (stupidity, laziness, talkativeness), but also the oppression of the weak, greed, and deception for profit are condemned. The main semantic aspect of fairy tales about animals is moral. Fairy tales about animals are characterized by bright optimism; the weak always come out of difficult situations. The connection of the fairy tale with the ancient period of her life is revealed in the motives of the fear of the beast, in overcoming fear of it. The beast has strength and cunning, but no human intelligence. At a later stage in the life of a fairy tale, images of animals acquire the meaning of social types. In such variants, in the image of a sly fox, a wolf and others, one can see human characters that arose in the conditions of a class society. Behind the image of the animal in them one can guess the social relations of people. For example, in the fairy tale “About Ersha Ershovich and his son Shchetinnikov” a complete and accurate picture of ancient Russian legal proceedings is given. In the fairy tales of every nation, universal themes receive a unique national embodiment. Russian folk tales reveal certain social relationships, show the way of life of the people, their home life, their moral concepts, the Russian view, the Russian mind - everything that makes a fairy tale nationally distinctive and unique. The ideological orientation of Russian fairy tales is manifested in the reflection of the people's struggle for a wonderful future. Thus, we saw that the Russian fairy tale is a generalized, evaluative and purposeful reflection of reality, which expresses human consciousness, and in particular the consciousness of the Russian people. The old name of a fairy tale - fable - indicates the narrative nature of the genre. Nowadays, the name “fairy tale” and the term “fairy tale”, which began to come into use in the 17th century, are used among the people and in scientific literature. A fairy tale is a very popular genre of oral folk art, an epic, prose, plot genre. It is not sung like a song, but told. The fairy tale is distinguished by its strict form and the obligatory nature of certain moments. Fairy tales have been known in Rus' since ancient times. In ancient writing there are plots, motifs and images reminiscent of fairy tales. Telling fairy tales is an old Russian custom. In manuscripts of the 16th - 17th centuries. records of the fairy tales “About Ivan Ponamarevich” and “About the Princess and Ivashka the White Shirt” have been preserved. In the 18th century In addition to handwritten collections of fairy tales, printed publications began to appear. Several collections of fairy tales have appeared, which include works with characteristic compositional and stylistic fairy-tale features: “The Tale of the Thief Timoshka” and “The Tale of the Gypsy” in V. Levshin’s collection “Russian Fairy Tales” (1780-1783), “The Tale of Ivan the Bogatyr” , a peasant’s son” in P. Timofeev’s collection “Russian Fairy Tales” (1787). In the 60s of the XIX century. A.N. Afanasyev released the collection “Treasured Tales,” which included satirical tales about bars and priests. At the end of the 19th - beginning of the 20th centuries. A number of important, well-prepared collections of fairy tales appear. They gave an idea of ​​the distribution of works of this genre, its state, and put forward new principles of collecting and publishing. After the October Revolution, collecting fairy tales, as well as collecting works of folklore in general, took on organized forms.

Mikhailova O. S. Considered: tales about animals. Historical roots of fairy tales about animals (animistic, anthropomorphic, totemistic ideas, folk beliefs). Evolution of the genre. Heroes of fairy tales about animals. Style. Absence of abstract fable allegorism. The satirical function of allegories. Irony. Paradoxical plot. Dialogue. Compositional features. Cumulative tales. Fairy tales. Miracle, magic as a fairy-tale-plot basis of fairy tales. Historical roots of fairy tales (mythological ideas, folk demonology, folk rituals, everyday prohibitions, magic, etc.). Poetic conventions of fairy tales. The main ideas of fairy tales. Compositional features. Features of the author's word. Dialogue. Fairy tales. Heroes and their functions. Fairytale chronotope. Everyday tales. The closeness of an everyday fairy tale to a short story. Ways of forming the genre of short story tales. Typology of everyday tales (family tales, about masters and servants, about the clergy, etc.). Poetics and style (everyday “groundedness”, entertaining plot, hyperbolization in the depiction of characters, etc.).

One cannot but agree with the opinion of V.P. Anikin that fairy tales seem to have subjugated time, and this applies not only to fairy tales. In each era they live their own special lives. Where does a fairy tale have such power over time? Let us think about the essence of the similarity that fairy tales have with equally stable, seemingly “timeless” truths expressed by proverbs. A fairy tale and a proverb are united by the extraordinary breadth of artistic generalization contained in them. Perhaps this property is revealed most clearly in allegorical tales.

The next genre is “epic”. The word “epic” is raised to the word “byl”; it means a story about what once happened, what happened, the reality of which they believed. The word "epic" as a term denoting folk songs with a certain content and a specific artistic form. The epic is the fruit of artistic invention and poetic flight of imagination. But fiction and fantasy are not a distortion of reality. Epics always contain deep artistic and life truth. The content of the epic is extremely varied. Basically, this is an “epic” song, i.e. narrative in nature. The main core of the epic consists of songs of heroic content. The heroes of these songs do not seek personal happiness, they perform feats in the name of the interests of the Russian land. The main characters of the Russian epic are warriors. But the type of heroic epic is not the only one, although it is the most characteristic of the Russian epic. Along with heroic ones, there are epics of a fairy-tale-heroic or purely fairy-tale nature. Such, for example, are the epics about Sadko and his stay in the underwater kingdom. An epic narrative can also have a social-everyday or family-everyday character (novelistic epics). Some of these epics can be classified as a special group of ballad songs. It is not always possible to draw the line between epic and ballad songs.

In folklore collections, epics of both heroic, fairy-tale, and novelistic nature are usually placed side by side. Such a combination gives a correct idea of ​​the breadth and scope of Russian epic creativity. Taken together, all this material forms a single whole - the Russian folk epic. Currently, we have a huge amount of epic material, and the epic can be well studied. From the end of the 17th century. epic stories (“Ilya and the Nightingale the Robber”, “Mikhailo Potyk”, etc.) penetrate into the handwritten story and are presented as entertaining reading material under the name “History”, “Word” or “Tale” [9]. Some of these stories are very close to the epic and can be divided into verses, others are the result of complex literary processing under the influence of ancient everyday literature, fairy tales, Russian and Western European adventure novels. Such “histories” were very popular, especially in cities where genuine epics were written in the 17th - 18th centuries. was little known. The first collection containing epics in the proper sense is the “Collection of Kirsha Danilov,” first published by A.F. Yakubovich in 1804 under the title “Ancient Russian Poems.” It was most likely created in Western Siberia. The manuscript contains 71 songs, with notes for each text. There are about 25 epics here. Most of the songs were recorded from voices, the recordings are very accurate, many features of the singers’ language have been preserved, and the texts are of very great artistic value. Kirsha Danilov is traditionally considered the creator of the collection, but who he is and what his role in compiling this first collection of epics and historical songs in Russia is unknown. The first collector of epics was Pyotr Vasilyevich Kireevsky (1808 - 1856). Kireyevsky not only collected songs himself, but also encouraged his friends and relatives to do this work. Among Kireyevsky's collaborators and correspondents were the poet Yazykov (his main assistant), Pushkin, Gogol, Koltsov, Dal, and scientists of that time. The epics were published as part of ten issues of “Songs collected by P.V. Kireevsky (1860 - 1874). The first five issues contain epics and ballads, the second half is devoted mainly to historical songs. The collection contains recordings of epics made in the Volga region, in some central provinces of Russia, in the North and in the Urals; These records are especially interesting because many of them were made in places where epics soon disappeared and were no longer recorded. One of the most remarkable collections of epics is a collection published by Pavel Nikolaevich Rybnikov (1832 - 1885). Having been exiled to Petrozavodsk, traveling around the province as secretary of the statistical committee, Rybnikov began to write down epics of the Olonets region. He recorded about 220 epic texts. The collection was published under the editorship of Bessonov in four volumes “Songs collected by P.N. Rybnikov” in 1861 - 1867. In addition to epics, this collection contains a number of wedding songs, lamentations, fairy tales, etc. The appearance of Rybnikov's collection was a great event in social and literary life. Together with Kireevsky's collection, it opened up a new field of science. Ten years after the appearance of Rybnikov’s collection, Alexander Fedorovich Hilferding went to the same places specifically for the purpose of recording epics. In two months he managed to record more than 300 texts. Some epics were recorded by him later, from singers who came to St. Petersburg. The collected songs entitled “Onega epics recorded by Alexander Fedorovich Hilferding in the summer of 1871” were published in one volume. There are 318 texts in total. The songs are arranged by region, village and performer. The texts were recorded with all the care and precision possible for the collector. From now on, arranging material by performer became the practice of publishing epics and fairy tales and continues to this day. The sixties were years of special attention to the poetry of peasants. During these years, “Folk Russian Tales” by A.N. Afanasyev (1855 - 1864), “Great Russian Tales” by I.A. Khudyakov (1863), “Proverbs of the Russian People” by V.I. Dahl (1861) were published. With the onset of the reaction of the 80s, interest in folk poetry fell for some time. Only in 1901 A.V. Markov published a small collection of “White Sea epics”. Markov moved to the far north and visited the eastern shore of the White Sea. In total, the collection contains 116 epics. The plot, style and form of existence of epics turned out to be significantly different here than in the Onega region. Several new subjects were found. In all respects, Markov’s collection significantly expanded the existing scientific understanding of the epic. One of the largest and most significant expeditions was the expedition of A.D. Grigoriev to the Arkhangelsk province, which lasted three summers. Over three summers of collecting work, he recorded 424 texts, which were subsequently published in three volumes entitled “Arkhangelsk epics and historical songs” (1904 - 1910). As a result, Grigoriev’s collection became the largest and one of the most interesting in Russian folklore. The records are highly accurate. For the first time, recording of epic melodies on a phonograph was widely used. A sheet music book is included with each volume. A detailed map of the North is attached to the entire publication, indicating the places where the epics were recorded. In 40 - 60 years. XIX century In Altai, the remarkable ethnographer Stepan Ivanovich Gulyaev recorded epics. Siberian records are of great importance, since they often retain a more archaic form of plot than in the North, where epics have changed more. Gulyaev recorded up to 50 epics and other epic songs. His entire collection was published only in Soviet times. In the summer months of 1908 - 1909. brothers Boris and Yuri Sokolov made a folklore expedition to the Belozersky region of the Novgorod province. It was a well-organized scientific expedition. Its goal was to cover all the folklore of a given region with records. The predominant genres were fairy tales and songs, but unexpectedly epics were also found. 28 texts were recorded. Bylinas were collected not only in the North, in Siberia and the Volga region. Their existence in the 19th - 20th centuries. was discovered in places of Cossack settlements - on the Don, on the Terek, among the Astrakhan, Ural, and Orenburg Cossacks.

The largest collector of Don Cossack songs was A.M. Listopadov, who devoted fifty years of his life to this work (starting from 1892 - 1894). As a result of repeated trips to Cossack villages, Listopadov recorded a huge number of songs, including more than 60 epics; his notes provide a comprehensive picture of the Don epic in the form in which it was preserved by the beginning of the twentieth century. The value of Listopadov’s materials is especially enhanced by the fact that not only the texts, but also the tunes were recorded.

As a result of collecting work, it became possible to determine the features of the content and form of the Cossack epic, its plot composition, manner of execution, and to imagine the fate of the Russian epic in the Cossack regions. The merit of Russian scientists in the field of collecting epics is extremely great. Through their efforts, one of the best assets of Russian national culture was saved from oblivion. The work of collecting epics was carried out entirely by individual enthusiasts who, sometimes overcoming various and very difficult obstacles, selflessly worked on recording and publishing monuments of folk poetry.

After the October Revolution, the work of collecting epics took on a different character. Now it is beginning to be carried out systematically and systematically by research institutions. In 1926-1928. The State Academy of Art Sciences in Moscow equipped an expedition under the slogan “In the footsteps of Rybnikov and Hilferding.” The epics of the Onega region are among the best, and the Onega region is among the richest in epic tradition. As a result of planned and systematic work, 376 texts were recorded, many of them in excellent preservation.

Long-term and systematic work was carried out by Leningrad scientific institutions. In 1926 -1929. The State Institute of Art History sent complex art history expeditions to the North, which included folklorists. In 1931 - 1933 work on the creation of folklore was carried out by the folklore commission of the Institute of Ethnography of the Academy of Sciences in Petrozavodsk. A total of 224 texts were published in the collection. The publication is distinguished by a high scientific level. For each of the epics, salts are given for all variants known in science. In subsequent years, expeditions were also organized to study the epic genre. The collecting work of Russian scientists was intensive and fruitful both in pre-revolutionary and Soviet times. Much is stored in archives and is still waiting to be published. The number of published epics can be estimated at approximately 2,500 song units.

The concept of epics was also considered by V.V. Shuklin.

Epics and myths, the ancient epic genre of epics (North Russian people called them antiquities) took shape in the 10th century. The word epic, i.e. "truth". "act". Found in The Tale of Igor's Campaign. Its author begins his song “according to the epics of this time, and not according to the thoughts of Boyan.” The appearance of epics under Prince Vladimir is not accidental. His warriors performed their feats not on long campaigns, but in the fight against nomads, i.e. in plain sight, so they became available for epic chanting.

Also Anikin V.P. said that among oral works there are those by which the significance of folklore in folk life is primarily judged. For Russian folk, these are epics. Only fairy tales and songs stand next to them, but if we remember that ballads were both spoken and sung, then their predominance over other types of folklore will become clear. Epics differ from songs in their solemnity, and from fairy tales in the grandeur of their plot action. An epic is both a story and a majestic song speech. The combination of such properties became possible because epics arose in ancient times, when storytelling and singing were not yet separated as decisively as they happened later. Singing gave the storytelling solemnity, and storytelling through singing gave it a resemblance to the intonations of human speech. The solemnity of the tone corresponded to the glorification of the heroic deed in the epics, and the singing put the story into measured lines so that not a single detail would disappear from people’s memory. This is an epic, a song story.

It is also worth noting one of the genres of folklore, “legends,” which were discussed by T. V. Zueva and B. P. Kirdant.

Legends are prose works in which fantastic understandings of events are associated with phenomena of inanimate nature, with the world of plants, animals, and people (planet, people, individuals); with supernatural beings (God, saints, angels, unclean spirits). The main functions of legends are explanatory and moralizing. The legends are associated with Christian ideas, but they also have a pagan basis. In legends, man turns out to be immeasurably higher than evil spirits

Legends existed both oral and written. The term “legend” itself comes from medieval writing and translated from Latin means “that which must be read.”

The following genres can be combined into one. Since they have a lot in common, these are proverbs and sayings. Kravtsov N.I. and Lazutin S.G. said that a proverb is a small non-lyrical genre of oral creativity; a form of saying that has entered into speech circulation, fitting into one grammatically and logically complete sentence, often rhythmic and supported by rhyme. It is characterized by extreme brevity and simplicity.

Sayings are closely related to proverbs. Like proverbs, sayings belong to small genres of folklore. In most cases they are even more concise than proverbs. Like proverbs, sayings are not specifically performed (they are not sung or told), but are used in lively colloquial speech. At the same time, sayings differ significantly from proverbs in the nature of the content, in the form, and in the functions performed in speech.

The collection and study of sayings went simultaneously with the collection and study of proverbs. N. P. Kolpakova, M. Ya. Melts and G. G. Shapovalova believed that the term “proverb” began to be used to designate a type of folk poetry only from the end of the 17th century. Previously, proverbs were called “parables.” However, the existence of proverbs as special sayings expressing popular judgments in figurative form can be noted in very distant times. folklore fairy tale epic riddle

Many specific historical events of ancient Rus' found echoes in proverbs. However, the historical value of the proverb lies not only in this, but mainly in the fact that it preserved many historically developed views of the people, for example, the idea of ​​​​the unity of the army and the people: “Peace stands before the army, and the army stands before peace”; about the strength of the community: “The world will stand up for itself”, “You cannot win over the world”, etc. It is impossible not to emphasize the opinion of N. S. Ashukin and M. G. Ashukina. The proverb captures the high ethical ideals of the working people, their love for their homeland: “The native side is the mother, the foreign side is the stepmother”; deep respect for work, skill, skill, intelligence, courage, truth, honesty. Many proverbs have been created on these topics: “You can’t catch a fish out of a pond without labor,” “Across arable land and brush,” “Craft has its trade,” “It’s time for business, it’s time for fun,” “Those who are ugly in face are good in mind,” “Learning is better than wealth”, “Truth is more valuable than gold”, “Poverty and honesty are better than profit and shame.” And, on the contrary, the proverb denounces laziness, deceit, drunkenness and other vices: “Laziness does no good, it dines without salt”, “Give him a flaky testicle”, “He spreads a leaf and aims to bite” (about duplicity), “He got drunk on honey , hung over with tears,” etc.

IN AND. Dahl also gave his own definition of a saying. A saying is a roundabout expression, figurative speech, a simple allegory, a circumlocution, a way of expression, but without a parable, without judgment, conclusion, application; this is the first half of the proverb.

Another major genre of folklore is the “riddle”. The object of a folk riddle is the diverse world of objects and phenomena surrounding a person.

The folk riddle also draws its images from the world of everyday objects and phenomena surrounding a person, which the worker encountered in the process of his activity.

The usual form of a riddle is a short description or a condensed story. Each riddle includes a hidden question: who is it? What is this? etc. In a number of cases, the riddle is expressed in a dialogical form: “Crooked and crafty, where did it run? - Green, curly, - watch out for you” (fence).

The riddle is distinguished by its two-part construction; it always involves a solution.

Many of the riddles have rhyming endings; in some, the first part rhymes, but the second part maintains the meter. Some riddles are based on the rhyming of words alone; The riddle rhymes with the answer: “What kind of matchmaker is there in the hut?” (grasp); “What kind of Samson is in the hut?” (screen).

The riddle is still preserved among the people not only as a means of entertainment, but also as a means of education, the development of children's intelligence and resourcefulness. The riddle answers the child's questions: what comes from? what is made of what? what are they doing? what is good for what?

The systematic collection of Russian folk riddles began only in the second half of the 19th century. By the 17th century Only records made by amateur collectors apply.

Proverbs and sayings

The collection and publication of proverbs began in the 17th century. However, in the most ancient collections, along with folk ones, proverbs of book origin were also included. The compilers discarded popular proverbs that were hostile to religion and the authorities. The most democratic tendencies in the selection and publication of folk proverbs appeared in N. Kurganov’s “Pismovnik” (1769), where the compiler included 908 proverbs.

In 1848, I. M. Snegirev published “Russian folk proverbs and parables.” His collection was dominated by genuine folk proverbs. Following Snegirev, in 1854. Proverbs were published by F. I. Buslaev. In a special article “Russian life and proverbs,” he commented on them from the point of view of mythological theory. In 1861 V. I. Dahl’s great work “Proverbs of the Russian People” was published, which included about 30,000 proverbs, sayings and other small genres of folk poetry. The most important collections of proverbs of the second half of the 19th century. and the beginning of the 20th century. there were collections: “Winged Words” by S. V. Maksimov (1890), “Aimed and Walking Words” by M. I. Mikhelson (1894), “The Life of the Russian People in their Proverbs and Sayings” by I. I. Illustrov (1915). Kravtsov N.I., Lazutin S.G. They believed that both proverbs and sayings, and riddles belong to the small (aphoristic) genres of folklore.

Riddles have much in common with proverbs and sayings in content and artistic form. However, they also have specific features and represent an independent genre of folklore.

The term “riddle” is of ancient origin. In the Old Russian language the word “guess” meant “to think”, “to reflect”. This is where the word “mystery” comes from. The riddle gives a substantive description of some phenomenon, the recognition of which requires considerable thought. Most often, riddles are allegorical in nature. Anikin V.P. said that the riddle emphasizes the variety of forms, the brightness of the colors of the world surrounding the peasant: “Red, round, oblong leaves” (rowan). Some riddles create a sound image: “I listen, I listen: sigh after sigh, but not a soul in the hut,” says the riddle about the dough, which makes a sound similar to a sigh during fermentation. Sound images appeared especially often in riddles about peasant work.

The world around a person is a mystery in constant movement: “Grayish, toothy, prowling the field, looking for calves, looking for guys” (wolf); “The small, hunchbacked one crossed the whole field, went through all the paddocks” (reap); “Five sheep eat up the stack, five sheep run away” (hands and tow).

I would like to say a little about “tradition.” Folklorists have not yet given a sufficiently satisfactory and substantiated definition of legends. Often in scientific literature, traditions and legends are mixed, although these are different genres. This is explained by proximity, as well as the presence of transitional forms, some of which are closer to legends, while others are closer to legends.

Legends are popularly called “bylya” and “byvalshchina”. They are characterized by historical themes. The legends are close to historical songs, but have a prosaic form, not a poetic one.

Legends - epic, i.e. narrative, plot genre. The collection of Russian folk legends was not carried out systematically.

You also cannot miss such a genre of folklore as “ditties”. Zueva T.V. and Kirdant B.P. emphasize that the most developed genre of late traditional folklore are ditties.

Chats are short rhymed lyrical songs that were created and performed as a lively response to various life phenomena, expressing a clear positive or negative assessment. Many ditties contain jokes or irony. The earliest ditties had six lines. The main type - four-line - was formed in the second half of the 19th century; it was performed with and without dance. The dance ditties themselves are also four-line, which are performed only to dance (for example, to a square dance).

In addition, there are two-line ditties: “suffering” and “Semyonovna”.

The chastushkas have varied, but repetitive, stable melodies, both drawn-out and fast. It is typical to perform many texts in one tune. In live existence, ditties are sometimes characterized by recitativeness.

Chastushki finally took shape in the last quarter of the 19th century. Simultaneously in different parts of Russia: in the center, middle and lower Volga region, in the northern, eastern and southern provinces.

Chatushki is the main genre of peasant lyrics in later traditional folklore. And finally, I would like to consider a few more genres of folklore—all varieties of “songs.” Which are described in detail by S.V. Alpatov, V.P. Anikin, T.B. Dianova, A.A. Ivanova, A.V. Kulagina. Definition of the genre and the question of the limitation of the term “historical song”. The difference between a historical song and an epic. Continuity of historical songs with epics. Historical song as a stage in the development of epic creativity. Principles of selective, interested depiction of events and persons in historical songs. A historical song as a work relevant for its time and the question of the subsequent transformation of its meaning and images. Early examples of historical songs: a song about Avdotya Ryazanochka, about the murder of Shchelkan Dudentievich, Polonyanki ( Mother meets daughter in Tatar captivity and etc.). The diversity of early historical songs and the question of later changes in them. A cycle of songs about Ivan the Terrible and the events of his reign ( Capture of Kazan , Temryuk-Mastryuk , Ivan the Terrible's anger at his son , Raid of the Crimean Khan etc.), about Ermak ( Ermak in the Cossack circle etc.), about the Time of Troubles ( Grishka Otrepiev , The cry of Ksenia Godunova , Skopin-Shuisky , Minin and Pozharsky ) etc. The people’s view of historical figures and understanding of the meaning of their activities. Cossack historical songs about Stepan Razin ( Razin and the Cossack circle . Razin's hike to Yaik , Son , Razin near Astrakhan , Song of the Razins . Esaul reports on the execution of Razin ). Poeticization of Razin as the leader of the Cossack freemen. Condemnation of Razin by the Cossack circle. The lyrical beginning as a factor transforming the epic narrative. A special lyrical-epic structure of the songs. Historical songs about Peter the Great and the events of his reign ( The king judges the archers . About the beginning of the Northern War , Well done going to Poltava , Tsar Peter on the ship and etc.). Historical songs about the events of the Patriotic War of 1812 ( Napoleon writes a letter to Alexander , Kutuzov calls to defeat the French , Napoleon in Moscow , Cossack Platov and etc.). Question about songwriters. Reflection of the thoughts and feelings of soldiers in songs. The idea of ​​defending the fatherland. New themes in soldier and Cossack historical songs in comparison with songs from other cycles. Types of characters in historical songs: folk hero, king, commander. Image of the people. Poetics and style of historical songs. Genre varieties: epic songs (with a detailed plot, one-episode), lyric-epic songs. Collections of historical songs of the XIII - XIX centuries. four books released in the series Monuments of Russian folklore , Institute of Russian Literature Ak. Sciences, 1960 1973. Ballad songs. Term ballad and its history (Provençal dance songs of the 11th-17th centuries; Anglo-Scottish ballads; literary romantic ballads). Russian folk names of ballad songs: poem , song . Definition of the genre, its characteristics. The most important properties of ballad songs: epicness, family and everyday themes, psychological drama, the art of the tragic. Origin of ballad songs. The question of the time of their origin is debatable: a look at the appearance of ballads in the era of the decomposition of ancient syncretism (A. N. Veselovsky), in the early period of written history (N. P. Andreev), in the Middle Ages (V. M. Zhirmunsky, D. M Balashov, B. N. Putilov, V. P. Anikin). Ballad songs about Tatar (later Turkish) full: The girl is captured by the Tatars , Russian girl in Tatar captivity , The red girl runs from the crowd , Rescue of Polonyanka , Prince Roman and Marya Yurievna , Two slaves , Escape of slaves from captivity . Later adaptations of ballads about fullness: Young Khancha , Pan brings Russian Polonyanka to his wife . Plots of ballad songs of the 14th-16th centuries: Vasily and Sophia , Dmitry and Domna , Pock , Prince Mikhailo , Widow's children etc. Love ballads: Dmitry and Domna , Cossack and tavern , Kidnapping of a girl , A girl defends her honor , Nun drowns a child . Family and household ballads: Prince Roman lost his wife , Husband ruined his wife , Pock ; Fedor Kolyshatoy , Alyosha and sister of two brothers , Brother, sister and lover , Sister poisoner , Daughter of a thousand , Forced tonsure . Incest theme: Hunter and his sister , Brother married sister , Ivan Dorodorovich and Sophia the Princess and others. Ballads of the 17th-18th centuries: Slandered wife , Husband's wife stabbed to death , Robber brothers and sister , The Robber's Wife and others. The crisis of the traditional ballad genre. Appearance at the end of the 18th century beginning of the nineteenth century new ballads. Ballads: about social inequality: Well done and the princess , Prince Volkonsky and Vanya the Keykeeper , The princess and the chamberlain , A girl dies from the love of the voivode's son ; about poverty and grief: Grief , Well done and woe , Well done and the Smorodina River and others. Features of the composition and plot of ballads: open course of action, predicted fatal outcome, tragic recognition. The role of monologues and dialogues. Dramatic. Single-conflict. Dynamics of action development. Characteristics: destroyer, victim. Fantastic motifs: metamorphosis, werewolf, talking animals and birds, magical (living and dead water as a means of healing). The art of psychological depiction. Poetic language, allegory. Connections between ballads and epics, historical songs, spiritual poems, lyrical songs). New ballads, their connections with old ones (plot and thematic similarities and differences). History of collecting ballads. Collection by N. P. Andreev and V. I. Chernyshev, collection by D. M. Balashov.

Lyrical songs. Determination of the genre features of non-ritual songs as a type of folk lyrics: their freedom from ritual, relative non-confinement to the time of performance, the predominance of poetic functions over pragmatic ones, the use of a unique metaphorical and symbolic language for versatile life content and revealing the inner world of a person. The possibility of lyrical non-ritual songs being included in rituals and work cycles and the diversity of folk terminology explained by this. Genetic connection of non-ritual songs with ritual lyrics (spells, magnifications, lamentations, game songs) and ballads. Continuity and processing of artistic traditions in the process of style formation. Problems of classification of non-ritual lyrical songs. A variety of principles of systematization: by theme (love, family, recruiting, daring), by the social environment of creation and existence (soldiers, burlats, coachmen, Cossacks, etc.), by the predominant composition of performers (male and female), by the forms of melody and intra-syllable chants (frequent and drawn-out), by connection with movement (stepping, marching, dancing), by emotional dominant (comic, satirical). A combination of several principles when creating scientific classifications (V. Ya. Propp, N. P. Kolpakova, T. M. Akimova, V. I. Eremina). System of artistic images of non-ritual lyrics. The diversity of folk characters and social types in songs, the depiction of diverse relationships between people. Images of nature, everyday life, social phenomena. The place of conditionally generalized images of love, longing, grief, will, separation, death and others in the artistic system of folk lyrics. Characteristic features of combining diverse images in the creation of symbolic pictures that form the subject-content basis of non-ritual songs. Techniques for portraying characters: idealization, humor, satire. Features of the composition of non-ritual songs. Their structure is based on their belonging to the lyrical genre. Figurative-symbolic parallelism and its forms (A. N. Veselovsky), the technique of stepwise narrowing of images (B. M. Sokolov), the principle of chain-associative connection (S. G. Lazutin), the juxtaposition of autonomous thematic and stylistic formulas (G. I Maltsev). N.P. Kolpakova, N.I. Kravtsov about the main types and forms of composition. The poetic language of non-ritual lyrics: the functions of constant epithets, comparisons, metaphors, antithesis. Stereotypical stable verbal complexes in songs. The originality of the rhythmic-syntactic structure of folk song verse (repetition system, syllable breaks, intra-syllabic chants, stanzas, meter). The use of lexical and phonetic expressiveness of oral speech in lyrics. Collection of folk songs. Activities of P. V. Kireevsky. Folk lyrics as part of the collection of P. V. Shein, a collection of folk songs by A. I. Sobolevsky Great Russian folk songs .Types of publications of songs of local traditions.

Spiritual poems. Definition of spiritual poetry as a complex of epic, lyric-epic and lyrical works, the unifying principle of which is the concept spiritual , religious-Christian, opposed to the worldly, secular. Popular names of the genre: poetry , antiquity , psalms , edgings . Origin of spiritual poems and sources: books of the Holy Scriptures (Old and New Testaments), Christian canonical and apocryphal literature that penetrated into Rus' after Epiphany from the end of the 10th century. (lives, biblical stories, moral stories, etc.), church sermons and liturgy. Senior spiritual poems (epic) and junior (lyrical). Creators and performers of spiritual poems kaliki (cripples) travelers, pilgrims to holy places. Folk rethinking of biblical and evangelical themes, lives, apocrypha. Spiritual poems are the result of the people’s aesthetic assimilation of the ideas of Christian doctrine (F. M. Selivanov). The main idea of ​​spiritual verses: affirmation of the superiority of the spiritual over the material, physical, glorification of asceticism, martyrdom for the faith, denunciation of sinfulness, non-observance of God's commandments. Reflection of cosmogonic ideas in older spiritual verses. Main themes and plots: poems about the universe ( Pigeon book ); on biblical Old Testament stories ( Osip the Beautiful , Adam's Lament ); evangelical ( Nativity , Massacre of the innocents , Dream of the Virgin Mary , Crucifixion of Christ , Ascension ); about heroes-snake fighters ( Fedor Tiron , Yegory and the serpent ), martyrs ( Egory and Demyanishche , Kirik and Julitta , Galaktion and Epistimia , About the Great Martyr Barbara ), ascetics ( Joseph and Barlaam , Alexey is a man of God ); miracle workers ( Mikola , Dmitry Solunsky ); righteous and sinners ( Two Lazarus , About Mary of Egypt , About the Prodigal Son , Anika the warrior); about the end of the world and the Last Judgment ( Michael the Archangel formidable judge , Archangels Michael and Gabriel - carriers across the fiery river ). Echoes of pagan beliefs in poems about mother raw earth ( The cry of the earth , Unforgivable sin , Ritual of farewell to the earth before confession ). Edifying verses about worldly temptations and salvation in the desert, the need for repentance ( Friday and the Hermit , Poem about laziness , Basil of Caesarea ). Poems on subjects from ancient Russian history ( Boris and Gleb , Alexander Nevskiy , Mikhail and Fedor of Chernigov , Dmitry Donskoy ). Younger spiritual poems (psalms, cants) on themes from Old Believer history (XVII Х1Х centuries): About Nikon , Verse about the Antichrist , Mount Athos and songs of sectarian mystics (Skoptsy, Khlysty). Poetics. General folklore properties of spiritual poems, allowing them to be correlated with epics, ballads, historical and lyrical songs. The influence of literary Christian stylistics, the widespread use of Church Slavonicisms. Spatio-temporal characteristics of the artistic world of spiritual poems. The specificity of the miraculous, associated in them with Christ and the saints (healing of the sick, invulnerability during torture, resurrection from the dead, etc.). Composition (a chain of episodes of a particular event or the life of a character). Monologue poems ( Lamentation of Joseph the Beautiful ), the role of dialogues ( Dream of the Virgin Mary ). Poetic language (epithets, parallelisms, comparisons). Image of the earth after the Last Judgment. Description of the separation of the soul from the body, crossing the fiery river, etc. History of the collection (P.V. Kireevsky, V.G. Varentsov, T.S. Rozhdestvensky and M.I. Uspensky). Study of spiritual verses. Mythological direction (F. I. Buslaev, A. N. Afanasyev, O. F. Miller); cultural and historical direction (research by A. N. Veselovsky, A. I. Kirpichnikov, V. P. Adrianova); historical and everyday life ( Materials for the history of the study of Russian sectarianism and schism (Old Believers) edited by V. D. Bonch-Bruevich (St. Petersburg, 1908-1911), ; four issues). Resumption of research in the early 70s of the twentieth century. : articles by Yu. A. Novikov, S. E. Nikitina, F. M. Selivanov and others. FEATURES OF RESEARCH OF ORAL FOLK CREATIVITY IN RUSSIA

1 History of collecting

Azadovsky M.K. in his works said that Russian social thought was faced with the task of publishing a complete collection of monuments of folk art and mainly folk songs. This task was conceived not only as a literary and narrowly scientific enterprise, but also as a most important national matter, as an enterprise of enormous historical and historical-philosophical significance. However, from all the collecting and publishing attempts undertaken at this time, nothing complete and whole came out.

It was possible to achieve a solution to this problem only in the 30s, P.V. Kireevsky, who managed to create a kind of collecting center and attract outstanding contemporaries to the work of collecting folklore - up to and including Pushkin and Gogol. This enterprise constituted an era in the history of Russian folklore: the collection of songs, epics and spiritual poems is essentially the first and most important monumental collection of Russian folklore. In volume II of his works, he already examines the collectors of the second half of the 19th and early 20th centuries.

The theoretical growth of the science of folklore corresponds to the growth and nature of the accumulation of folklore materials. These two processes run completely parallel, relying on each other and mutually promoting each other. By quantity and quality of folklore publications and collections

These years can rightfully be called the golden age in the history of Russian folklore. This is the era of grandiose collections and large folklore enterprises.

The collection “Historical Songs of the Little Russian People” (1874) by V. Antonov and M. Drahomanov was significant in its place in the history of Russian and Ukrainian folklore. The collection is one of the most important monuments of Ukrainian folk literature; the editors made a careful selection of materials, critically checked all existing collections, decisively eliminated everything dubious and added an extensive scientific commentary. Also, collecting children's folklore cannot go unnoticed. Kapitsa F. S. writes in his works that the collection of children's folklore began later than other types of folk poetry. At that time, the living conditions of the landowners determined their dependence on the peasant environment; children of landowners and nobles were in the care of mothers, nannies and courtyard people, who introduced their pets to various forms of folklore.

I.P. Sakharov was one of the first to collect and record children's folklore. In “Tales of the Russian People” (1837), he published examples of some genres: a nursery rhyme, a lullaby, a description of several children's games.

In her memoirs “Notes and Notes on Siberia” (1837), collector E.A. Avdeeva for the first time gives vivid sketches of childhood life, the texts of lullabies and jokes that she heard in childhood. Based on the collected notes, Avdeeva published a collection of children's folk tales, “Russian Fairy Tales Told for Children by Nanny Avdotya Stepanovna Cherepyeva” (1844), highlighting the fairy tale as an independent genre for the first time. Avdeeva's book was intended for both readers and those who work with children.

A qualitatively different stage of collecting and studying children's folklore begins after the appearance of editions of texts from the folklore collections of P.V. Kireevsky. In the collections of songs recorded by Kireyevsky, six texts of lullabies were published. Most works did not attempt to separate texts by genre. Children's folklore was considered as a component of folklore.

A new stage in the collection and organization of children's folklore as an independent whole begins with the activities of V.I. Dahl (1801 - 1872). Since 1842 The researcher publishes collections and selections of texts from various genres of folklore. Children's folklore also occupies a significant place among them. The texts presented in the collections are quite diverse in genre; these are fairy tales, descriptions of children's games, children's songs, fables, tongue twisters, proverbs and sayings.

The general interest in the folk school leads to increased attention to children's folklore on the part of teachers; Various collections appear, one of which includes children's folklore. Folklore is beginning to be perceived as material of great artistic and pedagogical value; through such texts the idea of ​​nationality and patriotic education is conveyed.

2 Specifics of the study

At the beginning of the 19th century, thinking Russia faced an acute problem of the culture of the people, their spiritual wealth, and the question of the social significance of people's life. Many researchers turned to the folklore heritage of the people. A. Glagolev, who wrote about the beauty and innocence of rituals that reveal the simplicity and naivety of Russian people, is attracted by the songs associated with the ritual of sun worship and the cult of trees. I.P. Sakharov sought to illuminate all aspects of Russian national life. Neither children's games nor the poetry of nurturing passed his attention. In 1837, in “Notes and Notes on Siberia” E.A. Avdeeva gave lively sketches of children's life, texts of game sentences and ritual scenes. In 1844, a small collection of folk tales was published. Children's fairy tales were allocated to a special group for the first time. In those years, many understood the pedagogical value of folk art. Through the sieve of centuries, the people have sifted their cultural heritage, leaving the most valuable in folk art, artistic crafts, folklore, and decorative and applied arts. Folk art is an inexhaustible source of aesthetic, moral, and emotional education for preschool children. For many centuries, folk wisdom, contained in fairy tales, nursery rhymes, jokes, and riddles, has fostered in children pride in the talent of the common people, interest in well-aimed, expressive words, and love for their native language. Collective and individual principles in folklore. Unlike literature - the individual creativity of writers - folklore is a collective creativity. However, this does not mean that the individual principle does not have any significance in it. In certain genres and in certain historical periods, the individual principle manifests itself quite noticeably, but it is in peculiar connections with the collective principle. Folklore arose in ancient times as a mass collective creativity. Early forms of folklore were distinguished by the fact that they were dominated by the collective composition and performance of works. At that time, the creative personality did not stand out much from the team. Later, individual talented singers began to play an increasingly important role, who in all their creativity expressed the ideas and views of the clan or tribe, and then the people. Even in the early forms of folklore, and naturally, even more so in the later ones, individual creativity was organically connected with the collective and developed on its basis. Collectivity in folklore is manifested in the external forms of creativity, and in its internal essence, and in the process of creating works, and in their performance. It is expressed in the fact that the creators and performers of works rely on general folklore experience and tradition and at the same time introduce new features and details into the work, adapting its plot, images and style to specific performance conditions. Works can be created by a collective (choir, group of people) or by individuals - singers and storytellers. If they correspond to the needs and tastes of the collective, the people, then they begin to exist among them and are performed in the choir by individual singers. The collectivity of folklore is expressed in the fact that individual folklore works are recognized as the common property of the people; they live for a long time and are passed on from generation to generation. But each performer can change the work in accordance with his creative intent. In various genres of folklore, the collective and individual principles in the creation and performance of works are manifested in different ways: if songs are usually performed by a choir, collectively, then epics and fairy tales are performed individually. If the text of the spells is very stable, then the text of the lamentations is very flexible; as a rule, it is largely improvised - created, as it were, anew on new material. But this individual improvisation is carried out according to long-established patterns, on the basis of collectively developed means of artistic expression. Chatushki are usually works composed by persons known in the village. They show more individuality than in works of other genres of folklore. The individual principle, as well as the collective one, takes place at all stages of the development of folklore. It takes on diverse forms of expression and shows a tendency not to fade away, but to intensify and intensify in the process of the historical evolution of folklore. Stability and changeability of folklore works Tradition in folk art is expressed in the relative stability of the verbal text, melody, nature of performance, colors, the transfer of works, as a rule, without significant changes from generation to generation, the preservation over centuries of works with certain plots and characters, forms and expressive means. Tradition, like the collectivity of creativity, is characteristic not only of verbal folklore. It is also inherent in other types of folk art - music, dancing, carving, embroidery. Tradition has its own socio-historical foundations and is determined by important life circumstances. These conditions and circumstances are as follows: Firstly, folk art originated in the primitive communal system, when social forms of life, folk life and ideas were very stable, which determined the stability of folklore. But, having developed at this time, the tradition was supported by a certain stability of life forms in later periods of history. Due to changes in the very nature of life, the tradition was gradually weakened. Secondly, works of folk art deeply reflect the most important features of reality and capture important objective qualities of man and nature. This can be said not only about proverbs, the life generalizations of which have been preserved for centuries and will continue to be preserved for a long time, but also about songs that characterize the spiritual world of man, his universal human properties, thoughts, feelings and experiences. Thirdly, folk art embodied the principles of folk aesthetics and reflected folk artistic tastes that had been developed over centuries. They are valuable because they embody the objective laws of beauty. Fourthly, the works of folklore themselves are significant artistic achievements. They satisfy people's ideological and aesthetic needs and serve as an important part of the spiritual culture of the people for a long time. The conditions listed above serve as the basis for the traditional nature of folk art and the great stability of folk works.

Year of publication of the work Author Work 1. 1874 V. Antonov, M. Drahomanov “Historical songs of the Little Russian people”2. 1837 I.P. Sakharov “Tales of the Russian People”3. 1837 E.A. Avdeev “Notes and remarks about Siberia” 4. 1842. V.I.Dal Publication of a collection and selection of texts from various genres of folklore 5. 1844 E.A. Avdeeva “Russian children's fairy tales told for children by nanny Avdotya Stepanovna Cherepieva” 6. 1898 P.V. SheinaThe first volume of the book "The Great Russian in his songs, rituals, customs, beliefs, legends, etc." has been published. 7. 1908 I. I. Voznesensky “On the structure or rhythm and meter of short sayings of the Russian people: proverbs, sayings, riddles, sayings, etc.”8. 1934 V. Zakharov “Thirty Russian folk songs” 9. -M.A. Balakirev "Collection of Russian folk songs" 10. - A.I. Sobolevsky seven-volume book "Great Russian folk songs"

CONCLUSION

Looking back at the path traveled by Russian folklore from archaic myths to modern ditties, you involuntarily ask the question that comes to mind for many: “Is folklore alive?” pessimists answer it negatively: after all, alas, you no longer hear ancient epics, and you almost never encounter a storyteller with a rich repertoire. Optimists object: folklore cannot die as long as the people who bear it live. Some things are truly forgotten, but old traditions can be preserved and revived. Collecting folklore, studying the features of its modern state, its existence, the creativity of its performers is the most interesting area of ​​folklore, an area that makes it possible to understand creative processes, to penetrate into the creative laboratory of folk talents: singers and storytellers. This fascinating work in past times, as a rule, was carried out by individual enthusiasts, scientists and lovers of folk art, who preserved for us a huge wealth of epics, songs, spells, proverbs and riddles. Now this work has become widespread; it is being carried out by research institutes, folk art houses, higher and even secondary educational institutions, and huge groups of local historians. I think I was able to achieve my goal. I learned the peculiarities of collecting and researching folk art in Russia and came to a conclusion. Having disappeared from living existence, folklore remained part of the national culture. Along with the sounds of his native speech, the baby “learns,” for example, a song about a magpie-raven, and they read fairy tales about a little house and a bun. All this is thanks to the people who collected, researched and carried oral folk art to this day. Native folklore is included in all school curricula. And although folk tales and songs are no longer heard so often, folklore participates in the education of every person.

LIST OF REFERENCES USED

Azadovsky M.K. History of Russian folkloristics. Volume II. Moscow:

State educational and pedagogical publishing house, 1963. 362 p.

Azadovsky M.K. Essays on the history of Russian folklore. State educational and pedagogical publishing house. Ministry of Education of the RSFSR Moscow: 1958. 477 p.

Azbelev S.N. Historicism of epics and the specificity of folklore. Leningrad: “Science”, 1982. 325 p.

Anikin V.P. A step to wisdom. About Russian songs, fairy tales, proverbs, riddles, folk language. M.: Det. lit., 1998. 176 p.

Anikin V.P. Russian folk proverbs, sayings, riddles and children's folklore. M.: State educational pedagogical publishing house, 1957. 240 p.

Anikin V.P. Russian folk tale. M.: Artist. lit., 1984. 176 p.

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Bogatyrev P.G., Gusev V.E., Kolesnitskaya I.M. and others. Russian folk art. Moscow 1966. 360 p.

Epics vol. 1 ed. Bazanova V. State Publishing House of Fiction. Moscow 1958. 567 p.

Dal V.I. Proverbs of the Russian people: collection in 2 volumes. T. 1 M.: Khudozh. lit., 1984. 383 p.

Dal V.I. Explanatory dictionary of the living Great Russian language, vol. III. M.: AST, Astrel 2004. 928 p.

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Selected proverbs and sayings of the Russian people. Comp. N. P. Kolpakova, M. Ya. Melts, G. G. Shapovalova. Ed. V. P. Adrianova-Peretz. M.: GIHL, 1957. 204 p.

Kapitsa F. S. Russian children's folklore: a textbook for university students. F. S. Kapitsa, T. M. Kolyadich. M.: Flinta: Nauka, 2002. 320 p.

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Kravtsov N. I., Lazutin S. G. Russian oral folk art. Moscow: “Higher School”, 1983. 448 p.

Melnikov M.N. “Russian children's folklore”, Moscow 1987. 240 p.

Mikhailova O. S. Oral folk art: Workshop. - Tomsk: Tomsk State Pedagogical University Publishing House, 2008. 180 p.

Ozhegov S.I. Explanatory dictionary of the Russian language. M.: Azbukovnik, 2003. 940 p.

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Russian folk art. Editor Zakharov N. A. Moscow: Higher School Publishing House, 1966. 358 p.

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Shuklin V.V. Russian mythological dictionary. Ekaterinburg: Ural publishing house, 2001. 384 p.

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