Folklore Works Research Articles

Interaction of Linguistic and Literary Aspects in the Context of the Cultural Diversity of the Turkic Peoples of Central Asia

Abstract The purpose of the study was to investigate the linguistic and literary components within the framework of the cultural diversity of Central Asian peoples of the Turkic ethnic group. The study analysed the linguistic features of the Turkic languages and their mutual influence through literary texts and oral traditions, with an emphasis on the processes of borrowing and adaptation of linguistic elements in a multilingual environment. The study examined scientific sources on linguistics and ethnolinguistics, and compared phonetic, morphological, and syntactic features of the Kazakh, Uzbek, Turkmen, and Kyrgyz languages in a historical context. The analysis of borrowings from Persian, Arabic, and Russian languages, content analysis of literary texts and folklore works, and an assessment of the role of mass media and the Internet in popularising Turkic languages were also included in the study. The results showed that the Turkic languages have gone through a difficult path of evolution under the influence of various cultural and political factors, such as the Mongol conquests and Russification in the Soviet period. The languages were significantly enriched with borrowings from Persian, Arabic, and Russian, which affected their vocabulary and grammar.

The External Hierarchy of French Film Discourse

This study explores the external hierarchy of French film discourse, proposing a model that accounts for the elements generating this discourse and its interactions with other discourses within a hierarchical framework. The empirical material includes French films from 1990 to 2024 and elements of film text embedded in advertising, music, media, internet, and online literature discourses. Addressing the limited research on discourse hierarchy in modern linguistics, the study aims to identify and systematize the external hierarchy of French film discourse. The relevance of this research stems from the growing academic interest in film discourse and the lack of dedicated studies on its hierarchical organization. The author introduces a novel model that not only explains the generative elements of French film discourse but also situates it in a broader matrix of interacting discourses. The study employs discourse analysis, alongside theoretical methods such as generalization, synthesis, induction, and deduction. The findings reveal that the external hierarchy is shaped by generative elements – works of art, folklore, historical events, biographical details, and philosophical ideas – which occupy higher hierarchical levels relative to the discourse itself. Film production is also influenced by the socio-cultural context, emphasizing culturally significant elements and suppressing taboo topics. The research further demonstrates that the hierarchy of French film discourse relative to other discourses is mediated by poly-discursive units. These units function within one discourse while bearing content from another, positioning film discourse hierarchically above advertising, internet, media, online literature, and partially music discourses. This study enhances our understanding of the structural and functional properties of French film discourse and its broader cultural implications.

AFANASY FET IN THE MODERN DIGITAL SPACE (using the example of Internet folklore)

The article deals with analysis of the functioning of cultural texts in the digital space associated with the name of one of the iconic Russian lyrics of the 2nd half of the 19th century, poet Afanasy Fet. The area of the network space represented by Internet folklore, is being studied. The objective of the work was to determine the degree of demand and analyse the forms of representation of notions about the poet’s life and work in network folklore. Various forms of Internet presentemes (memes, demotivators, cartoons, comics), samples of Russian online poetry – “mindless” and “depressive” rhymes (poroshki and depressyashki respectively), jokes, as well as techniques, by which Fet’s content is included in Internet communication, were analysed. As a result of the study, it was found that Internet folklore actively uses the language game with the poet’s surname through metanalysis, namely: false etymological reinterpretation, expressive derivation, rebus. Three winged units from Afanasy Fet’s poems are in demand in Internet communication: ‟Do not wake her at dawn”, ‟I have come to you with greetings”, ‟to embrace and cry”. The latter has not been fixed in dictionaries and reference books yet, but is of active use in the network space as a stable and reproducible unit. Afanasy Fet’s winged phrases are included in Internet presentemes in original and transformed forms, as well as played with in net-poetry using the form of pastiche.

SOME REMARKS ON THE STRUCTURE OF UZBEK FOLK MAGICAL TALES

Uzbek folklore has priceless heritage masterpieces, which include examples of folk art. These samples were recorded, collected and published from various corners of our country during folklore expeditions organized by Uzbek folklorists since the end of the 19th century. This made it possible to carry out fundamental research on the study of historical roots of specific genre features, literature, versions, plots and leading motives of folklore works. Work in this regard continues consistently today. Despite the fact that certain achievements have been made in Uzbek folklore studies, the current spiritual and educational need requires folklorists to pay special and comprehensive attention to the research of Uzbek folk tales.

AZƏRBAYCANDA YAŞAYAN AZSAYLI XALQLARIN FOLKLORUNUN ÖYRƏNİLMƏSİ: REALLIQLAR, PERSPEKTİVLƏR

Studying Minority Folklore: Realities and Prospects Summary This article delves into the current state of knowledge regarding the folklore of minority peoples residing in Azerbaijan. It aims to shed light on the existing challenges within this realm and delve into their historical causes. In addition to purposeful collecting and research efforts, the author highlights the importance of utilizing samples of folk art previously collected and preserved in the form of manuscripts stored in museums across various countries, as well as in private collections. Another highlighted priority is the meticulous task of identifying and rectifying additions, deletions, and distortions that have been introduced into the structure, poetics, and ideological content of oral epic samples across different historical periods. Key words: oral folk creativity, folklore of minority peoples, collection and research of folklore, organization of folklore work

Folklore Texts in the Context of Historical and Cultural Environment: Neurobiological Influence

The article clarifies the basic definitions of current folklore science, defines the range of terminological borrowings from the conceptosphere "postmodernism". The article considers the term post-folklore as having a neurobiological influence, since reading works of post-folklore is a complex neurophysiological process during which the brain scans and decodes symbols and their combinations connected by phonetic, semantic and syntactic rules, discovering the meaning encoded in them, including modern urban folklore and a fundamentally new type of folk art - Internet folklore (netlore). The possibility to describe folklore phenomena in terms of post-, analogy with postmodern phenomena, has certain grounds. Thus, the postmodern exaltation of the reader, which destroys the precedence of meaning and constitutes the latter in the process of reading, finds correspondence in the multivariantism of folklore. Since postmodernism and post-folklore are united by chronological frameworks, we consider literary and folklore texts in the context of historical and cultural environment in which they appeared, we find their neuroinfluence on the personality. The analysis of the postmodern discourse shows that an important principle of its principle is the neuroinfluence in acquaintance with the works of folklore, the interactive code. New forms of disseminating and receiving information in today's society determine new forms of its non-specialized - folklore - translation.

СРЕДСТВА ИСЦЕЛЕНИЯ И ВОСКРЕШЕНИЯ В ГЕРОИЧЕСКИХ СКАЗАНИЯХ ХАКАСОВ

Important components in stability of the tradition are stable poetic descriptions and epic formulas, in the structure of which reference words and phrases are necessarily found. The study purpose is to identify and describe magical objects with the semantics of “healing, resurrection”, contributing to the development of a certain plot and motifs in the epic narrative of the Khakas people. The realization of this purpose provides for the solution of the following tasks: identification and description of stable poetic descriptions using the example of magical objects with the semantics of “healing, resurrection”, with the detailed analysis of specific magical attributes, similarities and differences in the texts of different storytellers, determination of the degree of reference to the epic plot and motifs. The category of magic items under consideration includes: triple-joint grass, white flower, living water, lake with healing water, white silk handkerchief, whip with a golden handle, feather. The introduction of magical objects with the semantics of healing and resurrection into the poetic texture of the epic contributes to the further disclosure of the motifs associated with heroic matchmaking, with trials and exploits of the hero/hero woman. Despite the fact that the analyzed magical objects are not mandatory attributes, they contribute to the development of a certain plot in an epic piece of work, the connection of various sections of the text, ensuring their semantic coherence. The study relevance is due to the lack of research on the poetic and stylistic system of Khakas heroic tales. In the study, the consideration of certain ethno-poetic constants is very important, since they play an important role in shaping the structure and content of an epic plot. In Khakas folklore studies, this problem has been studied on a piecemeal basis. The scientific novelty of the work is in the fact that for the first time ethno-poetic constants are considered on the example of magic objects. The novelty of the research is also manifested in the fact that the information, revealed from folklore works, will significantly replenish the factual base of research in the field of studying the motivational fund of the Khakas people’s folklore. To achieve this goal, descriptive and comparative methods were used in the work.

ANALYSIS AND SELECTION OF MATERIALS OF KAZAKH CHILDREN'S FOLKLORE FOR THE DEVELOPMENT OF DIGITAL CONTENT

This article presents the process of analysis and selection of materials from Kazakh children's folklore for the development of digital animated content aimed at developing the speech of young children. The purpose of the article is to demonstrate the systematic approach undertaken in the analysis and selection of materials from Kazakh children's folklore for the development of educational digital animated content. Employing a detailed methodology, using the example of two works of Kazakh children's folklore, the authors demonstrated the logic of this process: works of Kazakh children's folklore were subjected to careful analysis for their educational potential, attractiveness, and relevance to the target audience of toddlers. The authors used a variety of analytical research methods, including the study of literature, comprehension of empirical material, its processing, and a thorough analysis of works of Kazakh children's folklore. As a result, considering the age characteristics of target audience (1-3 years), 15 works, which have educational potential and contribute to the formation of the speech of toddlers, as well as their upbringing in the spirit of folk traditions and values, including tongue-twisters, counting rhymes, verses were selected. This selection process highlights the importance of cultural and linguistic considerations in creating educational content for the toddlers.

The multimodality of Chinese folklore images

This scientific article examines the phenomenon of multimodality based on the material of Chinese folklore images. The object of the research is the images of fictional characters of Chinese folklore works, and the subject is the analysis of images of Chinese folklore works in their multimodal expression in modern adaptations. The purpose of the study is to show how modern discursive practices, characterized by a high degree of multimodality, affect the development of the concept of the image of a folklore work in the recipient's mind. The tasks that were solved within the framework of this study: 1) description of the phenomenon of multimodality in the context of modern multimedia technologies; 2) analysis of image concepts in mobile game, cartoons and TV show; 3) assessment of the influence of multimodality on the peculiarities of the development of image concepts and their perception in the recipient's mind. The methods used are the continuous sampling method for collecting the analyzed material, as well as methods of semantic, contextual and conceptual analysis. The scientific novelty of the work is due to the fact that for the first time are studied the various images of Chinese folklore works in their modern interpretation. As a result of a comprehensive analysis, the following conclusions were drawn: multimodality affects the degree of perception of an image in the recipient's mind in different ways, on the one hand, it leads to a simplification of the understanding of meanings, on the other hand, to a complication of systems for creating these meanings. One of the manifestations of this complication is the existence of a high degree of intertextuality, which can undermine perception of fictional characters, lead to the false assumption of some characters for others. The desire to get closer to the preferences of the modern viewer leads both to a slight difference in the basic features of the concepts, and to their complete opposite, which also affects the process of perception of the image. Nevertheless, despite the significant degree of adaptation of images that cause different user assessments, the social and cultural-historical processes of a dynamically changing world require compliance with the conditions of functioning of modern discursive practices.

Домбра в калмыцком фольклоре и лирике ХХ – начала XXI в.: поэтика музыкального инструмента

The relevance and novelty of the article is determined by the fact that the poetics of a musical instrument was not the object and subject of research in Kalmyk folklore and poetry. Among the national musical instruments, the dombra retains its functionality at the present stage. The study of dombra as a thing and as a musical instrument in the translation of folk culture and art is of interest in a historical-functional, comparative-comparative sense when referring to both folklore and poetry, since it demonstrates the tradition, the continuity of the works of poets on this topic. In Kalmyk oral folk art, the dombra as a musical instrument is often found. It is mentioned in epics, fairy tales, legends, riddles, and songs. The material for the article were selected folklore works and representative poems of Kalmyk poets of the 20th – early 21st centuries. The purpose of the article is to consider the poetics of dombra as a thing and a musical instrument in Kalmyk folklore and lyrics to identify the continuity of traditions in the modern period. Results. The Kalmyks, unlike other Turkic-Mongolian peoples, apparently have not preserved folklore works about the appearance of the dombra as such, since it is considered a borrowed instrument. There are no such poems in Kalmyk lyrics. In Kalmyk folklore, the dombra is shown in its musical function; usually it does not have a plot-forming role. Among Kalmyk poets, poems about dombra are usually associated with the Dzhangarchi’s performance of folk epic songs, with folk rituals and holidays, singing and dancing. Depending on the time and space reflected in such texts, dombra is shown against the backdrop of historical and personal events, demonstrating a thematic range. A number of texts are dedicated to famous performing musicians and masters of dombra art. The analysis involved poems created in the Kalmyk and Russian languages, and also compared the original texts and their Russian translations.

ЭВФЕМИЗМЫ СО ЗНАЧЕНИЯМИ ‘УМИРАТЬ’ И ‘УБИВАТЬ’ В ТЕКСТАХ ХАКАССКИХ ГЕРОИЧЕСКИХ ЭПОСОВ «АЛТЫН-АРЫГ» И «АЙ-ХУУЧИН»

The heroic epics of the Turkic peoples in Siberia are the brightest achievement of their authentic culture. Due to the processes of urbanization, the diverging from the traditional way of life that are actively taking place in the Republic of Khakassia today, the mass bilingualism among the native speakers of the Khakas language, the switch to Russian by the Khakas younger generation, the loss of traditions in intergenerational transmission of folklore works, especially heroic epic, it is very important to study the linguistic features of Khakas folklore. The purpose of the article is to describe the features of semantic models of verbal euphemisms with meanings ‘to die’ and ‘to kill’, presented in Khakas heroic epics Altyn-Aryg and Ai-Khuuchin. Nominative units with similar meanings have not been previously studied in Khakas language and folklore studies. To achieve this goal, the method of contextual analysis, component analysis, and word formation analysis were used. Phrases with euphemistic verbal nominations, included in thematic group ‘death’ were identified with the help of the method of contextual analysis. Using the method of component analysis, the presence of seme ‘death as cessation of vital activity’ was confirmed in the verb semes. By word-formation analysis, models of the formation of euphemisms with meanings ‘to die’ (8 models) and ‘to kill’ (5 models) were established. The notion “to die” is conveyed by euphemisms formed according to such semantic models as “to lie down > to die”; “to fall down > to die”; “to cross > to die”; “to pass over > to die”; “to break off > to die”; “to transform > to die”; “to part > to die”; “to break (about a saddle pommel) > to die”. The notion “to kill” in the analyzed texts is conveyed through euphemisms formed using semantic models “to make somebody lie down > to kill”, “to make somebody cross > to kill”, “to drop > to kill”, “to tear > to kill”, “to eat > to kill”. Most of euphemisms are formed by metaphorical transfer; one semantic model is based on metonymic transfer (“to break (about a saddle pommel) > to die”). The analyzed units reflect archaism of the ideas reflected in them about death as a transition to the world of the dead, as the result of the interruption of a thread–like substance – a soul ‘tyn’, as the transformation of the external appearance (khubul- literary ‘to change', ‘to transform'), as the parting with the light world ‘akh charykh’

Structural, grammatical and linguocultural aspects of the meteorolexeme "halun" in the Mongolian languages

The article analyzes the meteorological vocabulary in the Mongolian languages, which characterizes hot weather. The linguistic means of expressing hot weather in the worldview of the Mongolian peoples can be represented as integral and consistent natural phenomena that are systematically used by traditional speakers in direct, figurative, comparative, evaluative and metaphorical meanings. The object of the study is nominative units (words, phrases, phraseological units) in Mongolian languages that characterize hot weather. Special attention is paid to the analysis of the compatibility of the "halun" meteorological system. The bearers of a nomadic civilization are directly dependent on the natural and climatic features that determined the state of nomadic management, orientation and location of a person in nature and society. The relations of nature, man and the animal world, reflected in the ethnic consciousness of native speakers, had their own systemically categorical forms of expression in linguistic pictures of the world. For the Mongolian peoples, in addition to universal verbal forms of expression of these relations, the whole variety of linguistic and cultural approaches was used to express figuratively comparative and evaluative aesthetic means of language. This article uses a descriptive method, a comparative method, a method of linguistic and cultural analysis of lexical units. In the linguistic picture of the world of a traditional native speaker, the halun lexeme "heat, depending on the temperature regime, can denote different degrees of heat manifestation: from ordinary heat to incredible, exhausting heat, affecting the physical condition of a person. As examples, the author uses Mongolian lexicographic sources, texts of artistic and folklore works, in which lexemes denoting hot weather were analyzed from meteorological vocabulary. Meteorological vocabulary characterizing hot weather is considered in the article from the point of view of their composition, semantics, morphological-syntactic and lexico-semantic method of education. The peculiarity of artistic and folklore texts makes it possible to consider a specific lexeme in its various combinations, which makes it possible to fully reveal the features of the semantic structure of the word. In this aspect, meteorological names characterizing hot weather in the Kalmyk language are considered and systematized for the first time.

The significance of folklore works for the social development of younger adolescents in the activities of a social pedagogue

The article examines the importance of folklore works for the social development of younger adolescents in the activities of a social teacher. The relevance of the research is due to various social changes that have a direct positive or negative impact on the development of a personality. The most significant period of social development is adolescence, which is sensitive to expanding social space and increasing the number of social contacts of a teenager. In this connection, it is necessary to search for technologies with high pedagogical potential, which have enormous educational, cognitive, social, aesthetic, and developmental significance in the education and upbringing of young adolescents, which have a direct or indirect impact on their social development. The purpose of the research was to study the pedagogical possibilities of folklore works in the social development of younger adolescents in the activities of a social teacher. The author has analyzed the scientific literature on the investigated problem, which became the basis for the methodology of the research. Using theoretical research methods (analytical methods (analysis and synthesis), the method of generalization and structuring of scientific material), the high significance of the use of folklore works in the social development of young adolescents and its high pedagogical potential in the activities of a social teacher have been proven. It has been proved that pedagogical functions of folklore works can be realized, which significantly increases the social competencies of adolescents.

Romanticism as an Expression of Rebel Ideas in Literature

The best manifestation of rebel romanticist poetry is in the works of Byron in England, H. Heine – in Germany, J. Leopard – in Italy, N. Baratashvili – in Georgia, A. Mickie-wicz – in Poland. However, the socio-political situation of the country somewhat de-fined the nature of romanticism. The rebellious Romanticists put the following issues on the agenda: criticism of the bourgeois order, aspiration from singularity to gen-eral, thus they confronted rationalism, the attitude to ideal and reality, development of new literary genres, collecting, processing and publication of literary and folklore works. As a science the history of the world literature was founded, which is derived from Goethe. Although Goethe called romantic sick, and classical – healthy, in doing so, he literally acknowledged that common trends could be reflected in the literary processes of other peoples independently or influenced by those who have common values and gave impetus to development of the issues of globalization and cultural integration. The fusion of personal, national and universal has led to revolutionary shifts in the literary world. However, the French critic F. Brunetiere calls this an evolutionary method in literature (“The Evolution of lyric poetry in France in the XIX century”). The question is how to review Romanticism, as an expression of rebel ideas or as an evolutionary process. We think that Romanticism in its essence includes both, because the society that lacks a sense of protest cannot develop and cannot create values.

К ВОПРОСУ ОБ ИСТОРИЧЕСКОЙ ОСНОВЕ НЕКОТОРЫХ УДМУРТСКИХ ЛЕГЕНД И ПРЕДАНИЙ

Due to the insufficient amount of written evidence covering a particular chronological period, researchers are forced to resort, among others, to the help of folklore sources. In this article the author tried to identify the real historical basis of the plots of a number of Udmurt folklore works, which are often used to illustrate the history of interaction between the Udmurts and the peoples and states of the Middle Volga region in the period of the X–XVI centuries. As the research has shown, the considered historical stories and legends actually reflect historical events dating back to the period of the XVII–XIX centuries. In a number of cases, significant authorial interference in the plot of folklore works was revealed. Thus, the analyzed historical stories and legends cannot be used to highlight events dating back to the existence of the Volga-Kama Bulgaria, the Mongol conquests of Eastern Europe, as well as to the Golden Horde and Kazan periods of the history of the Middle Volga region.

Тематика фольклора и языка в пьесе юкагирского драматурга Геннадия Дьячкова «Розовая чайка»

The preservation of the language and folklore of the indigenous peoples of the North is a pertinent concern within the context of Russian humanitarian science. Of significance is their realization in fiction. This article analyzes the theme of folklore and language as portrayed in the play “The Pink Seagull” written by therig Yukaghir playwht Gennady Dyachkov, with a focus on understanding their roles and connections. The analysis encompasses both the textual content of the play and various folklore sources, such as folk legends, songs, Yukaghir addresses, and Russian paremias. The playwright effectively employs the literary device of folklorism, incorporating folklore into the dialogue of the characters in order to develop the plot and imagery. The theme of language is exemplified through the utilization of the Russian language in various forms and considerations about the Yukaghir language with minor illustrations. It can be concluded that G. Dyachkov perceives folklore and the language of the Yukaghirs as phenomena of differing levels of importance. The Yukaghir language is depicted as dying, the value of which is undoubted. However, the Yukaghir folklore is not perceived as a passing phenomenon that needs to be preserved. The Russian language in the play holds a dominant significance compared to Russian folklore. The characters all speak Russian, which serves as an indicator of their erudition and fulfills the functions of accurate or erroneous identification. Folklorism is regarded as a variant of folklore evolution, with the author’s work functioning as a repository for numerous works of Yukaghir folklore.

Studies from the Polish-Ukrainian Folklore Borderland in the Scientific Work of Mykhailo Lesiv

The article is a review of the works of Ukrainian folklore published by the Polish scholar Mykhailo Lesiv (1928-2016), who is known primarily as a Slavic studier and dialectologist. He is the author of scientific works in the history and culture of language. Studies dedicated to folklore, inter-ethnic contacts, folklore aspects of linguistic interaction on the Polish–Ukrainian borderland occupy a significant place in his scientific heritage. He is also the author of studies presenting folklore materials from the Lublin region and Podlasie. In the 1950s, while collecting dialect material, Lesiv casually recorded oral literature from the inhabitants of the Podillian village of Stara Huta in Buszacki County. Those people had been relocated to the territory of the Western Voivodeships of Poland to the villages of the Szczecin Voivodeship (now it is the West Pomeranian Voivodeship) in the 1945–1946. The collected factual material was published in a number of the researcher’s studies. Cohabitation over the centuries influenced the folklore of both ethnoi. Ukrainian oral literature became an integral part of the spiritual culture of Poles, who incorporated a number of systemic features of the local dialects and Ukrainian folklore into their speech. Characterizing the situation of folklore usage on the Polish–Ukrainian borderland, the scholar concluded that the works of oral literature partially continue to function among the representatives with a conscious belonging to both Polish and Ukrainian people. These works can have Polish, Ukrainian and even mixed linguistic form. Regardless of the language in which folklore texts are performed, they have become a common property of the borderland cultural space. The existence of linguistically mixed folklore texts is one of the main external distinguishing features determining the specific identity of the culture of the Polish–Ukrainian borderland. Folklore bilingualism is a consequence of borrowing, as well as of the two-way translation of works, where certain sentences, phrases or separate words have been preserved in the original state.

ИННОВАЦИОННЫЕ ПРОЦЕССЫ В МУЗЫКАЛЬНОМ ФОЛЬКЛОРЕ НАРЫМСКИХ СЕЛЬКУПОВ

The article discusses the processes of development of modern musical folklore among the Narym Selkups based on the analysis of the publication “Ob tunes of Narym Selkups” (compiled by V. Tuzakova and I. Korobeynikova, Tomsk, 2015). Russian folklore and Soviet mass song are influencing the modern musical folklore of the southern Selkups, and the creativity of amateur Selkup composers (melodists) is developing. In the works of modern musical folklore, the main marker of national identity is the Selkup language. Manifestations of the “Selkup” musical style (scale, organization of melodic movement) are partially preserved, but new stylistic features come to the fore: arrangements defining the musical style of new songs, instrumental accompaniment, square structural constructions peculiar to modern music and other means of popular musical genres. Onomatopoeia of the voices of animals and birds, which are associated with the traditional taiga landscape for the Selkups and bring the “image of a place” to modern compositions, are widely used in modern folklore works. This allows us to consider the modern musical folklore of the Selkups in the light of the concept of the sounding landscapes of the Arctic.

The Song-Requiem “A Duckling Swims in the Tisza”: On the Issue of the Genesis and the Peculiarities of Modern Existence of the Folklore Work

The song “A Duckling Swims in the Tisza” has a special place in the modern song repertoire of Ukrainians. It is performed nowadays during the memorial service for the heroes who died in the Russian–Ukrainian war. The tradition has arisen recently. The song has accompanied the farewell to those who died during the Revolution of Dignity in January and February 2014. Everyone in Ukraine knows the song. Folklorists, linguists, journalists have devoted numerous investigations to the study of its genesis, language features, specificity of imagery, originality of living and performance. The song “A Duckling Swims in the Tisza” has been considered as Lemky folk song, a ballad, a song of literary origin, a song of the First World War, and of the Ukrainian partisans of the period of the Second World War. Analysis of the printed sources shows that the first recording of the song as a folklore work has been made by the composer Dezső Zádor in the village of Volovets in Mukachevo district of Trancarpathia in 1938, published in a collection in 1944. The text of the song is a monologue of a son who leaves his mother and goes to a foreign land. Dezső Zádor has considered it a folk work, included it to Ukrainian social songs. In 1961, musicologist Volodymyr Hoshovskyi has recorded the text and melody of the song “A Duckling Swims in the Tisza” in the village of Berezovo in Khust district of Transcarpathia region, and attributed it to «traveling». Vira Bahanych, a soloist of the Zakarpattian People’s Choir, performed it a cappella for the first time from the stage in the early 1960s. The recording of the song on a record has appeared in 1972, and since then the song in original arrangements has entered the repertoire of many pop bands. The song is performed polyphonically by the group “Pikkardian Tertsiia”. It has become the version that is a requiem for those who died for Ukraine. Folklorist Vasyl Sokil has put forward the hypothesis that the text of the song belongs to Zakarpattian writer Vasyl Grendzha-Donskyi. It has been performed by Ukrainian Insurgent Army soldiers during the Second World War and during the liberation struggles. Well-known linguist Vasyl Nimchuk disagrees with this version. He has conducted a thorough analysis of the vocabulary and song text variants, compared it with Zakarpattian songs of other genres. The scientist has concluded that “A Duckling Swims in the Tisza” is a folk song, the text of Vasyl Grendzha-Donskyi is its literary adaptation. Fixed formulas, loci communes, clichés, images are used in the folk text “A Duckling Swims in the Tisza”. They are present in many genres of Zakarpattian and Ukrainian folklore in general. The motifs of water, which connects the world of people and the world beyond, the parallelism of a water fowl and the hero of the work have Indo-European roots. The theory of the formulaic nature of folklore epic texts, developed by A. Lord and M. Perry, is supplemented by the works of the Ukrainian folklorist F. Kolessa. A comparative analysis of various folklore works with motifs, clichés, loci communes used in folklore variants of the “A Duckling Swims in the Tisza” is a confirmation of the Lord-Perry-Kolessa theory. The popularity of the song among Ukrainian musicians is facilitated by its recording performed by Vira Baganych on a record (1972). Since that time, the song “A Duckling Swims in the Tisza” has been performed by many Ukrainian musicians. The group “Pikkardian Tertsiia” has submitted a polyphonic treatment of a folk text. This version has been spread in 2014 and started to be performed as a funeral song. The history of recording, performance and research of the song “A Duckling Swims in the Tisza”, the analysis of folklore and author’s texts, variants and versions by various scientists and specialists with different approaches to analysis, methods and methodologies of research make it possible to compile a complete picture of the emergence and functioning of the latest folklore and folklorized works. The history of the song “A Duckling Swims in the Tisza” makes it possible to trace the mechanisms that influence the creation of new versions and new versions of songs under new circumstances today.

КЫРГЫЗ ЭТНОПЕДАГОГИКАСЫНДА ФОЛЬКЛОРДУК ЧЫГАРМАЛАРДЫН ПАТРИОТТУУЛУККА ТАРБИЯЛООНУН БУЛАГЫ КАТАРЫ ИЗИЛДЕНИШИ

The article provides an overview of the works of Kyrgyz ethnopedagogues studying how the ideas of patriotic education are reflected in the folklore heritage. The views of Kyrgyz ethnopedagogues who express ideas on ethnopedagogy and patriotic education in folklore works are explained in a new way. The article was devoted to researchers of the theory and history of ethnopedagogy. In our opinion, in the patriotic education of students, works of literature perform the following functions: a communicator that unites in the collective recognition of the ideals, values of patriotic personalities in the children's environment; a means that allows a teacher-educator to instill in students feelings, values about the Motherland and patriotism; a means that deepens, complements, strengthens inner care and love for the Motherland, place birth, civic duty to the Motherland, reflection on their social role, as well as a means of self-education. In the studies of a number of scientists, opinions are expressed about Kyrgyz folklore, ethnography, philosophy, and pedagogical views in oral folk art.