Municipal budget preschool educational institution Kindergarten No. 2
Specifics of children's folklore, its genres and classification
Report on the topic of self-education
prepared:
BELYAKOVA OLGA IVANOVNA
musical director
“Specifics of children's folklore, its genres and classification”
Purpose: To give the concept of children's folklore, to introduce the genres of children's folklore and their features.
Tasks: 1 .Educational: to give the concept of children's folklore, to introduce students to the main genres of children's folklore, their features, examples of Kazakh and Russian children's folklore.
2. Educational: cultivate a caring and sensitive attitude towards CNT, the richness of the language, and form a culture of speech.
3. Developmental: develop speech, thinking, and outlook of students.
The concept of children's folklore. Types of children's folklore.
Poetry of nurturing (maternal poetry)
Calendar children's folklore.
Game folklore.
Didactic folklore.
"Children's folklore presents
specific area of folk art,
uniting the world of children and the world of adults,
including a whole system of poetic
and musical and poetic genres of folklore"
1. The concept of children's folklore. Types of children's folklore.
Children's folklore. This concept fully applies to those works that are created by adults for children. In addition, this includes works composed by the children themselves, as well as those passed on to children from oral creativity adults.
By studying children's folklore, you can understand a lot about the psychology of children of a particular age, as well as identify their artistic preferences and level of creative potential. Many genres are associated with games in which the life and work of elders are reproduced, so the moral attitudes of the people, their national traits, and the peculiarities of economic activity are reflected here.
Types of children's folklore.
Children's folklore is divided into several groups:
“Nurturing Poetry” (“maternal poetry”) - lullabies, nurseries, nursery rhymes, jokes
Calendar - nicknames and sentences
Gaming - game refrains and sentences, lotteries, counting rhymes, teasers, poddyovk, changers.
didactic -
2. Poetry of nurturing (maternal poetry)
In the system of genres of children's folklore, “nurturing poetry” or “maternal poetry” occupies a special place. This includes lullabies, nurseries, nursery rhymes, jokes, fairy tales and songs created for the little ones
“Nurturing poetry” is associated with the upbringing of young children, with care and concern for them.
Lullabies (from the word “tales” - “to babble, speak, whisper, conspire”) – works of oral folk art, songs that help rock and put a child to sleep.
At the center of all “mother’s poetry” is the child. They admire him, pamper him and cherish him, decorate him and amuse him.. The baby is surrounded by a bright, almost ideal world in which love, goodness, and universal harmony reign and conquer.
Gentle, monotonous songs are necessary for the child's transition from wakefulness to sleep. From such an experience a lullaby was born. In her songs for the baby, the mother includes what is understandable and pleasant to him. This is a “gray cat”, “a red shirt”, “a piece of pie and a glass of milk”, “a crane. These words also give the first skills native speech.
The rhythm and melody of the song were obviously born from the rhythm of the rocking of the cradle. Here the mother sings over the cradle:
Baiushki bye!
Save you
And have mercy on you
Your angel -
Your keeper.
From every sight
I cry from everything
From all sorrows,
From all misfortunes:
There is so much love and ardent desire to protect your child in this song! Simple and poetic words, rhythm, intonation - everything is aimed at an almost magical spell.
A frequent character in the lullaby is a cat. He is mentioned along with the fantastic characters Sleep and Dream. .
Folk pedagogy included in the lullaby not only kind helpers, but also evil, scary, and sometimes not even very understandable ones (for example, the ominous Buka). All of them had to be cajoled, conjured, “taken away” so that they would not harm the little one, and maybe even help him.
By singing songs, the baby’s ear is taught to distinguish the tonality of words and the intonation structure of native speech, and the growing child, who has already learned to understand the meaning of some words, also masters some elements of the content of these songs.”
Bye-bye-bye-bye,
Sleep, my dear, sleep.
Pestushki ( “to nurture” - “to nurse, to raise, to follow someone, to carry in one’s arms, to educate”) - short poetic sentences that accompany the baby’s movements in the first months of life. Pestushki(from the word “nurture” - to educate) are associated with the most early period child development. The mother, having unswaddled him or freed him from clothes, strokes his body, straightens his arms and legs, saying, for example:
Pull-ups,
Across the fatties,
And there are walkers in the legs,
And in the hands there are grabbers,
And in the mouth there is a talk,
And in the head - reason.
Thus, pestles accompany the physical procedures necessary for the child. Their content is associated with certain physical actions. The set of poetic devices in pestushki is also determined by their functionality. Pestushki are laconic. “The owl is flying, the owl is flying,” they say, for example, when waving a child’s hands. “The birds flew and landed on his head,” - the child’s hands fly up to his head. And so on. There is not always a rhyme in pestushki, and if there is, then most often it is a pair. The organization of the text of the pestles as a poetic work is achieved by repeated repetition of the same word: “The geese flew, the swans flew. The geese were flying, the swans were flying..."
Water, water, wash my face,
To make your mouth laugh,
So that the tooth bites.
Nursery rhymes are songs that accompany a child’s games with fingers, arms, and legs.
The white-sided magpie cooked porridge and fed the children...
Nursery rhymes- a more developed game form than pestles. Nursery rhymes entertain the baby and create a cheerful mood. Like pestles, they are characterized by rhythm:
Tra-ta-ta, tra-ta-ta,
A cat married a cat!
Kra-ka-ka, kra-ka-ka,
He asked for milk!
Dla-la-la, dla-la-la,
The cat didn’t give it!
Sometimes nursery rhymes only entertain (like the one above), and sometimes they instruct, giving the simplest knowledge about the world. By the time the child is able to perceive meaning, and not just rhythm and musical harmony, they will bring him the first information about the multiplicity of objects, about counting. This is how thought processes begin in his mind.
Forty, forty,
White-sided,
I cooked porridge,
She lured guests.
Porridge on the table
And the guests to the yard.
The first - porridge,
The second - brews,
To the third - beer,
The fourth - wine,
And the fifth one got nothing.
Shu, shu! She flew away and sat on her head.
Perceiving the initial score through such a nursery rhyme, the child is also puzzled by why the fifth one did not get anything. Maybe because he doesn't drink milk? Well, the goat butts for this - in another nursery rhyme:
Who doesn't suck a pacifier?
Who doesn't drink milk?
Togo - boo! - gore!
I'll put you on the horns!
The edifying meaning of the nursery rhyme is usually emphasized by intonation and gestures. Thanks to this, the educational and cognitive potential of nursery rhymes turns out to be very significant.
Jokes are songs reminiscent of little fairy tales in verse.
Dili-dili-dili-don, the cat's house caught fire.
The cat jumped out, its eyes bulging,
A chicken runs with a bucket and floods the cat's house.
Petya-Petya-Cockerel, golden comb,
Oil head, silk beard,
Why do you get up early and don’t let the kids sleep?
joke called a small funny work, statement or simply a separate expression, most often rhymed. Entertaining rhymes and joke songs also exist outside the game (unlike nursery rhymes). The joke is always dynamic, filled with energetic actions of the characters. We can say that in a joke, the basis of the figurative system is precisely movement: “He knocks, strums along the street, Foma rides on a chicken, Timoshka on a cat - along the path there.”
3. Calendar children's folklore.
Calendar children's folklore includes such genres as
nicknames And sentences(these terms were introduced by a famous linguist).
Calls(" call out» - “to call, ask, invite, contact”) – appeals to the sun, rainbow, rain, the words of which are shouted out in unison in a sing-song voice.
Rainbow-arc, don't let it rain,
Come on bell sun.
Sentences - appeals to living beings (mouse, snail, bugs), pronounced by each child one by one.
Ladybug, fly to the sky,
Your kids eat candy there.
Zaklichki in their origin are associated with the folk calendar and pagan holidays.
In games that have survived to this day and include chants and sentences, traces of ancient magic are clearly visible. These are games held in honor of the Sun (Kolyada, Yarila) and other forces of nature. The chants and choruses accompanying these games preserved the people's faith in the power of words.
4. Playful children's folklore.
Playful children's folklore is represented by such genres as
game choruses and sentences,
lotteries,
counting rhymes,
teases,
undershirts,
shifters.
Game refrains, sentences - rhymed poems containing the conditions of the game, starting the game or connecting parts of the game action.
The meaning of game choruses, sentences– instill love and respect for the existing order of things, teach rules of behavior.
There are mushrooms and berries from the bear in the forest,
But the bear is not sleeping and is looking at us.
Don't say "yes" or "no"
Don't wear black and white
Don't pronounce the letter "R".
Covenant of lots - a rhyming appeal to the “uterus”, with the aim of dividing into teams.
A pouring apple or a golden saucer?
A counting rhyme is a rhymed poem consisting of invented words with emphatically strict adherence to rhythm.
Counting rhymes are funny and rhythmic rhymes, to which a leader is chosen and the game or some stage of it begins. Counting tables were born in the game and are inextricably linked with it.
Tarya-Marya went to the forest,
She ate cones, she told us,
But we don’t eat pine cones,
We'll give it to Tara-Mara.
Teaser is a rhyming addition to a name.
Arkhip is an old mushroom.
Andrey is a sparrow, don’t chase the pigeons,
Chase the ticks from under the sticks.
Teddy bear, Near the ear - a bump.
Poddyovka is a small folklore genre of humorous content based on a play on words.
Say two hundred.
Two hundred.
Head in dough!
-Say cock.
-Rooster.
-You're rotten!
All these are works of small genres, organic to children's folklore. They serve the development of speech, intelligence, and attention. Thanks to the poetic form of a high aesthetic level, they are easily remembered by children.
Fables, inversions, nonsense . These are varieties of the joke genre. Thanks to “shifters,” children develop a sense of the comic as an aesthetic category.
"is inherent in almost every child at a certain stage of his development. Interest in them, as a rule, does not fade among adults either - then it is not
educational, but the comic effect of “stupid absurdities”.
In the middle of the sea the barn is burning.
The ship is running across an open field.
Men are stabbing people on the street,
They strike and catch fish.
A bear flies across the sky,
He's wagging his long tail!
A village was driving
Past the man
Suddenly from under the dog
The gates are barking.
Snatched the cart
He's from under the whip
And let's bludgeon
Her gate.
The rooftops got scared
We sat on the raven,
The horse is racing
A man with a whip.
5. Didactic folklore.
The purpose of didactic children's folklore is the education and development of children, the transfer of accumulated experience to them, arming them with the knowledge necessary for adult life.
The genres of didactic folklore include tongue twisters, riddles, proverbs and sayings.
Tongue twister is the rapid repetition of difficult to pronounce words and phrases.
The meaning of tongue twisters– setting clear diction.
From the clatter of hooves, dust flies across the field.
The crow missed the crow.
They belong to the funny, entertaining genre. .
The cap is sewn,
Yes, not in the Kolpakov style.
Who's that cap?
Repacked?
A riddle is a genre of folklore that points out the distinctive features and properties inherent only to the object being riddled. Usually intended as a guessing question.
The meaning of riddles– develop the mind, make it possible to accurately determine the subject.
: Length like a road
Short, like a flea. (life)
I, like a grain of sand small and covering the earth,
I am from water, and I give birth to it myself.
Like fluff I'm lying in the fields
AND, like a diamond I shine in the sun's rays. (snow)
A proverb is an apt folk saying, usually consisting of two parts, the second part explains the first.
If you are afraid of wolves, do not go into the forest.
If you want to ride, you also want to carry a sled.
A proverb is an apt saying devoid of instructive meaning.
The master's work is afraid.
Do not count your chickens before they are hatched.
A horseman is judged by his deeds.
All these genres of folklore, set to music, are children's musical folklore.
To summarize, we can say that folklore plays a vital role in the development of children. Folklore not only develops a child’s speech, but also allows him to learn moral standards. Folklore works represent a unique means of transmitting wisdom accumulated over many generations.
Literature:
1. Current problems of artistic education of preschool and school age: Collection. – M., 1983.
2. folklore in the context of modern culture. – M.,
Soviet composer, 1988.
3. Vetlugina child development. – M.: Education 1968 – 415 p.
4. Vinogradov folk calendar. – Siberian Living Antiquity, Irkutsk, 1924 issue 2, 1. 55-86.
5. Education and training in kindergarten. – M., 1976.
6. Vygotsky and her role in mental development child. M.:
State Publishing House of the RSFSR, 1930.
7. About collectivity in folklore. Dialectics of personal and mass creativity. Specificity of folklore genres. L.: Nauka, 1967.
8. Children's life and folklore. Collection /Ed. . – L.: State Publishing House. Rus. Geographical society, 1930.
Until now, we have considered the oral poetry of adults (ritual poetry, fairy tales, epics, ballads, historical, lyrical and round dance songs, ditties, proverbs and sayings, riddles and other genres). The folklore of adults has a well-known age differentiation. Thus, fairy tales, epics and historical songs are performed mainly by representatives of the older generation. Round dance songs, lyrical love songs and ditties are predominantly youth genres.
However, our understanding of folklore will be incomplete if we do not take into account the oral poetry of children and do not consider the features of its content, artistic form and specifics of existence.
What should be understood by children's folklore? What is the content of the term "children's folklore"?
There is no single point of view on these issues in science. So, for example, V.P. Anikin considers children's folklore to be "the creativity of adults for children, the creativity of adults that over time became childish, and children's creativity in the proper sense of the word." This opinion is shared by E.V. Pomerantseva, V.A. Vasilenko, M.N. Melnikov and others. The mentioned researchers usually begin characterizing children's folklore by considering works created by adults and performed by them for children (lullabies, pestushki and nursery rhymes).
Other scientists include only those works that are created and performed by children themselves as children's folklore. Thus, the famous researcher of children's folklore G.S. Vinogradov, objecting to the classification of “adults’ work for children” as children’s folklore, wrote: “Usually this group of verbal works is classified as children’s folklore. There is little basis for such a classification. Children’s folklore consists of works that do not include the repertoire of adults; this is a collection of works performed by performers and the listeners of which are the children themselves. The group under consideration, as the work of adults for children and constituting the repertoire of mainly adults, must be isolated: this is the creation of the mother and the nurturing woman, this is maternal poetry, or the poetry of nurturing."
Does not classify the creativity of mothers and pestunia as children's folklore and N.P. Andreev, who called one of the sections of his anthology on folklore “Lullabies and children's songs.”
V.I. does not consider lullabies to be children’s folklore either. Chierov. One of the sections of his lecture course “Russian Folk Art” (1959) is called “Lullabies and Children’s Songs” p. 346-348).
G.S.'s point of view Vinogradova, N.P. Andreeva seems to us to be completely fair. It is impossible to classify as children's folklore lullabies, pestushki and nursery rhymes, which were created and performed only by adults; not only were they not created by children, but they were never performed. Children's folklore is, first of all, works created and performed by children themselves. It differs from the folklore of adults both in its content and in its artistic norm.
At the same time, it should be noted that the works of adults also penetrate into children's folklore. Children are almost always present when adults perform folklore, and often assimilate individual works. At a certain stage, some traditional genres fade away and disappear into the folklore of adults; pass on to children and live as an organic component of the children's folklore repertoire. Changing, these works acquire the characteristics of children's folklore and become an organic part of the children's folklore repertoire.
In conclusion, it should be said that children's folklore includes works, firstly, created by the children themselves, and secondly, borrowed by children from adults, but processed in accordance with the psychology and needs of childhood.
The above also determines the features of the genre system of children's folklore. Children's folklore is created both in the genres of adult folklore (choruses, sayings, jokes, etc.), as well as in genres developed by the children themselves (draws, counting rhymes, teasers, etc.). The genre system of children's folklore is a rather flexible phenomenon. In the process of historical development, some genres leave children's folklore, while others, on the contrary, come into it.
Until the middle of the 19th century. Children's folklore of the National Assembly stood out as a special section of folk poetry and was not specifically included. Publications of children's folklore were random and very few in number.
In the 50-60s of the XIX century. Due to the increased interest in folk art, children's folklore is also attracting attention. Works of children's folklore are recorded by N.I. Dahl, P.V. Shane, P.A. Bessonov and other folklorists. And 1861-1862. The famous collection of V.I. is published. Dahl "Proverbs of the Russian people", c. which also contains a variety of children's folklore material (game sayings, counting rhymes, tongue twisters, etc.). In 1870, a collection by P.V. was published. Shane "Russian folk songs", which opens with a section dedicated to children's folklore. The bulk of the children's songs were recorded by Shane himself, some lyrics were recorded by A.N. Afanasyev, ethnographer I.A. Khudyakov and writer A.N. Ostrovsky. children's folklore genre study
In the 60-70s of the XIX century. continue their collecting activities P.V. Shane, as well as V.F. Kudryavtsev, E.A. Pokrovsky, A.F. Mozharovsky and others V.F. In 1871, Kudryavtsev published the book “Children’s Games and Songs in the Nizhny Novgorod Province,” which contains valuable material on children’s play folklore. We find interesting examples of children's folklore in the book by A.F. Mozharovsky "From the life of peasant children of the Kazan province" (1882). In 1898, the first volume (issue 1) of Shein's "Great Russian" was published, which published about 300 works of children's folklore. In the same year, the “Collection of folk children's songs, games and riddles” was published, which was compiled by A.E. Georgian based on materials from Shane. In the last third of the 19th - early 20th centuries. children's folklore is collected by A.V. Markov, A.I. Sobolev, V.N. Kharuzina and others. Records of works of children's folklore are published in the magazines "Living Antiquity", "Ethnographic Review" and various "Provincial Gazette".
Work on collecting children's folklore continues in Soviet time. It should be noted the particularly fruitful activity in this area of G.S. Vinogradova, O.I. Kapitsa, M.V. Krasnozhenova and N.M. Melnikova. Significant material of children's folklore is contained in the books of O.I. Kapitsa "Children's folklore" (1928) and G.S. Vinogradov "Russian children's folklore" (1930). Some works of children's folklore are published in collections by T.A. Akimova “Folklore of the Saratov Region” (1946), V.A. Tonkova “Folklore of the Voronezh Region” (1949), S.I. Mints and N.I. Savushkina “Fairy tales and songs of the Vologda region” (1955), in the monograph by M.N. Melnikov "Russian children's folklore of Siberia" (1970) and other publications.
In conclusion, we can say that pre-revolutionary and Soviet folklorists collected quite significant material on children's folklore. However, work in this area must be continued and intensified. And not the least role in this matter can be played by the annual folklore practice of students and student folklore expeditions.
DEFINITION OF CHILDREN'S FOLKLORE
Children's folklore is a specific area of oral artistic creativity, which, unlike the folklore of adults, has its own poetics, its own forms of existence and its own speakers. A common, generic feature of children's folklore is the correlation of an artistic text with a game.
For the first time, serious attention was paid to children's folklore by the famous teacher K. D. Ushinsky. In the 60s XIX century In the magazine "Teacher" publications of works of children's folklore and their analysis from the point of view of the physiology and psychology of the child appeared. At the same time, the systematic collection of folk works for children began. The first collection of children's works - P. Bessonov's "Children's Songs" - was published in 1868 and contained 19 games with songs and 23 counting rhymes. Then collections of children's folklore by E. A. Pokrovsky and P. V. Shein were published, which formed the foundation for subsequent theoretical works.
In 1921, a commission on children's folklore, life and language was established at the Russian Geographical Society (RGS). In the 1920s The first studies of children's folklore and the term itself, proposed by G. S. Vinogradov, appeared. Since the 1960s Russian children's folklore of Siberia was studied by M. N. Melnikov. In modern science about children's folklore, two problematic aspects have emerged: folklore and the inner world of the child's developing personality; folklore as a regulator of a child’s social behavior in a children’s group. Researchers strive to consider works in a natural context, in those situations in children’s communication in which their folklore spreads and functions.
Children's folklore is the works of children themselves, assimilated by tradition; works of traditional folklore of adults that have passed into the children's repertoire; works created by adults specifically for children and adopted by tradition. G. S. Vinogradov emphasized that “children’s folklore is not a random collection of incoherent phenomena and facts, representing a “small province” of folklore, interesting for a psychologist and representative of scientific pedagogy
thoughts or practical teacher and educator; children's folklore is a full member among other, long-recognized departments of folklore."
Children's folklore is part of folk pedagogy; its genres are intuitively based on taking into account the physical and mental characteristics of children of different age groups (infants, children, adolescents). Folk pedagogy is an ancient, complex, developing phenomenon that does not lose its relevance. She always took into account the role of words in the formation of personality. Children's folklore has preserved traces of the worldview of different eras and expressed the trends of our time.
The artistic form of children's folklore is specific: it is characterized by its own figurative system, a tendency towards rhythmic speech and play. Play is an element psychologically necessary for children.
Children's folklore is multifunctional. It combines different functions: utilitarian-practical, cognitive, educational, mnemonic, aesthetic. It helps to instill in the child behavioral skills in a children's team, and also naturally introduces each new generation to the national tradition. Known different ways and ways of transmitting traditional children's folklore: conscious transmission by adults to children; spontaneous adoption from adults, peers or older children.
Classification of works of children's folklore can be made according to its functional role, ways of origin and existence, artistic form, and methods of performance. It should be noted the unity of the system of genres of children's folklore, the originality of which is determined by the difference in the worldview of a child and an adult.
Works of children's folklore are performed by adults for children (mother's folklore) and by the children themselves (children's folklore itself). Maternal folklore includes works created by adults for playing with very young children (up to 5-6 years old). They encourage the child to stay awake and perform physical actions (certain movements), and arouse interest in words. Folklore performed by the children themselves reflects their own creative activity in words and organizes the play activities of the children's group. It includes works by adults passed on to children, and works composed by themselves
children. It is not always possible to draw the line between maternal and children's folklore, since from the age of 4-5 children begin to imitate adults, repeating play texts.
MOTHER FOLKLORE
Lullabies, expressing tenderness and love for the child, they had a very specific goal - to put him to sleep. This was facilitated by a calm, measured rhythm and monotonous chanting. The singing was accompanied by rocking of the cradle, and onomatopoeia could appear in the songs:
Berezonka hid- creaks
And my son sleeps and sleeps.
The roots of lullabies go back to ancient times. V.P. Anikin believes that their general evolution consisted of the loss of ritual and incantatory functions. Probably a vestige of such ancient ideas is a small group of songs in which the mother wishes her child to die ("Bai, bai and lyuli! Even if you die now..."). The meaning of the wish is to deceive the diseases that torment the child: if he is dead, then they will leave him.
The role of improvisation in lullabies is great: they were sung until the child fell asleep. At the same time, traditional, stable texts were of great importance.
A. N. Martynova identified imperative and narrative ones among them. "Imperative songs are a monologue addressed to a child, or to other people, or to creatures (real or mythological). A child is addressed with a wish for sleep, health, growth, or a demand for obedience: do not lie down on the edge, do not raise your head, do not be capricious. Birds, animals, and mythological characters are approached with a request to give the child sleep, not to disturb his sleep, not to frighten him." Narrative songs “do not carry a pronounced expressive, emotional load. They report some facts, contain everyday sketches or a short story about animals, which somewhat brings them closer to fairy tales. There is no direct appeal to the child, although his image is directly or reflected is present in the song: it is about his future, gifts for him, about animals and birds that take care of him."
In the figurative world of lullabies there are such personifications as Dream, Drema, Ugomon. There are appeals to Jesus Christ, the Mother of God and the saints. Popular songs with images of doves ("Ay, lyuli, lyulenki, the little ones have arrived...") and especially the cat. The cat must rock the child, for this he will receive a jug of milk and a piece of pie. In addition, the grateful mother promises the cat:
I'll gild my ears,
I'll silver my paws.
A sleeping, contented cat acts as a kind of parallel to the image of a sleeping child.
The image of a wonderful cradle appears in the songs (cradle of gold) which not only idealized the atmosphere of peasant life, but also, according to A. N. Martynova, was associated with the impression of luxurious cradles in rich houses and royal chambers - after all, peasant women were nannies and nurses.
Pestushki, nursery rhymes, jumping songs Encouraged the child to stay awake, taught him to move his arms, legs, head, and fingers. As in lullabies, rhythm played an important role here, but its character was different - cheerful, cheerful:
Tra-ta-ta, tra-ta-t.
A cat married a cat...
Pestushka amuses herself with the rhythm, changing it:
Big feet
Walked along the road:
Top-top-top,
Top-top-top.
Little feet
They ran along the path: Top-top-top-top-top,
Top-top-top-top-top!
Pestushki are associated with stroking a child, with his first movements; jumping - with jumping on the knees
adult; nursery rhymes - with elements of plot, games ( "Okay, okay...", "There's a horned goat..."). Listings and dialogues appear in them.
Jokes- these are songs or rhymes that captivate the child with their content. The plots of the jokes are very simple (single-motive or cumulative), reminiscent of “little fairy tales in verse” (V.P. Anikin). Indeed, children's fairy tales sometimes became jokes (see "I had a little hen..."), and vice versa: how fairy tales could be told jokes ( "The goat went for nuts..."). The content of the jokes is bright and dynamic: everyone runs to fill the fire cat house; bring to life worn out a flea (or mouse) in the bathhouse; grieving over the broken egg that she laid hen hazel \ owls are going to a wedding with white moon... The images of animals are very expressive: A goat in a blue sundress, linen pants, and woolen stockings. The jokes contain the first edifications: a stubborn goat is eaten by wolves; little pussycat did not leave the butter to treat another... However, the main role of jokes is educational. The child learns about people, animals, phenomena, objects, and their typical properties. Often this is served by cumulative plots: fire burns the forest, water extinguishes the fire, bulls drink water, etc.
Among jokes, a special place is occupied by fables-shifters, also known in adult entertainment folklore. Their goal is to create comic situations by deliberately mixing real objects and properties. If this makes the child laugh, it means he correctly understands the relationship between things and phenomena. The characters in fables behave inconsistently with reality, which can be directly indicated:
Where has this been seen?
Where have you heard this?
So that the hen gives birth to a bull.
The piglet laid an egg... etc.
CHILDREN'S FOLKLORE PERFECTLY
The genres of children's folklore proper, depending on the degree of their use or inclusion in the game, can be divided into
focus on the poetry of outdoor games (associated with plot-organized motor actions) and the poetry of verbal games (in which the word plays the main role).
Poetry of outdoor games
Draws(or “collusions”) determine the division of players into two teams and establish order in the game. These are laconic works, sometimes rhymed, containing an appeal to uterus(representatives from each group) and a question, or just one question that offers a choice. When creating drawings, children often improvised based on fairy tales, songs, proverbs, sayings, riddles, fables (A black horse or a daring Cossack?; A pouring apple or a golden saucer?). Many of the draws were humorous (Get lost on the stove or drowned in a pot? A fox in flowers or a bear in pants?).
Counting books are used to distribute roles in the game, with rhythm being crucial. The presenter recites the counting rhyme rhythmically, monotonously, consistently touching each participant in the game with his hand. Counters have a short verse (from 1 to 4 syllables) and are usually trochaic.
The roots of counting rhymes go back to antiquity. Researchers have discovered a connection between children's rhymes and ancient forms of fortune telling (the choice of a leader through chance), with archaic belief in numbers and with conventional speech that arose on the basis of the tabooing of numbers. Distorted forms of words were born in the language of adults as a result of the ancient ban on counting, which was supposed to ensure success in hunting and abundance in the peasant economy. In more late time the secret account of representatives of various social groups: gamblers, traveling tailors, etc. had a special meaning. Having picked up their incomprehensible vocabulary, the children created their own abstruse rhymes. They themselves were engaged in word creation: they changed the meaning of words, inserted suffixes that were not typical for them (firstborns, friends), used incomprehensible foreign words with distortion of their sound structure, came up with word-like combinations of sounds, added rhythmic particles (Eni-beni three cateni...). Abstruse counting rhymes, the meaning of which is unclear to both adults and children, retain the main artistic feature of the genre - a distinct rhythm.
In addition to abstruse ones, there are number counting rhymes and plot counting rhymes, which are especially popular among children. Numbers can be plotless, cumulative and with the beginnings of a plot ( "One, two- lace..."). Plot rhymes borrow passages from
lullabies, songs and ditties from the adult repertoire, from children's games, teasers, from popular children's poems (S. Mikhalkov, K. Chukovsky, etc.) - Some texts are very stable. For example, in both the 19th and 20th centuries. folklorists recorded variants of the rhyme in different areas “The sack rolled from a high hump...”
Game sentences and refrains were included in the game action and contributed to its organization. The content of these works was determined by the game itself.
In games, children depicted family life and work activities in the village, which prepared them for adult life. Children's games retain echoes of ancient pagan games ( "Kostromushka") traces of fire worship ( "Smoking room") sun ( "Golden Gate") and other objects. Children sometimes took over the round dance games of adults. Some games of younger children originated as staging jokes. Jokes introduced a cumulative composition into the game, and rhythm, onomatopoeia, etc. into the accompanying verbal sequence.
Poetry word games
Calls and sentences- genetically the most ancient forms of children's verbal games. By origin, they are associated with calendar rituals of adults, as well as with ancient conspiracies and spells.
Calls are songs addressed to nature (sun, rain, rainbow) and expressing a call or request. The content of the calls was close to the concerns and aspirations of farmers: the need for rain or, on the contrary, sunshine. The children turned to the forces of nature as mythological creatures, tried to appease them, and promised a sacrifice:
Rain, rain, more!
I'll take out the grounds.
A crust of bread.
A small piece of pie.
The chants were shouted out in chorus, in a sing-song voice. In contrast, sentences were pronounced individually and quietly. They contained a request-plot addressed to a snail, a ladybug, a mouse... The request was to show horns, fly up, exchange a lost tooth for a new one... Sentences were also pronounced before diving into the river; in order to get rid of water that got into the ear while swimming; when baited
worms on a hook, etc. In their sentence, children could make a request to Christian saints. So, going for mushrooms, they said:
Nikola, Mikola,
Fill the basket.
Riding a haystack,
Upside down.
The favorite word game of older children was and remains Tongue Twisters- rapid repetition of difficult to pronounce words. Pronunciation mistakes make me laugh. While playing, children simultaneously develop their articulation organs.
Some kind of verbal exercises were silent people- a poetic agreement to remain silent, as well as holosyanki(option: “hairs”) - a competition in drawing out the vowel sound at the end of a rhyme in one breath.
Verbal games of children include fairy tales and riddles performed in their environment (they were discussed in the corresponding chapters).
Children's satire
Like adults, children created their own satirical folklore, in which the verbal playful principle was manifested. Genres of children's satire - teasing and ridicule, and tricks, tricks, excuses. They are short, mostly poetic texts, designed for the listener to whom they are addressed individually.
Satirical genres regulate the social behavior of the child and determine his place in the children's team. Teasing makes fun of what children perceive as negative. Their objects are fat, toothless, oblique, bald, red-haired, greedy, sneak, thief, crybaby, imaginary, beggar, “bride and groom”, as well as himself teased (Teased - a dog's snout). Ridicule, unlike teasing, is usually unmotivated. They arise from nicknames, i.e. rhyming additions to the name (Alyoshka the flatbread, Andrey the sparrow...); from repetitions different forms child's name (Vanya-Vanya-Vanerok, Vaska-Vasyuk, Katya-Katya-Katerina...). Tricks teach you to be alert, are designed to deceive your interlocutor, put him in trouble and demand retribution for stupidity or oversight:
- Tanya, Sanya, Lizavetpa
We went by boat.
Tanya and Sanya drowned.
Who's left in the boat?
- Lizaveta.
- Clap for that!
A child who has become the subject of ridicule receives his first life lesson and tries to learn it. If criticism is fair, then you need to accept it and try to improve. In this case, you can use Mirilka ( "Put up, put up, put up..."). It’s different when the ridicule is unfair and offensive. The offender is dealt with with his own “weapon” - the excuse:
Call me names all year long
You're still a hippopotamus.
Call me names for a century.
I still Human.
The excuse can also be used against an obsessive beggar:
- Will you give this to me?
- Give it to me, he went to Paris,
And you can buy one left.
4. MODERN CHILDREN'S MYTHOLOGY ("SCREENING STORIES")
The content and form of works of children's folklore were influenced by changing social conditions. In the second half of the 20th century. most children became city dwellers. Meanwhile, in the mental development of children, the need to go through the stage of vivid experiences of the inexplicably miraculous, which gives rise to a feeling of fear, and to overcome this fear has remained unchanged. In the feudal village, such a need was satisfied by the national folklore tradition (children listened to and themselves told tales, legends, and fairy tales). Modern children have a different outlook. It is shaped by urban life, literature, cinema, radio, and television. However, the form of the spoken word retains its meaning.
G. S. Vinogradov once noted in children “the only type of oral literature represented by prose” - a fairy tale. The spontaneous flow of modern children's narrative creativity - “scary stories” (as children call them) or “horror stories” (as researchers began to call them) - has become the subject of study by folklorists, psychologists and teachers since the 1960s. Apparently, the beginning of the mass existence of children's scary stories dates back to this time. Horror stories function according to all the rules of folklore: they are fixed by tradition and passed on “from mouth to mouth.” They are told by children of all ages, from 5 to 15 years old, but the most typical age range is from 8 to 12 years.
It is known that the leading creative activity of younger children - drawing - is gradually replaced by verbal creativity. Poetic genres appear first in children's repertoire (which is facilitated by their small volume, rhythm, and connection with play). At the age of 6-7 years, an important restructuring of the principles of thinking occurs: the child begins to understand cause-and-effect relationships and is able to preserve and convey the plot of a story as a logical structure. The unconscious egocentrism of the child-storyteller (confidence that the listeners initially know everything) is replaced by an orientation towards the listener, the need to correctly convey the content of the story, to achieve understanding and reaction from the listener.
Plastic images generated by children's imagination have " psychic energy", going back to the collective unconscious (according to C. Jung). In children's narrative creativity, fetishism, animism are manifested, such universal signs of culture appear as a stain, a curtain, a hand, an eye, a voice, a glance, color, size, chthonic characters, the ability to reincarnation, the idea of death, etc. This allows us to consider scary stories as modern children's mythology.
In terms of genre, horror stories are a diffuse and heterogeneous phenomenon. Unlike traditional folklore prose, they have not one, but two dominant centers: narrative and playful.
The genre of so-called “scary challenges” is original. In it, the ritual-game beginning completely supplanted the verbal side. Here's an example:
"How call Baba Yaga." You need to go to the toilet at 12 o'clock at night. Draw a circle there with black chalk and sit and wait. Come early in the morning. If there is a cross on the circle, that means Baba Yaga has arrived.(Emelina Vika, 11 years old, Moscow region).
Children "challenge" Queen of spades, moon men and so on. The purpose of scary evocations is to experience a feeling of fear and satisfaction from defeating it, which can be considered as one of the forms of personal self-affirmation.
In horror stories, one can find all types of folklore narrative structures, from cumulative to a closed chain of motifs of different content (similar to fairy tales). Epic triplings and fabulous compositional formulas are used (Lived once...), tradition of a happy ending. A good ending also manifests itself in a unique way in game stories with the last phrase shouted: "Give me my heart!" (black dead); "I ate meat!"(female vampire). The stronger the fear, the more fun you can laugh at it.
In scary stories, signs of myth and many folklore genres are transformed or typologically manifested: conspiracy, fairy tale, animal epic, tale, joke. They also reveal traces of literary genres: fantasy and detective stories, essays.
The system of images of children's horror stories falls into three groups: main character, his assistants and opponents. The most typical protagonist is girl or boy; usually he is the youngest in the family. There are also other images: one man, one woman, a student, a taxi driver, an old man and an old woman, Sharik the dog, a prince, one journalist... Helpers, unlike fairy tales, are not fantastic, but real: policeman (militia), Sherlock Holmes. The plot requires defeating evil, restoring the essence of things corresponding to their nature. The main character (the child) hunts down the evil, and the assistant (the police) carries out its physical destruction.
Unlike fairy tales, scary stories usually have only one pole of the fantastic - evil. There are endless connections associated with him.
Extremely diverse types of pests: either simply fantastic images, or fantastic images insidiously hiding under the guise of familiar people and objects (from a spot on the wall to a mother). The pest may have an alarming external sign, most often a color: black, red, white or some other. Color also appears in the titles of children's horror stories: "Black curtains", "Red spot", "Blue rose" etc. The action of the pest is expressed in one of three functions (or in a combination of them): abduction, murder, desire to eat the victim. The images of pests become more complex depending on the age of the performers. In the youngest children, inanimate objects act as if they were alive, which is where children's fetishism manifests itself. For example, red lace he rings the doorbell and tries to strangle his mother. His dad tore it up and threw it out the window, but the lace continues to terrorize the family. His They doused him with kerosene, burned him, and threw the dust out the window. But the doorbell rings again. A column of red dust bursts in and blinds everyone. (Varya Smirnova, 7 years old, Zagorsk). In older children, a connection between the object and a living pest appears, which may mean ideas similar to animistic ones. Behind the curtains, the stain, the picture are hidden black hairy arms, white (red, black) man, skeleton, dwarf, Quasimode, devil, vampire... Often the pest object is a werewolf. Ribbons, earrings, bracelet, chain, climbing plants turn into snakes; at night, red (or black) flowers become human vampires; the doll (or statue) turns into a woman; the image in the painting becomes a person ( "About a black lady with blue eyes"). Werewolfism extends to parts of the human body that behave like a whole person, to the dead rising from the grave, etc. Undoubtedly, werewolfism came into modern narrative folklore of children from national traditional folklore.
The complication of the image of a pest occurs as a development, a deepening of its portrait characteristics. Let's show this to a group of witches.
The first portrait stage is a color signal connected to the feminine principle: red witch, beautiful woman in black, a yellow, hunched old woman, very beautiful girl in a long white dress, a very beautiful green-eyed woman in a velvet green coat. Then more complex images appear, in which the transformation of the witch from the tales is visible. She appears in her True form late at night, when she thinks everyone has fallen asleep: The girl opened her eyes and saw that her stepmother was wearing black dress, dismissed
long black hair, put a frog on her chest and quietly walked somewhere.(Golovko Lena, 11 years old, Kokchetav); she I looked through the crack and saw that the flower had turned into the woman who was selling flowers. and this woman goes to her daughter’s crib, and her claws are long, very long, green eyes and fangs in her mouth.(Kiseleva Lena, 9 years old, Gorky).
Another category of witches develops on the basis of the fairy-tale image of Baba Yaga. This interpretation appears in stories involving kidnapping. A witch of this type is surrounded by a characteristic “interior”: a forest, an oak tree, a lonely house or a hut. The following detail may also appear: And on the sides there were human heads sticking out on stakes. The policeman recognized many of them - they were his comrades.(Alesha Kondratov, 13 years old, Moscow). The portrait of such a witch turns out to be typically fairy tale-like: a witch with a hooked nose and a crutch instead of a leg(Kondratov Serezha, 8 years old, Moscow); as well as the purpose for which children are abducted: She lured brought her children to her, fed them with nuts and ate them ten days later.(Dima Kazakov, 8 years old, Novomoskovsk, Tula region).
A witch of “literary origin” can be considered Queen of Spades(Marina Tsyganova, 11 years old, Syktyvkar). Finally, the child’s everyday impressions could correlate with the image of the witch: Once my mother bought tulips at the Tishinsky market from an old woman who, by the way, had no teeth, but had false jaws.(Sasha Isaev, 10 years old, Moscow).
Complicating the image of the pest, the children turned to the experience of traditional folk prose. Was able to destroy the vampire dwarf one old man is old and old; for this he used a magic circle, fire, and aspen stakes. (Bunin Alyosha, 12 years old, Moscow). There are traditional ways of exposing a pest: by a severed hand, by a familiar ring, by hooves, fangs, as a result of entering a forbidden room, etc. The image of a pest could be supplemented by such details as cunning, deceit, caution, or, on the contrary, slow-wittedness (when they put a doll in his place instead of a child).
The psychology of the pest is naively refracted through the inner world of the children themselves. For example: people enter a dark theater hall during a performance terrible bloodsuckers, they kill all people. The usherettes notice this and ask a question, why are there so many dead? They started lying. They weren't believed because they turned red(Vayman Natasha, 10 years old, Zelenograd). Adults experience the feeling of fear like a child: All the people got scared, rushed to their homes and began to plug up all the cracks. After
They all climbed under the blankets and took the children with them.(Olya Garshina, 10 years old, Kovrov, Vladimir region).
The last stage in the evolution of the image of the enemy (according to the age levels of the performers) is the absence of a pest object and the development of artistic signs of a living (or humanoid) carrier of evil - a kind of overcoming of children's animistic ideas. Here the rapprochement with traditional folklore is especially clear: fantastic characters from fairy tales are being revived, uniquely combining with scientific and technical knowledge modern child. At the age of 13-15 years, children experience a crisis in the category of the miraculous; they come to deny unmotivated horrors. Horror stories are decomposing. Children begin to tell stories about real crimes, emphasizing their authenticity ( "The story that actually happened in Moscow" - Rtishcheva Lena, 14 years old, Moscow). They are trying to come up with a materialistic solution to the fantastic essence of the pest: abduction through hypnosis, the disappearance of ships in the “black hole” of the ocean... Fiction can be similar to the incredible coincidence of circumstances in a short story fairy tale. For example, one story tells that if the lights in a room are turned off, then in the wall appear two scary glowing eyes. But then the police find out that Before the new owners, an old woman lived in the house, and her son was once heavily irradiated and died. And the old woman took his eyes, put them in a jar and walled them up in the wall. And when the lights went out, they glowed.(Kiseleva Lena, 9 years old, Gorky).
The decomposition of horror stories is especially intensive through the creation of numerous parodies that ridicule the themes of prohibition, abduction and images of fantastic pests (objects, dead people, vampires, witches).
For example, the image of a witch appears in a very common parody of violation of the ban: a woman moved into a new apartment in which a nail was sticking out of the floor, but she was forbidden to pull it out. One day she tore her favorite dress on this nail, got very angry and tore it out. A few minutes later there was a knock on her door. The woman opened it and saw a terrible witch. The witch said: “I can’t sleep like this, and then the chandelier fell on me!”(Tanya Shenina, 10 years old, Moscow).
The irony of the parodies captures the older children's awareness of their intellectual superiority over the little ones.
So, in the system of images of scary stories, the central place is occupied by wonderful opponents. A scary story can do without an assistant and even without a main character, but the image of a pest is always present in it. He may be the only one. For example:
In a black room there is a black table,
on the table there is a black coffin,
in the coffin there is a black old woman,
she has a black hand.
"Give me my hands!"
(narrator grabs the nearest listener)
In the structure of the image of a pest, the evil principle manifests itself as a miraculous force. Children can accept it without justification; can develop a variety of motivations, from the most primitive to very detailed; they can deny it through parody - but in any case they express their attitude towards this wonderful evil force.
The intuitively expressed idea of two worlds runs through all the works of modern children's mythology: in them there is a real world ("house") and a fantastic world ("not-home"). The real world is always perceived as an undoubted reality, as an existing thing. The attitude of children to the fantastic world as a sphere of manifestation of miraculous power appears different. For younger children (5-7 years old), the real and unreal worlds are modally identical: they both act as an objective entity. The attitude of the narrator and the listeners towards them is equivalent: here a literal belief in the miraculous is revealed, which typologically brings this group closer to the traditional genre of non-fairy tale prose - the tale. The second group, belonging to the middle age group (children 8-12 years old), reveals a more complex relationship between the two worlds. It is no longer possible to talk about their identity, but the belief in the miraculous still remains. A modality similar to that of a fairy tale emerges: conditional belief in the miraculous. As a result, two trends are developing. On the one hand, in scary stories the genre characteristics of fairy tales begin to emerge, and on the other hand, the playful aspect intensifies. There is a separation between the narrator and the listeners: the first does not believe in the wonderful content, but strives to hide it and make the listeners believe, so that he can then laugh with them. In this one can see the initial signs of the decomposition of horror stories, an approach to their satirical interpretation. In the third
age group (children 13-15 years old), the unification of the narrator and listeners occurs again, but on the basis of a conscious denial of the miraculous by parodying it or discovering its illusory nature through the development of materialistic motivations. This involves the features of literary genres and anecdote. It is interesting that a number of parodies end with the phrase "You listened to the Russian folk tale ", which emphasizes the groundlessness of belief in fantastic horrors and expresses the attitude towards the fairy tale as fiction.
Scary stories are a fact of modern children's folklore and a significant psychological and pedagogical problem. They reveal age-related patterns in the development of consciousness. Studying this material will help discover ways to positively influence the development of a child’s personality.
LITERATURE ON THE TOPIC
Texts.
Pokrovsky E. A. Children's games, mostly Russian. - St. Petersburg, 1994. (Reprint reproduced, published 1895).
Sheth P.V. Collection of folk children's songs, games and riddles / Comp. A.E. Gruzinsky based on materials from Shane. - M., 1898.
Kapitsa O. I. Children's folklore: Songs, nursery rhymes, teasers, fairy tales, games. - L., 1928.
Kapitsa O. I. Children's folk calendar. (Introduction and preparatory publication by F. S. Kapitsa) // Poetry and ritual: Interuniversity. Sat. scientific works / Rep. ed. B. P. Kirdan. - M., 1989. - P. 127-146. (Publication of archival materials).
Folk wisdom: Human life in Russian folklore. - Vol. 1: Infancy. Childhood / Comp., prepared. texts, intro. Art. and comment. V. P. Anikina. - M., 1991.
Russian children's folklore of Karelia / Comp., prepared. texts, intro. art., preface S. M. Loiter. - Petrozavodsk, 1991.
One, two, three, four, five, we are going to play with you: Russian children's play folklore: Book. for teachers and students / Comp. M. Yu. Novitskaya, G. M. Naumenko. - M., 1995.
Children's poetic folklore: Anthology / Comp. A. N. Martynova. - St. Petersburg, 1997.
Research.
Vinogradov G. S. Children's folklore. (Published by A. N. Martynova) // From the history of Russian folklore studies / Rep. ed. A. A. Gorelov. - L., 1978. -S. 158-188.
Anikin V. P. Russian folk proverbs, sayings, riddles and Children's folklore: A manual for teachers. - M., 1957. - P. 87-125.
Melnikov M. N. Russian children's folklore of Siberia. - Novosibirsk, 1970.
Melnikov M. N. Russian children's folklore: Textbook. manual for pedagogical students. Inst. - M., 1987.
School life and folklore: Textbook. material on Russian folklore: In 2 parts*/ Comp. A. F. Belousov. - Tallinn, 1992.
The world of childhood and traditional culture: Sat. scientific works and materials / Comp. S. G. Ayvazyan. - M., 1994.
Cherednikova M. P. Modern Russian children's mythology in the context of facts of traditional culture and children's
Folklore is oral folk art: folk wisdom, knowledge about the world, expressed in specific forms of art. Verbal folklore is a specific art. The collective played a large role in the creation, storage, and sometimes performance of folklore. The problem of authorship, much less attribution, has never been raised.
The word “folklore” literally translated from English means folk wisdom. Folklore is works created by the people and existing among the masses, in which they reflect their labor activity, social and everyday life, knowledge of life, nature, cults and beliefs. Folklore embodies the views, ideals and aspirations of the people, their poetic fantasy, the richest world of thoughts, feelings, experiences, protest against exploitation and oppression, dreams of justice and happiness. This is oral, verbal artistic creativity that arose in the process of the formation of human speech.
In a pre-class society, folklore is closely connected with other types of human activity, reflecting the rudiments of his knowledge and religious and mythological ideas. In the process of development of society there arose different kinds and forms of oral verbal creativity. Some genres and types of folklore have lived a long life. Their originality can be traced only on the basis of indirect evidence: on texts of later times that retained archaic features of content and poetic structure, and on ethnographic information about peoples at pre-class stages of historical development. Only from the 18th century and later are the authentic texts of folk poetry known. Very few records survive from the 17th century.
The question of the origin of many works of folk poetry is much more complicated than that of literary works. Not only the name and biography of the author - the creator of this or that text - are unknown, but the social environment in which the fairy tale, epic, song, time and place of their creation is also unknown. The author’s ideological intention can only be judged from the surviving text, which was often written down many years later.
Folk art is permeated by a collective principle. It is present in the emergence and perception by listeners of newly created works, in their subsequent existence and processing. Collectivity manifests itself not only externally, but also internally - in the folk poetic system itself, in the nature of the generalization of reality, in images, etc. In the portrait characteristics of heroes, in individual situations and images of folklore works, there are few individual characteristics that occupy such a prominent place in fiction.
The images of folk heroes express the best features of the Russian national character; the content of folklore works reflects the most typical circumstances folk life. At the same time, pre-revolutionary folk poetry could not help but reflect the historical limitations and contradictions of peasant ideology. Living in oral transmission, the texts of folk poetry could change significantly. However, having achieved complete ideological and artistic completeness, works were often preserved for a long time almost unchanged as the poetic heritage of the past, as cultural wealth of enduring value.
In the chronological period from ancient times to the present day, folklore occupies an intermediate position and is a connecting link in the cultural space of centuries. Perhaps folklore has become a kind of filter for mythological plots of the entire society of the Earth, allowing universal, humanistically significant, and most viable plots into literature.
Children's folklore is formed under the influence of many factors. Among them are the influence of various social and age groups, their folklore; mass culture; current ideas and much more.
The concept of “children's folklore” fully refers to those works that are created by adults for children. In addition, this includes works composed by children themselves, as well as those passed on to children from the oral creativity of adults. That is, the structure of children's folklore is no different from the structure of children's literature. Many genres are associated with games in which the life and work of elders are reproduced, so the moral attitudes of the people, their national traits, and the peculiarities of economic activity are reflected here.
In the system of genres of children's folklore, “nurturing poetry” or “maternal poetry” occupies a special place. This includes lullabies, nurseries, nursery rhymes, jokes, fairy tales and songs created for the little ones.
Lullabies. At the center of all “mother’s poetry” is the child. They admire him, pamper him and cherish him, decorate him and amuse him. Gentle, monotonous songs are necessary for the child's transition from wakefulness to sleep. From this experience the lullaby was born. Often a lullaby was a kind of spell, a conspiracy against evil forces. Echoes of both ancient myths and the Christian faith in the Guardian Angel are heard in this lullaby. A lullaby has its own system of expressive means, its own vocabulary, and its own compositional structure. Short adjectives are frequent, complex epithets are rare, and there are many shifts of stress from one syllable to another. Prepositions, pronouns, comparisons, and entire phrases are repeated. The most common type of repetition in a lullaby is alliteration, i.e. repetition of identical or consonant consonants.
Sleep, sleep,
Hurry up to harrow,
We'll buy you a hairpin,
Let's sew a zipun;
Let's sew a zipun;
We'll send you to harrow
To the open fields
To green meadows.
Pestushki, nursery rhymes, jokes. Like lullabies, these works contain elements of original folk pedagogy, the simplest lessons of behavior and relationships with the outside world. Pestushki (from the word “to nurture” - to educate) are associated with the earliest period of child development. Pestlets accompany the physical procedures necessary for the child. Their content is associated with specific physical actions. The set of poetic devices in pestushki is also determined by their functionality. Pestushki are laconic. “The owl is flying, the owl is flying,” they say, for example, when waving a child’s hands. “The birds flew and landed on his head,” - the child’s hands fly up to his head. There is not always a rhyme in pestushki, and if there is, then most often it is a pair. The organization of the text of the pestles as a poetic work is also achieved by repeated repetition of the same word.
Nursery rhymes are a more developed form of play than pestles. Nursery rhymes entertain the baby and create a cheerful mood. Like pestles, they are characterized by rhythm. Sometimes nursery rhymes only entertain, and sometimes they instruct, giving the simplest knowledge about the world.
Nursery rhymes tell how “a white-sided magpie cooked porridge,” “a young blackbird walked through the water.”
A joke is a small funny piece of work, a statement, or simply a separate expression, most often rhymed. Entertaining rhymes and joke songs also exist outside the game, unlike nursery rhymes. The joke is always dynamic, filled with energetic actions of the characters. In a joke, the basis of the figurative system is precisely movement: “He knocks, strums along the street, Foma rides a chicken, Timoshka rides a cat - along the path there.” Often jokes are built in the form of questions and answers - in the form of a dialogue. This makes it easier for the child to perceive the switching of action from one scene to another, and to follow the rapid changes in the relationships of the characters.
Goat grinds flour
The goat falls asleep
And the little goats
The flour is raked out.
Ryaba hen
I pushed all the oats
I sowed millet
The peas were winnowed.
Fables, inversions, nonsense. These are varieties of the joke genre. Chukovsky dedicated a special work to this type of folklore, calling it “Silent absurdities.” He considered this genre extremely important for stimulating a child’s cognitive attitude towards the world and very well substantiated why children like absurdity so much. Changeling in a playful way helps the child to establish himself in the knowledge he has already acquired, when familiar images are combined, familiar pictures are presented in funny confusion.
Counting books. This is another small genre of children's folklore. Counting rhymes are funny and rhythmic rhymes, to which a leader is chosen and the game or some stage of it begins. Counting tables were born in the game and are inextricably linked with it. Works of this genre often use nursery rhymes, nursery rhymes, and sometimes elements of adult folklore. The counting book is often a chain of rhyming couplets.
The apple was rolling
Past the garden
Past the garden
Past the hail.
Who will raise
He will come out.
Three four,
Attached
Five six,
Carry hay;
Seven eight,
We mow the hay;
Nine ten,
Money weighs.
Tongue Twisters. They belong to the funny, entertaining genre. The roots of these oral works also lie in ancient times. This is a word game that was part of fun holiday entertainment people. Tongue twisters always include a deliberate accumulation of difficult-to-pronounce words and an abundance of alliteration (“There was a white-faced ram, he killed all the rams”). This genre is indispensable as a means of developing articulation and is widely used by educators and doctors.
Tricks, teasers, sentences, refrains, chants. All these are works of small genres, organic to children's folklore. They serve the development of speech, intelligence, and attention: “Say two hundred. Two hundred. Head in dough!” (Underdress.), “Rainbow-arc, Don’t give us rain, Give us a red bell!” (Call.), Teddy bear, About ear - bump.” (Tease.) The origin of the chants is connected with the folk calendar.
Game songs. Of particular note is the cycle of children's play songs and sayings. Even before the 20th century, collectors and researchers of folklore considered children's play as a primitive drama, which has its own scene (this or that setting), its own strictly defined order, live action and unique stage roles. The playing child must pass psychological type the depicted face of an old woman, a robber, a wolf, a fox, a bear, a hare, endowed with human qualities).
Children's games were a reworking of adult games and therefore reproduced in figurative form the everyday and working activities of the people. Imitating the work of adults, the children stood in a circle, walked this way and that way and chanted:
And we soared and soared.
And we plowed the land and plowed.
And we sowed millet and sowed.
And we weeded and weeded millet.
And we mowed and mowed millet.
And we destroyed the millet and destroyed it.
And we winnowed the millet and winnowed it.
And we dried the millet and dried it.
And we cooked the porridge and cooked it.
Currently, children play traditional games of “burners”, “geese-geese”, “hide and seek”, and “baskets”.
Most of all verbal game forms preserved in the children's repertoire of rhymes, performed before the game instead of drawing lots. They are not associated with specific oral dramatization texts and can serve any game.
Puzzles. Riddles belong to the small genres of Russian folklore.
Riddles have much in common with proverbs and sayings in content and artistic form. However, they also have specific features and represent an independent genre of folklore.
The term “riddle” is of ancient origin. In the Old Russian language, the word fortune meant “to think, to reflect.” This is where the word “mystery” comes from. The riddle gives a substantive description of some phenomenon, the recognition of which requires considerable thought.
Most often, riddles are allegorical in nature. The mystery object, as a rule, is not named, but instead its metaphorical equivalent is given.
Every riddle is, at its core, a tricky question. However, this interrogativeness of hers may or may not have an external form of expression. Riddles can be directly formulated as a question. For example: “What is more beautiful than white light?” (Sun); “What do we have more often than forests?” (stars). However, most often in riddles the question is not expressed outwardly and they are of a metaphorical and descriptive nature. For example: “A plate floats across the blue sea” (Month); “Once upon a time there lived three brothers: one loves winter, the other loves summer, and the third doesn’t care” (sleigh, cart, man).
Riddles, like all genres of folklore, are created on the basis of a living spoken language. The language of riddles, like the language of all folklore genres, is distinguished by accuracy, colorfulness and expressiveness. They widely use general folklore epithets, such as “damp earth”, “open field”, “dark forest”, “green garden”, “good fellow”, “red maiden”, “native mother”, etc., as well as some general folklore comparisons, tautological expressions, etc.
However, the poetic style of riddles also has its own distinct genre specificity; riddles are characterized by a high degree of metaphor, which permeates absolutely all its stylistic means. Let us give examples of metaphorical (mysterious) epithets “blue field” (sky), “water bridge” (ice), “golden stump” (thimble), etc. Sometimes, the riddle is based on metaphorical epithets. For example: “Steel horse, linen tail” (needle with eye), “Meat oven, iron grips” (horseshoes). “The flowers are angelic, and the marigolds are devilish” (rosehip).
Many fairy tales are created on the basis of fairy-tale images: For example: “Baba Yaga, short leg” (plow), “The horse runs - the earth trembles” (thunder), “The eagle bird flies, carries fire in its teeth, in the middle of it is human death” (lightning ). And here is a riddle that uses the saying: “On the sea, on the ocean there is an oak tree with deaths, shoots are damned, leaves are suitcase-like” (burdock).
In turn, riddles are often included in fairy tales.
1. Genres of children's folklore. Examples.
Children's folklorearea of folk culture, a unique tool for the socialization of a child. As a sphere of folk culture, it is relatively independent. It has its own genre system and aesthetic specificity. Children's folklore represents one of the areas of oral folk art. Despite the visible differences between children's folklore and the folklore of adults, the boundary between them is established in the course of the historical and functional study of individual genres. Thus, some researchers refer to lullabies as children's folklore, while others consider them to be adult folklore, adapted for use in a children's environment. At the same time, genres continue to exist that can equally be attributed to both adult and children's folklore: riddles, songs, fairy tales.
TO lullaby song - one of the oldest genres of folklore. It is usually a melody or song sung by people to help them calm down and fall asleep. A lullaby is a song used to lull a child to sleep. Since the song was accompanied by the measured swaying of the child, rhythm is very important in it.
Hush, Little Baby, Do not Say a Word,
Don't lie on the edge
The little gray wolf will come,
And he grabs the barrel,
And he will drag you into the woods,
Under the broom bush
The birds are singing there
they won't let you sleep.
The heroes of other lullabies are wizards. Such as “Dream”, “Dream”, “Ugomon”.
Ay, lyu-li, ah, lyu-li,
Take you away
Take you away
Our baby, sleep well.
Sleep walks near the windows,
Dryoma wanders near the house,
And they look to see if everyone is sleeping.
P sayings - appeals to insects, birds, animals.
Bee, bee, give us honey,
May the deck be full!
We will eat honey and say:
“Oh, what a hard worker our little bee is!”
* * *
Ant-grass,
Green, fragrant - there is no one better than you!
In the clearing and in the forest
Don't dull my braid
Hay in stock for the winter
And I’ll bring it to the cow!
* * *
Bird-bird - nightingale,
Come and visit us as soon as possible!
Tirli-tirli-tirli-ley,
Our life will be more fun!
Z riddle - a metaphorical expression in which one object is depicted through another that has some, at least distant, similarity with it; Based on the above, a person must guess the intended object.
Not a tailor, but walks around with needles all his life. (Hedgehog)
I swam in the water, but remained dry. (Goose)
There are seven brothers, equal for years with different names. (Days of the week)
P donkey - small form folk poetry, dressed in a short, rhythmic saying, carrying a generalized thought, conclusion, allegory with a didactic bias.
“Life is given for good deeds.”
“Speech is beautiful as a proverb.”
“Trust in God, but don’t make a mistake yourself.”
“For a cowardly bunny, a wolf doesn’t need a stump.”
P reservation - a phrase, a figure of speech reflecting some phenomenon of life, one of the small genres of folklore. Often has a humorous character.
“Hunger is not an aunt, it won’t feed you with pie”
"Teach your grandmother to suck eggs"
"A fly in the ointment"
WITH e-readers - a type of children's creativity. As a rule, these are small poetic texts with a clear rhyme-rhythm structure in a humorous form, intended for the random selection of (usually one) participant from a multitude.
The month has emerged from the fog,
He took the knife out of his pocket,
I will cut, I will beat,
You still have to drive.
***
Eniki, beniks ate dumplings,
Eniki, beniks ate dumplings,
Eniki, beniki, hop!
Green syrup came out.
***
Eni, beni, ricky, taki,
Turba, urba, synthbrucks,
Eus, beus, krasnobeus,
Bam!
P swelling is a genre of oral folk art. The nursery rhyme entertains and develops the baby.
We woke up, we woke up.
Sweet, sweet reached out.
Mom and Dad smiled.
***
Oh, the little one,
Little eyes got wet.
Who will hurt the baby?
The goat will gore him.
D raznilki reflect negative aspects in children’s perception of the world around them. They can be both funny and offensive at the same time.
Curious at the market
They pinched their nose in the basket.
To the curious the other day
I pinched my nose the other day.
Curious Varvara
The nose was torn off at the market.
***
Uncle piggy - I repeat,
And the name is Indian.
I licked all the plates,
And he didn’t say thank you!
P ripevka serve as a reflection of pictures of children's life, closely connected with the surrounding nature. For example, the guys went to the river to swim, found a snail near the water and began to persuade it:
Snail, snail, let out your horns!
I'll give you the end of the pie and a jug of cottage cheese,
If you don't let go of your horns, the goat will gore you.
The fish danced with the crayfish,
And parsley - with parsnips,
Celery - with garlic,
And the turkey is with a rooster.
But I didn’t want carrots
Because I couldn't.
***
Oh lyu-lyu, tara-ra
There is a mountain on the mountain,
And on that mountain there is a meadow,
And in that meadow there is an oak tree,
And he sits on that oak tree
Raven in red boots
In green earrings.
Black raven on an oak tree,
He plays the trumpet
Turned pipe,
Gold plated
In the morning he blows the trumpet,
By night he tells tales.
Animals come running
Listen to the crow
Eat some gingerbread.
WITH tongue twisters were originally invented to entertain children. However, others were soon discovered beneficial features this comic fun.
In the stove there are three chocks, three geese, three ducks.
***
Beaver Good for beavers.
***
Good beavers go into the forests.
***
The woodpecker was pecking at the oak tree, but didn't finish it.
***
Greek rode across the river,
He sees a Greek - there is a cancer in the river,
He stuck the Greek's hand into the river,
Cancer by the hand of the Greek DAC.
N asshole - a genre of oral folk art, a prose or poetic narrative of a small volume, usually of comic content, the plot of which is based on an image of a deliberately distorted reality.
A village was driving past a man,
Suddenly the gate barks from under the dog.
A stick jumped out with a grandmother in his hand
And let's bludgeon the horse on the guy.
The roofs got scared, they sat on the crows,
The horse drives the man with a whip.
Three wise men
Three wise men in one basin
We set off across the sea in a thunderstorm.
Be stronger
Old basin,
Longer
It would be my story.
H Astushka - folklore genre, short Russian folk song (quatrain), humorous content, performed at a fast pace.
I was sitting on the stove
She guarded the rolls.
And there are mice behind the stove
They were guarding the donuts.
***
Vova was lazy in the morning
Comb your hair
A cow came up to him
I combed my tongue!
***
Little kids love
All kinds of sweets.
Who gnaws and who swallows,
Who is rolling on the cheek?
Z nicknames - appeals to natural phenomena (sun, wind, rain, snow, rainbow, trees).
Rain, rain, more fun
Drip, drip, don't be sorry!
Just don't get us wet!
Don't knock on the window in vain.
***
Rainbow-arc,
Don't let it rain
Come on sunshine
Red bucket.
***
Thunder booming,
Crack the clouds
Give it some rain
From the heavenly steep.
P estushka - This is another genre of oral folk art intended for very young children. Pestushka – short poem or a song that is understandable and interesting for a child.
Big feet
Walked along the road:
Top, top, top,
Top, top, top!
Little feet
Running along the path:
Top, top, top, top,
Top, top, top, top!
***
Handles-handles - stretchers
And the palms are clappers.
Legs-legs - stompers,
Running errands, jumping.
WITH Good morning, pens,
Palms and legs,
Flower cheeks - Smack!
