Dictionary East Slavic folklore gives. Test
To a modern person, folklore images seem fabulous, fantastic and unreal, the actions of the heroes are mysterious. This is understandable: after all, speaking of folklore, we are talking about a different level of thinking, about a different idea of a person's world around him, the roots of which go back to the mythological past.
The word folklore literally translated from English means folk wisdom. This is poetry created by the people and existing 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.
The Slavs created a huge oral literature (wise proverbs and cunning riddles, fairy tales, funny and sad ritual songs, solemn epics, spoken to the sound of strings in a singsong voice), which became the Dignity and Mind of the people. She set and strengthened his moral character, was his historical memory, the festive clothes of his soul and filled with deep content his whole measured life, flowing according to the customs and rituals associated with his work, nature and veneration of fathers and grandfathers.
Unfortunately, in the school curriculum, the study of folklore in the lessons of literature and music is given too little. In this regard, through the integration of subjects, we tried to show the areas of contact between academic disciplines, and through their organic connection to give students an idea of the unity of the world around us. An example of the implementation of integrated tasks can serve as a summary of the lesson "In the world of Slavic folklore" for students in the 6th grade of a comprehensive school.
Target:
Show the importance of Slavic folklore in the life of the people;
Tasks:
education of moral and aesthetic feelings: love for the motherland, pride in the achievements of domestic musical art, respect for the history and spiritual traditions of Russia;
Formation of the foundations of musical culture through emotionally active perception;
development of artistic taste, interest in musical art and musical activity;
· implementation of own creative ideas in various types of musical activity (in singing and interpretation of musical-plastic movement and improvisation);
· the formation of the integrity of perception and understanding of the world around through interdisciplinary connections of literature and music lessons.
Equipment: multimedia equipment, presentation, sound files, folk costumes.
During the classes:
Music sounds (playing Vladimir horns)
Literature teacher:
We are entering the amazing and beautiful, mysterious world of folk wisdom - the world of folklore. It sounds like a fairy tale and a song, a riddle and a proverb... Here they play, sing, tell and listen... Here you can learn a lot, think about a lot, understand a lot...
In ancient, ancient times, when people did not yet know how to write, they passed on their knowledge of life to each other, playing games, performing rituals, singing songs ....
Each nation had its own songs, rituals, games - its own folklore.
· Question for students:
We have already heard the word "folklore" several times. But what does this word "folklore" mean? (Folklore - folk wisdom, folk art.)
We want to learn as much as possible about Russian folklore - the folklore of our ancestors. They were strong, beautiful, kind people. They were attentive to nature, noticed its every movement, and according to the signs they knew how to properly manage the household.
The life of Russian people has always consisted of a series of weekdays and holidays. Everyday life is a time filled with work and worries. A distinctive feature of everyday life was the routine of domestic existence, moderation in food, simple, comfortable clothes, calm and benevolent relations, and the isolation of the family world.
A holiday is opposed to weekdays - a time of rest, fun and joy. The alternation of weekdays and holidays was considered a necessary component of the normal course of life, and failures could even lead to the death of the world.
There were many holidays in the year. They arose in different historical epochs.
The most ancient were the holidays associated with the agricultural calendar. They were called calendar or annual holidays, as they lasted all year, ending in late autumn with the completion of the harvest.
The main ones were those that were associated with the four most important natural and astronomical phenomena: the winter and summer solstices, the spring and autumn equinoxes.
Along with the ancient pagan agricultural holidays in Russian life, there were many holidays of the Orthodox Church. They began to be established from the end of the 10th century in Rus' with the adoption of Christianity.
Music teacher:
The most revered people were the Nativity of Christ, Baptism, the Annunciation of the Most Holy Theotokos, the Holy Trinity, Easter.
Maslenitsa was revered among the holidays dating back to the ancient agricultural tradition.
Each holiday had its own program marked by tradition, verbal formulas, songs. The holiday program also included the performance of rituals and customs of the annual cycle associated with the economic activities of the Russian farmer.
· Question for students:
And what does “rite”, “ritual songs” mean?
(rite- a set of actions established by custom, in which some religious ideas or everyday traditions of the people are embodied.
ritual songs- these are songs that were performed during a variety of ceremonies and were an important component and a necessary part of them).
Music teacher:
Ritual songs are a special musical world. If there are Russian fairy tales, epics, proverbs, then calling ritual songs Russian is not correct. Their name is SLAVIC ritual songs. This is due to the fact that the baptism of Rus' took place only in the 10th century, and the rites dedicated to a good harvest, timely rain, warm sun were before that. And the territory of then Rus' was completely different than now. An analysis of ritual songs from different parts of our country, as well as Ukraine and Belarus, showed the similarity of the language and the modal and intonation basis.
Ritual songs are closely connected with pagan rituals, the main melodic turns, the modal basis remained from the old pagan times. Since some pagan deities and rites were put in parallel with Christian saints (Perun - Ilya, Velos (Volos) - Vlasy, Yarilo - Yuri, George), it is quite obvious that the musical basis of such cult pagan songs later influenced the Slavic early Christian cult melos. In particular, the melodies of many chants and chants are close in tone to the simplest types of church singing in ancient Rus'.
· Question for students:
What types of ritual songs do you know? (calendar, family and church)
Literature teacher:
The attitude of Russians to the holiday was extremely serious.
“We work all day for the holiday.” "Though lay everything down, but spend Maslenitsa." “Life without a holiday is like food without bread,” the peasants used to say.)
Russian people believed that any holiday requires respect.
Autumn holidays of the Russian peasant agricultural calendar
devoted to summing up the results of the working year. In other words, it is a harvest festival.
Music teacher:
Among them are the holidays associated with the image of the Blessed Virgin Mary:
students tell the story of the origin of the holiday "Pokrov".
Music teacher:
In the popular consciousness, the Most Holy Theotokos is a loving Mother for all people, the Defender, Comforter, Intercessor. Her image is closely connected with the image of the “mother of the wet earth-breadwinner”, the native land and, ultimately, with the image of the Motherland. Church hymns “Virgin Mother of God” performed by brothers from the Valaam Monastery and “To Your Most Holy Image” performed by the children’s choir of the Church of the Most Holy Theotokos (Novosibirsk) are heard. Students analyze musical fragments and make a comparative analysis.
An interesting feature of the autumn rites was their non-coincidence with the usual calendar. Autumn rituals began already in August from the moment the harvest began. Each rite had its own intonational feature, its own special scale, which was very different from the scales of songs dedicated to other seasons. Many ritual songs are in the nature of invocations, chants, built on 3-4 notes and, according to people, carrying magical power. The simplest form went to autumn ritual songs. People worked hard, they were tired and they wanted peace and rest. Sometimes the autumn ritual songs were called SORRY. But they were not always sad.
students show staged:
The female reapers gathered in the field at the uncompressed strip. The eldest, most respected of the reapers, twisted and twisted the stems of plants so that they touched the ground, in the form of a tourniquet or wreath, tying them with colored ribbons. Girls lead a round dance and say:
Field - you plow
We are easy!
This year has given birth, and next year do not forget!
Execution of the autumn ritual song "Do not scold autumn."
(Children with ears read by roles)
We're sorry, we're sorry
Sorry, reaped, -
We reap the young
golden sickles,
Niva debt,
Stand wide;
Sorry for a month
The sickles are broken
Have not been to the edge
People were not removed.
And the rye rye spoke,
Standing in an open field
Standing in an open field:
I do not want, but rye rye,
Yes, stand in the field, yes, stand in the field.
I do not want, but rye
Yes, stand in the field - waving an ear!
And I want, and rye zhito,
Tie into a bundle
Shrink into a song
And to me, and rye zhito,
Tied into a bundle
Rye was chosen from me
The decorated last sheaf with songs was carried to the village, where a festive meal was being prepared: pies, porridge.
Literature teacher:
By the Nativity of the Blessed Virgin Mary, the date of which coincided with the day of the autumn equinox, Osenins were timed (from the word canopy, the place where hay was stored) - the meeting of autumn. Women gathered early in the morning and went out to the banks of rivers, lakes and ponds to meet “mother Osenina”. This holiday is characterized by hospitality, the going of relatives, especially newlyweds, to the parents of the young. These days they sang songs, danced round dances, arranged games.
Performance of the song-game "Autumn"
Music teacher:
The theme of Slavic folklore is still relevant today. Many modern composers use quotations from folk ritual music in their works. Sometimes there are works written in a very unexpected style.
Listening to the song "Ovsen" by the group "Nevid".
At the end of the lesson, after summing up the results, the girls take out apples, pears, bagels on a platter and distribute them to students and guests.
to u r s a
"SLAVIC FOLKLORE"
For philological faculties
public universities
Specialty - Slavic Languages and Literature
The program was prepared by the Department of Russian Oral Folk Art
Faculty of Philology, Moscow University
Compilers: prof. ,
Assoc. ,
scientific collaborator
INTRODUCTION
The meaning and place of folklore in the culture of the Slavic peoples. General features of folklore (syntheticity, collective creativity, the unity of the collective and the individual, traditionalism, variability, orality). Folkloristics as a science, its relationship with literary criticism, linguistics, ethnography, history, musicology, art history. Terminology. Folklore as the art of the word. Folklore and religion. Folklore and art. Folklore and literature (similarity and difference). Folklore and life. The ratio of aesthetic and non-aesthetic in folklore. Artistic system of folklore.
Oral poetic creativity of the Eastern, Western and Southern Slavs. General and similar phenomena in it: in themes, genres, types of characters, compositional techniques, poetic imagery, language. Fundamentals of commonality and similarity: the common origin of the Slavic peoples, the kinship of languages, the similarity of socio-historical conditions of life, cultural ties. General patterns of development of the oral-poetic creativity of the Slavic peoples at the present stage. Comparative historical study of Slavic folklore. Its results at the international congresses of Slavists.
GENRE COMPOSITION OF SLAVIC FOLKLORE
Features of the genre composition of Slavic folklore. genre system. Its historical formation. Genetic connection of genres, stadial periodization of folklore genres. The incorporation of one genre into another. General processes in genres: the development of common features, the historical change of genres. Classification of genres and its principles. Ideological-aesthetic and non-aesthetic functions of genres.
RITUAL FOLKLORE
General features of ritual poetry. Verbal and non-verbal components of rituals. Polymorphism and polyfunctionality of the rite. Reflection in the ritual folklore of the mythological views of the ancient Slavs. The emergence of "dual faith" after the adoption of Christianity by the Slavs; manifestations of "dual faith" in rituals and ritual folklore. Church struggle with pagan rites.
Calendar ritual poetry. Its connection with the annual agricultural work. Winter, spring-summer and autumn cycles of ritual poetry. Winter cycle: songs of winter bypass rituals (carols, etc.), Christmas divination and youth songs, Shrovetide rites, choruses and songs. Spring-summer cycle: meeting of spring and spring calls among the Eastern Slavs; "carrying out (seeing off) Marena (death)" among the Western Slavs; the cycle of Yuryev rites among the southern and partly among the eastern Slavs; a cycle of Easter and Yuryev round dances and games among all Slavs; a cycle of Trinity-Kupala rites, round dances, games, fortune-telling and songs among all Slavs. Zhivnnye ceremonies and songs of all Slavic peoples. Features of the content, imagery and style of calendar ritual poetry, traces of pagan beliefs, Christian symbolism and imagery in calendar folklore.
Family ritual poetry. Its composition. Birthing rite and its poetry. Ukrainian and Belarusian songs of the maternity and baptismal rite. Images of the Woman in Childbirth, Orysnitsa. The wedding ceremony and its poetry. Reflection in it of the history of society and family, life and beliefs of the people. Stages of the wedding ceremony. Wedding songs, lamentations, glorifications, reproachful songs, sentences of wedding participants. Funeral rites and lamentations. Features of the content, imagery and style of family ritual poetry.
Conspiracies. Their magical nature, word and action in them. connection with rituals. Types of conspiracies and their use. Composition, figurativeness, verbal means. Evidence of ancient writing about conspiracies. Stability of texts of conspiracies. Conspiracies and other genres (fairy tale and epic). Performers of conspiracies: sorcerers, healers.
SMALL GENRES
Proverbs and sayings. Definition of a proverb and the difference between a proverb and a proverb; their function in speech. Thematic variety of proverbs. Reflection in them of the worldview, life experience and ideals of the people. Cognitive-historical, moral and aesthetic value of proverbs. The structure of proverbs and their artistic means. Generality and similarity of Slavic proverbs. Proverbs in the works of Slavic writers.
Puzzles. Definition of a riddle. Reflection in the riddles of peasant labor and life. "Secret speech" (speech taboos) and the origin of riddles. Artistic means of riddles. General and similar in the riddles of the Slavic peoples. Riddle and proverb. Riddles in fairy tales and folk songs. Riddles in the works of Slavic writers.
PROSE EPIC GENRES
The concept of "oral folk prose". Her genres: fairy tales, legends, legends and bylichki. The style of fairy tale narration, memorial.
Fairy tales. The definition of a fairy tale. Relationship between fantasy and reality. Fairy tale and myth. Tales about animals, magical, social, short stories, fairy tales.
Tales about animals. Reflection in them of ancient ideas (animism, anthropomorphism, totemism). Tales about wild animals, domestic animals, birds, man. Real features of animals and birds. Allegory of fairy tales. Satire and humor in them. Common plots and heroes in Slavic fairy tales about animals and nationally peculiar plots and heroes.
Magic tales. Combination of real and fantastic. Ancient motifs and imagery. Morphology and historical roots of a fairy tale. Themes, plots, images, characters, chronotope, composition of Slavic fairy tales. Similar plots and images of Slavic fairy tales. Ivan the Fool, Yirzhik, Khlopek Rostropek, Sly Peter, Ero. Connection of primitive views with some features of medieval life. Victory of good over evil. Ideals of hard work, honesty and justice. Features of plots and images in fairy tales of individual Slavic peoples.
Social tales. Reflection of social and family relations, features of feudal life. Social satire: images of a gentleman, pan, merchant, priest. The triumph of a positive hero (peasant, worker, soldier). The image of a cunning, rogue, clever thief. Family stories. Images of husband and wife. Plot structure and poetics of social fairy tales. Traditional joke.
Traditions. Genre definition. Historical and toponymic legends. Plots of historical legends. Traditions in chronicles and ancient writing: about Czech, Lech and Rus; about Kiy, Shchek and Khoriv; about Krakus and Wanda; about Piast and Popiel; about Libush and Přemysl. Legends about the founding of cities. Correlation of legends and historical reality. Legends about Pan Tvardovsky. Features of the structure and narration in legends. Family legends.
Legends. Genre definition. Fabulat and memorial. types of legends. Stories about mythical creatures, about the creation of the world, the origin of animals, birds and fish and their features; biblical motifs and characters. Utopian legends. The plot of the search for a happy country. Other plots of legends common among the Slavs (about the great sinner, the wanderings of Christ on earth, the contract between man and the devil). Artistic features of legends.
Bylichki. Stories about brownies, goblin, mermen, mermaids, samodivas, exchangers, the damned, etc. Artistic features and stories.
POETRY EPIC GENRES
Types of poetic epic genres: mythological songs, epics, youth songs, haidutsky, zboynitsky, daring (robber) songs, thoughts, historical songs, spiritual poems, ballads. Their common features: plot, poetic form, typical (common) places, reflection of the history of the people in them. The heroic character of the main genres. The absence of the heroic epic among the Western Slavs and the attempts of its artificial creation by writers.
Mythological songs of the southern Slavs. The most ancient songs are about mythical creatures personifying natural elements (samodivs, samovils, pitchforks, yudes, mermaids, etc.), celestial bodies (sun, month, stars), dangerous diseases (plague, fever). Foretellers of the fate of Orysnitsa. The relationship of mythical creatures with people ("Stoyan and Samodiva", "The Sun and Dobrinka", "Walker and the guy"). Mythological songs of the southern Slavs ("Two snakes and a lama", "Snake-groom", "Jova and Samovils"). Mythological motifs in the epic songs of the Eastern and Western Slavs (werewolf, the omen of misfortune, a wonderful pipe / violin, the marriage of a woman and a snake, etc.).
Epics. Definition of the genre, its main features. The term "epic". Epic performers. Epic classification. Kyiv and Novgorod cycles of epics. Themes and ideological essence of the main composition of epics. The hero is the main character. Typification and individualization of images. Images of senior heroes: Svyatogor, Mikula Selyaninovich, Volga; junior heroes: Ilya Muromets, Dobrynya Nikitich, Alyosha Popovich. Composition and poetics of epics of the Kyiv cycle. Plots and heroes of epics of the Novgorod type. Images of Sadko and Vasily Buslaev. Artistic features of the epics of this cycle. Interpretation of epics by representatives of different scientific schools. Echoes of epics in Belarusian fairy tales about heroes.
Youth songs. Heroic epic of the southern Slavs. Youth song as a genre. Heroic stories and poetics. Cyclization of songs around the images of heroes: songs about Momchil, about Prince Marko, about Doychin. Cycles of Serbian songs about the Battle of Kosovo, about post-Kosovo heroes, about the liberation of Serbia.
Haydutsky and zboynitsky songs. Haidut songs of the South Slavs, the difference between Haidut and youth songs. The Zbojnice songs of the Western Slavs are a special type of heroic songs. Reflection of the struggle against foreign enslavers. The historical basis of the songs. Historical prototypes of heroes: Strahil-voivode, Stoyan, Manol, Novak, Gruica, Ivo Senyanin - the heroes of Haiduk songs. Janoshik, Ondras, Widowczyk, Adamek are the heroes of the Zbojnice songs. Images of Haidut Women in Bulgarian Songs: Boyana the Governor, Todorka, Rada. Compositional and stylistic features of songs. Gaiduk (zboynik) and nature. People and haiduk (robber). Russian remote (robber) songs.
Duma. Dumas as a genre of Ukrainian folklore. The term "thought". Doom performers are kobzars and bandurists. Patriotic character of thoughts. Pictures of foreign domination, the exploits of heroes in the fight against enemies. Plots about suffering in captivity and escape from captivity. The fight against the Turks and the Polish gentry. Heroes of thoughts: Golota (Netyaga), Samoilo Koshka, Fesko Andyber, Khmelnitsky, Marusya Boguslavka. Poetics of thoughts.
historical songs. Historical songs as a thematic group of works. Their varieties. The specific historical nature of the songs. Differences from epics, youth and haidut songs. Historical prototypes of heroes. The meaning of historical songs in the folklore of the Slavic peoples. General plots of Slavic historical songs: the struggle against the Tatar and Turkish invasion, peasant uprisings, wars of the 17th - 19th centuries. Russian historical songs about the capture of Kazan, about Ivan the Terrible, Stepan Razin and Emelyan Pugachev, Kutuzov and Platov. Ukrainian historical songs about Bohdan Khmelnytsky, Maxim Zheleznyak, Karmelyuk. Bulgarian and Macedonian historical songs about captivity, Turkish atrocities, forced Turkishization, Ivan Shishman, the fall of the Bulgarian kingdom. Slovenian songs are about King Mattiyash, Polish songs are about Yazdovets Castle, Slovak songs are about Belgrade, about the struggle against Austrian domination, Serbian songs are about the Battle of Kosovo, about the liberation of Serbia.
Spiritual verses. Spiritual poems as a thematic group of epic, lyric-epic and lyrical works on religious and Christian themes. The origin of spiritual verses and their sources (books of Holy Scripture, Christian canonical and apocryphal literature; pre-Christian mythology). The creators and performers of spiritual verses are “passing kaliki”, pilgrims to holy places, blind men (“maistras”). Popular rethinking of biblical themes, the lives of the saints. Affirmation of the idea of the superiority of the spiritual over the material, glorification of asceticism, martyrdom for the faith, denunciation of the sinfulness of people, non-observance of God's commandments.
Russian poems reflecting ideas about the universe ("Pigeon Book"), on Old Testament subjects ("Osip the Beautiful", "Adam's Lament"). Belarusian and Ukrainian verses on gospel themes ("Crucifixion of Christ", "Ascension"). Polish, Czech, Slovak verses and cantes about the Mother of God and the Nativity of Christ. Czech spiritual songs of the era of the Hussite wars. Bulgarian verses about the Lord, angels and the sinless Yanka, about Abraham's sacrifice, Saint Elijah and sinful souls. Serbian verses about the baptism of Christ, about St. Sava, about finding the Cross of the Lord, the song of the blind (about the mother of St. Peter).
Images of snake-fighting heroes (St. George, Fedor Tiryanin), martyrs (Galaktion and Epistimia, Kirik and Julitta), ascetics (Alexey the Man of God), miracle workers, righteous people and sinners in the traditions of the Slavic peoples. Poems about the end of the world and the terrible judgment. Late poems and cantes of a literary warehouse. The poetics of spiritual verses, the influence of other epic songs and literary-Christian style on them. Features of their composition and poetic language.
Ballads. The term "ballad". The definition of the genre, its main features: epic, family and everyday stories, tragedy, antithetical. Historical and everyday ballads. Historical subjects: meeting relatives in captivity, escape from captivity, feudal despotism. Everyday scenes: tragic conflicts husband - wife, mother-in-law - daughter-in-law, brother - sister, stepmother - stepdaughter-orphan, etc. ”, Serbian -“, Slovenian - “Beauty Vida”, Bulgarian - “Lazar and Petkana”, Polish - “Pani Pana killed”, Czech - “Herman and Dorota”, Slovak - “Sworn Girl”). Social subjects: Pan Kanevsky and Bondarevna, Prince Volkonsky and Vanya the key-keeper, a serf and a noble's daughter. Ballads with mythological motifs (plots of transformation). Ballads of incest. The peculiarity of the ballads of the Bosnian Muslims ("Hasan-aginitsa", "Omer and Meirima"). Similarities and differences of Slavic ballads. New ballads, their connections with the old ones (thematic commonality) and differences.
LYRICAL GENRES
Folk lyric. her genres. Principles of classification of non-ritual lyrics (thematic, functional, formal). Love and family songs, military-everyday, driver's, barge songs. Small lyric genres. Classification of lyrical songs by theme and structure: frequent songs, their comic and satirical nature, dance rhythms; lingering songs, chant, their dramatic nature, themes of personal relationships. There are two types of lingering songs: narrative songs and meditation songs. Compositional features and poetics of lyrical songs. Pictures of everyday life, nature, portraits of heroes. Psychological image, means of revealing the inner world of characters, creating generalized images. The role of symbolism and psychological parallelism (symbolism from the plant, animal world, the world of inanimate nature and celestial bodies). Similarities and differences of lyrical songs of different Slavic peoples.
Bulgarian songs of reapers, Russian artel labor songs, Polish, Czech and Ukrainian songs of raftsmen. Structural and stylistic features.
Household themes of songs. Two varieties (love and family). Main characters: well done - girl, husband - wife. The plot situation as the basis of song composition. Typical situations of love songs: meeting, separation, betrayal. Themes of happy and unhappy love, their symbolic expression. characteristic symbols. The role of narration, description, monologue and dialogue in a song. psychological parallelism. Expression of the character's inner world. Common Slavic motifs and symbols of love and family songs, the originality of songs among different Slavic peoples. Typical situations of family songs: the hard life of a woman in a strange family, conflicts mother-in-law - daughter-in-law, husband - wife. Topics of social and age inequality. Comic motives of songs: images of a lazy husband, obstinate wife, mother-in-law, cruel mother-in-law. The originality of the poetics and imagery of family songs.
Small lyric genres. Popularity in Slavic folklore of small lyrical genres-refrains: ditties, kolomyeks, Krakovyaks, Bechartsy. Simplicity of form, concise expression of thoughts, clarity of assessments, lively response to the phenomena of reality. The role of improvisation Jokes, humor, satire. Verbal text, chant and dance. Chorus songs. Russian ditties. Their varieties: actually ditties, dance, "Semenovna", suffering. The emergence and reasons for the popularity of ditties. Connection with dance songs. Variety of themes, the predominance of love themes. The composition of ditties, the role of parallelisms, symbolism and repetitions. Ukrainian kolomyiki. Origin of name. social satire. The theme of love relationships. The structure of the kolomyika. The nature of the rhythm. Polish Krakowiaks. Breadth of topics. Structure, rhythm and rhyme. Role in the composition of small genres of typical beginnings, endings, appeals and choruses. Serbian and Croatian Becharians.
DRAMA AND THEATER
Variety of dramatic forms in Slavic folklore. Theatrical-dramatic and game elements in calendar and family rituals, the correlation of words and actions in them. Games. Mummers. Dramatic scenes in the folklore of the Slavic peoples. Their social and everyday satire, bright comedy. Russian folk dramas "Boat" and "Tsar Maximilian". Puppet show. Two of its forms: nativity scene (betleyka, shopka) and puppet comedy (Petrushka, Kashparek). Religious and secular elements in the puppet theater. Artistic originality of folk dramatic forms.
HISTORICAL DEVELOPMENT OF SLAVIC FOLKLORE
Historical change in folklore, the composition of genres, plots, themes, heroes, expressive means. Principles of chronological correlation of works. Folklore and history of the people. Difficulties in the historical study of folklore. General periodization of the history of Slavic folklore. Primitive communal system and folklore. Reflection in folklore of animism, anthropomorphism, totemism. The cult of ancestors, plants, animals. Primary forms of folklore. Syncretism. Folklore and mythology. Ancient forms of Slavic folklore. Traditions about the resettlement of the Slavs; the epic river Danube. Ancient origin of calendar poetry, fairy tales, proverbs, riddles. Early feudalism and the emergence of the heroic epic. The patriotic nature of the epic, the idea of the unity of the native land. The struggle of the Slavic peoples with the Tatar-Mongolian, Turkish, German and other conquerors. The development of the heroic epos, genres of epics and youthful songs. Social contradictions and satire in folklore. The development of Haidut and Zbojnice songs, social fairy tales and satire in other genres of folklore. forms of folk drama. Expanding relationships with literature. The role of folklore in the era of national revivals in the Slavic countries and in the development of national literatures. Changing the traditional poetic system of folklore. Folklore of the city, artisans, soldiers. The death of traditional genres. Folklore response to important historical events and social processes of modern times. Folklore and the First World War. World War II: anti-fascist folklore, partisan folklore. The current state of Slavic folklore. Pan-Slavic phenomena and their interaction in the folklore of the Slavic countries.
GENERAL SLAVIC PHENOMENA IN FOLK POETIC WORKS AND NATIONAL ORIGINALITY OF FOLKLORE
Comparative historical study of folklore (typological, genetic, historical and cultural). Various scientific schools in folklore. Common and similar in the folklore of the Slavic peoples (development processes, genres, plots, types of heroes, poetics). The development of Slavic folklore at the present stage: new genres, plots, images and artistic means.
The originality of the folklore of individual Slavic peoples. Its historical background. The originality of the content and form of works. National self-consciousness of the people and its oral and poetic creativity. Images of native land, folk heroes, native nature. Folk life and its reflection in folklore. The originality of artistic means and language. Historical enrichment of the originality of Slavic folklore.
LITERATURE AND FOLKLORE
The great role of folklore in the development of Slavic literatures. Formation of national literatures and folk art. Ancient Slavonic Literature and Folklore. Chronicles and historical legends. Evidence of ancient writing about rituals, games, songs of the people. "The Tale of Igor's Campaign" and folklore. Gradual expansion of links between literature and folklore. The system of genres of ancient Russian literature and folklore. National revival of the Slavic peoples and the role of folk art in it. Romantic writers and folklore (Pushkin's early work; Mickiewicz, Chelakovsky, Erben, Stur, Vraz, Mazuranich, Preshern, Radicevic, Negosh, Botev, Yakshich, Kral). Realism and folklore (Pushkin, Gogol, Krashevsky, Nemtsova, Zmay). The heyday of realism (Nekrasov, democratic and populist writers, L. Tolstoy, Kondratovich, Ozheshko, Senkevich, Konopnitskaya, Neruda, Irasek, Vazov, Ashkerts, Zmai, Shantich). Literature of the 20th century and folklore (Gorky, Yesenin, Sholokhov, Platonov, Gashek, Olbracht, Elin-Pelin). Modern Slavic Literature and Folk Art. The impact of literature on folklore. Songs and ballads of romantics and realists in the folk repertoire, their folklorization. The development of stanza and rhyme of a literary type in the song genres of folklore. Expansion of the ideological and artistic influence of literature on folklore.
COLLECTING AND STUDYING SLAVIC FOLKLORE
Collectors of Russian folklore (R. James, Kirsha Danilov, Afanasiev, Dal, Kireevsky, Rybnikov, Hilferding, Shane), Polish (Zhegota Pauli, Dolenga-Khodakovsky, Kolberg, Fedorovsky), Czech and Slovak (Chelakovsky, Erben, Dobshinsky), Bulgarian and Macedonian (brothers Miladinov, Shapkarev, Stoin), Serbian, Croatian and Slovenian (Karadzic, Strekel). Bulgarian "Collection for national abstinence". Collecting activity in the Slavic countries in the XX century. Valuable publications.
The study of Slavic folklore. Mythological school: Afanasiev, O. Miller. School of borrowing: Buslaev, Shishmanov, Grafenauer. Historical school: Sun. Miller, folklorists of Yugoslavia. Comparative historical study of folklore: Polivka, Veselovsky, Arnaudov, Kshizhanovsky, Bystron, Moshinsky, Gorak. Modern Slavic folklorists: Sokolov, Bogatyrev, Kravtsov, Propp, Putilov, Gusev; Krzyzhanovsky, Chernik; Latkovich; Arnaudov, Dinekov, Romanska; Melikherchik.
New trends in Slavic folklore (typological study, structural, ethnolinguistic school). Appeal to the study of folklore literary critics, linguists, historians, musicologists, theater critics. Comprehensive study of folklore. The problem of folklore as the art of speech and the history of Soviet folklore. Achievements in folkloristics of individual Slavic countries. Inter-Slavic scientific cooperation in the study of folklore.
LITERATURE
Main
Kravtsov folklore. M. 1976.
Slavic folklore. Texts. Comp. , . M. 1987.
Calendar customs and rituals in the countries of foreign Europe. Winter holidays. M. 1973. S. 5 - 17, 204 - 283.
Calendar customs and rituals in the countries of foreign Europe. Spring holidays. M. 1977. S. 5 - 11, 202 - 295.
Calendar customs and rituals in the countries of foreign Europe. Summer-autumn holidays. M. 1978. S. 5 - 7, 174 - 243.
Slavic folklore and historical reality. M. 1965.
Slavic folklore. Sat. articles. Ed. , . M. 1972.
Epos of the Slavic peoples. Reader. Ed. prof. . M. 1959.
Slavic folklore. Essays and samples. Art. C. Romanska. Sofia. 1972.
Bulgarian folk tales. M. 1965.
Polish folk legends and fairy tales. M. 1965.
Tales of the peoples of Yugoslavia. M. 1956.
Songs of the South Slavs. Comp., intro. Art. . M. 1976.
Serbian folk songs and tales from the collection. M. 1987.
Slovak fairy tales. M. 1955.
Czech folk tales. M. - L. 1951.
The betrayal of the Slovenian people. Beograd. 1964.
Additional
Moszyński K. Kultura ludowa słowian. T. 1. Kultura materialna; T. 2. Cz. 1, 2. Kultura duchowa. Warsaw. 1968.
Bulgarian folk poetic creativity. Christomathy. Sofia. 1958.
Bulgarian folklore. Part 1. Sofia. 1972.
Latkoviћ V. Narodna kњizhevnost, 1. Beograd. 1967.
Putilov historical ballad. M. - L. 1965.
Putilov and the South Slavic heroic epic. M. 1971.
Bogatyrev the theory of folk art. M. 1971. S. 11 - 166 ("People's Theater of Czechs and Slovaks").
Kravtsov of Slavic folklore. M. 1973.
Lazutin oral folk art. M. 1983.
Kruglov folk poetry. L. 1987.
Kravtsov epic. M. 1985.
Bogatyrev epic stories and lyrical-epic songs (“zboynitsky” cycle). M. 1963.
Ukrainian thoughts. M. 1972.
Anthology of state slovenian folk lyrics. Nedi. Beograd. 1962.
Slovenian folklór. Zost. A. Melicherik. Bratislava. 1965.
Slownik folkloru polskiego. Warsaw. 1965.
Tolstoy and folk culture. Essays on Slavic mythology and ethnolinguistics. M. 1995.
Slavic Antiquities: Ethnolinguistic Dictionary in 5 vols. Ed. N. I. Tolstoy. T. 1. A - G. M. 1995. T. 2. D - K. M. 1999.
East Slavic folklore. Dictionary of scientific and folk terminology. Minsk. 1993.
Gora animals in the Slavic folk tradition. M. 1997.
A series of studies "Slavic and Balkan folklore". M. (1971, 1978, 1981, 1984, 1986, 1989, 1994, 1995)
Smirnov ballads and related forms. M. 1988.
Klyaus of plots and plot situations of incantatory texts of Eastern and Southern Slavs. M. 1997.
MINISTRY OF EDUCATION AND SCIENCE OF THE REPUBLIC OF TATARSTAN
Almetyevsk State Oil Institute
Department of Humanitarian Education and Sociology
Test
on the course "History of world culture"
on the topic: Pagan ancient Russian pra-culture.
Completed by: student of group 82-12
Makarov Sergey Alexandrovich
Checked by: Ph.D., Associate Professor
Mustafina Elvira Marsilovna
Almetyevsk 2013
Introduction.
Chapter 1. Religious ideas of the ancient Slavs.
Chapter 2. Anthropotheoxism of the ancient Slavs.
Chapter 3. Folklore and writing of the ancient Slavs.
Conclusion.
List of used literature.
Introduction
The word "culture" comes from the word "cult" - faith, customs and traditions of ancestors. Before Christianity and other monotheistic religions, all nations were pagans. Paganism is surrounded, on the one hand, by the mysteries of oblivion and many losses, like an ancient lost and therefore completely unfamiliar world, and on the other hand, an unspoken "taboo" is imposed on it. A kind of taboo on paganism appeared among the Eastern Slavs with the introduction of Christianity, it was not canceled with the advent of atheists in Rus' in 1917. Paganism is a religion, and close to any other religion already in its main essence of faith in God. That is why paganism, at the same time approaching each other in its different channels, also approached other, later ones that came in an evolutionary way (man became more complex, his ideas about the Cosmos, God became more complicated) monotheistic religions, merged with them and largely dissolved in them. Paganism from "languages" (essence: peoples, tribes); this word combines the principle of faith of different peoples. The very faith of these peoples, even within the framework of the union of tribes, could be very different among themselves.
Slavs - pagans worshiped the elements, believed in the relationship of people with various animals, made sacrifices to the deities inhabiting everything around. Each Slavic tribe prayed to their gods. There have never been common ideas about the gods for the entire Slavic world: since the Slavic tribes in pre-Christian times did not have a single state, they were not united in beliefs. Therefore, the Slavic gods are not related by kinship, although some of them are very similar to each other.
Religious representations of the ancient Slavs
As in other ancient cultures, the earliest forms of religion - magic, fetishism and, especially, totemism - were of great importance in Slavic-Russian paganism.
The most revered totems among the Slavs among the birds were the falcon, the eagle and the rooster, and among the animals - the horse, the bear. The pagan beliefs of the Slavs did not represent some kind of complete system. Modern research allows us to isolate several stages in the development of paganism, which | coexisted with each other for a long time, some of these beliefs have survived almost to this day.
The Slavs worshiped Mother Earth, whose symbol was patterns depicting a large square, | divided into four small squares with dots in the center - a sign of a plowed field. Water cults were quite developed, since water was considered the element from which the world was formed. The water was inhabited by numerous deities - mermaids, mermen, in honor of which special holidays were held - mermaids.
Ducks and geese usually served as symbols of water in art. Forests and groves were revered, which were the dwellings of the gods.
At the beginning of the 1st millennium AD. e. Old Slavic deities take an anthropomorphic form. The main among them are the gods of the Sun, Sky and Fire - Svarog, Dazhdbog and Hora. Winds - Stribog, thunderstorms - Perun, domestic animals and wealth - Veles (Volos), the god of fertility - Yarilo.
The companion of the god Veles was the female deity Mokosh - the patroness of women, the goddess of fertility and the hearth. Slavic-Russian mythology was not recorded in any literary works and therefore a clear distribution of roles between deities and their hierarchy is not known.
These gods also had their own symbols in art. The rooster, which marks the time with amazing accuracy, was recognized as a bird of things, and a rare fairy tale did not mention him. The horse, this proud swift animal, often merging in the view of the ancient Slav either with the god of the sun, or with the image of an equestrian warrior, was a favorite motif of ancient Russian art. And much later, his image continued to appear on the skates of Russian huts and towers. The sun enjoyed special reverence, and the image of the fiery wheel "thunder circle", divided into six parts, firmly entered the fine arts. These images appeared on the platbands of huts and embroidered towels until the beginning of the 20th century.
Honoring and fearing brownies, barns, goblin, mermaids, water and other creatures inhabiting the world around him, the Slav tried to fence himself off from them with dozens of conspiracies and amulets-amulets that have come down to our days.
At a late stage in the development of ancient Slavic paganism, the cult of Rod and Rozhanitsa, the creator of the Universe and the goddesses of fertility, Lada and Lely, takes shape and lasts longer than others. It was a cult of ancestors, family and home. Images of Lada and Lelya continued to appear on numerous embroideries in the 18th-20th centuries. Their cult aroused particular hostility of the Russian church.
At the same time, a three-level idea of the world is taking shape: the lower, underground (symbol - a lizard), the middle - earthly (usually people and animals were depicted) and the upper - heavenly, stellar. The image of this structure of the world could be seen on idols, preserved only in single copies; as well as Russian spinning wheels, made a hundred years ago.
Worship and sacrifice took place in a special cult sanctuary-temple. According to the ideas of the Eastern Slavs, the world and the universe represent a circle of eternal rotation and therefore the temple had the form of a round platform surrounded on all sides by sacrificial fires, in the center of which there was a stone or wooden sculptural image of a god on a pedestal. A roof in the form of a tent was erected over the site. The walls were made of vertical logs, decorated with carvings and brightly painted. The temple got its name from the word "kap", which is translated from the ancient Slavic language as a sculpture, an idol, a blockhead. The ancient Russians respected and feared the gods, so they tried to woo them with magical rites and sacrifices, appeasing the ideols with gifts, as well as human sacrifices.
The most famous monument of paganism was the Zbruch idol (IX-X centuries) - a four-sided stone pillar set on a hill above the Zbruch River. The faces of the pillar are covered with bas-reliefs in several tiers. The top shows gods and goddesses with long hair. Below are three more tiers, revealing the ideas of our ancestors about the cosmos, sky, earth and the underworld.
Anthropotheoxism of the ancient Slavs
The continuous struggle and alternate victory of the light and dark forces of nature was enshrined in the ideas of the Slavs about the cycle of the seasons. Their starting point was the onset of a new year - the birth of a new sun at the end of December. This celebration received a Greco-Roman name from the Slavs - carols (from the Latin calendas - the first day of the new month). There was also a custom to walk with May (a symbol of spring) - a small Christmas tree decorated with ribbons, paper, eggs. The deity of the sun, seen off for the winter, was called Kupala, Yarilo and Kostroma. During the spring festival, the straw effigy of these deities was either burned or drowned in water.
Pagan folk holidays, such as New Year's divination, rampant Shrovetide, "mermaid week" were accompanied by incantatory magical rites and were a kind of prayer to the gods for general well-being, a rich harvest, deliverance from thunder and hail. For New Year's fortune-telling about the harvest, special vessels were used - spells. They often depicted 12 different drawings that make up a vicious circle - a symbol of 12 months.
By the time of the adoption of Christianity, the ancient Slavic religion had not yet managed to develop strict forms of worship, and the priests had not yet emerged as a special class. Representatives of tribal unions made sacrifices to tribal and heavenly gods, and sorcerers, sorcerers, soothsayers took care of contacts with the lower demons of the earth, delivering people from their harmful influence and receiving various services from them.
At the last, final stage in the development of paganism, the cult of Perun, the retinue god of thunder, acquired particular importance. In 980 Kiev Prince Vladimir the Red Sun made an attempt to reform paganism, giving it the appearance of a monotheistic religion. In an effort to raise folk beliefs to the level of a state religion, the prince ordered to erect wooden idols of six gods: Perun with a silver head and golden mustache, Khors, Dazhdbog, Simargl and Mokosh. According to ancient legends, Vladimir established sacrifices to these gods, which should have given their cult a tragic, but at the same time very solemn character. Around the idol of Perun, eight unquenchable fires were supposed to burn.
Folklore and writing of the ancient Slavs
Almost to this day, some conspiracies and spells, proverbs and sayings, riddles, often keeping traces of ancient magical ideas, ritual songs associated with the pagan agricultural calendar, wedding songs and funeral laments have survived. The origin of fairy tales is also connected with the distant pagan past, because fairy tales are echoes of myths, where, for example, numerous obligatory trials of heroes are traces of ancient initiation rites. And such a famous image of Russian fairy tales as Baba Yaga is a character of ancient beliefs in the natural feminine, which, on the one hand, is a good helper in earthly affairs of fairy-tale heroes (hence the help that fairy-tale characters receive from Baba Yaga), and on the other hand, an evil sorceress trying to harm people.
A special place in folklore was occupied by epics created by all the people. Passing from mouth to mouth, they were subjected to interpretations, often understood differently by different people. The most famous are the epics of the Kyiv cycle, associated with Kiev, with Prince Vladimir the Red Sun, three heroes. They began to take shape in the 10th-11th centuries, and they reflected very well the phenomenon of dual faith, the combination of old pagan ideas with new Christian forms. Images and plots of epics continued to nourish Russian literature for many subsequent centuries.
By the end of the pagan period, the level of development of ancient Russian culture was so high that it could no longer exist without writing. Until now, it was believed that the Slavs did not know writing before the appearance of the Cyrillic alphabet. However, today some historians and linguists believe that in addition to Greek, the Slavs had their own original writing system: the so-called nodular writing. Her signs were not written down, but transmitted using knots tied on threads, which were wrapped in balls of books. The memory of this knot writing has been preserved in our language and folklore. We are still tying “memory knots”, talking about the “thread of the story”, “the intricacies of the plot”.
In the ancient cultures of other peoples, knot writing was quite widespread. Knot writing was used by the ancient Incas and Iroquois, it was also known in ancient China. Finns, Ugrians, Karelians, who since ancient times lived together with the Slavs in the northern territories of Rus', had a nodular script, the mention of which was preserved in the Karelian-Finnish epic Kalevala. In ancient Slavic culture, traces of knot writing can be found on the walls of temples of the “dual faith” era, when Christian sanctuaries were decorated not only with the faces of saints, but also with ornamental patterns.
If nodular pagan writing existed among the ancient Slavs, then it was very complex. Accessible only to the elite - the priests and the highest nobility, it was a sacred letter. With the spread of Christianity and the extinction of the ancient culture of the Slavs, together with the priests-magi, the nodular letter also perished. Obviously, knot writing could not compete with a simpler and more logically perfect writing system based on Cyrillic.
Conclusion
In the evolution of the culture of Ancient Rus', historically, the first was the pagan, or pre-Christian period, which originates in the period of the formation of the Old Russian ethnos and ends in the 10th century. baptism of Kievan Rus. However, even before the formation of the Kievan state, the Slavs had a significant history and notable achievements in both material and spiritual culture.
The central place in the culture of this period was occupied by paganism, which arose among the Slavs in ancient times, in primitive society, long before the appearance of the Old Russian state.
The initial religious ideas of the ancient Slavs were associated with the deification of the forces of nature, which seemed to be inhabited by many spirits, which was also reflected in the symbolism of ancient Slavic art.
The worldview of the ancient Slavs was characterized by anthropotheocosmism, that is, the perception of the human, divine and
natural as a single undivided whole, the feeling of the world as not created by anyone.
Pagan beliefs and traditions found their expression in applied art and folklore.
Despite the millennial domination of the state Orthodox Church, pagan beliefs were the people's faith and until the 20th century. manifested in rituals, dance games, songs, fairy tales and folk art.
List of used literature
1. Belyakova G.S. "Slavic Mythology" Enlightenment. 2005.
2. Darnitsky E. V. "Ancient Rus'" The origins of antiquity. 2006.
3. Grushevitskaya T.G., Sadokhin A.P. Culturology / T.G. Grushevitskaya, A.P.
Sadokhin. - M.: Unity, 2007, p. 457-485.
4. Culturology: textbook / Ed. G.V. Fight. - Rostov-on-Don:
"Phoenix", 2007. - p.216 -274.
5. Rybakov B. A. "Paganism of the ancient Slavs" Science. 2001.
6. Famintsyn A.S. "Deities of the ancient Slavs" Science. 2005.
Folklore is oral folk art. It represents the main part of culture, plays a huge role in the development of Slavic literature and other arts. In addition to traditionally popular fairy tales and proverbs, there are also genres of folklore that are currently almost unknown to modern people. These are texts of family, calendar rites, love lyrics, social work.
Folklore existed not only among the Eastern Slavs, which include Russians, Ukrainians and Belarusians, but also among the Western and Southern, that is, among the Poles, Czechs, Bulgarians, Serbs, and other peoples. If you wish, you can find common features in the oral creativity of these peoples. Many Bulgarian fairy tales are similar to Russian ones. Commonality in folklore lies not only in the identical meaning of the works, but also in the style of presentation, comparisons, epithets. This is due to historical and social circumstances.
First, all Slavs have a related language. It belongs to the Indo-European branch and comes from the Proto-Slavic language. The division of people into nations, the change in speech was due to the growth in numbers, the resettlement of the Slavs to neighboring territories. But the commonality of the languages of the Eastern, Western, Southern Slavs is observed at the present time. For example, any Pole can understand a Ukrainian.
Secondly, the similarity in culture was influenced by the general geographical location. The Slavs were mainly engaged in agriculture and cattle breeding, which was reflected in ritual poetry. The folklore of the ancient Slavs contains for the most part references to the earth, the Sun. These images still take place in the mythology of the Bulgarians and Serbs.
Thirdly, the similarity of folklore is due to a common religion. Paganism personified the forces of nature. People believed in spirits guarding homes, fields and crops, and reservoirs. In the epic, images of mermaids, kikimors arose, which could harm or help a person, depending on whether he observed the laws of the community or lived dishonestly. The image of a snake, a dragon could come from the phenomena of lightning, meteors. The majestic phenomena of nature found an explanation in mythology, in ancient heroic tales.
Fourth, close economic, social, and political ties influenced the similarity of folklore. The Slavs have always fought together against enemies, therefore some heroes of fairy tales are collective images of all eastern, southern, and western peoples. Close cooperation also contributed to the spread of techniques, epic plots, and songs from one nation to another. This is what largely influenced the related similarity of the folklore of the ancient Slavs.
All folk works known today originated in ancient times. In this way, people expressed their vision of the world around them, explained natural phenomena, and passed on experience to their descendants. They tried to pass the epic to the next generation unchanged. The storytellers tried to remember the song or fairy tale and retell it to others exactly. The life, way of life and work of the ancient Slavs, the laws of their kind for centuries shaped people's artistic taste. This is the reason for the constancy of the works of oral creativity that have come down to us through the centuries. Thanks to the immutability and accuracy of reproduction of folklore, scientists can judge the way of life, the worldview of people of antiquity.
The peculiarity of folklore is that, despite its amazing stability, it is constantly changing. Genres arise and die, the nature of creativity changes, new works are created.
Despite the general similarity in plots and images, national customs and details of everyday life have a huge influence on the folklore of the ancient Slavs. The epic of each Slavic people is peculiar and unique.
Tolstaya S.M., Tolstoy N.I. and others - Slavic and Balkan folklore.
Folklore. Epos. Mythology
Description:
For the 1978 compilation:
The works explore the origins of the folklore tradition of the Slavic and Balkan peoples, examine the rituals, customs and symbols associated with the Slavic archaic folk culture, give genetic research in the field of Slavic folklore, and cite many new folklore records made on the territory of Polissya.
Represented:
Slavic and Balkan folklore: Genesis. Archaic. Traditions. M.: Publishing house "Science", 1978.
Slavic and Balkan folklore: Rite. Text. M.: Publishing house "Science", 1981.
Slavic and Balkan folklore: Spiritual culture of Polissya on a common Slavic background / Ed. ed. N. I. Tolstoy. M.: "Nauka", 1986.
Slavic and Balkan folklore: Reconstruction of the ancient Slavic spiritual culture: Sources and methods / Ed. ed. N. I. Tolstoy. M.: "Nauka", 1989.
Slavic and Balkan folklore: Beliefs. Text. Ritual. M.: "Nauka", 1994.
Slavic and Balkan folklore: An ethnolinguistic study of Polissya. M .: Publishing house "Indrik", 1995.
Slavic and Balkan Folklore: Folk Demonology. M.: Publishing house "Indrik", 2000.
Slavic and Balkan folklore: Semantics and pragmatics of the text. M.: Publishing house "Indrik", 2006.
1) Slavic and Balkan folklore: Genesis. Archaic. Traditions / Ans. ed. I. M. Sheptunov. M.: "Nauka", 1978.
Introduction
L. N. Vinogradova. Incantation formulas in the calendar poetry of the Slavs and their ritual origins
V. V. Usacheva. The rite of passage "polaznik" and its folklore elements in the area of the Serbo-Croatian language
V. K. Sokolova. Maslenitsa (its composition, development and specifics)
A. F. Zhuravlev. Protective rites associated with the loss of livestock and their geographical distribution.
N. I. and S. M. Tolstoy. Notes on Slavic paganism. 2. Making rain in Polissya
S. M. Tolstaya. Materials for the description of the Polissya Kupala rite
E. V. Pomerantseva. Interethnic community of beliefs and tales about noon
A. V. Gura. The symbolism of the hare in the Slavic ritual and song folklore
F. D. Klimchuk. Song tradition of the Western Polissya village of Simonovichi
2) Slavic and Balkan folklore: Rite. Text / Rep. ed. N. I. Tolstoy. M.: "Nauka", 1981.
Yu. I. Smirnov. Focus of Comparative Research in Folklore
L. N. Vinogradova. Maiden fortune-telling about marriage in the cycle of Slavic calendar rituals (West-East Slavic parallels)
N. I. and S. M. Tolstoy. Notes on Slavic paganism. 5. Protection from hail in Dragachev and other Serbian zones
A. V. Gura. Weasel (Mustela nivalis) in Slavic folk representations
O. A. Ternovskaya. To the description of some Slavic representations connected with insects. One system of domestic insect extermination rituals
L. G. BARAG. The plot of snake fighting on the bridge in the tales of East Slavic and other peoples
N. L. Ruchkina. Genetic links between the Akritian epic and the Clefta songs
Yu. I. Smirnov. Epika Polissya (according to the records of 1975)
Appendix - Indexes to the article by N. I. and S. M. Tolstykh “Notes on Slavic paganism. 5"
3) Slavic and Balkan folklore: Spiritual culture of Polissya on a common Slavic background / Ed. ed. N. I. Tolstoy. M.: "Nauka", 1986.
Materials for the Polessye ethnolinguistic atlas. Mapping experience
Foreword (N.T., S.T.)
The sun is playing (S. M. Tolstaya)
Ritual excesses of youth (S. M. Tolstaya)
Trinity greenery (N. I. Tolstoy)
Plowing rivers, roads (S. M. Tolstaya)
Frog, and other animals in the rites of calling and stopping rain (S. M. Tolstaya)
Sretensky and Thursday candle (S. M. Tolstaya)
Rain during the wedding (A. V. Gura)
Invocation of spring (T. A. Agapkina)
The daughter-in-law became a poplar in the field (N. I. Tolstoy)
O. A. PASHINA Calendar songs of the spring-summer cycle of southeastern Belarus
V. I. Kharitonov. Polissya tradition of lamentation in Polissya on the East Slavic background
Articles and research
V. E. Gusev. Driving "arrows" ("suls") in East Polissya
T. A. Agapkina, A. L. Toporkov. On the problem of the ethnographic context of calendar songs
L. N. Vinogradova. The mythological aspect of the Polissya "rusal" tradition
N. I. Tolstoy. From observations of Polissya conspiracies
Materials and publications
A. V. Gura. From Polissya wedding terminology. Wedding ranks. Vocabulary: N - Svashka
S. M. Tolstaya. Polissya folk calendar. Materials for the ethno-dialect dictionary: K - P
Yu. I. Smirnov. Epika Polissya
4) Slavic and Balkan folklore: Reconstruction of the ancient Slavic spiritual culture: Sources and methods / Ed. ed. N. I. Tolstoy. M.: "Nauka", 1989.
N. I. Tolstoy. Some considerations on the reconstruction of the Slavic spiritual culture
V. N. Toporov. On the Iranian element in Russian spiritual culture
V. V. MARTYNOV Sacred world "Words about Igor's Campaign"
V. V. Ivanov. Ritual burning of a horse skull and wheel in Polissya and its Indo-European parallels
M. Matichetov. About mythical creatures among Slovenes and especially about Kurent
L. N. Vinogradova. Folklore as a source for the reconstruction of the ancient Slavic spiritual culture
L. Radenkovich. The symbolism of color in Slavic conspiracies
S. E. Nikitina. On the relationship between oral and written forms in folk culture
E. Horvatova. Traditional youth unions and initiation rites among the Western Slavs
Z. Michael. Ethnolinguistic methods in the study of folk spiritual culture
T. V. Tsivyan. On the Linguistic Foundations of the Model of the World (Based on the Balkan Languages and Traditions)
M. Wojtyla-Swiezhovska. Terminology of agrarian rituals as a source for studying the ancient Slavic spiritual culture
S. M. Tolstaya. Terminology of rituals and beliefs as a source of reconstruction of ancient spiritual culture
T. A. Agapkina, A. L. Toporkov. Sparrow (rowan) night in the language and beliefs of the Eastern Slavs
A. A. Potebnya. On the origin of the names of some Slavic pagan deities (Preparation of the text by V. Yu. Franchuk. Notes by N. E. Afanasyeva and V. Yu. Franchuk)
On the work of A. A. Potebnya, dedicated to the origin and etymology of the names of Slavic pagan deities (V. Yu. Franchuk)
5) Slavic and Balkan folklore: Beliefs. Text. Ritual / Ans. ed. N. I. Tolstoy. M.: "Nauka", 1994.
N. I. Tolstoy. Once again about the topic "clouds - beef, rain - milk"
L. N. Vinogradova, S. M. Tolstaya. On the problem of identification and comparison of the characters of Slavic mythology
O. V. Sannikova. Polish mythological vocabulary in the structure of folklore text
T. A. Agapkina. South Slavic beliefs and rituals associated with fruit trees in a common Slavic perspective
S. M. Tolstaya. Mirror in traditional Slavic beliefs and rituals
I. A. Sedakova. Bread in the traditional rites of the Bulgarians: homelands and the main stages of child development
N. I. Tolstoy. Vita herbae et vita rei in the Slavic folk tradition
T. A. Agapkina, L. N. Vinogradova. Wishing: Ritual and Text
G. I. Kabakov. Structure and Geography of the Legend of the March Old Woman
V. V. Usacheva. Vocative formulas in folk medicine of the Slavs
N. A. Ipatova. Werewolves as a property of fairy-tale characters
E. E. Levkievskaya. Materials on Carpathian demonology
Corrective additions to the article by N. I. Tolstoy "Vita herbae et vita rei in the Slavic folk tradition"
6) Slavic and Balkan folklore: Ethnolinguistic study of Polissya / Ed. ed. N. I. Tolstoy. M.: "Indrik", 1995.
N. I. Tolstoy. Ethnocultural and linguistic study of Polissya (1984–1994)
I. Polissya ethnolinguistic atlas: research and materials
T. A. Agapkina. Essays on the spring rituals of Polissya
A. A. Plotnikova. The first pasture in Polissya
L. N. Vinogradova. Regional features of Polissya beliefs about the brownie
E. E. Levkievskaya, V. V. Usacheva. Polissya water on a common Slavic background
L. N. Vinogradova. Where do babies come from? Polissya formulas about the origin of children
V. L. Svitelskaya. Experience in mapping Polissya funerary rites
M. M. Valentsova. Materials for mapping the types of Polesye Christmas divination
M. Nikonchuk, O. Nikonchuk, G. Orlenko. Deyaki terms of material culture in the villages of the right-bank Poliss
O. A. Parshina. Calendar cycle in the northwestern villages of the Sumy region
II. Ethnolinguistic dictionaries. Publications
S. M. Tolstaya. Polissya folk calendar. Materials for the ethno-dialect dictionary: R - Z
A. V. Gura. From Polissya wedding terminology. Wedding ranks. Dictionary (Candlesticks - Sh)
F. D. Klimchuk. Spiritual culture of the Polissya village Simonovichi
III. Applications
N. P. Antropov, A. A. Plotnikova. Chronicle of Polissya expeditions
List of settlements of the Polesye ethnolinguistic atlas
Abbreviations of the names of regional centers and districts
7) Slavic and Balkan folklore: Folk demonology / Ed. ed. S. M. Tolstaya. M.: "Indrik", 2000.
Foreword
N. I. Tolstoy. “Without four corners, a hut is not built” (Notes on Slavic paganism. 6)
L. N. Vinogradova. new ideas about the origin of evil spirits: demonologization of the deceased
S. M. Tolstaya. Slavic mythological ideas about the soul
E. E. Levkievskaya. Mythological characters in the Slavic tradition. I. East Slavic brownie
Dagmar Klimova (Prague). Hospodářík in the beliefs of the Czech people
T. V. Tsivyan. About one class of characters of lower mythology: "professionals"
N. A. Mikhailov. To one Balto-South Slavic folklore-ritual formula: lit. laimė lėmė, ltsh. laima nolemj, svn. sojenice sodijo
L. R. Khafizova. Buka as a character in children's folklore
T. A. Agapkina. Demons as characters of calendar mythology
A. A. Plotnikova. The mythology of atmospheric and celestial phenomena among the Balkan Slavs
V. V. Usacheva. Mythological ideas of the Slavs about the origin of plants
A. V. Gura. Demonological properties of animals in Slavic mythological representations
V. Ya. Petrukhin. "Gods and demons" of the Russian Middle Ages: clan, women in childbirth and the problem of Russian dual faith
O. V. Belova. Judas Iscariot: from the gospel image to the mythological character
M. M. Valentsova. Demon Saints Lucius and Barbara in West Slavic Calendar Mythology
Polissya and Western Russian materials about the brownie
8) Slavic and Balakan folklore: Semantics and pragmatics of the text / Ed. ed. S. M. Tolstaya. M.: "Indrik", 2006.
Foreword
Text pragmatics
T. A. Agapkina. The plot of East Slavic conspiracies in a comparative aspect
O. V. Belova. Slavic biblical legends: verbal text in the context of the rite
E. E. Levkievskaya. Pragmatics of the mythological text
L. N. Vinogradova. Socioregulatory function of superstitious stories about violators of taboos and customs
S. M. Tolstaya. The motif of posthumous walking in beliefs and ritual
Text and rite
A. V. Gura. Correlation and interaction of actional and verbal codes of the wedding ceremony
V. V. Usacheva. Verbal magic in the agricultural rites of the Slavs
A. A. Plotnikova. Spring incantation formulas for the "expulsion" of reptiles among the southern Slavs (in an areal perspective)
Vocabulary and phraseology and their role in text generation
M. M. Valentsova. Calendar proverbs of the Western Slavs
E. L. Berezovich, K. V. Pyankova. Food code in game text: porridge and kvass
A. V. Gura. Moon spots: ways of constructing a mythological text
O. V. Chokha. Linguistic and cultural image of lunar time in the Polissya tradition (young and old month)
E. S. Uzeneva. Correlation between chrononym and legend (the feast of St. Tryphon in the areal perspective)
