The genre of children's folklore has been transferred from the folklore of adults. Children's folklore and its classification educational-methodical material on the topic. Poetry of outdoor games
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
a specific area of folk art,
uniting the world of children and the world of adults,
including a whole system of poetic
and musical and poetic genres of folklore "
1. The concept of children's folklore. Types of children's folklore.
Children's folklore... This concept fully applies to those works that are created by adults for children. In addition, this includes works 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's poetry") - lullabies, pestushki, nursery rhymes, jokes
Calendar - chants and sentences
Game - game choruses and sentences, draw conspiracy, 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 small 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 bright, almost ideal world in which love, goodness, and universal harmony reign and prevail.
Gentle, monotonous songs are essential for the child's transition from wakefulness to sleep. From this experience, a lullaby was born .. In her songs for the baby, the mother includes what is understandable and pleasing to him. These are "gray cat", "red shirt", "a piece of cake and a glass of milk", "crane. These words also give the first skills of 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-bye,
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 earliest period of the child's development. The mother, having swaddled him or freed him from clothes, strokes the little body, unbends the arms and legs, saying, for example:
Puff-puff-puffs,
Across the fatty
And in the legs - walkers,
And in the hands - katuchnushki,
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. “The owl flies, the owl flies,” they say, for example, when they wave the hands of a child. “The birds flew, sat on the head,” the child’s hands fly up to 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: “The geese flew, the swans flew. Geese flew, swans flew ... "
Water, water, wash my face
So that the mouth laughs,
To bite a tooth.
Nursery rhymes - songs accompanying 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 didn’t give it!
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,
I cooked porridge,
She beckoned guests.
Porridge on the table,
And the guests to the yard.
The first one is porridge,
To the second - brews,
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, floods 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?
Joke they call a small funny piece, statement or just a separate expression, most often rhymed. Entertaining rhymes and humorous songs 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: “He knocks, strumbles along the street, Foma rides a chicken, Timoshka rides a cat — there are some along the path.”
3. Calendar children's folklore.
Calendar children's folklore includes genres such as
chants and sentences(these terms were introduced by a famous linguistic scientist).
Calls (" call out» - "call, ask, invite, contact") - appeals to the sun, rainbow, rain, whose words are shouted out in chorus singsong.
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 sweets 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,
But 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 "R".
A conspiracy of lots - a rhymed appeal to the "queens", with the aim of dividing into teams.
Pouring apple or golden saucer?
The counting room is a rhymed rhyme consisting of invented words with emphasized strict adherence to 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
And we do not eat cones,
We'll give it back to Tare-Mare.
Teaser is a rhymed addition to a name.
Arkhip is an old mushroom.
Andrew is a sparrow, do not chase pigeons,
Chase the checkboxes from under the sticks.
Teddy bear-pod, 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.
-Rooster.
-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.
Upside-down fables, nonsense . These are varieties of the joke genre. Thanks to the “shifters”, children develop a sense of the comic precisely 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 either - then it no longer comes to the fore
cognitive, and comic effect of "stucco absurdities".
In the middle of the sea, the barn is burning.
The ship is running across a clear field.
The peasants on the street beat the stabs,
They hit the stabs - they catch fish.
A bear flies across the skies
Waving a long tail!
Drove 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 - fast repetition of difficult to pronounce words and phrases.
The meaning of tongue twisters- setting clear diction.
From the trampling of hooves, dust flies across the field.
The crow missed the funnel.
They belong to the amusing, 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... (life)
I AM, like a grain of sand small and cover the earth,
I am out of water, and I give birth to it myself.
Like fluff I lie in the fields
AND, like a diamond I 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 horseman 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 the transmission of 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.
DEFINITION OF CHILDREN'S FOLKLORE
Children's folklore is a specific area of oral 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 of 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. Russian children's folklore of Siberia was studied by M. N. Melnikov. In the modern science of children's folklore, two problematic aspects have emerged: folklore and the inner world of the developing personality of a child; 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 the communication of children, in which their folklore spreads and functions.
Children's folklore is the works of the children themselves, assimilated by tradition; works of traditional folklore of adults, which have passed into the children's repertoire; works created by adults especially for children and learned by tradition. G. S. 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
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 always took 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 tendency 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 collective, 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.
Classification of works of children's folklore can be made according to its functional role, routes 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 to physical actions (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
Lullabies expressing 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 rocking of the shake (cradle), and onomatopoeia could appear in the songs:
Berezonka hid- 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 spell-casting 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. "Songs imperative 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: do not lie on the edge, do not raise your head, do 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 small 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, according to A. N. Martynova, was associated with the impression of luxurious cradles in rich houses and royal chambers - after all, peasant women were nannies and nurses.
Pestushki, nursery rhymes, gallop encouraged 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 - cheerful, 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; bouncing - with bouncing on the knees of
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" (V.P. 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 nuts ..."). The content of the jokes is bright and dynamic: everyone runs to fill in the lit cat house; bring to life steamed a flea (or a mouse) in the bath; grieving for the broken testicle that she laid hazel hen \ 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. The jokes contain the first edifications: the stubborn goat is eaten by the wolves; kysonka-murysonka did 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 fables-shape-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 hen gives birth to a bull.
The piglet laid a testicle ... etc.
PROPERLY CHILDREN'S FOLKLORE
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 korchaga? A fox in flowers or a bear in pants?).
Readers are 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. Counters 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, which 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. At a later 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 number-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 texts are very stable. For example, in the 19th and 20th centuries. folklorists wrote down versions of the reading room in different areas "The bag rolled From a high hump ...".
Game sentences and choruses were 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 brought a cumulative composition into the game, and rhythm, onomatopoeia, etc., into 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 cry was close to the worries and aspirations of the farmers: the need for rain or, on the contrary, the sun. Children turned to the forces of nature as mythological creatures, tried to appease them, promised a sacrifice:
Rain, rain, more!
I will take out the thick.
Bread edge.
A crust of pie.
The chants were chanted in chorus. In contrast, 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 and so on. In their sentence, children could turn to Christian saints. So, going for mushrooms, they said:
Nikola, Mikola,
Fill the basket.
Riding in a stack
A shape-shifter.
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.
Some kind of verbal exercises were silent- a verse agreement to be silent, as well as golosyanki(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 midst (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, that is, rhymed additions to the name (Alyoshka is a flat cake, Andrey is a 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 reckoning 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, it means that you need to accept it and try to correct it. 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 i human.
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 left.
4. MODERN CHILDREN'S MYTHOLOGY ("SCARY STORIES")
The content and form of children's folklore works was 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 that gives rise to a feeling of fear remained unchanged, and to overcome this fear. In the feudal village, such a need was satisfied by the national folk 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, 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 belief 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 are manifested, such universal signs of culture as a spot, curtain, hand, eye, voice, look, color, size, chthonic characters, the ability to reincarnate, the idea of death, 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 in the morning. Write a circle there in black chalk and sit and wait. 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 men and 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 (Once upon a time, there were...), 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!" (black dead man); "I ate meat!"(vampire woman). 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 contain traces of literary genres: fantasy and detective stories, essays.
The system of images of children's horror stories falls into three groups: the main character, his assistants and opponents. The most typical protagonist is girl or boy; he is usually the youngest in the family. There are also other images: one man, one woman, a student, a taxi driver, an old man and an old woman, a dog Sharik, a 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 usually various types of pests: either simply fantastic images, or fantastic images, insidiously hiding under the guise of familiar people and objects (from a stain on the wall to a mother). A pest can have an alarming appearance, most often a color: black, red, white, or some other color. 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 lace ringing 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). In older children, a connection between the object and a living pest develops, 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; red (or black) flowers become vampire people at night; 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, shapeshifting came 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: a red witch, a beautiful woman in black, a yellow, wrinkled old woman, a 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 bylikas is seen. She appears in her True Form late at night, when she thinks that everyone is asleep: The girl opened her eyes and saw that her stepmother put on a black dress, dismissed
long black hair, put a frog on her chest and quietly went somewhere.(Golovko Lena, 11 years old, Kokchetav); she 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, 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 tree, 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: a witch with a hooked nose and a crutch instead of a leg(Seryozha Kondratov, 8 years old, Moscow); as well as 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, the 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, due to 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 hall of the theater 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 the 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, the 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 disintegrate. 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 ... The fiction may be analogous to an incredible coincidence of circumstances of a short story tale. For example, in one story, it is said 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 scary 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 common 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 a 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 audience to them is equal: here a literal belief in the miraculous is revealed, which typologically brings this group closer to the traditional genre of non-fairy-tale 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, 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 listeners 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. Features of literary genres and anecdotes are involved here. Interestingly, a number of parodies end with the phrase "You listened to a Russian folk tale", which emphasizes the groundlessness of belief in fantastic horrors and expresses the attitude to the fairy tale as to 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.
REFERENCES TO THE TOPIC
Texts.
E. A. Pokrovsky Children'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. Kapitsa Children's folklore: Songs, nursery rhymes, teasers, fairy tales, games. - L., 1928.
O. I. Kapitsa Children'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
Children's folklore is a specific area of oral art, which has its own poetics, its own form of being, its carriers. Children's folklore is closely related to the folklore of adults, it depends on the environment of its existence, the genre system, and all processes to which the folklore of adults is subject to one way or another is reflected in children's folklore. A common feature of children's folklore is the correlation of artistic text with play.
History of the study of children's folklore
The term Children's folklore appeared in the mid-20s of the 19th century. There are several points of view as to what material should be limited to the concept of children's folklore. One of the points of view is offered by Onikin. He refers to D.F. creativity of adults for children, creativity of adults that eventually became children's and children's creativity in the true sense of the word. Collecting children's folklore began in the first half of the 19th century. It is associated with the names of Sakharov, Tereshchenko, Avdeeva. They have collected and published some genres of children's folklore. It was at this time that researchers single out children's creativity as a separate section of folk poetry. Since the 60s of the 19th century, teachers have been paying attention to children's folklore. In 1867, a book for children "Native Word" by Ushinsky was published, which included various genres of children's folklore: fairy tales, songs, riddles, jokes, tongue twisters and proverbs. Children's folklore becomes part of the child's reading circle. In 1868, Bessonov's book “Children's Folklore” was published, which influenced the subsequent collection and publication of children's folklore. In the process of systematizing D.F. and its theoretical understanding begins at the beginning of the 20th century.
The first researcher who attempted to classify children's folklore was Vinogradov. Since the 30s of the 20th century, there has been a decline in collective research work on children's folklore. Only in 1957 was Anikin's work "Russian folk proverbs, sayings, riddles and children's folklore" published. The first generalizing work by D.F. belongs to Melnikov "Russian children's folklore". In it, he examines in detail the origin and within the genre classification.
Currently, the following areas of folklore for children are distinguished:
- Nursing poetry (maternal poetry). Lullabies, ditties, jokes ...
- Children's game folklore. Counting, drawing of lots
- Folklore of word games. Sacrifices, silencers,
- Children's calendar folklore. Calls, sentences.
Nursing poetry - this genre refers to the creativity of adults for children. These include lullabies, jokes ... They are associated with upbringing, caring for and caring for them. Lullabies - help to put a child to sleep. The origin they go back to magic spells and conspiracy. This is confirmed by a treaty typical of a conspiracy with another world. They are promised an offering, and in return they are asked for sleep and well-being for the child. In lullabies, there is such a feature as an appeal to animals: cats, cats, chicken. After the adoption of Christianity, images of angels and saints appear, who are called for help and blessing. There are also texts in which the child is wished to die. This is explained by the fact that they are trying to deceive the diseases that torment the child. They are one of the traditional forms of protective magic.
Lullabies have a composition: Bayu-bayu, then the plot part with the mention of the child's name and the ending logically ends the song. Traditional lullabies are usually divided into 2 groups: narrative (about the child himself, about objects, animals, birds) into imperative (expressed a wish (health, etc.))
Pestushki from the word nurture, nurse, wear, educate. Associated with the earliest period of the child's development (up to a year) help to establish emotional contact with adults. In shape, pestushki represent a complex sentence or a simple common one. They are laconic, using steam or inner rhyme.
Nursery rhymes- songs accompanying the games of a child with adults (okay, magpie-crow)
Jokes- This is a small funny piece, statement or a separate rhymed expression. These are small elementary tales with an elementary plot.
Children's game folklore. This is a very voluminous group of word works that do not have an independent meaning, but are constituent parts of such a word education as a child's play. In children's play folklore, 2 groups of verbal texts can be distinguished: play preludes (counting rhymes, etc.) and a group of texts “verbal play texts: play sentences (silencers, cuts, golosyanki) and choruses, etc.
The draw agreement determines the division of the players into 2 teams. Her role is to establish order in the game. These are laconic, sometimes rhymed pieces addressed to the leaders of the groups. And the question that offers a choice for the teams of the game. When creating toss, children often improvised based on fairy tales, proverbs, sayings and riddles.
Readers are short verses for assigning roles in the game. They are based on the score. Many are generally meaningless. The senselessness and "cleverness" is explained by the fact that they have passed from adult folklore.
Play sentences and choruses are small pieces for organizing the game. They had echoes of ancient ritual games. The game action inherited its forms, rules and order from the ancient pagan games in honor of Kostroma, Kolyada and Veril. In the games, children portrayed family life, labor activities in the village. The echoes of paganism were preserved in the games Kostromushka, Smoking-room, Sun-golden gate. The folklore of word games is referred to game folklore. These are cuts, silencers, teasers, tongue twisters.
Cross-cutting is a rhyme accompanied by a blow on a tree with a cutting object. The text of the cross contains an encrypted account. One of the rarest and most ancient genres of folklore. They are related to the process of learning to count. Rhythmic units - the number of times the tree is struck.
The Silent Woman is a small sympathetic work for the game. One of the children begins to read the comic text. Usually, during the game, he tried to make the participants laugh or hurt, so that someone would laugh and speak.
Golosyanka. The essence of the game is that children compete who will last longer without taking a breath. The texts began with a seed (a small rhymed piece) They were performed in chorus and without pauses. First silenced - lost
Ridiculous - songs or rhymes in which everything is turned upside down. Thanks to the shape-shifters, the children developed a sense of the comic. Laughing at the absurdity, the child is strengthened in the correctness of the already received correct idea of the world.
Tongue twisters are verbal exercises for quickly pronouncing phonetically complex phrases.
Teasers are short, mocking rhymes that ridicule this or that quality or simply tied to the name of the child. It is believed that they came from an adult environment and grew out of nicknames and nicknames. Later, rhymed lines were added to nicknames and teasers were formed. They make fun of cowardice, laziness, greed, arrogance, nagging (for adults), but there are also unreasonable ones.
There were excuses for teasing.
Calendar folklore (chants and sentences) they were introduced by Vinogradov
Calls - call, call. This is the appeal of the cry of children to various forces of nature. They were usually shouted in chorus and chant. A similar genre existed in an adult environment, but was of a magical nature. The remnants of the magic have been preserved in the logical problem and signify some kind of agreement with the forces of nature.
Sentences are appeals to living beings, pronounced by each child one by one. It is characteristic for them to imitate the singing of a prita or the voice of an animal. In some cases, this is a game of deception with the subject of treatment, in others, a child's threat or a sound tease, or a sentence of good luck.
Modern genres of children's folklore. They were formed in the middle of the 20th century under the influence of a complex of social factors. Modern researcher of the culture of childhood is trying to explain the reason for their appearance. One of the reasons is that most of the children have become city dwellers, and in their development there has remained an unchanging need to go through a stage of vivid experiences of the inexplicable and miraculous, which causes a feeling of fear and the need to overcome it. The outlook of modern children is shaped by urban life and the media. This is how the horror story appears. Horror stories are word games for children of 6-7 years old with elements of mysticism and fantasy. They use motives of death, the dead, ghosts, etc. Horror stories function according to all the rules of folklore: traditions are consolidated and passed from mouth to mouth. They are told by children of all ages. The most typical is from 8 to 12 years. The genre of senior evocations is original (How to call Baba Yaga). The purpose of the Summoners is to defeat fear. Horror stories have everything from folklore.
The system of images of horror stories splits into: glavger, his assistants and opponents. In horror stories, fantasy is evil. Negative images are associated with it.
Sadistic rhymes. They use the element of absurdity and grates. Even in the image of family relationships, games, everyday life.
Children's folklore genres
Dethnical folklore the area of folk 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.
Moving into the children's environment, most of the borrowed texts are rebuilt in accordance with the characteristics of the child's psyche. They serve both informative and pedagogical and entertaining functions. The transformation process is complex. Many works of children's folklore passed to children so long ago that the memory of this has been lost, other works have been transferred to children's folklore recently. Consequently, it is necessary to study genres taking into account their historical origin.
Traditionally, two directions can be distinguished along which the replenishment of children's folklore takes place. On the one hand, adult folklore adapts to the children's environment. On the other hand, the children themselves create works that take into account the specifics of the child's perception of the world.
TOlullaby song - one of the oldest genres of folklore. This is usually a melody or song hummed by people to calm them down and fall asleep. Basically, a mother sings a lullaby to her child, but often the performer and listener can be lovers, the lullaby can be recorded on a media, can be sung by relatives for the patient and in other cases.
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.
The heroes of other lullabies are wizards. 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 the windows,
Sandman wanders near the house,
And they look to see if everyone is asleep.
In such songs, cooing ghouls, homely swallows, and a cozy purring cat most often act.
NScatchphrases - references to insects, birds, animals. These can be not only direct appeals, but also onomatopoeia, for example, to birds: “Not these beans! Go mushroom hunting! It's bad here! It's bad here ”(hoopoe); “Whose are you? Whose are you? - A louse! Vshivik! " (lapwing). The well-known appeal to the cuckoo also belongs to the sentences: "Cuckoo-cuckoo, how long shall I live?" By their origin, the chants and sentences go back to ancient spells and conspiracies, with the help of which our ancestors tried to influence the forces of nature. Now they have moved into children's folklore.
* * *
Bee, bee, give us honey
So that the deck is full!
We will eat honey, say:
"Oh, what a hard-working bee of ours!"
* * *
Grass-ant,
Green, fragrant - 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!
* * *
Butterfly beauty
What don't you like?
You spin, you don't sit down,
What are you afraid of?
Here's your palm
Get some rest!
* * *
Bird-bird - nightingale,
Come to us as soon as possible!
Tirli-tirli-tirli-lei,
It will be more fun for us to live!
Zagadka - a metaphorical expression in which one object is depicted by means of another that has some, even remote, similarity with it; on the basis of the above, the person must guess the intended object. Riddles are found among all peoples, at whatever stage of development they are. A proverb and a riddle differ in that the riddle must be guessed, and the proverb is a lesson.
In their form, folk riddles adjoin proverbs: the same measured, folding speech, the same frequent use of rhyme and consonance of words. Sometimes only the interrogative form makes a riddle out of a proverb, proverb or proverb; example: "Sits on a sheepskin, but beats sables" (industrialist).
Not a tailor, but walking with needles all his life.
(Hedgehog)
I swam in the water, but remained dry.
(Goose)
Twelve brothers wander one after another,
do not bypass each other.
(Months)
There are seven brothers, for years the same names are different.
(Days of the week)
Now a black canvas, then a white canvas covers the window.
(Day and night)
The rope is twisted at the end of the head.
(Snake)
No arms, no legs crawling. (Worm)
NSdonkey - a small form of folk poetry, clothed in a short, rhythmic dictum, carrying a generalized thought, conclusion, allegory with a didactic bias.
The proverb owes its power to the semantic effect that arises as a result of a special contraction of the syntactic and lexical form, designed to consolidate a certain content; techniques by which this contraction is achieved:
The brevity of the sentence and the frequent combination of indefinite personal forms and the verb in the present tense or imperative mood
Parallelism
Alliteration, assonance, rhyme and other sound mechanisms that make the utterance rhythmically compressed
All these techniques help to generalize the statement, to raise it to the level of a metaphor, that is, to turn it into a typical equivalent of an almost infinite number of situations.
"Life is given for good deeds."
"Red speech is a proverb."
"Trust in God, but don't do it yourself."
“A house cannot be built without corners,
without a proverb, speech cannot be spoken. "
"Wet rain is not afraid."
"Small, but smart."
"On someone else's side, I'm glad my funnel."
"Who burns in milk, he blows on the water."
"To a cowardly hare and a tree stump is a wolf."
"The whole family is together, and the soul is in place."
"There would be lunch, and the spoon will be found."
"From time immemorial, a book has raised a person."
NSreservation - a phrase, a turn of speech, reflecting any phenomenon of life, one of the small genres of folklore. It is often humorous in nature.
From the simplest poetic works, such as a fable or a proverb, elements in which the content of the original text is condensed can stand out and independently pass into living speech; this is not an abstract formula of the idea of a work, but a figurative allusion to it, taken from the work itself and serving as its substitute (for example, "a pig under an oak tree", or "a dog in the manger", or "he takes dirty linen out of public")
A proverb, unlike a proverb, does not contain a generalizing instructive meaning.
"Hunger is not an aunt, she will not feed a pie"
"The word is not a sparrow"
"Teach your grandmother to suck eggs"
"He called himself grú here - get into the box "
"A fly in the ointment"
"What do you call a boat - so it will float"
"Road́ spoon for dinner "
"Yes, curls of convolutions will not replace!"
"A friend in need is a friend indeed"
"From the baǵ but don’t renounce prison ”
"Found a scythe on a stone"
"Without God, not a threshold"
"Kisses means loves"
"Hits means loves"
Some sayings may sound similar, but have different meanings. So, for example, along with the well-known proverb "Beats means loves", there is also a proverb that reflects the popular wisdom "strokes, it means loves."
WITHreader - 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 (usually one) of a participant out of many. A non-random choice (classification) can be the simplest counting rhyme of the "first, second" type, the result of which is the division of the initial set of objects by 2.
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!
***
On the golden porch sat:
Tsar, prince,
King, prince,
Shoemaker, tailor.
Who will you be?
Speak quickly
Don't hold back kind and honest people!
NSotoshka Is a genre of oral folk art. The nursery rhyme entertains and develops the kid. She teaches a small child to understand human speech and perform various movements that are guided by the word. The word in the nursery rhyme is inextricably linked with the gesture. It is the main thing and leads the gesture.
Nursery rhymes are a great joy for children, so parents can start using them from a very young age. For centuries, nursery rhymes have helped parents in various aspects of raising a child. If the child is stubborn and does not want to do something, the nursery rhyme is very helpful in such cases. Nursery rhymes for the smallest children help the kid to tune in the right way and do what is needed in a playful way. A nursery rhyme can cheer, comfort, and cheer a child in almost any situation.
Morning nursery rhymes.
We woke up, we woke up.
Sweetly, sweetly stretched.
Mom and Dad smiled.
Here we woke up
Stretched out
Side to side
Turned around!
Stir-fry!
Stir-fry!
Where are the toys
Rattles?
You, toy, rattle
Pick up our baby!
Sunshine, sunshine
look through the window.
Look through the window
wake up the earring.
So that the day is a little longer,
so that we know more,
so that the toys do not get bored,
and they played with Serezhenka.
Nursery rhymes from tears.
Don't cry, don't cry
I will buy a roll.
Do not whine, do not whine,
I will buy another.
Wipe away your tears
I'll give you three.
The pussy is in pain
The dog has pain
And my baby
Heal-heal-heal.
The fox has pain
The wolf has pain
And Vanechka
Pain on a twig
Fly away to the forest.
The pussy will come slowly
And pet the baby
Meow meow - say the pussy
Our baby is good.
Ah, cock-sock,
The little eyes are wet.
Who will offend the baby
That goat will butt.
Ddisassembly reflect negative aspects in children's perception of the world around them. They can be both funny and offensive at the same time. The teaser teaches children the ability to notice the bad, develops sensitivity to ridiculous situations in life. They make fun of laziness, greed. Cowardice, bragging, and other bad habits.
***
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
And I didn’t say thank you!
***
I'll tell you in your ear
About the green frog. Do not tell anybody,
Because it's you.
***
Uncle Styopa with a long nose
He came to me with a question:
How to subtract this nose
So that he doesn't grow anymore? -
You will buy vitriol
And put it to your nose,
Pick with a chisel -
The nose will fall off afterwards.
NSripe 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 the 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.
WITHcorpuscles were originally invented for the entertainment of children. However, other useful properties of this comic fun were soon discovered. Children's tongue twisters are difficult to pronounce phrases originally invented for the entertainment of children. But soon other useful properties of this fun were discovered. The authors of tongue twisters strove to ensure that children learn the correct pronunciation of words, enjoying such a process. Therefore, the paintings depicted in them often cause laughter and a smile.
Toddlers are very receptive to children's tongue twisters. After all, the process of repeating interesting rhymes for them is a kind of game. Currently, tongue twisters are used to make the learning process useful, but at the same time fun and exciting.
In addition, they are able to correct speech impairments in your child, if any.
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 a cancer in the river,
Put the Greek hand in the river,
Cancer for the hand of the Greek tsap.
***
Jackdaw on the willow
There are pebbles on the shore.
Nfiend - genre of oral folk art, prose or poetic narration of a small volume, usually comic
content, the plot of which is based on the image of a deliberately distorted reality.
Fiction is a kind of fairy tale genre in which “reality is turned inside out”. Fables include narratives "about absolutely impossible events in life, such as the fact that a man falls shoulder-deep into a swamp, a duck builds a nest on his head and lays eggs, a wolf comes to feast on eggs, etc."
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 on the peasant.
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.
Translated by S. Marshak
Hastushka - folklore genre, short Russian folk song (quatrain), humorous content, performed at a fast pace. There is an assumption that the name of the ditty comes from the verb "to part" with the meaning "to speak quickly, to the tune of frequent beats of music"; another interpretation of the motivation of the name is “something that is often repeated”.
The text of the ditty is usually a quatrain written by a chorea, in which the 2nd and 4th lines are rhymed (sometimes all the lines are cross rhymed). A characteristic feature of the ditty language is its expressiveness and richness of linguistic means, which often go beyond the literary language. The chastushka is often performed to the accompaniment of an accordion or balalaika.
The chastushka arose in the last third of the 19th century as an element of rural folklore, but received the greatest development after the formation of Soviet power.
Everybody composed ditties - both adults and children.
*** ***
As in a garden, I'm a poor goose,
The goat loves to walk. Like a copper penny.
After this hike I walk barefoot in the village,
Harvest not collected! I save the fluff for the winter.
*** ***
I sat on the stove, on my sundress
She guarded the rolls. Cockerels and cockerels
And behind the stove there are no more beautiful mice in the whole world
The donuts were guarded. My dear grandmother!
Too lazy in the morning Vova Sits Leshka at the table
Comb your hair with a comb, Poke your nose
A cow came up to him, and the booger answers:
Combed her tongue! I won't get out anyway!
*** ***
The shirt suddenly began to choke. Petya deftly catches fish
I almost died of fear. Can make a raft,
Then I realized: "E-mine! Only" hello "and" thank you "
I grew out of her! "Can't speak!
*** ***
I say jokingly to Kolya: In the morning, our mother Mila
Are you, Kohl, a werewolf, or what? I gave two sweets.
He growled, tail between his legs,
The dense man ran away into the forest. She ate them herself right there.
***
We walked towards Tolya and Kolya,
Dragging a hundred bottles.
They say they were looking
Old man Hottabych!
***
Love little kids
All kinds of sweets.
Who gnaws and who swallows,
Who rolls for the cheek.
***
Heroic Lena with laziness
I fought all day
But, much to the chagrin,
Lena was defeated by laziness.
***
It's bad to live in the world
Pioneer Pete -
Beats him in the face
Pioneer Seryozha!
Znicknames - 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.
***
Rain, rain
Drop, drop, drop,
Soak the tracks
All the same, let's go for a walk.
Mom, give me galoshes!
***
Rainbow arc
Don't let it rain
Come on sunshine
Red bucket.
***
Rattling thunder
Crack the clouds
Let it rain
From the steep slope.
***
Rain, lei, lei, lei!
The grass will be greener
Flowers will grow
On a green meadow.
NSeating
- This is another genre of oral folk art, intended for the smallest children. Pestushka is a small rhyme or song that is understandable and interesting for a child. This word gave rise to the concept of "nurture", but no one uses it today. Yes, and rhymes are not called little rhymes, although they remain, and parents constantly use them. In the old days, it was believed that the pestle not only develops the child, but also strengthens his health, synchronizes the biorhythm of the child with the biorhythm of the mother and Nature itself. Find the most interesting little dogs in this section and read to your children. They will definitely love it.
***
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 - tramples,
Runners, jumpers.
Good morning pens
Hands and feet
Flower cheeks - Smack!
***
Oh, swing, swing, swing!
There are some rolls in the head,
There are gingerbread in the handles
There are apples in the legs,
On the sides of the candy
Golden twigs!
Content
Children's folklore ……………………………………………… 1
Lullabies …………………………………………… ... 2
Sentences ………………………………………………… ... 3
Riddles ……………………………………………………… ..... 4
Proverbs ……………………………………………………… 5
Sayings ……………………………………………………… .6
Readers ……………………………………………………… ..7
Rhymes …………………………………………………… ..8
Teasers ………………………………………………… ..10
Chorus …………………………………………………… 11
Tongue twisters ………………………………………………… ..12
Fables …………………………………………………… ..13
Chastushka …………………………………………………… ... 14
Nicknames ……………………………………………………… 16
Pestushki …………………………………………………… ... 17
1. Genres of children's folklore. Examples.
Children's folklorethe area of folk 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 - one of the oldest genres of folklore. This is usually a melody or 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.
The heroes of other lullabies are wizards. 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 the windows,
Sandman wanders near the house,
And they look to see if everyone is asleep.
NS catchphrases - 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 of ours!"
* * *
Grass-ant,
Green, fragrant - 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!
Tirli-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 that has some, even remote, similarity with it; on the basis of the above, the person must guess the intended object.
Not a tailor, but all his life he walks with needles. (Hedgehog)
I swam in the water, but stayed dry. (Goose)
There are seven brothers, for years the same names are different. (Days of the week)
NS donkey - a small form of folk poetry, clothed in a short, rhythmic dictum, carrying a generalized thought, conclusion, allegory with a didactic bias.
"Life is given for good deeds."
"Red speech is a proverb."
"Trust in God, but don't do it yourself."
"To a cowardly hare and a tree stump is a wolf."
NS 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"
WITH 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 (usually one) of a participant out of many.
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!
NS 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 disassembly 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
And I didn’t say thank you!
NS 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 the 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.
WITH 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 a cancer in the river,
Put the Greek hand in the river,
Cancer for the hand of the Greek tsap.
N fiend - genre of oral folk art, prose or poetic narration of a small volume, as a rule, 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 on the peasant.
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
The donuts were guarded.
***
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.
NS eating - This is another genre of oral folk art, intended for the smallest children. Pestushka is a small rhyme or song that is 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 - tramples,
Runners, jumpers.
Good morning pens
Hands and feet
Flower cheeks - Smack!