CC BY
15UOT-5719.01
INTEGRATIVE PROCESSES IN AZERBAIJANI FOLKLORE
MALAHAT BABAYEVA RAMiZ GiZi
Phd, docent ASPU, Department of Literature https://orcid.org/0000-0002-3600-8499
Abstract
In the article, the theory of authorship in folklore was conceptually touched upon, and integrative problems were investigated. It became known that the theory of authorship in folklore is relatively obscure. As for the integration of folklore with other sciences, this problem is still being studied. The process of inter-genre, inter-variant integration, study of folklore with literature, linguistics, psychology, history, sociology and other sciences is still being researched.
Keywords: integration, folklore studies, literature, history, linguistics, psychology, philosophy, sociology, theory of "unauthority".
У0Т-5719.01
ИНТЕГРАТИВНЫЕ ПРОЦЕССЫ В АЗЕРБАЙДЖАНСКОМ ФОЛЬКЛОРЕ
МАЛАХАТ БАБАЕВА РАМИЗ КЫЗЫ
доцент АГПУ, кафедра Литературы https://orcid.org/0000-0002-3600-8499
Аннотация
В статье концептуально затронута теория авторства в фольклоре, исследованы интегративные проблемы. Стало известно, что теория авторства в фольклоре относительно неясна. Что же касается интеграции фольклора с другими науками, то эта проблема до сих пор изучается. Процесс межжанровой, межвариантной интеграции, изучения фольклора с литературоведением, лингвистикой, психологией, историей, социологией и другими науками еще исследуется.
В результате исследований было доказано, что интегральность - имманентное свойство самого фольклора, его способность к диалогу с окружающей средой. При варьировании, как справедливо заметил автор, даже «незначительная деталь может стать существенной частью возникающего нового целого. Интегративность - это функция фольклора, которая не существует изолированно, а включена в быт, локально-региональные и национальные традиции духовной культуры. Именно поэтому разработка типологии интегративных процессов имеет большое теоретическое значение, позволяет выявить системные основания народной культуры в ее связи с реальностью и ментальностью.
Ключевые слова: интеграция, фольклористика, литература, история, языкознание психология, философия, социология, теория «неавторитета».
Introduction.
Folklore is a set of oral verbal texts (structures) functioning (or functioning) in the life of any ethnic group or its any local, confessional, professional or other primary, contact group. Folklore is both art and non-art; cognitive, aesthetic and everyday functions constitute an inseparable whole in it, but this unity is enclosed in a figurative and artistic form.
Folklore studies - everything, except for its philological core, -is located on the borders with other sciences, where, in fact, speaking, the field of integrative folklore is being formed.
Methods: Comparative, theoretical analysis and generalization; qualitative empirical methods: observation, interview).
One of the features of folklore is the presence in it of moments of syncretism, that is, the inseparable connection of oral creativity with elements of other arts. Folklore enters the realm of performing arts (facial expressions, gesture, dramatic action) when performing not only the so-called folk drama and dramatized rituals - wedding, funeral, agricultural, round dance and other games, but also when telling epics, telling a fairy tale, singing a song; it is also included in the field of choreographic art (folk dances, dances, round dances), musical art (melods of songs). Consequently, folklore studies partially coincide with sections of such disciplines as theater studies, choreography, and musicology. Oral creativity (song, fairy tale, proverb, saying, riddle, etc.) is rooted in the very life of the broad working masses. A folklorist, therefore, cannot but be at the same time, to some extent, an ethnographer. Otherwise, he runs the risk of completely misinterpreting the folklore he is studying. Finally, a folklorist cannot but be a linguist to a certain extent, cannot but know properly the language, dialect, patois in which oral poetic works are created, which he collects and studies. Dialectology is one of the scientific fields that is mandatory for anyone who wants to be a real folklorist.
So, folkloristic cannot but intrude into the limits of theater studies, choreography, musicology, ethnography and linguistics. In turn, these disciplines, of course, cannot do without the help of folklore.
"Folk literature", as folklore was called, was opposed to fiction on two grounds: firstly, "folk literature" is allegedly impersonal, while written literature always has a certain author, and, secondly, "folk literature" is allegedly artless as opposed to "artificial" written literature. However, both of these oppositions, which have been held in science for so long, do not stand up to criticism. (3, 54)
First of all, what is "impersonal" poetry, or, as in the nineteenth century. did they also say, "the poetry of the whole people"? If we are talking about the wide popularity, wide distribution of this or that work, whether it be a fairy tale, an epic or a song, if the name of the author is unknown, does it follow from this that the author never existed? Of course he was. On the contrary, there have never been such works that no one would have composed or that "the whole people" would have composed. (4, 65)
Observations of folklorists since the end of the 19th century. and during the first decades of the 20th century, especially Azerbaijani ones, both in the pre-revolutionary and in our time, they convincingly proved how wrong those who spoke about the supposedly impersonal folk art were. Systematic observations of the life and work of storytellers of epics, storytellers, compilers of accounts, wedding bridesmaids and other so-called carriers of folklore have shown what a huge role personal artistic skill, training, talent, memory and other aspects of the individual psyche play in oral poetry. At the same time, it has now been firmly established and confirmed by hundreds, if not thousands, of examples that each carrier of folklore, performer of oral poetic works, is at the same time and to a large extent the creator - the author of them.
Among them there are talented and mediocre, with a rich original imagination and non-independent imitators, experienced and beginners in art, merry humorists and severe atheists, science fiction romantics and realists. In other words, in psychological and ideological terms, in terms of skill and talent among the carriers of folklore (its creators and performers), we can meet no less variety of individual appearances than in written fiction. Thus, there is no need to talk about folklore as an allegedly impersonal creativity.
From what has just been said, the falsity of another sign that allegedly distinguishes folklore from fiction, the notorious "artlessness" of folklore, also follows. What kind of "unartificiality" of folklore can we talk about when, at every step, with any careful analysis of any folklore text, we will have to discover elements of what is called artistic skill, verbal art? (5, 42)
Direct observations of folklorists acquaint with how storytellers, storytellers, singers achieve mastery of knowledge and performance of their works, as it happens, some of them learn their skills for years. Sometimes, with a careful attitude, one can find, as it were, artistic "schools" that
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distinguish some masters from others both in repertoire, and in style, in the artistic manner of performance. Under these conditions, it is also not necessary to talk about some kind of "artlessness" of folklore. On the other hand, the definition given by former researchers of literary fiction as supposedly "artificial", therefore, deliberate, unnatural, inorganic, must be considered completely false. Of course, from a modern point of view, the definition of oral poetry as "artless" and written literature as "artificial" is completely unacceptable. Both are manifestations of one great verbal art -poetry. (1, 34)
Often, defending the theory of the "impersonality" of oral poetry, they argue with references to the anonymity of folklore works. But, as we have already indicated above, this sign is purely external and even, in the end, random. Folklore works are anonymous, nameless because the names of the authors in the vast majority are not disclosed, not found, because for the most part they were not written down, but were fixed only in the memory of people. But, firstly, it was not always and not everywhere. For example, in the East, including ours in Central Asia and the Caucasus, many songs composed both in ancient and modern times firmly retain the names of the authors. These names are enclosed in a strict sound form (with rhymes, assonances and alliterations) usually at the end of the song. This manner of poets to fix their name in the text is now widely known from the songs of folk poets-order-bearers: Lezgi ashug Suleyman Stalsky and Kazakh akyn Dzhambul. Secondly, in recent decades, folklorists have begun to accurately indicate from whom, when and where this or that poetic work was recorded, as a result of which the authorship of local folklore creators is sometimes revealed. Thirdly, lately it has become more and more common to discover that this or that popular song, which everyone considered truly "folk", turns out to be a literary work of this or that famous or little-known poet.
One must think that with careful historical and literary work, an even greater number of unknown authors of famous songs, which were considered by many to be considered "impersonal", will be revealed.
However, the names of the authors of many songs will never be disclosed, since they did not write them down when writing songs, but distributed them only orally. But, by analogy with the facts we have just indicated from the literature of the 19th-20th centuries, it can be argued that anonymity does not mean "impersonality", "authorlessness" of oral creativity. And finally, anonymity is not any distinguishing feature of folklore in comparison with written literature. (2, 34)
"Genetically, folklore should be closer not to literature, but to a language that is not invented by anyone and has neither an author nor authors. It arises and changes quite naturally and independently of the will of people, wherever appropriate conditions have been created for this in the historical development of the people".
The essence of collective creativity is expressed in the fact that a personal creative act is directly carried out as one of the moments of the continuous creative activity of the collective ... As a result, a work of folklore, although it arises on the creative initiative of a creative person, but as a holistic work of art it is created not by an individual, but in the process of creative cooperation of many personalities that make up this collective.
Language integration. Folklore does not become a relic due to language adaptation. Our contemporaries have difficulty reading old Belarusian texts, but no matter how ancient the folklore genres, descendants always deal with works that are more or less understandable in terms of language. The secret is simple: in its future fate, folklore merges with the movement of local dialects, although it transports a number of petrified words and images, the meanings of which the performers themselves cannot explain. Fortunately, not everything is so hopeless. We managed to find out the meaning of the word "chyndokora" (ornamental decoration on the casing) in a carol song dedicated to the owner, although as early as the beginning of the 19th century.
Folklorists did a lot to prepare and develop new directions in their science, they treated and still treat their formalization and legalization with amazing indifference. The object of study itself pushed scientists to integrate with other disciplines. It's common knowledge that folklore belongs to
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cultural phenomena, the origins of which are lost in the prehistoric past, when ethnic groups as such did not exist, but then it acquired an ethnic face. This implies the development of appropriate integrative scientific vectors. If the entire archaic culture was monofolklore, then further folklore becomes a part of contemporary culture. Keeping typological similarity with folklore genetically related peoples, each national has a pronounced ethnic dominant. He reveals himself in the shell of dialects of one or another language, consists of a number of local-regional paradigms, is present in the sphere of ethnic consciousness, exists thanks to nationally colored folklore thinking, relies on well-functioning mechanisms of genre aesthetics, is included in the reality of everyday, social and historical contexts. The variability of folklore works is just a sign of ethnopsychological actions, about which folklorists have an approximate idea. Despite the traditional appeal to national character and national psychology to explain the reasons for the national specifics of folklore, nothing has been done to develop an integrative direction that unites the interests of folklorists, ethnologists, ethnopsychologists. What is the reason, it is difficult to say. Two can be noted: the first is the lack of appropriate specialization in higher education and postgraduate education, the second is historical, associated with the desire folkloristics to independence, isolation from mythology, ethnography, literary criticism.
Intravariant integration. We can say that the improvisational integration of elements external to a particular text into the artistic fabric of the work is of a total nature. This process as a rule, it takes place at the intuitive and artistic level of the performers' thinking and within the framework of variants of one text. The results are of three kinds: zero, negative and positive, accompanied by a shift in the artistic structure of the work, the emergence of new formulas, meaningful nuances, etc.
Considering the traditional nature of folklore and the closed nature of its aesthetic system, one could consider that it all consists of commonplaces, formulas and quotations that are shuffled and shuffled like a deck of cards. In a sense, this is true, which is not surprising. What is surprising is the unpredictability of the result of integration. With limited possibilities and the repetition of entire blocks of text, folklore is able to create something new. For example, in conditions of close variants of maternity songs, completely different characters are created.
Intertextual and interplot integration. This type of integrative process is associated with contamination, when two or more texts, their parts, plots are creatively or mechanically combined into a whole, and the next one seems to be integrated into the previous one on the rights of its organic part, in epic genres - through a connecting motif-justification, in lyrical - through the development of the last image, and then a chain connection of pictures is obtained. In the case of mechanical contamination, zero integration takes place a form of interaction between genres, when the functions and boundaries of the included material are clearly recognized. Inter-genre integration is also manifested in the complex of wedding songs. In Azerbaijan folklore, wedding songs are traditionally divided into incantatory, ritual, laudatory, lyrical and comic.
However, not all works correspond to established genre ideas; genre affiliation of most of them can be determined only relatively. Obviously, in wedding folklore, processes are constantly taking place that contribute to the emergence, development and decay of certain poetic phenomena, which leads to the blurring of genre boundaries.
An analysis of the functional plan of wedding songs showed that each genre performs a number of additional functions in addition to the main function in the rite. For example, ritual songs, while maintaining the dominant function - to form a ritual action, record its performance - additionally performed loads characteristic of songs of other genres, they called, conveyed ritual feelings, conjured and even amused the audience. Lyrical songs could direct the ritual action, idealize, conjure, etc. Wedding aesthetics determined a similar polyfunctional existence of other genres of wedding songs, while maintaining the core load of the verbal text unchanged.
The composition of the poetic works also provides evidence for the integration of wedding songs. The main compositional forms are narration and monologue, passing from one genre to another in the process of existence. Results
The poetic content of verbal texts depends entirely on the function of the genre, but the constant mutual influence of wedding songs has left its mark on their content. For example, not only the rite became the object of the depiction of ritual songs, they contain elements of well-being spells, glorification of the participants in the ritual, echoes of the ritual experiences of wedding characters. The analysis showed that the basis that determines the content of a song of any genre is a rite, the deployment of a ritual action. For example, the rite of baking a loaf determines the theme of the songs accompanying it. Ritual texts announce the baking of ceremonial bread, call to start decorating it, etc.; in laudatory songs, the idealization of loaf girls sounds, the loaf is magnified; lyrical ones convey the feeling of joy of those present that the bread was a success; the comic ones contain a mockery of the loaves (let us note that the loaf has never been the object of the image of comic songs), whatever the genre of the song, its content and subject matter entirely depend on the movement of the rite, on the location of the text in the sphere of the ritual. It is at the content level that the works demonstrate a more active integration of genres in the context of wedding rituals.The integration of works of one genre or part of them into another genre form is a special way for the development of folklore, the development of new material. Thus, the apocryphal legend about Saint Khidir Nabi is transmitted in the form of a psalm, a spiritual verse, a ballad, an epic appears in the form of a heroic fairy tales in Azerbaijani folklore. Conclusion
Integrativity is an immanent property of folklore itself, its ability to dialogue with the environment. With variation, as the author rightly noted, even "an insignificant detail can become an essential part of the new whole that arises. Integrativity is a function of folklore, which does not exist in isolation, but being included in everyday life, local-regional and national traditions of spiritual culture. That is why the development of a typology of integrative processes is of great theoretical importance, it makes it possible to identify the systemic foundations of folk culture in its connection with reality and mentality.
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