The value of folklore in modern life. Public value of folklore

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Federal Agency for Railway Transport

Siberian State Transport University

Department of "Philosophy and Culturology"

Russian folklore: origin and place in Russian culture

Essay

In the discipline "Culturology"

Supervisor

Professor

Bystrova A.N.

__________

Developed

Student gr. D-112

King Ya.I.

__________

year 2012

Introduction

Our ancestors, unfamiliar with writing and books, were not divorced from previous generations. Ordinary Russian people, to whom they sang songs a long time ago, told fairy tales and came up with riddles, did not know how to Not read or write. But their verbal creativity was not forgotten, not lost. It was carefully passed from mouth to mouth, from parents to children. Folklore appeared long before literature and was created on the basis of a living spoken language which is impossible without speech intonations and gestures.

Folk songs, fairy tales, proverbs, riddles delight us with the simplicity of the word, infect us with their fun, excite us with the depth of thought.

Poetic and beautiful are our folk songs: soulful and tender lullabies with which women lull their children to sleep; funny, funny songs.

deep meaning are full of proverbs and sayings of the Russian people.

Folk riddles are witty and varied: about nature, about the house, about people, about animals, about objects that surround a person, in a word, about everything that we see, hear, know.

Excellence in use visual means language, folklore works are required creative work hundreds of people.

The purpose of this work is to review and present the views of historians and culturologists on the origin and place of Russian folklore in Russian culture using the exampleritual musical and poetic folklore.

1. The concept of folklore

The word folklore in literal translation from English means folk wisdom.

Folklore is poetry created by the people and existing among the masses, in which it reflects its labor activity, social and everyday way of life, knowledge of life, nature, cults and beliefs. Folklore embodies the views, ideals and aspirations of the people, their poetic fantasy, the richest world of thoughts, feelings, experiences, protest against exploitation and oppression, dreams of justice and happiness. This is oral, verbal artistic creativity, which arose in the process of the formation of human speech. 1 .

M. Gorky said: "... The beginning of the art of the word is in folklore."Where did he say this, for what reason?In a pre-class society, folklore is closely connected with other types of human activity, reflecting the rudiments of his knowledge and religious and mythological ideas. In the course of the development of society, different kinds and forms of oral verbal creativity.Whose are these phrases? You didn't write them!

Some genres and types of folklore have lived a long life. Their originality can be traced only on the basis of circumstantial evidence: on the texts of later times, which retained the archaic features of content and poetic structure, and on ethnographic information about peoples that are at the pre-class stages of historical development. Where is the text from?

Only from the 18th century and later are authentic texts of folk poetry known. Very few records survive from the 17th century.

The question of the origin of many works of folk poetry is much more complicated than that of literary works. Not only the name and biography of the author - the creator of this or that text are unknown, but also the social environment in which the fairy tale, epic, song, time and place of their composition was formed is unknown. The ideological intention of the author can only be judged by the surviving text, often written down many years later. An important circumstance that ensured the development of folk poetry in the past was, according to N. G. Chernyshevsky, the absence of "sharp differences in the mental life of the people."Where do these words come from? And why is Chernyshevsky not on the list of references?

"Mental and moral life, - he points out, - is the same for all members of such a people - therefore, the works of poetry generated by the excitement of such a life are equally close and understandable, equally sweet and related to all members of the people.Where does he "indicate" and to whom exactly?Such historical conditions there were works created by "the whole people, as one moral person." Where is the quote from? Thanks to this, folk poetry permeates the collective principle. It is present in the appearance and perception by the listeners again created works, in their subsequent existence and processing. Whose text is this?

Collectivity is manifested not only externally, but also internally - in the folk poetic system itself, in the nature of the generalization of reality, in images, etc. In the portrait characteristics of heroes, in certain situations and images of folklore works, there are few individual features that occupy such a prominent place in fiction. Whose text is this?

As a rule, at the time of creation, the work is experiencing a period of special popularity and creative flourishing. But there comes a time when it begins to distort, collapse and be forgotten. Whose text is this?

New times require new songs. The images of folk heroes express best features Russian national character: the content of folklore works reflects the most typical circumstances of folk life. At the same time, pre-revolutionary folk poetry could not but reflect the historical limitations and contradictions of the peasant ideology. Living in oral transmission, the texts of folk poetry could change significantly. However, having reached full ideological and artistic completeness, the works were often preserved for a long time almost unchanged as a poetic heritage of the past, as a cultural wealth of enduring value. 2 Why is it just rewritten?

2. Specifics of folklore

Folklore has its own artistic laws. Oral form of creation, distribution and existence of works main feature, which gives rise to the specifics of folklore, causes its difference from literature.

2.1. traditional

Folklore mass creativity. Works of literature have an author, works of folklore are anonymous, their author is the people. In literature there are writers and readers, in folklore there are performers and listeners.

Oral works were created according to already known patterns, even including direct borrowings. The speech style used constant epithets, symbols, comparisons and other traditional poetic means. The works with a plot were characterized by a set of typical narrative elements, their usual compositional combination. In the images of folklore characters, the typical also prevailed over the individual. The tradition demanded an ideological orientation of the works: they taught goodness, contained the rules of human behavior in life. Whose text is this?

Common in folklore is the main thing. Storytellers (performers of fairy tales), songwriters (performers of songs), storytellers (performers of epics), wailers (performers of lamentations) sought, first of all, to convey to the listeners what corresponded to the tradition. The repeatability of the oral text allowed for its changes, and this allowed an individual talented person to express himself. There was a multiple creative act, co-creation, in which any representative of the people could be a participant. Whose text is this?

The development of folklore was promoted by the most talented people endowed with artistic memory and creative gift. They were well known and appreciated by those around them (remember the story of I. S. Turgenev "Singers").Who should remember? Probably, you are suggesting me to do this ... Thank you, I will do without such advice.

The oral artistic tradition was the common stock. Each person could choose for himself what he needed.Is this a market or a shop?

In the summer of 1902, M. Gorky observed in Arzamas how two women a maid and a cook put together a song (the story "How the song was put together").

“It was in a quiet street of Arzamas, before evening, on a bench at the gate of the house in which I lived. The city was dozing in the hot silence of June weekdays. I, sitting by the window with a book in my hands, listened to my cook, portly pockmarked Ustinya talking quietly with the maid<...>Suddenly, Ustinya says smartly, but businesslike: "Well, mow, Mangutka, tell me..." "What is this?" "Let's put down the song ..." And, sighing noisily, Ustinya sings in a patter:

"Oh, yes, on a white day, in a clear sun,

Bright night, with a month ... "

Hesitantly groping for a melody, the maid sings timidly, in an undertone:

"I'm restless, young girl..."

And Ustinha confidently and very, touchingly brings the melody to the end:

"All the sadness of the heart toils ..."

She finished and immediately spoke cheerfully, a little boastfully: "So it began, the song! I'll teach those songs, my dear, how to twist a thread. Well..." she again deftly played with words and sounds:

“Oh, yes, no fierce blizzards in winter

Not in the spring streams are cheerful ... "

The maid, moving close to her, ... already bolder, in a thin trembling voice continues:

"They don't deliver from native side

Comforting news to the heart ... "

“That's it! said Ustinha, slapping her knee with her hand. And I was younger than better songs folded! Sometimes girlfriends pester: “Ustyusha, teach me a song!” Oh, and I’ll flood! .. Well, how will it be further? "I don't know," said the maid, opening her eyes, smiling.<...>"The lark sings over the fields.

The cornflowers-flowers have blossomed in the fields," Ustinya sings thoughtfully, arms folded across her chest, looking at the sky, and the maid echoes smoothly and boldly: "I wish I could look at my native fields!" And Ustinya, skillfully maintaining a high, swaying voice, spreads velvet sincere words: "Would like to take a walk with a dear friend, through the forests!"

When they finish singing, they are silent for a long time ... then the woman says quietly, thoughtfully: "Did they put the song together badly? It's all good, after all"What are the rewritten pieces of Gorky's story doing here? This text is well known to me even without student essays. But what he is doing here is completely incomprehensible.

Not everything newly created was preserved in oral existence. Repeatedly repeated fairy tales, songs, epics, proverbs and other works passed "from mouth to mouth, from generation to generation." Along the way, they lost what bore the stamp of individuality, but at the same time revealed and deepened what could satisfy everyone. The new was born only on a traditional basis, while it had to not just copy the tradition, but supplement it. Whose text is this?

Folklore appeared in its regional modifications: the folklore of central Russia, the Russian North, the folklore of Siberia, the Don folklore, etc. etc. However, local specificity has always had a subordinate position in relation to the general Russian properties of folklore.

In folklore, a creative process constantly proceeded, which supported and developed the artistic tradition. Whose text is this?

With the advent of written literature, folklore entered into interaction with it. Gradually, the influence of literature on folklore increased more and more.

IN oral art people embodied his psychology (mentality, mentality). Russian folklore is related to the folklore of the Slavic peoples. Whose text is this?

The national is part of the universal. Folklore contacts arose between peoples. Russian folklore interacted with the folklore of neighboring peoples the Volga region, Siberia, Central Asia, the Baltics, the Caucasus, and so on. Whose text is this?

2.2. Syncretism

The artistic principle won in folklore not immediately. IN ancient society the word merged with the beliefs and everyday needs of people, and its poetic meaning, if it was, was not realized. Whose text is this?

Residual forms of this state were preserved in rituals, incantations and other genres of late folklore. For example, a round dance game is a complex of several artistic components: words, music, facial expressions, gesture, dance. All of them can exist only together, as elements of a whole round dance. Such a property is usually denoted by the word "syncretism" (from the Greek synkretismos "connection").

As time went on, syncretism historically faded away. Different types the arts overcame the state of primitive indivisibility and stood out on their own. In folklore, their late compounds began to appear synthesis 3 . Why does it exist here in a primitive form rewritten from someone else's work?

2.3. variability

The oral form of assimilation and transmission of works made them open to change. There were no two completely identical performances of the same piece, even when there was only one performer. Oral works had a mobile, variant nature,

Variant (from Latin variantis "changing") each single performance of a folk work, as well as its fixed text.

Since a folklore work existed in the form of multiple performances, it existed in the aggregate of its variants. Any variant was different from others, told or sung at different times, in different places, in different environments, by different performers or by one (repeatedly). Whose text is this?

Oral folk tradition sought to preserve, to protect from oblivion what was most valuable. The tradition kept the changes of the text within its boundaries. For variants of a folklore work, it is important what is common, repeated, and secondary, how they differ from one another.

Let us turn to the variants of the riddle about the sky and the stars. They were recorded in different provinces Moscow, Arkhangelsk, Nizhny Novgorod, Novgorod, Pskov, Vologda, Samara, etc. (see in the ReaderWho should go and look at something in an anthology? To whom is this designation addressed?.

Artistic basis the riddle is a metaphor: something has crumbled, and it cannot be collected. Metaphor is mobile. From the options, we learn what exactly could crumble. As it turns out, peas (peas), beads, a carpet, a ship, a cathedral crumbled. It is usually noted where this happened: at our gates, on matting, in all cities, in all suburbs, over mosses, over seas, on twelve sides. In one of the options, a narrative preamble appears, explaining the circumstances of what happened:

There was a girl from St. Petersburg,

Carried a jug of beads:

She scattered it<...>

Finally, those who can’t collect the scattered pieces are listed: the king, the queen, the red maiden, the white fish (the symbol of the bride girl), clerks (dumny clerks), priests, silver coins, princes, smart men, literate people, us fools. The mention of Serebreniki hints at a hidden comparison: money, coins scattered. The white fish speaks of interaction with wedding poetry. In one of the variants, the impossibility of collecting what has crumbled is paradoxically emphasized with the help of the statement:

One God will gather

Will put in a box.

God resembles an economic peasant with a box, who does not suffer loss and disorder. Since only God can collect what has crumbled, it means that no one else can. In another version, tools are named (broom, shovel), which will not help in this situation. So, in the riddle of the sky and the stars, there are stable and variable elements. The function (disintegration) and its consequence (impossibility to assemble) are stable. All other elements are variable. Some of the variable elements are mandatory (what was scattered; the place where it was scattered; those who cannot collect what was scattered). Along with this, optional variable elements arose singly (under what circumstances did something fall apart, by what means it was impossible to assemble it).

Despite the strength and power of tradition, variation could still go quite far, express some new creative trend. Then a new version of the folklore work was born.

Version (from Latin versare "to modify") a troupe of variants that give a qualitatively different interpretation of the work.

For example, among the variants of the riddle we have considered, there is the following:

Letter written

On blue velvet

And do not read this letter

No priests, no clerks,

Not smart men.

This is already a new version, since the stable element of the riddle (crumbled not collected) has acquired a different look (written not read).From which author these arguments and examples were stolen?

As you can see, the differences between the versions are deeper and more significant than the differences between the variants. Variants are grouped into versions according to the degree of closeness and range of differences,

Variation is a way of existence of folklore tradition. The idea of ​​an oral work can only be formed on the basis of taking into account as many of its variants as possible. They must be considered not in isolation, but in comparison with each other. Whose text is this?

There are no and cannot be "right" or "wrong" variants in the oral tradition it is mobile in its essence. Variants of both high and low artistic quality appear, expanded or compressed, etc. They are all important for understanding the history of folklore, processes of its development. Whose text is this?

When recording a folklore work, if it is in scientific purposes, certain requirements must be met. The collector is obliged to accurately reproduce the text of the performer, and the recording made by him have the so-called "passport" (indication who, where, when and from whom recorded this option). Only in this case the variant of the work will find its place in space and time and will be useful for studying folklore. Whose text is this?

2.4. Improvisation

The variability of folklore could practically be realized thanks to improvisation.

Improvisation (from Latin improviso "unforeseen, suddenly") creation of the text of a folk work, or its individual parts, in the process of performance.

Between acts of performance, a folklore work was kept in memory. Each time the text is voiced, it is as if born anew. The performer improvised. He relied on the knowledge of the poetic language of folklore, selected ready-made artistic components, and created their combinations. Without improvisation, the use of speech "blanks" and the use of oral poetic techniques would be impossible. Whose text is this?

Improvisation did not contradict tradition; on the contrary, it existed precisely because there were certain rules, an artistic canon.

The oral work obeyed the laws of its genre. The genre allowed for this or that mobility of the text, set the boundaries of fluctuation.

IN different genres improvisation manifested itself with greater or lesser force. There are genres focused on improvisation (lamentations, lullabies), and even those whose lyrics were one-off (fair cries of merchants). In contrast, there are genres designed for accurate memorization, therefore, as if not allowing improvisation (for example, conspiracies).

Improvisation carried a creative impulse, generated novelty. She expressed the dynamics of the folklore process 4 . Why is here, as I understand it, and everywhere proposed a primitive rewriting of other people's texts?

3 . Genres of folklore

Genres in folklore also differ in the way of performance (solo, choir, choir and soloist) and in various combinations of text with melody, intonation, movements (singing, singing and dancing, storytelling, acting out).

With changes in the social life of society, new genres arose in Russian folklore: soldier's, coachman's, burlak's songs. The growth of industry and cities brought to life romances, anecdotes, worker, school and student folklore. Whose text is this?

There are productive genres in folklore, in the depths of which new works can appear. Now these are ditties, sayings, city songs, anecdotes, many types of children's folklore. There are genres that are unproductive but continue to exist. So, new folk tales do not appear, but the old ones are still told. Many old songs are also sung. But the epics and historical songs in live performance almost do not sound. Whose text is this?

For thousands of years, folklore has been the only form of poetic creativity among all peoples. The folklore of each nation is unique, just like its history, customs, culture. So, epics, ditties are inherent only in Russian folklore, thoughts in Ukrainian, etc. Some genres (not only historical songs) reflect the history of a given people. The composition and form of ritual songs are different, which can be dated to the periods of the agricultural, pastoral, hunting or fishing calendar; can enter into a variety of relationships with rituals Christian, Muslim, Buddhist or other religions. Whose text is this?

Late-time folklore is the most important source for studying the psychology, worldview, and aesthetics of a particular people.

4. Ritual folklore as the most massive genre of folklore

The most extensive area of ​​folk musical creativity Ancient Rus' constitutes ritual folklore, testifying to the high artistic talent of the Russian people. The rite was a normative, strictly regulated religious act, subject to the canon that had developed over the centuries. He was born in the depths of the pagan picture of the world, the deification of the natural elements. The most ancient are calendar-ritual songs. Their content is connected with ideas about the cycle of nature, with the agricultural calendar. These songs reflect the various stages of life of peasant farmers.

They were part of the winter, spring, summer rites, which correspond turning points in the change of seasons. Performing the ritual, people believed that their spells would be heard by the mighty gods, the forces of the Sun, Water, Mother Earth and would send a good harvest, livestock offspring, a comfortable life.

One of the most ancient genres dance songs. They danced round dances for almost the whole year at Christmas time, at Maslenitsa, after Easter. Round dances-games and round dances-processions were common. Initially, round dance songs were part of agricultural rituals, but over the centuries they became independent, although the images of the work of the tiller were preserved in many of them:

And we just sowed, sowed!

Oh, Did Lado, sowed, sowed!

And we just trample, trample!

Oh, Did Lado, let's trample.

Dance songs that have survived to this day accompanied men's and women's dances. Men's personified strength and dexterity, women's tenderness, plasticity, stateliness. For many centuries, the dance tunes “Oh, you, canopy, my canopy”, “Kamarinskaya”, “Lady”, “I’m in my garden”, etc., have retained their popularity.

On the eve of Christmas and Epiphany, round dances and dances were replaced by the singing of observant songs mysterious time Christmas divination. One of the oldest subservient songs is Khlebnaya Glory, which has attracted the attention of Russian composers more than once:

A we sing this song to bread, Glory!

Let's eat bread and pay honor to bread, Glory!

Over the centuries, the musical epic begins to replenish with new themes and images. Epics are born that tell about the struggle against the Horde, about traveling to distant countries, about the emergence of the Cossacks, and popular uprisings.

The people's memory has kept many beautiful ancient songs for centuries. IN XVIII century, during the formation of professional secular genres (opera, instrumental music), folk art for the first time becomes the subject of study and creative implementation. The enlightening attitude to folklore was vividly expressed by the remarkable humanist writer A.N. Radishchev in the heartfelt lines of his “Journey from St. Petersburg to Moscow”: you will find the education of the soul of our people.” IN XIX V. Evaluation of folklore as the "education of the soul" of the Russian people became the basis of aesthetics composer school from Glinka to Rimsky-Korsakov, and herself folk song one of the sources of formation of national musical thinking 5

Conclusion

The role of folklore was especially strong during the period when mythopoetic consciousness predominated. With the advent of writing, many types of folklore developed in parallel with fiction, interacting with it, influencing it and other forms of artistic creativity and experiencing the opposite effect. Folk musical art originated long before the emergence of professional music of the Orthodox church. IN public life folklore played a much greater role in ancient Rus' than in subsequent times. The most extensive area of ​​folk musical creativity of Ancient Rus' is ritual folklore, which testifies to the high artistic talent of the Russian people. The rite was a normative, strictly regulated religious action, obeying the canon that had developed over the centuries. It was born in the depths of the pagan picture of the world, the deification of the natural elements.

In the traditional folk culture Russians lack a generalizing concept that corresponds in meaning to the Western European term "music". However, this word itself is used, but it most often denotes a musical instrument, moreover, it is mostly purchased, such as an accordion or a balalaika.

Dramatic games and performances at the beginning of the 20th century were an integral part of the festive folk life, whether it was village gatherings, religious schools, soldiers' and factory barracks, or fair booths. In later times, this experience was enriched by borrowings from professional and popular literature and democratic theater.

The formation of the most famous folk plays took place in the era of social and cultural transformations in Russia at the end of the 18th century. From that time on, popular prints and pictures appeared and were widely distributed, which were for the people both a topical "newspaper" of information and sources of knowledge. Sellers of lubok books ofeni penetrated into the most remote corners of Russia. Lubok pictures, sold since the 19th century at all fairs, were an obligatory decoration of a peasant's hut. At urban, and later rural fairs, carousels and booths were arranged, on the stage of which performances were played for fabulous and national historical themes, gradually replacing the early translated plays.

The specifics of the genre each time determined, limited the choice of repertoire, artistic means and methods of execution. The peculiarity of urban spectacular folklore partly helps to understand the widespread use of folk comedians in performances. They literally permeate the verbal fabric, they also determine to a greater extent outer shape and content of presentations.

List of used literature

1. Bakhtin M.M. Folk art and culture of the Middle Ages. M. : Yurayt 2001. 326 p.
2. Velichkina O.V. Music in the Russian folk wedding. M.: Eksmo 2003. 219 p.
3. Vertko K.A. Russian folk musical instruments..-M. : Unipress 2004. 176 p.
4. Gusev V.E Rites and ritual folklore.-M. :Phoenix 2003. 236
5. Propp V.Ya Folklore.-M. : Yurayt 2000. -221 p..

1 Propp V.Ya Folklore.-M. : Yurait 2000. p.21

2 Propp V.Ya Folklore.-M. : Yurait 2000. p.43

3 Velichkina O.V. Music in the Russian folk wedding. M.: Eksmo 2003. p.50

4 Velichkina O.V. Music in the Russian folk wedding. M.: Eksmo 2003. p.69

5 Propp V.Ya Folklore.-M. : Yurayt 2000. p.190.

Introduction

Folklore is the main means of folk pedagogy. Folk pedagogy is academic subject and the type of activity of adults in educating the younger generation, the totality and interconnection of ideas and ideas, views and opinions and beliefs, as well as the skills and techniques of the people on the development of the upbringing and education of the younger generation, reflected in folk art. This is the mentality of the nation in relation to the younger generation, and educational traditions in the family and society, and the connection and continuity of generations.

Folklore is priceless national wealth. This is a huge layer of the spiritual culture of the Belarusians, which was formed by the collective efforts of many generations over many centuries. At the present stage of national revival, it is necessary to return to what was achieved by our ancestors.

Belarusian national folklore is one of the richest in the Slavic world. It is saturated with pedagogical experience and folk wisdom. On the basis of folklore, a huge layer of ethical and pedagogical ideas was created: respect for elders, diligence, tolerance, goodwill, tolerance for other people's opinions.

Tolerance, tolerance, virtue, as traditional Christian virtues, gradually became the hallmarks of Belarusians. Moreover, they coexist with such qualities as personal dignity, purposefulness, and activity.

Folklore with educational content, household traditions, holidays, Belarusian classic literature- these are the concepts that have a huge impact on the formation of a national character. He contributes creative development children and youth in the world of epics, fairy tales, legends. Proverbs and sayings can serve as the basis for moral precepts, helping to develop thinking, logic, interest in the history and culture of the people.

So folklore is main source knowledge about the principles of education that have developed in culture different peoples, its moral, religious and mythical foundations. The figurative and symbolic nature of artistic creativity, its impact on the emotional and sensory sphere of the individual makes it the most adequate means of unobtrusiveness and at the same time effective educational impact.

Consideration of this course topic is relevant and interesting at the same time.

The educational potential of folklore is unlimited. Today our society revives the forgotten traditions of antiquity, using folk experience, creating new models of educational theories and practices.

Attention to folklore, ancient layers of culture, tradition in general, as an inexhaustible source of education and development of a person, has been especially active in the socio-pedagogical environment in recent years. This is due to the functional features of the genres of folklore, with the deep spirituality and wisdom of folk art, with the continuity of the process of transferring national culture from generation to generation.

At the beginning of the new century, there is an increased interest in national culture, ethnic processes, traditional art, and folklore. Scientists note a special growth of the historical and national consciousness each nation, explaining this by socio-psychological, political reasons.

Preservation and development of national culture, its roots is the most important task, which requires careful attitude to historical and cultural monuments, to traditional folk art. The revival of folklore folk customs, rituals and holidays, traditional arts and crafts and fine arts are actual problem modernity. Folklore, its genres, means, methods most fully fill the whole picture of folk life, give bright picture life of the people, their morality, spirituality. Folklore reveals the soul of the people, its dignity and features. From the point of view of science, folklore is a phenomenon that deserves special study and careful evaluation.

The purpose of the course work is to reveal the significance of folklore in the system of national education.

Objectives of the course work:

- to characterize the phenomenon of folklore and its educational value;

- to characterize the main genres of folklore, based on the educational potential of each;

- show practical use main folklore genres in education.

The object of this course is the multifaceted phenomenon of national folklore, and the subject is the genres of folklore and their educational potential.

Methods used in writing coursework - descriptive, comparative analysis, analysis literary sources.

folklore educational genre

1. Folklore is a means of national education

1.1 The concept and essence of folklore

The term "folklore" (translated as "folk wisdom") was first introduced by the English scientist W.J. Toms in 1846. At first, this term covered the entire spiritual (beliefs, dances, music, woodcarving, etc.), and sometimes material (housing, clothing) culture of the people. IN modern science there is no unity in the interpretation of the concept of "folklore". Sometimes it is used in its original meaning: an integral part of folk life, closely intertwined with its other elements. From the beginning of the 20th century the term is also used in a narrower, more specific meaning: verbal folk art.

Folklore (English folklore) - folk art, most often it is oral; artistic collective creative activity of the people, reflecting their life, views, ideals; created by the people and the poetry that exists among the masses (legends, songs, ditties, anecdotes, fairy tales, epics), folk music(songs, instrumental tunes and plays), theater (dramas, satirical plays, puppet theatre), dance, architecture, fine and decorative arts.

Folklore is the collective and tradition-based creativity of groups and individuals, determined by the hopes and aspirations of society, which is an adequate expression of their cultural and social identity.

According to B.N. Putilov, there are five main variants of the meanings of the concept of "folklore":

1. folklore as a combination, variety of forms of traditional culture, that is, a synonym for the concept of "traditional culture";

2. folklore as a complex of phenomena of traditional spiritual culture, realized in words, ideas, ideas, sounds, movements. In addition to the actual artistic creativity, it also covers what can be called the mentality, traditional beliefs, folk philosophy of life;

3. folklore as a phenomenon of the artistic creativity of the people;

4. folklore as a sphere of verbal art, that is, the field of oral folk art;

5. folklore as phenomena and facts of verbal spiritual culture in all their diversity.

The narrowest, but also the most stable of these definitions is the one that connects it mainly with the genres of oral folk art, that is, with verbal, verbal expression. This is indeed the most developed area of ​​folklore, which has made a huge contribution to the development of the science of literature - a direct descendant, "successor" of oral folk art, genetically associated with it.

The concept of "folklore" also means all areas of folk art, including those to which this concept is usually not applied (folk architecture, folk arts and crafts, etc.), since it reflects an indisputable fact, all types and genres of professional art have their origins in folk art, folk art.

The oldest species verbal art arose in the process of the formation of human speech in the era of the Upper Paleolithic. Verbal creativity in antiquity was closely associated with labor activity human and reflected religious, mythical, historical ideas, as well as the beginnings of scientific knowledge. Ritual actions through which primitive sought to influence the forces of nature, fate, were accompanied by the words: spells, conspiracies were pronounced, various requests or threats were addressed to the forces of nature. The art of the word was closely connected with other types of primitive art - music, dance, decorative arts. In science, this is called "primitive syncretism." Traces of it are still visible in folklore.

As mankind accumulated more and more significant life experience that needed to be passed on to the next generations, the role of verbal information increased. The separation of verbal creativity into an independent form of art is the most important step in the prehistory of folklore. Folklore was a verbal art, organically inherent in folk life. The different purpose of the works gave rise to genres, with their a variety of topics, images, style. In the most ancient period, most peoples had tribal traditions, labor and ritual songs, mythological stories, conspiracies. The decisive event that paved the line between mythology and folklore proper was the appearance of a fairy tale, the plots of which were perceived as fiction.

In ancient and medieval society, there was heroic epic. There were also legends and songs reflecting religious beliefs (for example, Russian spiritual verses). Later, historical songs appeared, depicting real historical events and heroes, such as they remained in the people's memory. With changes in the social life of society, new genres arose in Russian folklore: soldier's, coachman's, burlak's songs. The growth of industry and cities brought to life romances, anecdotes, worker, school and student folklore.

For thousands of years, folklore has been the only form of poetic creativity among all peoples. But even with the advent of writing for many centuries, up to the period of late feudalism, oral poetic creativity was widespread not only among the working people, but also among the upper strata of society: the nobility, the clergy. Arising in a certain social environment, the work could become public property.

In one's own activity, this is the most productive way to form an interest in the culture of one's native land. Thus, on the examples of several lessons with the inclusion of Chuvash in them musical folklore one can already see such an educational impact of music as the ability to involve all children (even those who do not have bright musical and stage abilities) in active creative activity: singing, playing ...

Ability, creativity. 2. To reveal the experience of the practical use of folklore in the education system Vologda region. 3. To identify a set of pedagogical conditions for the development of creative abilities of younger students through the organization of classes in folklore. 4. Develop thematic lessons and, based on their own experience, identify and justify the forms and methods of using folklore in the classroom. ...

He studies the phenomenon of patriotism in interaction with other political directions). For our work, the most important are the definitions given by explanatory and pedagogical dictionaries. 1.2 The value of folklore in patriotic education Folklore of the Russian people - an important part his national spiritual culture. Folklore is a treasure not only of folk poetry, prose and music, but also...

Performance techniques (facial expressions, gestures, voice coloring). High level expressions of emotion - full compliance with performance and appearance the mood of the work. 2.3. Methodology for the development of musical emotions in children of primary school age At school, a music lesson is an organic part of the system aesthetic education and in many respects it is focused on the moral development of the student. Development...

What is modern folklore and what does this concept include? Fairy tales, epics, legends, historical songs and much, much more - this is the heritage of the culture of our distant ancestors. Modern folklore should have a different appearance and live in new genres.

The purpose of our work is to prove that folklore exists in our time, to indicate modern folklore genres and to provide a collection of modern folklore compiled by us.

In order to look for signs of oral folk art in modern times, you need to clearly understand what kind of phenomenon it is - folklore.

Folklore is folk art, most often it is oral; artistic collective creative activity of the people, reflecting their life, views, ideals; poetry, songs created by the people and existing among the masses, as well as applied crafts, art, but these aspects will not be considered in the work.

Folk art, which originated in ancient times, is historical basis throughout the world artistic culture, source of national artistic traditions, the spokesman of the people's consciousness. Folklore works (fairy tales, legends, epics) help to recreate the characteristic features of folk speech.

Folk creativity everywhere preceded literature, and among many peoples, including ours, it continued to develop along with and alongside it after its emergence. Literature was not a simple transfer and consolidation of folklore through writing. It developed according to its own laws and developed new forms that were different from folklore ones. But its connection with folklore is obvious in all directions and channels. It is impossible to name a single literary phenomenon, the roots of which would not go into the centuries-old layers of folk art.

A distinctive feature of any work of oral folk art is variability. Since for centuries the works of folklore were transmitted orally, most folklore works have several variants.

traditional folklore, centuries old and which has come down to us, is divided into two groups - ritual and non-ritual.

Ritual folklore includes: calendar folklore (carols, Shrovetide songs, stoneflies), family folklore (family stories, lullabies, wedding songs, etc.), occasional (conspiracies, incantations, spells).

Non-ritual folklore is divided into four groups: folk drama (Petrushka theater, vet drama), poetry (chastushkas, songs), folklore of speech situations (proverbs, sayings, teasers, nicknames, curses) and prose. Folklore prose is again divided into two groups: fairy tale (fairy tale, anecdote) and non-fairy tale (legend, tradition, bylichka, story about a dream).

What is "folklore" for modern man? These are folk songs, fairy tales, proverbs, epics and other works of our ancestors, which were created and passed from mouth to mouth a very long time ago, and have come down to us only in the form of beautiful books for children or literature lessons. Modern people do not tell fairy tales to each other, do not sing songs at work, do not cry and lament at weddings. And if they compose something “for the soul”, then they immediately write it down. All works of folklore seem incredibly far from modern life. Is it so? Yes and no.

Folklore, translated from in English, means "folk wisdom, folk knowledge". Thus, folklore must exist at all times, as the embodiment of the consciousness of the people, their lives, ideas about the world. And if we do not come across traditional folklore every day, then there must be something else, close and understandable to us, something that will be called modern folklore.

Folklore is not an invariable and ossified form of folk art. Folklore is constantly in the process of development and evolution: Chastushkas can be performed to the accompaniment of modern musical instruments on modern themes, folk music can be influenced by rock music, and itself contemporary music may include elements of folklore.

Often the material that seems frivolous is "new folklore". Moreover, he lives everywhere and everywhere.

Modern folklore has taken almost nothing from the genres of classical folklore, and what it has taken has changed beyond recognition. “Almost all old oral genres- from ritual lyrics to a fairy tale,” writes Professor Sergei Neklyudov (the largest Russian folklorist, head of the Center for Semiotics and Typology of Folklore of the Russian State University for the Humanities).

The fact is that the life of a modern person is not connected with the calendar and the season, such modern world there is practically no ritual folklore, only signs are left to us.

Today, non-ritual folklore genres occupy a large place. And here, not only modified old genres (riddles, proverbs), not only relatively young forms (“street” songs, anecdotes), but also texts that are generally difficult to attribute to any particular genre. For example, urban legends (about abandoned hospitals, factories), fantastic "historical and local history essays" (about the origin of the name of the city or its parts, about geophysical and mystical anomalies, about celebrities who visited it, etc.), stories about incredible incidents, legal incidents, etc. Rumors can also be included in the concept of folklore.

Sometimes, right before our eyes, new signs and beliefs are formed - including in the most advanced and educated groups of society. Who hasn't heard of cacti supposedly "absorbing harmful radiation" from computer monitors? Moreover, this sign has a development: "not every cactus absorbs radiation, but only with star-shaped needles."

In addition to the structure of folklore itself, the structure of its distribution in society has changed. Modern folklore no longer carries the function of self-consciousness of the people as a whole. Most often, the carriers of folklore texts are not residents of certain territories, but members of some sociocultural groups. Tourists, goths, parachutists, patients of one hospital or students of one school have their own signs, legends, anecdotes, etc. Each, even the smallest group of people, barely realizing their commonality and difference from all others, immediately acquired their own folklore. Moreover, the elements of the group may change, but the folklore texts will remain.

As an example. During a campfire hike, they joke that if the girls dry their hair by the fire, the weather will be bad. The whole campaign of the girls is driven away from the fire. Once on a hike with the same travel agency, but with completely different people and even instructors a year later, you can find that the omen is alive and they believe in it. Girls are also driven away from the fire. Moreover, there is opposition: it is necessary to dry underwear, and then the weather will improve, even if one of the ladies still broke through with wet hair to the fire. Here, not only the birth of a new folklore text in a certain group of people is evident, but also its development.

The most striking and paradoxical phenomenon of modern folklore can be called network folklore. The main and universal feature of all folklore phenomena is the existence in oral form, while all network texts are, by definition, written.

However, as Anna Kostina, deputy director of the State Republican Center for Russian Folklore, notes, many of them have all the main features of folklore texts: anonymity and collective authorship, variability, traditionalism. Moreover, online texts clearly strive to "overcome writing" - hence the widespread use of emoticons (allowing to indicate intonation), and the popularity of "padon" (deliberately incorrect) spelling. Funny untitled texts are already widely circulating on the net, absolutely folklore in spirit and poetics, but incapable of living in a purely oral transmission.

Thus, in modern information society folklore not only loses a lot, but also gains something.

We found out that in contemporary folklore little remains of traditional folklore. And those genres that remained have changed almost beyond recognition. New genres are also emerging.

So, today there is no longer ritual folklore. And the reason for its disappearance is obvious: the life of modern society does not depend on the calendar, all ritual actions that are an integral part of the life of our ancestors have come to naught. Non-ritual folklore also highlights poetic genres. Here are urban romance, and courtyard songs, and ditties on modern topics, as well as such completely new genres as chants, chants and sadistic rhymes.

Prose folklore has lost fairy tales. Modern society makes do with already created works. But anecdotes and many new non-fairy genres remain: urban legends, fantastic essays, stories about incredible incidents, etc.

The folklore of speech situations has changed beyond recognition, and today it looks more like a parody. Example: "He who gets up early - he lives far from work", "Do not have one hundred percent, but have one hundred clients."

In a separate group, it is necessary to single out a completely new and unique phenomenon - network folklore. Here and "padonsky language", and network anonymous stories, and "letters of happiness" and much more.

Having done this work, we can say with confidence that folklore did not cease to exist centuries ago and did not turn into a museum exhibit. Many genres simply disappeared, those that remained changed or changed their functional purpose.

Perhaps, in a hundred or two hundred years, modern folklore texts will not be studied at literature lessons, and many of them may disappear much earlier, but, nevertheless, new folklore is a representation of a modern person about society and about the life of this society, its identity and cultural level. Remarkable for the richness of ethnographic details, the characteristic of various social groups working population of Russia mid-nineteenth century left V. V. Bervi-Flerovsky in his book “The Condition of the Working Class in Russia”. His attention to the peculiar features of the life and culture of each of these groups is found even in the very titles of individual chapters: "Worker-tramp", "Siberian farmer", "Trans-Ural worker", "Worker-prospector", "Mining worker", "Russian proletarian ". All these are different social types representing the Russian people in a particular historical setting. It is no coincidence that Bervi-Flerovsky considered it necessary to single out the characteristics of the “moral mood of the workers in the industrial provinces”, realizing that this “mood” has many specific features that distinguish it from the “moral mood”<работника на севере», а строй мыслей и чувств «земледельца на помещичьих землях» не тот, что у земледельца-переселенца в Сибири.

The era of capitalism and especially imperialism brings new significant transformations in the social structure of the people. The most important factor that has a tremendous impact on the entire course of social development, on the fate of the entire people as a whole, is the emergence of a new, most revolutionary class in the history of mankind - the working class, whose entire culture, including folklore, is a qualitatively new phenomenon. But the culture of the working class must also be studied concretely historically, in its development, its national, regional and professional characteristics must be taken into account. Within the working class itself there are different strata, different groups, differing in the level of class consciousness and cultural traditions. In this regard, the work of V. I. Ivanov “The Development of Capitalism in Russia” retains great methodological significance, which specifically examines the various conditions in which the formation of working class detachments took place in industrial centers, in the industrial south, in an atmosphere of “special life” in the Urals. .

The development of capitalist relations in the countryside is breaking up the rural commune, splitting the peasantry into two classes—small producers, some of whom are constantly being proletarianized, and the rural bourgeois class—the kulaks. The idea of ​​a single supposedly peasant culture under capitalism is a tribute to petty-bourgeois illusions and prejudices, and an undifferentiated, uncritical study of the peasant creativity of this era can only strengthen such illusions and prejudices. The social heterogeneity of the people in the conditions of the struggle of all the democratic forces of Russia against the tsarist autocracy and serf-owning remnants for political freedom was emphasized by V. I. Ivanov: "... the people fighting the autocracy consists of the bourgeoisie and the proletariat." It is known from the history of society that the social structure of the people who made the anti-feudal revolution in England, France, the Netherlands, Germany, and Italy was just as heterogeneous. It is also known that, having taken advantage of the gains of the people, the bourgeoisie, having come to power, betrays the people and itself becomes anti-people. But the fact that at a certain stage of historical development it was one of the constituent elements of the people, could not but be reflected in the nature of the folk culture of the corresponding era.

Recognition of the complex, constantly changing social structure of the people means not only that the class composition of the people is changing, but also that the relationships between classes and groups within the people are developing and changing. Of course, since the people are primarily the working and exploited masses, this determines the commonality of their class interests and views, the unity of their culture. But, recognizing the fundamental commonality of the people and seeing, first of all, the main contradiction between the exploited masses and the ruling class, as V.I. Ivanov, "demands that this word (people) does not cover up a lack of understanding of class antagonisms within the people."

Consequently, the culture and art of the people in a class society, "folk art" is class in nature, not only in the sense that it opposes the ideology of the ruling class as a whole, but also in that it is itself complex and sometimes contradictory in its nature. its class and ideological content. Our approach to folklore, therefore, involves the study of the expression in it of both the nationwide ideals and aspirations, and not all the coinciding interests and ideas of individual classes and groups that make up the people at different stages of the history of society, the study of reflection in folklore as contradictions between the whole people and the ruling class and possible contradictions “within the people”. Only such an approach is a condition for a truly scientific study of the history of folklore, the coverage of all its phenomena and understanding them, no matter how contradictory they may be, no matter how incompatible they may seem with the "ideal" ideas about folk art. Such an approach serves as a reliable guarantee both against the false romantic idealization of folklore and against the arbitrary exclusion of entire genres or works from the field of folklore, as happened more than once during the dominance of dogmatic concepts in folklore. It is important to be able to judge folklore on the basis of not speculative a priori ideas about folk art, but taking into account the real history of the masses and society.

CONTENT

INTRODUCTION
1. Oral folk art kik art of the folk word
2. Statements of great writers and educators about the role of folklore in human life
3. Classification of folklore
4. Classification of folklore by volume: small forms
5. Large shapes
6. Conclusion
7. References
APPS

INTRODUCTION

It is generally accepted that, through oral folk art, a child not only masters his native language, but also, mastering its beauty, conciseness, joins the culture of his people, receives the first ideas about it.
Folklore is a fertile and irreplaceable source of moral education for children, since it reflects all real life with evil and good, happiness and sorrow. He opens and explains to the child the life of society and nature, the world of human feelings and relationships. Promotes the development of thinking and imagination of the child, enriches his emotions, gives excellent examples of the literary language.
In order to achieve the maximum educational effect with the help of oral folk art, it is important not only that it be represented by a variety of genres, but also be included as much as possible in all the life processes of the child. For example, familiarity with lullabies will help children grow up to be balanced and benevolent people.
It is very important for a child to learn the essence of moral concepts and human values ​​from childhood. In the process of development, the child is formed as a person, acquires his own character traits, features that affect a person’s behavior in life, the child develops his own worldview.
The most important task facing our society at the present time is its spiritual, moral revival, which cannot be carried out without assimilating the cultural and historical experience of the people, created over the centuries by a huge number of generations and enshrined in the works of folk art. Even K.D.Ushinsky, putting forward the principle of nationality, said that "language is the most living, most abundant and strong bond that connects the obsolete, living and future generations of the people into one great, historically living whole" .
At an early age, it is very important to accelerate the “birth” of the first conscious words in a child. Small genres of folklore will help to increase the vocabulary, in which his attention is drawn to objects, animals, people.
With the help of small folklore, it is possible to solve almost all the tasks of the methodology for the development of speech, and along with the main methods and techniques of speech development of younger students, this material can and should be used.
The significance of folklore is very high during the adaptation period. A well-chosen, expressively told nursery rhyme helps to establish contact and evoke positive emotions.
1. Oral folk art as the art of the folk word.

It is generally accepted that folklore is oral folk art, folk art of the word, it is also called abroad - folk knowledge or folk wisdom. Folklore is called verbal art, which includes proverbs, ditties, fairy tales, legends, myths, tongue twisters, riddles, heroic epics, epics, legends, etc.
It is known that the works of oral folk art arose in ancient times, but even today we use them, often without even suspecting and not realizing it (we sing ditties, tell jokes, read fairy tales, make riddles, say sayings, sing folk songs, repeat tongue twisters and much more).
Folk tongue twisters, songs, riddles, fairy tales, proverbs are used in their speech by adults and children, growing youth and people of senile age. But few people clearly imagine how oral-poetic folk art is born, lives and exists, and even less people are aware of the value of folklore and are familiar with its history.
No one, unfortunately, will recognize the names of those distant creators who composed wonderful fairy tales, amusing riddles, folk songs, moralizing proverbs and sayings that have been living for many centuries. The only thing we can say with certainty is that the author of folklore is an ever-living and developing poet, whose name is people. It is to the people that we owe the preservation and improvement of all the folk treasures of poetry.
So, living outside of time, passing from ancestors to descendants, from one storyteller, poet, singer to another, folklore works are enriched with features of the modern worldview, new features of everyday life. In our time, already updated ancient fairy tales continue to live, and along with them there are (and always have been) new songs, anecdotes, proverbs, riddles, etc.
2. Statements of great writers about the role of folklore in human life...

Conclusion

Living outside of time, passing from ancestors to descendants, from one storyteller, poet, singer to another, folklore works are enriched with features of the modern worldview, new features of everyday life. In our time, already updated ancient fairy tales continue to live, and along with them there are (and always have been) new songs, anecdotes, stories, charms, proverbs, riddles, etc.
The living connection between literature and folklore is confirmed by the work of the best writers of all peoples. But no matter how tangible the connection between the works of writers and folk poetry in the conditions of a class society, collective and individual creativity is always distinguished by the method of creating works of art.
The presented classification is the most common among researchers. However, it should be understood that the types of Russian folklore complement each other, and sometimes do not fit into the generally accepted classification. Therefore, when studying the issue, a simplified version is most often used, where only 2 groups of genres are distinguished - ritual and non-ritual folklore.
We see that most scientists classify proverbs, sayings, riddles, and tongue twisters as minor genres of folklore, but otherwise their opinions differ.
It can be understood that, unlike small forms, the following large works belong to large forms of folklore: fairy tales, legends, epics, historical songs, lyrical songs, ballads, ditties.
BIBLIOGRAPHY

1. Anikin V.P. Textbook for universities. - 2nd ed., corrected. and add. - M .: Higher School, 2004. - 735 p.
2. Zueva T.V., Kirdan B.P. Russian folklore. Textbook for higher educational institutions - M.: Flinta: Science, 2002. - 400 p.
3. Zueva T.V., Kirdan B.P. Russian folklore, 2003, pp.141-143
4. Efremov A.L. Formation of personality in the conditions of an amateur team. - St. Petersburg, 2004. - 107 p.
5. Karpukhin I.E. Oral folk art, 2005,
6. Usova A.P. Russian folk art in kindergarten. -M.: Enlightenment, 1972. -78s.
7. Ushinsky K.D. Fav. ped. cit.: In 2 vols. - M., 1974. - T. 1. - S. 166
8. Ushinsky, K.D. Human education / K.D. Ushinsky; comp. S.F. Egorov. - M.: Karapuz, 2000. - 255 p.

Nadezhda Smolyaninova
Essay "My ideas about the meaning of folklore in modern life"

We live in a difficult perestroika time, when everyone cares about how to live a calm day. Therefore, over the years, you begin to look at many things differently, you rediscover something and reevaluate it. First of all, this refers to our past, which we know very superficially. Restore the connection of times will help folklore. It is he who tells us: how people lived, worked; reveals the spiritual world of a Russian person.

I didn't know anything about folklore, When "I met" with him at an early age, and this was facilitated by my grandmother. She was the one who told me the story "Ryaba Hen" and sang a lullaby "About the wolf". Listening to the fairy tale every day, I quickly learned it myself. She sang a lullaby to a naked doll. And only then, twenty years later, I realized that I was only one year old then. As a teenager, I heard many Russian folk songs from my grandmother, which she used to sing in the village. Her favorite was "You, garden, you, my garden". And a lot of ditties and proverbs. All this knowledge was involuntarily deposited in my head for the time being. My children were born - that's when I remembered all this good and useful things. Working for almost thirty years as an educator, I constantly turned to the Russian folk creativity: either she collected Russian folk games, or nursery rhymes, or painstakingly studied the life of people, their clothes, etc. All this was useful to me in my work.

Children, unlike adults, know how to rejoice with all their hearts. In moments of communication with them, being in a Russian hut of a kindergarten, you always want to tell a lot, show, explain, let you touch the things made by the old masters: chest and samovar, spinning wheel and poker, unsteady and embroidered blankets. Here we also dance, sing, learn and show dramatizations and skits from the Petrushka Theater. All children, without exception, are interested.

If you want to know about the importance of folklore in modern life then I can answer definitely: need it! Every child needs it, because from contact with him the little man becomes kinder, better, smarter, learns to think adequately, compare good and evil, and do good deeds.

Folklore- this is the basis of our way of life life He is like the air we breathe. This is something without which every Russian person cannot live.

The task of teachers of preschool and school institutions is to ensure that for several years (while the child is in kindergarten and school) introduce children to Russian folklore and give them knowledge, which will then be useful to them in life.

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