About the historicism of folklore and methods of its study. Propp V

Records of folklore during the period ancient Russian literature(XI-- 391 XVII centuries). As was said in the previous chapter, Russian literature makes extensive use of folklore already at the earliest early stages its formation and development. Various genres of folklore (traditions, legends, songs, fairy tales, proverbs and sayings) are included in the chronicle collection “The Tale of Bygone Years” ( beginning of XII century), in “The Tale of Igor’s Host” (end of the 12th century), “Zadonshchina” (end of the 14th century), “The Tale of Peter and Fevronia” (XV century), “The Tale of Misfortune-Grief” (XVII c.) and other monuments of ancient Russian literature.

It is possible that some folklore works, before getting into literature, they were first written down. For example, scientists believe that “Zadonshchina” and “The Tale of Peter and Fevronia” were created on the basis of recorded folklore legends and stories. In manuscripts of the 16th century. Scientists have discovered records of fairy tales. From the 17th century The names of collectors of Russian folklore have reached us. For example, it is known that for the English traveler Richard James in 1619-1620. In the Arkhangelsk region, historical songs were recorded about the events of the era of “Troubles”. Another English traveler, Collins, wrote down two tales about Ivan the Terrible between 1660 and 1669. In 1681, folk lyrical songs were recorded by P. A. Kvashnin-Samarin.

In the 17th century works of almost all genres of Russian folklore were recorded. For example, the fairy tales “About Ivan Ponomarevich”, “About the Princess and Ivashka the White Shirt”, etc., epics about Ilya Muromets, Mikhail Potyk and Stavr Godinovich, many legends, songs, proverbs and sayings.

By the 17th century The tradition of compiling handwritten folklore collections is ascending. At this time, there were many handwritten songbooks among the people, in which, in addition to literary poems, spiritual content folk songs were also included. From the 17th century A handwritten collection of “Tales or popular proverbs in alphabetical order” has reached us. The collection included about 2800 proverbs.

Collection, study and publication of folklore in the 18th century. The tradition of compiling handwritten folklore collections continues in the 18th century. There are especially many handwritten songbooks that contain literary and folk songs. The 18th century marks the beginning of the development of folkloristic thought in Russia. Scientific interest in folklore in the first half of the 18th century. associated with the names of V. N. Tatishchev, V. K. Trediakovsky and M. V. Lomonosov.

V.N. Tatishchev (1686-1750) turned to the study of folklore while working on “Russian History...”. It attracts folklore like historical source. Tatishchev studies folklore from chronicles and in real life. Characterizing ancient Russian history, Tatishchev touches on the epics about Ilya Muromets, Alyosha Popovich, Nightingale the Robber and Duke Stepanovich. He was also interested in other genres of folklore. Tatishchev, for example, compiled a small collection of proverbs.

Unlike the historian V.N. Tatishchev, the poet V.K. Trediakovsky (1703-1768) had a philological, rather than historical, interest in folklore. Trediakovsky studies folklore as a source of poetic phraseology and the national metric system. In the practice of Russian literature before Trediakovsky's reform, syllabic versification was used. Having studied the features of Russian folk versification, Trediakovsky, in his treatise “A New and Brief Method for Composing Russian Poems” (1735), proposed a system of syllabonic versification, which was later used throughout Russian literary poetry. Trediakovsky’s individual remarks about the peculiarities of the language of Russian folk poetry are interesting. In particular, he notes the constant folklore epithets “tight bow”, “white tent”, etc.

More higher value in the study of Russian folk poetry are the works and individual statements of M.V. Lomonosov (1711-- 1765). Growing up in the North, Lomonosov was well acquainted with all genres of Russian folklore (fairy tales, epics, songs, proverbs and sayings). He also studies folklore from chronicles and handwritten collections. In his works, Lomonosov speaks of folklore as a valuable source of information in pagan rituals, talks about holding calendar holidays. Following Trediakovsky, Lomonosov studies folk versification and in his work “Letter on the Rules of Russian Poetry” (1739) further develops the theory of syllabic-tonic versification. Lomonosov studies the language of folk poetry to comprehend national characteristics Russian language. He uses folk proverbs and sayings in his works “Rhetoric” (1748) and “Russian Grammar” (1757). In his works on the history of Russia, Lomonosov uses folklore as a historical source.

IN mid-18th century V. S. P. Krasheninnikov is engaged in collecting folklore for historical and ethnographic purposes. In 1756, the first volume of his work “Description of the Land of Kamchatka” was published, which talks about the rituals of the Kamchadals and contains a number of folk songs. A.P. Sumarokov responded to S.P. Krasheninnikov’s book “Description of the Land of Kamchatka” with a review that expressed his views on folk poetry. Sumarokov evaluates the folklore of the Kamchadals mainly from an aesthetic point of view. The pathos of Sumarokov's review is the struggle for simplicity and naturalness in poetry.

The work of collecting Russian folklore intensified in the last third of the 18th century. If earlier folklore records were concentrated in handwritten collections, now they, like literary works, are published. For the first time, samples of Russian folklore were published in N.G. Kurganov’s “Pismovnik” (1796). More than 900 proverbs, about 20 songs, several fairy tales and anecdotes were published in the appendices to the “Pismovnik”.

In the future, separate collections are dedicated to various genres of Russian folklore. So, M.D. From 1770 to 1774 Chulkov published “Collection of Various Songs” in four parts, N.I. Novikov in 1780-1781. publishes in six parts “New and full meeting Russian songs", V.F. Trutovsky for the period from 1776 to 1795 published in four parts "Collection of Russian simple songs with notes." IN late XVIII V. Less significant songbooks are also published:

“New Russian Songbook” (parts 1--3,

1790--1791), “Selected Songbook” (1792),

“Russian Erata” by M. Popov (1792), “Pocket Songbook” by I. I. Dmitriev (1796), etc.

The greatest value for us is the collection of N. Lvova --I. Pracha “Collection of Russian folk songs with their voices...” (1790). This is the only collection of the 18th century in which folk songs are published in their original form, without any editorial changes. In the period from 1780 to 1783, V. A. Levshin’s collection “Russian Fairy Tales” was published in 10 parts. Literary and folk works are presented here in processing. In addition to fairy tales of a magical and heroic nature, the collection also contains everyday fairy tales, in which satirical elements predominate. Folk tales in processed form are also published in the collections 394 “Cure for Thoughtfulness” (1786), “Russian Fairy Tales Collected by Pyotr Timofeev” (1787), “Peasant Tales” (1793), in the collection of V. Berezaisky “Anecdotes of the Ancient Poshekhonians” (1798) and etc.

Collections of proverbs appear. Thus, A. A. Barsov in 1770 published “Collection of 4291 ancient proverbs.” N.I. Novikov republished this collection in 1787. Two years earlier, the poet I. F. Bogdanovich published the collection “Russian Proverbs,” in which folklore material was selected biasedly and subjected to significant literary processing.

The merit of Russian enlighteners of the second half of the 18th century. (N.G. Kurganova, M.D. Chulkova, V.A. Levshina, N.I. Novikova, etc.) in that they were able to correctly assess the importance of Russian folklore in the development of national literature, and did a great job of publishing ( however, in edited form) folk songs, fairy tales, proverbs and sayings. In his literary creativity they used folklore to depict folk customs and morals.

In the person of A. N. Radishchev (1749--1802) Russian educational thought of the 18th century. receives its highest development, rises to a truly democratic, revolutionary consciousness.

Radishchev's revolutionary beliefs determined the special nature of his use of folklore, a fundamentally new understanding of folk art. Radishchev speaks for the first time about folklore as an exponent of the people's worldview. IN folk songs Radishchev saw “the formation of the soul of our people.” They, according to Radishchev, reflected not only the everyday side of life, but also the social ideals of the people. They serve to comprehend the Russian national character. In “Journey from St. Petersburg to Moscow” (1790), Radishchev is attracted folk art as material that reveals the true soul of the oppressed people, their painful situation under serfdom. It is for these purposes that in the chapter “Gorodnya” he cites the laments of the mother and bride for the recruit. Let us note that this is the first publication (albeit of literary treatment) of folk laments.

A.N. Radishchev uses folklore as a means of achieving not only nationality, but also genuine realism and deep psychologism. Thus, in the chapter “Copper”, against the background of a cheerful round dance song “There was a birch tree in the field,” Radishchev, in contrast, deeply truthfully, with great psychological force, depicts the picture of the sale of serfs. The problem of the folk singer, first put forward by Radishchev, is of no small importance both for literature and for folklore studies. The image of the folk singer is drawn by Radishchev in the chapter “Wedge” of “Travels from St. Petersburg to Moscow.” The singing of the old blind singer as portrayed by Radishchev is true art, “penetrating into the hearts of the listeners.” Then to the topic folk singers Radishchev addressed it again in his poem “Songs Sung at Competitions in Honor of Ancient Slavic Deities” (1800-1802). Here folk singers and poets act as the spiritual leaders of the people. It is curious that Radishchev’s “Songs...” in its poetic imagery and style have some features of “The Tale of Igor’s Campaign,” which Radishchev, like many of his contemporaries, considered not a literary, but a folklore monument.

From what has been said, it is obvious that the 18th century represents important stage in the prehistory of Russian folkloristics as a science. At this time, significant folklore material was collected and published, and its significance as a phenomenon was correctly assessed. national culture. Radishchev expresses a most valuable idea about 396 folk song as an exponent of the soul of the people.

At the same time, it should be noted that in the 18th century. Russian folkloristics has not yet formed as a science. Folklore has not yet been recognized as an independent object of research; it is not yet clearly separated from literature. In most collections, folklore works are placed together with literary works. Folk works are published in literary adaptations. At this time, specifically folkloristic research methods and techniques had not yet been developed.

On modern stage development of society, the problem of turning to Russian folklore as a historical source is relevant. The chosen topic is especially relevant in the modern world, as it helps to trace the historical life of a people and get an idea of ​​their worldview and psychology. This knowledge makes it possible to gain a deeper understanding of history.

The history of folklore is inseparable from the history of the people. Researchers of such sciences as philosophy, history, philology, ethnography, archeology, etc. have been and are studying folklore. The use of folklore material in history lessons in grades 6-7 is especially effective.

In works of folklore we can see descriptions of Russian cities. For example, from the epics one can get an idea of ​​Kyiv as it was before the defeat by the Tatar-Mongols in 1240. Kyiv is always called a capital city and great - it was for a long time capital of the ancient Russian state. The city was surrounded by a city wall; at the corners of the wall there were coal towers.

“Jump over the city wall, over that corner tower,” says the leader of the enemy army, Batu, to his ambassador in one of the epics. Almost all old Russian cities have preserved such walls and such towers. At first they were wooden, and then stone. We can find out what weapons the heroes had: a tight bow, hardened arrows, a club, a Murzavets spear (from the Tatar word “Murza” - “prince”), a dagger, and sometimes a saber.

In 6th grade, when studying the topic “The Reign of Prince Vladimir and the Baptism of Rus',” you can use the epic about Vladimir’s matchmaking with Apraxia, the youngest daughter of the Politovian king. Some versions of the epic have preserved the historically reliable answer that the prince’s matchmakers heard from the Politovsky king: “Yes, your prince is not big in appearance,” and also: “And the prince is from Volodymyr and was a slave.” The chronicle of 980 says that even during his reign in Novgorod, Vladimir sent matchmakers to Polotsk to ask Prince Rogvolod for the hand of his daughter Rogneda. The proud Polotsk princess refused the ambassadors, declaring that she did not want to “take off Robichich’s shoes.” In the wedding ceremony, “taking off the groom’s shoes” meant becoming a wife, and “robichich” was the son of a slave (Vladimir was indeed the son of the housekeeper Malusha and Prince Svyatoslav). Rogneda insulted the prince. Vladimir ruined Polotsk and took Rogneda as his wife by force. The Principality of Polotsk was located on the western outskirts of Russian lands and later for some time was included within the borders of Lithuania. That’s why epics talk about “Politovskaya land”.

When talking about Batu’s invasion of Rus', one can cite an excerpt from the epic “Ilya and Kalin the Tsar.”

A lot of strength has been generated,
Like a shout from a human,
Like a horse neighing.
The human heart becomes sad;
The mother earth shook from the army;
There was no red sun to be seen in the horse swamp,
And the bright month was darkened by a couple of horses...

The noise of the convoys, screams, neighing, suffocating horse fumes, and the dust that darkened the sky, captured in the epic, are historically reliable.

The epic talks about how events could have developed if the mutual enmity and disagreement of the prince and the soldiers had been forgotten. The name of the leader of the Tatar hordes does not correspond to the name of the historical Batu. Kalin – slightly distorted common noun biblical Cain the killer.

When studying the political life of Novgorod XII - XIII centuries. you can use the epic about Stavr. Stavr is a historical figure. He really lived in Novgorod in the 10th - 11th centuries. and was the leader of a hundred. In the epic, Stavr is a merchant and moneylender. He boasts that he lends money to the poor. The Kyiv prince is angry with Stavr for his boasting. What is the reason for his anger? Here it should be said about the existence of Vladimir Monomakh’s charter on interest. The Kiev prince, wanting to weaken the power of the Novgorod moneylenders, limited them in charging interest rates. Vladimir was angry with Stavr for his boasting of wealth.

The events of epics are of great importance for the fate of the people and the state. The epics poetically depict military-political clashes and social situations characteristic of Ancient Rus'.

The epic “About Vasily Buslaev” reproduces the struggle of the Novgorod political parties. Since childhood, Vaska Buslaev has had a spirit of hostility towards the trading settlement. He especially often hits his peers from the posad. The townspeople are threatening to “drown the river Volkhova” - to drown Vaska: convicts in Novgorod were thrown from the bridge. This is how they punished serious crimes. To protect himself, Vaska recruits a squad. Famous Novgorod people kept armed servants with them. Vaska is of noble family, literate and rich. The squad was made up of more than just fellows who could withstand the blow of a scarlet elm on a violent head. They are united by a common hostility towards Posad. These are people from different classes and even from other cities. Among them is Kostya Novotorzhanin, a daredevil from Novy Torzhok, two brothers are mentioned - a boyar woman and men from some Zalesye - “zaleshana”, “Sbrodovich brothers”, wanderers, the prototype of the “ushkuiniki”, who sailed in boats far beyond the Novgorod land. Vaska and his comrades appear at a feast where the townspeople have gathered and start a quarrel. The warring parties make a bet - to give the beaten man his entire fortune and be subordinate. The prince and the archbishop took the side of the posad. Vaska threatens to beat “the whole of Novgorod,” although he means precisely the settlement – ​​“the men of Novgorod,” “the rich merchants.” Posad took so much power in Novgorod that it merged with the concept of the city. In the same sense, “all Novgorod” is named in ancient acts of business writing. Vaska’s dispute with the trading post reproduces a serious urban conflict. In Novgorod, XII-XIII centuries. ball of a very strong “Suzdal party”, consisting of wealthy merchants. Their benefits depended on connections with the northeastern principalities. During the enmity of Novgorod with the Vladimir-Suzdal principalities, they suffered losses. Speaking against wealthy merchants, Vaska fights against the grand ducal claims to power over Novgorod.

Novgorod in epics is glorious and great. The unique life of the trading republic is widely shown. There are no military exploits here. The trading power of Novgorod, its wealth, its rivalry with Moscow are described. It contains many details of the life of the medieval city - for example, fist fights are depicted - the favorite pastime of the ancient Novgorodians.

In the 7th grade When studying the period of the reign of Ivan the Terrible, you can turn to the historical song “The Capture of the Kazan Khanate”. The capture of the Kazan Khanate in 1552 was approved by the people. Regardless of the details in the depiction of the siege of Kazan, the song versions speak in the most detailed way about what happened at its walls. The gunners rolled a barrel of gunpowder into a tunnel under the Kazan wall and placed a candle on one of them. If the candle burns down to the ground, an explosion will occur and destroy the wall. The same candle was placed in the field near the royal tent for control. And so the outer candle burned out, the one in the dungeon should also burn out, but there was no explosion. The Tsar-Sovereign “gets inflamed - angry”, wants to execute the gunners and lighters. He suspected treason. Everyone is scared big people, and the young gunner stepped forward and said:

“Oh, you are a goy, Tsar Ivan Vasilyevich!
Do not order, sir, to execute or hang,
Order you, sir, to utter a word.
In the wind the candle will soon burn out,
In the wilderness the candle burns for a long time.”

As soon as I spoke, barrels of gunpowder exploded. Russian soldiers entered the breach, and Kazan fell. The singers said that the king is suspicious, sees betrayal even where there is none. The poignancy of the song's intention is understandable if we recall that in Rus' under Ivan the Terrible there was a mass extermination of the innocent population. The singers depicted many authentic features of the siege of Kazan. The “topography” of the siege is also reproduced in many versions:

We approached the Kazan kingdom fifteen miles away,
They became a mine under the Bulat (Bulak) river,
We approached another river - the river near Kazanka...

The Sviyaga River, Sviyazhsk Fortress, and Sulay River are also mentioned.

A very interesting historical song about Ivan the Terrible’s anger at his son Fyodor. In it, the people expressed their attitude towards the oprichnina. The evidence of folklore is all the more valuable because in the biography of Ivan the Terrible, a whole number of years are passed over in complete silence and there is no information about his family relationships and affairs.

According to the variants, the song differently names the reason for Ivan the Terrible’s anger at Fedor. As if he opposed his father - he saved the inhabitants of cities in which the king carried out mass executions. The cities in which, according to the songs, executions took place are different: Novgorod, Pskov, Moscow, even Constantinople, but most often the name is missing. The numerous instructions are also indicative of the scale of the country's repression. Both Grozny himself and his henchmen from the oprichnina, led by Malyuta Skuratov, are depicted as torturers. On the street where they were traveling, “not even a chicken drank” - all living things were exterminated: the king “flogged, and stabbed, and impaled everyone.”

Fyodor confronts the Tsar and the oprichnina. Grozny appears hasty in his actions and wrong. Song Malyuta Skuratov is a real historical figure, Grigory Skurata-Belsky. His name became a household name, synonymous with executioner.

In 7th grade, studying the history of the Time of Troubles, a song about Grigory Otrepiev can be cited as an example. In it, the people denounce the impostor. He is a violator of good Orthodox customs. Otrepyev played a wedding with “Marishka’s daughter Yuryevna” not on the “designated day”. This is stated in the earliest recorded song that has reached us:

And the wedding was on a spring holiday,
On the spring holiday, Mykolin Day:
Mykolin day was on Friday,
And Grishka had a wedding on Thursday...

The wedding of Gregory and Marina Mnishek actually took place on Thursday, May 8, 1606, on the eve of St. Nicholas Day. The song says that the Moscow boyars are going to matins, “Grishka and Marishka went to the baina,” the boyars are going from matins, and “Grishka and Marishka are going from the baina.” Inappropriate behavior exposed him as an impostor and a sinner, and a violator of piety.

Also of interest to history is a song about the hero of the liberation struggle, the governor - Prince Mikhail Vasilyevich Skopin-Shuisky. The nephew of Tsar Vasily Ivanovich Shuisky, the young governor Skopin became famous brilliant victories over enemies. According to the treaty of 1609, acting at the will of the king, he managed to obtain a hired Swedish army. Having combined his actions with the actions of the Volga army of F.I. Sheremetyev, he began a liberation campaign in May. Victories were won in the districts along the Volga, in the Vladimir-Suzdal land, the siege was lifted from the Trinity-Sergius Monastery, and Dmitrov was captured. In March 1610, Moscow greeted the victors with the ringing of bells, and in April, at the moment of its highest fame and glory, the successful young governor died. This happened after the christening of Prince I.M. Vorotynsky. The song gives an idea of ​​the event and the mood of that time. Skopin’s death is mourned by Moscow “guests”: these are artisans and traders, the predominant part of Moscow residents.

“And now our heads have fallen,
Why our governor is gone
Vasilyevich Prince Mikhail!
The “prince-boyars” perceive the news differently -
And among themselves they the word was said,
And they said a word and grinned:
“The falcon rose high
And I hurt myself on the ground!”

The names of ill-wishers have been named. Among them is “Mstislavskaya, Prince of Vorotynskaya”. F.I. Mstislavsky is the head of the seven boyars who replaced Vasily Shuisky. I.M. Vorotynsky is his like-minded person, an influential boyar. It was at Vorotynsky’s christening, as they said in Moscow, that Skopin was poisoned.

The mention of the sadness of the “Svetsky Germans” is very interesting. All foreigners were called “Germans” because they did not speak Russian. The Swedes mourned the military leader - they were united by military affairs with Skopin, and their grief was an expression of personal affection for the successful commander.

The Germans ran to Novgorod
And they locked themselves in Novo-Gorod.

Indeed, the remnants of the Swedish mercenaries, after the defeat at Smolensk, led by Jacob Delagardi, retreated to Novgorod, and a year later in 1611, here, taking advantage of the current situation, they began to act against the Novgorodians.

And they destroyed many world-people,
And they turned it into a Latin land.

The song about Skopin directly echoes the “Scripture about the presentation and burial of Prince Mikhail Vasilyevich Shuisky, the recommended Skopin.” It is believed that the “Scripture” was created on the basis of folk songs.

The creators of the song “The Yaik flows quickly, snatching up the steep banks...” call Razin “the soul of a thieves atamanushka.” The words “thief”, “thief” in modern meaning are associated with a negative assessment. In the ancient language, others used “thief” in a condemnatory meaning, and theft was accordingly called “thief.” “Theft” was not a secret attack, but an open attack. For this reason, the combination “soul of the thieves’ atamanushka” did not contain a contradiction and an overtly negative meaning. The song said a lot to contemporaries of these events. The Razin community united people who were loyal to each other. Their unity around “father” Stepan was so close and close that his fellows called themselves “sons.”

Thus, we see that folk poetry, having originated in ancient times, for a long time, before the advent of writing, was the only “unwritten history” of the people, artistically reflecting the most important stages of their life. For many centuries, folklore has served the people both as a “textbook of life”, passing on from generation to generation their wisdom, worldly philosophy, ethics, and as a means of character education, the best human qualities: patriotism, courage, courage, perseverance, honesty, kindness. Folklore is a true encyclopedia of the poetic knowledge of the people, giving a complete idea of ​​the ideological and aesthetic riches of their creativity. Therefore, folk works are the most valuable material for studying the folk worldview of many centuries and its historical evolution.

BIBLIOGRAPHY

1. Anikin V.P. Russian oral folk art: Textbook/V.P.Anikin. – M.: Higher. school, 2001. – 726 p.
2. Bakhtin V.S. From epics to counting rhymes: Stories about folklore / Reprint; rice. S. Islands. – L.: Det. lit., 1988. – 191 p., ill.
3. Epics/ Compilation, introductory article and notes by S.N. Azbelev.-L.: Lenizdat, 1984.-398p. – (B-ka of folk poetry).
4. Bychko A.K. Folk wisdom Rus': analysis of a philosopher. – K.: Higher. school Publishing house at Kyiv. Univ., 1988. – 200 p.
5. History of Russia from ancient times to the end of the 17th century / A.P. Novoseltsev, A.N. Sakharov, V.I. Buganov, V.D. Nazarov; resp. ed. A.N.Sakharov, A.P.Novoseltsev.
6. – LLC Publishing House AST-LTD, 1997. – 576 p., ill.
7. Putilov B.N. Russian historical song folklore of the XIII-XVI centuries. M.-L., 1960.
8. Rybakov B.A. Ancient Rus'. Tales. Epics.

In the 20th century For several decades, creative thought was shackled by ideological dictates. Simplified sociological research was encouraged. For folkloristics, the ideas of Marxist theorists were recognized as mandatory. In Soviet science of the 30-50s. dogmatic concepts prevailed. The term “Marxist folklore studies” appeared, denoting a direction that developed the problems of history and theory of folklore, taking into account the works of Marx, Engels, Lenin, Lunacharsky and other Marxists. His followers were interested in the connection between folklore and the liberation movement, the expression of class reflex in folk works, etc. The achievements of domestic and foreign “non-Marxist” science were hushed up, downplayed or denied. Outstanding scientists of the “pre-Marxist” period (F.I. Buslaev, A.N. Veselovsky, V.F. Miller, etc.) were criticized. Under these conditions, the experience of creating a general history of Russian folklore1 and the history of Russian folklore2 was undertaken.

For a number of folklorists, formal research methods became an alternative to the vulgar sociological approach. In the field of studying narrative folklore, structural-typological analysis has developed. Its representatives began to identify invariant models of genres, plots, and motifs. They considered the phenomena of typological relationships in a synchronic way (from the Greek synchronos - “simultaneous”), i.e. characterized the state of a particular folklore system over one period of time. Later, structural-semiotic folkloristics appeared, which seeks to establish general patterns of construction of folklore texts as sign systems3.

With the liberation from dogmatism, science gradually began to return to full-fledged historical research. The historical-typological method has been developed, which considers the phenomena of folklore typology in diachronic terms (from the Greek dia - “through, through” and chronos - “time”), i.e. at different stages historical development folklore, in its genesis and evolution. At the same time, folklore works are studied in a historical and ethnographic context1 This principle was consistently applied in a number of monographs: on ritual calendar and family folklore2, fairy tales3, non-fairytale prose4, epics5, etc.

Synchronic and diachronic approaches are dialectically interconnected, because folklore exists both in space and in time. We can say that in formal studies interest in the form of works predominates, and in historical studies - in their content. It should be noted, however, that form and content are unequal. “In folklore,” wrote the founder of structuralism, V. Ya. Propp, “with the unity or cohesion of content and form, the content is primary: it creates its own form, and not vice versa”6. The general task of folkloristics can be considered the search for a universal theory that can organically unite directions of formal and historical types. This is also expressed by discussions that periodically appear in the press: about the historicism of epics, about the place of folklore studies in the system of other sciences, etc.

The processes of the history of folklore are explored by historical poetics, created as a special direction by A. N. Veselovsky, and subsequently developed by V. M. Zhirmunsky, E. M. Mele-

Tinsky, V.M. Gatsak and other researchers1. Within its framework, poetic genera, genres, and stylistic systems are examined - both in general and in their specific manifestations. Historical poetics explores the connections between oral folk art and written literature, music, and visual arts.

IN last years The tendency for a comprehensive study of folklore, language, mythology, ethnography and folk art as components of a single spiritual culture of the people has clearly emerged. Here in the reconstruction area Slavic paganism and mythology, the activities of the staff of the Institute of Slavic and Balkan Studies are especially productive Russian Academy sciences (this work long years headed by ethnolinguist N.I. Tolstoy)2.

Any method involves relying on facts. Electronic computing and other technology has entered the life of folklorists, which significantly increases the accuracy of records, simplifies mechanical operations for recording and systematizing material, and searching for necessary information. “Modern folkloristics,” noted N. I. Tolstoy, “continues to use primarily synchronous descriptive method, constantly improving it theoretically and technically.<...>Along with it, the comparative typological method and the old, tested and at the same time constantly updated and tested comparative historical method are widely used. This method was proposed and successfully applied more than a century ago by the remarkable Russian scientist A. N. Veselovsky..."3.

In the self-determination of modern folkloristics as an independent scientific discipline Significant events were the first dictionary of folkloristic terms and concepts (based on the material of three East Slavic peoples)4, as well as the book by V.P. Anikin “The Theory of Folklore”5.

Nowadays, the sections of folklore studies are: historiography of the science of oral folk art, theory and history of folklore, organization and methodology of field work, systematization of archival funds, textual criticism.

There are centers for the philological study of Russian folklore, with their own archives and periodicals. This is the State Republican Center of Russian Folklore in Moscow (publishing the magazine " Living antiquity"), sector of Russian folk art of the Institute of Russian Literature (Pushkin House) of the Russian Academy of Sciences in St. Petersburg (yearbook "Russian Folklore: Materials and Research"), Department of Folklore of the Moscow State University named after M. V. Lomonosov (collections "Folklore as the art of words"), as well as regional and regional folklore centers with their archives and publications ("Siberian Folklore", "Folklore of the Urals", "Folklore of the Peoples of Russia", etc.).

LITERATURE ON THE TOPIC

Sokolov Yu. M. Historiography of folklore // Sokolov Yu. M. Russian folklore. - M., 1941. - P. 34-121.

Azadovsky M.K. History of Russian folkloristics: In 2 volumes - M., 1958 (vol. 1); 1963 (vol. 2).

Bazanov V. Russian revolutionary democrats and folk studies. - L., 1974.

Academic schools in Russian literary criticism / Responsible. ed. P. A. Nikolaev. - M., 1975.

Putilov B. N. Methodology of comparative historical study of folklore. - L., 1976.

Toporkov A. L. Theory of myth in Russian philological science of the 19th century / Rep. ed. V. M. Gatsak. - M., 1997.

Literature and library science

The main problems of modern folkloristics. Modern folkloristics has the same problems as academic schools have new ones. Problems: the question of the origin of folklore. problems of studying new non-traditional folklore.

11. The main problems of modern folkloristics.

Modern folkloristics inherits the richness of academic schools, while removing the exaggerations.

Modern folkloristics has the same problems as academic schools + new ones.

Problems :

The question of the origin of folklore.

The Storyteller's Problemthe relationship between individual and collective principles in folklore.

Was placed in XIX century, but was decided in XX century.

Dobrolyubov: “The principle of life principle"- it is unknown who and when recorded the folklore text.

Exist different types storytellers.

In XX M.K. was involved in the problem. Azadovsky

- the problem of interaction between literature and folklore.

Folklore is necessary for adequate perception of a literary text.

D.N. Medrish

- the problem of studying various folklore genres and specific works.

The problem of collecting folkloreit is necessary to have time to collect what is still remembered; new genres of folklore appear.

- problems of studying new, non-traditional folklore.

Non-traditional folklore:

Children's

School

Girls' and demobilization albums

- “conversational” folklore talking on the phone, talking on public transport.

Student folklore.

After the collapse of the USSR, magazines about folklore began to be published again:

"Living Antiquity"

« Arbem mundi "("World Tree")

In XX century, problems were solved from the point of view of either the mythological or historical school.

Over time, folkloristics becomes an independent science, its structure is formed, and research methods are developed. Now folkloristics- is a science that studies the patterns and features of the development of folklore, the character and nature, essence, themes of folk art, its specificity and common features with other types of art, features of the existence and functioning of oral literature texts at different stages of development; genre system and poetics.

According to the tasks specifically assigned to this science, folkloristics is divided into two branches:

History of folklore

Folklore theory

History of folklore is a branch of folkloristics that studies the process of emergence, development, existence, functioning, transformation (deformation) of genres and the genre system in different historical periods in different territories. The history of folklore studies individual folk poetic works, productive and unproductive periods of individual genres, as well as an integral genre-poetic system in a synchronous (horizontal section of a separate historical period) and diachronic (vertical slice of historical development) plans.

Folklore theory is a branch of folkloristics that studies the essence of oral folk art, the characteristics of individual folk genres, their place in the holistic genre system, as well as the internal structure of genres - the laws of their construction, poetics.

Folkloristics is closely connected, borders and interacts with many other sciences.

Its connection with history is manifested in the fact that folklore, like all humanities, is historical discipline, i.e. examines all phenomena and objects of study in their movement - from the prerequisites for emergence and origin, tracing the formation, development, flourishing to withering away or decline. Moreover, here it is necessary not only to establish the fact of development, but also to explain it.

Folklore is a historical phenomenon, and therefore requires a staged study, taking into account historical factors, figures and events of each specific era. The objectives of the study of oral folk art are to identify how new historical conditions or their changes affect folklore, what exactly causes the emergence of new genres, as well as to identify the problem of historical correspondence of folklore genres, comparing texts with real events, historicism individual works. In addition, folklore can often itself be a historical source.

Exists close connection folkloristics with ethnography as a science that studies early forms material life (life) and social organization of the people. Ethnography is the source and basis for the study of folk art, especially when analyzing the development of individual folklore phenomena.

The main problems of folkloristics:

Question about the need to collect

· The question of the place and role of folklore in the creation of national literature

· Question about it historical essence

· The question of the role of folklore in knowledge folk character

Modern collecting of folklore materials poses a number of problems for researchers that have arisen in connection with the peculiarities ethnocultural situation the end of the twentieth century. In relation to regions, these Problems the following:

Ø - authenticity collected regional material;

(i.e. the authenticity of the transmission, the authenticity of the sample and the idea of ​​the work)

Ø - phenomenon contextuality folklore text or its absence;

(i.e. the presence/absence of a condition for the meaningful use of a particular linguistic unit in speech (written or oral), taking into account its linguistic environment and the situation of verbal communication.)

Ø - crisis variability;

Ø - modern "live" genres;

Ø - folklore in the context of modern culture and cultural policy;

Ø - problems publications modern folklore.

Modern expeditionary work faces a major challenge authentication regional pattern, its occurrence and existence within the area being surveyed. Certification of performers does not bring any clarity to the question of its origin.

Modern mass media technology, of course, dictates its tastes to folklore samples. Some of them are played regularly by popular performers, others do not sound at all. In this case, we will record a “popular” sample simultaneously in a large number of places from performers of different ages. Most often, the source of the material is not indicated, because assimilation can occur through magnetic recording. Such “neutralized” options can only indicate adaptation of texts and fancy integration of options. This fact already exists. The question is not whether to recognize it or not, but how and why this or that material is selected and migrates regardless of the place of origin in some invariant. There is a risk of attributing to modern regional folklore something that in fact is not such.

Folklore how specific context has currently lost the qualities of a stable, living, dynamic structure. As a historical type of culture, it is experiencing a natural reincarnation within the developing collective and professional (author's, individual) forms of modern culture. There are still some stable fragments of context within it. On the territory of the Tambov region, these include Christmas caroling (“autumn clique”), the meeting of spring with larks, certain wedding rituals (buying and selling a bride), nurturing a child, proverbs, sayings, parables live in speech, oral histories, jokes. These fragments of folklore context still allow us to judge quite accurately the past state and development trends.

Living genres oral folk art in the strict sense of the word remains proverbs and sayings, ditties, songs of literary origin, urban romances, oral stories, children's folklore, jokes, conspiracies. As a rule, there are short and succinct genres; the conspiracy is experiencing revival and legalization.

Encouraging availability paraphrase- figurative, metaphorical expressions that arise in speech on the basis of existing stable oral stereotypes. This is one of the examples of real reincarnations of tradition, its actualization. Another problem is aesthetic value such paraphrases. For example: a roof over your head (patronage of special persons); the tax inspector is not a dad; curly, but not a ram (a hint at a member of the government), just “curly.” From the middle generation we are more likely to hear variants of periphrases than variants of traditional genres and texts. Variants of traditional texts are quite rare in the Tambov region.

Oral folk art is the most specific poetic monument. It already exists as a grandiose recorded and published archive, folklore, again as a monument, as an aesthetic structure, “animated”, “comes to life” on stage in the broad sense of the word. A skillful cultural policy favors the preservation of the best poetic examples.