Today, our Fatherland, like a number of other countries, faces problems not only of an economic and political nature, but also issues of preserving national traditions, folklore, native language, etc. JI.H. Gumilyov, developing the original theory of ethnogenesis, promised a “golden autumn for Russia” in the 21st century, and, consequently, the prosperity of its culture. Social life of the beginning of the 21st century. poses before peoples the problem of mutual understanding and dialogue between cultures, since ethnic conflicts occur even within the same country. This can fully apply to Russia.

In general, the progressive process of development of industrial and post-industrial society, but leading to the global spread of Western-style mass artistic culture, is not always adequate to the national scale of artistic values ​​in other countries. There is a danger of the denationalizing influence of commercial mass industry, displacing popular culture and folklore. Many peoples have a negative attitude towards mass culture as a threat to the existence of their own national culture; reactions of its rejection and rejection are often manifested.

The problem of national self-awareness has always existed among every nation as one of the impulses of the “national spirit” and its creative role. The main source in this process has always been folklore and other components of folk culture. Often the ideas of “national revival”, comprehension of the original national character, processes associated with the development of national art schools, etc. Of course, the artistic culture of every nation is influenced social progress is undergoing changes. But we note the relative independence and stability of the components of folk culture: traditions, customs, beliefs, folklore, which consolidate the ethnic group as an immanent element of culture.

A socio-aesthetic analysis of folklore is relevant for understanding the cultural and historical path of Russia, because in Russian life we ​​notice a pronounced “peasant face” with the manifestation of cultural and ethnic stereotypes of thinking and behavior. It is known that changing stereotypes under extreme conditions of cultural development is fraught with the loss of ethnic identification, “cultural archetypes.” Namely, they are the bearers of the cultural-psychological type of the ethnic group as a single and indivisible whole.

Studying folklore as a sphere of aesthetic culture of society, we place the focus of our attention on the folklore artistic and creative process as an image of national life and thinking, its cultural and aesthetic value, the sociocultural functioning of folklore, etc. Folklore as a special phenomenon of folk culture is closely related to the aesthetic environment, value orientations of society, characteristics of the national mentality, worldview, moral standards, artistic life society.

Thus, the relevance of the dissertation research can be indicated by the following provisions: a) Folklore is a factor that unites an ethnic group, raising the level of national self-awareness and self-identification. Folklore as a living folk tradition performs a large number of sociocultural functions in society and is based on a special type of consciousness (folk artistic consciousness); b) The threat of destruction of folklore is associated with the development of commercial mass culture, which destroys the specificity of the national character as the folk culture of an ethnic group; c) The absence in modern cultural studies and philosophy of a theory of folklore with a clear conceptual and methodological basis.

Analysis of folkloristics, philosophical-aesthetic, cultural and other scientific material on folklore problems shows that currently there is a wide variety of relevant specific studies, diversity of private folklore research. At the same time, there is clearly an insufficiency of complex synthetic works of a scientific and philosophical nature necessary for a broad understanding of the problem of the essence and multifaceted existence of folklore.

In the methods of studying folklore, two levels can be distinguished: empirical and theoretical. The direction of empirical research is earlier. Developed for more than 300 years by writers, folklorists, ethnographers, it consists of collecting, systematizing, processing and preserving folklore material. (For example, C. Perrault introduced French folk tales into European literature already in 1699). The theoretical level is formed later and is associated with the development of social science knowledge, aesthetics, art theory, literary criticism, etc.

Scientific interest in folklore arose during the Enlightenment, in which the theory of folklore developed mainly as “ethnic studies.” J. Vico, I. Herder, W. Humboldt, J. Rousseau, I. Goethe and others wrote about folk poetry, songs, holidays, carnivals, “folk spirit,” language, essentially beginning the development of the theory of folklore and folk art . These ideas were inherited by the aesthetics of romanticism at the beginning of the 19th century. (A. Arnim, C. Brentano, brothers Grimm, F. Schelling, Novalis, F. Schleimacher, etc.)

During the 19th century. in Germany, the following successively arose: the “mythological school” (I. and J. Grimm and others), which discovered the roots of folklore in myth and pre-Christian folk culture; “school of comparative mythology” (W. Manngardt and others)/ revealing the similarities of languages ​​and folklore among Indo-European peoples; “folk psychological school” (G. Steinthal, M. Lazarus), which devoted itself to searching for the roots of the folk “spirit”; “psychological school” (W. Wundt and others), which studied the processes of artistic creativity. In France, a “historical school” developed (F. Savigny, G. Loudin, A. Thierry), which defined the people as the creator of history. This idea was developed by K. Foriel, who studied modern folklore; In England, an ethnographic-anthropological direction developed (E. Tylor, J. Fraser, etc.) where primitive culture, ritual and magical activities were studied. In the USA, in contrast to the aesthetics of the romantics and the German mythological school, a historical and cultural direction arose in the study of folklore (F.J. Childe, V. Nevel, etc.).

At the end of the 19th - 1st half of the 20th centuries. the theory of G. Na-umann and E. Hoffmann-Krayer appeared, which interpreted folklore as “Ge-sunkens Kulturgut” (a layer of higher artistic values ​​that had descended into the people). A concept that reflected similarities among peoples Latin America folklore and historical processes, created in the 40-60s. XX century Argentine scientist C. Vega (176). Domestic science drew attention to these processes in the 1930s. V.A. Keltuyala, later P.G. Bogatyrev.

Since the beginning of the 20th century. myth, fairy tale, etc. began to be considered in “psychoanalysis” in line with the problem of the “collective unconscious” (Z. Freud, C. Jung, etc.); as a feature of primitive thinking (L. Levy-Bruhl and others). In the first third of the 20th century. great importance acquired the “Finnish school” of borrowing folklore subjects, etc. (A. Aarne, K. Krohn, V. Anderson) A major trend by the mid-50s. became structuralism, which studied the structure of literary texts (K. Levy

Strauss and others). In American folklore there is a 2nd half. XX century are clearly visible as the “school” of psychoanalysis (K. Drake, J. Vickery, J. Campbell, D. Widney, R. Chase, etc.), structuralism (D. Abraham, Butler Waugh, A. Dundis, T. Seebe-ok , R. Jacobson, etc.), as well as historical, cultural and literary studies (M. Bell, P. Greenhill, etc.). (See: 275-323; 82, P.268-303).

In Russia at the end of the 18th century. the first collections of folklore appeared (N.A. Lvov - I. Pracha, V.F. Trutovsky, M.D. Chulkov, V.A. Levshin, etc.); a collection of Siberian epics by Kirsha Danilov, the epic “The Lay of Igor’s Campaign”, etc. were found. For Russian folkloristics, 1st half. XIX century The influence of the ideas of J. Herder and F. Schelling was characteristic. In the 19th century known works of such folklore collectors as V.I. Dahl, A.F. Hilferding, S.I. Gulyaev, P.V. Kireevsky, I.P. Sakharov, I.M. Snegirev, A.V. Tereshchenko, P.V. Shane et al. Original theory of folklore in the 30-40s. XIX century created by Slavophiles A.S. Khomyakov, I. and P. Kireevsky, K.S. Aksakov, Yu.A. Samarin, who believed that it was the folklore of the “pre-Petrine” time that preserved truly Russian national traditions. In the middle of the 19th century. in Russian folklore, the following directions arose, associated with European science: “mythological school” (A.N. Afanasyev, F.I. Buslaev, O.F. Miller, A.A. Potebnya, etc.), “school of borrowing” (A.N. Veselovsky,

A.N. Pypin and others), “historical school” (L.A. Maikov,

V.F.Miller, M.N. Speransky and others). Art criticism also played a major role in Russian folklore (V.G. Belinsky, V.V. Stasov, etc.). The works of Russian scientists have not lost their significance to this day.

In the 1st half of the 20th century. M.K. Azadovsky, D.K. Zelenin, V.I. Anichkov, Yu.M. Sokolov, V.I. Chicherov and others continued their work on collecting, classifying and systematizing folklore.

However, in domestic folklore for a long time A highly specialized approach prevailed, in which folklore, which is a complex historically multi-stage cultural phenomenon, was considered primarily as a subject of “oral folk art.” Aesthetic analysis more often came down to substantiating the ideas recorded in the 19th century. distinctive features of folklore from literature: orality, collectivity-creativity, variability, syncretism.

Synchronistic" trend, which arose in the 1st third of the 20th century. in Russia (D.K. Zelenin) and abroad, called for finding out the historical roots of folklore and mythology and their individual genres. It was noted that this should be preceded by a thorough collection, classification of folklore, systematization of information about modern facts. And only then, by means of a retrospective, can one establish their historical origin, reconstruct the ancient state of folklore, folk beliefs, etc. The main idea of ​​D.K. Zelenin was that the typological approach and analysis of folklore should precede the historical-genetic one. These ideas were shared by P.G. Bogatyrev, partly by V.Ya. Propp and others, which paved the way for the transition of such researchers as P.G. Bogatyrev, V.V. Ivanov, E.M. Meletinsky, B.N. Putilov, V.N. Toporov, P.O. Jacobson, et al. on the position of the structuralist school, which set the task of defining and identifying systemic relationships at all levels of folklore and mythological units, categories and texts (183, P.7).

In the 20th century The “comparative historical method” contained in the works of V.Ya. was also successful. Proppa, V.M. Zhirmunsky, V.Ya.Evseev, B.N. Putilova, E.M. Meletinsky and others. It should also be noted the “neo-mythological” direction of V.Ya. Propp, who, much earlier than C. Levi-Strauss, introduced the structural study of fairy tales (1928), peasant agricultural rituals, etc.

The range of theoretical and problematic research in domestic folklore studies by the end of the 80s. gradually expanded. Agreeing with K.V. Chistov, we can say that folklorists are gradually overcoming the literary bias, moving closer to mythology, ethnography, and raising questions of ethnocultural processes. In the monograph “Folk traditions and folklore” (258, P.175) K.V. Chistov identified the following main directions of Russian folklore studies:

1. Study of the nature of individual genres of folklore related to philology (A.M. Astakhova, D.M. Balashov, I.I. Zemtsovsky, S.G. Lazutin, E.V. Pomerantseva, B.N. Putilov, etc.). 2. Formation of folk ethnolinguistics (A.S. Herts, N.I. Tolstoy, Yu.A. Cherepanova, etc.), linguistic folkloristics (A.P. Evgeniev, A.P. Khrolenko, etc.). 3. Studies of the genesis of individual narrative genres related to ethnography (V.Ya. Propp, E.M. Meletinsky, S.V. Neklyudov, etc.), ritual folklore, bylichek (E.V. Pomerantseva and others). 4. Related to ethnography, dialectology, historical linguistics, the study of folklore (A.V. Gura, I.A. Dzendilevsky, V.N. Nikonov, O.N. Trubachev, etc.). 5. Focused on the theory of culture, information, semantic and structural research and linguistics (A.K. Bayburin, Yu.M. Lotman, G.A. Levinson, E.V. Meletinsky, V.V. Ivanov, V.N. Toporov, V.A. Uspensky, etc.).

We believe that the noted directions should be subject to deeper theoretical and philosophical understanding. An aesthetic approach to folklore deepens and expands the socio-artistic aspect in understanding its specifics, although such an approach goes beyond the literary tendencies in domestic folklore studies.

In the 60-70s. XX century in domestic science there was a desire to create a theory of folklore based on general provisions aesthetics, through the study of folklore genres - P.G. Bogatyrev, V.E. Gusev, K.S. Davletov and others (73,66,33), the search for “realistic”, “synthetic” and other artistic methods in folklore (65, P.324-364). By 70 In aesthetics, there was an opinion that folklore is a type of folk art, and it was predominantly peasant creativity (M.S. Kagan and others). Domestic authors in the 60-90s. XX century when characterizing folklore, the concept of “undifferentiated consciousness” began to be used more and more often (for example, “folklore arises on the basis of the undifferentiated forms of social consciousness, and lives thanks to it” (65, P.17); the connection between folklore and myth, its specificity in relation to art, the need to define folklore in the sphere of public consciousness (S.N. Azbelev, P.G. Bogatyrev, V.E. Gusev, L.I. Emelyanov, K.S. Davletov, K.V. Chistov, V.G. Yakovlev and others).

Aesthetic direction in folklore studies, he presented folklore as an artistic and syncretic phenomenon of culture, expanded the idea of ​​folklore and myth as sources for the development of literature, music and other types of art. On this path, the problems of the genesis of folklore, folklore and artistic creativity, and the relationship between folklore and art turned out to be more deeply revealed.

The situation that developed with the development of the theory of folklore by the end of the 20th century. can be considered fruitful. But still, with an abundance of approaches, methods, schools and conceptual models for defining the phenomenon of folklore, many aspects of research continue to remain confusing and controversial. First of all, this relates to the conceptual basis for isolating the phenomenon of folklore and determining the artistic specificity of folklore consciousness, although it is in this aspect that, in our opinion, an understanding of the complex unity of many genres of folklore, different in origin, functioning, and cultural interaction with others, can be achieved aesthetic phenomena.

According to L.I. Emelyanov, folkloristics, as a science of folklore, still cannot define either its subject or its method. She either tries to apply the methods of other sciences to folklore, or defends “her” method, returning to theories that were in circulation in “pre-methodological” times, or even avoids the most complex problems, dissolving them in all kinds of applied issues. The subject of research, categories and terms, issues of historiography - all of this should be addressed first and most urgently (72, pp. 199-200). At the All-Union Scientific Conference on the Theory of Folklore B.N. Putilov stated the methodological inconsistency of the tendencies towards the usual comprehension and analysis of the folklore-historical process only in the categories and boundaries of literary criticism (since this eliminates the analysis of non-verbal components of folklore, etc. - V.N.) and the need to see the specifics of the subject of discussion in the “folklore consciousness ”, in the categories of “impersonal” and “unconscious” (184, pp. 12, 16). But this position turned out to be debatable.

V.Ya. Propp brought folklore closer not to literature, but to language, and developed ideas of genetic connections. folklore with myth, paid attention to the multi-stage nature of folklore and innovation, to the socio-historical development of folklore. Some aspects of folklore artistic consciousness that he identified are far from being mastered by modern science.

We focus on the fact that the artistic language of folklore is, to one degree or another, syncretic and has not only a verbal (verbal) but also a non-verbal artistic sphere. The questions of the genesis and historical development of folklore are also not clear enough. Social essence folklore, its significance in culture and its place in the structure of public consciousness - the problem, in essence, is still far from closed. E.Ya. Rezhabek (2002) writes about the formation of mythological consciousness and its cognition (190), V.M. Naydysh (1994), notes that science is on the verge of a deep revaluation of the role, meaning and functions of folklore consciousness; a situation of paradigm shift is brewing in traditional interpretations of the nature and patterns of folk art (158, pp. 52-53), etc.

Thus, despite the fact that folklore is an object of empirical and theoretical research for more than 300 years, the problem of its holistic conceptual understanding still remains unresolved. This determined the choice of the topic of our dissertation research: “Folklore as a phenomenon of the aesthetic culture of society (aspects of genesis and evolution)”, where the problem is to define folklore as a special phenomenon of any folk culture, which combines the qualities of the unity of the diverse and the diversity of unity.

The object of our research, therefore, is aesthetic culture as a multi-level system, including folk everyday culture, which forms a specific ethnic sphere of its existence.

The subject of the study is folklore as a phenomenon of folk everyday culture and a specific form of folklore artistic consciousness, the genesis of folklore, its evolution and modern existence.

The purpose of the dissertation research is to reveal the mechanisms and basic laws of genesis, the content and essence of folklore as an attribute of any folk culture, as a special form of folk consciousness.

In accordance with the goal, the following tasks are set:

1. Analyze the subject area of ​​the concept of “folklore” on the basis of a set of research methods that are set by a number of approaches to this phenomenon in a multidisciplinary space, the leading of which are systemic-structural and historical-genetic approaches.

2. Reveal and logically model the mechanism of the genesis of folk art consciousness and forms of folk creativity based on the transformation of archaic forms of culture, primarily such as myth, magic, etc.

3. Consider the conditions for the formation of folklore consciousness in the context of its differentiation and interaction with other forms of social consciousness, such functionally close ones as religion and professional art/

4. To identify the uniqueness of the functional role of folklore in cultural formation and social development, at the level of personality formation, tribal community, ethnic group, nation/

5. Show the dynamics of the development of folklore, the stages of the historical evolution of its content, forms and genres.

The modern scientific process is characterized by a wide complex interaction of a wide variety of sciences. We see a solution to the most general problems of the theory of folklore through the synthesis of scientific knowledge accumulated within the framework of philosophy, cultural studies, aesthetics and art history, folkloristics, ethnography and other sciences. It is necessary to develop a methodological basis that could become the basis for further research in the field of folklore, the systemic foundations of which would be: society, culture, ethnicity, public consciousness, folklore. We believe that the elements of the system that determine the development of the aesthetic culture of society are multifaceted.

The methodological basis of the study is represented by universal (philosophical) and general (general scientific) methods and approaches to the study of folklore in the ontological, epistemological, social-philosophical and aesthetic-cultural-logical aspects. The ontological aspect considers the existence of folklore; the epistemological aspect (theory of knowledge) is aimed at understanding the corresponding conceptual apparatus; socio-philosophical - associated with the study of the role of folklore in society; aesthetic-cultural - reveals folklore as a special phenomenon of aesthetic culture.

The leading ones in the dissertation are systemic-structural and historical-genetic approaches and methods. The system-structural method is used to analyze folklore as a system and study its elements and structure. It examines folklore: a) as a whole, b) its differentiation in more complex evolutionary forms, c) in the context of various forms of culture (myth, religion, art).

The historical-genetic method is used to examine the socio-historical dynamics of the development and functioning of folklore in society. The aesthetic and cultural approach used in the work is based on a systematic study of art, artistic culture in general, and, consequently, folklore. The dialectical approach is applied in the dissertation to folk artistic culture and folklore.

Scientific novelty of the research:

1. The heuristic possibilities of the system-structural approach to the study of folklore as the integrity of the phenomenon of folk life at all stages of historical development are shown. It has been proven that folklore represents an attribute of any folk culture. Based on the author's understanding of the essence and content of folklore, the categorical and methodological framework for mastering the phenomenon of folklore and identifying its genetic (substantial) foundations has been clarified. It is shown that the living existence of folklore is possible only within the boundaries of an ethnic organism and its inherent cultural world.

2. The author's definition of folklore is given. It is noted that folklore as a social reality is an attribute of any folk culture, an artistic form of its existence, which is characterized by integrity (syncretism), dynamism, development (which is expressed in polystadiality) and national-ethnic character, as well as more specific features.

3. The existence of a special form of folklore consciousness has been identified and substantiated: it is an ordinary form of artistic consciousness of any ethnic group (people), which is characterized by syncretism, collectivity, verbality and nonverbality (emotions, rhythm, music, etc.) and is a form of expression of the life of the people . Folklore consciousness is dynamic and changes its forms at different stages of the historical development of culture. At the early stages of cultural development, folklore consciousness is merged with myth and religion; at later stages it acquires an independent characteristic (individuality, textuality, etc.).

4. The author’s explanation of the mechanism of the genesis of folklore consciousness in the context of the transformation of other forms of social consciousness (magical, mythological, religious, etc.) was found, as a result of the influence on them of paradigms of everyday practical consciousness and the artistic refraction of this material in the forms of traditional folklore.

5. The structure and artistic elements of folklore are shown (including verbality and non-verbality), as well as its sociocultural functions: preserving (conservative), broadcasting, pedagogical and educational, regulatory-normative, value-axiological, communicative, relaxation-compensatory , semiotic, integrating, aesthetic.

6. The development of the concept of polystadiality of folklore is presented, expressing the dialectics of the development of forms of folk art consciousness, the pattern of evolution of the content, forms and genres of folklore is traced in the direction from the predominance in the popular consciousness of the unconscious collective principle to the strengthening of the role of individual consciousness, expressing a higher ethnic type of folk aesthetics.

Provisions submitted for defense: 1. Folklore is considered by us as a social reality, attributively inherent in any folk culture in the form of artistic forms of existence, as a form of collective creativity, specific to each people, significant for its ethnic self-awareness and having vitality and its own patterns of development.

2. Folklore consciousness represents artistic consciousness in its everyday form. It develops as a result of a radical change in the ways of world perception (and the corresponding mythological picture of the world), in which the outgoing forms of archaic components of consciousness, in many deep motives based on collective unconscious attitudes, gradually lose their cognitive meaning, and the aesthetic potential of the expressive forms and images inherent in myth etc., gaining convention, moves on to folklore.

3. In folklore, the everyday non-specialized supra-individual everyday level of artistic consciousness is realized, which, unlike professional artistic consciousness, functions on the basis of direct everyday experience. Based on the development of the verbal sphere (words), which gives rise to fairy tales, riddles, epics, legends, songs, etc., and the non-verbal sphere of folklore (facial expressions, gestures, costume, rhythm, music, dance, etc.), they are compared with the conscious and unconscious .

4. In the development of folk consciousness, a pattern of movement from “myth to logos” has been identified: a) associated with the unconscious (myth, magic), b) reflecting collective consciousness (fairy tales, rituals), c) development of historical self-awareness (epic, historical songs), d) highlighting individual consciousness (lyrical song, ditty, art song). This formed the author’s concept of multi-stage folklore.

The theoretical and practical significance of the study lies in the fact that the results obtained expand the horizon of the modern vision of folklore, opening prospects for further research into folk art, of which folklore is a part, and which can be used for the basic methodological basis in the theory of folklore.

The results of the dissertation research are the basis for the author’s presentations at International and All-Russian scientific conferences in the years. Novosibirsk, Barnaul, Biysk, formed the basis for a number of published articles and an educational manual “Folklore: Problems of History and Theory”, which ensures the development and teaching by the author of courses on the problems of cultural studies and artistic culture. It is possible to use the results obtained in the implementation of experimental studies of folk culture, including children's folklore consciousness within the framework of the author’s work in the scientific laboratory of artistic and aesthetic education and the experimental site “Man of Culture” at BPSU.

The structure of the dissertation corresponds to the logic of the problems and tasks posed and resolved in it. The dissertation consists of an introduction, three chapters, and a conclusion. The literature used includes 323 sources, of which 4 9 are in foreign languages.

Main conclusions. In this chapter, we examined the problem of the functioning and evolutionary development of forms and genres of folklore in the sociocultural space: specific multifunctionality and the associated syncretism of folklore activity and folklore artistic consciousness; the process of evolution of both formal and substantive elements of folklore throughout its centuries-old history of development.

Attempts to limit the understanding of folklore only to the framework of traditional culture “contradict the understanding of the historical and folklore process, the main essence of which is the multi-stage accumulation of the artistic material of folklore itself, its constant creative processing, contributing to its self-renewal and the creation of new genres, the historical variability of the very forms of folk art under direct impact of new social relations.

As a result of the analysis of the genre diversity of folklore and attempts to systematize it in the research literature, we come to the conclusion that folklore is multistage, the emergence of new and the disappearance of old genres of folklore. The process of development of folk artistic consciousness can be considered using examples of the development of genre content of folklore, as a process of evolution from collective tribal mythological social consciousness (myth, ritual, fairy tale, etc.) through the gradual separation of collective national-historical awareness of reality (epic, epic, historical song etc.), to the manifestation of personal individual folklore consciousness (ballads, lyrical songs, etc.) and consciousness associated with the social environment characteristic of modern civilization (ditty, urban, amateur-author's song, everyday anecdote).

Each nation goes through a number of stages of its sociocultural development, and each of the stages leaves its own “trace” in folklore, which constitutes such a characteristic feature as “polystadiality.” At the same time, in folklore, new things arise as a “remake” of old material. At the same time, the coexistence of folklore with other forms of social consciousness (myth, religion, art) that use an aesthetic way of reflecting the surrounding world leads to their interaction. At the same time, not only specialized forms of culture (art, religion) draw motives for their evolution from folklore, but folklore is also replenished with the material of these forms, mastered and processed in accordance with the laws of the existence and existence of folk (folklore) consciousness. In our opinion, main characteristic folklore of a particular work - its folk-psychological assimilation, its naturalization" in the element of immediate popular consciousness.

Based on extensive empirical material, it is shown that the historical development of folklore genres leads to the transformation of the extra-aesthetic content of public consciousness into specifically folklore content. As in the case of myths, which were transformed over time into fairy tales, so with the disappearance of an epic, some stories can be transformed into legends, historical tales, etc. Riddles, which at one time were tests in initiation rites, pass into children's folklore; the songs that accompanied this or that ritual are detached from it. As the example of ditties, jokes, etc. shows, new genres are born as a dialectical leap in the development of folklore, associated with significant changes in the social psychology of the masses.

Throughout the history of its development, folklore continues to closely interact with manifestations of other forms of social consciousness. The emergence of certain genres of folklore, in our opinion, is associated with a folk-aesthetic rethinking of religious, everyday, ideological forms, as well as forms of professional art. At the same time, there is not only an increase in the genre diversity of folklore, but also an expansion of its thematic field and enrichment of its content. Folklore, due to its polystructural nature, is capable of actively assimilating other cultural phenomena, and creatively transforming them in the historical and artistic process. The sacred-magical meaning of laughter, which was characteristic of the early oral genres of folklore, gradually acquires the features of a comic-social order, exposing conservative social foundations. Particularly characteristic in this sense are parables, anecdotes, fables, ditties, etc.

Particular attention in this chapter is paid to the dynamics and evolution of folklore song genres. It is shown that the transformation of song genres from ritual, epic and other forms to lyrical and amateur-authored songs is natural historical process development of artistic imagery in folklore.

Folk song as a whole reflects the national system of thoughts and feelings, which explains the flourishing of song and choral creativity among peoples experiencing an era of rising national self-awareness. These were the ones that appeared in the Baltic states in the 70s. XIX century mass “Song Festivals”.

The national cultural and artistic heritage consists not only of written culture, but also of oral culture. Traditional folklore is a valuable and highly artistic heritage for every national culture. Such classical examples of folklore as epics and others, being recorded in written form, will forever retain their aesthetic significance and be invested in the general cultural heritage of world significance.

The research carried out allows us to assert that the preservation and development of folklore forms in the conditions of social differentiation of society is vital and possible not only by preserving traditional forms, but also by transforming them and filling them with new content. And the latter is associated with the creation of new forms and genres of folklore, with the change and formation of its new socio-cultural functions. The development of not only the press, but also new media, the globalization of cultural ties between peoples, leads to the borrowing of certain new artistic means associated with changes aesthetic tastes of this or that people.

CONCLUSION

Summarizing the results of the dissertation research undertaken, it seems necessary to highlight some of its main ideas: In the process of genesis and development, folklore is included in the structure of public consciousness, starting with the syncretic-mythological, characteristic of the early stages of the emergence of culture, and then - relying on the already established basic artistic images, storylines, etc., develops and functions in interaction with religious and emerging rationalistic forms of social consciousness (science, etc.)/ each specific nation has its own specific national artistic features, reflecting the characteristics of mentality, temperament, conditions for the development of aesthetic culture.

It should be noted that the process of development of social consciousness, in general, can be characterized as a gradual evolution from the collective subconscious sense of the reality of the world, to primitive “collective ideas” (E. Durkheim), collective confessional and religious consciousness to the gradual highlighting of the significance of individual consciousness. In a certain accordance with this, the genre structure of traditional folklore, “folklore artistic consciousness” (B.N. Putilov, V.M. Naydysh, V.G. Yakovlev), is also formed, reflecting the characteristics of historical types of culture, in which the creative potential of that or other people.

Thus, from the initial ritual genres of folklore, characterized by a sense of the “cyclicality” of historical time, its development proceeds to epic genres that synthesize early mythological and religious forms of social psychology, then to historical song, historical legend, etc., and to the next historical stage development of folklore - lyrical song, ballads, which are characterized by an awareness of individuality and authorship in folklore.

The flourishing of folk poetic and musical creativity, one way or another, is associated with the identification of the personalities of outstanding folk poets-singers, akyns, ashugs, rhapsods, squad singers, skalds, bards, etc., who are known among every nation. For them, the individual principle in creativity merges with the collective in the sense that this or that creator expresses to an absolute degree the very “spirit” of the people, their aspirations, and folk artistic practice. Secondly, his work enters the masses as collective property, which is subject to processing, variability, improvisation, in accordance with the artistic canons of a particular people (and historical time).

The importance of folklore in the living artistic process is extremely great. In Europe and Russia, the attention of professional literature, music, etc. to the use of artistic facets of folklore, carried out by the romantics in the 19th century, caused a “tide” of creative impulses in updating specific means of expression and the artistic language itself, which led to the emergence of national art schools, the awakening of wide segments of the population are interested in professional art. The problem of the “nationality” of art, developed since the time of the romantics not only in creative practice, but also in aesthetics and art theory, shows that only through the active involvement of folklore in everyday, festive and everyday life, concert practice, the use of its artistic and aesthetic potential in professional art, it is possible to form the art needed by the masses.

Consideration of the specifics, genesis and aesthetic essence of folklore led to the need to highlight the phenomenon of folk artistic consciousness as a mechanism of artistic creativity and the historical and folklore process. Folklore artistic consciousness is also manifested in other creative forms of folk culture ( folk craft, arts and crafts, etc.) as an ordinary level of social consciousness, which also has an aesthetic component.

Folklore artistic consciousness itself is a realizable sphere of spiritual culture, and is a mechanism for the creative actualization of human activity, since it is partially “involved” at the subconscious and unconscious levels. The identification of level relationships in public consciousness led us to the need to identify spheres of specialized consciousness (scientific-theoretical, religious, artistic), which has not yet been unambiguously reflected in the philosophical and aesthetic

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246. Baker, Ronald L. "Hogs are Playing with Sties Bound to be Bad Weather": Folk Belief or Proverb? //Reading in American folklore.- New York.-1979.- P. 199-202.

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260. Cothran, Kay L. Taiking Trash in the Okefenokee Swamp rim, Georgia //Reading in American folklore.- New York.-1979. -P.215-235.

261. Coffin, Tristram. "Mary Hamilton" and the Anglo-American Ballad as an Art Form //Reading in American folklore.- New York.-1979. -P.309-313.

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285. Taylor, Archer. Method in the History and Interpretation of a Proverb: “A Place for Everything and Everything in its Place” //Reading in American folklore.- New York.-1979.1. P.263-266.187

286. Trejo, Judy. Coyote Tales: A Paute commentary //Reading in American folklore.- New York.-1979. P.192-198.

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