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Ali Samadov has a special place in the development of Azerbaijani children's prose. In general, the 60s of the twentieth century are characterized as a special stage in literary and theoretical thought. There are good reasons for this and it is not only caused by the revival in Azerbaijan. It is mostly connected to the awakenings and mobility that took place in the Soviet space, as well as in the European environment. This period, which is characterized by the name "prose of the sixties" or "generation of the sixties", revives the same imagination and content in all parameters. The peculiarity of poetry, prose, dramaturgy, publicism, and literary criticism at this stage is specified by the connection to the mobility and awakening of national thought, archaic memory as a trend. In this process, children's literature is also characterized by the remarkable aspects of unique thinking models, ways of understanding and presenting life. Representatives of the older generation, as well as an important part of the artists who entered great literature in the 60s, played an active role in creating airplane literature. M. Rzaguluzade, M. Seyidzade, M. Dilbazi, A. Jamil, N. Rafibeyli, R. Rza, S. Mammadzade, Y. Hasanbey, V. Nasib, J. Mammadov, A. Karim, J. Nowruz, F. Sadig, T. Mutallibov, M. Namaz, A. Kemarli, M. Aliyev, etc. the activity of artists in the literary and cultural process was rooted in enrichment in all its aspects. The general harmony of all this brings to the fore the necessary work to be done in the work of creating children's literature. A. Samadov was one of the talented artists who came to children's literature, who stood out for his spirit and thought. [ABSTRACT FROM AUTHOR]

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Occupying a special position in the oral folk art of any nation, children’s folklore is a complex field, which interrelates two areas: folklore for children and folklore created by children, learned from adults, and passed on from some children to other children. Human world and values are reflected in folklore - thus the ethnographic study of children’s folklore contributes to the understanding of the specifics of various cultures, and children’s participation in them. The purpose of the study is to describe children’s folklore in the Kazakh, Russian, and English languages from the linguistic and cultural comparative perspectives. The importance of identifying the lexical and phraseological features of different genres of children’s folklore and describing their common and culturally marked characteristics lies in the fact that despite the availability of ethnographic studies of children’s folklore in some cultures, there doesn’t exist a single research on cross-cultural comparative perspectives of various genres of children’s folklore. The study employed analytical descriptive, and comparative methods. The research data were collected through the online sociolinguistic surveys parallelly conducted in the Republic of Kazakhstan and the Russian Federation. Texts of children’s folklore in English were taken from the collections Nursery Rhymes and Mother Goose’s Songs . The amount of research data made nearly 2000 Kazakh, Russian and English children’s folklore texts. The study revealed that the genre variety of children’s folklore leaves an imprint on the language of each genre. The lexical and phraseological analysis of various genres of children’s folklore demonstrated an active use of neologisms, transrational language and personal names. Children’s folklore is characterized not only by genre and intragenre dynamics, but also by historical changes.

Статья входит в комплекс исследований коми детской поэзии. Автор прежде всего дает характеристику пейзажной лирике, которая, как и вся коми литература, движется в реалистическом направлении, решая задачи не только нравственного воспитания подрастающего поколения, но и формирования у маленьких читателей любви к своей малой родине, к родной природе. Главным своеобразием произведений является то, что в них показаны в основном природные явления и предметы, характерные для коми пейзажа. В стихотворениях изображаются конкретные приметы времен года, которые внутренне близки и понятны маленькому читателю. Анализ позволил выявить: поэтические произведения не отличаются многообразием цветовых элементов, что соответствует образу неброской красоты северного края. Однако сдержанность красок компенсируется продуманной звуковой организацией стиха. Исследование также показало, что часто встречающимися средствами создания образности в текстах становятся сравнение и олицетворение, с помощью которых поэты дают ребенку возможность увидеть окружающий мир глазами живой, говорящей природы. Кроме того, было установлено, что поэтика многих детских стихотворений коми литературы опирается на устное народное творчество. Конечно, данные лирические тексты нельзя назвать пейзажными в традиционном смысле, так как в них поэты не столько изображают картины родного края, сколько в игровой форме показывают маленькому читателю окружающий их мир. Но именно такие поэтические произведения позволяют ребенку с детства ощутить себя в контексте природы.

Copyright of Bulletin of Ablai Khan KazUIRandWL: Series 'Philological sciences' is the property of Kazakh Ablai Khan University of International Relations & World Languages and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ethnomusicology Research Centre Journal / Ethnomusikologion is the property of Academy of Music Gheorghe Dima (Musicology Papers) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article is devoted to the actual problems of children’s folklore formation, namely those that are not considered in the study of game folklore. Starting from the twentieth century, when the term «children’s folklore» was introduced, a deeper study of its development, as well as the study of game folklore began. Game folklore was divided from children’s folklore and classified into genres. However, during the research process, there were many problems that have caused discussions between folklorists and ethnographers. These include issues such as the obscurity of works covered by game folklore; lack of clarity in the classification of genres; correction of children’s folklore texts by editors; lack of intersectoral links and a common system; changing games to a modern way. The article analyzes these problems, gives recommendations for in-depth study of the topic, development of this direction. This Project has been completed and is in the publishing phase. In this article, the traces of Kazakhchildren’s games in cultural life and the teaching of cultural value judgments through games are examined. At the same time, a cultural analysis of current children’s games are in teaching cultural value judgments in the future. The study determined the requirements of Kazakh people in children’s folklore and suggested solutions based on these determinations.

In the third decade of the twenty-first century, the bundle of poetic energy left by talented poets as a legacy to the generation of Russian people who stepped into the world of high technologies does not allow them to sleep peacefully. This is evidenced by the endless stream of films and programs about people who managed to melt the block of totalitarianism. We are talking about the poets of the sixties, including R. I. Rozhdestvensky. His work for more than sixty years excites the reader: lyrics (landscape, love, philosophical, civil, confessional) and poems (“Requiem”, “Dedication”, “Before you Come”, “Waiting”, etc.). This article analyzes the cycle of poems “Aleshkin’s Thoughts” by R. I. Rozhdestvensky, which reflects the artistic world of childhood and has autobiographical features. The poet’s childhood associations were embedded in the poems-monologues of the three-yearold lyric character. The influence of children’s folklore on the structure and content of the cycle is traced. The development of genres of children’s folklore (fairy tales, jokes, nursery rhymes, tall tales, shifters, parodies, witticisms, horror stories, teasers, mimicry, mockingbirds, jokes, excuses, etc.) in the poems “Aleshkin’s thoughts” is revealed. It is noted that the continuation of the development of genres of children’s folklore in the work helped to reflect the serious-laughing perception of the author of the cycle on the life events of the baby.

The article looks at the dynamics of the media and real life in relation to the so-called dangerous folklore of teenagers, which includes, for example, contacts with aggressive (semi-)supernatural fear creatures, frightening experiences in abandoned houses and notions of so-called suicide games. The authors analyse the interactions between media reality and youth behaviour and related developments in folklore. It is concluded that the presentation of media information in the form of moral panic mainly based on the concept of young people's vulnerability, which focuses on extreme risk examples, does not support safer coping, but focuses only on certain types of risk behaviour, often ignoring other concerns and the complexity of problems but also natural self-protecting mechanisms of the youth. [ABSTRACT FROM AUTHOR]

This article examines children's creative production of and participation in a shared peer culture. Focusing on material on preschool children's use of counting-out rhymes, faecal humour, and word play gathered in two Slovenian kindergartens by means of participant observation and video ethnography, the article demonstrates the importance of social participation in peer groups from an early age and the alliances, conflicts, and power hierarchies involved. Focusing on how children create and participate in children's culture through interaction with other children in a peer group, ethnographic material is complemented by archival material on children's folklore in Slovenia. By bringing together folkloristics and anthropological and sociological studies of children and childhoods, this article aims to bridge the gap between these disciplines to gain a more nuanced understanding of children's worlds, and the role children's folklore plays in the creation of and participation in children's peer cultures. [ABSTRACT FROM AUTHOR]

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The article focuses on short folklore forms recorded in the Gorica Hills (slv. Goriška brda) in the 20th and early 21st centuries, which can be considered as non-linguistic or non-ethnically bound folklore features. The language of these folklore forms is a mixture of the dialectal forms of the contact languages (Slovene, Italian, partly Friulian). Using the examples of the collected material, we analyse in which genres of the short folklore forms multilingualism appears, what function it has and how the characteristics of the territory are reflected in them. We compare sources or parallels in published Slovenian and Italian material, and analyse the material in the context of research on literary children’s folklore in Slovenia. The study of bilingual and multilingual folklore forms from Goriška brda focuses on the question of whether and why multilingualism is best preserved in short folklore forms and especially in children’s folklore.

The article concentrates on mapping continuities and changes in the contemporary Estonian school lore about experiences with supernatural beings: main characters, fears, and emotions connected with such supernatural beliefs as well as supernatural protective mechanisms are highlighted. One of the central topics of the article is cultural and linguistic loans (e.g. international newcomers like the Slenderman) and their sources (e.g. films, computer games, narrative folklore). I also investigate the interactions of fantasy and real life, believing and non-believing in schoolchildren’s memorates. The article is mainly based on materials that have been collected from schoolchildren since 1992, but I also draw parallels with traditional older folklore.

Internet memes represent a new vernacular genre, items of which are created and also distributed digitally. Every day, ever new information keeps flowing through the feeds of social media sites. Internet memes, unlike traditional folklore, are not meant to be conveyed from generation to generation, and rarely would one expect a recurrence of a meme that has already been seen and passed forward. New memes are being created constantly, representing every conceivable aspect of physical as well as virtual reality. The external world is represented through a seemingly anything-goes game of combining shapes and forms. Already in the current stage of development of the genre, we can notice that memes correspond to their users’ subcultural and other group-related preferences. Age-group specific meme use is also discernible. This paper focuses on the meme repertoire of schoolchildren in the Tartu region, which is published on special Facebook or Instagram pages. The empirical work consisted in observing the meme sites and interviewing those generating the memes. School memes are presented as depiction of the life in a particular school and used for generating a feeling of belonging within that school. By memeing, schoolchildren apply a certain kind of cultural knowledge, a memetic code, which is not necessarily accessible to adults – indeed, they might not even have encountered it. William Corsaro characterises peer group culture with keywords such as autonomy, control, conflict, and differentiation; the challenge is to make fun of the authority of adults. In school memes, we are witnessing not only a peer group counterculture, but also an endeavour by the group to create a certain distinct world of its own. The novel and youthful memetic form suits well for this project.

This paper is based on the contributions submitted to the 2013 competition of folklore collection organised by the Estonian Folklore Archives of the Estonian Literary Museum, in which people born in the 1940s reminisced about the dolls of their childhood. The contributions to this competition were essentially childhood memories of a specific overarching topic, i.e., the topic of playing and games. In folklore studies, such single-topic descriptions are known as thematic narratives. Thematic narratives are written submissions to a competition or written responses to a survey. I call the thematic narratives collected within this particular competition play memories. The contributions highlight the dialogicity of memories: the personal perspective is intertwined with the perspective of the folklore collector; imagined readers are presented with childhood emotions and biographical information. To analyse the contributions, I thematised the data by looking for similar content elements across the texts and used these to form more general categories. One of the distinctive features of the material collected for the folklore archives in this way is precisely that it conveys personal experiences. The analysis revealed that even though childhood memories are affected by the conceptions of the adult rememberer who has written them down, they can nevertheless shed light on the child’s perspective in the form of vivid memories. Many of the recounted occurrences with dolls can be interpreted as vivid memories that convey some first-time or otherwise significant experiences and the related emotions. The contributions include descriptions of dolls and provide insight into their origins or makers. Much importance is placed on the experiences with one’s own doll or the absence thereof. During the lifetime of those born in the 1940s, the phenomenon of toy ownership began to change. Self-made rag dolls began to be supplemented by store-bought dolls. The toy industry started using plastics, and dolls became cheaper and more readily available. The memories submitted to the competition feature descriptions of receiving a doll, but also stories of yearning for one. The contributors occasionally associate poverty and lack of toys with injustice and wrongdoing. Then again, not all the girls loved to play with dolls or felt a need for them. The contributors also introduce the circumstances of their childhood and tell their imagined readers about their past, thus stepping into the role of a folklorist or a collaborator. In addition to relating personal experiences and personal past, the writers also aim to convey and promote their own “truth”, to further their own “agenda”. The contributions of play memories also discuss the scarcity of toys, often attributing a positive significance to it. The contributors depict themselves as vigorous go-getters who were able to overcome their rough circumstances by creating full-fledged play-worlds from whatever means available. Many find the topic of dolls and doll games important, for memories of one’s dolls constitute an essential part of one’s play memories.

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The genre of oral scary stories or strashilki is one of the most popular of the contemporary Russian children's subculture. Rooted both in traditional folklore and children's mythic thinking, these are tales about encounters with supernatural forces, objects, and things that usually end in the victim's death. This paper focuses on one particular category of strashilki's evil agents, namely vampires. The vampire of Russian children's scary stories possesses many of the attributes of the "general vampire" although the word itself did not appear in oral childlore until after the arrival of cable channels and video salons in the late 1980s. Special attention is paid to stories about cookies/meat pies prepared of people and tales about ominous stains. This group of strashilki is regarded here as vampiric stories as their malevolent protagonists employ known folk vampiric qualities. Several scary stories appearing on these pages are translated from Russian by the author of the paper. [ABSTRACT FROM AUTHOR]

The research has comparatively analyzed the characteristics of lyric genres such as counting-out rhymes, teases and children's songs of Azerbaijan and English children's folklore. Although there are differences between the lyrical types of Azerbaijani and English folklore, there are also similarities in form and content. In this regard, the origin of lyric genres of Azerbaijani and English children’s folklore has been investigated and comparative typological features have been determined. In the article, it was concluded that the comparative analysis of Azerbaijan and English folklore genres such as counting-out rhymes, teases and children's songs is related to the closeness of human thought and its relation to reality. The analogy between Azerbaijan and English folklore is related to the similar lifestyle of two people, that is, the similarities of people's historical development, the ancient historical and cultural relationships-the prehistoric mythological thinking of both nations and the same psychological acts of children. Similarities and differences were also discovered during the comparison of children's folklore texts. Parallels in connection with living conditions are clearly observed in many children’s folklore genres, such as counting-out rhymes, teases and game songs. [ABSTRACT FROM AUTHOR]

The author of the paper explores two dichotomous phenomena — boredom and entertainment — in Polish prose for children from the period of PRL, basing on the adventure novels written by Edmund Niziurski in the 1960s: Awanturza w Niekłaju (1962) and Siódme wtajemniczenie (1969). Both notions are discussed from the perspective of ethnography, anthropology, and the history of childhood. Referring to Roger Caillois’s concepts of play and games, the researcher analyses the images of transformation of entertainment behaviours as presented by young characters from Niziurski’s novels, and links between the text and social and political reality in Poland of the 1960s. Her findings indicate that, in his writing of this period, Niziurski both withdrew from socrealistic poetics and abandoned the ideological, persuasive function of entertainment for the sake of uninhibited, spontaneous children’s games and play.

Copyright of Revista Espacios is the property of Talleres de Impresos Oma and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Maetagused is the property of Estonian Literary Museum, Department of Folkloristics and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Maetagused is the property of Estonian Literary Museum, Department of Folkloristics and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Maetagused is the property of Estonian Literary Museum, Department of Folkloristics and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Songs-patterns are children's creations dedicated to birds or other animals dear and interesting to the child which reflect children's reaction to nature. In the past they were performed at certain hour, day or place. They have survived in the repertoire of children's folklore to present day despite a strong influence of mass media and modern life tempo, although losing their initial function, and they have become simply a 'cause for children's games and entertainment'. The recorded samples still hold a significant place in traditional vocal musical practice of a number of the Balkan peoples, regardless the fact that some rituals and customs are disappearing. The lexical means and procedures used in songs-patterns have been found in children's folklore in everyday vernacular speech throughout various epochs: since the Roman period, through medieval mysteries, till today. The survival of these creations by children speaks in favour of gradual ethnobiological rapprochement between peoples through music, which can be seen as the future.

В функции колыбельной песни в ситуации убаюкивания могут исполняться тексты, которые восходят к разным жанрам. Один из таких текстов, зафиксированный еще в сборниках середины XIX и до сих пор бытующий в качестве колыбельной песни в Архангельской и Вологодской области, представляет собой кумулятивную песенку, имеющую диалогическую структуру. В задачи статьи входит рассмотрение бытования этого текста в различных жанрах детского фольклора, исполняемого детьми (детская песенка, игра, колядка) и для детей (колыбельная). Сравнение с детскими играми, имеющими вопросно-ответную форму. Описание способа организации текстов, имеющих цепевидную структуру. Принцип кумуляции рассматривается на примере сказок, построенных на приеме повторения, восходящих к разным культурным традициям. Логика построения текста представляет собой чередование темы и ремы высказывания, что можно сравнить с базовыми операциями, которые производит ребенок, конструируя новое высказывание. Сравнение кумулятивных песенок с жанром детских поддевок-заманок, смысл которого состоит в манипуляции поведением и эмоциональной реакцией адре-сата.

Children's folklore is a living folk category that persists despite the various influences that shape it daily. The importance of studying this folk genre in the Serbian part of Banat seemed to us all the more necessary as it has the aptitude of characterizing one of the most interesting ethnomusicological issues. Furthermore, it is closely connected to child psychology, as well as pre-school education for children. By means of the total number of collected musical examples (192), as well as musical and non-musical factors, the author tries to prove that all these are closely related, correlated and connected imperceptibly, from the psychological, verbal, textual and rhythmic point of view. The ways and means of using the child to dominate his age group by utilising the secret of counting, influenced by the last syllable / verse, occurs when the child "sacrifices" and emphasises certain word. [ABSTRACT FROM AUTHOR]

The article is focused on a popular, but not much addressed topic in recent studies of Latvian children's folklore nowadays - the intimidation of children for the purposes of guidance and protection. Parent discussions on the social network Facebook and the texts of contemporary folklore obtained through the questionnaire were used as a source for the research. The aim of the article is to investigate how and with what kind of characters children are being intimidated today, what determines the creation of exactly such characters and what in general is characteristic of these stories of intimidation, highlighting the position of the narratives of intimidation in the corpus of children's folklore. In the examples of the analyzed texts two specific thematic groups of characters can be distinguished: mythological characters (a witch, water spirit, forest spirit, the big fish, etc.) and mythologized characters (a stranger, an aunt, a policeman, etc.), which allows us to speak of the persistence of the traditional characters and the mechanism of inheritance, as well as to characterize intimidation as a sustainable and still long-standing and prominent tradition of the classical folklore. Each generation contributes to this tradition and helps to determine how children's literature, media and mass culture influence the creation of intimidation narratives. [ABSTRACT FROM AUTHOR]

Copyright of Maetagused is the property of Estonian Literary Museum, Department of Folkloristics and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The objective of this paper is to cast light - relying on use of the subject-related literature and on personal field research over the past three decades - on the phenomenon of multiculturality of children's folklore practice found in some national/ethnic communities in Vojvodina: Serbs, Hungarians, Slovaks, and Romanians. Considerable attention is given to the (dis)continuity, changes, comparative research and the latest trends in the children's folklore on the cultural scene of this multicultural milieu. [ABSTRACT FROM AUTHOR]

Song-forms constitute one of the four sub-categories of folklore within the classification of children’s folklore The song-forms reflect children's responses in relation to nature. They are dedicated to animals that children find interesting and dear. In the distant past, they were performed at fixed hours and days, on certain places and there was a number of their repetition, but over the past centuries, they lost the initial position and became the motive for play and recreational activities for children. In the examples collected for this paper, what can be observed and singled out are a few basic melodic and rhythmic motifs that also occur in children's songs around the world, the connection between children's rhythm with the text, simplicity and the syllable of melody as well as the fact that the tone of these songs often relates to archaic diatonic infra-pentatonic series. In addition to educational and entertainment features, these songs reveal a mentality, way of thinking, creativity and spiritual development of a generation that will grow up at the beginning of the 21st century.

Games and toys, produced by a society, reflect the cultural values of society. Traditional children's games, in terms of their structures, are the most important products of folklore to protect folk culture and has an important place in the transfer of culture from generation to generation. There have been lots of studies about traditional children's games in Turkey. In these studies, traditional children's games are classified based on their features such as their contents, manipulation of time, the age and gender of the players, game toys and functions. All these studies have brought a different perspective to the topic, and at the same time, have revealed the rich structure of children's games. In this article, the structural features of traditional children's games, compiled form İzmir-Seferihisar, are analyzed. Also on the basis of Seferihisar traditional children's games, basic and variable elements of traditional children's games are identified structurally. [ABSTRACT FROM AUTHOR]

Due to the great number of Romanian pupils in Spanish public school, the local administration organises extra-curricular Romanian courses in order to preserve the Romanian language and culture. This is a way to contribute to build and consolidate a bicultural and bilingual profile of the young people. Besides, it is also an opportunity to align with plurilingual and pluricultural competence established byThe Common European Framework of References for Languages(2002). Based on the premise that “children's literature is an intercultural instrument”, I choose as corpus the Romanian children's folklore represented by games, formula-songs, recital-stories, household words, incantations, riddles and lullabies to translate into Spanish. After the translations, Romanian children had to find similarities and differences between the Romanian and Spanish children's songs, in order to augment the knowledge about both cultures. [ABSTRACT FROM PUBLISHER]

An expressive cultural practice of invoking a ghostly female figure, most often called Bloody Mary, an important part of the folklore of children and adolescents in the West, represents a unique amalgamation of ritual practices, folk beliefs, and demonological narratives. This phenomenon, extensively studied by Western folklorists since the 1970s, is closely connected to a wider discourse of children and youth ghostlore, and interpreted as a girls' ritual reflecting prepubescent menstrual anxiety, reflexion of process of ontological psychological development devoted to mastering emotion of fear of schoolchildren, or, in later adolescence, a reflexion of archetypal self-development processes in a Jungian sense. The paper, using data documented during longitudinal field research of Czech contemporary folklore, presents the growing popularity of this expressive practice in a Czech setting in the last fifteen years, starting with the late 1990s. Comparing the Czech situation with similar cultural processes analyzed in Sweden, Spain, and especially Russia, the paper describes the diffusion of this practice by global popular culture and its glocalization to suit peculiar Czech youth ghostlore inspired by historical personages. Reflecting global, ever-shifting contemporary culture flows, especially changes in local realities of "ethnoscapes", "mediascapes" and "ideoscapes"during the 1990s, the practice of invoking Krvavá Mary seem to be both parallel and the transformation of local practices such as schoolchildren's spiritism and horror stories of the 1970s and 1980s. [ABSTRACT FROM AUTHOR]