Municipal budgetary preschool educational institution Kindergarten No. 2
Specificity of children's folklore, its genres and classification
Report on the topic of self-education
prepared:
BELYAKOVA OLGA IVANOVNA
music director
"Specificity of children's folklore, its genres and classification"
Purpose: To give the concept of children's folklore, to acquaint with the genres of children's folklore and their characteristics.
Objectives: 1 .Educational: to give the concept of children's folklore, to acquaint students with the main genres of children's folklore, their features, samples of Kazakh and Russian children's folklore.
2. Educational:to educate a careful and sensitive attitude to CNT, the richness of the language, to form a culture of speech.
3. Developing:develop speech, thinking, outlook of students.
Children's folklore concept. Types of children's folklore.
Nursing poetry (maternal poetry)
Calendar children's folklore.
Game folklore.
Didactic folklore.
"Children's folklore presents
specific area of \u200b\u200bfolk 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 written by the children themselves, as well as those transferred to children from the oral creativity of adults.
Studying children's folklore, one can understand a lot in the psychology of children of a particular age, as well as reveal their artistic preferences and the level of creative possibilities. Many genres are associated with the game, in which the life and work of elders is reproduced, therefore, the moral attitudes of the people, its national features, and the peculiarities of economic activity are reflected here.
Types of children's folklore.
Children's folklore is divided into several groups:
"Poetry of nurturing" ("mother poetry") - lullabies, pestushki, nursery rhymes, jokes
Calendar - chants and sentences
Game - game choruses and sentences, draw conspiracies, rhymes, teasers, jokes, shape-shifters.
didactic -
2. Poetry of nurturing (maternal poetry)
In the system of genres of children's folklore, a special place is occupied by "nurturing poetry" or "mother poetry". These include lullabies, little dogs, nursery rhymes, jokes, fairy tales and songs created for the little ones
"The poetry of nurturing" is associated with the upbringing of young children, with the care and attention to them.
Lullabies (from the word "tales" - "bayat, speak, whisper, speak") -works of oral folk art, songs that help to rock, lull a child.
At the center of all "maternal poetry" is the child. They admire him, cherish and cherish him, decorate and amuse him .. The kid is surrounded by a light, almost ideal world in which love, goodness, and universal consent reign and prevail.
Gentle, monotonous songs are essential for the child's transition from wakefulness to sleep. From such experience a lullaby was born .. In her songs for the baby, the mother includes what is understandable and pleasant to him. These are "gray cat", "red shirt", "a piece of cake and a glass of milk", "crane. These words give the first skills native speech.
The rhythm and melody of the song was obviously born from the rhythm of the cradle swing. Here is the mother singing over the cradle:
Baiushki bye!
Save you
And have mercy on you
Your angel -
Your keeper.
From every eye
I cry from everyone
From all the sorrows
From all misfortunes:
How 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 a lullaby is a cat. He is mentioned along with fantastic characters - Sleep and Drema. ...
Folk pedagogy included in the lullaby not only good helpers, but also evil, scary, not very sometimes even understandable (for example, the ominous Buka). All of them had to be appeased, conjured, "diverted" so that they would not harm the little one, and maybe even help him.
Singing songs teach the baby's ear to distinguish the tonality of words, 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.
Bayu-byu-byu-byu,
Sleep, my dear, go to sleep.
Dogs ( "Nurture" - "nurse, raise, follow someone, carry, educate") - short verse sentences that accompany the movements of the baby 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 swaddled him or freed him from clothes, strokes the little body, unbends the arms and legs, saying, for example:
Puff-puffs,
Across the fatty
And in the legs - walkers,
And in the pens - grabbing,
And in the mouth - talk,
And in the head - a mind.
Thus, the little dogs accompany the physical procedures required by the child. Their content is associated with certain physical actions. The set of poetic tools in pestushki is also determined by their functionality. Piggies are laconic. “An owl flies, an owl flies,” they say, for example, when they wave the hands of a child. "The birds flew, sat on the head," the child's arms fly up onto the head. Etc. There is not always a rhyme in the little dogs, and if there is, then most often it is a steam room. The organization of the text of the little dogs as a poetic work is also achieved by repeated repetition of the same word: “Geese flew, swans flew. Geese flew, swans flew ... "
Water, water, wash my face
So that the mouth laughs,
To bite a tooth.
Nursery rhymes - songs that accompany the child's games with fingers, hands, legs.
The white-sided magpie cooked porridge, fed the children ...
Nursery rhymes - a more elaborate play form than the little dogs. Nursery rhymes entertain the kid, create a cheerful mood in him. Like little dogs, 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 did not give!
Sometimes nursery rhymes only entertain (as above), and sometimes they instruct, give the simplest knowledge about the world. By the time the child is able to perceive the meaning, and not only the rhythm and musical mode, they will bring him the first information about the plurality of objects, about counting. This is how thought processes begin in his mind.
Forty, forty,
White-white-sided,
Cooked porridge
I beckoned guests.
Porridge on the table
And the guests to the yard.
The first one is porridge,
To the second - mash,
The third - beer,
Fourth - wine,
And the fifth got nothing.
Shu, shu! Flew away, sat on the head.
Perceiving the initial score through such a nursery rhyme, the child is also puzzled by why the fifth did not get anything. Maybe because he doesn't drink milk? After all, the goat butts for this - in another nursery rhyme:
Who does not suck a nipple,
Who does not 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 is very significant.
Jokes are songs reminiscent of small fairy tales in verse.
Dili-dili-dili-don, the cat's house is on fire.
The cat jumped out, its eyes bulged,
A chicken runs with a bucket, fills the cat's house.
Petya-Petya-Cockerel, golden comb,
Butter head, silk beard,
Why do you get up early, don't let the kids sleep?
Jokethey call a small funny piece, statement or just a separate expression, most often rhymed. Entertaining rhymes and jokes exist outside the game (as opposed to nursery rhymes). The joke is always dynamic, filled with energetic actions of the characters. We can say that in the joke, the basis of the imaginative system is precisely the movement: "Knocks, strumbles along the street, Foma rides a chicken, Timoshka rides a cat - there along the path."
3. Calendar children's folklore.
Calendar children's folklore includes such genres as
chantsand sentences (these terms were introduced by a renowned linguist).
Calls (" call out» - "call, ask, invite, contact") - appeals to the sun, rainbow, rain, whose words are shouted out chorussingsong.
Rainbow arc, don't let it rain
Come on, sun bell.
Sentences - appeals to living things (to a mouse, snail, bugs), pronounced by each child one by one.
Ladybug fly away to the sky
Your kids eat candy there.
The chants by their origin are associated with the folk calendar and pagan holidays.
In games that have survived to this day and include chants, sentences are clearly visible traces of ancient magic. These are games held in honor of the Sun (Kolyada, Yarila) and other forces of nature. The chants and choruses accompanying these games retained the people's faith in the power of words.
4. Play children's folklore.
Play children's folklore is represented by genres such as
game choruses and sentences,
conspiracy by lot,
rhymes,
teasers,
underwear,
shape-shifters.
Game choruses, sentences - rhyme rhymes 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 the rules of behavior.
The bear has mushrooms in the forest, I take berries,
And the bear does not sleep and looks at us.
Don't say yes and no
Do not wear black and white,
Do not pronounce the letter "P".
A conspiracy of lots - a rhymed appeal to the "queens" in order to divide into teams.
Pouring apple or golden saucer?
The counting room is a rhymed rhyme consisting of invented words with emphasized strict observance of the rhythm.
Counting rhymes are called funny and rhythmic rhymes, under which they choose the host, start the game or some stage of it. Counters were born in the game and are inextricably linked with it.
Tarya-Marya went to the forest,
I ate cones, told us
But we don't eat cones,
We'll give it to Tara-Mare.
Teaser is a rhyming addition to a name.
Arkhip is an old mushroom.
Andrey is a sparrow, don't chase pigeons,
Chase the checkboxes from under the sticks.
Teddy bear-egg, Near the ear - a lump.
Poddovka is a small folklore genre of humorous content based on a play on words.
Say two hundred.
Two hundred.
Head in the test!
-Say the cock.
-Cock.
-You are rotten!
All these are works of small genres, organic for children's folklore. They serve the development of speech, intelligence, attention. Thanks to the poetic form of a high aesthetic level, they are easily remembered by children.
Turning fables, nonsense . These are varieties of the joke genre. Thanks to the “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 away among adults - then it no longer comes to the fore
cognitive, and comic effect of "stucco absurdities".
A barn is burning in the middle of the sea.
The ship is running across a clear field.
The peasants on the street beat stabs
They hit the stabs - they catch fish.
A bear flies across the skies
Waving a long tail!
Rode the village
Past the man
Suddenly from under the dog
The gate is barking.
Snatched the cart
He's out from under the whip
And let's bludgeon
Her gate.
The roofs were scared
Sat on a raven
The horse is driving
A man with a whip.
5. Didactic folklore.
The goal of didactic children's folklore is the upbringing and development of children, transferring the accumulated experience to them, equipping them with the knowledge necessary for adult life.
The genres of didactic folklore include tongue twisters, riddles, proverbs and sayings.
Tongue twister is a quick repetition of difficult to pronounce words and phrases.
The meaning of tongue twisters - setting clear diction.
The dust flies across the field from the clatter of hooves
The crow missed the funnel.
They belong to the amusing and entertaining genre. ...
The cap is sewn
Yes, not in Kolpakov style.
Who would be that cap
Overcaped?
Riddle is a genre of folklore, which indicates the distinctive features and properties inherent only in the enigmatic object. Usually assumed 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... (a life)
I AM, like a grain of sandsmall and cover the earth,
I am out of water, and I give birth to it myself.
Like fluffi lie in the fields
AND, like a diamondi shine in the sun. (snow)
A proverb is an apt folk saying, usually consisting of two parts, the second part explains the first.
To be afraid of wolves - do not go to the forest.
If you want to ride, love and haul sleighs.
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 dzhigit is judged by his deeds.
All these genres of folklore, transcribed to music, are children's musical folklore.
Summing up, we can say that folklore plays an important role in the development of children. Folklore not only develops a child's speech, but allows him to teach him moral standards. Folklore works represent a unique medium for transmitting wisdom, accumulated by many generations.
Literature:
1. Actual problems of artistic education of children of preschool and school age: Collection. - M., 1983.
2.Olklore 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 the mental development of the 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 .: Publishing house of the State. Rus. Geographic. 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). 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, lyric songs of love content 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, do not consider the features of its content, artistic form and the specifics of being.
What is meant 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 refers to children's folklore as "creativity of adults for children, creativity of adults, which eventually became children's, and children's creativity in the true sense of the word." This opinion is shared by E.V. Pomerantseva, V.A. Vasilenko, M.N. Melnikov et al. The aforementioned researchers characterize children's folklore, as a rule, begin with an examination of the works created by adults and performed by them for children (lullabies, little dogs and nursery rhymes).
Other scholars refer to children's folklore only those works that are created and performed by the children themselves. Thus, the famous researcher of children's folklore G.S. Vinogradov, objecting to the attribution of "creativity of adults for children" to children's folklore, wrote: "Usually this group of verbal works is attributed to children's folklore. There is little reason for such an attribution. Children's folklore consists of works that do not include the repertoire of adults; it is a set of works by performers and the listeners of which are the children themselves. The considered group, as the creativity of adults for children and constituting the repertoire of mainly adults, should be isolated: this is the creation of the mother and pestunya, this is the mother's poetry, or the poetry of nurturing. "
Does not attribute the creativity of mothers and pestuns to children's folklore and N.P. Andreev, who called one of the sections of his anthology on folklore "Lullabies and children's songs".
He does not consider lullabies to be children's folklore and V.I. Chierov. One of the sections of his lecture course "Russian folk art"(1959) called" Lullabies and Children's Songs "pp. 346-348).
The point of view of G.S. Vinogradova, N.P. Andreeva seems completely fair to us. It is impossible to refer to children's folklore as lullabies, little pets and nursery rhymes, which were created and performed only by adults, but they were not only not created by children, but never performed. Children's folklore is primarily works created and performed by the 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 at the performance of folklore by adults, and they often master its individual works. At a certain stage, some traditional genres fade away, disappear into adult folklore; pass to children, live as an organic component of children's folklore repertoire. Changing, these works acquire signs of children's folklore and become an organic part of 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 reworked in accordance with the psychology and needs of children.
The foregoing 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, sentences, jokes, etc.), as well as in genres developed by the children themselves (drawing of lots, rhymes, teasers, etc.). The genre system of children's folklore is a rather mobile 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 XIX century. children's folklore of the National Assembly stood out in a special section of folk poetry, did not specifically fit in. Publications of children's folklore were sporadic and very few in number.
In the 50-60s of the XIX century. in connection with the increased interest in folk art, children's folklore also attracts attention. Children's folklore works are recorded by N.I. Dal, P.V. Shane, P.A. Bessonov and other folklorists. And 1861-1862. the well-known collection of V.I. Dahl "Proverbs of the Russian people", v. which also contains a variety of children's folklore material (play sentences, rhymes, tongue twisters, etc.). In 1870 the collection of P.V. Shein's "Russian Folk Songs", which opens with a section on children's folklore. The main part of the children's songs was recorded by Shane himself, some texts are given in the recording of 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 activity 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 the peasant children of the Kazan province" (1882). In 1898, the first volume (issue 1) of Shein's "Great Russia" was published, in which about 300 works of children's folklore were published. In the same year the "Collection of children's folk songs, games and riddles" was published, which was compiled by A.E. Georgian based on Shein's materials. In the last third of the XIX - early XX century. 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 Starina", "Ethnographic Review" and various "Provincial Gazette".
The collection of children's folklore continues in soviet time... It should be noted that G.S. Vinogradova, O. I. Kapitsa, M.V. Krasnozhenova and N.M. Melnikov. The books by O.I. Kapitsa "Children's Folklore" (1928) and G.S. Vinogradov's "Russian children's folklore" (1930). Certain 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 "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 the pre-revolutionary and Soviet folklorists have collected quite significant material on children's folklore. However, work in this area should be continued and intensified. And not the least role in this matter can be played by the annual folklore practice of students, student folklore expeditions.
DEFINITION OF CHILDREN'S FOLKLORE
Children's folklore is a specific area of \u200b\u200boral artistic creation, which, in contrast to the folklore of adults, has its own poetics, its own forms of existence and its carriers. A common, generic feature of children's folklore is the correlation of a literary text with play.
For the first time, the famous teacher KD Ushinsky paid serious attention to children's folklore. In the 60s. XIX century. in the journal Uchitel there were publications of works of children's folklore and their analysis from the point of view of the physiology and psychology of the child. At the same time, a 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 basis for subsequent theoretical works.
In 1921, a commission on children's folklore, everyday life and language was established in the Russian Geographical Society (RGO). In the 1920s. the first studies of children's folklore and the term itself, proposed by G. S. Vinogradov, appeared. Since the 1960s. MN Melnikov studied Russian children's folklore in Siberia. In modern science about children's folklore two problematic aspects emerged: folklore and the inner world of the child's developing personality; folklore as a regulator of the child's social behavior in the children's collective. 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 especially for children and learned by tradition. GS Vinogradov emphasized that "children's folklore is not a random collection of incoherent phenomena and facts, which is a" small province "of folklore, interesting for a psychologist and a representative of scientific pedagogical
thoughts or teacher-practitioner and educator; children's folklore is a full-fledged member among other long-recognized departments of folklore. "
Children's folklore is a part of folk pedagogy, its genres are intuitively based on taking into account the physical and mental characteristics of children of different age groups (babies, children, adolescents). Folk pedagogy is an ancient, complex, developing phenomenon that does not lose its relevance. She has always taken into account the role of the word in the formation of personality. Children's folklore has preserved traces of the worldview of different eras and expressed the tendencies of our time.
The artistic form of children's folklore is specific: it is characterized by its own figurative system, a gravitation towards rhythmized speech and play. Play is an element psychologically necessary for children.
Children's folklore is multifunctional. It combines different functions: utilitarian and practical, cognitive, educational, mnemonic, aesthetic. It helps to instill in the child the skills of behavior in the children's team, and also naturally introduces each new generation to the national tradition. There are different ways and means of transmission of traditional children's folklore: conscious transmission by adults to children; spontaneous adoption from adults, peers or older children.
The classification of works of children's folklore can be made according to its functional role, paths of origin and existence, artistic form, and ways 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.
Children's folklore works are performed by adults for children (maternal folklore) and the children themselves (children's folklore proper). Maternal folklore includes works created by adults for play with very young children (up to 5-6 years old). They encourage the child to be awake and physical (certain movements), arouse interest in the word. Folklore performed by the children themselves reflects their own creative activity in the word, organizes the play actions of the children's collective. It includes works by adults, passed on to children, and works written by themselves
children. It is not always possible to draw the line between maternal and children's folklore, since from 4-5 years old children begin to imitate adults, repeating play texts.
MOTHER'S FOLKLORE
Lullabiesexpressing tenderness and love for the child, they had a very specific goal - to lull him to sleep. This was facilitated by a calm, measured rhythm and monotonous melody. The singing was accompanied by the swaying of the cradle, and onomatopoeia could appear in the songs:
Berezonkahid- creaks,
And my son is sleeping, sleeping.
The roots of lullabies go back to antiquity. V.P. Anikin believes that their general evolution consisted in the loss of ritual and conspiracy-spell functions. Probably a vestige of such ancient performances is a small group of songs in which the mother wishes the child to die. ("Baiu, baiu da lyuli! Though now die ...").The meaning of the wish is to deceive the diseases that torment the child: if he is dead, they will leave him.
In lullabies, the role of improvisation is great: they were sung until the child fell asleep. At the same time, traditional, stable texts were of great importance.
A. N. Martynova singled out imperative and narrative among them. "Imperative songs are a monologue addressed to a child, or to other people, or to creatures (real or mythological). The child is addressed with a wish for sleep, health, growth, or the demand for obedience: not to lie on the edge, not to raise your head, not Birds, animals, mythological characters are asked to give the child sleep, not to interfere with 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 to him, about animals and birds that take care of him. "
In the figurative world of lullabies, there are such personifications as Sleep, Sandman, Calm. There are conversions to Jesus Christ, the Mother of God and the saints. Popular songs with images of pigeons ("Ay, lyuli, lyulenki, gulenki arrived ...")and especially the cat. The cat must rock the child, for this he will receive a jug of milk And a piece of cake.In addition, the grateful mother promises the cat:
I will gild the ears,
I will silver the 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 situation 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 the nannies and nurses.
Pestushki, nursery rhymes, jumpingencouraged the child to stay awake, taught him to move his arms, legs, head, fingers. As in lullabies, rhythm played an important role here, but its character is different - vigorous, cheerful:
Tra-ta-ta, tra-ta-t ,.
A cat married a cat ..
Piglet amuses himself with the rhythm, changing it:
Big feet
Walking along the road:
Top-top-top,
Top-top-top.
Little feet
We ran along the track: Top-top-top-top-top,
Top top top top top!
Piggies are associated with stroking the child, with his first movements; jumping - with jumping on your knees
an adult; nursery rhymes - with plot elements, games ( "Okay, okay ...", "There is a horned goat ...").Enumerations 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 (one-motive or cumulative), reminiscent of "little fairy tales in verse" (VP Anikin). Children's fairy tales did sometimes become jokes (see. "There was a chicken rya-benka ..."),and vice versa: how fairy tales could be told jokes ( "The goat went for the nuts ...").The content of the jokes is bright and dynamic: everyone runs to fill in the lit cat house;bring to life steameda flea (or a mouse) in the bath; grieving for the broken testicle that she laid ryabenka chicken \\owls are going to the wedding with white moon ...The images of animals are very expressive: A goat in a blue sundress, In linen pants, In woolen stockings.Jokes contain the first edifications: the stubborn goat is eaten by wolves; kysonka-murysonkadid not leave butter to treat another ... However, the main role of jokes is cognitive. The child learns about people, animals, phenomena, objects, about their typical properties. Often cumulative plots serve this: fire burns out a forest, water extinguishes a fire, bulls drink water, etc.
Among the jokes, a special place is occupied by fiction-shifters,famous also in adult entertainment folklore. Their aim is to create comic situations by deliberately mixing real objects and properties. If this makes the child laugh, it means that he correctly understands the relationship between things and phenomena. The characters of fables behave inconsistently with reality, which can be directly indicated:
Where have you seen it.
Where is it heard
So that the chicken gives birth to a bull.
The piglet laid a testicle ...etc.
CHILDREN'S FOLKLORE PROPERLY
The genres of children's folklore proper, depending on the degree of their use or involvement in the game, can be divided
pour on the poetry of outdoor games (associated with plot-organized motor actions) and the poetry of word games (in which the word plays the main role).
Poetry of outdoor games
The draw(or "collusion") determine the division of the players into two teams, establish order in the game. These are laconic works, sometimes rhymed, containing an appeal to uterus(to representatives from each group) and a question, or just one question that offers a choice. When creating the draw, children often improvised based on fairy tales, songs, proverbs, sayings, riddles, fables (Black horse or daring Cossack?; Pouring apple or golden saucer?).Many of the draws were humorous. (Did you get lost on the stove or drowned in a pot? A fox in flowers or a bear in trousers?)
Readersare used to distribute roles in the game, with rhythm being critical. The presenter pronounces the counting rhyme rhythmically, monotonously, consistently touching each participant of the game with his hand. Readers have a short verse (1 to 4 syllables) and usually a choreic meter.
The roots of counting rhymes go back to antiquity. Researchers discover a connection between children's counting rhymes and ancient forms of fortune-telling (the choice of the driver by chance), with an archaic belief in number and with conventional speech that arose on the basis of the taboo of numbers. Distorted forms of words were born in the language of adults as a result of the ancient prohibition to consider what was supposed to ensure good luck in hunting, abundance in the peasant economy. In more late time the secret account of representatives of various social groups: gamblers, itinerant 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 characteristic of them (first-borns, friends),used incomprehensible foreign words with a distortion of their sound structure, invented word-like combinations of sounds, added rhythmic particles (Eni-beni three kateni ...).Abstruse rhymes, the meaning of which is not clear to either adults or children, retain the main artistic feature of the genre - a distinct rhythm.
In addition to the abstruse, there are counting rhymes and plot rhymes that are especially popular among children. Numbers can be plotless, cumulative and with the rudiments of a plot ( "One, two- lace ... ").Subject rhymes borrow excerpts from
lullabies, songs and ditties of the adult repertoire, from children's games, teasing, from popular children's poems (S. Mikhalkov, K. Chukovsky, etc.) - Some of the texts are very stable. For example, both in the XIX and XX centuries. folklorists wrote down versions of the reading room in different areas "The bag rolled From a high hump ...".
Game verdicts and choruseswere included in the game action and contributed to its organization. The content of these works was determined by the game itself.
In the games, children portrayed family life and labor activities in the village, which prepared them for adulthood. In children's games, echoes of ancient pagan games have been preserved ( "Kostromush-ka"),traces of reverence for fire ( "Smoking room"),sun ( "Golden Gate")and other objects. Round dance games of adult youth sometimes passed to children. Some of the games of younger children arose as dramatization of jokes. Jokes introduced a cumulative composition into the game, and rhythm, onomatopoeia, and so on in the accompanying verbal series.
Poetry word games
Calls and sentences- genetically the most ancient forms of children's word games. By origin, they are associated with the calendar rites 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 cries was close to the concerns and aspirations of the farmers: the need for rain or, on the contrary, the sun. Children turned to the forces of nature as to mythological creatures, tried to appease them, promised a sacrifice:
Rain, rain, more!
I'll take out the thick.
Bread edge.
A crust of pie.
The chants were chanted in chorus. In contrast, the sentences were pronounced individually and quietly. They contained a conspiracy request addressed to a snail, a ladybug, a mouse ... The request was to show the 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 trapped in the ear while bathing; when baited
hook worms, etc. In their sentence, the children could turn to Christian saints. So, going for mushrooms, they said:
Nikola, Mikola,
Fill the basket.
Riding in a stack
A changeling.
The favorite verbal game of older children has been and remains tongue Twisters- fast repetition of difficult to pronounce words. Errors in pronunciation make you laugh. While playing, children simultaneously develop the organs of articulation.
A kind of verbal exercises were silent- a verse agreement to be silent, as well ghosts(option: "volosyanki") - competition in drawing out the vowel sound at the end of the rhyme in one breath.
The 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 verbal playfulness was manifested. Children's satire genres - teasers and ridicule,and tricks, reconciliations, excuses.They are short, mostly poetic texts designed for the listener to whom they are addressed individually.
Satirical genres regulate the child's social behavior, determine his place in the children's team. Teasers ridicule what is perceived as negative by children. Their objects are fat, toothless, oblique, bald, red-haired, greedy, sneak, thief, crybaby, imagining, beggar, "bride and groom",as well as myself teased (Teased - dog snout).Taunts, unlike teasers, are usually unmotivated. They arise from nicknames, i.e. rhymed additions to the name (Alyoshka-flatbread, Andrey-sparrow ...);from repetitions of different forms of the child's name (Vanya-Vanya-Vanerok, Vaska-Vasyuk, Katya-Katya-Katerina ...).Tricks teach you to be on the lookout, calculated to deceive the interlocutor, put him in a mess and demand retribution for stupidity or oversight:
- Tanya, Sanya, Lizavetpa
We went by boat.
Tanya, Sanya drowned.
Who stayed in the boat?
- Lizaveta.
- Clap you for this!
The child, who has become the object of ridicule, receives the first life lesson and tries to learn it. If the criticism is fair, then you need to accept it and try to improve. In this case, you can use a mirilka ( "Make up, make up, make up ...").Otherwise, when the mockery is unfair, it is offensive. The offender is dealt with with his own "weapon" - an excuse:
Call me for a whole year
You're a hippo anyway.
Call me names for a century.
Anyway iperson.
The excuse can also be used against a compulsive beggar:
- Will you give it to me?
- Will you give something left for Paris,
And you can buy one.
4. MODERN CHILDREN'S MYTHOLOGY ("SCARY STORIES")
The content and form of children's folklore works were influenced by changing social conditions. In the second half of the XX century. most of the children became city dwellers. Meanwhile, in the mental development of children, the need to go through the stage of vivid experiences of the inexplicable miraculous, which gives rise to a feeling of fear, and to overcome this fear remained unchanged. In the feudal village, such a need was satisfied by the national folklore tradition (children listened and told stories themselves, legends, fairy tales). Modern children have a different outlook. It is shaped by urban life, literature, cinema, radio, television. However, the form of the spoken word retains its meaning.
Once GS Vinogradov noted in children "the only kind 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) - have become the subject of study of folklorists, psychologists and educators since the 1960s. Apparently, the beginning of the mass existence of children's scary stories belongs to this time. Horror stories function according to all the rules of folklore: they are fixed by tradition, passed down "from mouth to mouth". They are told by children of all ages, from 5 to 15 years old, but the most typical age limits are from 8 to 12 years old.
It is known that the leading creative activity of younger children - drawing - is gradually being replaced by verbal creativity. Poetic genres are the first to appear in the children's repertoire (which is facilitated by their small volume, rhythm, and connection with play). At the age of 6-7, an important restructuring of the principles of thinking takes place: the child begins to realize the cause-and-effect relationship, is able to preserve and convey the plot of the story as a logical structure. The unconscious egocentrism of the child-storyteller (the 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 childhood fantasy possess "psychic energy" that goes back to the collective unconscious (according to K. Jung). In children's narrative creativity, fetishism, animism appear, such universal signs of culture as a spot, curtain, hand, eye, voice, look, color, size, chthonic characters, the ability to reincarnate, the idea of \u200b\u200bdeath, etc. appear. This allows scary stories to be viewed as modern childhood mythology.
In terms of genre, scary stories are a diffuse and heterogeneous phenomenon. Unlike traditional folklore prose, they have not one, but two dominant centers: narrative and play.
The genre of the so-called "scary callers" is original. In it, the ritual-playful beginning completely supplanted the verbal side. Let's give an example:
"How call Baba Yaga. "You have to go to the toilet at 12 o'clock. Write a circle there in black chalk and sit there waiting. Arrive early in the morning. If there is a cross on the circle, then Baba Yaga flew in.(Emelina Vika, 11 years old, Moscow region).
Children "call" The queen of spades, moon menand so on. The goal of scary summoners is to experience a feeling of fear and satisfaction from defeating it, which can be considered as one of the forms of personality self-affirmation.
All types of folklore narrative structures can be found in scary stories, from cumulative to a closed chain of motives of different content (similar to fairy tales). Epic triples, fabulous compositional formulas are used (Lived once...),the tradition of a happy ending. A good ending also manifests itself in a peculiar way in game stories with the last phrase shouted out: "Give me my heart!" (the blackdead man); "I ate meat!"(female vampire). The stronger the fear, the more fun you can laugh at it.
In scary stories, the signs of myth and many folklore genres have been transformed or typologically manifested: a conspiracy, a fairy tale, an animal epic, a story, anecdote. They also show traces of literary genres: fantasy and detective stories, essays.
The system of images of children's horror stories is divided into three groups: the main character, his assistants and opponents. The most typical protagonist is girlor boy;he is usually the youngest in the family. There are also other images: one man, one woman, student, taxi driver, old man and old woman, Sharik dog, prince, one journalist ...Assistants, 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 protagonist (child) performs the tracking of evil, and the assistant (police) carries out its physical destruction.
Unlike fairy tales, scary stories usually have only one pole of the fantastic - evil. With him are boundlessly
there are a lot of different 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). A pest can have an alarming appearance, most often a color: black, red, white, or some other color. The color also appears in the names 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 their combination): abduction, murder, the desire to eat the victim. Pest images become more complex depending on the age of the performers. In the youngest children, inanimate objects act like living things, in which child fetishism is manifested. For example, red laceringing the doorbell, trying to strangle mom. His dad tore it up and threw it out the window,but the lace continues to terrorize the family. His doused with kerosene, burned, and the dust was thrown out the window.But the doorbell rings again. A column of red dust rushes in and blinds everyone. (Smirnova Varya, 7 years old, Zagorsk). Older children develop a connection between the object and a living pest, which can mean representations similar to animistic ones. Behind the curtains, the stain, the picture are hiding black hairy hands, white (red, black) man, skeleton, dwarf, Quasimoda, devil, vampire ...Often the pest item is a werewolf. Ribbons, earrings, bracelet, chain, climbing plants turn into snakes; at night red (or black) flowers become vampire people; a doll (or statue) turns into a woman; the image in the picture 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 who rise from the coffin, etc. Undoubtedly, shape-shifting has come into modern children's narrative folklore from popular traditional folklore.
The complication of the image of the pest occurs as a development, deepening of its portrait characteristics. Let's show this on a group of witches.
The first stage of the portrait is the color cue connected to the feminine principle: red witch, beautiful woman in black, yellow-haired, twisted old woman, very beautiful girl in a long white dress, a very beautiful green-eyed woman in a velvet green "bast."Then more complex images appear, in which the transformation of a witch from bylich is seen. She appears in her True Form late at night when she thinks that everyone is asleep: The girl opened her eyes and sees that her stepmother has dressed black dress, dismissed
long black hair, put a frog on her chest and quietly went somewhere.(Golovko Lena, 11 years old, Kokchetav); it 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 bed, 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 fabulous image of Baba Yaga. This interpretation appears in abduction plots. A witch of this type is surrounded by a characteristic "interior": a forest, an oak, a lonely house or a hut. The following detail may appear: And on the sides of the stakes were human heads. The policeman recognized many of them - they were his comrades.(Kondratov Alyosha, 13 years old, Moscow). The portrait of such a witch turns out to be typically fabulous: witch with a hooked nose and a crutch instead of a leg(Seryozha Kondratov, 8 years old, Moscow); and the purpose for which the children are kidnapped: She lured to her children, fed them with nuts and ate them ten days later.(Kazakov Dima, 8 years old, Novomoskovsk, Tula region).
A witch of "literary origin" can be considered The Queen of Spades(Tsyganova Marina, 11 years old, Syktyvkar). Finally, everyday impressions of the child could be correlated 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 a false jaw.(Isaev Sasha, 10 years old, Moscow).
Complicating the image of the pest, the children turned to the experience of traditional folk prose. The dwarf vampire was able to destroy one old man old-old;for this he used a magic circle, fire, aspen stakes. (Bunin Alyosha, 12 years old, Moscow). Traditional methods of exposing a pest: by a severed hand, by a familiar ring, by hooves, fangs, as a result of penetration into a forbidden room, etc. they put a doll instead of a child).
The psychology of a pest is naively refracted through the inner world of the children themselves. For example: during the performance, enter the dark theater hall terrible bloodsuckers,they kill all people. The ushers notice this and ask the question, why are there so many dead. They began to lie. They weren't believed because they blushed(Vayman Natasha, 10 years old, Zelenograd). As a child, adults experience a sense of fear: All the people got scared, rushed to their homes and began to plug up all the cracks. Later
they all got under the blankets and took the children with them.(Garshina Olya, 10 years old, Kovrov, Vladimir region).
The last stage in the evolution of the enemy's image (according to the age levels of performers) is the absence of a pest object and the development of artistic signs of a living (or humanoid) bearer of evil - a kind of overcoming of children's animistic ideas. Here, a rapprochement with traditional folklore is especially evident: fantastic characters of fairy tales are reviving, in a peculiar way connecting with the scientific and technical knowledge of a modern child. At the age of 13-15, children experience a crisis in the category of the miraculous; they come to reject unmotivated horrors. Scary stories are decomposing. Children begin to convey stories of real crimes, emphasizing their reliability ( "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 by hypnosis, the disappearance of ships in the "black hole" of the ocean ... Fiction may be analogous to an incredible coincidence of circumstances of a short story tale. For example, one story tells that if the lights in the room are turned off, then two terrible glowing eyes.But then the police find out that an old woman lived in the house before the new owners, and her son was once severely 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 intense through the creation of numerous parodies, in which the themes of prohibition, abduction and images of fantastic pests (objects, dead people, vampires, witches) are ridiculed.
For example, the image of a witch appears in a very widespread parody of a violation of the prohibition: 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. Once she tore her favorite dress on this nail, was very angry and ripped it out. A few minutes later there was a knock on her door. The woman opened and saw a terrible witch. The witch said: "And I can't sleep like that, and then the chandelier fell on me!"(Shenina Tanya, 10 years old, Moscow).
The irony of parodies captures the realization by older children of their intellectual superiority over babies.
So, in the system of images of horror stories, wonderful opponents occupy a central place. A terrible story can do without an assistant and even without the main character, but the image of a pest is always present in it. He may be the only one. For example:
In the black room there is a black table
on the table is a black coffin,
in a coffin - a black old woman,
she has a black hand.
"Give me my hands!"
(the narrator grabs the nearest listener)
In the structure of the image of the pest, the evil principle manifests itself as a miraculous force. Children may accept it without justification; can develop a variety of motivations, from the most primitive to the most detailed; can deny it by parodying - but in any case, they express their attitude to this wonderful evil force.
An intuitively expressed idea of \u200b\u200ba double world runs through all the works of modern children's mythology: they have a real world ("home") and a fantastic world ("no-home"). The real world is always recognized as an undoubted reality, as being. The attitude of children to the fantastic world as a sphere of manifestation of miraculous power appears differently. In 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 to them is equal: here is revealed a literal belief in the miraculous, which typologically brings this group closer to the traditional genre of non-fabulous prose - bylichka. 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 speak of their identity, but faith in the miraculous is still preserved. A modality similar to the fairytale arises: a conditional belief in the miraculous. As a result, two trends are developing. On the one hand, in scary stories, the genre signs of fairy tales begin to be drawn, and on the other, the game moment intensifies. There is a separation of the narrator and the audience: the first does not believe in the wonderful content, but seeks to hide it and make the listeners believe, so that later they can 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
in the age group (children 13-15 years old), the narrator and the audience are again united, but already on the basis of a conscious denial of the miraculous by parodying it or discovering its illusory nature through the development of materialistic motivations. It involves the features of literary genres and anecdotes. Interestingly, a number of parodies end with the phrase "Have you listened to Russian folk tale ", which emphasizes the groundlessness of belief in fantastic horrors and expresses the attitude towards the fairy tale as a fiction.
Scary stories are a fact of modern children's folklore and an essential psychological and pedagogical problem. They reveal age-related patterns in the development of consciousness. Studying this material will help open up ways to positively influence the formation of the child's personality.
LITERATURE TO THE TOPIC
Texts.
E. A. PokrovskyChildren's games, mostly Russian. - SPb., 1994. (Reprint. Reproduced, ed. 1895).
Shet P.V.Collection of children's folk songs, games and riddles / Comp. A.E. Gruzinsky based on Shein's materials. - M., 1898.
O. I. KapitsaChildren's folklore: Songs, nursery rhymes, teasers, fairy tales, games. - L., 1928.
O. I. KapitsaChildren's folk calendar. (Introduction and prepared publications by FS Kapitsa) // Poetry and ritual: Interuniversity. Sat. scientific. works / Otv. ed. B.P. Cirdan. - M., 1989 .-- S. 127-146. (Publication of archival materials).
Folk Wisdom: Human Life in Russian Folklore. - Issue. 1: Infancy. Childhood / Comp., Prepared. texts, entry. Art. and comments. V.P. Anikina. - M., 1991.
Russian children's folklore of Karelia / Compiled by. texts, entry. Art., foreword 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. - SPb., 1997.
Research.
Vinogradov G.S.Children's folklore. (Publ. A. N. Martynova) // From the history of Russian folklore / Otv. ed. A. A. Gorelov. - L., 1978. -S. 158-188.
Anikin V.P.Russian Folk Proverbs, Sayings, Riddles and Children's Folklore: A Teacher's Guide. - M., 1957 .-- S. 87-125.
Melnikov M.N.Russian children's folklore of Siberia. - Novosibirsk, 1970.
Melnikov M.N.Russian children's folklore: Textbook. manual for ped students. in-tov. - M., 1987.
School life and folklore: Textbook. material on Russian folklore: In 2 hours * / 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.Contemporary Russian children's mythology in the context of the 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 an important role in the creation, storage, and sometimes the performance of folklore. The problem of authorship, let alone attribution, has never been raised.
The word "folklore" literally translated from English means folk wisdom. Folklore is the works created by the people and prevalent among the masses, in which he reflects his 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 an oral, verbal artistic creation that arose in the process of the formation of human speech.
In a pre-class society, folklore is closely related to other types of human activity, reflecting the rudiments of his knowledge and religious and mythological ideas. In the process of development of society, various types and forms of oral verbal creativity arose. Some genres and types of folklore have lived a long life. Their originality can be traced only on the basis of indirect evidence: on the texts of later times, which retained archaic features of content and poetic structure, and on ethnographic information about peoples at the pre-class stages of historical development. Authentic texts of folk poetry are known only from the 18th century and later. Very few records survived in 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 addition took shape are also unknown. The author's ideological intention can only be judged by the surviving text, moreover, often written down many years later.
Folk art permeates the collective beginning. It is present in the emergence and perception by listeners of newly created works, in their subsequent existence and processing. Collectiveness manifests itself not only externally, but also internally - in the folk-poetic system itself, in the nature of 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 the 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, the folk poetic creativity of the pre-revolutionary one could not but reflect the historical limitations and contradictions of peasant ideology. Living in oral transmission, the texts of folk poetry could change significantly. However, having reached full ideological and artistic completeness, the works were often preserved for a long time almost unchanged as a poetic heritage of the past, as a cultural wealth of enduring value.
In the chronological period from ancient times to the present day, folklore occupies an intermediate position, it is a connecting link in the cultural space of centuries. Possibly, folklore has become a kind of filter for the mythological plots of the entire totality of the Earth's society, letting the universal, humanistically significant, most viable plots into literature.
Children's folklore is shaped by many factors. Among them - the influence of various social and age groups, their folklore; mass culture; prevailing 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 written by the children themselves, as well as those transferred 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 the game, in which the life and work of elders is reproduced, therefore, the moral attitudes of the people, its national features, and the peculiarities of economic activity are reflected here.
In the system of genres of children's folklore, a special place is occupied by "nurturing poetry" or "mother poetry". These include lullabies, little dogs, nursery rhymes, jokes, fairy tales and songs created for the little ones.
Lullabies... At the center of all "maternal poetry" is the child. He is admired, cared for and cherished, decorated and amused. Gentle, monotonous songs are essential 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. You can hear echoes of both ancient myths and Christian faith in the Guardian Angel in this lullaby. The lullaby has its own system of expressive means, its own vocabulary, its own compositional structure. Short adjectives are frequent, complex epithets are rare, there are many stress transfers from one syllable to another. Prepositions, pronouns, comparisons, whole phrases are repeated. The most common type of repetition in a lullaby is alliteration, that is, the repetition of identical or consonant consonants.
Sleep, sprinkle
Hurry up,
We will buy those spies,
Sew the zipun;
Sew the zipun;
Let's send
Into open fields
Into green meadows.
Pestushki, nursery rhymes, jokes... Like lullabies, these works contain elements of the original folk pedagogy, the simplest lessons of behavior and relationships with the outside world. Pestushki (from the word "nurture" - to educate) are associated with the earliest period of a child's development. Piggies accompany the physical procedures required by the child. Their content is associated with specific physical actions. The set of poetic tools in pestushki is also determined by their functionality. The little dogs are laconic. “An owl flies, an owl flies,” they say, for example, when they wave the hands of a child. "The birds flew, sat on the head," the child's arms fly up onto the head. There is not always a rhyme in the little dogs, and if there is, then most often it is a steam room. The organization of the text of the little dogs as a poetic work is also achieved by repeated repetition of the same word.
Nursery rhymes are a more elaborate form of play than little pestles. Nursery rhymes entertain the kid, create a cheerful mood in him. Like little dogs, they are characterized by rhythm. Sometimes nursery rhymes only entertain, and sometimes they instruct, give the simplest knowledge about the world.
The nursery rhymes tell how "a magpie-white-sided cooked porridge", "a young blackbird went for water."
A joke is a small funny piece, a statement or just a separate expression, most often rhymed. Entertaining rhymes and humorous songs exist outside the game, in contrast to nursery rhymes. The joke is always dynamic, filled with energetic actions of the characters. In the joke, the basis of the imaginative system is precisely the movement: "Knocks, strumbles along the street, Foma rides a chicken, Timoshka rides a cat - there along the path." Jokes are often built in the form of questions and answers - in the form of a dialogue. So it is easier for the kid to perceive the switching of the action from one scene to another, to follow the rapid changes in the relationships of the characters.
Goat grinds flour
The goat falls asleep
And the little kids
The flour is scooped out.
Ryaba chicken
I pushed all the oats
I sowed millet,
Peas blew.
Turning fables, nonsense... These are varieties of the joke genre. Chukovsky dedicated a special work to this type of folklore, calling it "Stupid absurdities". He considered this genre extremely important for stimulating a child's cognitive attitude to the world and very well substantiated why children like absurdity so much. A shape-shifter in a playful way helps the child to establish himself in the already acquired knowledge, when familiar images are combined, familiar pictures are presented in a funny confusion.
Readers... This is another small genre of children's folklore. Counting rhymes are called funny and rhythmic rhymes, under which they choose the host, start the game or some stage of it. Counters were born in the game and are inextricably linked with it. In the works of this genre, nursery rhymes, pestushki, and sometimes elements of adult folklore are often used. The counting room is often a chain of rhymed couplets.
An apple was rolling
Past the garden
Past the garden
Past the hail.
Who will raise
That will come out.
Three four,
Hooked
Five six,
To carry hay;
Seven eight,
We mow the hay;
Nine ten,
Money weighs.
Tongue Twisters... They belong to the amusing and entertaining genre. The roots of these works of oral creativity also lie in ancient times. This is a word game that was part of the joyful holiday entertainment of the people. Tongue twisters always include a deliberate accumulation of hard-to-pronounce words, an abundance of alliterations ("There was a white-snout ram, he blew all the rams"). This genre is irreplaceable as a means of developing articulation and is widely used by educators and doctors.
Jokes, teasers, sentences, choruses, chants... All these are works of small genres, organic for children's folklore. They serve the development of speech, intelligence, attention: "Say two hundred. Two hundred. Head in the dough!" (Underwear.), "Rainbow-arc, Don't give us rain, Let the sun be red, Bells!" (Calling.) ear - a bump. ”(Teaser.) The chants by their origin are connected with the national calendar.
Game songs... The cycle of children's play songs and sentences should be especially highlighted. Even before the twentieth century, collectors and researchers of folklore considered children's play as a primitive drama, which has its own scene (one or another setting), its own strictly defined order, live action and peculiar stage roles. The playing child must convey the psychological type of 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 processing of the games of adults and therefore reproduced in a figurative form the everyday and labor activities of the people. Imitating the work of adults, the children stood in a circle, walked in one direction or the other, and sang:
And we soared the earth, soared.
And we plowed the land, plowed.
And we sowed millet, sowed it.
And we weeded millet, weeded.
And we mowed millet, mowed.
And we demolished millet, demolished.
And we blew millet, blew.
And we dried millet, dried it.
And we cooked porridge, cooked.
At present, there are traditional games among children - "burners", "geese-geese", "hide and seek", "baskets".
Most of the verbal play forms have been preserved in the children's repertoire of rhyme rhymes, performed before the game instead of drawing lots. They are not associated with specific texts of oral dramatizations and can serve any game.
Puzzles... Riddles belong to 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-telling meant "to think, to reflect." This is where the word "riddle" comes from. In the riddle, a substantive description of some phenomenon is given, for the recognition of which considerable thought is required.
Most often, riddles are allegorical. The enigmatic object, as a rule, is not named, but its metophoric equivalent is given instead.
Each riddle is inherently a dodgy question. However, this interrogation of her may have an external form of expression and not have it. Riddles can be formulated directly as a question. For example: "What is more beautiful than white light?" (the sun); "What do we have more often than forests?" (stars). However, most often in riddles the question is not outwardly expressed and they have a metaphorical and descriptive character. For example: "A plate floats across the blue sea" (Month); “There were three brothers: one loves winter, the other 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, as well as the language of all folklore genres, is distinguished by accuracy, color and expressiveness. They widely use common folk epithets like "damp earth", "open field", "dark forest", "green garden", "good fellow", "red maiden", "own mother", etc., as well as some general folklore comparisons, tautological expressions, etc.
However, the poetic style of riddles also has its own pronounced genre specificity; riddles are characterized by a high degree of metaphor, which pervades all of its stylistic means. Here are some examples of metaphorical (mysterious) epithets "blue field" (sky), "water bridge" (ice), "golden stump" (thimble), etc. Sometimes, the riddle is built on metaphorical epithets. For example: “A steel horse, a linen tail” (a needle with an eye), “Meat oven, iron attacks” (horseshoes). "Angelic flowers, and devil's marigolds" (rose hips).
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), "An eagle bird flies, carries fire in its teeth, in the middle of it human death" (lightning ). And here is a riddle using the adage: "On the sea, on the ocean there is an oak with deaths, damn sprouts, leaves of suitodanovsky" (burr).
In turn, riddles are often included in fairy tales.
1. Genres of children's folklore. Examples.
Children's folklorethe area of \u200b\u200bfolk culture, a kind of 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 is one of the directions of oral folk art. Despite the apparent differences between children's folklore and adult folklore, the border 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 children's environments. At the same time, genres continue to exist that can be equally attributed to both adult and children's folklore: riddles, songs, fairy tales.
TO lullaby song is one of the oldest genres of folklore. Usually it is a melody or a song hummed by people to calm them down and fall asleep. A lullaby is a song that lulls a child to sleep. Since the song was accompanied by the measured swaying of the child, the rhythm is very important in it.
Hush, Little Baby, Do not Say a Word,
Don't lie on the edge
A gray top will come
And grab the barrel
And drag it into the woods
Under the bush
There the birds are singing
they won't let you sleep.
Wizards are the heroes of other lullabies. Such as "Sleep", "Sandman", "Calm down".
Ay, li-li, ai, li-li,
Take you down,
Take you down,
Our baby sleep well.
Sleep walks near windows
Sandman wanders near the house,
And they look to see if everyone is asleep.
P clauses - references to insects, birds, animals.
Bee, bee, give us honey
So that the deck is full!
We will eat honey, say:
"Oh, what a hard-working bee we are!"
* * *
Grass-ant,
Green, scent - there is no better you!
In the clearing and in the forest
Don't blunt my braid
Hay in the winter stock
And I'll bring the cow!
* * *
Bird-bird - nightingale,
Come to us as soon as possible!
Tirley-tirli-tirli-lei,
It will be more fun for us to live!
Z agadka - a metaphorical expression in which one object is depicted by means of another, which has some, even remote, similarity with it; based on the above, the person must guess the intended object.
Not a tailor, but walking with needles all his life. (Hedgehog)
I swam in the water, but remained dry. (Goose)
There are seven brothers, who have different names for years. (Days of the week)
P donkey - a small form of folk poetic creativity, clothed in a short, rhythmic dictum, carrying a generalized thought, conclusion, allegory with a didactic bias.
"Life is given for good deeds."
"Red is a proverb."
"Trust in God, but don't do it yourself."
"To a cowardly hare and a tree stump is a wolf."
P reservation - a phrase, a turn of speech, reflecting any phenomenon of life, one of the small genres of folklore. It is often humorous in nature.
"Hunger is not an aunt, she will not feed a pie"
"Teach your grandmother to suck eggs"
"A fly in the ointment"
FROM reader - a kind of children's creativity. As a rule, these are small poetic texts with a clear rhyme-rhythmic structure in a humorous form, intended for random selection of (usually one) participant from a multitude.
A month came out of the fog,
He took a knife out of his pocket
I will cut, I will beat,
You don't care to drive.
***
Eniki, Beniki ate dumplings,
Eniki, Beniki ate dumplings,
Eniki, Beniki, Hop!
Green syrup came out.
***
Ani, beni, ricky, still,
Turba, urba, synthesizers,
Eus, beus, krasnobeus,
Bam!
P otoshka Is a genre of oral folk art. The nursery rhyme entertains and develops the kid.
We woke up, we woke up.
Sweetly, sweetly stretched.
Mom and Dad smiled.
***
Ah, cock-sock,
The little eyes are wet.
Who will offend the baby
That goat will butt.
D demos reflect negative aspects in children's perception of the world around them. They can be both funny and offensive at the same time.
Curious in the market
We pinched our nose in the basket.
To the curious the other day
We pinched our nose the other day.
Curious Barbarian
The market's nose was torn off.
***
Uncle Piggy - I repeat,
And by the name of Turkey.
I licked all the plates
I didn't say thank you!
P ripe serve as a reflection of the pictures of children's life, closely related to the surrounding nature. For example, the guys went to the river to swim, found a snail by the water and began to persuade her:
Snail, snail, release your horns!
I'll give the end of the pie and a jug of cottage cheese,
And if you do not release the horns, the goat will gore you.
The fish danced with cancer
And parsley - with parsnips,
Celery - with garlic,
And a turkey with a rooster.
But the carrot didn't want
Because she could not.
***
Oh lu-li, tara-ra
There is a mountain on the mountain
And on that mountain there is a meadow
And on that meadow there is an oak tree,
And on that oak sits
Raven in red boots
In green earrings.
Black raven on oak
He plays the trumpet
Turned pipe,
Gold plated
In the morning he blows the trumpet,
By the night he speaks fairy tales.
Animals come running
Listen to the crow
To eat gingerbread.
FROM corpuscles were originally invented for the entertainment of children. However, other useful properties of this comic fun were soon discovered.
In the stove there are three lumps, three geese, three ducks.
***
Beaver Good for beavers.
***
Beavers Dobry go to the forest.
***
The woodpecker hammered the oak, but did not finish it.
***
Greek rode across the river,
He sees a Greek - there is cancer in the river,
He put his hand in the river,
Cancer for the hand of the Greek tsap.
H fiend - genre of oral folk art, prose or poetic narration of a small volume, as a rule, of comic content, the plot of which is based on the image of a deliberately distorted reality.
The village drove past the peasant,
Suddenly the gate barks from under the dog.
A stick jumped out with a grandma in hand
And let's beat the horse with the man.
The roofs got scared, sat on the crows,
The horse drives the man with a whip.
Three wise men
Three wise men in one basin
We set off on the sea in a thunderstorm.
Be stronger
Old basin,
Longer
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 behind the stove are the mice
They guarded the donuts.
***
Vova was too lazy in the morning
Comb your hair with a comb,
A cow came up to him,
Combed her tongue!
***
Love little kids
All kinds of sweets.
Who gnaws and who swallows,
Who rolls for the cheek.
Z nicknames - appeals to natural phenomena (to the sun, wind, rain, snow, rainbow, trees).
Rain, rain, more fun
Drip, drip, do not regret!
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.
***
Rattling thunder
Crack the clouds
Let it rain
From the steep slope.
P eating - This is another genre of oral folk art, intended for the youngest children. Pestushka is a small rhyme or song, understandable and interesting for a child.
Big feet
Walking along the road:
Top, top, top,
Top, top, top!
Little feet
We ran along the path:
Top, top, top, top,
Top, top, top, top!
***
Handles - pulls
And the palms are clappers.
Legs-legs - stompers,
Runners, jumpers.
FROM good morning, pens,
Hands and feet
Flower cheeks - Smack!
