The oral poetry of the people is of great social value, consisting in its cognitive, ideological, educational and aesthetic meanings, which are inextricably linked. The cognitive significance of folklore is manifested primarily in the fact that it reflects the characteristics of real life phenomena and provides extensive knowledge about the history of social relations, work and life, as well as an idea of ​​the worldview and psychology of the people, and the nature of the country. The cognitive significance of folklore is increased by the fact that the plots and images of its works usually contain broad typification and contain generalizations of life phenomena and people’s characters. Thus, the images of Ilya Muromets and Mikula Selyaninovich in Russian epics give an idea of ​​the Russian peasantry in general; one image characterizes an entire social stratum of people. The cognitive significance of folklore is also increased by the fact that its works not only present, but also explain pictures of life, historical events and images of heroes. Thus, epics and historical songs explain why the Russian people withstood the Mongol-Tatar yoke and emerged victorious in the struggle, they explain the meaning of the exploits of heroes and the activities of historical figures. M. Gorky said: “The true history of the working people cannot be known without knowing oral folk art.” Gorky M. Collection. cit., vol. 27, p. 311. The ideological and educational significance of folklore lies in the fact that its best works are inspired by high progressive ideas, love for the motherland, and the desire for peace. Folklore depicts heroes as defenders of the homeland and evokes a feeling of pride in them. He poetizes Russian nature - and the mighty rivers (Mother Volga, the wide Dnieper, the quiet Don), and the expansive steppes, and the wide fields - and this fosters love for it. The image of the Russian land is recreated in works of folklore. Folk art expresses the life aspirations and social views of the people, and often revolutionary sentiments. It played an important role in the people’s struggle for national and social liberation, for their socio-political and cultural development. Modern folk art contributes to the communist education of the masses. In all this, the ideological and educational significance of folk poetry is manifested. The aesthetic significance of folklore works lies in the fact that they are a wonderful art of words and are distinguished by great poetic skill, which is reflected in their construction, in the creation of images, and in language. Folklore skillfully uses fiction, fantasy, and symbolism, i.e. allegorical transfer and characterization of phenomena and their poeticization. Folklore expresses the artistic tastes of the people. The form of his works has been polished over the centuries by the work of excellent masters. Therefore, folklore develops an aesthetic sense, a sense of beauty, a sense of form, rhythm and language. Because of this, it is of great importance for the development of all types of professional art: literature, music, theater. The work of many great writers and composers is closely connected with folk poetry.

Folklore is characterized by the revelation of beauty in nature and man, the unity of aesthetic and moral principles, the combination of reality and fiction, vivid imagery and expressiveness. All this serves as an explanation why the best works of folklore provide great aesthetic pleasure. The science of folklore. The science of folklore - folkloristics - studies oral folk art, the verbal art of the masses. It poses and resolves a significant range of important questions: about the characteristics of folklore - its vital content, social nature, ideological essence, artistic originality; about its origin, development, originality at different stages of existence; about his attitude to literature and other forms of art; about the features of the creative process in it and the forms of existence of individual works; about the specifics of genres: epics, fairy tales, songs, proverbs, etc. Folklore is a complex, synthetic art; Often his works combine elements of various types of art - verbal, musical, theatrical. It is closely connected with folk life and rituals, and reflects the characteristics of various periods of history. That is why various sciences are interested in it and study it: linguistics, literary criticism, art history, ethnography, history. Each of them explores folklore in various aspects: linguistics - the verbal side, reflecting in it the history of the language and connections with dialects; literary criticism - general features of folklore and literature and their differences; art history - musical and theatrical elements; ethnography - the role of folklore in folk life and its connection with rituals; history is the expression in it of the people's understanding of historical events. Due to the uniqueness of folklore as an art, the term “folklore” has different meanings in different countries. content, and therefore the subject of folklore is understood differently. In some foreign countries, folkloristics deals not only with the study of the poetic, but also the musical and choreographic aspects of folk poetic works, i.e., elements of all types of arts. In our country, folkloristics is understood as the science of folk poetic creativity.

Folkloristics has its own subject of study, its own special tasks, and has developed its own research methods and techniques. However, the study of the verbal side of oral folk art is not separated from the study of its other aspects: the cooperation of the sciences of folklore, linguistics, literary criticism, art criticism, ethnography and history is very fruitful. Genera, genres and genre varieties. Folklore, like literature, is the art of words. This gives grounds for folkloristics to use concepts and terms that were developed by literary criticism, naturally applying them to the features of oral folk art. Such concepts and terms are genus, type, genre and genre variety. Both in literary criticism and in folklore studies there is still no unambiguous idea about them; researchers disagree and argue. We will adopt a working definition that we will use. Those phenomena of literature and folklore, which are called genera, genres and genre varieties, are groups of works that are similar to each other in structure, ideological and artistic principles and functions. They have developed historically and are relatively stable, changing only to a small extent and rather slowly. The difference between genera, genres and genre varieties is important for performers of works, and for their listeners, and for researchers studying folk art, since these phenomena represent meaningful forms, the emergence, development, change and death of which is an important process in history literature and folklore.

In literary and folkloristic terminology in our time, the concept and term “species” have almost gone out of use; most often they are replaced by the concept and term “genre”, although they were previously distinguished. We will also accept as a working concept “genre” - a narrower group of works than genus. In this case, by genus we will mean a way of depicting reality (epic, lyrical, dramatic), and by genre - a type of artistic form (fairy tale, song, proverb). But we have to introduce an even narrower concept - “genre variety”, which is a thematic group of works (fairy tales about animals, fairy tales, fairy tales, social and everyday tales, love songs, family songs, etc.). Even smaller groups of works can be identified. Thus, in social and everyday fairy tales there is a special group of works - satirical fairy tales. However, in order to present a general picture of the classification (distribution) of types of works of Russian folk poetry, a number of other circumstances should be taken into account: firstly, the relationship of genres to the so-called rituals (special cult actions), secondly, the relationship of the verbal text to singing and action, which is typical for some types of folklore works. Works may be associated with ritual and singing and may not be associated with them.

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

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

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

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

Folk art, which originated in ancient times, is the historical basis of the entire world artistic culture, the source of national artistic traditions, and an exponent of national self-awareness. Works of folklore (fairy tales, legends, epics) help to recreate the characteristic features of folk speech.

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

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

Traditional folklore, created over centuries and reaching us, is divided into two groups - ritual and non-ritual.

Ritual folklore includes: calendar folklore (carols, Maslenitsa songs, freckles), family folklore (family stories, lullabies, wedding songs, etc.), occasional (spells, chants, spells).

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

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

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

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

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

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

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

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

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

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

As an example. While camping around the fire, they joke that if girls dry their hair by the fire, the weather is bad. During the entire hike, the girls are driven away from the fire. If you go on a hike with the same travel agency, but with completely different people and even instructors a year later, you may find that the sign is alive and people believe in it. The girls are also driven away from the fire. Moreover, counteraction appears: you need to dry your underwear, and then the weather will improve, even if one of the ladies still breaks through to the fire with wet hair. Here we can see not only the emergence of a new folklore text in a certain group of people, but also its development.

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

However, as Anna Kostina, deputy director of the State Republican Center of Russian Folklore, notes, many of them have all the main features of folklore texts: anonymity and collectivity of authorship, variability, traditionality. Moreover: online texts clearly strive to “overcome writing” - hence the widespread use of emoticons (which allow one to indicate intonation) and the popularity of “padon” (intentionally incorrect) spelling. Funny nameless texts are already widely circulating on the Internet, absolutely folkloric in spirit and poetics, but unable to live in a purely oral transmission.

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

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

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

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

The folklore of speech situations has changed beyond recognition, and today it resembles more of a parody. Example: “Whoever gets up early lives far from work,” “Don’t have one hundred percent, but have one hundred clients.”

It is necessary to single out a completely new and unique phenomenon - online folklore - into a separate group. Here you can find the “padon language”, and online anonymous stories, and “chain letters” and much more.

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

Perhaps in a hundred or two hundred years, modern folklore texts will not be studied in literature classes, and many of them may disappear much earlier, but, nevertheless, new folklore is a modern person’s idea of ​​society and the life of this society, its self-awareness and cultural level. V.V. Bervi-Flerovsky left a remarkable description of the various social groups of the working population of Russia in the mid-19th century in his book “The Situation of the Working Class in Russia” for the richness of ethnographic details. His attention to the peculiar features of the life and culture of each of these groups is revealed even in the very titles of individual chapters: “Tramp Worker”, “Siberian Farmer”, “Trans-Ural Worker”, “Mining Worker”, “Mining Worker”, “Russian Proletarian” " All of these are different social types representing the Russian people in a specific historical situation. It is no coincidence that Bervi-Flerovsky considered it necessary to highlight the characteristics of the “moral mood of workers in industrial provinces,” realizing that this “mood” has many specific features that distinguish it from the “moral mood”<работника на севере», а строй мыслей и чувств «земледельца на помещичьих землях» не тот, что у земледельца-переселенца в Сибири.

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

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

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

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

In modern life, people continue to exist due to their simplicity, digestibility, ability to undergo various transformations without compromising the content - some genres of classical folklore - fairy tales, proverbs, sayings, sayings, signs.

Some of them, for example, folk tales, children's lullabies, fulfill the same role - educational, educational, entertaining. True, if some lullabies, for example, or proverbs are still transmitted orally, then fairy tales, as a rule, are read to children from books.

Other genres of folklore, for example, folk natural signs, have lost their original functions. In modern conditions, folk weather predictions often do not work because the natural environment has changed and the ecological balance has been disrupted. In addition, the forms of assimilation and transmission of folk signs have changed. A modern urban person becomes familiar with them, for example, by reading a tear-off calendar or listening to radio programs aimed at reminding people of traditional folk culture. Functioning and being transmitted in this way, folk signs acquire a different cultural meaning. In modern everyday culture, folk signs move into the sphere not even of memory, but rather of reminders, into the sphere of the curious. They are retold to friends and neighbors, but they are also very quickly forgotten - until the next reminder.

And in the village, traditional folk signs have largely lost their vital necessity and relevance for successful agricultural work. Here, on the one hand, there is an obvious need for scientific weather forecasts - in connection with climate change, on the other hand, new signs are being developed based on personal experience and observations. As a result, the sign, as one of the forms of folk knowledge, has been preserved, but its content and place in the everyday culture of people have changed significantly.

Traditional signs and folk superstitions (the belief that certain phenomena and events represent a manifestation of supernatural forces or serve as an omen of the future) have reached our time and fully exist in the ordinary mass consciousness. It is difficult to find a person who has not said out loud at least once in his life that spilling salt means a quarrel, hiccups mean someone is remembering, meeting a woman with an empty bucket is unlucky, and breaking dishes means happiness. Signs are a fairly striking example of the existence of elements of traditional ethnoculture in modern culture. Everyday, repeated behavioral situations and the everyday commentary that accompanies them are easily and effortlessly passed on “inherited” from generation to generation.

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folklore national tradition

Introduction

1. History of collecting and studying folk art

2. Collective and individual principles in folklore

3. Stability and changeability of folklore works

4. Problems of traditions in modern folklore

5. Preservation and development of folklore traditions

6. Classic folklore in modern life

Conclusion

Literature

Introduction

Folklore is an integral part of every nation, and it manifests itself both in oral and poetic form and in spiritual form. Over the course of many centuries, various folklore genres, rituals, customs, and beliefs were created and passed on from generation to generation. Nowadays it is becoming increasingly difficult to find those people who would talk about all this; who remembered how their ancestors lived; what songs were sung, etc.

Modern folklore centers are engaged in activities aimed at the revival, preservation and development of Russian folklore, folk traditions, trades and crafts, the dissemination and popularization of works of folk art.

In modern socio-cultural conditions, the realization of the potential of Russian traditional culture contributes to the positive dynamics of spiritual and moral development, which is manifested in the enrichment of value orientation, the growth of ethno-artistic interests and cognitive activity, an increase in the level of intellectual development, and the development of artistic and creative abilities of children and adults.

The life of children is closely connected with the life of adults, but the child has his own vision of the world, determined by age-related psychological characteristics.

The child's judgment, like his practical thinking, has a character that is primarily practical - sensual. The sensory nature of a child's body is the first connection that connects him to the world.

Young children perceive all the diversity of the world differently than adults. At first, a child’s thought is associated only with specific images.

The peculiarities of the child's psyche determine the choice of poetic images, the entire composition of children's folklore, and artistic creativity.

Poetic works for many centuries, passed on from one generation to another, gradually acquired content and form that most fully corresponded to the laws of children's aesthetics.

Children's creativity contains the key to understanding adult psychology, children's artistic tastes, and children's creative potential.

Folk artistic creativity is a specific area that unites the world of children and the world of adults, including a whole system of poetic and musical-poetic, as well as artistic genres of folk art.

The development of vision, artistic vision is the main task of joining folk art.

A child in the world of art must live in two intersecting spaces. One space is a children's space, with its games and children's creativity. Another world of adult art.

Examples of adult art are not always easy to understand. And the child should feel the gap that exists between children's and adult art. Over time, he develops the ability to respond to the emotional tonality of adult works.

1 . StorygatheringAndstudyingfolkartisticcreativity

At the beginning of the 19th century, thinking Russia faced an acute problem of the culture of the people, their spiritual wealth, and the question of the social significance of people's life.

Many researchers turned to the folklore heritage of the people. A. Glagolev, who wrote about the beauty and innocence of rituals that reveal the simplicity and naivety of Russian people, is attracted by the songs associated with the ritual of sun worship and the cult of trees.

Children's fairy tales were allocated to a special group for the first time. In those years, many understood the pedagogical value of folk art.

Through the sieve of centuries, the people have sifted their cultural heritage, leaving the most valuable in folk art, artistic crafts, folklore, and decorative and applied arts.

Folk art is an inexhaustible source of aesthetic, moral, and emotional education.

For many centuries, folk wisdom, contained in fairy tales, nursery rhymes, jokes, and riddles, has fostered in children pride in the talent of the common people, interest in well-aimed, expressive words, and love for their native language.

2. CollectiveAndindividualstartedVfolklore

Unlike literature - the individual creativity of writers - folklore is a collective creativity. However, this does not mean that the individual principle does not have any significance in it.

In certain genres and in certain historical periods, the individual principle manifests itself quite noticeably, but it is in peculiar connections with the collective principle.

Folklore arose in ancient times as a mass collective creativity. Early forms of folklore were distinguished by the fact that they were dominated by the collective composition and performance of works. At that time, the creative personality did not stand out much from the team.

Later, individual talented singers began to play an increasingly important role, who in all their creativity expressed the ideas and views of the clan or tribe, and then the people.

Even in the early forms of folklore, and naturally, even more so in the later ones, individual creativity was organically connected with the collective and developed on its basis.

Collectivity in folklore is manifested in the external forms of creativity, and in its internal essence, and in the process of creating works, and in their performance.

It is expressed in the fact that the creators and performers of works rely on general folklore experience and tradition and at the same time introduce new features and details into the work, adapting its plot, images and style to specific performance conditions.

Works can be created by a collective (choir, group of people) or by individuals - singers and storytellers.

If they correspond to the needs and tastes of the collective, the people, then they begin to exist among them and are performed in the choir by individual singers.

The collectivity of folklore is expressed in the fact that individual folklore works are recognized as the common property of the people; they live for a long time and are passed on from generation to generation.

But each performer can change the work in accordance with his creative intent.

In various genres of folklore, the collective and individual principles in the creation and performance of works are manifested in different ways: if songs are usually performed by a choir, collectively, then epics and fairy tales are performed individually.

If the text of the spells is very stable, then the text of the lamentations is very flexible; as a rule, it is largely improvised - created, as it were, anew on new material.

But this individual improvisation is carried out according to long-established patterns, on the basis of collectively developed means of artistic expression.

Chatushkas are usually works composed by persons known in the village. They show more individuality than in works of other genres of folklore.

The individual principle, as well as the collective one, takes place at all stages of the development of folklore.

It takes on diverse forms of expression and shows a tendency not to fade away, but to intensify and intensify in the process of the historical evolution of folklore.

3. SustainabilityAndchangeabilityfolkloreworks

Traditionality in folk art is expressed in the relative stability of the verbal text, chant, nature of performance, colors, the transfer of works, as a rule, without significant changes from generation to generation, the preservation over the centuries of works with certain plots and characters, forms and means of expression.

Tradition, like the collectivity of creativity, is characteristic not only of verbal folklore. It is also inherent in other types of folk art - music, dancing, carving, embroidery.

Tradition has its own socio-historical foundations and is determined by important life circumstances.

These conditions and circumstances are:

Firstly, folk art originated in the primitive communal system, when social forms of life, folk life and ideas were very stable, which determined the stability of folklore.

But, having developed at this time, the tradition was supported by a certain stability of life forms in later periods of history. Due to changes in the very nature of life, the tradition was gradually weakened.

Secondly, works of folk art deeply reflect the most important features of reality and capture important objective qualities of man and nature.

This can be said not only about proverbs, the life generalizations of which have been preserved for centuries and will continue to be preserved for a long time, but also about songs that characterize the spiritual world of man, his universal human properties, thoughts, feelings and experiences.

Thirdly, folk art embodied the principles of folk aesthetics and reflected folk artistic tastes that have been developed over centuries. They are valuable because they embody the objective laws of beauty.

Fourthly, the works of folklore themselves are significant artistic achievements. They satisfy people's ideological and aesthetic needs and serve as an important part of the spiritual culture of the people for a long time.

The conditions listed above serve as the basis for the traditional nature of folk art and the great stability of folk works.

4. ProblemstraditionsVmodernfolklore

Among the many problems of modern folklore, the problems of tradition are perhaps the most significant and complex. They cause long-term debates, at times turning into organized discussions. However, even today this topic cannot be considered exhausted; rather, on the contrary, the further the development of folklore goes, the greater its relevance. Moreover, the relevance is not only of a theoretical nature, but even more of a practical one, connected with the everyday life of modern folk artistic crafts.

Traditionality is generally recognized as one of the specific features of folk art. There is extensive literature about traditions in folklore and folk crafts. But it usually does not contain a definition of the very concept of “tradition”; different researchers put different content into it. Some scientists (V.S. Voronov, V.M. Vasilenko, T.M. Razina) understand traditionality of folk art mainly as the antiquity of its images, forms and techniques, the stability of their preservation and continuity in development.

Such a point of view emphasizes one side of tradition - the connection of folk art with the past, its roots, ancient sources, without which it is generally impossible to understand this phenomenon of human culture...

Absolutizing one side of tradition, some scientists see only the past in the traditions of folk art and conclude that this art is inert, backward, and lacks connections with modernity. A supporter of such views is M. A. Ilyin. Analysis and criticism of his point of view can be the subject of a special article. In this regard, we will limit ourselves to just noting that M. A. Ilyin understands by tradition its particular moments: plots, motives, techniques, forms, coloring of works of specific folk crafts, outside the organic whole into which all these particulars merge at a certain time and in each of the crafts, creating the original features of local folk art.

Such a narrow understanding of traditions could not but lead to their denial as a path along which one can go “forward with one’s head turned back.” Based on the incorrect understanding of the development of art in general only as progressive, evolutionary, mixing such different concepts as folk and folk art, its nationality, Ilyin comes to the wrong conclusion about the conservatism of the art of folk crafts, marking time, about the only possible path for them - absorption art industry, leveling in a single so-called “modern style” of decorative and applied arts.

Such views attracted justified criticism twenty years ago. It occupies many pages in the works of A. B. Saltykov, an outstanding theorist of Soviet applied art, who made a great contribution to the study of issues of tradition6. Saltykov understood traditions as a dialectical phenomenon, connected not only with the past, but with the present and future. He constantly emphasized the direct connection of traditions with modern Soviet art, analyzed the movement and development of traditions, which, in his opinion, lie not in the formal features of the art of a given craft and not in their mechanical sum, but in the integrity of the figurative artistic system of the craft and its historical development .

Saltykov’s thoughts on the need for a historical approach to the concept of style in folk art are relevant. “... Every style,” he wrote, “is an expression of the spiritual state of the people of its time... a people does not stop in its development... it is constantly changing... and with these changes changes in artistic style are inevitably associated.”

A. B. Saltykov brilliantly confirmed the correctness of his theoretical positions on issues of tradition through the example of practical work with the masters of Gzhel.

Nowadays, the ideas and thoughts of A. B. Saltykov are repeated and developed in a number of articles by M. A. Nekrasova. She rightly believes that tradition is deeply meaningful, that it is a deeply internal phenomenon. The basis of tradition is the correct attitude towards the national heritage. Heritage is all the art of the past. Everything that has lasting value passes into tradition. This is the experience of the people, something that is capable of living in a new way in modern times.

In the broad sense of the word, there are no phenomena outside of tradition. Nothing is born out of nowhere, without mastering the experience of the past. Traditions are a kind of engine of cultural progress, those organic features of various aspects of life that are selected, preserved and developed by generations as the best, typical, familiar. But traditions are not something given once and for all, frozen, motionless, not a synonym for the past or something similar to the past. The dialectical unity of the past, present and potential future inherent in tradition is perfectly expressed in the definition given by the outstanding Russian composer I. F. Stravinsky. And although he was based on the analysis of musical works, he expressed the essence of the concept of tradition in its broad and objective content.

There are no traditions in general, but there are traditions of a specific sphere of human activity among a specific people, in a specific place and in a specific era. Meanwhile, the life and development of tradition, the concrete historical approach to its analysis are often ignored and not taken into account.

Tradition is a multi-layered concept. Traditions permeate all phenomena of life, everyday life, production, economics, culture, art, in each area having their own specificity in content and manifestation. There are significant differences in the manifestation of traditions in art in general and in folk art in particular.

Traditions of collective creativity live in folk art. These traditions have evolved over centuries and have been refined by many generations of people. The blood connection of folk art with the life, work, and everyday life of the people determined the historical continuity of the traditions of folk culture, the formation of not only nationwide, national traditions, but also their local manifestations in peasant creativity and folk crafts. The traditions of peasant art, due to the well-known conservatism of the way of life and a special commitment to patriarchal antiquity, developed slowly, evolutionarily. Many of these traditions have become a thing of the past along with the environment and living conditions that gave birth to them, for example, the traditions of ancient Slavic mythology, which gave birth to images of many types of peasant art and a whole layer of folk embroidery ornaments.

The creation of style and the formation of traditions of the art of craft were influenced by many factors, some more indirectly and, as it were, elusively in external manifestation, others - clearly and directly influencing the nature of art and the structure of the artistic image.

A specific historical approach to the analysis of all factors involved in the creation and development of folk crafts shows that their role at different stages of the development of the craft and at different times could be ambiguous.

5. SavingAnddevelopmentfolkloretraditions

The transfer of craft skills from generation to generation, the creative process of making products under the guidance of adults contributed to the consolidation of positive emotions, the desire to learn and master the specifics of craftsmanship, and the formation of initial ideas about folk art.

The concept of heritage, tradition in teaching artistic creativity has always been and still is important. The most valuable product of labor is considered to be one that has accumulated not only individual creativity, but also the hereditary experience of previous generations, learned in the process of practical actions.

The most stable and viable part of culture is tradition, opposed to innovations, on the one hand, and enriched by them, on the other. With the interaction of tradition and innovation, multiple traditions do not die out, but gradually change, taking on the form of innovations. Traditional culture is a sphere of concentration of a certain collective experience of the past and the birth of innovations that ensure the adaptation of traditional cultural norms to the changing conditions of existence of an ethnic group. Thanks to innovative

elements there are changes in tradition.

Traditional folk culture is not only the basis for the spiritual unity of the people, but also a cultural and educational institution of the modern individual. It retains a unique property in modern life. In traditional culture there are no creators and consumers.

The creative potential inherent in traditional culture is used in modern society in working with children and youth. It is traditional culture that can become a means of adapting a person to the contradictory life of modern society, where there is a long overdue need to create a leisure space for the transfer of socio-cultural experience, built on the principles of the traditional (a meeting place for generations). This is not about creating, for example, new folklore groups focused on the stage embodiment of folklore, but about creating inter-age associations where folklore becomes a means of communication and self-realization, where a folklore environment is created for joint celebrations. Despite the fact that traditional forms of culture in the modern world are deeply transformed, nevertheless, folk art remains the inspirer of modern quests in all areas of culture.

Within the framework of the traditional culture of the Russian people as a spiritual integrity, a number of unique regional traditions are emerging, the existence of which is noted by collectors and researchers.

The study and preservation of regional traditions, the search for new ways of transmitting traditional culture in modern society is relevant in the field of culture and education.

Within the framework of the projects, seminars on the problems of studying folklore in schools and international scientific and practical conferences are organized annually and step by step.

In the process of implementing the project, a systematic description of the existence of verbal and musical genres is used.

As a result of the research, a description of the active genres of folklore is carried out, the active genre composition of verbal folklore is highlighted in terms of its adaptation to the age characteristics of students and educational standards.

The study of regional folklore involves continuous comparative analysis, which helps to develop not only imaginative, but also rational thinking. Compliance with the principles will make it possible to realize the unity of training, education and development in the development of folk culture in its regional manifestations.

Getting to know the traditional culture of peoples living together in the same territory fosters respect for other cultural traditions. With the help of folklore classes, a folklore-ethnographic environment is created; there is continuity of cultural traditions in holding public mass holidays together with adults. An understanding is fostered that the people around them are carriers of folklore tradition in varying amounts of its content.

Comparing the traditional and modern models of folk holidays, one can notice the desacralization and transformation of holidays into a mass spectacle; the form gradually changes due to the replacement of the attributive components of the ritual with modern ones; the content changes, a new poetic and mythological background of the ritual, new symbolism is born; the form, content, and time canons are simultaneously transformed, which leads, in fact, to the birth of a new phenomenon. The modern model of traditional calendar and family holidays is becoming secondary.

It remains important for various centers to comprehend and transmit traditional folk culture from generation to generation; development of the youth folklore movement in the region (in all directions); combining the efforts of ethnographers, philologists, musicians; attracting interest in traditional culture among professionals and lovers of folk art.

Accumulated and systematized folklore and ethnographic materials, observations and generalizations concerning the patterns of traditional culture have not only local, but also general scientific significance.

With the support of the Government, a comprehensive program is being implemented aimed at promoting traditional culture.

Festivals remain an integral part of activities for the preservation, study and further development of folklore traditions.

The “scientific component” is gradually strengthening; scientific and practical conferences are held annually within the framework of the Days of Slavic Literature and Culture.

In the context of globalization, traditional culture is often attacked as conservative and inconsistent with the spirit of the times, but it is in it that the basic values ​​of the people are concentrated. The traditional experience of generations, understanding the essence of traditions, and therefore cultural norms, behavioral stereotypes, knowledge and experience, customs and habits, upbringing, religious beliefs are needed today for transformations in both public and private life. And their correct interpretation, correct understanding gives us a path and hope in arranging modern society.

The problem of studying the factors of preserving traditional culture is complex and is the subject of research in cultural studies, sociology, ethnography, linguistics, folklore and other sciences.

6. ClassicalfolkloreVmodernlife

In modern life, people continue to exist due to their simplicity, digestibility, ability to undergo various transformations without compromising the content - some genres of classical folklore - fairy tales, proverbs, sayings, sayings, signs.

Some of them, for example, folk tales, children's lullabies, fulfill the same role - educational, educational, entertaining. True, if some lullabies, for example, or proverbs are still transmitted orally, then fairy tales, as a rule, are read to children from books.

Other genres of folklore, for example, folk natural signs, have lost their original functions. In modern conditions, folk weather predictions often do not work because the natural environment has changed and the ecological balance has been disrupted. In addition, the forms of assimilation and transmission of folk signs have changed. A modern urban person becomes familiar with them, for example, by reading a tear-off calendar or listening to radio programs aimed at reminding people of traditional folk culture. Functioning and being transmitted in this way, folk signs acquire a different cultural meaning. In modern everyday culture, folk signs move into the sphere not even of memory, but rather of reminders, into the sphere of the curious. They are retold to friends and neighbors, but they are also very quickly forgotten - until the next reminder.

And in the village, traditional folk signs have largely lost their vital necessity and relevance for successful agricultural work. Here, on the one hand, there is an obvious need for scientific weather forecasts - in connection with climate change, on the other hand, new signs are being developed based on personal experience and observations. As a result, the sign, as one of the forms of folk knowledge, has been preserved, but its content and place in the everyday culture of people have changed significantly.

Traditional signs and folk superstitions (the belief that certain phenomena and events represent a manifestation of supernatural forces or serve as an omen of the future) have reached our time and fully exist in the ordinary mass consciousness. It is difficult to find a person who has not said out loud at least once in his life that spilling salt means a quarrel, hiccups mean someone is remembering, meeting a woman with an empty bucket is unlucky, and breaking dishes means happiness. Signs are a fairly striking example of the existence of elements of traditional ethnoculture in modern culture. Everyday, repeated behavioral situations and the everyday commentary that accompanies them are easily and effortlessly passed on “inherited” from generation to generation.

Conclusion

At present, the enormous role of musical folk art in the art of each country has long been recognized. Folk art found its most vivid and complete expression not in purely instrumental music, but in combining melody with words - in song. The song, which originated in its most primitive form many thousands of years ago, has steadily developed and evolved in close connection with the development of the culture of the people themselves, their way of life, language, thinking, which are reflected in both the lyrics and tunes. A collection of folk songs is the main result of the thousand-year history of most peoples.

It is necessary to carefully preserve the property and take care of its survival. Preserve the treasures of folk musical culture, make them accessible to the general public, professional and amateur performing groups, provide additional material for the creativity of composers, as well as for pupils and students of special educational institutions.

Folk art helps not only ethnographers to better understand the life, culture, and way of life of our ancestors, but also children who can only imagine it.

Love, respect, and pride for folk art are gradually formed under the influence of the surrounding atmosphere.

This complex feeling arises and develops in the process of accumulating knowledge and ideas about the nature of the native land, about work and relationships between people. It is necessary to talk about the origins of folk art in an accessible form.

Through familiarization and education of folk art, children become acquainted with the work of adults, learn to respect it, and learn the simplest skills; interest, independence, and the ability to work are fostered.

The use of various materials, aids, toys, paintings, works of folk art helps to perceive and reproduce the most striking features of the artistic image.

Introduction to folk art and its influence is felt in cases where children depict the world that is known to them from folk art.

To fill your free time with interesting and meaningful activities, you need to develop a desire for beauty, cultivate respect for folk traditions and cultural values.

Literature

1. Bogatyrev P.G., Gusev V.E., Kolesnitskaya I.M. and others. “Russian folk art”, Moscow 2000.

2. Gusev V.E. Aesthetics of folklore. L., 1999

3. Zhukovskaya R.I. “Native Land”, Moscow 1999

4. Kravtsov N.I., Lazutin S.G. “Russian oral folk art”, Moscow 2003

5. Lazutin S.G. “Poetics of Russian folklore”, Moscow 2005

6. Putilov B.N. "Folklore and folk culture." - St. Petersburg, 2003

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Introduction

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

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

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

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

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

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

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

The educational potential of folklore is limitless. Today, our society is reviving forgotten ancient traditions, using folk experience, creating new models of educational theories and practices.

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

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

Preservation and development of national culture and one’s roots is the most important task, which requires careful treatment of historical and cultural monuments, and traditional folk art. The revival of folklore, folk customs, rituals and holidays, traditional arts and crafts and fine arts is a pressing problem of our time. Folklore, its genres, means, and methods most fully fill out the entire picture of people's life, giving a vivid picture of the life of the people, their morality, and spirituality. Folklore reveals the soul of a people, its virtues and characteristics. From a scientific point of view, folklore is a phenomenon that deserves special study and careful evaluation.

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

Coursework objectives:

– characterize the phenomenon of folklore and its educational significance;

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

– show the practical application of the main folklore genres in education.

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

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

folklore educational genre

1. Folklore is a means of national education

1.1 The concept and essence of folklore

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

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

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

According to B.N. Putilov, there are five main variants of the meaning of the concept “folklore”:

1. folklore as a set, a variety of forms of traditional culture, that is, a synonym for the concept of “traditional culture”;

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

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

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

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

The narrowest, but also the most stable of these definitions is the one that connects it mainly with the genres of oral folk art, that is, with verbal, verbal expression. This is truly the most developed area of ​​folkloristics, which has made a huge contribution to the development of the science of literature - a direct descendant, “continuator” of oral folk art, genetically related to it.

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

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

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

In ancient and medieval society, a heroic epic took shape. Legends and songs reflecting religious beliefs also arose (for example, Russian spiritual poems). Later, historical songs appeared, depicting real historical events and heroes, as they remained in people's memory. With changes in the social life of society, new genres arose in Russian folklore: soldiers', coachmen's, barge haulers' songs. The growth of industry and cities gave rise to romances, jokes, worker, school and student folklore.

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

1.2 Specific features of folklore

One of the most important specific features of folk oral creativity is collectivity. Each piece of oral folk art not only expresses the thoughts and feelings of specific groups, but is also collectively created and disseminated. However, the collectivity of the creative process in folklore does not mean that individuals did not play any role. Talented masters not only improved or adapted existing texts to new conditions, but sometimes also created songs, ditties, and fairy tales, which, in accordance with the laws of oral folk art, were distributed without the name of the author. With the social division of labor, unique professions arose related to the creation and performance of poetic and musical works (ancient Greek rhapsodes, Russian guslars, Ukrainian kobzars, Kyrgyz akyns, Azerbaijani ashugs, French chansonniers, etc.). Collectivity is not a simple co-authorship, but a special long-term process of improving songs, fairy tales, legends, proverbs and sayings. Collectivity is most clearly manifested in the constant process of selection and polishing of works of folk poetry: from many works, the people choose and preserve the best, similar to their thoughts and aesthetic views. The collective principle in folklore is not opposed to the individual. Folklore is characterized by an organic combination of the collective and the individual, while collectivity does not interfere with the manifestation of the individual abilities of writers and performers.

The oral form of existence of folklore is organically connected with the collectivity of folk art. Folklore appeared earlier than writing and initially existed only in oral transmission. The oral form of existence of folk poetry leads to the emergence of variants of the same folklore work - this is another specific feature of folklore - variability.

Folklore works differ from fiction in the features of their artistic form. These features include, first of all, traditional poetics developed by the people over the centuries. Traditional folk symbolism, constant epithets, metaphors give folk art a specific flavor.

Folklore differs from written literature in its typification features. Literature is characterized by the creation of typical characters in typical settings. A typical character, reflecting the main features of his social environment and his era, is manifested through the individual qualities of the hero, through an individual and unique appearance. The images of oral folk art do not have such individualization.

1.3 Functions and educational potential of folklore

Firstly, folklore helps to deepen knowledge about folk spiritual culture in its past and present. Folklore introduces you to the life, traditions, and customs of your own and the “neighboring people.”

Secondly, with the help of folklore, the assimilation of moral and behavioral cultural norms and values ​​enshrined in the culture of a nation is carried out. Moral and behavioral norms and values ​​are expressed in a system of images. Revealing the characters of fairy-tale characters, delving into the essence of their actions, the student understands what is good and what is bad, thereby easily determining his likes and dislikes, and comprehending popular ideas about human beauty. Wise folk proverbs and sayings inform about behavioral norms.

Thirdly, with the help of folklore it is possible to develop a respectful attitude both towards the culture of one’s own ethnic group and a tolerant attitude towards other ethnic cultures. By studying folklore, a child realizes that the people are creators, creators of cultural heritage that should be admired and proud. Folklore is a centuries-old folk work that preserves the history of an ethnic group.

Fourthly, folklore contributes to the development of aesthetic taste. The child feels the beauty of folk thought, he has a need to communicate with the people. He strives to understand what means people use in their creativity, and tries to apply them in the future.

Belarusian folklore occupies a special place in the national culture of Belarusians and performs the following functions:

1. aesthetic

2. educational

3. educational

Aesthetic function folklore lies in the fact that it forms artistic taste in children, develops the ability to appreciate and understand beauty, and contributes to the formation of a harmoniously developed personality.

The essence educational function lies in the fact that oral folk art, being a means of folk pedagogy, forms the qualities of human character. Proverbs, sayings, and fairy tales are filled with high moral and ethical meaning and give characterological assessments of a person from the standpoint of “good” and “bad.”

Cognitive value of folklore lies in the fact that this is a way for a child to get acquainted with the world around him.

1.4 Genres of folklore

All folklore genres are usually grouped, as in literature, into three groups or three types: dramatic, prose and song.

Any folklore originates in small genres, which include riddles, proverbs and sayings.

A proverb is understood as an apt figurative saying of an edifying nature, typifying a wide variety of life phenomena and having the form of a complete sentence.

Proverbs satisfied many of the spiritual needs of workers: cognitive-intellectual (educational), industrial, aesthetic, moral, etc.

Proverbs are not antiquity, not the past, but the living voice of the people: the people retain in their memory only what they need today and will need tomorrow. When a proverb talks about the past, it is assessed from the point of view of the present and the future - it is condemned or approved depending on the extent to which the past reflected in the aphorism corresponds to people's ideals, expectations and aspirations. (6; 36)

A proverb is created by the entire people, therefore it expresses the collective opinion of the people. It contains a popular assessment of life, observations of the people's mind. A successful aphorism, created by an individual mind, does not become a popular proverb if it does not express the opinion of the majority.

Folk proverbs have a form that is favorable for memorization, which enhances their significance as ethnopedagogical tools. Proverbs remain firmly in memory. Their memorization is made easier by the play of words, various consonances, rhymes, rhythms, sometimes very skillful. The ultimate goal of proverbs has always been education; since ancient times they have acted as pedagogical tools. On the one hand, they contain a pedagogical idea, on the other hand, they have an educational influence and carry out educational functions: they tell about the means and methods of educational influence that correspond to the ideas of the people, they give characterological assessments of the individual - positive and negative, which, in one way or another, determine the goals of personality formation , contain a call for education, self-education and re-education, condemn adults who neglect their sacred duties - pedagogical, etc.

Proverbs contain a lot of practical material: everyday advice, wishes in work, greetings, etc.

The most common form of proverbs is instructions. From a pedagogical point of view, instructions of three categories are interesting: instructions instructing children and youth in good morals, including the rules of good manners; teachings calling on adults to behave decently, and, finally, instructions of a special kind, containing pedagogical advice, stating the results of education, which is a kind of generalization of pedagogical experience. They contain a wealth of educational material on issues of upbringing. Positive and negative personality traits, according to proverbs, are presented as goals of education and re-education, implying every possible improvement in the behavior and character of people. At the same time, it is noteworthy that all nations recognize the infinity of human perfection. Any person, no matter how perfect he is, can rise to another level of perfection. This step leads not only a person, but also humanity to progress. Many proverbs are motivated and reasoned calls for self-improvement.

The Literary Encyclopedia describes a riddle as “an intricate poetic description of an object or phenomenon that tests the ingenuity of the guesser.” The definitions of a riddle are based on the same features:

– the description is often framed in the form of an interrogative sentence;

– the description is laconic and the riddle has rhythm.

Thus, a riddle is a brief description of an object or phenomenon, often in poetic form, containing an intricate task in the form of an explicit (direct) or implied (hidden) question.

Riddles are designed to develop children's thinking, to teach them to analyze objects and phenomena from various areas of the surrounding reality; Moreover, the presence of a large number of riddles about the same phenomenon made it possible to give a comprehensive description of the subject (phenomenon). But the significance of riddles in mental education is far from being limited to the development of thinking; they also enrich the mind with information about nature and knowledge from various areas of human life. The use of riddles in mental education is valuable because the totality of information about nature and human society is acquired by the child in the process of active mental activity.

Riddles contribute to the development of a child’s memory, imaginative thinking, and speed of mental reactions.

A riddle teaches a child to compare the characteristics of different objects, to find commonality in them, and thereby develops his ability to classify objects and discard their unimportant characteristics. In other words, with the help of a riddle, the foundations of theoretical creative thinking are formed.

A riddle develops a child's observation skills. The more observant a child is, the better and faster he solves riddles. A special place in the process of raising children is occupied by the diagnostic function of the riddle: it allows the teacher, without any special tests or questionnaires, to identify the degree of observation, intelligence, mental development, as well as the level of creative thinking of the child.

A saying - from the simplest poetic works, such as a fable or a proverb, can stand out and independently turn into living speech, the elements in which condense their content; this is not an abstract formula of the idea of ​​the work, but a figurative hint of it, taken from the work itself and serving as its substitute (for example, “a pig under the oak tree,” or “a dog in the manger,” or “he washes dirty linen in public”)

A saying, unlike a proverb, does not contain a general instructive meaning.

Proverbs and sayings are comparative or allegorical statements and contain the worldly wisdom of the people. From these two sprouts, metaphors (in riddles) and figurative comparisons (in sayings), folk poetry grows.

Song genres of folklore are represented by epic songs and ballads, ritual and lyrical songs, ditties, work songs and improvisations. Lamentations also join the song genre.

The songs reflect the age-old expectations, aspirations and innermost dreams of the people. The songs are unique in their musical and poetic presentation of the idea - ethical, aesthetic, pedagogical. Beauty and goodness appear in unity in the song. Good fellows, praised by the people, are not only kind, but also beautiful. Folk songs have absorbed the highest national values, focused only on goodness, on human happiness.

Songs are a more complex form of folk poetry than riddles and proverbs. The main purpose of songs is to instill a love of beauty, to develop aesthetic views and tastes. The song is characterized by a high poeticization of all aspects of people's life, including the education of the younger generation. The pedagogical value of the song is that beautiful singing was taught, and it, in turn, taught beauty and goodness. The song accompanied all events of people's life - work, holidays, games, funerals, etc. The whole life of people passed in song, which best expressed the ethical and aesthetic essence of the individual. A complete song cycle is a person’s life from birth to death. Songs are sung to a baby in a cradle, who has not yet learned to understand, to an old man in a coffin, who has no longer felt and understood. Scientists have proven the beneficial role of gentle song in the mental development of a child in the womb. Lullabies not only put the baby to sleep, but also caress him, soothe him, and bring joy. Some categories of songs are aimed at specific age groups, although, of course, most songs cannot be sharply differentiated and distributed by age. Some adult songs are sung by small children with special enthusiasm. Therefore, we can only talk about the predominant performance of certain songs at a given age.

Noteworthy means of educational influence are pestles And nursery rhymes. In them, the growing child occupies the entire attention of the adult. Pestushki got their name from the word to nurture - to nurse, to carry in one’s arms. These are short poetic refrains that accompany the child’s movements during nurturing.

Pestlets make sense only when accompanied by a tactile device - a light bodily touch. A gentle massage, accompanied by a cheerful, simple song with clear pronunciation of poetic lines, puts the child in a cheerful, cheerful mood. Pestushki takes into account all the main aspects of the child’s physical development. As he begins to find his feet, he is told one thing; a child taking his first steps is taught to stand more firmly on his feet and at the same time other pestles speak.

Pestushki gradually turn into nursery rhyme songs that accompany the child’s games with fingers, arms, and legs. These games often also contain pedagogical instruction in hard work, kindness, and friendliness.

Song is a complex form of folk poetry. The main purpose of songs is aesthetic education. But they aim to implement other aspects of personality formation, i.e. are a comprehensive means of influencing the individual.

The songs reveal the external and internal beauty of a person, the meaning of beauty in life; they are one of the best means of developing aesthetic tastes in the younger generation. Beautiful melodies enhance the aesthetic impact of the poetic words of the songs. The influence of folk songs on peasant youth has always been enormous, and their significance has never been limited to the beauty of verse and melody (external beauty, beauty of form). The beauty of thoughts and the beauty of content are also among the strengths of folk songs.

And the very words of the songs, and the conditions, and the nature of their performance contribute to the strengthening of health and the development of hard work. The songs glorify health, it is called happiness, the highest good. People have always believed that songs develop the voice, expand and strengthen the lungs: “To sing loudly, you need to have strong lungs,” “A sonorous song expands the chest.”

The importance of songs in the labor education of children and youth is invaluable. As mentioned above, songs accompanied and stimulated the labor process; they contributed to the coordination and unification of the labor efforts of workers.

Fairy tales are an important educational tool, developed and tested by people over centuries. Life and folk education practices have convincingly proven the pedagogical value of fairy tales. Children and fairy tales are inseparable, they are created for each other, and therefore familiarity with the fairy tales of one’s people should be included in the education and upbringing of every child.

The most characteristic features of fairy tales are nationality, optimism, fascinating plot, imagery and fun, and, finally, didacticism.

The material for folk tales was the life of the people: their struggle for happiness, beliefs, customs, and the surrounding nature. There was a lot of superstition and darkness in the beliefs of the people. This is dark and reactionary - a consequence of the difficult historical past of the working people. Most fairy tales reflect the best features of the people: hard work, talent, loyalty in battle and work, boundless devotion to the people and homeland. The embodiment of the positive traits of the people in fairy tales has made fairy tales an effective means of transmitting these traits from generation to generation. Precisely because fairy tales reflect the life of a people, their best features, and cultivate these features in the younger generation, nationality turns out to be one of the most important characteristics of fairy tales.

Many folk tales inspire confidence in the triumph of truth, in the victory of good over evil. As a rule, in all fairy tales, the suffering of the positive hero and his friends is transitory, temporary, and they are usually followed by joy, and this joy is the result of struggle, the result of joint efforts. Optimism Children especially like fairy tales and enhance the educational value of folk pedagogical means.

The fascination of the plot, imagery and fun make fairy tales a very effective pedagogical tool.

Imagery- an important feature of fairy tales, which facilitates their perception by children who are not yet capable of abstract thinking. The hero usually very clearly and clearly shows those main character traits that bring him closer to the national character of the people: courage, hard work, wit, etc. These features are revealed both in events and through various artistic means, such as hyperbolization. Thus, the trait of hard work as a result of hyperbolization reaches the utmost brightness and convexity of the image (in one night build a palace, a bridge from the hero’s house to the king’s palace, in one night sow flax, grow, process, spin, weave, sew and clothe the people, sow wheat , grow, harvest, thresh, thresh, bake and feed people, etc.). The same should be said about such traits as physical strength, courage, boldness, etc.

Imagery is complemented funnyness fairy tales The wise teacher-people took special care to ensure that fairy tales were interesting and entertaining. A folk tale contains not only bright and lively images, but also subtle and cheerful humor. All nations have fairy tales, the special purpose of which is to amuse the listener.

Didacticism is one of the most important features of fairy tales. Fairy tales from all peoples of the world are always instructive and edifying. It was precisely noting their instructive nature, their didacticism, that A.S. wrote. Pushkin at the end of his “Tale of the Golden Cockerel”:

The fairy tale is a lie, but there is a hint in it!

A lesson to good fellows.

Due to the features noted above, fairy tales of all nations are an effective means of education. Fairy tales are a treasure trove of pedagogical ideas, brilliant examples of folk pedagogical genius.

Folk theater, existing in forms organically related to oral folk art, originated in ancient times: the games that accompanied hunting and agricultural holidays contained elements of transformation. Theatricalization of the action was present in calendar and family rituals (Yuletide dressing up, weddings, etc.).

In folk theater, a distinction is made between live theater and puppet theater. The Russian Petrushka Theater was close to the Ukrainian nativity scene and the Belarusian batleyka.

The most characteristic feature of folk theater (as well as folk art in general) is the open conventionality of costumes and props, movements and gestures; During the performances, the actors directly communicated with the audience, who could give cues, intervene in the action, direct it, and sometimes take part in it (sing along with the choir of performers, portray minor characters in crowd scenes).

The folk theater, as a rule, had neither a stage nor decorations. The main interest in it is focused not on the depth of revealing the characters of the characters, but on the tragic or comical nature of situations and situations.

The folk theater introduces young spectators to verbal folklore, develops memory and imaginative thinking. Comic characters make fun of people's vices, dramatic characters teach empathy. By participating in his simple performances, the child learns to speak correctly and beautifully, give a speech in front of an audience, and overcome shyness.

Folk dance is one of the oldest types of folk art. The dance was part of folk performances at festivals and fairs. The appearance of round dances and other ritual dances is associated with folk rituals. Gradually moving away from ritual actions, round dances were filled with new content that expressed new features of everyday life.

Peoples engaged in hunting and animal husbandry reflected their observations of the animal world in their dance. The character and habits of animals, birds, and domestic animals were figuratively and expressively conveyed: the Yakut dance of the bear, the Russian crane, the gander, etc. Dances on the theme of rural labor appeared: the Latvian dance of reapers, the Hutsul dance of woodcutters, the Estonian dance of shoemakers, the Belarusian lyanka, the Moldavian poame ( grape). Folk dance often reflects the military spirit, valor, heroism, and reproduces battle scenes (Georgian khorumi, berikaoba, Cossack dances, etc.). The theme of love occupies a large place in folk dance art: dances expressing the nobility of feelings, respectful attitude towards a woman (Georgian kartuli, Russian Baynov square dance).

Dance allows you to develop plasticity, special coordination of movements, techniques for relating movement to music. Children learn to move rhythmically, communicate with each other in motion (round dance, stream).

Folk arts and crafts immortalize the vast, ever-living soul of the people, their rich practical experience and aesthetic taste. In Belarus, artistic woodworking, pottery, weaving, painting, weaving and embroidery were the most developed.

In certain features of folk art, norms of work and life, culture and beliefs can be traced. The most common element is the ornament born in antiquity, which helps to achieve the organic unity of the composition and is deeply interconnected with the technique of execution, the feeling of the subject, the plastic form, and the natural beauty of the material. Folk craftsmen have been highly valued since ancient times. The secrets of their craft were passed down from generation to generation, from father to son, combining the wisdom and experience of the past and the discoveries of the present. Children from an early age were involved in work and helping their parents. Working together helps children better master a craft, learn from the experience of a mentor (parents), and instills hard work.

2. The practice of using folklore and folklore genres in the system of national education

Folklore promotes the creative development of children and youth in the world of fairy tales, epics, and legends. Findings from the centuries-old history of spiritual traditions, systematized in folklore, should be used in building a modern model of education.

Let's look at practical applications and potential proverbs in national education.

It is difficult to overestimate the importance of labor education in the general system of folk pedagogy; it really is its core. Since ancient times, the labor education of children and youth has been the most important responsibility of parents, and then of educational institutions and other public institutions. That is why there are a great many proverbs praising work and ridiculing laziness among the peoples of the whole world.

He is not good who has a handsome face, but he is good who is good at business (Russian proverb).

Great in body, but small in deed (Russian proverb)

A little deed is better than a lot of idleness (Russian proverb)

If you love to ride, love to carry a sleigh (Russian proverb)

You have to bend down to drink from a stream (Russian proverb)

Gultay for work, and mazol by the hand (Belarusian proverb)

Love for the homeland, one’s native land is the most important theme in the education of patriotism.

The bird that is not happy with its nest is stupid.

The Motherland is your mother, know how to stand up for her.

Someone else's food has someone else's taste.

Each sandpiper praises its swamp.

Where the pine tree grows, there it is red.

The swan has no use for the steppe, the bustard has no use for the lake.

Even the frog sings in his swamp.

Houses and walls help.

On his street there is a dog - a tiger.

A pile hut, like a native womb.

A special place in the system of aphorisms is occupied by proverbs that teach respect for elders.

Shanuy people, then I will pashanuytsya. (4; 302)

Old man, please, little man, please.

Proverbs and sayings in artistic images recorded the experience of life lived in all its diversity and inconsistency.

Solving riddles develops the ability to analyze, generalize, forms the ability to independently draw conclusions, inferences, the ability to clearly identify the most characteristic, expressive features of an object or phenomenon, the ability to vividly and concisely convey images of objects, develops in children a “poetic view of reality.”

Reflecting the picturesque landscapes of the homeland, full of colors, sounds, smells, riddles contribute to the education of aesthetic feelings.

Fluffy carpet

Not fabric with your hands,

Not sewn with silks,

In the sun, in the month

Shines like silver (snow)

Riddles help children understand the world around them and introduce them to the world of things.

Here are examples of riddles about household items.

Two rings, two ends, nails in the middle (scissors)

No legs, but I walk, no mouth, but I’ll tell you when to sleep, when to get up, when to start work (clock)

Riddles pay attention to the habits of animals; in riddles about vegetables and fruits, plants and berries, special attention is paid to the features of appearance.

Sleeps in winter, stirs up hives in summer (bear)

Shaggy, mustachioed, scouring the pantries, looking for sour cream (cat)

I will get a round, ruddy apple from the tree

Low and prickly, sweet and fragrant, if you pick the berries, you will rip off all your hands (gooseberry)

The value of the riddle is that it reflects in a highly poetic form the economic and labor activity of a person, his life, experience, flora, fauna, the world as a whole, and to this day it has great artistic significance in raising children.

Fairy tales, being artistic and literary works, they were at the same time for workers and an area of ​​theoretical generalizations in many branches of knowledge. They are a treasury of folk pedagogy; moreover, many fairy tales are pedagogical works, i.e. they contain pedagogical ideas.

The great Russian teacher K.D. Ushinsky had such a high opinion of fairy tales that he included them in his pedagogical system. Ushinsky saw the reason for the success of fairy tales among children in the fact that the simplicity and spontaneity of folk art correspond to the same properties of child psychology.

Fairy tales, depending on the topic and content, make listeners think and make them think. Often a child concludes: “This doesn’t happen in life.” The question involuntarily arises: “What happens in life?” Already the conversation between the narrator and the child, which contains the answer to this question, has educational significance. But fairy tales also contain educational material directly. It should be noted that the educational significance of fairy tales extends, in particular, to individual details of folk customs and traditions and even to everyday trifles.

For example, in the Chuvash fairy tale “He who does not honor the old will not see the good himself,” it is said that the daughter-in-law, not listening to her mother-in-law, decided to cook porridge not from millet, but from millet, and not in water, but only in oil. What came of this? As soon as she opened the lid, millet grains, not boiled, but fried, jumped out and fell into her eyes and blinded her forever. The main thing in the fairy tale, of course, is the moral conclusion: you need to listen to the voice of the old, take into account their everyday experience, otherwise you will be punished. But for children it also contains educational material: they fry in oil, not boil, therefore, it is absurd to cook porridge without water, in only oil. Children are usually not told about this, because no one does this in life, but in the fairy tale children are given instructions that everything has its place, that there should be order in everything.

Here's another example. The fairy tale “A penny for a miser” tells how a smart tailor agreed with a greedy old woman to pay her one penny for every “star” of fat in her soup. When the old woman was putting in the butter, the tailor encouraged her: “Put it in, put it in, old woman, don’t skimp on the butter, because it’s not for nothing that I ask you: for every “star” I’ll pay a penny.” The greedy old woman put more and more oil in order to get a lot of money for it. But all her efforts yielded an income of one kopeck. The moral of this story is simple: don't be greedy. This is the main idea of ​​the fairy tale. But its educational meaning is also great. Why, the child will ask, did the old woman get one big “star”?

In fairy tales, the idea of ​​the unity of teaching and upbringing in folk pedagogy is realized to the maximum extent.

Folk lyrical song differs significantly from other genera and

types of folklore. Its composition is more diverse than the heroic epic, fairy tales and other genres. The songs were created at far from the same time. Each time composed its own songs. The lifespan of each song genre is also not the same.

Children's songs are a complex complex: these are songs of adults, composed especially for children (lullabies, nursery rhymes and pestushki); and songs that gradually passed from the adult repertoire to the children's repertoire (carols, spring songs, chants, game songs); and songs composed by the children themselves.

In infancy, mothers and grandmothers lull their children to sleep with affectionate lullabies, entertain them with nursery rhymes and nursery rhymes, play with their fingers, arms, legs, and bounce them on their knees or in their arms.

Well known: “The magpie-crow was cooking porridge...”; “Okay, okay! Where were you? –

At grandma's..."

Pestushki are songs and rhymes that accompany the child’s first conscious movements. For example:

"Oh, he sings, he sings

Nightingale!

Oh, he sings, he sings

Young;

Young,

Pretty,

Pretty."

Nursery rhymes - songs and rhymes for a child’s first games with fingers, arms, and legs. For example:

“Stretchers, stretchers!

Rotok - talkers,

Hands are grasping,

Legs are walkers."

Calls - children's song appeals to the sun, rainbow, rain, birds:

- Spring is red! What did you come with?

- On a bipod, on a harrow,

On a sheaf of oatmeal,

On a rye ear.

Sentences are verbal addresses to someone. For example, they say in the bathhouse:

From Gogol - water,

From a baby - thinness!

Roll away, all of you.

The lullaby occupies a special place in folklore.

Foxes are sleeping

Everything bit by bit,

Martens are sleeping

Everything is in order,

Falcons are sleeping

All in nests,

The sables are sleeping

Where they wanted

Little kids

They sleep in cradles.

In lullabies, mothers talk about the surrounding reality, think out loud about the purpose and meaning of life, and express their worries, joys and sorrows. In the lullaby, the mother finds an outlet for her feelings, an opportunity to fully speak out, express herself and get mental release.

The lullaby is the greatest achievement of folk pedagogy; it is inseparably connected with the practice of raising children at that very tender age, when the child is still a helpless creature requiring constant caring attention, love and tenderness, without which he simply cannot survive.

Folk songs contain joy and sorrow, love and hatred, joy and sadness. The songs reveal the best features of the national character of Belarusians: courage, bravery, truthfulness, humanism, sensitivity, hard work.

Conclusion

The experience of public education among all ethnic groups, nations and peoples is very rich. As an analysis of the traditional culture of education has shown, this experience is characterized by almost identical requirements for the qualities of the personality being formed and the system of means of its upbringing and training. It represents a unique (common to all mankind) folk wisdom, a system of universal human values, proven over centuries. But this does not mean that it is necessary to use the entire arsenal of folk remedies and educational factors without changes and critical evaluation. It is necessary to take those that work today and correlate with our ideas about humanism and universal human values.

It is in vain to think that oral folk art was only the fruit of popular leisure. It was the dignity and intelligence of the people. It formed and strengthened his moral character, was his historical memory, the festive clothes of his soul and filled with deep content his entire measured life, flowing according to the customs and rituals associated with his work, nature and the veneration of his fathers and grandfathers.

Folklore plays an important role in raising children. Dividing it into genres allows, at a certain age, a child to enrich his spiritual world, develop patriotism, respect for the past of his people, study of its traditions, and assimilation of moral standards of behavior in society.

Folklore develops a child’s oral speech, influences his spiritual development and his imagination. Each genre of children's folklore teaches certain moral standards. So, for example, a fairy tale, by likening animals to people, shows a child the norms of behavior in society, and fairy tales develop not only imagination, but also ingenuity. Proverbs and sayings teach children folk wisdom that has been tested for centuries and has not lost its relevance in our time. An epic epic is a heroic narrative about events that took place in ancient times. And although epics are not so easy for children to understand, they are still aimed at instilling respect for the past people, at studying the traditions and behavior of people at all times, at the patriotism of the Slavic people, who, despite everything, remained faithful to their homeland and defended it in every possible way. Song lyrics also have an impact on raising children. It is mainly used when the child is still very young. For example, lullabies are sung to a baby to calm him down and put him to sleep. Song lyrics also include ditties, jokes, pesters, tongue twisters, and counting rhymes. They are specifically aimed at developing hearing and speech in children, since they use a special combination of sounds.

Thus, the introduction of a child to folk culture begins in childhood, where basic concepts and examples of behavior are laid down. Cultural heritage is passed on from generation to generation, developing and enriching the child’s world. Folklore is a unique means for transmitting folk wisdom and educating children at the initial stage of their development.

References

1. Baturina G.I., Kuzina T.F. Folk pedagogy in the education of preschool children. M., 1995.-S. 7–8.

2. Belarusian folklore. Haunted. Issue 2nd dap. Sklali K.P. Kabashnika, A.S. Lis, A.S. Fyadosik, I.K. Tsischanka Minsk, “Higher School”, 1977.

3. Bel. vusna – paet. creativity: Padruchnik for students of Phil. specialist. VNU / K.P. Kabashnika, A.S. Lis, A.S. Fyadosik i insh. – Mn.: Minsk, 20000. – 512 p.

4. Belarusians. T.7. Great creative creativity / G.A. Bartashevich, T.V. Valodzina, A.I. Gurski i insh. Redcal. V.M. Balyavina i insh; Institute of History, Ethnagraphy and Folklore. – Mn.: Bel. Navuka, 2004.-586 p.

5. Berezhnova, L.N. Ethnopedagogy: textbook. aid for students Higher Textbook institutions / L.N. Berezhnova, I.L. Nabok, V.I. Shcheglov. – M.: Publishing house. Center "Academy", 2007. – 240 p.

6. Volkov, G.N. Ethnopedagogy: Textbook. for students avg. and higher ped. textbook institutions / G.N. Volkov - M.: Publishing center "Academy", 1999. - 168 p.

7. Volodko, V.F. Education / V.F. Volodko; BNTU – Minsk: Law and Economics, 207 – 230 p.

8. Literary encyclopedia. M.A. Riddles. M., 1964, vol. 2, p. 970.

9. Chernyavskaya Yu.V. Belarusian: touches to a self-portrait. Ethnic self-image of Belarusians in fairy tales / Chernyavskaya Yu.V. – Mn.: “Four Quarters”, 2006. – 244 p.

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