Diversity of Research Perspectives folk art On the problems of the genesis, nature and sociocultural functions of mythology and folklore, in the 19th century, both in Russia and in foreign countries, a number of original research schools were born. Most often, they did not replace each other, but functioned in parallel. There were no fixed boundaries between these schools, and their concepts often overlapped. Therefore, the researchers themselves could attribute themselves to one or another school, clarify and change their positions, etc.
Story scientific schools is interesting for us today, first of all, because it clearly demonstrates the dynamics of research positions, shows well how the science of folklore was formed, what achievements or, conversely, miscalculations were encountered along this thorny path.
The mythological school played an important role in the development of the historical and theoretical foundations of folklore. In its Western European version, this school was based on the aesthetics of F. Schelling, A. Schlegel and F. Schlegel and received its detailed embodiment in the well-known book of the brothers J. and F. Grimm “German Mythology” (1835). Within the framework of the mythological school, myths were considered as “natural religion” and the germinal bud of artistic culture as a whole.
The founder and most prominent representative of the mythological school in Russia was F.I. Buslaev. His views are set out in detail in the fundamental work " Historical essays Russian folk literature and art" (1861), and especially in the first chapter of this work" General concepts about the properties of epic poetry." The emergence of myths was explained here by the deification of natural phenomena. From myths, according to Buslaev's theory, fairy tales, epic songs, epics, legends and others grew folklore genres. It is characteristic that the researcher tries to connect even the main characters of Slavic epics with certain myths. Moreover, sometimes this was done with evidence, and sometimes with certain stretches.
Another typical representative of the Russian mythological school can be called A.N. Afanasyeva. The mythological position is very characteristic of his books: “Russian Folk Tales” (1855), “Russian Folk Legends” (1860), and especially for the three-volume work “Poetic Views of the Slavs on Nature” (1865-1868). It is here that the quintessence of his mythological views is presented, in the context of which myths are considered as the basis for the development of various genres of folklore at subsequent stages.
To one degree or another, the mythological positions of F.I. Buslaev and A.N. Afanasyev corresponded with the views of A.A. Kotlyarovsky, V.F. Miller and A.A. Potebni.
The direction that caused especially a lot of controversy and discussion in Russia was the school of borrowing or migration theory, as it was also called. The essence of this theory is the recognition and justification of wandering folklore stories that spread around the world, moving from one culture to another.
Among the works of Russian researchers, the first publication written in this vein was the book by A.N. Pypin "Essays" literary history ancient stories and Russian fairy tales" (1858). Then appeared the works of V.V. Stasov "The Origin of Russian Epic" (1868), F.I. Buslaev "Passing Tales" (1886) and the voluminous work of V.F. Miller "Excursions to Russian region folk epic"(1892), where a huge array of Russian epics was analyzed and their connections with historical facts and folklore stories of other cultures. To a certain extent, the influence of migration theory also affected the views of the author of “Historical Poetics” A.N. Veselovsky, who successfully studied fairy tales, epics, ballads and even Russian ritual folklore.
It should be noted that adherents of the borrowing school had their pros and cons. In our opinion, it is right to include the relatively folkloristic work they did as an advantage. Unlike the mythological school, where everything was focused on the genesis of folk culture, the school of borrowing went beyond a purely mythological framework and focused not on myths, but on works of folklore. As for the minuses, here it should be noted, first of all, a large number of obvious stretches in proving the main thesis regarding the decisive role of ethnographic migrations.
The so-called anthropological school or the school of spontaneous generation of plots had many adherents in Russian folkloristics. In contrast to the mythological theory, this theory explained the similarities that are actually often found in the folklore of different peoples, growing out of the objective unity of the human psyche and the general laws of cultural development. The activities of the anthropological school noticeably intensified in connection with the strengthening of general anthropology (E.B. Taylor, A. Lang, J. Fraser, etc.). In European folkloristics, A. Dietrich (Germany), R. Marett (Great Britain), S. Reinac (France) worked in line with this school; in our country, the author of “Historical Poetics” A.N. is considered to be a representative of this school. Veselovsky, who in his research quite successfully supplemented anthropological principles with individual provisions taken from migration theory. This unusual approach turned out to be truly productive, because it allowed us to avoid dangerous extremes and brought the researcher to the “golden mean”. Somewhat later, this tradition in Russia was continued by V.M. Zhirmunsky and V.Ya. Propp.
The so-called historical school has become very significant in terms of the further development of Russian folklore.
Its representatives sought to purposefully explore folk artistic culture in connection with national history. They were interested, first of all, in where, when, under what conditions, and on the basis of what events a certain folklore work arose.
The head of this school in Russia, after his departure from the adherents of the school of borrowing, became V.F. Miller is the author of a very interesting three-volume work “Essays on Russian Folk Literature” (the work was published in 1910-1924). “I am more interested in the history of epics and the reflection of history in epics,” - this is how Miller characterized the essence of his approach to the study of Russian folklore. V.F. Miller and his associates are Hell. Grigoriev, A.V. Markov, S.K. Shambinago, N.S. Tikhonravov, N.E. Onchukov, Yu.M. Sokolov - made a huge contribution to the formation of Russian science of folk art. They collected and systematized an exceptionally large amount of empirical material, identified historical parallels to many mythological and folklore texts, for the first time constructed the historical geography of the Russian heroic epic, etc.
The works of the prominent ethnographer and specialist in folk artistic culture A.V. had a serious influence on the development of Russian folkloristics. Tereshchenko (1806-1865) – the author of a large-scale study in 7 parts, “The Life of the Russian People.”
The development of this issue turned out to be especially relevant due to the fact that the emerging science of folk art needed to overcome the purely philological bias that narrowed it. As already noted, folklore never developed as a “stage art” and in its realities was directly linked to festive and ritual culture. Actually, only in this incrossing could one understand its essence, nature and characteristics.
A.V. Tereshchenko did a tremendous and very useful job. This work was assessed by the public mostly positively. However, this was not without criticism either. In 1848, the Sovremennik magazine published a detailed and rather sharp review of the “Life of the Russian People” by the famous critic and publicist K.D. Kavelina. Kavelin, as an ardent advocate of the so-called “professorial culture,” reproached Tereshchenko for the fact that, although he had collected truly rich empirical material, he had failed to find the key to its scientific analysis and interpretation. Holidays, rituals and other everyday phenomena, according to Kavelin, are wrong to be considered only in the “domestic aspect”: these are powerful mechanisms of broader social life and can be truly analyzed only in its context. In our opinion, there was indeed a lot of truth in this criticism.
Ivan Petrovich Sakharov (1807-1863) can also rightfully be considered one of the important figures in the field of Russian ethnography and folkloristics. After graduating from the medical faculty of Moscow University, he worked for a long time as a doctor at the Moscow City Hospital and at the same time taught in Moscow lyceums and schools paleography, which is completely different from his main profession - the history of writing on Russian monuments. Sakharov was an Honorary Member of the Geographical and Archaeological Societies and knew well the work of his contemporaries, who were dealing with the problems of folk artistic culture. He was actively supported by V.O. Odoevsky, A.N. Olenin, A.V. Tereshchenko, A.Kh. Vostokov and others, as he said, are “good people.” Among Sakharov’s main books one should name “Songs of the Russian People”, “Russian Folk Tales”, “Travels of Russian People to Foreign Lands”. A special place in this series is occupied by the major two-volume work “Tales of the Russian People about family life of their ancestors", published in 1836. The two-volume book was reprinted in 1837, 1841, 1849, and later was released again by the publisher A.V. Suvorin. One of the most important parts of this popular book is the first systematic collection of the Russian folk calendar for all its holidays, customs and rituals.
At the same time, it should be noted that I.L. Sakharov was a representative of the early stage of Russian folkloristics, where, along with undoubted achievements, there were many unfortunate miscalculations. He was often reproached (and, apparently, rightly) for certain folkloristic liberties, when, in the absence in many cases of data about the place and time of recording, texts, and especially dialects, were “corrected” into the modern common language, in recklessly mixing collecting with literary writing . In this sense, Sakharov was clearly inferior to his main opponent I.M. Snegirev, whose works were distinguished by much greater punctuality, evidence and reliability. But also I.L. Sakharov also had his own merits: while inferior to other researchers in accuracy and analyticality, he surpassed many in terms of beautiful figurative and poetic language, and also endeared readers to selfless admiration greatest talents Russian people.
Among folklorists mid-19th century, the colorful figure of the already mentioned Alexander Nikolaevich Afanasyev (1826-1871) especially stands out. He began publishing his folk studies and ethnographic articles in the journals Sovremennik, Otechestvennye zapiski, as well as in the Vremennik of the Society of Russian History and Antiquities while still studying at Moscow University. Since 1855, his “Russian Folk Tales” began to be published. In 1860, the book “Russian Folk Legends” was published. In 1860-69. His main three-volume work, “Poetic Views of the Slavs on Nature,” was published. Afanasyev himself called his work “the archeology of Russian life.” Emphasizing the Indo-European origins of Russian folk art, he highly valued Slavic mythology and qualified it as the basis of all further folklore.
A. N. Afanasyev was one of the first among Russian folklorists who exceptionally boldly invaded the previously untouched layers of the so-called Russian “mischievous” folklore. This attempt received mixed reviews at the time. The collections “Russian Folk Tales” that we have already mentioned were published with very serious friction. A ban was imposed on the second edition of the collections, and the third book of the collection cycle “Russian Treasured Tales” was published only abroad (1872) and after the death of the collector. The content of some of the fairy tales and folk stories he presented came into serious conflict with official state ideas about the religiosity of the Russian people. Some critics saw in them a clear distortion of the traditional image of the Russian clergy. Others made claims to the moral side of published texts, etc. The assessment of “treasured fairy tales” remains ambiguous today. However, in any case, one cannot help but note Afanasyev’s commendable desire in his collecting and publishing activities to show Russian folklore as it is, without outliers and embellishments.
Russian folkloristics took a major step forward at the stage when the talented philologist, art critic and folklorist, academician of the St. Petersburg Academy of Sciences Fyodor Ivanovich Buslaev became involved in active scientific and creative activities. The undoubted advantage of Buslaev’s scientific research was his attempt to skillfully analyze the rich array of folklore works accumulated by that time, classify it, and streamline the conceptual apparatus used in folklore studies of that period. In terms of the number of references to them in subsequent years, the books of Academician Buslaev, without a doubt, are in one of the first places. He is rightfully considered the creator of the university science of folklore.
F.I. Buslaev became one of the first domestic researchers who seriously took up the issues of periodization of the processes of development of folk culture. Each of the periods distinguished in this case - mythological, mixed (dual faith), strictly Christian - received a detailed qualitative description in his works.
The uniqueness of Buslaev’s methodological position was that he, in essence, did not align himself with either the Slavophiles or the Westerners and in his own views always remained on that desired line, which is called the “golden mean.”
Buslaev amazingly preserved the romantic views formed in his youth and at the same time became the founder of a new critical trend in ethnography, folklore and literature, different from the romantics. He was not always understood and accepted by the reading public. There have been many sharp clashes with magazines. At the same time, Buslaev’s undoubted advantage has always remained the ability to look closely at new views, concepts, assessments and never turn into a person who is mothballed in his once developed postulates. It is enough to note the serious interest he showed in the work of such diverse researchers as Mangardt Benfey, Taylor, Paris, Cosquin, the Brothers Grimm, etc.
In his works on culture F.I. Buslaev addressed not only issues of folk literature. His range of interests was much wider. We find here publications on general aesthetics, literature, and history. Excellent erudition helped the researcher approach the study of ethnographic and folklore phenomena of Russian life from a variety of positions. Readers of his works are always amazed by the variety of topics developed by this author. Here we find essays about the heroic epic, spiritual poems, domestic and Western mythology, “wandering” tales and stories, Russian life, beliefs, superstitions, peculiarities of language, etc.
F.I. Buslaev was one of the first in Russian folklore to conduct interesting comparisons of Russian folklore with the folklore of other countries. For example, when analyzing the epics of the Kiev-Vladimir cycle, he uses many references to such artistic examples as “Odyssey”, “Iliad”, romances and Sides, songs of Hellas, etc. In this sense, Buslaev is an expert of the highest class.
F.I. Buslaev managed to put the idea of forming a folk worldview at the center of the study of folk art. New stage in the development of Russian ethno-artistic knowledge is undoubtedly associated with the publication of two of his fundamental researches - “Historical Sketches of Russian Folk Literature and Arts” (St. Petersburg, 1861) and “Folk Poetry. Historical Sketches” (St. Petersburg, 1887).
In his folkloristic research F.I. Buslaev very successfully used a methodological technique, according to which “native epic poetry” (Buslaev’s term) is analyzed in constant comparison with what he called “artificial epic poetry.” In his words, there are two types of epic at the same object being described, which seem to be looked at with different eyes, and for this reason they are valuable as sources of historical and cultural knowledge. Within the framework of folklore, the “leading singer,” according to Buslaev, being a wise and experienced storyteller, narrates about antiquity in an experienced manner, without getting excited... He is “simple-hearted,” like a child, and talks about everything that happened, without further ado. In ancient Russian songs, fairy tales, and epics, descriptions of nature do not occupy a self-sufficient place, as we often see in novels and stories. Here the center of the whole world for the folk author and performer is the man himself.
Folk poetry always gives the first place to man, touching on nature only in passing and only when it serves as a necessary complement to the affairs and character of the individual. These and many other judgments of Buslaev about Russian folklore clearly indicate an extraordinary ability to consider the object under study in a unique, original way.
A very important role in the development of Russian folkloristics was played by the historian, writer, corresponding member of the St. Petersburg A.N. Nikolai Ivanovich Kostomarov, author of two truly wonderful books “About historical significance Russian folk poetry" and "Slavic mythology".
This talented person’s passion for folklore began in his student years. Having grown up at the junction of two great cultures - Russian and Ukrainian, from a young age he was fascinated by the books of Sakharov, Maksimovich, Sreznevsky, Metlinsky and other Russian-Ukrainian researchers of folk art. As a novice historian, folklore attracted Kostomarov with its richness, vitality, spontaneity, and the official history with which he became acquainted surprised him with its annoying indifference to life and aspirations common people.
“I came to this question,” he later wrote in his “Autobiography,” “why is it that in all stories they talk about outstanding statesmen, sometimes about laws and institutions, but they seem to neglect the life of the people? Poor man, farmer-worker like as if it does not exist for history; why does history not tell us anything about his life, about his spiritual life, about his feelings, the way his joys and seals were manifested? Soon I came to the conviction that history should be studied not only from dead chronicles and notes? and in a living people there cannot be centuries. past life have not been imprinted on the lives and memories of descendants: you just need to start looking - and you will surely find a lot that has still been missed by science."
In his research N.I. Kostomarov skillfully used a method that was later resorted to by many Russian folklorists. Its meaning lies in movement from essence folklore images to the system of folk thinking and folk way of life embedded in them. “True poetry,” Kostomarov wrote in this regard, “does not allow lies and pretense; moments of poetry are minutes of creativity: the people experience them and leave monuments - he sings; his songs, the works of his feelings do not lie, they are born and formed then, when people don't wear masks."
Kostomarov's folkloristic research was not without certain shortcomings. He was known as one of the “last romantics,” as he was called, and the influence of the romantic approach was felt in all his works. His idols were Schlegel and Kreutzer. Actually, Kostomarov’s key concept of “symbolism of nature” itself also came from these idols. In terms of his ideological and political ideas, Kostomarov was a consistent monarchist, for which he was repeatedly punished by representatives of the democratic public. The works of this researcher are characterized by deep religiosity. It is especially noticeable in his " Slavic mythology"(1847). Here N.I. Kostomarov set as his main goal to show mythology as an anticipation of Christianity that later came to Rus'. For him, in essence, there was no what others called “dual faith.” In the context of a religious sense of reality, he perceived everything holistically and harmoniously. And this left an indelible imprint on his understanding of ethnography and folklore.
Creative activity of N.I. Kostomarova became another example of the active involvement of domestic historians in the development of problems of the development of folk culture. On this path, he successfully continued the wonderful tradition of N.K. Karamzin and his followers.
A major contribution to the further multiplication and systematization of materials about leisure, everyday life, and folk art was made by the talented Russian historian Ivan Yegorovich Zabelin (1820-1892). He began his career as an employee in the Armory Chamber, then worked in the archives of the Palace Office, then moved to the Imperial Archaeological Commission. In 1879 Zabelin became Chairman of the Society of History and Antiquities. In 1879 he was elected corresponding member of the Academy of Sciences; and in 1892 - an honorary member of this Academy. I.E. Zabelin is the author of such unique books as “The History of Russian Life from Ancient Times”, “The Great Boyar in His Patrimonial Farm”, “Experiences in the Study of Russian Antiquities”, “The Home Life of Russian Tsars and Tsarinas”. His undoubted merit is that, based on the analysis of the richest archival handwritten and other previously unknown materials, he was able to show the leisure and everyday environment Russian society with exceptional scrupulousness and reliability. This is what Russian ethnography and folkloristics were so lacking at that time.
During the period under review, the creative activity of another prominent representative of Russian science, Academician of the St. Petersburg Academy of Sciences Alexander Nikolaevich Pypin, developed widely. According to his ideological convictions, Pypin remained a man of democratic views all his life.
Close relative of N.G. Chernyshevsky, for many years he was a member of the editorial board of the Sovremennik magazine and took an active part in its activities. Specialists in the field of philology highly value the fundamental work of A.N. Pypin - the four-volume “History of Russian Literature”, where, along with philological issues, much attention is paid to the problems of folk art, and in particular to the issues of the relationship and mutual influence of folklore and ancient Russian literature. His book “Essay on the Literary History of Old Russian Stories and Fairy Tales” was written in the same vein.
Essentially, Pypin managed to establish in his writings a largely updated interpretation of folklore. Following Buslaev, whom HE highly valued and respected, A.N. Pypin fiercely opposed everyone who tried to squeeze folk art out of the cultural field and considered this work as some kind of unartistic primitive. Folklore, in his opinion, very important complements the history of a nation, making it more specific, detailed and reliable, helps to see the true tastes and interests, passions working person. One can rightfully say that A.N.’s excellent knowledge of folk art helped him a lot. Pypin to lay the foundations of a factually updated Russian ethnography.
What turned out to be valuable in Pypin’s works, first of all, was that folklore theory and practice were presented here as a unique history of the development of national self-awareness. The author managed to connect the problems under consideration with real issues of Russian social life. For the first time, within the framework of domestic ethno-artistic knowledge, folk art was analyzed in close connection with the development of production, labor, social, everyday and leisure spheres of Russian society.
Largely thanks to the works of Pypin, Russian science managed to overcome the initial, purely philological approach to folklore. He was one of the first to show the organizing role of production and ritual culture, within the framework of which most of the ethno-artistic works were born and functioned.
Contemporary F.I. did a lot of useful work in developing issues of Russian folklore. Buslaev, Academician of the St. Petersburg Academy of Sciences Alexander Nikolaevich Veselovsky. A well-known philologist, a representative of comparative literature, an expert in Byzantine Slavic and Western European culture, all his life he paid close attention to the problems of the development of world and domestic folklore.
In his approaches to folk art, Veselovsky persistently opposed the method of strict historical research to mythological theory. He was convinced that the epic was wrongfully derived directly from myth. The dynamics of epic creativity are most closely related to the development of social relations. Compared to the archaic culture of primitive society, where myth really stands at the center of ideological structures, the epic is a new form of emerging national identity. It is on these initial principles that the research of A.N. Veselovsky “On the Mother of God and Kitovras”, “Tales of Ivan the Terrible”, and especially his main work “Historical Poetics” is built.
A characteristic feature of the scientific creativity of A.N. Veselovsky's consistent patriotism. Veselovsky’s “Notes and Writings” contains very sharp criticism of V.V.’s concept. Stasov on the origin of Russian epics. He himself did not exclude certain borrowings that take place in the folklore of any people. However, Veselovsky’s main emphasis was on the even more important factor of creative adaptation of other people’s experience. For Russian folk literature, in his opinion, this phenomenon is especially characteristic. Here, processes gradually took place not of elementary borrowing, but of creative processing of “stray themes and plots.”
“Explaining the similarity of myths, fairy tales, and epic stories among different peoples,” Veselovsky emphasized, “researchers usually diverge in two opposite directions: the similarity is explained either from the general foundations to which similar legends are supposedly traced, or by the hypothesis that one of them borrowed its content from another. In essence, none of these theories is applicable separately, and they are only conceivable together, because borrowing presupposes in the perceiver not an empty space, but countercurrents, a similar direction of thinking, similar images of fantasy." Veselovsky became the author of a new research principle, according to which the basis for the study of folk art is the study of the soil that directly gave rise to folklore works. He introduced into Russian folkloristics a productive historical-genetic approach to the analysis of artistic culture. Veselovsky’s works were of very important methodological significance - they answered many controversial questions and largely determined the main path for the further development of Russian folkloristics
The research activities of the Russian folklorist and ethnographer, professor at Moscow University and academician of the St. Petersburg Academy of Sciences Vsevolod Fedorovich Miller became widely known in the second half of the 19th century. Miller is famous for the fact that, as is generally recognized by folklorists, he made a very important contribution to the study of the epic epic. This is precisely the main meaning and content of his main works - “Excursions into the field of Russian folk epic” and “Essays on Russian folk literature.”
Along with constant attention to domestic folklore, Miller throughout his life showed a keen interest in the epic, literature and languages of the Indo-European East - Sanskrit, Iranian linguistics, etc. It is very significant that he simultaneously considered his teachers, on the one hand, F. I. Buslaev, and on the other - A.D. Kun, with whom he once had a two-year internship abroad. He was a unique linguist, literary critic and folklorist. However, as often happens, abundant erudition sometimes gives rise in his works to an obvious overload of hypotheses, risky parallels, and a noticeable “change of milestones” in each successive book. In this sense, in our opinion, he was quite rightly criticized by A.N. Veselovsky and N.P. Dashkevich.
V. F. Miller received even more punishment (and, in our opinion, justifiably) for his unexpectedly put forward concept of the aristocratic origin of the Russian epic epic. For clarity, here are a few excerpts from his “Essays on Russian Folk Literature”: “Songs were composed by princely and druzhina singers where there was demand for them, where the pulse of life beat stronger, where there was prosperity and leisure, where color was concentrated nations, i.e. in rich cities, where life is more free and fun...
Glorifying princes and warriors, this poetry was of an aristocratic character, it was, so to speak, the elegant literature of the highest, most enlightened class, more than other segments of the population imbued with national self-awareness, a sense of the unity of the Russian land and political interests in general." Sometimes, Miller believes, something from what was composed in princely-retinue circles, it also reached the common people, but this poetry could not develop in a “dark environment,” “just as modern epics that came to them from among the professional petars who performed them earlier are distorted among the Olonets and Arkhangelsk common people.” for a richer and more cultured class." Specific examples associated with the scientific work of V.F. Miller clearly indicate that the development of domestic folklore studies was a rather complex process with an inevitable clash of very contradictory trends. This becomes especially noticeable in subsequent stages.
In the general mainstream of domestic folklore research, a special place is occupied by numerous publications devoted to the problems of the development of buffoonery art in Rus'. Among the most significant publications of the 19th century, it is right to note here the books of such researchers as P. Arapov “Chronicle of the Russian Theater” (St. Petersburg, 1816), A. Arkhangelsky “The Theater of Pre-Petrine Rus” (Kazan., 1884), F. Berg “ Spectacles of the 17th century in Moscow (Essay) "(St. Petersburg, 18861, I. Bozheryanov "How the Russian people celebrated and celebrate the Nativity of Christ, New Year, Epiphany and Maslenitsa" (St. Petersburg, 1894), A. Gazo "Jesters and buffoons of all times and peoples" (St. Petersburg, 1897), N. Dubrovsky "Maslenitsa" (M., 1870), S. Lyubetsky "Moscow ancient and new festivities and amusements" (M., 1855), E. Opochinin "Russian Theater, its beginning and development" (St. Petersburg, 1887), A. Popov "Brotherly Pies" (M., 1854), D. Rovinsky "Russian folk pictures" (St. Petersburg, 1881-1893), N. Stepanov "folk holidays on Holy Rus'" (SP b., 1899), A. Faminitsyn "Buffoons in Rus'" (SPb., 1899), M. Khitrov "Ancient Rus' in Great Days" (SPb., 1899).
As emphasized in many of these studies, the main feature of buffoonery was that in its context the features of non-professional and professional art were intricately intertwined. Many authors believe that in the history of buffoonery we see the first and rather rare attempt to achieve creative interaction between two artistic streams. Due to certain circumstances, such interaction remained nothing more than an attempt, but this does not diminish its historical, cultural and socio-artistic value of buffoonery.
Judging by the documents that have reached us, professionalization among Russian buffoons was rare and clearly appeared in very weak, rudimentary forms. The bulk of the buffoons were, according to our modern standards, typical amateur artists. In this sense, one cannot but agree with the talented specialist in the history of Russian buffoonery A.A. Belkina, who believes that in villages and villages the need for buffoons was felt mainly on holidays, an integral part of which were folk games. The rest of the time, the buffoons differed little from the rest of the villagers. Some of the buffoons who lived in the cities led a similar rustic look life, doing, during the periods between holidays, activities characteristic of city dwellers - crafts, trade, etc. But at the same time, the conditions of city life provided more opportunities for professional buffoonery.
Indeed, life itself selected the most talented people here and pushed them onto the stage. There was no special training for artistic personnel yet. People learned skills either in the family, or learned from each other. In essence, there was an ordinary folklore process, traditionally based on “cultural and everyday synergy.”
An important feature of buffoonish artistic creativity is, according to many researchers, its entertaining, playful and satirical-humorous orientation. This life-affirming art was one of popular forms folk laughter culture.
There is every reason to believe that buffoons took an active part in both performing and composing folklore works. They performed using what had already been created by the people, what the people liked and in which they themselves could take part, as was expected at all festive games, fraternities, weddings and other traditional entertainments. But, apparently, the buffoons introduced a lot of new things into the context of such amusements. After all, these were the most artistically talented people who had greater creative and performing experience. Through them and with their help there was a noticeable enrichment of the content and forms of folklore as a whole.
Unfortunately, the problem of such influence is rather poorly reflected in our folklore. Meanwhile, there is every reason to assert that many of the most ancient works of Slavic and Russian folklore were born precisely in a buffoonish environment. Buffoons in Rus' were not only active participants in rural festivities and games. Until the famous royal decree of 1648, these cheerful people took a direct part in liturgical performances, for example, in such as “Walking on a Donkey”, “Cave Act” and other dramatizations of biblical and gospel stories. It is difficult to overestimate the buffoon's contribution to the development of folk music. They are often mentioned in ancient Russian chronicles as excellent masters of playing the domra, gusli, bagpipes, and whistles. In general, buffoonish performances were quite rightly regarded by many researchers as a kind of transitional stage from free and, in fact, very weakly organized folklore to performances that had already been made according to a certain textual outline, subjected to a certain production and, to some extent, pre-rehearsed. Such performances, although the principles of active involvement of the public in developing actions were also implemented here in a pronounced form, to a greater extent than purely everyday forms of artistic performance, presupposed the presence of artists and spectators.
Publication date: 2014-11-02; Read: 2055 | Page Copyright Infringement | Order writing a paper
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very necessary
What is “folklore” for modern people? These are 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 now remain in the form of beautiful books for children and the repertoire of ethnographic ensembles. Well, maybe somewhere unimaginably far from us, in remote villages, there are still some old women who still remember something. But this was only until civilization arrived there.
Modern people They don’t tell each other fairy tales, they don’t sing songs while they work. And if they compose something “for the soul,” then they immediately write it down.
Very little time will pass - and folklorists will have to study only what their predecessors managed to collect, or change their specialty...
Is it so? Yes and no.
From epic to ditty
Recently, in one of the LiveJournal discussions, a sad observation flashed by a school teacher who discovered that the name Cheburashka meant nothing to his students. The teacher was prepared for the fact that the children were unfamiliar with either Tsar Saltan or the Mistress of the Copper Mountain. But Cheburashka?!
All of educated Europe experienced approximately the same feelings about two hundred years ago. What had been passed down from generation to generation for centuries, what seemed to be dissolved in the air and what seemed impossible not to know, suddenly began to be forgotten, crumble, disappear into the sand.
Suddenly it was discovered that everywhere (and especially in the cities) a new generation had grown up, to whom the ancient oral culture was known only in meaningless fragments or was unknown at all.
The response to this was an explosion of collecting and publishing examples of folk art.
In the 1810s, Jacob and Wilhelm Grimm began publishing collections of German folk tales. In 1835, Elias Lenroth published the first edition of “Kalevala,” which shocked the cultural world: it turns out that in the most remote corner of Europe, among a small people who never had their own statehood, there still exists a heroic epic comparable in volume and complexity of structure to ancient Greek myths! The collection of folklore (as the English scientist William Toms called the entire body of folk “knowledge” existing exclusively in oral form in 1846) grew throughout Europe. And at the same time the feeling grew: folklore is disappearing, its speakers are dying out, and in many areas nothing can be found. (For example, not one of the Russian epics has ever been recorded where their action takes place, or indeed in the historical “core” of Russian lands. All known recordings were made in the North, in the lower Volga region, on the Don, in Siberia, etc. e. in the territories of Russian colonization of different times.) You need to hurry, you need to have time to write down as much as possible.
In the course of this hasty collection, more and more often something strange was found in the records of folklorists. For example, short chants, unlike anything that was previously sung in the villages.
Precise rhymes and the correct alternation of stressed and unstressed syllables made these couplets (the folk performers themselves called them “ditties”) related to urban poetry, but the content of the texts did not reveal any connection with any printed sources. There was serious debate among folklorists: should ditties be considered folklore in the full sense of the word, or is it a product of the decomposition of folk art under the influence of professional culture?
Oddly enough, it was this discussion that forced the then-young folklore studies to take a closer look at the new forms of folk literature emerging right before our eyes.
It quickly became clear that not only in villages (traditionally considered the main place of folklore), but also in cities, a lot of things arise and circulate that, by all indications, should be attributed specifically to folklore.
A caveat must be made here. In fact, the concept of “folklore” refers not only to verbal works (texts), but in general to all phenomena of folk culture that are transmitted directly from person to person. A traditional embroidery pattern on a towel that has been preserved for centuries in a Russian village or the choreography of a ritual dance of an African tribe is also folklore. However, partly for objective reasons, partly due to the fact that texts are easier and more complete to record and study, they became the main object of folkloristics from the very beginning of the existence of this science. Although scientists are well aware that for any folklore work, the features and circumstances of performance are no less (and sometimes more) important. For example, a joke necessarily includes a telling procedure - for which it is absolutely necessary that at least some of those present do not already know this joke. A joke known to everyone in a given community is simply not performed in it - and therefore does not “live”: after all, a folklore work exists only during its performance.
But let's return to modern folklore. As soon as researchers took a closer look at the material, which they (and often its bearers and even creators themselves) considered “frivolous”, devoid of any value, it turned out that
“new folklore” lives everywhere and everywhere.
Chatushka and romance, anecdote and legend, rite and ritual, and much more for which folklore did not have suitable names. In the 20s of the last century, all this became the subject of qualified research and publications. However, already in the next decade, a serious study of modern folklore turned out to be impossible: real folk art categorically did not fit into the image of “Soviet society.” True, a certain number of folklore texts themselves, carefully selected and combed, were published from time to time. (For example, in the popular magazine “Crocodile” there was a column “Just an Anecdote”, where topical jokes were often found - naturally, the most harmless ones, but their effect was often transferred “abroad” just in case.) But the scientific study of modern folklore actually resumed only in the late 1980s and especially intensified in the 1990s. According to one of the leaders of this work, Professor Sergei Neklyudov (the largest Russian folklorist, head of the Center for Semiotics and Typology of Folklore of the Russian State University for the Humanities), this happened largely according to the principle “if there was no luck, but misfortune helped”: without funds for normal collecting and research expeditions and student practices, Russian folklorists transferred their efforts to what was nearby.
Omnipresent and many-sided
The collected material was primarily striking in its abundance and variety. Each, even the smallest group of people, barely realizing their commonality and difference from all others, immediately acquired their own folklore. Researchers were already aware of the folklore of individual subcultures: prison, soldier, and student songs. But it turned out that their own folklore exists among climbers and paratroopers, environmental activists and adherents of non-traditional cults, hippies and “goths,” patients of a particular hospital (sometimes even a department) and regulars of a particular pub, kindergarten students and primary school students. In a number of these communities, the personal composition changed rapidly - patients were admitted and discharged from the hospital, children entered and graduated from kindergarten - and folklore texts continued to circulate in these groups for decades.
But even more unexpected was the genre diversity of modern folklore
(or “post-folklore,” as Professor Neklyudov suggested calling this phenomenon). The new folklore took almost nothing from the genres of classical folklore, and what it took, it changed beyond recognition. “Almost all the old oral genres are becoming a thing of the past - from ritual lyrics to fairy tales,” writes Sergei Neklyudov. But more and more space is occupied not only by relatively young forms (“street” songs, jokes), but also by texts that are generally difficult to attribute to any specific genre: 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 (“one medical student bet that he would spend the night in the dead room ...”), legal incidents, etc. Into the concept of folklore I had to include both rumors and unofficial toponymy (“we’ll meet at the Head” - that is, at the bust of Nogin at the Kitay-Gorod station). Finally, there is a whole series of “medical” recommendations that live according to the laws of folklore texts: how to simulate certain symptoms, how to lose weight, how to protect yourself from conception... At a time when it was customary for alcoholics to be sent for compulsory treatment, the technique was popular among them “stitching” - what needs to be done to neutralize or at least weaken the effect of the “torpedo” implanted under the skin (capsules with Antabuse). This rather sophisticated physiological technique was successfully transmitted orally from old-timers of “labor treatment centers” to newcomers, i.e., it was a phenomenon of folklore.
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? It is not known when and where this belief arose, but in any case, it could not have appeared before the widespread use of personal computers. And it continues to develop before our eyes: “not every cactus absorbs radiation, but only those with star-shaped needles.”
However, sometimes in modern society it is possible to discover well-known phenomena - however, transformed so much that in order to see their folklore nature, special efforts are needed. Moscow researcher Ekaterina Belousova, having analyzed the practice of treating women in labor in Russian maternity hospitals, came to the conclusion: the notorious rudeness and authoritarianism of the medical staff (as well as many restrictions for patients and the obsessive fear of “infection”) is nothing more than a modern form of maternity ritual - one of the main “rites of passage” described by ethnographers in many traditional societies.
Word of mouth over the Internet
But if in one of the most modern social institutions Under a thin layer of professional knowledge and everyday habits, ancient archetypes are suddenly revealed; is it really so fundamentally different between modern folklore and classical folklore? Yes, the forms have changed, the set of genres has changed - but this has happened before. For example, at some point (presumably in the 16th century) new epics stopped being composed in Russia - although those already composed continued to live in the oral tradition until the end of the 19th and even until the 20th century - and they were replaced by historical songs. But the essence of folk art remained the same.
However, according to Professor Neklyudov, the differences between post-folklore and classical folklore are much deeper. Firstly, the main organizing core, the calendar, fell out of it. For a rural dweller, the change of seasons dictates the rhythm and content of his entire life, for a city dweller - perhaps only the choice of clothing. Accordingly, folklore is “detached” from the season – and at the same time from the corresponding rituals, and becomes optional.
Secondly,
In addition to the structure of folklore itself, the structure of its distribution in society has changed.
The concept of “national folklore” is to some extent a fiction: folklore has always been local and dialectal, and local differences were important for its speakers (“but we don’t sing like that!”). However, if previously this locality was literal, geographical, now it has become rather socio-cultural: neighbors in landing can be carriers of completely different folklore. They don’t understand each other’s jokes, they can’t sing along to a song... Independent performance of any songs in a company is becoming a rarity today: if a few decades ago the definition of “popularly known” referred to songs that everyone can sing along, now – to songs that everyone has heard at least once.
But perhaps the most important thing is the marginalization of the place of folklore in human life.
All the most important things in life - worldview, social skills, and specific knowledge - a modern city dweller, unlike his not-so-distant ancestor, does not receive through folklore. Another important function of human identification and self-identification has almost been removed from folklore. Folklore has always been a means of claiming membership in a particular culture—and a means of testing that claim (“ours is the one who sings our songs”). Today, folklore plays this role either in marginal subcultures that are often opposed to the “big” society (for example, criminal ones), or in very fragmentary ways. For example, if a person is interested in tourism, then he can confirm his belonging to the tourist community by knowing and performing the corresponding folklore. But in addition to being a tourist, he is also an engineer, an Orthodox Christian, a parent - and he will manifest all these incarnations of himself in completely different ways.
But, as Sergei Neklyudov notes,
A person also cannot do without folklore.
Perhaps the most striking and paradoxical confirmation of these words was the emergence and rapid development of the so-called “network folklore” or “Internet lore”.
In itself, this sounds like an oxymoron: 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, polyvariance, traditionality. Moreover: online texts clearly strive to “overcome the written word” - due to the widespread use of emoticons (which allow at least to indicate intonation), and the popularity of “padon” (intentionally incorrect) spelling. At the same time, computer networks, which make it possible to instantly copy and forward texts of significant size, offer a chance for a revival of large-scale narrative forms. Of course, it is unlikely that something similar to Kyrgyz will ever be born on the Internet heroic epic"Manas" with its 200 thousand lines. But funny nameless texts (like the famous “radio conversations of an American aircraft carrier with a Spanish lighthouse”) are already widely circulating on the Internet - absolutely folklore in spirit and poetics, but unable to live in a purely oral transmission.
It seems that in the information society, folklore can not only lose a lot, but also gain something.
What is modern folklore and what does this concept include? Fairy tales, epics, tales, 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 created by the people and existing among the masses, art, 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? This 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 came 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 it so? 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 anywhere.
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 great place non-ritual folklore genres occupy. 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. Having gone on a hike with the same travel agency, but with completely different people and even instructors a year later, you can find that the sign is alive and they 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 circulated online, 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.” From the history of society it is known 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.
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 synchronous (horizontal section of a separate historical period) and diachronic (vertical section 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, comparison of texts with real events, historicism of individual works. In addition, folklore can often itself be a historical source.
There is a close connection between folklore with ethnography as a science that studies the early forms of 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
· The question of its historical essence
· The question of the role of folklore in the knowledge of national 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 issue of its origin.
Modern mass media technology, of course, dictates its tastes to folklore samples. Some of them are regularly played 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, oral stories, and anecdotes live in speech. 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, anecdotes, and 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.
480 rub. | 150 UAH | $7.5 ", MOUSEOFF, FGCOLOR, "#FFFFCC",BGCOLOR, "#393939");" onMouseOut="return nd();"> Dissertation - 480 RUR, delivery 10 minutes, around the clock, seven days a week and holidays
Kaminskaya Elena Albertovna. Traditional folklore: cultural meanings, current state and problems of actualization: dissertation... doctors: 24.00.01 / Elena Albertovna Kaminskaya; [Place of defense: Chelyabinsk State Institute of Culture], 2017.- 365 p.
Introduction
CHAPTER 1. Theoretical aspects traditional folklore research .23
1.1. Theoretical foundations for understanding traditional folklore in modern times 23
1.2. Analysis of aspects of the definition of folklore as a sociocultural phenomenon 38
1.3. Properties of traditional folklore: clarification of essential characteristics 54
CHAPTER 2. Interpretation of the features of traditional folklore in the semantic field of culture 74
2.1. Cultural meanings: essence and embodiment in various forms of culture 74
2.2. Cultural meanings of traditional folklore 95
2.3. Anthropological foundations of meaning-making in traditional folklore 116
CHAPTER 3. Traditional folklore and problems of historical memory 128
3.1. Traditional folklore as a specific embodiment of cultural and historical tradition 128
3.2. The place and role of traditional folklore in historical memory 139
3.3. Traditional folklore as a cultural monument in the context of relevance cultural heritage 159
CHAPTER 4. Modern folk culture and the place of traditional folklore in its context 175
4.1. Traditional folklore in the structural and content space of modern folklore culture 175
4.2. The functional significance of traditional folklore in the context of modern folklore phenomena 190
4.3. Sociocultural environment of modern folk culture 213
CHAPTER 5. Ways and forms of updating folklore in modern sociocultural conditions 233
5.1. Professional artistic culture as a sphere of existence of traditional folklore 233
5.2. Amateur artistic performance as one of the mechanisms for updating traditional folklore 250
5.3. Mass media in updating traditional folklore 265
5.4. Traditional folklore in the context of activity educational systems 278
Conclusion 301
Bibliography 308
Introduction to the work
The relevance of research. In modern conditions of increasing intensity of modernization trends, culture appears as a self-renewing system in which there is an increasingly rapid change of patterns, styles, and variants of cultural practices. The increasing complexity and density of heterogeneous cultural and communication processes enhances the fluidity and permanent changeability of cultural states. At the same time, the effects of unification inherent in globalization and innovation processes are also clearly manifested, to a certain extent weakening and eroding the specific, original features that make up the uniqueness of the content of each national culture. In such conditions, the search for fundamental grounds for preserving cultural identity is clearly evident, which, in turn, determines, among other things, closer attention to traditions in all their manifestations. That is why such significant importance is attached to those cultural phenomena, its forms and methods of organization, which to one degree or another are based on traditional manifestations of the content of being and the mechanisms of its existence, which determines all the new appeals to the problems of preserving traditional folklore, both from the point of view of theoretical research , and from the position of real cultural practices.
Despite the fairly frequent use of the concept of “traditional folklore” in scientific research, primarily in the field of folklore, nevertheless, even among specialists in this field, doubts sometimes arise about the legality of its use. It should be noted that when turning to the analysis of certain phenomena included in the vast sphere of various artifacts and cultural practices of a folklore nature, which is by no means unitary homogeneous, it is necessary to develop a division of the main options for their implementation. Relying on
works of V. E. Gusev, I. I. Zemtsovsky, A. S. Kargin, S. Yu. Neklyudov, B. N. Putilov and others, we believe that there are all objective grounds for differentiating historically established forms and types of folklore, including archaic folklore, traditional folklore (in some cases another name is used - classical), modern folklore, etc. It should be noted that the emergence of new historically determined folklore phenomena does not exclude the continuation of the life of traditionally existing folklore and their event in the cultural space . This means that in modern times one can find various manifestations of them, not only in “pure” form, but also in diverse forms of interaction both with each other and with other cultural phenomena.
Focusing on the traditional nature of folklore (as follows from
title of the work), it is proposed to consider, first of all, the most
stable, having temporal extension and rootedness,
manifestations of folklore, including in modern sociocultural
practices. Traditional folklore in its meaningful forms
shows a kind of “connection of times”, which helps to strengthen
sense of identity and, in general, determines the need for careful
relationship with him. The relevance of scientific appeal to traditional
folklore is also emphasized by the fact that in modern
sociocultural situation, he turns out to be one of the special carriers
historical memory, and in this capacity is capable of a peculiar
artistic and figurative representation of cultural diversity
historical fate of the people.
An important circumstance should also be recognized that traditional folklore specifically, in the context of modern folklore culture, reveals an actual existence, therefore its scientific understanding becomes not only one of the significant theoretical tasks, but also has a pronounced practical
significance. However, modern conditions are not always favorable for preserving it in viable forms. All this determines the increased research attention to traditional folklore, the need to understand how these problems can be resolved based on modern circumstances.
Thus, the relevance of the study of traditional
folklore is determined, first of all, by the conditions of the culture itself, in
in which both constant and
transformational elements. Significant predominance of the latter
can lead to a situation of “innovation fever”, when
society will not be able to cope with the flow and speed
changes in the content aspects of culture. Precisely stable
elements of culture, to which, undoubtedly, belongs
traditional folklore, in this case acquire special significance as a constitutive component of its development. Theoretical coverage of the specifics and significance of traditional folklore in modern culture will allow us to more deeply and accurately see its natural place in the synchronic and diachronic aspects of cultural existence, its cultural potential in the most relevant contexts.
Thus, it can be stated that there is a contradiction between
objective needs of modern society based on
stable, constitutive of cultural identity, deep
traditional foundations, one of which is traditional
folklore, its potential capabilities that it demonstrated
throughout the centuries-old history of its development and does not lose in
modernity, the essential expediency of their practical
embodiment at the present stage of development of culture and society, complicated by a number of current trends, and the insufficient level of conceptual cultural understanding of the associated
problems, which partly limits the implementation of this potential. This contradiction constitutes the main problem of the study.
Despite the fact that traditional folklore is a significant cultural phenomenon, it has not been studied deeply and fully enough from the point of view of understanding its essential role in the modern cultural situation, determining the forms and methods of its actualization, although in the humanities degree of scientific development The topic we have chosen has, at first glance, a fairly significant scope. Thus, when analyzing traditional folklore, including determining its place and significance in modern culture, it became logical to turn to works that highlight issues of its genesis and historical dynamics of development (V.P. Anikin, A.N. Veselovsky, B. N. Putilov, Yu. M. Sokolov, V. I. Chicherov and many others); its genus-species-genre structure, components and features are explored (V. A. Vakaev, A. I. Lazarev, G. A. Levinton, E. V. Pomerantseva, V. Ya. Propp, etc.). Ethnic, regional, class features of folklore are presented in the works of V. E. Gusev, A. I. Lazarev, K. V. Chistov and many others. etc.
At the same time, a holistic vision of folklore as a cultural phenomenon in its
genesis, development and current states remains, in our opinion,
not sufficiently defined. In this regard, it seems necessary
turn to studies that highlight the problems of traditional
folklore among other cultural phenomena (such as tradition,
traditional culture, folk culture, folk art culture, etc.). This issue is considered quite thoroughly in the works of P. G. Bogatyrev, A. S. Kargin, A. V. Kostina, S. V. Lurie, E. S. Markaryan, N. G. Mikhailova, B. N. Putilov, I M. Snegireva, A. V. Tereshchenko, A. S. Timoshchuk, V. S. Tsukerman, K. V. Chistov, V. P. Chicherov, K. Levi-Strauss, etc. However, not all aspects The relationships between traditional folklore and other phenomena have found a comprehensive explanation. For example, cultural
semantic aspects of such interactions, quite rarely researchers resort to unique comparative approaches that can more clearly demonstrate the historical relationship of these phenomena.
Issues of preservation, use and, partly, updating
traditional folklore as a component of folk art
culture, studies by L. V. Dmina, M. S. Zhirov,
N.V. Solodovnikova and others, in which some ways to solve such pressing problems are proposed. But it is worth paying attention to the fact that, as a rule, these are mechanisms to a greater extent for preserving traditional cultural phenomena, partly for their use, and to a lesser extent for inclusion in current sociocultural practices.
Turning to the analysis of the cultural meanings of traditional
folklore, we relied on the works of S. N. Ikonnikova, V. P. Kozlovsky,
D. A. Leontieva, A. A. Pelipenko, A. Ya. Fliera, A. G. Sheikina and others.
Of considerable interest were works covering the problems
embodiment of meanings in such phenomena as mythology (R. Barth, L. Levi-
Bruhl, J. Fraser, L. A. Anninsky, B. A. Rybakov, E. V. Ivanova,
V. M. Naydysh and others), religion (S. S. Averintsev, R. N. Bella, V. I. Garadzha,
Sh. Enshlen and others), art (A. Bely, M. S. Kagan, G. G. Kolomiets,
V.S. Solovyov and others) and science (M.M. Bakhtin, N.S. Zlobin, L.N. Kogan and others).
However, it should be taken into account that issues related to cultural
meanings of directly traditional folklore, as presented
works were not considered in sufficient detail.
No less important for us was the problem of meaning-making, considered in the works of A.V. Goryunov, N.V. Zotkin, A.B. Permilovskaya, A.V. Smirnov and others, which presented individual characteristics, models for the analysis of certain or other phenomena of folk artistic culture. They to a certain extent contributed to the development of the variants of the model of meaning-making of traditional folklore that we proposed.
When characterizing traditional folklore as one of the carriers of historical memory, the works of Sh. Aizenstadt, J. Assman, A. G. Vasilyev, A. V. Kostina, Yu. M. Lotman, K. E. Razlogov, Zh. T. Toshchenko, P. Hutton, M. Halbwachs, E. Shils and others, covering the problems of historical memory in connection with various aspects of the manifestation of this phenomenon (social memory, cultural memory, collective memory, etc.). In the context of the problems of the work, it was important to understand the content of its content as a unique description of the historical past and evidence of it, its preservation, retention and reproduction, which can be carried out, among other things, by oral communication. This made it possible to formulate the position that folklore, for which precisely this type of communication seems to be the dominant basis of existence, can act as a special medium that synthesizes, reflects, and embodies most of its aspects in artistic and figurative forms.
Modern sociocultural practices are largely
built on the use of historical memory and cultural heritage,
as self-valuable grounds. The latter includes, inter alia,
tangible and intangible cultural monuments. Describing
traditional folklore as a unique cultural monument,
specifically combining statuary and procedurality, we turned to the works of E. A. Baller, R. Tempel, K. M. Khoruzhenko and others, to the legal acts of the Russian Federation and UNESCO, which to one degree or another reflect this problematic. At the same time, as the analysis of materials shows, insufficient attention is paid specifically to the actualization of intangible cultural heritage, to which traditional folklore belongs.
Particular attention was drawn to the work, to one degree or another
turning to folk culture, including its modern
forms. These are the works of V. P. Anikin, E. Bartminsky, A. S. Kargin,
A. V. Kostina, A. I. Lazarev, N. G. Mikhailova, S. Yu. Neklyudova and others. At the same time, the consideration of folk culture in these studies seems partial, not giving full grounds for a holistic vision of folk culture in the horizon modernity. They do not pay enough attention to the interaction of types and forms of folk culture with each other, with the surrounding cultural environment, leading, among other things, to the emergence of “borderline” folklore phenomena.
When determining the place of traditional folklore in modern folk culture, the work uses a structural vision of the relationship between the center and the “periphery,” including that presented in the theories of the “central cultural zone” (E. Shils, S. Eisenstadt). Based on this, the functional role of traditional folklore is shown as an essentially central zone in relation to folk culture as a whole.
The object of the presented research is traditional folklore, subject of research - cultural meanings, current state and problems of updating traditional folklore.
Goal of the work. Based on the study of traditional folklore as an integral cultural phenomenon, determine its cultural and semantic aspects, functions, features of existence in the context of modern culture and present the ways and forms of its actualization in modern sociocultural conditions.
Job objectives:
identify cultural aspects of understanding traditional folklore in modern times based on the study of research approaches to its existence as an integral cultural phenomenon;
modern conditions;
characterize cultural phenomena whose semantic fields are closest to traditional folklore, show the diversity of cultural meanings embodied in them in the cultural space;
present a model of the meaning-making of traditional folklore by identifying ways of embodying its semantic aspects;
identify the specifics of traditional folklore as a special, historically predetermined and irremovable cultural form of the embodiment of cultural and historical tradition;
to reveal the specificity of traditional folklore in the context of the existence of historical memory through the analysis of mnemonic aspects of the artistic and figurative reinterpretation of eventual, linguistic, stylistic aspects of historical phenomena in folklore artifacts;
describe the specific functionality of traditional folklore in the sociocultural status of a cultural monument;
characterize the significance and options for the representation of traditional folklore in the structural and functional space of modern folk culture;
to interpret the basic conditions and factors of the sociocultural environment of modern folk culture from the standpoint of their influence on the nature of its functioning and interaction with various sociocultural spheres;
analyze the potential of professional artistic culture, imagine the possibilities of amateur artistic performances, identify mass media resources and consider the activities of educational systems in the context of problems of updating traditional folklore.
Methodology and methods of dissertation research.
The complexity and versatility of the subject of research determined the choice of a fairly wide range of methodological and theoretical foundations for studying the subject of research.
Basic provisions systemic And structural-functional approaches made it possible to consider traditional folklore as a special phenomenon in an integral cultural system. Moreover, to formulate the concept of traditional folklore as an independent and full-fledged phenomenon, to characterize its essential features, to describe the genus-species-genre structure and its changes in historical dynamics, to determine the structure of modern folklore culture and to identify the specific position of folklore itself in it.
Usage systematic approach due to integrity and
the extreme complexity of such a phenomenon as traditional folklore. IN
within the framework of a systems approach, as already emphasized, it is considered
firstly, in the cultural system as a whole and in the modern system
folklore culture. Secondly, folklore itself is analyzed as
systemic phenomenon. Thirdly, the principles of a systems approach
used in the development of a theoretical model and substantive embodiment of folk culture as a system. The same approach allows us to consider the systemic properties of sociocultural institutions in the processes of folklore actualization.
However, in the system itself there are inherent foundations
structural and functional vision of the problem under study. IN
within the framework of this study, culture is considered as
a functionally complex system that includes subsystems that perform various functions. One of such complex subsystems is traditional folklore. Its functions changed depending on the sociocultural development of society, were transformed, and were partially transferred to other subsystems, sometimes to the detriment of the culture itself, leading to its impoverishment.
Logic of research based on polyphonic existence
traditional folklore, determined the use of elements
dialectical, anthropological, semiotic, hermeneutic,
evolutionary, psychological approaches. From point of view
dialectical approach shows interdependent inconsistency
existence of folklore (sacredness combined with profaneity,
artistry and pragmatism, utilitarian beingness,
collective and individual, etc.). Within the framework of the anthropological approach, the intrinsic value of folklore is presented, the cultural meanings of which are found at the intersection of experiencing the essential moments of cultural existence as significant for the human community and the desire to convey this in a figurative, effective form. The semiotic approach made it possible to consider the codes (signs, symbols) of traditional folklore and their relationship with cultural meanings and values. The hermeneutic approach, which complemented the semiotic one, was used to describe the cultural meanings of traditional folklore and phenomena close to it in terms of semantic fields, and to draw up a model of its meaning-making. In particular, from the entire arsenal of this approach, the method of cultural-historical interpretation was used, for example, to stylistically characterize traditional folklore and identify its identity with other phenomena of modern folklore culture, which made it possible to present a semantic interpretation of folklore texts. The evolutionist approach determined the vision of the development of folklore from archaic forms to modern representation in folk culture as a process of complication and differentiation in content and forms, integration with other cultural phenomena that are close to it in cultural and semantic fields, stylistics, functions, determined by the cultural and historical development of society. The psychological approach made it possible to determine the cultural meanings of folklore in comparison with the cultural meanings of myths, religion, art and science as “clumps of experiences” of the most significant collisions of existence and to give the author’s definition of traditional folklore.
In the course of the work, such general scientific methods as analysis, synthesis, induction and deduction, methods of description and comparison, etc. were used, which were supplemented by comparative analysis, the modeling method and the sociocultural historical-genetic method. Comparative analysis, which makes it possible to compare specific areas of culture, has been used, for example, to compare mass media and traditional folklore; professional culture and traditional folklore. The modeling method was used to present the main most significant aspects of the subject under study: showing variants of the model of meaning of traditional folklore and describing the structural-functional model of modern folk culture, “constructing” and characterizing the competence model of a specialist in the field under study. The historical-genetic method made it possible to trace the genesis and development of both traditional folklore itself and the phenomena of modern folk culture. Its use is due to the need to consider traditional folklore as a developing cultural phenomenon, to identify its significance in modern folk culture as the fundamental basis of post-folklore and folklorism, as well as a number of “borderline” phenomena, the interaction between them, and with other phenomena of modern culture in general, to describe their genetic and functional relationship.
Scientific novelty of the research:
the disciplinary, contextual and thematic framework of research studying the issues of the existence of traditional folklore in modern sociocultural conditions has been identified; the culturological grounds for its study as an integral cultural phenomenon have been identified;
regulatory and operational aspects; its most important sociocultural characteristics are identified, which have essential significance in the process of its genesis, modern life and have a decisive influence on the processes of its actualization;
-
cultural phenomena whose
semantic fields are genetically related to traditional folklore in their
historical relationships: mythology, which serves as a semantic
the ur-phenomenon of folklore; religion as a semantic transpersonal
the equivalent of folklore, which is in a dynamic relationship with it;
art as a sphere of artistic meaning located with
folklore in a situation of mutual penetration; science, semantic field
which in the early historical stages included the participation of folklore as
source of pre-scientific ideas;
-
variants of the sense-making model are presented
traditional folklore (understood also as the sphere of imparting meanings
objects and processes, and as meaning-detection) in synchronous and
diachronic aspects, allowing to analyze semantic intentions
folklore texts in the context of a specific historical situation;
the functional significance of traditional folklore is analyzed from the position of identity with the functions of the cultural and historical tradition as a whole; the specificity of the folklore embodiment of tradition as a synthesis of historical-event and emotional-figurative principles, presented in an effective form, unique in the originality and expressiveness of the means of its objectification, has been confirmed;
traditional folklore is shown as a special carrier of historical memory, the specificity of which lies in the embodiment of images of the historical past in the selective representation of the most important existential moments, events, linguistic constructs in an experienced, effective form, which contributes to the living nature of cultural continuity;
a definition of a cultural monument is given, contextual in relation to the problems of our research; traditional folklore is considered as a cultural monument in modern times, the specificity of which is determined by the special relationship between statuary and processuality: the figurative-active form of its existence prevails over static-textual forms of fixation;
traditional folklore is considered as a “central cultural zone” in the structural-functional model of modern folk culture, which is a set of folk practices, to a certain extent based on the features inherent in folklore; It has been established that in the variety of manifestations of modern folklore culture: modernization of traditional folklore, post-folklore (including Internet folklore, quasi-folklore), folklorism, etc., the high functional significance and potential of traditional folklore is inherently contained in its culturogenic, effectively relevant properties;
a peculiar contradictory duality of artistic culture as one of the spheres of existence of traditional folklore has been established; the possibilities of professional artistic culture are determined and the characteristics of amateur performances are identified as potentially significant in the actualization of traditional folklore;
the resources of mass media have been identified as the most important sociocultural mechanism for updating traditional folklore,
concluded in informing, popularizing, promoting, forming and developing the positive image of traditional folklore;
- The theoretical foundations of a professional model of a specialist capable of effectively solving the problems of updating traditional folklore, including knowledge, cognitive-psychological, hermeneutical, and technological components in their interrelation, have been developed and presented.
Provisions for defense:
Traditional folklore is the process and result of the common people's experience of the most significant, stable and typically reproducible situations of sociocultural existence, as well as the most significant social events, and the embodiment of this in artistic, aesthetic, semantically rich images containing value-normative dominants.
The cultural meanings of traditional folklore represent aspects of the collective picture of the world, syncretically combining elements of mythological, religious, scientific, artistic pictures of the world, providing a connection between sacred-symbolic and profane meanings expressed in artistic and figurative form, as well as ideas and experiences inherent in the popular consciousness that preserve relevance at the level of mental foundations of cultural identity.
To identify the cultural meanings of works of traditional folklore, it is advisable, along with others, to use variants of the meaning-making model, which is considered from various angles as a combination of several fundamental aspects. The first version of the model allows us to reveal the organic unity of personal and social meanings and meanings, to show the relationship between man and society in a holistic picture of the world, but precisely of the era in which folklore exists historically. The second version of the model demonstrates the path from sensory perception to image and
emotional experience of the constants inherent in it,
traditional values, and based on this - to the possibility of updating folklore works in modern culture. Verification of the proposed models shows the significance and potential viability of traditional folklore in modern conditions.
Traditional folklore is, among other things, one of the embodiments of the cultural and historical tradition as a whole, performing functions similar to it: a kind of “repository” of traditions, patterns, samples of historical experience; a meaningful combination of eventfulness (plot content) and normativity (prescriptions); specific embodiment of socio-historical consciousness; broadcasting significant value-normative and figurative-semantic content of the historical past; strengthening and maintaining cultural and social identity through the current legitimation of historical “precedent” materials; regulatory significance in the present and projective possibilities for the future; sociocultural effectiveness of figurative and emotional characteristics of the content; relationships with other areas of historical experience (knowledge) based on the principles of complementarity and equivalence.
From the point of view of the existence of historical memory, traditional folklore acts as one of its carriers, the specificity of which is expressed in the ability to artistically and figuratively form, preserve and transmit a mnemically holistic picture of the historical past. At the same time, selective representation of the most important existential moments, events, linguistic constructs occurs and is embodied in an experienced, effective form, which helps to maintain cultural continuity in a living state
Traditional folklore is a specific cultural monument in the understanding of it as a historically arose and verified object (artifact), potentially carrying
cultural values and meanings that testify to the historical
past, and combining statuary and procedurality in various
forms of its embodiment. It is dynamic, imaginative in character
the processuality organically inherent in folklore makes it
“monumentality” is very specific, since existence precisely in the process of execution, reproduction, perception is for it the main functional and semantic dominant. Without this, traditional folklore ceases to be a living, effective cultural phenomenon.
Modern folk culture is a set of folk practices based to a significant extent on the properties of folklore, first of all, on the “common” way of perceiving and experiencing situations of sociocultural existence; reproducing the stylistic features of folklore works; predominantly collective nature of communications; objectifying activities in artistic and aesthetic forms. The structural and functional model of modern folk culture, due to the combination of a certain degree of traditionalism and the necessary adaptive compliance with current sociocultural conditions, includes various options its manifestations (traditional folklore, post-folklore, folklorism, etc.), forms (from the simplest (small genres of folklore)) to complex (festivals based on materials of a folklore nature), representation in various spheres of culture: political, scientific, artistic culture, everyday culture , media and SMK, in interpersonal communications.
The existence of modern folk culture as a really existing open system occurs in a sociocultural environment, which can be conditionally divided into external and internal. The structural components of the internal environment act for each other as genetically related components that are in relationships of mutual exchange and reinterpretation: folklore for post-folklore and
folklorism; post-folklore for folklorism; folklorism for
post-folklore. The external cultural environment is a set of
factors that contextually determine the state and processes
folklore culture. It includes ethnic, national,
regional, local culture; artistic culture, culture
habitat, leisure culture, economic and political
circumstances, psychological and educational factors, cultural
state policy, etc. The functioning of modern folklore
culture occurs in constant dialogue with other spheres and phenomena
cultural environment, including situations of mutual adaptation,
cultural receptions, transformations and mutual enrichment.
9. Artistic culture in various variations
procedurally carries out the actualization of traditional folklore, but
this process is not always purposeful, systematic, and often sporadic
and controversial. This is, among other things, due to the versatility and
multithematic nature of artistic culture itself, defined
self-sufficiency of artistic reinterpretation of folklore
material. Expressed professional artistic orientation
culture to traditional folklore as a rich source
plots and style coexist with self-sufficiency
self-expression of the artist and his artifacts, which creates
the effect of distancing from folklore origins, which makes it difficult
the possibility of updating them. Specificity of sociocultural status
participant in amateur performances as a direct
representative of the people; possibility of direct access to everything
range of folklore works, from authentic versions to
stylizations; inclusion of amateur folklore materials in
a wide range of cultural practices of varying scale and nature
define the special role of amateur performances in
relation to traditional folklore, not always fully
realizable. Because of this, relatively targeted activities to update traditional folklore in the field of artistic culture determine the need for a special kind of specialists who are able to demonstrate their competencies in the field of modern professional artistic culture, and in the field of folklore, and in the field of mastery of technologies for their interaction using various fields and methods.
Mass media, as one of the effective sociocultural mechanisms of modern culture, are characterized by internal sociocultural similarity, genetic proximity and partial overlap of functional and substantive features with folklore, due to which they are capable, on the basis of their communicative specificity, of performing the task of actively “introducing” traditional folklore into the field of modern culture. With the optimal inclusion of the media in the processes of updating traditional folklore, a combination of a more significant embodiment of its positive potential in modern conditions and, in turn, enriching the expressive and effective capabilities of the media themselves organically arises.
The developed and presented model of competencies that a specialist capable of solving problems of updating traditional folklore must have includes a “knowledge” component both in the field of modern culture and in the field of traditional folklore; “cognitive-psychological” component associated with the ability to experience cultural meanings; a “hermeneutic” component that allows one to adequately interpret the content and state of traditional folklore in modern times and, among other things, determines ideas about the target orientation of the actualization of traditional folklore; “technological” component, based on knowledge and skills to apply various teaching methods,
popularization, directing, criticism, producing, etc.
traditional folklore.
Theoretical significance. The work presents a new vision of traditional folklore in special, previously unstudied aspects:
traditional folklore is considered as a “concentrate” of the value-semantic root foundations of culture, which are relevant for its modern conditions;
an idea of traditional folklore as a translator is given, ensuring cultural continuity in its deepest foundations, including such specific ones as historical memory;
its central position in the context of folk culture as an integral phenomenon is shown.
In addition, theoretical justifications are given for the need to update traditional folklore in modern conditions. Theoretical variants of the model of meaning-making of folklore in synchronous and diachronic aspects are described; competency model of a specialist in the field of modern folklore practices.
Practical significance The research is that the study of traditional folklore as one of the forms of embodiment of cultural meanings allows, in the conditions of modern culture, to solve the problems of its actualization, which has a real sociocultural effect. The results of the study can be used in determining directions and developing cultural policy programs at various levels, including programs for the preservation and use of cultural heritage, in creating cultural, educational and scientific-methodological projects and initiatives in the field of folk artistic culture and traditional folklore as its essential component; in educational and pedagogical activities in the development of basic educational programs, curricula, content of academic disciplines and modules; in implementation
competence model of a specialist in the field of folklore culture.
The provisions of the study can be implemented in the activities of active cultural subjects (creative groups, artistic directors, critics, media and mass media, creative workers, etc.) for a more complete and accurate understanding of modern culture, the place and meaning of traditional, including folklore, phenomena in it; for the effective and competent use of folklore materials; for informed assessments of folklore aspects of various spheres of culture, etc.
The conclusions obtained in the work can serve as a basis for
formation of modern cultural centers, associations,
organizations, including public ones, for conscious,
purposeful development, preservation, use, popularization of folklore samples.
The provisions of the work are applicable to the folklore of various peoples and ethnocultural groups inhabiting the Russian Federation, when adapting to regional conditions, and can be used in the activities of regional organizations and cultural and educational institutions, creative workers, groups, and individuals.
Credibility results dissertation confirmed
well-founded statement of the problem, definition of the subject,
allowing you to highlight the characteristics of an object; its reasoning
the most important theoretical provisions consistent with verified
the results of the analysis of specific incarnations of traditional folklore in
cultural practices; set of analyzed scientific
literature; based on methodological foundations representing
represents the unity of systemic and structural-functional approaches, a number of
general scientific and special methods; adequate use
techniques for analyzing materials of a specific historical nature.
Research ideas are based on correct use
Approbation work. Main provisions of the study
published in two monographs, fifty-five articles and theses (in
including 16 articles in journals recommended by the Higher Attestation Commission of the Russian Federation). results
research was presented at 7 international, 7 all-Russian,
7 interregional, regional, interuniversity, university scientific and
scientific and practical conferences and forums, including
“Innovative processes in education” (Chelyabinsk, 2004), “Spiritual
moral culture of Russia: Orthodox heritage" (Chelyabinsk, 2009),
“Philology and cultural studies: modern problems and prospects
development" (Makhachkala, 2014), "Current problems of formation
creative personality in a single cultural space
region" (Omsk, 2014), "Problems and trends of social
economic development and social management of modern Russia"
(Republic of Bashkortostan, Sterlitamak, 2014), “Traditions and modern times
culture i mastatsva" (Republic of Belarus, Minsk, 2014), "Art criticism
in the context of other sciences in Russia and abroad. Parallels and
interaction" (Moscow, 2014), "Lazarev readings" Faces
traditional culture" (Chelyabinsk, 2013, 2015), etc. Materials
research was used in the development of educational and methodological
documentation, textbooks, anthologies, as well as when reading
training courses“Theory and history of folk artistic culture”,
“Folk musical creativity”, “Folk artistic
creativity" at the Chelyabinsk State Institute of Culture; in the activities of creative teams led by the author of the dissertation.
Structure of the dissertation. The study consists of five chapters (sixteen paragraphs), introduction, conclusion, and bibliography. The total volume of text is 365 pages, the bibliographic list includes 499 titles.
Analysis of aspects of the definition of folklore as a sociocultural phenomenon
The author sees any changes in the foundations of folk culture as an irreversible process that violates its integrity, as a loss of root traditions, which leads to the “disappearance” of the people in general. The author offers his own definition of folk culture: “... folk is a fundamental stable level of spiritual culture, functioning at the everyday level of social, aesthetic consciousness.” In our opinion, this is a narrowed view of folk culture, which, in addition to a wide range of aesthetic manifestations of spirituality, undoubtedly includes an equally significant layer of material culture. At the same time, in the second chapter of this dissertation, the author clearly contradicts the proposed definition, because, considering the types of folk culture, he singles out, among other things, object-material culture, pointing out that they are all inextricably linked. While describing each species in detail, the author at the same time does not give a complete picture of the current state of folk culture, the ways of its preservation, reproduction, etc. Despite this, this study is important for our work, because, firstly , examines not individual forms and types of folk culture, but their totality, which allows us to see its integrity; secondly, it emphasizes the importance and necessity of preserving folk culture, and, therefore, traditional folklore, in modern times.
Another work covering the issues of traditional culture as an integral phenomenon is the study by N.V. Savina “Traditional culture of the people as a decisive factor in the self-preservation of an ethnic group when it enters the global world.” It describes the traditional culture of the people as the carrier of the foundations of the culture of the ethnos, containing the most important ethnic experience, as a universal basis for the upbringing and education of the individual, and also suggests ways of its preservation and development. Like the previous author, N.V. Savina points out that in modern society we should talk about “accelerating the cycles of selection of traditions from innovations and shortening the life span of modern tradition.” The condition for the preservation of traditional culture, in her opinion, is value orientations that set guidelines for the development of the people.
In our opinion, internal components (value orientations) cannot act as circumstances for the external development of a phenomenon (traditional culture) in a direct way, since processes of this kind require the real presence in the sociocultural environment of mediating mechanisms for the formation and translation of the value-semantic content of the phenomenon of tradition. Unfortunately, with the loss of traditional culture, the values it contains and its value orientations may disappear. Another process may also occur - these values and orientations in them will be transformed by other cultural phenomena with varying degrees safety and, what is extremely important, with a slightly different sociocultural effect. But traditional culture’s own value-semantic field must necessarily find its own mechanisms of actualization in modern times.
Among the studies that consider folk culture as an integral phenomenon, one should name the work of A. M. Malkanduev “The Systematicity of Traditions of Ethnic Culture.” Preservation, careful attitude, cultivation of traditions are, in the opinion of this author, the most important factors of “survival” national community", and the traditions themselves are considered as a self-developing system.
In terms of our work, this is an important conclusion, since traditions are potentially capable of development and self-development, and, therefore, purposeful work is possible to maintain, improve, identify the necessary facets, which should ultimately contribute to their actualization. If it is permissible to update traditions by influencing them, then with a high degree of probability we can talk about the possibility of updating traditional folklore as one of the embodiments of traditions.
It is important, in our opinion, to dwell on the work of A. S. Timoshchuk “Traditional culture: essence and existence”. In this study, traditional culture is considered as a specific way of organizing life activities, based on the inheritance of collective (dominant) meanings, values, and norms. This is an important conclusion, since traditional folklore, being part of traditional culture at a certain historical stage of its existence, preserves and conveys deep cultural meanings. Based on the research of V. A. Kutyrev, A. S. Timoshchuk emphasizes that traditional culture is a haven of existential meanings, embodied in sacred texts, in which the dominant meaning is formed. Clarifying the above statement, we consider it important to point out that meanings are inherent not only in sacred texts. In works of folklore, sacredness and profaneness are dialectically combined, as well as a number of other binary oppositions, which will be discussed in more detail below.
Characterizing the current state of society, A. S. Timoshchuk points to the formatting of the semantic environment and the departure of traditional norms and values from cultural circulation. Best Development modern culture, according to the author of this study, is the optimal inheritance of the value-semantic core through a “special type of social memory”. We will consider social memory as a component of historical memory, one of the carriers of which is traditional folklore.
We must agree with A. S. Timoshchuk that one of the mechanisms for preserving tradition and, as a consequence, traditional folklore can be the transfer of cultural meanings potentially embedded in it. But first, these meanings must be defined, identified, described, and then the mechanisms of their inheritance and actualization must be considered.
The study by E. L. Antonova “Values of folk culture in a historical dimension” indicates that the values expressed in the form of images of meaning “represented a synthesis of “objectified” samples of peasant experience and universal components of the worldview, which contained the main life meanings peasant society. Having received a specific/stable form of expression—the form of images of meaning—the values of folk culture are universals of culture.” At the same time, the author emphasizes that it is the values of meaning in life that are the universal formula for “programming” the existence of humanity, which determined the development of history. And at the present stage, according to the author, it is necessary to combine “the universalism of urban culture” with “the values of folk culture,” which will contribute to “a new social construction of society.”
It should be noted that all of these studies were carried out within the framework of a philosophical and cultural understanding of the problem. And this is no coincidence. After all, it is precisely these sciences that claim to provide the most complete, holistic consideration of certain issues of traditional culture.
Among them, we should point out the work “Folklore and the Crisis of Society” by A. S. Kargin and N. A. Khrenov, which points out the complexity of considering folklore in the context of modern culture. He not only “transfers” part of his functions to her, but also interacts with her, processing and rethinking her values, allowing her to “naturally and organically be included in the context of human life, to perform various social functions". This is an important idea for our research, emphasizing the possibility and need for the active inclusion of traditional folklore in current cultural practices
Cultural meanings of traditional folklore
Thus, having examined the problem of cultural meanings presented in various spheres of culture, we came to the conclusion that they are the most important factor in the development and self-preservation of culture, representing a special cross-section of its ontological foundations. Each of the presented forms of culture has its own dominant cultural meaning, which in the process of sociocultural development is capable of variation and addition with other semantic sounds in the general semantic field. At the same time, traditional folklore acts in relation to the considered spheres as a relatively independent phenomenon, the semantic field of which, from synchronous and diachronic perspectives, is in a situation of historically conditioned dynamic relationships with the semantic content of other cultural phenomena.
Based on the analysis of the phenomenon of general cultural meanings given in the paragraph, we will further consider, in the interests of our research, some features of the cultural meanings of traditional folklore.
The relevance and cultural significance of traditional folklore is largely based on its semantic richness and sound. In this regard, clarifying the weight of its cultural meanings, both in the past and in the present, is extremely important. Based on the position that “cultural meaning is information accumulated by culture, through which society (community, nation, people) creates its own picture of the world...”, we propose to consider the cultural meanings of traditional folklore from this particular perspective.
Cultural meanings embodied in folklore largely represent aspects of the collective model of the world (V.N. Toporov), characteristic of a particular people (in Lately In cultural studies, there is a tendency to designate the picture of the world as a worldview or model of the world. Taking into account the terminological and substantive similarity, we will use the terms “picture of the world” and “model of the world” as close in meaning). Just as the models of the world differ among different peoples, their cultural meanings and their folklore will also differ.
Pictures of the world and their models are very diverse. Researchers offer multiple signs and criteria for their description. After analyzing a number of works, we came to the conclusion that we can identify some criteria (signs) of pictures of the world that researchers most often point to. These, as the analysis shows, include: emotional coloring; conformity and adherence to a culture-specific standard of thinking; determinism of the world order; the basis of worldview; attitude, worldview; the specifics of this or that picture of the world. At the same time, most researchers note that almost all pictures of the world (with the exception, perhaps, of the scientific one) are emotionally colored due to the fact that the picture of the world is some kind of a person’s experienced ideas about it. At the same time, the artistic picture of the world will be the most emotionally charged, since it is in it that an individual’s emotions can be expressed with maximum amplitude. And in the mythological and religious pictures of the world, these emotions will be conditioned by figurative equivalents of ideas, dogmas, and traditions.
An equally comprehensive feature of the worldview is adherence to the standard of thinking of a certain era or type of culture. It is inherent in all pictures of the world, without exception, but to varying degrees. Again, it should be noted that in this case, in art there is both adherence to the standard and rejection of it. Since this is not within the scope and scope of our study, we will not dwell on issues of “standard” in different paintings world, only stating the fact that it is inherent in everyone.
All pictures of the world demonstrate the conditioning of the world order by certain postulates, such as: ideas in the mythological picture of the world, beliefs in the religious picture, traditionalism in the folklore picture, knowledge in the scientific picture. The greatest differences in pictures of the world are found in the triad of worldview - worldview - worldview. For mythological picture The world is characterized by direct experience of the objects of the world as the basis of world perception. It is expressed in mythological ideas and the creation of certain “loci”: the world of gods, the world of people, the world of nature, their relationships, mutual influence and interpenetration, etc. At the same time, the basis of this triad will be the position of the direct relationship between man and the Gods.
A transcendental worldview is characteristic of the religious picture of the world. The worldview is based on faith and allows you to create a symbolic picture of the world with the superiority of God over man. An emotional-imaginative worldview is characteristic of an artistic picture of the world, where through the image and artistic-figurative reflection of the world the idea of a Creator Man (with a complex system of relationships between man and nature, man and God, man and society) is affirmed. Rational worldview is the basis of the scientific picture of the world, in which, through knowledge, a rational, theoretical reflection of the world and the idea of the possibility of its transformation are formed. God is being eliminated from the scientific picture of the world.
The place and role of traditional folklore in historical memory
We consider it legitimate to use the term museumification in relation to traditional folklore, although we know that this concept is most often used in relation to objects of material heritage, to cultural monuments in their traditional understanding (as material carriers). In our opinion, the transformation of any historical and cultural object or phenomenon into a museum exhibit is museumification. Folklore performance at material media(most often audio and video recordings) in museum collections when accompanying any exhibitions of decorative and applied arts often reduces its significance to the function of accompaniment (“decorative” background) in relation to material objects of folk traditional culture. In itself, the use of such a technique is quite positive. But limiting ourselves to this, even in the museological space, seems extremely insufficient. Indeed, in this case, traditional folklore itself ceases to exist in the “museum” culture as an intrinsically valuable, significant phenomenon that preserves the genetic cultural code, the mental foundations of culture. In its continuous functioning, it connects the culture of our time with the culture of the past. In this, in fact, its mission coincides with the purpose of the museum. Based on this understanding, one can imagine the activities of such a specific project as the “Museum of Folklore,” which organically combines material and intangible forms of folklore creativity in a single action.
Thus, in such a specific space as a museum, in our opinion, one can see the potential for presenting living forms of folklore creativity, albeit not as the main direction of their actualization. Each time, a folklore work is recreated from memory, “reconstructed” with varying degrees of accuracy (which may be determined by the specifics of the ritual action, genre features, local traditions, etc.), and perceived. Thus, we must state the fact that, for example, a folk song is understood (and, therefore, alive and relevant) only in the process of its performance. As soon as it is no longer performed, at best, it is rethought, “recoded,” and at worst, oblivion and loss occurs. As S. N. Azbelev rightly notes: “... the overwhelming majority of his works (traditional folklore - E.K.) perished irrevocably only because with the loss of public interest or due to other social reasons these works have ceased to be performed."
Consequently, traditional folklore is a unique cultural phenomenon that reflects a specific historical era with its historical and cultural realities, ideological attitudes, and cultural meanings. It is an invaluable cultural monument, the condition of which currently raises concerns among researchers and practitioners of various profiles: culturologists, art historians, ethnologists, teachers, etc. This concern is associated with the loss of most of the living bearers of folklore. At the same time, there is almost no direct transmission from generation to generation. Thus, the vertical vector of the structure of traditionality (continuity) is destroyed, and the diachronic dimension of culture is distorted. The difficulties of actually incorporating traditional folklore into current cultural processes lead to insufficient use of its potential in the reproduction of the genetic code of culture, its root, fundamental foundations. For traditional folklore, the loss of continuity is especially terrible, since, as we have shown, it exists only as a living tradition in the unity of creation (recreation) - reproduction / performance - perception. Thus, in a complex dialectical unity there are historical memory (we do not separate this term from the term “cultural memory”), which, of course, accumulates and preserves traditions, and tradition, which, in turn, extracts the necessary formations from historical memory, itself being one of the elements included in historical memory. If we exclude at least one element from this system, then traditional folklore will exist only as a relic of the historical past, an exotic exhibit of an ethnographic museum. His living memory of “common people” history, embodied in strong, effective images, will be lost, which predetermined many modern conditions, and partly, in its deep meanings and moral guidelines, is still acutely relevant today. However, in practice, we see that today traditional folklore is often pushed to the periphery of culture, that is, it is located outside the set of cultural practices that is relevant to the community. Even those organizations that seem designed to preserve cultural heritage cultural monuments, are also not very significant in relation to traditional folklore in the modern cultural space. And this is not accidental, because this complex problem cannot be solved by the usual methods of preserving cultural monuments (museum and exhibition activities, publications and preservation in libraries, etc.). In our opinion, one of the ways out of this problem will be the formation of a special socio-cultural mechanism for the reproduction of living carriers of folklore tradition, as people who embody the values, meanings, and functional purpose of the traditional musical folklore. Due to the complexity of the problem posed, its solution, of course, is impossible from the standpoint of only one discipline (folklore, musicology, cultural history, art history, etc.). In order to see the problem and ways to solve it together, an interdisciplinary cultural approach is needed that synthesizes the provisions of various sciences into integrity.
Functional significance of traditional folklore in the context of modern folklore phenomena
Folklore culture also manifests itself in everyday life, which is perceived as “familiarity,” “repetition,” and “traditionality.” In it, primarily in leisure forms, post-folklore phenomena, folklorism, and traditional folklore itself can realize themselves. At the same time, they ambiguously relate to each other: in the festivity and ritualism characteristic of folklore culture, there is no everyday life, everyday themes appear in peculiar, “transformed” forms. Such dialectical unity again suggests that folk culture is not a frozen phenomenon of the past, not a relic of civilization, but a really existing holistic culture, with its own rather complex internal structure, development, fluidity of boundaries, readiness to interact with the surrounding cultural environment.
Interpersonal communications, being basic for the oral way of functioning of traditional folklore, have retained their importance for modern oral and written information culture. It is in dialogue, which can be viewed very broadly: as a dialogue between people of the same generation, between different living generations, between living ones and ancestors (in festivals, theatrical performances, etc.). Nevertheless, interpersonal communications to a greater extent involve direct direct exchange of information, usually of an oral type, including not only verbal, but also non-verbal signs. Folklore culture in all its manifestations spreads in interpersonal communications. Of course, she doesn't dominate them. But it is capable of existence, development and actualization precisely through the use of all means of information transmission.
Modern folk culture, as we have repeatedly pointed out, actively interacts with other phenomena of modern culture and exists in their context. One of them is the cultural environment as an “atmosphere” in which folk culture exists, develops, and transforms. “Being the background of diverse transformations, the cultural environment is aimed at an objective perception of modern changes in order to achieve progress in all areas of life.” Despite all the independence and significance of any cultural phenomenon, its very existence, its qualities, its content, its functioning, and its properties are largely determined contextually, that is, precisely by the cultural environment.
By cultural environment, we, based on the opinion of A. Ya. Flier, will understand “a complex of cultural preferences of the population localized within the boundaries of a certain space.” From his point of view, the structure of the cultural environment represents symbolic activity, normative social behavior, language, and morals (ibid.). At the same time, A. Ya. Flier includes folklore in symbolic activity as one of its products. Consequently, from this point of view, folklore is located in the cultural environment as one of its components. This once again proves the need to preserve and update traditional folklore, because if it is lost, the content of the symbolic activity of the cultural environment will also suffer loss. And this, in turn, will lead to the impoverishment of the culture itself.
Understanding the cultural environment as a set of material, spiritual and social components, which determine the formation and development of the phenomenon (object, social community, personality, etc.) with which these phenomena interact, is characteristic of Russian philosophy and cultural studies. The cultural environment, being precisely a manifestation of culture, acts as a full-fledged, diverse, self-organizing phenomenon. For us, it is significant to establish those parameters, factors, conditions, circumstances that have the greatest impact on the content, development, transformation, dynamics of modern folk culture. Of course, for each structural component of folk culture, all the others act as elements of a genetically related cultural environment. Traditional folklore determines the formation, existence, and development of forms of post-folklore and folklorism, being the basic basis for them. Post-folklore acts as part of the cultural environment of folklorism (“supplies” images, plots, genres, etc.) and traditional folklore (generates borderline phenomena). Folklorism is a factor in the cultural environment for post-folklore (in turn, determining images, plots) and traditional folklore (popularizing its works, determining the development of individual genres). In this case, the forms and types of modern folk culture act as elements of the internal cultural environment in relation to each other.
The external cultural environment includes such phenomena as ethnic, national, folk culture, regional culture, environmental culture, artistic culture, leisure culture, etc. In addition, these include economic and political circumstances, psychological and educational factors, and state cultural policy . Regarding the latter, it should be noted that a number of researchers, based on a broad interpretation of education as one of the cultural practices, propose to consider the cultural environment as a cultural-educational environment. However, it should be noted that not all cultural factors are relevant and significant for all forms, types, structural components folklore culture.
There is no doubt that the cultural policy of the state as a whole has a significant impact on the current development of culture. This is a targeted legal, regulatory, economic activity of the state to determine the main priorities for the development of culture, its vectors, structural components, forms, etc. Activities such as the creation of the “Culture of Russia” program, in which a significant role is assigned to the preservation and reconstruction of tangible cultural heritage; the announcement of “years of folk art”, all-Russian folklore festivals and competitions contributes to the popularization of traditional folklore. At the same time, it is in state cultural policy (at all levels - both national and at the level of constituent entities of the Russian Federation) that it is necessary to develop mechanisms for preserving and updating traditional folklore as the deepest layer of culture.
We have already noted the socio-economic conditionality of turning to folklore. Indeed, turning points in the life of society and the subsequent stages of economic recovery in history have always been accompanied by a revival of interest in traditional phenomena, including the phenomena of traditional culture, traditional folklore, and folk art. This means that economic factors will influence the existence and actualization of traditional folklore.
