Done by : Yuldasheva Sh Checked by: Ruznetova d summary on the article

Done by : Yuldasheva Sh
Checked by: Ruznetova D
Summary on the article- FOLKLORE AS A TERM OF CULTURAL STUDIES
This article is proposed by M.S. Kagan's theoretical concept of the "system of subcultures" allows to summarizing in a new way what was developed by the humanities of the XX century. The concept of folklore is also productive for the comprehension of culture in subsequent eras, as well as for the culture of modern urbanized civilizations. The creative activity of various groups of the urban population is no less important for understanding the social nature and forms of folklore. This process originated in the work of the medieval urban plebs, artisan people who broke with agrarian labor. This phenomenon has been studied, in particular, by Russian art critics, theater experts and folklorists of different generations.
In this way, folklore can be considered a rural subculture and the creativity of ordinary city dwellers Yes, but not only that. Here we enter the most wide-ranging cultural space. Developing the logical concept of the system of subcultures, we should say that folklore as a subculture in general is created by any social and ethnic community, any group or any collective that feels the need for informal self-expression, for communication between the individuals composing them and for passing their works of art to other groups and collectives in solidarity or in opposition. In cases of opposition of these groups to the existing socio-political system, the ruling class, the ruling party, the folklore subculture acquires the character of grassroots dissidence and dissent.
Certainly of interest is the folklore of the USSR population during the era of mass repression, anti-Soviet jokes, proverbs, ditties, as well as a number of jokes like those about Chapaev, Armenian radio, the folklore of the dissident movement in various countries, contemporary political jokes, etc. A special part of the folklore subculture is the non-canonical creativity of various religious communities, legends and traditions of the Old Believers-Raskolniks and songs of sectarians in Russia, Hussite songs in the Czech Republic, songs of tradition, legends of monasticism, in particular the various monastic suburbs of Athos.
Folklore is defined as collective traditional knowledge transmitted through word and action. The ambiguity of the term "folklore" was predetermined from the very beginning. In Scandinavia and Finland, folklore is defined. In Russia, introduced into everyday life by E. Anichkov, A. Veselovsky, V. Lamansky and V. Lesevich in the 1890s - early XX century, the term overcame the limitation of the subject with the usual concepts of "folk poetry", "folk literature".
In the 1920s - 1930s. in Soviet science, a serious discussion flared up on the topic What is folklore There were two fundamentally different positions opposed. Some scientists - V. Zhirmunsky, E. Kagarov, O. Freidenberg focused their attention on relic elements of folk culture in general. Others - M. Azadovsky, N. Andreev, Yu. Sokolov, N. Kravtsov perceived folklore as oral verbal creativity capable of innovations. In the following decades, theoretical thought in Europe and the Soviet Union increasingly turned to an expansive interpretation of folklore. Finally, on March 1, 1985, a special Meeting of the Committee of Governmental Experts at UNESCO from different states adopted the following detailed definition Folklore in a broad sense, traditional and widespread culture.
Genetically connected with the archaic agrarian-magical rite generating fertility, the carnival among the peoples of the Romance language family inherited some traditions of the ancient Roman festivals of saturnalia and liturnalia, but was formed among the peoples of Europe and acquired its characteristic features in the late Middle Ages. In general, being in this era a symbolic reflection of the change of seasons, the transition from winter to spring, carnival acquired ambivalent meaning of death, fraught with life, according to M. Bakhtin. This explains a number of customs that accompanied the holiday - abundant ritual food, signs of fertility, the appearance of characters. The central image is most often a symbolic figure of a stuffed animal, less often a mummy, the image is endowed with a grotesque characteristic, a fat man - a glutton with hypertrophied male attributes, or an old man and an old woman personifying winter.
The final stage in the evolution of the spring festival is taking place before our eyes. Revived in many countries, in Italy, for example, since the late 1980s, not spontaneously, but by the efforts of more or less competent organizers, carnivals and typologically similar forms in different peoples have turned into spectacles for modern citizens and foreign tourists. In Russia, attempts to reproduce Shrovetide festivities and entertainments are not always successful. The activity of authentic folklore and ethnographic ensembles expands. Groups of professional folklorists and students themselves do not aspire to give ritual-magic meaning to their performances in the open air or on the stage, but fulfill educational and esthetic task to acquaint public with authentic folklore works.
The process we have noted in the example of the spring festival is typical in our time for other traditional folk rites and holidays, except, perhaps, only for Christmas, and in general for many types of traditional folklore in general. The easiest way to interpret this phenomenon was to interpret it as a regression of folk culture, but, in our opinion, it can be objectively considered as a natural replacement of one type of subculture by another type of subculture which creates new values. Therefore, folklorism in its entirety can be the subject of the closest attention. In conclusion, let us try to identify the main common features of various phenomena from the archaic rite to the modern anecdote, which are united in a special type of subculture.