...and to the Urals At the beginning of the sickle, the shabby air groups continued operations on the entire great front. They took photographs of the climbers, the defense lines and the transfer of troops, hoping to order the command, even though it was not exhaustive, but still sufficient

Marina Tagiltseva
Scenario of romance from the ancient folklore of the peoples of the Pivdenny Urals “Ural gatherings”

Scenario of romance from the ancient folklore of the peoples of the Pivdenny Urals “Ural gatherings”

Purpose: Inspiration for patriotism, educating children about the currents of folk culture and spirituality based on Ural folklore.

Zavdannya: Development of creative abilities of children based on various genres of Ural folklore

Consolidation of previously developed folk games of the Pivdenny Urals (Russian,

Tatar and Bashkir)

Exploration of love to the native land, familiarization of children with the characteristic features of Ural folklore;

Distillation of moral qualities of a child: kindness,

justice, truthfulness, pride in one’s land;

The hall is decorated in a Russian style. Household items and arts and crafts are placed, the woman at the chosen Hostess (Russian folk costume) is getting ready for the guests (laying out handicrafts, straightening her costume).

The Russian folk melody “Shining the Month” will sound. (Children dressed in Russian costumes enter the hall and sit down.)

Presenter: Knock-knock, knock-knock! The gate knocks slightly. Slide 2

Open the doors, let guests into the booth!

Happy children - girls and boys! Slide 3

Sir: Hello little girls! Hello, good fellows!

Hello guests!

I've been checking on you for a long time - I've been checking on you,

I can’t start sitting without you.

I have prepared a certificate for you for whatever relish:

To whom knitting, to whom vyshivannya, to whom a kazka,

On the prizes, at the Svitlitsa and on the decks,

They gathered gatherings of summer and young people.

Mistress: Zhura-zhura-crane! Slide 4

Having flown over a hundred lands.

Having flown around, bypassed,

Krila, stretching her legs.

We fed the crane:

“Where is the most beautiful earth?”

Having heard the news, they fly by:

“There is no better place in our native land!”

Mistress: Guys and I live in a great land, Slide 5-6

What is Russia called?

Do you know what the Red Edge is? So, here we are, we live with you.

Who knows what our land is called? Ural, Ural region. Slide 7

The Pivnichny Urals, the Middle Ural and the Pivdenny Ural!

You and I live in the Pivdenny Urals, in the very center of Russia. Slide 8

Mistress: Slide 9 was sitting under the beam

Chi under the bright sky

They talked, they sang songs

I danced in a round dance.

They were playing in the Urals!

Oh, how to play garni.

In a word, these gatherings were holy souls!

Sir: In the Urals, people are cheerfully talented. slide 10

Come out spoons

Play to your heart's content!

Mistress: Russia is home to a number of different peoples and our slide.

The Ural region is a richly national region.

What nationalities are people hanging around in the Urals? (Children's report)

It’s true, in the Urals the Tatars are procrastinating, the Bashkirs stink

Yes, as Russians are indigenous inhabitants slide 12

And so do the Nenets, Khanty, Mansi, Udmurti, Komi, Komi-Permians, Mari, Mordovians, Chuvash, Ukrainians and other peoples. slide 13

All peoples live together, respect and value traditions one by one.

The children all start at school at once and go to the kindergarten.

Our kindergarten also has children of different nationalities.

They all make friends at once, study, play. The people of the Ural region are living, practical people.

Pratsya is respected at the forefront of his life. And to top it all off, people celebrate the holy days: fairs, sabantu, navruz.

Sir: Children “Let us be friends one with one, like the birds in the sky, like the grass with the meadow, like the fields with the planks, like the sun with us all.”

Gay, girly girlfriends slide 14

Veselushki regotushki

Hey, well done boys!

Empty fellows

Grati shvidshe get out

Make all your guests happy

Gra "Russian tin" slide 15

(Nagrash - children who have forgotten tin go ahead one by one

and bow, then go back. Dance melody - children put on

hands on the belt and dancing.

Sir: The game begins - it's time to patch up the mud. Anu, who is swedish?

We’ll braid your teens right away! One, two, three ting batog!

(Tisha - it’s your fault to wake up your teens)

Our people are no less talented in songs, dances and dances. And also

A lot of people have written poems about the place where we live with you.

Now the boys will tell you the poem I wrote

Chudova poet Tetyanicheva Lyudmila Kostyantinivna

1 ditina: When talking about Russia, slide 16

I see the blue Ural.

Like girls,

Pines barefoot

Escape from snowy cliffs.

2 ditina: In bows, slide 17

In the kilim expanses,

Among the fruitful fields,

Lie in the shadow of the lake

Through the intricacies of ancient seas.

3 ditini Rich, nizh farbi svitanku, slide 18

Lighter, lower bright light,

Earthly fires of gems

On a normal day,

4 ditina: I took it all in with my heart, 19

Having loved your land forever.

Ale head power to the Urals -

The miraculous has mysteries.

5 ditina: I love vogon I create slide 20

Suvoria has yogo beauty,

Martenov ta domain dikhannya

І wind of great surprises.

6 ditina: Meni dear people just slide 21

I hands to melt metal.

...When we talk about Russia,

I see the blue Ural.

Mistress: Like a fox, fox, little forest slide.

Under the pea in the dark

Boys and girls walked

Round dances started.

Song "Ural Round Dance" lyrics. T. Volgin music. F. Philippenka

Sir: Oh, you Russian soul, what a shame you are.

Join the round dance and recharge yourself with fun.

Sir: Children, we have been told that there are different peoples living in the Urals.

They have their own language, their own songs, their own tales, their own names and their own games.

Good for get-togethers slide 23

Have fun until the end

And now we're going to get sick

Bashkir gra. (Bashkir melody)

Hey, horseman, why are you sitting?

The field is getting faster and faster

Yurti will give us an hour

Get out the detlakhs! Slide 24

Bashkir gra "Yurta"

Rules: children are divided into three subgroups, the skin is placed around the corners of the Maidan. At the center of the skin stake there is a stele, on a new hustka with a national vizerunk. All three stakes walk and sing:

We are cheerful guys,

Let's get everything together in a group.

Let's play and dance,

I’ll rush to the meadow.

While listening to music, walk until the same stake, start a round dance. The music has ended - run to your seats, take the hustka, pull on, leave the yurt.

The team that wins is the one that “woke up” the yurt first

Sir:

Laughter, giggles, dancing hotly - Everything here is at once

Have fun and be happy! Holy Sabantuy! slide 25

Sir: I'll ask you guys for the "Bush Urin" gris

One of the participants is chosen to be the leader, and the others,

calming down, walking holding hands. The leader goes to get a stake from the prostrate side and back:

I'm chirping like a magpie (Tatar melody) slide 26

I won’t let anyone in.

I cackle like a goose,

I'll hit you on the shoulder -

Having said, run, the leader lightly hits the back of one of the graves, the stake is bumped, and the one who was hit goes straight from his place along the stake in front of the leader. The one who loved it first takes a different place, and the last one becomes the leader.

Gris rules. Kolo may immediately murmur at the word bizha. It is allowed to roll only on the stake, without moving it. At the hour of the run it is impossible to rush around those who are standing near the stake.

The music will sound (it sounds like the Lord's Copper Mountain)

Lord of the Copper Mountain: Hello, good people, guests are clicking! slide 27

I am the Lord of the Copper Mountains, Volodarka of the mountainous, precious

stone deposits.

My land has riches:

Vaughn saves gold,

І order from middle - malachite,

Zalizo, marmur and granite.

You'll find a lot of clues about her

Color stones, not just ores:

The ruby ​​is sown with a red color,

Green color - emerald.

Dark agate crystals,

Swap the edges for crystal.

I'm famous and I'm rich

My Ural land. slide 28

I ask you to go on the road for news.

What kind of writer did he preach for the Ural mayors, and for wealth?

Misters of Copper Mountain? (P. P. Bazhov) Well done! slide 29

And the axis of my riddle: (with illustrations shown)

Kozel that special boo:

With the right foot on the fireplace, slide 30

De toupne-

Dear stone to show up.

(Sribne kopitse)

Yak doll, little girl

She will dance for you with a little sleep!

Appears at the fire.

What should I call it? Tell me! slide 31

(Vognevushka - Jumping)

Siritka ris cotton:

Little blue glasses,

Curly hair,

And he himself, perhaps, is at his mother’s.

At Master Prokopovich's

Malachite started on the right

And with the hostess herself,

It seems to be known to the people. slide 32

(Danilo-meister)

Little girl,

I myself am all stately,

І braid її dark,

That's such a garna.

Cloth color malachite,

The braid has a line of reds,

Eyes before the Emerald, slide 33

Charivny, clearly.

(Mr.'s Copper Mountain)

Who was the Lord of the Copper Mountain modeled after? (To the lizard) slide 34

What did the Mistress of the Copper Mountain give Stepanov?

(Malachite screen) slide 35

What are the words: “You say it’s right, it’s right.”

(Kitka Murenka) slide 36

Well done guys, you know the heroes of P. P. Bazhov’s stories.

Lord of the Copper Mountain:

I command you this dear land,

Know, love, take care,

Let the trees turn green,

The rivers began to flow,

Let the flowers bloom in the flower beds,

Having sung shpak in the spring,

The region is the Red Ural region

The river is burning!

Mistress: The future of our land has a lot to offer you guys, considering how much you love your Fatherland, your native land, that you can do good for something new when you become mature.

Russia is a great land, there is a place in it and for our land, what is it called? (Children's report)

We can also say that “Pivdenny Ural is a part of Russia” (music)

(Girls finish the dance “My Russia has long pussy”)

Until the party, sit down,

Sit skin radium,

Right - the hour, and quiet -

Happy hour has arrived

The achievements of the previous project were as follows: systematization of the collected material; - consideration of the artistic originality of children's folklore and its functional characteristics; - follow the transformation of traditional works of children's folklore today. - questionnaire for students.

According to the opinion of the well-known folklorist V.P. Anikin, children’s folklore should be divided into: - adult creations for children (children’s songs, nursery rhymes, songs and washes); - create grown-ups who have become children for years (calls and jokes); - children in this sense term (babies, critters and crockpots).

Koliskov's songs are an ancient genre that is worth going to the extreme. Therefore, their main motives are for sleep, health, and a good and long life. The baby's songs are sung continuously, without subtext, in the same melody, in the same rhythm, which sang until the baby fell asleep.

Bye-bye-baenki, The bunnies have arrived. The bunnies themselves are white, their tails are lilac. Bye-bye-baenki, Spі, little darling. Soon you will become a great, great young man. At the factory of the Verstat you will stand behind your dad. Your father is in an important river, having fought a factory for you, son, to spend a moment for yourself.

We conducted a survey of students in the classroom. 20 students of the 5th “b” class took part in the experiment. The purpose of our research is to rank the popularity of children's folklore creations today. The students were asked the following questions: 1. Do your relatives (fathers, grandmothers and grandfathers) create children’s folklore? 2. How do you create folklore?

BEFORE THE HISTORY AND METHODS OF BUILDING COLLECTION

I.

With a further investigation of the history of any folklore genre, it is like first-rate food about dzherel and their scientific reliability.

The retelling of the dzherel base is dictated by the specifics of the folklore material and the complexity of its collection and publication. The texts of the works were collected and published over time, by different people, for different purposes. The result of this is the extraordinary consistency of the material, the scientific potential of which is different. Instructing from accurate records, there are folklore-inspired falsified materials, and direct falsifications, which naturally hangs in the first place of the concept of “stage of scientific reliability” of Dzherel, create.

The relevant stage of scientific reliability of texts - the obligatory and secondary stage of investigation - requires an important objective criterion for evaluation. The adoption of such criteria for the genre is not yet entirely prevalent in the Radian folklore tradition. The problems of folkloristic textology in the historical, folkloristic and scientific aspects have been systematically examined on the pages of folklore literature since approximately the mid-50s. creativity, preparation of texts to completion, goals and publications, principles of publication. Folklore publications of the remaining rocks reconcile the relevance of this problem, some folklore practice (both historical and recent) diverges from these recommendations, which take place in the work of textual criticism and , firstly, accepted by Radian folklorists. This makes it necessary to understand the techniques and methods of selective work in other genres.

ІІ.

Pre-Jewish folkloristics did not carry out a special collection and interpretation of recounts. The day of the name of this genre in the specific classification of Russian folklore in the primary compendiums. The genre of retelling from “the revelations of a different place” is not visible in the program of 1917. for collecting works of folk literature. Radian folkloristics had the opportunity to pave methodological paths for the collection and interpretation of retellings, selecting the best from the collection methods of the pre-revolutionary hour.

In the wake of advanced pre-life folkloristics, Radian science has developed a complex of methodological rules and techniques, verified on the basis of great practical evidence: the need for accuracy and repeatability of recording and with this method of repeated listening to the work; Ground documentation of the recorded work; respect to the particularity of the witness (spivak, kazkar, etc.); record of his biography; dbailivogo stavvaniya before viconavism as a creative act; recording options.

Yakshcho in the 19th century. in the science of folklore there was not yet a strong awareness of the need for accurate recording (this was clearly demonstrated beyond the collection, for example, “One Little Bilini” by A. F. Gylferding), then until 1917 p. This vimoga was formed as a basic one. It revolved around the selective practice of folklorists from the beginning of the 20th century. - brothers Yu. M. and B. M. Sokolovykh, N. E. Onchukova, D.K. Zelenina and advanced to the collection program. A special section (B) of the program transmits a record of “revelation of various places.” The term “transmitted” is missing, the division of the genre does not differentiate, including tales and fairy tales (paragraph 26), and the report’s shift in topic includes the topic of retellings: “... about the slaughter of peoples ... about the place where treasures are found. historical place: about kings, heroes, great leaders... about great wars, about political affairs... guesses about the past, about the right of the fortress."

“B” has issued recommendations for giving the recruiter material about the assignment to the people before learning about the “internal situation” (N. A. Dobrolyubov) for the education, about the state of mind and possible information: “... Tell me how to put it "The revelation is before the revelation... What kind of books and paintings are in the bestiality of this locality."

In 1921 The All-Russian Conference of Scientific Partnerships was held in honor of the local region with the contribution of Yu. M. Sokolov “Materials of folk literature on a global scale, local knowledge works.” It was stated that the collection and infusion of folklore should be done: “I am trying to collect the known material of the past, to apply the influx of war and revolution to the everyday life of the population.” I have shown respect for those who have “maybe Vinyatkov’s interest in the “archaeological” side of learned poetry, which has sunk in science until the last hour, obscuring the value of it as a living voice of the village about itself in our days.” The conference called for the collection of folk songs, chalk, legends of modernity, so that future historians of the revolution “would produce more material about the mood of the mate that was changing, in other parts of the world.” These correct theoretical principles were supplemented by methodical recording of folklore works. As the main, absolutely necessary ones, the accuracy and completeness of the recording, the legibility and reporting of folklore texts, respect for the peculiarities of the spivak, the cassar were considered.

Direct folklorists to collect “on a mass scale” materials that reflect modernity, Yu. M. Sokolov, having hung the task - more systematically than this with a scientific method. In this case, scientific reliability was seen as the main one and played the role of a criterion in the evaluation of publication. An example would be the evaluation of S. Fedorchenko’s book “The People at War.” In 1921 Yu. M. Sokolov, emphasizing that the book contains “legends, evidence and simply recognised”, that “the material speaks for itself”, at the same time even doubting the scientific reliability of the material, not certified, with obvious signs of stylistic editing: “Fedorchen” co It’s not enough for science, but for literature.” Later, in the editorial before the book “Revolution” there was a discussion about the book “Hears of Revelations about Lenin” Yu. M. Sokolov spoke sharply about the book by S. Fedorchenko about the falsification of folklore: “The Great Sin of Sophia Fedorchenko What's wrong with what she saw its powerful literary stylization “like the people”, which is acceptable from an artistic standpoint, for a valid document, misleading a wide range of readers who took her word for it. I don’t think that the author has learned anything from what he felt among the mass of soldiers during the war, but he felt everything and learned from his own transformation, diligently wearing a mask.” After a number of fates and hours of discussion, the evidence of S. Mirer and V. Borovik “Robust evidence about Lenin”, the book of S. Fedorchenko figured as a negative example: “... the need for the uniqueness of what S. Fedorchenko created. She ended up speculating on what is true folklore.” Thus, the criterion of scientific reliability of materials of non-Kazk prose that is published, taking its place in Radyan folkloristics from the first rocks of its development. Clarification of estimates from the 20s to the 30s. The scientific impossibility of the book is revealed by the growth and formation of the theoretical foundations of the science of folklore. In the world, as methodological principles were formalized, assessments became more powerful and scientifically powerful.

The need for accurate, documented records is firmly established in the 20s. not less in the instructions of the leading Radyan folklorists and in critical assessments of publications, and in programs and methodological aids for the collection of folklore works. At the same time, it should be respected that the method of recording genres of non-Kazk prose - paraphrases, legends - among the companions of these fates is not fragmented. The author of M. Azadovsky’s “Besidi Zbiracha”, highly appreciated by Yu. M. and B. M. Sokolov, becomes a real culprit. Speaking about the clearings of the collected Siberian folklore, M. Azadozsky recognizes “secular retellings” that may be of “special interest”, speaks of the need for their clearest record and indicates the topic: about Radishchev, about Chernishevsky, about the Decembrists, about the famous head of the penal servitude in Transbaikalia - Razbail and also about the days of the huge war and socialist everyday life. M. Azadsvsky does not give recommendations about recording retellings, but for the sake of this, about the collection of folklore works of all genres, there is no doubt that the retellings are being expanded: adding emphasis to the text, or, more precisely, to the word and sound, so as to uniquely character them for the selectors: “ "oplyudnit" text or "obliteraturity". “Science record - record word by word”, obov'yazkova postacchaniya skin record science passport.

The criterion for a scientifically reliable record was drawn up among folklorists of the 20s. XX century both for the further confirmation of the verification of methods and methods in the selective robot, and also for the elimination of non-scientific records. B. and Yu. Sokolov wrote in this manner in their methodical textbook of 1926: “An unscientific record is characterized by the obvious reworking of the choice, changing and correcting the text to suit your taste. A great evil is in amateur recordings the overbearing stylization of “folk style”, through which the usual work re-interprets the forms and twists of the “folk style” in such an overwhelming amount and such a combination, it seems “I’m all yo’ thing.”

This scientific record, which accurately confirms the informant’s confession, is full of documentation and not collected by the selector. Changes and corrections are unacceptable. Folklore works must be recorded and published in their exact form. The ordering of these texts is anti-scientific.

The methodological superechka of vinyl in the first half of the 30s. XX century next to the book by S. Mirer and V. Borovik “Responsibility of the Robotniks about Lenin”. Already the first book of these elected officials and officials “Revolution. The stories of the Ural robot workers about the huge war were collected and compiled in such a way that could not ensure the scientific reliability of the texts.

I. Rabinovich submits his request to S. Miera with the following acceptance:

“1-linkage of texts. It is possible that a number of accounts have been recorded about the same events from the huge war. By putting them together one by one, it is possible to strengthen the fact as a casual, superficial one.

2-connection of texts during confirmations, this is the name of the confrontation.

2 - record, if there is another guess on hand, behind which the evidence is “secretly” verified...

5 - recording of guesses from the report. This is the case if the evidence allows for a lot of inaccuracies. Then you need to pretend to be a nasty detective.

6 – recording of information about such reports, about what kind of clues there will be. It’s important to be wary of this news and convey the facts more accurately.” (I. Rabinovich. About the record of conjectures. With the knowledge of the work of Comrade S. Mirer. - In the collection: History of factories, issue 4-5, M., 1933, page 209)..

The situation in the investigation is obvious in the recommendations, for which the authorities select a “confrontation”, “the report will add”, asks for “informance”, and he himself becomes a “supervisor”. We cannot accept and confirm the “connection of texts”, leading to the synthesis of texts, which completely destroy the peculiarity of the surrounding report.

After the record, compiled in a similar manner, the evidence was given samples, in which the author of the article writes in the following order: “There are places that do not carry any semantic meaning, repetitions of words that tire the reader, and inaccuracies, mistakes in the transmission of facts, etc. This literary processing is one of the most important pieces of evidence, and no significant evidence has been accumulated in this gallery.” The process of literary processing of guesses includes, according to the author of the article, and editing, so that parts of the evidence are rearranged, creating a new composition. In this case, it is recommended: “If possible, the surveillance plan should be coordinated with the surveillance itself. If this is not done, then knives will appear on the stage...”

Appeared in 1934 books of conjectures about V.I. Lenin, prepared in the same way as the book “Revolution”, sparked a scientific debate, in the process of which a similar method of work was not accepted in folklore and popular practice.

S. Mirer and V. Borovik were filled with endless rumors about the revolution, the huge war, about Lenin, as well as historical events. This approach has great scientific significance. In this case, it was absolutely necessary to understand the basic nature of the materials, the presence of clues and assumptions, special assessments of evidence and to be fully aware of these moments. Selectors have completely destroyed the historicism of the evidence, and as a result, the materials have lost significant historical value and may have been lost to folklore.

At the hour of discussion of the book by V.I. Chicherov noted that the published works are not folklore, the fragments of the stink are sampled. Having recognized the great value of the collected materials, the very same materials that were classified by the inspectors as “facilitating the transfer of the earth” and on this basis were discarded or simply thrown away. As a folklorist, of greater interest is the collected “syrovina” (term Z. Mirer.-V.K.), lower collected and inspired evidence. V. A. Meshchaninova, M. Ya. Phenomenov identified a concern with the method of “cleaning” texts, which can reduce the artistry of the evidence and give it schematism. Necessary new notes in the field of science and preservation of confidentiality. Any kind of processing can harm these records as a sociological document: “When we collect material in order to identify the groups of people that are identified, this method is obviously incorrect.”

P. S. Bogoslovsky noted that “if one takes a broad creative approach to folklore materials, then in the localities, especially in the lower reaches of the region, the most advanced operations can be carried out with folklore... passing through the “creative” knowledge of collected folklore material is unlikely which can be classified as a regular work epos due to the subjectivity of voters, which is often avoided.”

Yu. M. Sokolov, having warned about the insecurity of compromising the great and the need for the right with incorrect selective and orderly techniques: processing of recorded material - shortening, rearranging, re-creating the compiled texts, re-examining the goals of “artistic order”. “Food about a new folklore style... about a new type of proletarian epic, we can only allow so long as we completely understand that every word in this creation belongs to the truth of the proletarian opinion, and not to the voters.”

Prote adherents of the collection of oral testimonies recorded among the people have not yet given their position. Born in 1936 appeared the article by A. Gurevich “How to write down and collect testimonials. Before I learn about the methodology, I will record and test the testimonials.” The author condemns Z. Mirer and U. Borovik for the editing: “fifty hundreds of references and narratives are deprived,” “everyone suffers from monotony, one feels the need to compile everything in standard literature no frames." The result shows that A. Gurevich is not against the processing of popular testimonies, but is in favor of it. For him, the aim of the editors lies in the fact that “to show the beginning folklorist... the residual processing of the texts”, and he values ​​for himself the ideal of “such a presentation of the recording and processing of the oral evidence, which would cover the entire laboratory our folkloristic roboti." To the thought of the author, whom I have not yet reached: “The nutrition of oral education is still at the stage of permission, and there is still a greater accumulation of methods of work.”

For a closer look at the texts of retellings and legends, see the collection “Old folklore of Baikal”. In Section I, “Katorga and exile,” A. V. Gurevich places the Barguzin legends about the Decembrists (No. 1-(15), recorded by him. The officer compiles it at his own discretion: “In the process of collecting noses, folklore was revealed these and other facts And the legends are not always in sequential order, so when I published the entry, I expanded them thematically" - The manager does not give complete texts. He intersperses the lessons with his comments. When the food is supplied, the informant is not provided with any information. The documentation of the texts is inconsistent. Thus, it is not known how many eyewitnesses have been told, so they choose to add the following comment: “All the stinks have been around since the last century.”

Section II “Mistical Translations” contains 5 texts (No. 16-20), the style of which is far from oral, formal and very close to written.

A critical attitude is also drawn from the materials of retellings and legends published by E. M. Blinova. We had occasion to write about her adaptation of the texts of Pugachev’s retellings. The orderer of the collections brought together records from many informants, subject to the obligation of translation. In front of this, she clearly explained with her text, either with the vigadani, or with the gleanings from the writings. For information from E.V. Pomerantsev, in 1941. were taken away by academician Yu. M. Sokolov from the Ural writers of materials that show how E. M. Blinova compiled notes and literary developed folklore texts.

How can we explain the appearance of fragmented, scientifically inaccurate texts from the other half of the 30s to the beginning of the 40s?

There was a great demand for folklore materials among the community, whose people, through heroic efforts, renovated their land and laid the foundation for socialism, folklorists responded to this need. Based on the work of A. M. Gorky, inspired by the idea of ​​​​creating the heroic epic of our days, the first books in the series “History of factories and factories” - “The High Mountains”, is the first collection robotic folklore from materials from the Girnizavodsk Urals - “ Pre-revolutionary folklore in the Urals." Before the 20th century of the Radyan Empire, the volume “Creativity of the Peoples of the USSR”, edited by A. M. Gorky. Prote felt that there was a lack of materials, especially Radian folklore. Yu. M. Sokolov at the list in the Urals E. M. Blinova, from the publication of the publication “Pre-revolutionary folklore in the Urals,” earnestly asks for texts about the Ural folklore (sheet dated 22.VII. 1935). I quote the lesson: “In conclusion, one important proposition: the editors of “Two Fives” and the editors of “Pravda” are urgently looking at materials from Radyan folklore. Especially needed are the following works: testimonials, legends, stories about the great war, heroes, leaders, successes of socialist everyday life. Select a few of the most interesting expressions from the humble and the mystical and find me for both editions. Undoubtedly, there are more than necessary appointments, for whom, if at all, the record was made.” Yu. M. Sokolov accepts the proposal to edit the collection “Ural folklore”, compiled by V. P. Biryukov, and gets a group of his students and colleagues to select the texts, the fragments of the great serpent article in the publication of folklore.

Ale huge will drink, having squeezed out the selection and vigilance of possibilities. Books were coming out of our minds with texts that were poorly chosen and scientifically unreliable.

In critical notes and reviews of folklore collections, the scientific reliability of the texts is due to this systematicity and consistency, for which this criterion may be present. Same about ce writing I. Kravchenko: “...there is an unhealthy tendency to idealize and devalue everything, without blame, folklore creations, to take into account everything that is folklore. An unwritten rule has become established about the skin of the Radyan folklore and to speak only in laudatory tones.” Criticism was more cautious, less powerful, and this situation gave rise to a new generation of scientifically inaccurate texts. Thus, A. M. Astakhova reviewed the book by S. Miera and V. Borovik “Revolution. Listen to the reports of the Ural robot workers about the huge war”, writing about the “even more extensive placement of texts” on the side of the book stackers, repeats Yu. In the review of Z. Mints on the collection E. M. Blinova’s “Tales, Songs, Parts” (Chelyabinsk, 1937) does not violate the principles of the relevance of texts and their folklore reliability. S. Mints further points out that the collection “is to blame for the mother’s scientific commentary, which provides insertions of Kazkov and song parallels to this material. The inspector is obliged to accurately document his material, and the report is obliged to focus on the characteristics of the bearers and creators of the collection of folklore works. Tsim umovam collection E. M. Blinova does not confirm.” These shortcomings, in our opinion, are a legacy of one reason, which lies in the fact that arranging the records into one text, which is why it was important to document the texts and biographical material about informants. Reviewed by V. I. Chicharova on collection E. M. The truth about the reliability of the texts does not rise and the collection of evaluations is entirely positive. The problem lies mainly in the fact that there is no material about the huge war and socialist everyday life.

There is an impression that the fragments of pre-revolutionary bourgeois-noble folklore ignored the work folklore, and the radyan folklorists presented this problem as one of the leading ones (and encouraged the ideological and artistic value of the work iv robotic folklore), then initially in the new “layout” there was a lot of folklore. And criticism did not abandon its spiritual role. Vaughn praised folklore publications. Obviously differs from other reviews. Hoffman on the collection of A. A. Misyurev “Legends and bulls (tales of the Altai masters)” is obviously a criterion for the accurate recording of the texts: “Collection of A. A. Misyurev, composed of wine-valuable material, given in a good accurate recording chaired by me. - V. A. A. Misyureva). K.), with a useful article and the necessary comments, is a valuable contribution to the study of Romanian folklore, on the right, which also includes the extraordinary tasks of Radian folklore.” These are the first reviews that formulated the benefits of scientifically reliable texts.

Of little importance is the fact that the nature of the genres of non-Kazk prose was not disaggregated, there was no scientific discovery about the ideological and mystical features of retellings, legends, acknowledgments, genre varieties were covered by one term - “acknowledgment”. The problems of textual criticism and folklore were not separated in the 30s.

ІІІ.

The field recording of retellings expands on all the basic possibilities before recording any folklore work: 1) write down accurately, without changing anything or adding anything to yourself; 2) it is written down and rechecked carefully; 3) recording the text again and accurately documenting it.

At that very moment, their implementation may have a direct connection with the peculiarities of the genre of retellings, their situations and other important moments.

Local reports, their collection proceeds successfully for the knowledge of the history of the region, the locality in which to work, in the geography of a given locality (more precisely, in the names of extra cities, river, lakes, settlements etc.). The success of field work is determined, first of all, by the level of preparation before it itself. This is “the body of folk creativity” (P. P. Bazhov) - the retellings can be opened and drawn from more than that, if you yourself know well the history of the Urals, the peculiarities of the practice and life of the Ural labor workers, the themes and images of the Russian Federation some Ural retellings. Obviously, the requirement to secure and record transfers from this territory was created earlier.

The first price is usually of an educational nature. As if there were no indications of the selection in historical and geographical records, in folklore materials recorded before, it still does not reveal how the same plots are told in the process of field work.

The sayings “don’t lie on the surface”, their notes convey awareness of direct jokes, and gently conduct them in a selective manner.

The fragments of the retelling are not a story about the past, sometimes even far away, then the informant-informant needs to be adjusted in a consistent manner. It is possible to grow the sprouting agent until it ripens in a variety of ways.

In practice, the beginning of the conversation has been verified: the beginning of the well-thought-out Rozmova is about those who are not going to write songs about farming and family life, not bringing in supplies, but stories about the historical past of the region (the region inhabited th point). In this case, one often gets caught up in a little bit of confusion, which is written about history in books, which will soon be revealed. Without taking into account the role of letter writings, we select to explain the meanings of people's statements about the historical life of the past. This explanation is entirely kindly accepted by the spivrozmovnik, adjusts in a serious manner, advances the significance of the rose-colored speech, speaks of his importance.

As spivozmovniks, it is important to act as people of the older age, the people in charge. Perekazy is an important human genre. P. P. Bazhov, speaking about the greatest number of witnesses, lived up to the phrase “the Institute of Factory People of the Old Age.” This “institute” is true, and for the recording of translations in the Gorsk Urals, its significance is important to re-evaluate. And nowadays we write down stories, mainly from people of advanced age; There is a feeling that the manifestations of people, as expressed in the passages, “are seen” among every generation in people of an older age. The stench is the bearer of everyday knowledge of the sensory term, the knower, the custodian and the transmitter of the tradition of recounting.

With the revelation of the passing of the village, Rozmova and Mikhail Pavlovich Petrov broke up in a snail born in 1960. near the villages Visim, Primisky district, Sverdlovsk region, Batkivshchina D. N. Mamin-Sibiryak. M. P. Petrov was born in 1882. at Vіsіmі, here i revealed life. He knows the history of the village, the locals, the outskirts, and is literate, having graduated from a three-grade zemstvo school. For me, the selection of the expedition’s kernels - Rozmov and M.P. Petrov - is a kind of “reconnaissance” into the area of ​​\u200b\u200bsignificant transfers. I see fragments, motifs, plots in the sewing, which the participants of the expedition then specially joke about. Who has a sense of similar roses. The smell of obov'yazkova on the cob of the harvesting robot, the fragments reveal a thematic repertoire of paraphrases.

In the testimony of M.P. Petrov, one after another, there are groups of all-embracing paraphrases: about the Old Believers-sectarians (“Far away in the Ural Mountains there is the grave of Father Paul, there until Peter’s Day Kerzhaks gather to pray. And now The license began to be fenced off"); toponymic (“Blizzard Log, why there were no metelevsky mowings here. They were called after them”); about the prototypes of the heroes of Mamin-Sibiryak’s works: “Emelya Shurigin was a mislivet here, and was friends with Mamin-Sibiryak. He led him through the forests, and then portrayed him under the gaze of Mistletoe"); about the life of a miner's village (“When there were gold-platinum digs here, there were a lot of people here”); about the relationship between miners and platinum buyers, about “factory robbers” (“Previously, they stole platinum from us here, part of it was given to the buyer, and part of it was taken from themselves. The buyer Tima Erokhin went with Ves and gave the platinum to Tagil to the Treukhov brothers , and Krivenko is on guard; buv"); about the infiltrators in the Ural forests (“The big ones chanted: “Wonder, don’t go far into the forest, otherwise the infiltrators will hide.” They will flow in, without passports, and start their lives in the forests”); about Demidov and his activities in the Urals (“Demidov was the first in Russia, having created a ruin, from whom the sovereign loved him very much and gave him badges here. To say, they are still alive in Perm, but the head office was in Tagil”). Remembering the teachings of the zemstvo school, M.P. Petrov recounts the verses “Who is there?”, “Wonder, the house has a light in the world...”, guesses a book to read, folds it; Paulson, explains from this book, in his words, “everyday articles”: “The Crow and the Little Crows”, “Father’s Commandment to the Sons”. Thus, this conversation gave information not only about the themes of the world's retellings, about the motives and plots, but also about some of the possible subjects of folk manifestations (anthologies, books).

The truth of reconciliation and such an “approach” to the collection of reconciliations is that of a spousal informant’s autobiography. At 20 rocks. M. M. Yurgin took up the collection of autobiographies, viewing them as an independent and original genre of verbal creativity: “Before accurately recording everything, we choose to do so before recording an autobiography. Autobiographies sometimes turn out to be so informative and informative that they acquire absolutely independent value in the eyes of those who are interested in them, and then they begin to write autobiographies no longer just like cassars. And spivakov, and a kind of people who are not like that - like the skin, who gave the date of the report about your life. Autobiography grows in an independent genre of oral verbal creativity.” The article by N. N. Yurgin is already significant as one of the first attempts by Radyan folklorists to expand into the genre structure of established folk traditions. In this regard, the central place among them is given to autobiographies, which absorb elements of other genres: “... in fact, in autobiographies, in this and other worlds, there are also elements of all other genres. The sequence of autobiographical episodes is included before the episode is published, the memoir and elements of chronicle writing are included in various themes; In many cases, all the elements of the table are identified at once, so it is very important to draw a precise line between them.” In connection with a similar genre of autobiographies, N. N. Yurgin recommends writing them down in the sense that the folklorist does not specifically focus on them, but on stories of some other kind: “Values ​​on their own , stink help better understand and explain character and similarity to the material for which the student has specially chosen.”

In the middle of autobiographies, N. N. Yurgin defines elements of retelling: “... a genre that can be called historical or chronicle, stories about those that he himself was not an eyewitness, but felt among people.”

We are in touch with N. N. Yurgin in his assessment of autobiographical accounts. Based on selected practices, it is obvious that autobiographical testimony is one of the ways to recount. P. P. Bazhov, at the right time, was ready to embark on an autobiographical interview using the method of collecting folklore materials on the topic of people: “The main stake here is not on the connection of the witness, but on the biography of the witness. Having worked for many years in any kind of way, we understandably know that there were a lot of good evidence, even if we don’t even talk about them to others. The words of one can be updated or corrected by another.

A spy's confession about his life is sometimes the most important moment. It is advisable to move on to a description of the type of work that one does (or has done), for example, to rafting work, then to a description of the Chusovsky glasses, which were always reasonable for swimming. The result is a response of an autobiographical nature, which helps to evaluate the work shown deeply and clearly. The confession reveals the ethical and aesthetic manifestations of the informant and sheds light on the perception of this social and professional group, to some extent. In the autobiographical accounts about the rafting robot there are toponymic references about the names of the Chusovsk skel-fighters; In connection with this theme of fortune-telling, the strongman Vasil Balaburda. Becoming the most famous folklore image. Special rumors and rumors about him began, which yielded results. In this way, from selected practice, we need to recapitulate autobiographical evidence: autobiography is the safest path to retelling.

My spivrozmovnik near the city of Polivsky, Sisertsky district, Sverdlovsk region. used to be a snail 1964 r. Mikhailo Prokopovich Shaposhnikov, born 1888 people His revelation, filled with paraphrases, began with autobiographical accounts, and then removed the paraphrases: “Father was a prospector. When I turned 13, I went with my father and brother to Omutinka and Krutoberega. They made a hole, first came peat, then river river, then sand instead of platinum. We reported to the office, they were expecting us to pay 90 fathoms. They didn’t do anything, they beat the river. We crossed the river to Steep Bank. There is a support area, depth 1 meter 20 – 1 meter 30; There was plenty of water, water was pumped out day and night. Members of the company: Oleksandr Oleksandrovich Poteryaev, Dmitro Stepanovich Shaposhnikov, father Prokofy Petrovich Shaposhnikov. They worked for 15 years on Krutoberezh, 18 km away. One piece of grass was brought in until the earth opened up, so that there would be no frost. They put on two macherti and danced. They paid 12-13 rubles per week per share. On Chervonia Girtsya we worked five times. “My gold is in my voice.” This is true. Not visible near the ground. And if you believe people, you won’t get it. We broke through a mine behind the Great Ugor, 22 meters deep, contractor Belkin had worked here earlier, and ours broke through - nothing showed up. This is the order: “Gold with a voice.” It’s so good, and not so bad. Before there was no pension, no help. What’s in the casserole is just that. They joked about it. In Azov (we have a mountain Azov, 7 kilometers away, they have a girl called Azovka or the queen of the earthly kingdom (you yourself understand what they were called), there are peaches on the side of the mountain. And everyone respected that there Warehouse Deyaki people walked, but they couldn’t go there, because it was flooded, or else, but it was just like that, to walk 6 meters - that’s all. The huts lived in Azov, they got hold of all sorts of goods with someone else’s money... They attacked, robbed, and they put everything in the oven. .. Here is the Great Mountain... If you miss it on Azov, they set fire to the birch bark tar, give a sign: “you missed it, get ready.” And they will cover it here, on the Great Mountain. , so that people can make a living by shortening their lives. Get into the house at night and eat food, so that they can earn money.

Autobiographical information about the miner's work proceeds from the dark passage "My gold is to the voices of the Vitti" coming from the authoritative testimony of life, then the theme of treasures naturally arises, before the jokes that were made in our hope you are from a difficult financial situation; In the information about Azov there are fragments of stories about Azov, then there follows a story about the robbers (hizhaks) on the Azov Mountain and the Great Vugria and a toponymic story about the Dumna Mountain. So the autobiographical story became a path before retellings and a kind of analogy of retellings.

At the village Chornoistochinsk Primiskiy district, Sverdlovsk region. 1961 b. I had a chance to hear an almost ground-level story about the work family of the Matveyevs from Adrian Avdiivovich Matveyev, born in 1889. folk: “My grandfather Demidovsky robotnik kriposnik former. Pratsyuvav on vugilli, Artemon Stepanovich Golitsin. Both men and women died because they were not in the digs, but Demidiv’s robot workers. Having decided to make friends, taking the original girl and not sleeping with the manager of the plant. And before this was the right, the manager gave orders. From i sat for 7 days and Artemon himself and his squad. They put the young people near Tagil near Kamyanu for rowing and rowing. At that time, the breeders had all the rights. The history of their family was like this: my great-grandfather, Artamon’s father, Stepan Trefilovich Golitsin was the master of ties. At that time there were no calls for military service, but simply such grabs. They call out to Stepan at the office, supposedly: “Be baptized at the church, for we will take your son as a soldier.” Vin order his eldest son Artamon: “Bring Clementius and Onuria.” Grandma doesn’t worry, but daddy will start pissing, then cry out blue, and even flog there. They were immediately handed over to the soldiers, and it was not easy to get baptized before the church. Stepan's second son - Avdey - 25 years of service.

Demidiv's robot workers were treated as if they were thin. If there is enough vugilla here, get married to Verkhny Tagil, and work there. What now, if there was a stench of subland. There was violence at the side of Demidiv’s servants. Vyaznitsa Demidivska on the factory territory under the ground. Directly from the screaming shop the entrance to it is. Whoever doesn’t follow the norm, then put it in there. There are two ligatures, offended, in the rowing of the bulls. For not vikonannya tudi, yak at the punishment cell, they were punished. As they began to collect the first brukht here, they gave you chavunni posts, original human posts. There was a stench, I don’t know. People have been wearing them for a long time. For ties, boules and loops. They couldn’t be seen here, they weren’t in the slightest bit of chavun littya. The stinks were clearly brought. Possibly, they have clothes for punishment. Or maybe they were afraid that people would run away, so they dressed them like that.

Having heavily plucked Demidiv’s ore. Born in 1937 On Mount Shirokiy they found ore deposits, and then they marveled at Visotsky’s map that there were ore deposits there. Know the ore Demidiv. Bula Komarikha at the old hour. Behind these signs, everything is found. Vona didn’t know what ore was there. She didn’t know gold, but signs of gold, and everything was connected with gold. There is a bus stop here, there are standing booths there. This Komarikha lived with the rich, with the Treukhovs, when she was young. Their gold was seized from the basement. She went there and shouted: “We’re burning!” But there was no fire. Once the gold has been taken away, it won’t feel like it was burned. If a person in it worked for Levikha, she had to travel through Levikha, then no one knew that there was ore there. As soon as they reach this place, the primha came out, she was unconscious, she died. “Farther away, where she was drowning, Levikha was revived. Go get some berries and tell prospector Abram Isaich, like, “You’re not trying there, but here you need it.” Zgodom Tit Shmelov knows gold. Follow the stink with the man, it’s like: “The axle here is a kind of waste, there will be a lot of gold.” But they didn’t reveal anything. And Tit woke up his little stone little buddy on this golden stone. Tit said: “I know the gold of the Komarikha Cossacks.” (Recorded by the author).

The story of the autobiographical plan begins with the family retellings of the descendants of Demid’s workers about the friend’s grandfather without the permission of the plant manager and his punishment, which he was accused of, about the jealousy of the dissenter, who sacrificed his sons, without changing your beliefs. Then follows a story about the chavun's bast shoes and a story about the extraordinary power of the Komarikha to “dig” and “snatch” gold across the earth. Overall, this story, especially this first half, looks like a chronicle of a working family.

Approaches to growth can be varied, depending on the purposes of selection, depending on the age and other characteristics of the student, as well as the type of minds and environments in which the recording is made. After all, the role of the selector is not passive. Vin begins to grow and gently encourages them, arousing interest until they grow. In this case, the artist’s skill is manifested in not interfering with the story, not imposing an artistic decision on those and not directing it to a different plot. During the hour of discovery, the selector actively listens, so that his appearance, both replicas and voices, shows the concentration of the news. As the conversation takes place among groups of people, the role of the middle of the hearing is actively assumed: with nutrition, supplements, emotional sounds, the stench inhales the message, helping them with their selective work. M. Azadovsky, in “Conversations of the Elector,” puts forth an idea about the obligatory informing of the election from the Kazk material, so that “as soon as the Kazkar knows that he won’t guess anything, “guide” the Kazkar, suggesting and guessing There are different stories." “Sometimes it becomes difficult to try to tell the story of a tale for yourself, having known for whom it is an obedient fit. This always gives an excellent result, but inadvertently there is a moment of confusion.” When recording transfers, the material has obov'yazkova over the smaller and larger world. Possible confirmation of the transfers by the selector. The informant informant really changes the information level of the selection. You can call the “moment of surprise”. Or maybe you won’t feel guilty, the fragments of the spyware will be kept in mind by keeping yourself informed. It is necessary to insure the character of the spivrozmovnik.

Record of retellings about Ermak in folklore. Chusovy in 1959 The beginning began with a conversation about the “Yermak” stone at the bottom of Chusovaya and its name. Naturally, the descriptions begin with a description of the stone: “Yermak is a carefree stone. Calmly poznyogo plevesh. The guy Yermak is alive there. People's harvest. Vіshov Chusovaya burned out from below...” then.

“On Chusovaya stone Ermak, a high stone, the beast has a new entrance, as always, to Chusovaya. There’s a club tied there, a hook hanging there...”

“What stones have names - that’s what our grandparents called them. Ermak-kamin - it seems that Ermak is here when he’s asleep...”

Selected practice shows that positive results come from informant awareness of already recorded statements, as well as recording from a group of people. Near the village of Martyanova in 1959. Rozmova met with a group of old people: Mikola Kalistratovich Oshurkov (born 1886), Moisey Petrovich Mazenin and Stepan Kalistratovich Oshurkov (born 1872) about the treasures that lurk near the earth. Our spіvrozmovniks, one after another, relayed a story about Yermak’s choven, more pennies, and also about the discovery of belongings riveted from red copper pennies by Fyodor Pavlovich and Vasily Denisovich Oshurkov.

“Approaching” before recording the retellings, one can selectively select works from other genres using the method of recalling the necessary images, plots, and phenomena in the memory of the informant. Thus, the reading of the first recruiter’s song “The Last Night of the Day...” was inspired by the report of Philip Illich Golitsin (b. r recruits to the army. It is noteworthy that F.I. will finish his speech. Golitsin also in the words of the song: A good boy was born, He came in handy with a soldier... (Author's archive. Chornoistochinsk, 1961).

The retellings may appear in Rozmova as a darkening of the phrase or as a commentary on the works of local poets. Vysima sang about “Overin Kuliza”:

Over Kuliga Stogne Overya,

Losing weight and not sleeping at night,

“I don’t know what will happen now,” -

Elizarich repeats himself.

“They’re all bastards, they’ve become shirks,

Rob in broad daylight.

Like attacking a wet Misha

Sheramigi is on me now.”

And then Nefed Fedorovich Ogibenin (famous for the folk drama “Gang of Robbers “Black Raven”), explaining: “Aver’yan Elizarovich Ogibenin made a great kuliga on the right birch of Shaitanka, with a great platinum instead (Overina kuliga). The same miners (“sheramigs”) learned about platinum and began to wash platinum at night. To this fact of the world’s life and dedication is the thoughtful verse of K. S. Kanonerov.” (Author's archive. Visim, 1963).

The retellings of those living experiences show contacts with songs. Thematically close and similar to the paraphrases, the songs are quoted verbatim and paraphrased in their own words, but close to the text: “Yermak is a Cossack, as the boys in the army learned. Yogo tsar wants to strachuvat. For what? That's how Stenka Razin stood for the people. We stood here on our Chusovy, then reached Kami. Vіn mav 800 people, Vіn said: “If they do me, attack the merchants, they will demand justice.” And I will not fight against the hordes, against the Tatars. He has an important armor-gift of the king, becoming the death of the wine and sinking to the bottom of the hero. If the stinks slept, they were attacked by the Tatars, then I will say:

Ermak fell asleep,

Ale far away from the shore of the city,

Heavy armor, gift from the king,

Becoming his death through guilt.

Vin has brought the hero to the bottom. And the Tatarva went around them, but Choven, Choven far away, they didn’t have a chance; What to give to a living person, so that they would crap on him, rushing to Irtish.

Especially before the rituals, I sat in the middle and sang Ermak. Let the boys breathe in so the stench doesn't startle. Ermak buv u poshanі. Tse bulo 1914 roku. At lust b. You walk at night, it’s dark, you can’t see anything. Then, having spent 2 days in Nіmechchina, and on the 18th day it came out. We need to encourage young boys, we need to make them happy.”

The text has a synthesis of retelling and testimony, a retelling of a song about Yermak, a literary adventure (“The Death of Yermak”, the thought of K. F. Rileyev) and a quotation.

Already (and we have carried out) repeated expeditions to the place where the recordings were carried out earlier (Near the village of Visim Primiskogo, the Sverdlovsk region, 5 expeditions were carried out, which resulted in the collection “Folklore in the Fatherland of D.N. Mamin-Sibiryak.” Repeated expeditions were carried out in the settlements of the Sverdlovsk region - villages . Chornoistochinsk (1960, 1962), M. N. Saldu (1966, 1967, 1970), metro Polevsky (1961-1967), metro Nev'yansk, village Poldnevo (1963, 1969), metro Alapaevsk (1963, 1966), metro N. Tagil (Bagatorazovo).

Common practice shows that repeated recording of a text after an equally short period of time does not make it possible to verify the exact accuracy of the initial recording: if another text is recorded, it is impossible to verify that the informant is absolutely accurate I'm not sure. But it is clear that the repeated recording transforms the thematic and plot type of the initial recording of the report. The arrangement of initial and repeated recordings serves to explain the living processes of the genre: the share of tradition, the level of the nature of improvisation, the variety of variation and others.

It is very important to record the situation in which confirmations are made, as well as comments, remarks, and comments from hearers. The recording of the text acquires important details, becomes ethnographic-folkloristic, and fulfills the inherent function of conveying its active function.

V.P. KRUGLYASHOVA,
Sverdlovsk