Oral Folk Art Research Articles

Fabric semantics as a basis of Mordovian embroidery

Introduction. The semantics of the fabric of the traditional costume is one of the underdeveloped topics in modern humanitarian studies. Meanwhile, the fabric can be interpreted as a chronicle of the history of culture. Being a man-made and material on which embroidery arose and developed, it was used in the customs and rituals of many peoples, including the Mordovians. The article deals with the semantics of the fabric of traditional Mordovian clothing, decorated with embroidery. Materials and Methods. The work investigates the museum collections of the Republic of Mordovia, the data from written sources of the Russian Geographical Society, archaeological research of Mordovian artefacts. The methodological basis is the comparative-historical, structural-semiotic and phenomenological approaches to the material. Results and Discussion. The analysis of the semantics of the fabric, decorated with the embroidery, and the conditions in which it was formed, makes it possible to reveal the intention of the master, the creator of the ethnoculture. It defined the various utilitarian, magical functions performed by canvas (hemp) and linen fabrics of traditional Mordovian clothing in the culture of the people, the economic, moral meanings of the fabric used in oral folk art. The Mordovians had woolen fabric as the most important material that replaced leather and fur in the manufacture of clothing and changed the appearance of the person wearing the costume. Its importance was recorded in many concepts of the Mordovian language, in folk ideas about wool as a source of magical properties. Conclusion. The semantics of the fabric of a traditional Mordovian costume reflects a person’s ideas about harsh natural conditions, the real world and the need to master it through creative activity in accordance with the laws of the traditional worldview. Fabric is also capable of transferring updated and relevant symbolic information about diligence, accuracy, moral qualities of a person, which could also be a means of regulating norms of behavior in society.

The Scientific Significance of the Search and Publication of Kazakh Fairy Tales Preserved in Manuscripts

The process of collecting and publishing Kazakh fairy tales dates back to the second half of the 19th century. During the period of the colonization of the Kazakh steppe by the Russian Empire, people of different professions who came here for different purposes and worked in the civil service began to pay attention not only to the registration of land wealth, but also to the study of samples of oral folk art. On the pages of the first editions “Turkistan ualayatynyn gazeti”, “Dala ualayatynyn gazeti”, published in the second half of the 19th century in the Kazakh language and spreading in the Kazakh steppe, numerous folk tales were published, taken from oral folk art. Along with Russian scientists, representatives of the Kazakh intelligentsia and educators were also engaged in the study of fairy tales. Kazakh fairy tales were published several times at the beginning of the twentieth century and after the establishment of Soviet power. After gaining independence of Kazakhstan, numerous fairy tales were published in whole volumes. At the same time, some publications were found and re-published fairy tales that had not been previously published. We know that Kazakh fairy tales, collected in manuscript centers and library funds, have a rich heritage. Finding and republishing unpublished tales is an urgent need today. In the article, the author notes the importance of searching for fairy tales in the archives of the regional level, as well as among the manuscripts collected in manuscript funds and written in Cyrillic, Arabic or Latin letters, and the publication of these fairy tales, especially previously unknown ones. He also draws attention to the spiritual heritage of the people and the significance of fairy tales in modern folklore.

The Scientific Significance of the Search and Publication of Kazakh Fairy Tales Preserved in Manuscripts

The process of collecting and publishing Kazakh fairy tales dates back to the second half of the 19th century. During the period of the colonization of the Kazakh steppe by the Russian Empire, people of different professions who came here for different purposes and worked in the civil service began to pay attention not only to the registration of land wealth, but also to the study of samples of oral folk art. On the pages of the first editions “Turkistan ualayatynyn gazeti”, “Dala ualayatynyn gazeti”, published in the second half of the 19th century in the Kazakh language and spreading in the Kazakh steppe, numerous folk tales were published, taken from oral folk art. Along with Russian scientists, representatives of the Kazakh intelligentsia and educators were also engaged in the study of fairy tales. Kazakh fairy tales were published several times at the beginning of the twentieth century and after the establishment of Soviet power. After gaining independence of Kazakhstan, numerous fairy tales were published in whole volumes. At the same time, some publications were found and re-published fairy tales that had not been previously published. We know that Kazakh fairy tales, collected in manuscript centers and library funds, have a rich heritage. Finding and republishing unpublished tales is an urgent need today. In the article, the author notes the importance of searching for fairy tales in the archives of the regional level, as well as among the manuscripts collected in manuscript funds and written in Cyrillic, Arabic or Latin letters, and the publication of these fairy tales, especially previously unknown ones. He also draws attention to the spiritual heritage of the people and the significance of fairy tales in modern folklore.

MORE ON THE STUDY OF THE FOLKLORE TRADITION OF KARELIANS

The article is a review of scholarly works by Karelian folklore researcher, Cand. Sci. (Philology), Merited Scientist of Karelia Alexandra Stepanovna Stepanova. Her biography is briefly presented, the collecting and scientific activity of the researcher is examined, the contribution to the study of the Karelian lamentation tradition and folk culture as a whole is analyzed in the article. A. S. Stepanova made more than fifty expedition trips to the various regions of Karelia during her working at the ILLH KRC RAS, she recorded language and folklore-ethnographic material from representatives of all groups of Karelians living both in the Republic of Karelia and in the neighbouring territories. She is the author of a number of scientific collections, monographs and more than 50 articles. She introduced the samples of the Karelian lamentations into the scientific circulation for the first time, as well as their translations into Russian. A special merit of A. S. Stepanova consists in compiling the “Dictionary of the language of Karelian lamentations”, the appearance of which has set a new direction in Karelian science - linguistic folkloristics. Nowadays, the researcher’s scientific works stay relevant among the scientific community both in Russia and abroad. The honorary titles of a foreign corresponding member of the Society of Finnish Literature (Suomalaisen kirjallisuuden seura), of the Kalevala Society (Kalevalaseura), of the Finno-Ugric Society (Suomalais-ugrilainen seura) are the evidences of this. Scientific collections and anthologies on Karelian folklore are actively used for the study of the native (Karelian) language, oral folk art and folk culture in the universities and schools of the Republic of Karelia. In addition, Stepanova’s books are popular among all the people who express the interest in the folk culture.

The theory of the "four functions of folklore" in world folklore studies

Research in the field of philological science is primarily closely related to text recognition. The search and comprehensive research in this direction marked the beginning of the emergence of new views and judgments, theories and research methods. One of them, that is, the theory of the “Four Functions of Folklore", as a native point of view on the differentiation of texts of oral folk art. His birth was caused by the conclusion of a scientist named B. K. Malinowski in the early twentieth century and the opinion of anthropologists. Then, 20-30 years later, his conclusion became a theory and was proposed as a new method of studying the folklore text. The first person who raised this topic was an American folklore scholar – William Bascom in 1953-1954. Since then, this topic has been actively discussed among scientists-members of the "Society of American Folklore" the results of the study were published in the scientific publication "Journal of American Folklore". The scientist W. Bascom, generalizing the texts of oral folk art, studies its place in the life of the people. As a result, four main functions of the folklore text are distinguished: protection of traditions, customs, education and upbringing, support for going beyond the established views. It was formed as a theory and already then began to be used in scientific research and educational programs. This topic will be studied by Turkish scientists after the 2000s and included in the content of education. Such views have been mentioned in the works of Kazakh scientists since the beginning of the twentieth century, although it is not called "the four functions of folklore". However, due to the lack of close relations between American and Soviet scientists, many research works were ignored. Therefore, this article discusses the theory of the" four functions of folklore", the history of its origin and study. For this purpose, the research of B. K. Malinowski, who first expressed his opinion on the topic, and W. Bascom, who justified the theory and the work of other scientists, are taken as a basis. The issues related to this topic are reasoned by the opinion of Kazakh scientists. As a result of the study, the four functions of folklore voiced by the scientist U. Bask are comprehensively shown, its connections with Kazakh folklore are differentiated. This, in turn, will allow us to study samples of oral Kazakh folk art within the framework of new humanitarian knowledge and on the basis of world scientific relations. In addition, it can be used in the training of industry specialists.

TRANSFORMATION OF NOMADIC EXISTENCE

Annotation. When conducting a study of the national mentality of Kazakhstan, it became necessary to analyze the transformation of the society of the Kazakh people since the formation of the Kazakh Khanate and the modern, independent Republic of Kazakhstan. The determination is made on the basis of the perception of information from the surrounding reality by society. This is the division into auditory and visual (oculocentrism) culture of the Kazakh society. This is confirmed by changes in all forms of culture. The world-setting of the Kazakhs is aimed at contemplating nature, the surrounding reality without changing it, but living with it in complete harmony, respecting and preserving natural resources. Cattle breeding was the main source of livelihood. However, there is a noticeable respect for the animal. We know everything about the culture of Kazakhs from oral folk art. Associations arise primarily related to the nomadic way of life, in unconditional creation of libraries, somehow fixing knowledge. Reflecting on this, there is a need for a return, to the determination of the Turkic culture, to the late and modern, the need to speak about the principle of this division. It should be noted that Kazakh culture, as is clear, did not survive these stages in an instant. This process took place gradually, settling on the subconscious side of the human mind. Listening to being by the Turkic nomads opens before us a whole world full of features associated with the perception of reality, and its no less interesting embodiment in folklore. Key words: oculocentrism, transformations, mentality, visual culture, nomadism, determination.

КАЮМ МИФТАКОВ – КЫРГЫЗ ФОЛЬКЛОРИСТИКАСЫНЫН БАШТООЧУСУ

This article provides a short excursion to the first sources of Kyrgyz folklore to collect and discuss scientific facts related to oral folk art. Then a complete overview of the life and work of one of the first founders of Kyrgyz folklore Kayum Miftakov is given. Kayum Miftakov from early childhood was interested in and knew well the content of oral folk art of the peoples of Bashkiria and Tatarstan. Accordingly, at one time, Kayum Miftakov made records of oral folk art of the above peoples. From the age of 14 he worked as a hired shepherd for the Kazakhs, which led to the interest and study of Kazakh folklore. Information about the Kyrgyz and the Kyrgyz people in 1912 from Kanatov and Arabaev, who were studying in Ufa at that time. After the information received, Kayum Miftakov decides to move to Kyrgyzstan. (Kyigizstan) At the beginning of his research, Kayum Miftakov spends a lot of time in Talas, Issyk-Kul, and Naryn. He meets and records (writes down) on paper the epic "Manas", several other works relating to the oral folk art of the Kyrgyz people. Summing up, we can say that in this article Kayum Miftakov is characterized as one of the first folklorists of oral folk art of the Kyrgyz people.

The values of traditional Kazakh culture

Eastern (including Kazakh-Turkic) philosophy differs from classical Western philosophy in that it does not make a major distinction between the universals of culture and philosophy. For Kazakh traditional society, philosophizing is characteristic of a non-abstract, extremely generalized, figuratively complete form of reflection. For the most part, philosophical categories and concepts are reflected and enshrined in artistic and religious texts. Therefore, the study of Kazakh philosophers should be conducted in a broader socio-cultural context. A holistic conceptual understanding of the worldview universals of a nomadic civilization is one of the most urgent tasks of modern Kazakh philosophy. To accomplish this task, we have at our disposal a huge amount of material from the monuments of the Orkhon-Yenisei runic writings, to priceless samples of oral folk art in the form of folk legends, heroic epics, proverbs, and sayings, the poetical and musical heritage of the zhyrau-akyns, etc. Traditional Kazakh culture is the quintessence and reflection of a special nomadic type of economy. Nomadic civilization is an example of a favorable coexistence between nature and man. An eco-friendly lifestyle was a reflection of the internal attitude towards maintaining harmony between man and nature. At the same time, the Kazakhs managed to create a special socionormative culture based on deep spiritual traditions that widely regulated social relations. The genus origin was the fundamental principle of the individual's self-identification and linked him by inseparable blood ties with the community and the territory of residence as a continuation of his social and natural existence. A nomadic collective was a hierarchically designed social organism, where human life was strictly regulated. Every action in everyday life had not only practical, but also spiritual meaning, value. Sacralization of actions took place through the ritual. Almost every single thing in everyday life was endowed with symbolic meaning. Having mastered the methods, principles and categorical apparatus of Western philosophy, modern Kazakh philosophy has become capable of deeply analyzing and actualizing the past examples of the spiritual culture of the Kazakh people. At the same time, it opens itself up to other cultures and thus new opportunities for intercivilizational dialogue appear.

ГРОМАДСЬКО-ПОЛІТИЧНА ДІЯЛЬНІСТЬ ТА НАЦІОСОФІЯ ВАСИЛЯ СТЕФАНИКА ЯК ОСНОВА ДЕРЖАВНИЦЬКОЇ ІДЕОЛОГІЇ

The article is dedicated to Vasyl Stefanyk, who not only wrote a bright page in the history of national literature, representing the literary process of its western region, but also significantly contributed to the formation of Ukrainian national education.The writer actively raised issues of education, social struggle, and political confrontations in his work and voiced them in the pages of contemporary periodicals, expanded his creative contacts with Ukrainian periodicals, intensified his activities as a publicist, which actually contributed to the rapid development of Ukrainian journalism. imprint of pedagogization: reflected the problems of development of the Ukrainian school, raised topical issues of national education, included works of modern authors and writers of the past, covering the heroic and patriotic theme, ie Ukrainian periodicals fulfilled its social function - to awaken the people of the region. consciousness of children, youth and adults, «enlightened» them, and so on. These works of Stefanyk were closely connected and caused by their active civil position.The article presents the term «national philosophy», which was introduced into the scientific lexicon in the 1930s by the Ukrainian sociologist, political scientist and ethnologist of Polish-Lithuanian origin O.-I. Bochkovsky. Having singled out nationalism as «pure science», O. Bochkovsky also included the philosophy of the nation, which he called «national philosophy», in the competence of the latter. It must become a «method of sociological typology and characterology» of nations. According to the scientist, the competence of national philosophy «includes the clarification of the problems of the nation from the ideological and philosophical point of view, therefore, the scientific coverage of issues such as nation and humanity, cosmopolitanism, internationalism and nationalism. Vasyl Stefanyk's socio-political achievements became more accessible to people through Ukrainian periodicals, served as a means of educating national consciousness, patriotism, love for the native land, opened a treasury of oral folk art, formed a sense of pride in belonging to the great "Russian people". This journalism even served as a didactic material for educational initiatives of Ukrainian public societies in the field of adult education.

Lifetime edition of works by A.E. Kulakovsky as the basic texts of the poet

The study objective is describing the interpretation features of Kulakovsky's ideas and images in the history of Yakut Soviet literature; outlining the national uniqueness of the literary word by this classical poet. The methodological basis of the research is theoretical issues of source studies as a philology area, as well as major aspects of textual criticism. In this paper, we selected comparative and hermeneutical methods of text analysis based on the literary language analysis. The research results show that in Kulakovsky's texts the poetics of oral folk art is equated with an unshakable basis of his individual style, but in works of the classics there are distinct guidelines of the desire to detach from tradition to establish a literary form. The practical and theoretical significance of the research is to present new perspectives of studying the national classics problems.

THE INFLUENCE OF NON-TRADITIONAL METHODS AND TECHNOLOGIES ON THE PSYCHO-EMOTIONAL STATE OF OLDER PRESCHOOLERS WITH APHASIA

In the article, the author reveals the positive impact of non-traditional methods and technologies on the psycho-emotional state of older preschool children with speech disorders, which is called aphasia. The research is done on the author’s advanced pedagogical experience. The advantages of introducing non-traditional technologies into the educational process are clarified. The author shares the experience of implementing the most effective non-traditional methods and technologies for the correction of speech disorders in aphasia (information and communication technologies, sand-play technology, Sujok therapy, oral folk art, theater) and the results of their positive impact on behavior, well-being, attention, memory, and psycho-emotional state of the preschooler.The author shares the results of the introduction of shadow theater as the most effective means of speech development of older preschoolers with motor aphasia. The finger theater of shadows removes the tightness of children, shyness, and evokes positive emotions. Theater often helps when a child is capricious, and loses his temper, and also encourages to provide speech activity spontaneously.The article reveals the advantages of sand-play technology among other non-traditional methods and technologies, which liberates inner feelings and encourages creativity; children get great emotional satisfaction and lays the foundation for further development of positive communication skills.The author shows the necessity and expediency of the innovative method of Sujok therapy in correctional work with older preschool children with aphasia, as the development of fine motor skills of the fingers stimulates the development of the central nervous system and speech development of preschool children.The article presents the important role of folk art and information-communicative technologies at the organization of correction of phonemic disturbances at children of senior preschool age. Such tools are close and accessible to children, relieve stiffness, isolation, depression, evoke positive emotions, faith in their strength and desire to cooperate.The author displays the need to continue the study of a number of innovative methods of speech correction and further education of older preschool children with aphasia.
 Keywords: aphasia, non-traditional methods, technologies, psycho-emotional state, sand-play technology, Sujok therapy, correction, speech disorders.

PECULIARITIES OF MODERN UZBEK CHILDREN`S LITERATURE (ON THE EXAMPLE OF KHUDOIBERDI TOKHTABOYEV`S WORKS)

Introduction. In the Uzbek children's literature of the period of independence, the influence of national pedagogy, oral folk art is traced, which leads to the strengthening of the national color in the works, the awareness of folk wisdom, the upbringing of positive qualities, the enrichment of the speech of children with national concepts and terms. The coverage of spiritual and educational problems of the socio-political environment with the help of human emotions and experiences is observed in the works of Uzbek fiction. Research methods. In order to create fiction, it is necessary to study the child's psyche in depth. In the literature of any nation, knowledge of psychology, understanding it and conveying it to the reader through unique words plays a key role. As a result a large part of child psychology is conveyed to younger readers through fiction. A great feature of children's literature is that it is inextricably linked to the age, history and social environment of the reader.

Стилистические и функциональные особенности соматизмов в эпосе «Манас»

This article describes and analyzes examples of the use of somatisms in the Epic of Manas. Somatisms are viewed as a kind of cultural code that metaphorizes every day, historical features of the picture of the world of the Kyrgyz people. The material for the study was the text of the Epic of Manas, which is not only a well-known folklore work, but also an embodiment of cultural and historical phenomena in the life of the people. The somatisms contained in the text of the epic become a reflection of the everyday, worldview and cultural orientations of the native speakers. The purpose of the study is to identify the most common somatic units, as well as to determine their role and significance in the cultural code of the Kyrgyz language. Special attention is paid to the ability of somatisms to metaphorize to display complex historical, cultural and everyday features of the picture of the world of the Kyrgyz people. The novelty of the work lies in the systematic analysis of somatic units based on the Epic of Manas, in the distribution of somatisms into groups. As a result of the study, it became clear that the image of “corporeality” is often used in the linguistic picture of the world of an ethnic group. Somatisms are often used as a tool for conceptualizing objects, complex phenomena, cultural characteristics of the Kyrgyz people, etc. Somatisms are widely represented in oral folk art, they are an important element of the lexical richness of the language. This study is devoted to the use of somatisms in the Epic of Manas, revealing their role in the creation of artistic images and folk ideas about various objects and complex phenomena, traditions and culture.

THE SONG GENRE OF VERBAL ART OF LEZGHIN PEOPLE OF THE MIDDLE AGES: GENDER PEСULIARITIES

The article deals with the Lezghin female poetry of the Middle Ages. Based on the analysis of the works, the natural, irrational, emotional, sensual principles in the song traditions of oral folk art are determined.

Фольклорные традиции белорусов в контексте профессиональной подготовки специалистов в Белорусском государственном университете культуры и искусств

The purpose of the article is to analyze the specifics of training at the Belarusian State University of Culture and Arts, whose professional activities are associated with the embodiment of the traditions of oral folk art in culture and in one of its phenomena – art. In this article, the object of research is the process of training at the Belarusian State University of Culture and Arts. The subject of the research was the filling of the educational process with educational disciplines of folklore, aimed at the formation of social, personal and professional competencies of future specialists in all specialties for which the university is training. Particular attention is paid to the specifics of providing the educational process with such educational disciplines in the areas of specialties and specializations, focused on folklore as a method of translating the folklore traditions of Belarusians in art. The use of methods for analyzing regulatory documents and educational and program documentation made it possible to determine a list of specialties, according to which the process of professional training of students is aimed at translating the authentic traditions of Belarusians into contemporary art. The result of the study showed that in recent decades in Belarusian folklore there is a clear tendency to use by the authors of various methods of understanding the folklore source. It is concluded that the basis of the educational process is made up of competencies, the content of which includes the artistic processing of folklore, at the same time, the educational process does not always aimed at the formation of the necessary knowledge, skills and abilities of interpreting folklore in art.

Place of the discipline "Russian oral folk art" in the modern educational space: the pedagogical model of teaching focused on the student's personality

The purpose of the study is to determine the place of the classical humanitarian discipline "Russian oral folk art" in the university educational space in the aspect of an innovative pedagogical teaching model. The article analyzes components of the course and formed competencies of the student's personality. For the first time, it is shown how this model combines traditions developed by folklorists of the Bashkir State University (professors Lev Grigorievich Barag and Boris Gaiseevich Akhmetshin, associate professor Lyudmila Ivanovna Bryantseva), and modern approaches, forms, innovations. The experience introduced into the learning process, based on the scientific foundations of domestic pedagogy, as well as the system of goal-setting and competencies, is described. The conclusions are illustrated with examples from the teaching practice of the author. As a result, a model was developed of teaching the discipline "Russian oral folklore" allows students to master the subject deeper and better, makes it attractive and personally close to them, which is confirmed by surveys of the student audience. The conclusions and observations obtained can be widely and flexibly used in university pedagogical practice.

«Миру — мир, а Господу — слава». О некоторых мотивах творчества Любови Майковой

The works of L. M. Maikova are one of the most striking pages of Russian naive art, which we understand as the work of people of folklore consciousness beyond the genres that exist in folklore consciousness. But in oral folk art, there are works that resemble the poetic compositions of non-professional authors (poetic memoirs, letters in verse, poems with soap opera plots). And painting as such is absent in folk art. Therefore, the pictorial material makes it possible to most clearly differentiate naive amateur creativity and primitivism as a style of author's professional creativity. Naive creativity is not a form of leisure activity, which presupposes the existence of leisure organizations and their management. Naive creativity is a form of leisure practice that denies leadership and any organizational forms. As a phenomenon of leisure practice, naive creativity ceases to be anonymous, becomes authorial and competitive, which means that it becomes art. In Maikova's paintings, as the works of a naive artist, the role of verbal text is higher than in the works of a professional author, so the title is placed in the visual space of the painting itself and performs the function not of the textual frame, but of the text itself. Finally, in the work of a naive artist, ideological layers of different origins are organically combined, sometimes even opposing each other.

Raising a sense of national pride in pupils with the help of folklore

The increased interest in national culture is a bright sign of our time. The problem of preserving the cultural and historical identity, national traditions, unshakable moral values of the people has become urgent. Decorative and applied arts, folklore, oral folk art have organically entered modern life and continue to develop, keeping national traditions intact. They contain a huge potential for the development of cultural heritage, as they have brought to this day, in an almost undistorted form, the nature of the spiritual and artistic comprehension of the world.

Models of Nomenclature Clichés for the Translation of Bus Stop Names

The preservation and expansion of the functioning sphere of the national languages of Russia is a requirement of modern times. Translation plays an important role in this, while, due to systemic discrepancies, literary and customary norms of the language occupy a dominant role. Translation is highly developed in the Republic of Sakha (Yakutia), works of oral folk art, fiction, some texts of the official business style are being translated, and the theoretical foundations of translation are being developed. Nevertheless, microtoponyms as an object of study of the private theory of Russian-Yakut translation have not been sufficiently studied, which determined the aim of the current study — the analysis of the phonetic, lexical and grammatical features of the models for creating nomenclature clichés in the modern Yakut language based on the materials of the translation of bus stops into the Yakut language. The work is an attempt, for the first time, to consider models for translating microtoponyms, in particular, the names of bus stops. The subject of the study was deliberately chosen: when sound accompaniment in the Yakut language was introduced in the capital’s transport routes, the public was outraged at the quality of the translation of the names of bus stops, which determined its editing. The material is the second translation, made by staff at the Institute of Humanities and Social Sciences of the Siberian Branch of the Russian Academy of Sciences, edited by teachers of the department of stylistics of the Yakut language and Russian-Yakut translation of the NEFU named after M. K. Ammosov. The methods of continuous sampling, comparative and descriptive methods were used. The names of bus stops reflect important information about the history and culture of the locality. The stops in Yakutsk are named according to the objects in close proximity to the stops: territorial zones, streets, less often historical events and dates. The analysis has shown that the translation of bus stops names is primarily aimed at an easy perception by the recipient. Phonetic methods of translation are present: transliteration and transcription in combination with equivalent substitution, addition, amplification; lexical ones are represented by equivalent and adequate substitutions, tracing, concretization, generalization, addition, amplification and explication; grammatical — by permutation and replacement.

Страхи и страшные рассказы детей в эпоху интернета

(Discussion based on the materials of the defense of T. A. Mirvoda’s PhD thesis “Poetics of a modern children’s “scary” narrative in oral tradition and the Internet”)Within the framework of the conversation, the article discusses psychological background of the emergence and existence of scary stories in the modern online space which are being accompanied with audio-visual objects and ritual practices, which on a par with the oral folk art of similar themes form the network mythology of horrors (the creepypasta). The principles of genre stratification of children’s «scary» narrative folklore and the creation of a corresponding index of characters and plots, as well as the differentiation of scary stories and evocations, proposed in the dissertation research by T. A. Mirvoda, are highlighted.