Folklore Genres Research Articles

Национальные традиции в фольклоре разных народов России: особенности изучения в начальной школе

The article discusses the problem of studying folklore of different peoples of Russia by primary school students. The article presents variants of tasks that orient students to analytical work with small genres of folklore, study of the features of the language of proverbs and sayings as a means of displaying the national way of thinking, features, life, customs, beliefs. Practical tasks allow to expand the horizons of the primary schoolchildren: to visualize the geographical location of the people, the connection of their way of life with nature, way of thinking, traditions, life values. Each task is supplemented with a methodological commentary for the teacher.

Метод погружения в эпическую ситуацию как средство формирования и коррекции ценностной ориентации подростков

Russian heroic folk sagas (byliny) have been a central element of Folk Education as a distinct genre of folklore that actively shaped and refined the listener’s value system, influencing their perception of the world and their moral compass. The folk epic storytelling was a multifaceted cultural practice, incorporating pedagogical and psychotherapeutic functions.This practice promoted Christian teachings, instilled social norms, fostered a sense of national pride, emphasized the importance of family and tradition, and encouraged care for the less fortunate, including widows, orphans, and the impoverished. Based on an entertaining form of students’ acquaintance with important events of Russian history, heroes and traditions, an epic situation immersion method confronts the task of moral choice, which they solve together with the epic heroes. This method contributes to students’ cognitive abilities, imaginative development, moral character, and appreciation for their country and ancestors.

Ethnolinguistics and Folklore Poetics. 4. «A Mother Bewitches her Son into a Snake»

The article is devoted to a comprehensive analysis of the Bulgarian folk songs «Mother turns her son into a snake», which are distinguished by a unique mythological plot and describe the transformation of a person due to the magic activity of the mother into a hybrid creature – half-man, half-snake. The study focuses on the structure of the song and the combination of repeated and unique content blocks. A special place is given to mythological aspects – the description of gypsies as carriers of magical knowledge, herbs that separate spouses, preparation of a witch’s potion, the characteristics of how a demonological character is presented in the songs and in other folklore genres. The explicit didacticism of the song is shown – using the example of reprisals against the mother, the ideas are conveyed that slander, hatred in the family, and black magic are punishable. The conclusion contains the main ideas of the depiction of ethnographic reality with folklore poetic means.

THE IMAGE OF FLOWER AND NIGHTINGALE IN UZBEK FOLKLORE

Folklore is a mirror that shows the oral literature of a certain nation. In this mirror, folklore shows itself with different genres. Epics, fairy tales, songs, askiyas, proverbs, riddles and parables are among them. One of the most used images in these genres is a flower and a nightingale. In this article, we will analyze the fact that these images are used sufficiently in many genres of folklore. In particular, their role in folk epics (Alpomish and Kuntug'mish), songs, proverbs, riddles, askiya and fairy tales has been studied.

GIRLISH SONGS OF THE YOUTH OF THE INHABITANTS OF THE TIMES OF 1900 - 1927 OF THE DARAVATSKY VILLAGE COUNCIL OF KOZHUKHOV VOLOST IN THE PRACTICE OF COMMUNICATIVE AND SPEECH PORTRAITURE THE LINGUISTIC PERSONALITY OF A NATIVE OF THE NORTHERN VILLAGE

The article implements the problems of dialect linguistic personology, it solves the problem of communicative and speech portrayal of the linguistic personality of Vasily Ardalyonovich Morozov (1904-1980) on the basis of a linguistic analysis of his handwritten archive and memories of his children and grandchildren. Considerable attention is paid in this article to the handwritten list of Vologda ditties - one of the significant components of the studied manuscript archive, which is important both for studying the traditional spiritual culture of the Russian North and for describing the cultural life of the Morozov family in rural and urban everyday life. Based on the study of the handwritten list of ditties, the phonetic, lexical and grammatical features of dialect origin characteristic of the author of the manuscript, reflected in written speech, characterizing V.A. Morozov as a native speaker of the northeastern (Vologda) dialects of the northern dialect of the Russian language, are revealed. The list of folk songs represents the distinctive features of the author's graphics and spelling, on the one hand, showing the utmost accuracy in presenting the factual component of the manuscript, and on the other, allowing numerous spelling and punctuation errors, the presence of which reveals a clear lack of education of the informant. The article also comments on the motifs and images of folk ditties closest to V.A. Morozov. This is the motif of playing the accordion, mentioning the attributes of military service, as well as items of men's clothing fashionable in the first quarter of the twentieth century. The identification of motives and images important to the informant became possible by comparing the texts written by his hand with the recordings of texts of this folklore genre performed by his wife A.N. Morozova.

MORAL LESSONS AND VALUES IN UZBEK AND KOREAN FAIRY TALES: AN INSIGHT INTO CULTURAL BELIEFS

In recent years, Uzbek folklore has become increasingly interested in comparing it with the folklore of other peoples and nationalities. Comparing the features of a number of genres created at the stage of the nation’s literary development - fairy tales, epics, ritual folklore, this article is of great importance in establishing literary cooperation in the era of the Third Renaissance.The common features of Uzbek and Korean folklore genres are the presence of folk heroes and legends, who express courage and resourcefulness, and often go on epic journeys or quests. These heroes are revered in their cultures for their extraordinary qualities and deeds as symbols of strength and virtue

Pre-Christian Eschatological Motifs in the Ukrainian Dumas and Spiritual Verses and Their Germanic Parallels

The Ukrainian folklore genres least studied in a mythological context are the epic songs: dumas and spiritual verses. In particular, it is possible to find concepts of the beginning and the end of the world in these works. In many aspects, they are close to the Old Germanic ones, especially concerning the mythological connection between natural cataclysms and the breaking of family ties, as shown by several archaic examples. This article deals with these cosmogonic and eschatological notions in Ukrainian and Scandinavian epics. The author points to a similar outlook in both epic traditions and a similarity in emotional and evaluative identifications of events. These parallels must be owed to Germano-Slavic contacts in the early Middle Ages.

Russian and English folk riddles about animals

Folk riddles have recently become a fairly popular object of linguistic and linguocultural research due to their complex structural and semantic organization, which allows analyzing this folklore genre in semantic, structural and functional aspects. This study explores the description features of wild and domestic animals within the framework of an enigmatic text. The object of our research is to identify the presence of linguistic and cultural connotations in the description of wild and domestic animals and to trace the degree of taboo in using animal names in folk riddles. The tasks set are due to the fact that an archaic person’s life was largely connected with agricultural activities carried out with the help of livestock, as well as the need to protect themselves from wild animals attacking livestock. During the analysis of the linguistic material, we found that Russian and English folk riddles about animals were characterized either by omission of the subject of action in the descriptive part of the riddle, or the introduction of occasional vocabulary, which is largely consistent with the laws of taboo. In the Russian folk riddle, an occasional noun of this type is often introduced for the name of an animal: stuchikha (someone knocking), gremikha (someone rattling), with a rather transparent semantics that actualizes the initial action: (stuchat' – stuchikha, gremet' – gremikha). In the corpus of English folk riddles, we have noted a conversion transition (the verb lick transforms into the noun lick), as a result of which the noun also develops the meaning of the subject of a given action. In addition, we found the absence of a linguocognitive component in the description of animals, since the description of the denotation is mainly based on the actualization of a typical feature (the ability to bark, the presence of a certain number of hooves, horns, the ability to hunt animals).

Wild goose in the traditional worldview of the Buryats

The purpose of this study is to identify the image of the wild goose in the traditional worldview of the Buryats. The timeframe of this research covers the end of the 19th — middle of the 20th c., the period when the Buryats overall retained their set of mythological views. Geographically, the survey is focused on south-eastern Siberia, which includes ethnic Buryatia. The research is based on a variety of sources, including folklore, linguistic and ethnographic information. The structural-semiotic method has been chosen as the main technique of study, which allows determination of the symbolism that conveys the ideas about wild goose. It has been revealed that in minor genres of the Buryat folklore, the feminine nature of the wild goose is emphasized, and their anthroponymy mani-fests its gender differences. It has been found that, for the Buryats, the individual biological and behavioral char-acteristics of the goose were of a particular importance. It has also been determined that natural rhythms (the start of spring and the middle of autumn) were associated with the wild goose, as well as the first snowfall. At the same time, significant importance was attributed to its cry. Its image symbolized long distances and time. The motive of shapeshifting was also linked to it. This bird, both in shamanic and Buddhist traditions, was considered to be an assistant to the deity (the supreme celestial being among shamanists, and the White Elder among Bud-dhists). In the Buryat epics, it was endowed with a negative connotation. According to the traditional perceptions of some of the Cis-Baikal Buryats, the wild goose had a sacred status, and the interchangeability of images of a goose and another sacred bird — a swan — has been noted. The goose (precisely, the female goose) acted as a totem for a number of Cis-Baikal kins.

Фольклор челябинских башкир: История и перспективы изучения

The article is devoted to folklore and traditional customs of the Chelyabinsk Bashkirs. The purpose of the study is to show the degree of knowledge of Bashkir folklore in this area. Archival data, expedition materials, publications of folklorists devoted to folk art and culture of the population of this region are used as sources, unique features of various folklore genres are highlighted. Many of the texts recorded by folklorists in this region have already been published in the volumes “Bashkir Folk Art”, at the same time there are many unpublished ones. The folklore of the Bashkirs of the Chelyabinsk region today is represented mainly by the following genres: rituals, religious and mystical legends, songs, lament songs, munajats, spiritual poems, proverbs, sayings, beliefs, omens, prohibitions, ditties. Calendar holidays such as Rook porridge, goose help, as well as sabantui, held in honor of the end of sowing, have been preserved in the villages. Of the religious rites, the most stable are Ayat ukutyu (reading the ayats of the Quran), Nikah ukutyu (reading nikah), Korban bayram (Feast of Sacrifice), and the performance of funeral rites in accordance with the canons of Islam. One of the peculiar rituals of the local Bashkirs is the holiday “Aumala bayramy” (Aumal Holiday). Of the family rituals, the wedding ceremony is most different, which has many features. For example, holding a kuresh fight during a wedding is associated with the ancient custom of choosing a groom. As it is known from Bashkir epics and fairy tales, in ancient times, a girl chose the husband of the one who won the kuresh fight. As evidenced by the materials of recent expeditions, informants well remember toponymic legends, anecdotes-kulyamas, riddles, proverbs, sayings, beliefs, omens and prohibitions. However, genres such as fairy tales, historical legends and legends, baits, and games have become less common. The author concludes that the folklore of three districts has been studied more systematically: Argayashsky, Kunashaksky and Sosnovsky, therefore there is a need to organize scientific expeditions to collect folklore and ethnographic material to the rest of the region, where Bashkirs live compactly.

On the Structural and Semantic Features of Nanai Songs of the Agbaba Historical Region

The purpose of the research is to study the archaic features of the Nanai musical language, which is one of the genres of authentic musical folklore of the Agbaba historical region. Agbaba is one of the ethno-cultural zones of Azerbaijan, distinguished by its diverse genre system of musical folklore. It should be noted that the Agbaba region is now part of the Republic of Armenia and has been called Amasia since 1930. Historically, this region was inhabited by ancient Turkic tribes, which played a significant role in the ethnogenesis of Azerbaijan, and until the end of the twentieth century was famous for its cultural and ethnographic traditions. Research methodology. The article analyses from the semiotic point of view the samples of one of the genres of authentic folklore of the region – Nanai. According to the author, the use of semiotic methods of analysis can help to identify archetypal patterns of samples of the Nanai genre. Based on the analysis of the fretting and metro-rhythmic features of the musical language, the general typological model of the studied genre is determined. The scientific novelty of the research is that for the first time in ethnomusicology, the semantic analysis of samples of the Nanai genre, which was an integral part of the ceremonial culture of ancient Azerbaijanis, is carried out in this article. Conclusions. Based on the collected musical and ethnographic material and the analysis, it was concluded that the peculiarities of the Nanai musical language played an important role in the semantic content of various rites, distinguished by their syncretic nature. Notably, signs of syncretism are also manifested in the peculiarities of the musical language of Nanai samples that have survived to this day. For example, some kinetic musical signs testify to the applied function of Nanai samples. This fact eloquently testifies to the fact that the Nanai genre is of considerable interest from the point of view of modern ethnomusicology.

RITE OF DEDICATION OF AN ANIMAL TO THE SACRED MOUNTAINS “ЫЙЫК” IN THE ALTAI-KYRGYZ TRADITION

The article analyzes the ritual folklore of the Turkic-Mongolian peoples related to the ancient ritual of dedicating an animal to sacred places. With an integrated approach to the main characteristics of this ritual, the role of folklore genres is considered, while the structure of the ritual itself is clarified using the material of Altai folklore in comparison with existing examples from the traditions of the Turkic-Mongolian peoples, including Kyrgyz ritual practices.The study of this issue seems relevant based on the material of Altai ritual folklore from the point of view of their comparative analysis with the ritual materials of the Turkic-Mongolian peoples.

Folklore Elements in the Poetry of Ekaterina Kletnovaya

The article is devoted to one of the characteristic features of the poetic works of E.N. Kletnova (1869–1938), whose literary work is still not known to the general public and has not previously become the subject of a comprehensive philological study. Poems by E.N. Kletnova are filled with various folklore elements − syntactic constructions and language formulas, lexical means of expression, compositional elements (introduction to a song and song), epic images. The author especially actively resorts to folklore stylization when creating poems on general cultural and political topics, trying to give them a folk-epic sound. In the course of the study, the following methods were used: a comparative-stylistic method to establish the similarities and
 differences in the language design of E.N. Kletnova and folklore genres; a structural method for analyzing the specific structure of the text; a conceptual analysis to reveal the picture of the world of the author's linguistic personality; a descriptive method.
 It was concluded that folklore elements in the poetry of E.N. Kletnova, firstly, are a reflection of her scientific, primarily ethnographic studies; secondly, they are used to create a special native Russian flavor in the poetic disclosure of vital social topics;
 thirdly, they express the interest in mythological antiquities and folklore tradition characteristic of the Silver Age.

THE PROBLEM OF FUNCTIONAL GENRE IN AZERBAIJANI FOLKLORE STUDIES

In this article the problem of functional genre, which is an important issue in folklore studies, is studied scientifically and theoretically. The formation of a new genre as a result of the process of deriving a genre from a genre has been brought to attention on the basis of specific texts. These genres are called functional genres and it has been considered on the basis of which specifics functionalize the genres such as “bayati”, “gerayli”, “goshma”, “temsil” and fairy tales. Thus, it was initially noted that the genre of “bayati” (quatrain) is not a specific genre, like many other genres, but, in fact, a literary formula. Because many genres are formed on the basis of the genre “bayati”. Among them are quatrains, lullabies, folk songs, ceremonial songs, elegy and other folklore genres are studied in the article and brought to the attention, due to this functionality, even before it was also considered that it was called a literary kind by A. Abid. In particular, it has been observed that the genres created on the basis of “bayati” are widely included in the ceremonial folklore and from the genres of “bayati” forms created in this direction such as wishes, lullabies, Novruz songs, beliefs, occasions, religious holidays, laments, etc. have been looked through. As a functional genre “garayli” like the genre “bayati” has been put forward as a new problem in theoretical and methodological research and garayli, folk songs and important parts of epics, which appeared on the basis of the genre garayli can serve as an example of it as the main genre component. In the article the genre “goshma” is also studied as a functional genre. So, on the basis of this genre “goshma”, “tajnis”, the verse part of epics, “ustadname”, “vujudname”, “gifilbend”, “baghlama” and other genres were formed. Fables have also been brought to the attention as a functional genre, such as representation derived from this genre, allegorical narrative, examples that arise in written and oral literature, etc. can be examples for it. At the same time the representation is manifested both in fairy tales and the fairy tale itself has spawned many genres from itself. The genres of fairy tales, garavelli, anecdotes, jokes and other genres have been reviewed. The theoretical problem proposed in the study is rich in important innovations for the scientific community.

The Mouse in the Traditional Worldview of the Buryats

Purpose. The aim of the study is to isolate the image of a mouse in the traditional worldview of the buryats.Results. In the first part of the study, the mouse is characterized on the basis of data from ethnography, vocabulary, small genres of folklore and anthroponymy of the buryats, with the involvement of information from zoology, botany and medicine. It has been established that in buryat folklore, a mouse meant a house mouse and a field mouse. The field mouse had a utilitarian meaning: its storerooms served as a source of food for the buryats, hence its image in the riddle as a rich man, owner of cattle and horses. It was found out that the buryats associated with the mouse some character traits and physical characteristics of a person (roguishness, thievery, sweating, etc.). The mouse was synonymous with everything insignificant. It was determined that the mouse image was included in the buryats' ideas about time, associated with some diseases. In the second part of the work, the image of a mouse in the mythological views of the buryats is reconstructed. It was revealed that the field mouse was a symbol of material prosperity. It was believed that she predicted winter. The idea of a magic stone bringing happiness was associated with her. The house mouse, unlike the field mouse, was associated with demonological characters, was a harbinger of trouble and death. At the same time, the white house mouse carried the symbolism of happiness and healing.Conclusion. The study shows that in the traditional worldview of the buryats, the image of a mouse is characterized by ambiguity and ambivalence of connotation.

Methods of teaching folklore in secondary school

Relevance. Folk songs, fairy tales, riddles, and tongue twisters are important for their emotional impact on a person, and the study of folklore allows a better understanding and feeling the spirit of the people, their worldview, culture, and history. The relevance of the study is based on the fact that at the present stage, due attention is paid to the use of folklore in the educational process in secondary school. Purpose. The purpose of the study: determine the role of folklore in the educational process through the conducted analysis of knowledge in secondary schools of Kazakhstan, identify the main genres of folklore, show the main techniques and methods of teaching folklore. Methodology. Comparative, descriptive, deductive, axiomatic, dogmatic, and abstraction methods and the method of analysis and synthesis were used to clarify this subject. Results. The result of the study was the definition of the concept of folklore and consideration of the classification of genres. The empirical part of the study consists of a survey conducted among 44 pupils, and a survey of 15 teachers of the highest category of secondary schools in Kazakhstan on the methodology of teaching folklore, its impact on the upbringing of the younger generation, and the activation of the educational process in general. Conclusions. The study examines Kazakh folklore and its components, shows the model of teaching folklore at school. The study allowed identifying certain features and assessing the prospect of further introduction of folklore teaching methods into the educational system of Kazakhstan, and developing recommendations for studying Kazakh folklore for grades 5-6. The practical importance of this subject is due to the main methodological aspects that affect the effectiveness of the use of certain methods of teaching folklore in secondary schools. Keywords: learning process; teacher; educational system; oral folk art; traditions

Performing aspects of V. Gavrilin’s “Russian Notebook”: dramaturgy, theatricalization, peasant song, folklore genres

The article is devoted to one of the most important Russian chamber vocal cycles of the second half of the twentieth century – “Russian Notebook” by V. Gavrilin. Its appearance in 1965 made a strong impression on both the musical community and listeners. Everything about her was unusual, fresh, sincere. The stylistic unity of the “Russian Notebook” is due to its reliance on folk sources – literary texts and musical material. Gavrilin interpreted folk music in a deeply personal way, refracted it through the prism of a powerful spiritual and moral concept, outlined new directions for its research and comprehension, and proposed multi-valued interpretations and unexpected syntheses. “Russian Notebook” became the most important component of the significant artistic movement “new folk wave” that appeared in Russian music at the turn of the 1960s. Its brightest representatives were the “sixties” composers R. Shchedrin, E. Denisov, B. Tishchenko, S. Slonimsky. The main conclusion of the study is the idea that V. Gavrilin’s “Russian Notebook” is a genuine encyclopedia of folk genres. The composer penetrates deeply into the folk song tradition, organically refracts folklore, passes it through his amazing artistic world, thereby making the folklore language accessible to the general public. The author of the article focuses on the performing aspects of V. Gavrilin’s cycle, on the variety of interpretive possibilities coming from the diversity of folk (primarily peasant) song. The vocalist and accompanist-pianist need to seriously study the folk traditions before taking on the “Russian Notebook”. The intense dramaturgy of the cycle and the theatricalization of vocal music should also be the focus of the performers’ attention. V. Gavrilin’s composition opens up new interpretive paths and possibilities, new vocal techniques, and creates a multi-tasking performing world.

Советское как «иное»: о балладных истоках садистского стишка

The article offers a new look at the genealogy of sadistic verselets — a genre of school humorous folklore of the 1970–80s, which is a dactylic quatrain or couplet where a tragic event occurs to a child character (‘a little boy’). It has been proven that the verselet is deeply rooted in the literary tradition and can be interpreted as a result of de-canonizing the ballad. From the point of view of historical poetics, we analyze the features of reproducing and transforming the ballad invariant, as well as the reality conceptualization principles determined by the same. We have found out that, on the one hand, ‘catastrophic’ motives are ‘exalted’ in the verselet (everyone is defenseless against the evil that inevitably and variously penetrates the world) and, on the other hand, they are discredited by means of the grotesque (which ensures the self-identity of the modern genre). In combination with ballad plots, the focus of works on Soviet material allows us to view official discourse as ‘alien’ — alternative and hostile to a human and, for this reason, ‘rejected’ in the act of laughter. Therefore, the contextual synonymy of everything ‘Soviet’, ‘adult’, and ‘parental’ turns into dispelling the myth of the ‘people’s state’, which not only does not protect people from danger, but also directly threatens their well-being.

THE ROLE OF UZBEK FOLKLORE GENRES IN SPIRITUAL AND MORAL EDUCATION

The article provides information about the genres of Uzbek folk art. The method of developing the spiritual and moral education of future teachers through folklore is highlighted. The role of folklore genres in education is given.

Трансформация литературных и фольклорных жанровых структур в «Сказке об Иване-дураке...» Л. Н. Толстого (1885-1886)

The study aims to shed light on the peculiarities of transformation of literary and folklore genre structures in the literary fairy tale “Ivan the Fool” by Leo Tolstoy (1885-1886). The paper reveals the genre polyphony of this literary fairy tale by Tolstoy in comparison of its content with the problems of the philosophical novella of Voltaire, the social utopia of Th. More, F. Bacon and Plato, with the poetics of folklore (fairy tales, epics, riddles) and the military novella. The scientific novelty of the paper lies in determining the connection between Tolstoy’s artistic “ideas” in “Ivan the Fool” and the humanistic principle of his religious, philosophical and journalistic writings of the 1880s and 1900s (pacifism, criticism of historical forms of slavery, advocacy of nonviolence and universal love); in providing a historical and theoretical literary substantiation of the genre genesis of Tolstoy’s tale. As a result of the study, the genre form of Tolstoy’s literary fairy tale was characterized as a complex structure combining features of different types of literary creativity. The methods of artistic solution in this work containing socio-philosophical and ethical issues peculiar to philosophical novellas, social utopias and folk tales were classified. Scientific knowledge about folklore and ancient Russian reception in the plot, themes, images and details was supplemented with new facts.