Traditional Folk Research Articles

主体性视角下《木兰诗》英译本“互文”修辞手法的对比分析

Originating in the Southern and Northern Dynasties of China, Mulan Poem is a traditional folk poem that has been translated into dozens of different versions. From the perspective of the translator’s subjectivity, this paper aims to explore the ways in which Xu Yuanchong and Charles Budd’s Mulan Poem deal with rhetorical devices of intertextuality. Most of Xu Yuanchong’s translations focus on one part while ignoring the other, so as to make the translation as easy as possible for the target language readers to understand. By rewriting, Charles Budd makes the characters in the original poem fuller, the scene performance more three-dimensional, which can better meet the needs of the target language readers. This study aims to supplement the research on the translation of Chinese classics, and by comparing the two translators’ treatment of rhetorical devices in translation, it can provide some reference for the subsequent research on the English translation of other Chinese cultural classics.

Melting in the Daylight: The Asrai’s emergence in modern myth

The Asrai is a nocturnal fairy popularly attributed to British folklore, most memorable for the fact that any exposure to sunlight will cause it to melt into water. Rather than developing from oral folk tradition, like most legendary creatures, the Asrai may have originated and evolved through literary sources, beginning with the poetry of the Scottish author Robert Buchanan in the 1870s. Since appearing in a folklore account of uncertain provenance in 1970, the Asrai has come into use as a fantasy creature with international spread, developing in a dialogue between print media and the Internet.

Ethnobotanical Documentation of the Uses of Wild and Cultivated Plants in the Ansanto Valley (Avellino Province, Southern Italy).

With approximately 2800 species, the Campania region has the richest vascular flora in southern Italy and the highest number of medicinal species reported in the Italian folk traditions. The study area is inserted in a wide rural landscape, still retaining a high degree of naturalness and is studied for the first time from an ethnobotanical point of view. By analyzing local traditional uses of wild plants in the Ansanto Valley area, the present study aims to contribute to the implementation of ethnobotanical knowledge concerning southern Italy. To gather ethnobotanical knowledge related to the Ansanto Valley, 69 semi-structured interviews were carried out through a snowball sampling approach, starting from locals with experience in traditional plant uses (key informants). A number of 117 plant species (96 genera and 46 families) were documented for traditional use from a total of 928 reports, of which 544 were about medicinal plants. New use reports on the utilization of plants for medicinal (5) and veterinary applications (8) in the Campania region and the whole Italian territory were outlined from our investigations. Sedum cepaea is reported as a medicinal plant for the first time in Italy and in the whole Mediterranean basin.

Distinctive Features of Traditional Singing in Sri Lanka

It is evident that Sri Lankan musicologists have mainly used the meanings of traditional folk poetry/verses and the occasions on which they are sung to categorize them. The authors of this paper attempt to introduce a classification that can be used according to the characteristics of the melody/pitches, focusing on seepada, currently only known as a poetic stanza in Sinhala folk songs. The authors explain the distinctive features of seepada identified employing yathi and the notion of ‘Cents’, a logarithmic unit used for measuring musical intervals, and reveal those characteristics, acknowledging seepada as a traditional singing style unique to Sri Lanka. Suggestions for sustaining this fading art form are presented in this article including the urgent need for action by stakeholders to preserve the identity of traditional Sinhala folk songs, music and melodies of Sri Lanka.

H. Maiboroda National Honoured Bandura Choir of Ukraine: History of Functioning and Priority Principles of Creativity

The purpose of the article is to identify the leading trends in the activity of one of the oldest professional creative teams – the H. Maiboroda National Honoured Bandura Choir of Ukraine in the context of the development of academic folk vocal and instrumental art. The research methodology is determined by general philosophical, dialectical and historical principles, systematic and comparative approaches, as well as special musicological methods for the study of bandura instruments, concert and touring activities, repertoire formation trends, and personological aspects of musical creativity. The scientific novelty of the article is a systematic analysis of the creative activity of the H. Maiboroda National Honoured Bandura Choir through the prism of academicisation of folk vocal and instrumental art, development of ensemble bandura performance, selection and optimisation of bandura instruments, formation of repertoire principles, contribution of leading directors and conductors of the band to its professional formation, cooperation with composers and soloists, and the thematic principle in organising concert and touring programmes. Conclusions. The H. Maiboroda National Honoured Bandura Choir of Ukraine is a unique collective with a rich history, accumulation and synthesis of both folk music traditions – kobzarism and academic choral traditions. More than a century of the choir's functioning has become an expression of the cultural peculiarities of the time periods of bandura creativity and performance: at the level of improving the instrumentation, involving other folk and academic instruments in banduras, selecting male voices, choosing the texture of choral singing and instrumental playing, genre and thematic directions of the repertoire, collaborating with soloists and conductors, and a wide geography of concert and touring activities. The priority directions of the repertoire of the choir are folklore samples in a cappella and vocal-instrumental representation and composer's elaboration, original works and arrangements of Ukrainian and foreign composers, covering historical, Cossack, lyrical, humorous, riflemen's songs, Shevchenko's songs, UPA songs, and modern patriotic works.
 Keywords: bandura art, folk vocal and instrumental art, collective folk and instrumental art, bandura ensemble, bandura chapel, academisation, repertoire, composers' works, concert activity.

NEPOTISM AS A PHENOMENON OF UKRAINIAN INGUOMENTALITY (BASED ON THE MATERIAL OF RITUAL SONGS)

The presented research is dedicated to the study of the tradition of nepotism in various rituals of both ritual cycles: family and calendar. Taking into account the fact that there is no single point of view among historians, cultural scientists and ethnologists on the understanding of the origins of nepotism, we included in the analysis the texts of ritual songs, in particular, christening songs, which contain information about godfathers, attitudes towards them, characterized their moral qualities and relationships between them. The purpose of the study was to analyse the texts of folk songs, which reveal the ancient folk tradition of nepotism among Ukrainians. The object of our attention was the phenomenon of nepotism, that is, the presence of them in separate rituals of the family and calendar cycle. The subject was the characteristics of godparents and the relationship between them, the attitude towards the godparents of godchildren, etc. In the process of working with the texts of ritual songs, we used the methods of induction and synthesis, descriptive and comparative methods, as well as the method of contextual and interpretive analysis of folklore texts. The etymology of the words kum and kuma confirms the information that most of the rites of the family cycle were purely female. Ethnographic materials testify to the importance and necessity of the presence of them in the christening ritual. After the christening ritual in the church, the organizers of the festive dinner could be both the parents of the newborn child and the godfather and godmother. At dinner, the main ones were the midwife and godparents, they were the ones who sang majestic songs. Taking into account the fact that the godfather and godmother were chosen for the child with the aim and the possibility of fully duplicating the duties of the biological parents in case of misfortune with the latter, in ancient times sexual relations between godfathers were not condemned, as between a real husband and wife. As a result of the research, we came to the following conclusions: the tradition of nepotism in family rites was primary; in calendar – secondary. Grooming in the broadest sense involved the establishment of family or blood relations; in a narrow way – duplication of married life in all its manifestations as a result of imitative magic, in which the ancestors believed. Godfathers were treated with great respect, even more than biological parents. Folk songs about godparents that have come down to our times record a later period when they were honoured and glorified, and intimate relationships between godparents were condemned.

The preservation of Isan folk music with digital sound technology

The preservation of Isan Folk Music is of the utmost significance for preserving the rich cultural heritage of the region and nurturing artistic innovation. Digital sound technology has emerged as a potent instrument for this endeavor, allowing for the construction of an exhaustive and diverse digital sound library. In this study, traditional Isan Folk Music instruments were meticulously recorded using the cutting-edge Logic Pro X software, capturing their nuances in volume and dynamics. The authenticity of each instrument's timbre and unique characteristics were preserved through the use of sound adjustment and editing techniques. The appropriate organization and note nomenclature within the Kontakt software contributed to the library's well-structured and user-friendly design. The process of importing the sounds of musical instruments into Kontakt was seamless, involving selection, customization, and modification, resulting in a vast repository of sounds that are available for exploration. A user-friendly interface was thoughtfully designed to enhance the user's experience exploring the captivating sounds of traditional Isan Folk Music instruments. This digital sound library stands as a testament to the preservation and celebration of Isan Folk Music, providing artists and enthusiasts alike with a resourceful outlet for artistic expression and promoting global appreciation for this distinctive musical tradition, demonstrating the important role of music in cultural preservation and human evolution.

Moral economies in the community of Norwegian folk music practices

ABSTRACT This article investigates the moral outlooks and obligations that are intertwined in the teaching and learning processes of the traditional folk music community in Norway and how moral aspects affect the development of professional identities. Theoretically, we combine the concept of a community of practice with a moral economy perspective. This allows us to see that professional folk musicians are positioned between two different moral economies, one that builds on voluntary values and gift exchange and another that builds on professional ideals of the market-based economy of the music industry. In this way, we extend existing knowledge on teaching and learning processes by specifying the moral content that is learnt by participating in the practices of the folk music community. Being socialised into the moral outlook of the Norwegian folk music community means internalising specific norms and values that create moral obligations and shape social contracts.

Phytochemical Evaluation of Different Solvent Mediated Extracts and Brine Shrimp Lethality Bioassay of Psychotria Octosulcata W. A Talbot

Plants’ bioactive chemicals have been utilized throughout human history as supplements and medicines to support the body’s natural physiological processes. When their function is discovered, many substances are added for medical uses. Herbs are known to contain a variety of organic substances. These crucial herbs are the main ingredients in many pharmaceutical and healthcare products. Traditional folk medical practices offer essential information for the extraction and creation of numerous medications and activities as well. The production of a few highly active pharmaceuticals is justified by the extraction and characterization of a variety of bioactive chemicals from green factories. This study uses quantitative analysis of ethyl acetate, ethanol, n-hexane, chloroform and aqueous extract along with established methodologies to assess the phytochemicals. Alkaloids, flavonoids, reducing sugars, proteins, amino acids, saponins, tannins, terpenoids and glycosides were discovered in the quantification and phytochemical screening results. Due to the presence of several phytochemical substances, the entire plant of Psychotria octosulcata W. A. Talbot demonstrated a diversity of medicinal potential. The cytotoxicity activity of the plant extracts was predicted using brine shrimp lethality assay (BSLA). The results showed that the shrimp in the ethanolic extract of Psychotria octosulcata W. A. Talbotare extremely hazardous in higher concentrations. Only 10 shrimps are discovered to be lethal at lowest concentrations even after 24 h. This can be due to the presence of bioactive substances.

A LETTER FROM SPECIAL EDITION EDITOR IN CHIEF - DR. CATHERINE HARPER

The contributors to this special issue consider how urban, rural, local, and global communications, experimental and innovative media used alongside indigenous knowledge and folkloric craft practices, respect for the disparity of human identity, heritage, tradition, and culture, and the importance of documenting, preserving, and protecting, and enhancing creativity and cultural diversity is essential for our collective future. They presented their research at the Woxsen and Banaras Hindu Universities’ international conference ‘Cultural Diversity for Sustainable Development in Art and Design’ in June 2023.The context of their work is the sophisticated networks across nations that link product ideation, production, consumption, post-consumption management, and policy in highly complex chains. These chains see wealth move upwards, often at the expense of those lower in the chain, those nearer to the making of the products, arguably those with the greatest creative talent and technical skill. In an inverted triangle of development, the advancement of economies is often at the expense of the sustenance of communities, resources, histories, and individual humans.Radical, and in some cases painful, adjustments to how we live are no longer ‘design decisions’ or ‘sustainable choices’. While we have considered for some time that perhaps we need to slow down, take time to breath, consume less, and cease striving, we have not yet come collectively and universally to understanding that advancement is not always positive. We have not yet concluded that we are operating an obsolete and unsustainable business model, and we have not yet seen holistically that thinking in terms of a smaller Earth is conceivably our only solution.These papers challenge us to think about why humans first created, so that their ‘things’ were not only functional and utilitarian. Communities from distinct geographic regions across the world developed decorative, expressive, ritualised, secular, and sacred objects from early in human development. Individuals sustained themselves, their communities, their beliefs, and their environments by applying their creative imaginations to their tools, coverings, shelters, surroundings, this growing rapidly in sophistication, purpose and embeddedness as human societies and cultures evolved.Our ancestors preserved cultural diversity without even thinking of it, both in their material surroundings and civilisations, but also through storytelling that illuminated their spirit world and imaginations. They gave us the myths and legends, superstitions and belief systems, ideologies and moralities that persist into our folk traditions, societal customs, disparate identities, and artisan-based cultures today. This excellent Special Issue resists a homogenised globalist culture that erases the diversity nourishing vital philosophical, intellectual, instinctual, or imaginary concepts that make up the immaterial and intangible aspects of sustainable development that we so need to protect.

Ritual use of rosa de borracho (Clinopodium macrostemum (Moc. & Sessé ex Benth.) Kuntze, Lamiaceae) in Oaxaca

Abstract. Calvo-Díaz DY, Aguilar-Hernández L, Jiménez-Noriega MS, Torres-Montúfar A. 2023. Ritual use of rosa de borracho (Clinopodium macrostemum (Moc. & Sessé ex Benth.) Kuntze, Lamiaceae) in Oaxaca. Biodiversitas 24: 5105-5112. Plants play a vital role in the rich tapestry of Mexican culture, serving as medicine, food, clothing, rituals, and construction. Oaxaca is known for its abundance of bio- and cultural diversity, and as such, is home to numerous versatile and beneficial plant species alongside many traditional cultural festivals, including the famous Guelaguetza at the end of every July. Many plants have deep cultural and spiritual significance, and their traditional uses in ceremonies, rituals, and medicine have been passed down through generations. Here, we have studied the ceremonial use of rosa de borracho, or poleo (Clinopodium macrostemum (Moc. & Sessé ex Benth.) Kuntze), in two communities of Oaxaca: Ocotlán de Morelos and Villa Sola de Vega. Semi-structured interviews were conducted with 40 community members to acquire valuable and relevant information about this plant and its importance in these communities. In Villa Sola de Vega, where residents are known as soltecos, the rosa de borracho is an essential element of Soltecan wedding ceremonies, which includes dancing Chilenas (traditional folk music) such as the Jarabe de la Rosa (a dance called syrup of the rose). In this particular dance, the Rosa de Borracho is the show's star, and important guests such as the godparents and cooks are gifted handwoven crowns to wear and bundles of the plant to carry. In Ocotlán, the rosa de borracho is used to adorn baskets and other artifacts for a ceremony called La Llevada del Guajolote, and is also gifted to everyone during the festivities. The same plant is also used on a procession before Christmas and New Year's Eve, wherein pilgrims known as roseros journey to the mountain searching for the plant for use in the day’s celebration. In this study, we have documented and described the ritual use of this plant and its cultural significance to these communities. In conclusion, rosa de borracho carries various symbolic meanings and is often included in sacred offerings to deities or spirits or in ceremonies to adorn altars, decorate ritual spaces, and create intricate floral arrangements, all of which lend it cultural significance in Oaxaca stemming from these ritual practices.

The evolution of the imaginative and plastic concept of creativity by V. Prykhodko in the context of socio-cultural transformations of the second half of the 1980s to the 2000s

The exploration of Vyacheslav Prykhodko's creative legacy within the context of regional and national artistic processes from the second half of the 20th to the early 21st century prompts the identification of leading artistic tendencies and the analysis of the master's creative issues. This study aims to uncover aspects of the dialogue with tradition that reveal the distinctiveness and representativeness of the artist's oeuvre. In the period of 1980-2000, V. Prykhodko's creative work witnessed the formation of an authorial imaginative and plastic concept characterized by the elevation of ordinary phenomena and processes to symbols and metaphors of life. It involved a departure from naturalistic-mimetic approaches to a transition towards generalized-conditional, imaginative-symbolic perception and reproduction. The construction of artistic imagery was guided by the principles of harmony as an aesthetic category and the foundation of worldview. This concept entailed the fusion of the rationality of the creative method and the structural integrity of pictorial representation with poeticism, color expression, and the dynamics of planes, lines, and shapes. Factors contributing to V. Prykhodko's creative evolution included the vibrant artistic life of Uzhhorod and informal creative communication, as well as his passion for music, theater, world literature, and exposure to information about global artistic trends. The artist's stylistic exploration was significantly influenced by modernist elements in Transcarpathian visual arts synergized with the decorative aspects of folk artistic traditions. Within the realm of Transcarpathian painting, V. Prykhodko's work belongs to the "innovative pole" of Transcarpathian visual arts and its "experimental direction," alongside other representatives such as E. Kremnytska, F. Seman, and P. Bedzir. A distinctive feature of the artist's body of work within this direction is the strong foundation of academic art education and the assertion of his creative independence through the exclusive selection of expressive means and the stylistic approach in his works.

(Shabbat) Angels in America: Israel Goldfarb, “Shalom Aleichem,” and the Search for Nusach America

Contemporary American synagogue congregations love to sing a flowing melody for the hymn “Shalom Aleichem” to welcome the Sabbath on Friday evenings. The song has entered the Jewish folk tradition, and speaks to singers of home and nostalgia. However, the song’s history and construction reveal both its genesis in an American Jewish community in the midst of a significant transformation of nation and practice and the crucial role that it played in bringing that community together and forming the basis of a truly American style of Jewish worship. I approach this song on two fronts. My primary approach is historical, delving into the immediate circumstances under which Rabbi Israel Goldfarb composed the song in May of 1918, and the broader forces affecting Jewish religious life in the United States in the early years of the twentieth century. I address changes taking place in American Jewish life, generation gaps between American Jews, and the rise of the Jewish education movement, and I demonstrate how Goldfarb’s song reached a significant audience of adults and children alike and helped to address these transitional challenges in Jewish life. My secondary approach is socio-cultural. I ask why this particular one of the many melodies that Goldfarb composed caught the American Jewish imagination and became a foundation of contemporary American synagogue song. Its mode and its structure reveal Goldfarb’s compositional skill at combining both Jewish and Western elements into a flexible song that children could learn and pass on to their children, creating a folk song through generations of use. Taken together, these approaches demonstrate how a four-stanza hymn could pave the way for the development of an American Jewish soundscape.

Brazil: Roots of Popular Culture (experience of interpretations)

The roots of Brazilian folk culture have different forms, structure and history. These roots have been formed over a long period, they have intertwined and influenced one another. Authentic cultures (Indian tribes) and «newcomers» (African and European culture) have been interacting with one another in complex socio-political realities. Together these cultures have created a vivid aesthetic image of the country. The aesthetic principle is most clearly expressed in folklore, the forms of which are diverse and multifaceted. The culture of the people is dynamic; it speaks through folklore in a variety of verbal and non-verbal languages: plastic art, music, dance, folk crafts, national costumes, works of the verbal genre (fairy tales, epics, legends, myths, etc.). Folk culture defines the identity of society, it is reflected in the high aesthetics of professional visual art, music, literature and gradually enters into mass culture and show business. Modernism, the art trend of the early 20th century, became a vivid reflection of the folk features of Brazilian culture. Over time, the tendency to rely on folk national culture has intensified, affecting all aspects of society — from mass culture to social policy. The cultural construction of society in close interaction and cooperation with the folk tradition, the consolidation and renewal of tradition ultimately determine the mentality of the nation, the stability of its existence and self-preservation. The study of Brazilian folk culture opens up new horizons for those who yearn to understand the world of diversity and the world of beauty. The coexistence in a single space of the people of many traditions and aesthetic images that do not oppose, but complement each other, inspires historical optimism which is «colored» by our experience of interpreting the culture of Brazil.

The generalized dice similarity measures for comprehensive evaluation of graphic design effects based on color psychology with t-spherical fuzzy sets

Traditional Chinese art is vast and profound, with various colors having rich meanings. The combination of colors can vividly and intuitively represent various characteristics of things. Fully reflecting the characteristics of traditional Chinese folk art in graphic design can achieve extremely strong expressive effects. In current graphic design, the artistic colors of traditional Chinese folk art have not yet been fully displayed, and there is a lack of understanding of the profound connotation of traditional Chinese art. The graphic design industry has a very broad development space. The comprehensive evaluation of graphic design effects based on color psychology is a classical multiple attribute group decision making (MAGDM) problems. In this work, we shall present some novel Dice similarity measures (DSM) of T-spherical fuzzy sets(T-SFSs) and the generalized Dice similarity measures (GDSM) of and indicates that the DSM and asymmetric measures (projection measures) are the special cases of the GDSM in some parameter values. Then, we propose the GDSM-based MAGDM models with T-SFSs. Then, we apply the GDSMs between T-SFSs to MAGDM. Finally, an illustrative example for comprehensive evaluation of graphic design effects based on color psychology is given to demonstrate the efficiency of the GDSMs. The main contributions of this paper are summarized: (1) some novel Dice similarity measures (DSM) and the generalized Dice similarity measures (GDSMs) of T-spherical fuzzy sets(T-SFSs) are proposed; (2) The weighted Dice similarity measures (WDSM) and the weighted generalized Dice similarity measures (WGDSMs) of T-spherical fuzzy sets(T-SFSs) are proposed to solve the MAGDM; (3) an illustrative example for comprehensive evaluation of graphic design effects based on color psychology is given to demonstrate the efficiency of the WGDSM; (4) Some comparative analysis are used to show the effectiveness of the proposed Dice similarity measures.

From traditional flower fair to “degenerate temple” to modern exposition: The local politics and spatial improvement of Qingyang Palace in Chengdu (1906–1937)

Prior to the Sino-Japanese War of 1894–1895, arguments for transforming cities’ traditional saihui (賽會, ‘religious processions’) into modern expositions frequently appeared in newspapers, and in 1906, the inland city of Chengdu took the lead in putting this into practice. Unlike expositions in other cities, which were either held at factories or in parks, or put on exhibitions at newly constructed venues, the Chengdu Industrial Exposition was reborn from the Qingyang Palace (青羊宫 Qingyang gong) Flower Fair, which had a long-standing history. Officials began holding industrial expositions at the former site of the Qingyang Palace Flower Fair during the period of the New Policy of the late Qing Dynasty, to revitalize industry and commerce and furthermore in the hopes of achieving the objectives of transforming folk customs and improving society. During the Republican period, the Sichuanese government was controlled by warlords, and the industrial exposition was suspended and reinstated several times, but due to the inertia of folk tradition, the flower fairs were consistently held as they had been before. As a space for temporary public exhibitions in the early modern era, the Qingyang Palace Industrial Exposition not only became a field for the exhibition of and chess games between different wills to power due to the concentration of the city’s principal capital forces and agents of power, but furthermore became a focal point for social relationships due to attracting social commentary and a high degree of attention from the media through widespread participation by merchants. From the late Qing Dynasty to the Republic, in the course of officials holding industrial expositions at and promoting the spatial improvement of Qingyang Palace and Erxian Temple, the pulsation of early modern trends of thought, treachery in local politics, the deep roots of traditional customs, and multilateral chess games between social forces surged, engraving the difficult process of the modern metamorphosis, reshaping and growth of a traditional inland city.

‘Once upon a Midsommar…’: Nature, nationalism and the Swedish folkloresque

This article examines Ari folk horror film, Midsommar, in the context of Swedish ethnonationalist ideologies and their connections to environmental and cultural preservation. Reading the film through Michael Dylan Foster and Jeffrey A. Tolbert’s concept of the folkloresque, I draw correlations between its structural, fairy tale framing and manipulation of folkloric imagery in order to interrogate its deliberate representations of cultural and historical inauthenticity. Further, this article analyses Midsommar’s transnational milieu and its narrative emphasis on the ambiguous traditions and rituals of the rural Swedish commune, the Hårga, to argue that the film gestures towards a nostalgic appropriation of folkloric culture which highlights the ethnonationalist, anti-immigrant agenda of the far-right in Sweden. Midsommar thus provides a generative space for illuminating the complex relationship between folk tradition, nature and ethnic homogeneity at the intersections of environmental preservation and Scandinavian/American politics.

Traditional folk art combined with modern art education to alleviate college students’ anxiety

BackgroundThe problem of anxiety disorders among college students is becoming more and more prominent at present. The study aims to explore the influence of traditional folk art combined with modern art teaching on alleviating college students’ anxiety disorders.Subjects and Methods 100 college students in a university were selected as the subjects of the study, and they were divided into an experimental group and a control group, with 50 students in each group. The experimental group received traditional folk art combined with modern art teaching, and the control group continued traditional teaching. SPSS22.0 software was utilized for data processing, and methods such as anxiety scores and significance tests were applied to assess the teaching effect.Results The study utilized the Hamilton Anxiety Scale for scoring and found that the anxiety scores of the study participants in the control and experimental groups ranged from 15-23. The study found that the anxiety scores of the college students in the experimental group were significantly lower than those of the control group (M=3.45 for the experimental group and M=4.92 for the control group, P<0.001). The results of the study show that traditional folk art combined with modern art teaching has a significant effect on relieving college students’ anxiety.ConclusionsTraditional folk art combined with modern art teaching has achieved a positive impact on alleviating college students’ anxiety disorders, which can improve their mental health and promote their personal development.

ФОЛЬКЛОРНОЕ НАЧАЛО СТИХОТВОРЕНИЯ «НЕОБЫЧАЙНОЕ ПРИКЛЮЧЕНИЕ, БЫВШЕЕ С ВЛАДИМИРОМ МАЯКОВСКИМ ЛЕТОМ НА ДАЧЕ»: ПОИСК «ИНОГО ЦАРСТВА»

The article raises the question of the folklorism of V.V. Mayakovsky, whose artistic heritage in literary criticism from these positions has been little studied. The latent forms of penetration of the folk tradition into the poetics of the author of the beginning of the 20th century are considered. Folklore in the study is understood comprehensively, culturally and philologically expanded, taking into account the forms of myth, ritual, that is pre-genre formations. The material for the hermeneutic analysis was the poem "An extraordinary adventure that happened with Vladimir Mayakovsky in the summer at the dacha", which is especially distinguished by literary critics in the poet's work. Much attention is paid to the problem of national topics, the archetype of the World Mountain in the verbal culture of modernism, whose representatives were acutely aware of the problem of feeling space and time, "top" and "bottom", "day" and "night". The folklore commentary on the poem also allows rethinking many issues of the poet's work from ontological and metaphysical positions. This poem has a great cultural potential for the study of solar images in the Russian poetry of the Silver Age, artistic anthropocosmism, which was associated with the philosophy of cosmism. The results of the work can also be used in teaching courses on Russian literature of the XX century, folklore, philosophy.

Formation Practices for the Russian People’s Ethno-Cultural Identity: from the Emergence of the Russian Tradition and Statehood to Modern Falsifications

The historical approach to the formation of the origin concept for the Old Russian state and the ethno-cultural history of the Russian people allows for fervent discussions. They can be resolved by a culturological approach and the understanding of the cultureforming role of Orthodoxy as a key factor in the formation, preservation and transmission of the folk tradition through many centuries. Since the very emergence of the Russian land, the Orthodox tradition has been preserving the continuous transmission of values, worldview, and attitudes to many phenomena of the cultural life of the Russian population. However, after Peter the Great, and even more after the Soviet period marked by controlled destruction and substitution of the tradition, one can talk about the crisis of the Russian identity and the search for the living tradition and its place in contemporary life. In modern Russia, three approaches to the replication of the folk tradition can be observed. The fi rst one is conditioned by the activity of cultural institutions and dates back to the Soviet period of the Russian tradition destruction and the formation of the new Soviet people’s identity. The second one is implemented through the activity of the youth folklore movement of “practicing folklorists” who are guided by the materials of folklorist and ethnographic research and fi eld data. The third one is represented by an alternative identity formed through the practices of neo-pagan associations and the activity of organizers of holidays, festivities, and seminars who share this worldview. The latter approach is characterized by the rejection of the Christian bases and content of folk festivals that have survived till present in the research data. Maslenitsa and Kupala have always been Christian holidays and have been perceived as such among those with a Christian worldview. However, representatives of the third approach deny this, going to obvious falsifi cations and forgeries. Their worldview leads not only to the distortion of the value bases of Russian ethno-cultural tradition, but also to an anti-state ideology.