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INTERPRETATION OF PRAGMATIC SIGNS OF FOLKLORE GENRES
BASED ON THE STORY
Akhmedova Madinabonu1
University of Tashkent for Applied Sciences, Gavhar Str. 1, Tashkent 100149, Uzbekistan https://doi.org/10.5281/zenodo.13143781 Abstract: The article examines the pragmatic features of folklore genres based on the story and the images in folklore, and reveals the nature of the interpretation of popular images in fiction. Folklore has been able to trace the process of extinction of "classical" folklore traditions for almost the entire two-century history of their existence. Literally, collectors, stage schools and entire genres of folklore disappeared from the circle of living existence and continue to disappear. Keywords: demon, folklore, educational genres, story (bilichka), genre, pragmatic, oral epics.
1 INTRODUCTION
In folklore studies, the system of genres of folk oral poetic creation based on the narration of specific events is divided into two, such as a fairy tale and an educational genre. The sign of merging these two types of folk prose into one system is evident in their narrative nature, that is, based on telling the details of an event. Russian folklorist B.N. Putilov called these small prose genres "enlightenment genre" and this feature, as well as the pragmatics of folklore prose and other features related to the unification of its various genres into a single system. believes that [9]. The criterion of "non-participation" in the ritual life of the story-based genre is determined by the pragmatic purpose of folklore prose. Among the Russians, the recitation of fairy tales or educational genres is done in folklore, a process that is not associated with any ceremony or tradition. Ritual folklore includes spells, ritual utterances, various magical formulas, and ritual songs. In Uzbek folklore, the genres based on the same story are performed outside of the ceremony for educational purposes. The fact that legends or narratives, narratives are aimed at revealing the essence of a certain concept outside of a ceremony determines its didactic function. This determines its pragmatic features. As I. Botkin said, we are considered practitioners if we go out of folklore to historical or social life and observe its influence on morality [7]. The practical importance of folklore is seen in its influence on human education. This clarifies its pragmatic sign. However, the events described in the "non-ritual stories" do not involve magic or ritual or its performer. It can affect the fate of any person in our social life. B.N. According to Putilov, "Non-ritual stories are a unique cultural phenomenon organized by a whole system of rules, etiquette, prohibitions" [2]. In our opinion, the stories that are not related to the ceremony should be evaluated as an expression of the events reflected in different aspects of the life of the
society and should be considered as a unique poetic product of the folk artistic thinking. 2 Literary review
Indeed, fairy tales and educational genres are a "cultural event (phenomenon)", debates about their genre boundaries (especially myth) continue to this day. However, the mentioned features unite the fairy tale and the educational genre into one system - the beginning of the story and "non-participation in ritual life" [7]. Uzbek folklorist K.Imomov, while distinguishing the genres of folk prose, divides them into two main groups. "Belonging to the first group: including myth, legend, narrative, demonological stories, their main feature is the relative weakness of their artistic level and the telling of events that happened in life, which inspire confidence. It is distinguished by the fact that it has an educational value, is aimed at healing, providing information, confirming the fact, teaching, and informing about religious beliefs. The second group consists of fairy tales, anecdotes, and praise. Genres of this group differ in that they are highly artistic, define moral norms, reflect the ideas of education, and at the same time fulfill the task of providing aesthetic pleasure, narrating business and household events in imaginary and life fictions" [8]. So, the pragmatics of folk prose samples is determined by their performance of domestic tasks: poetic, aesthetic and didactic tasks.
In studies of folklore studies, fairy tales and educational genres begin to be contrasted with each other. In most cases, there is a wide discussion about the existence of "Fairy tales - educational genres". In particular, the special features of the fairy tale, defined by the well-known Russian folklorist V.Ya. Propp as belief/disbelief in what is shown, are pragmatic properties that distinguish the educational genre from other informative genres. "The main feature of a fairy tale is that neither the performer nor the listener believes the truth of what is being told. All other types of folk
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prose (narrative, story, legend, narrative) acquire an informatic character. That is, among the main tasks of these sub-genres there is also information transmission. In such cases, people believe that the truth of what is being said is a surface story [10]. We should not forget that in small informative genres, including myths, legends and narratives, the task of conveying information about a certain reality is leading. The predominance of fictional fiction or real life fiction in the way of depicting the depicted events is the second issue, which shows the specific nature of the genre. In fact, the same feature is considered a pragmatic feature of the genre.
In the 60s and 70s of the last century, this pragmatic feature was the main criterion for distinguishing folk tales and educational genres in prose (a functional feature - along with the superior aesthetic function of a fairy tale and the "non-aesthetic", utilitarian, function of educational genres).
I.A. Razumova's modern model of the system of prose genres points out that it is necessary to pay attention to the possession of two opposite bases: "imaginary fiction" and "life" fiction. Fairy tales and educational genres, grouped according to these characteristics, each form a unique genre system [12]. 3 RESULTS AND DISCUSSION Although the fairy tale is a separate genre, it consists of internal groups that differ in their characteristics. These will consist of: animal tales, magical tales, household tales. Each of these genre types has its own characteristics, but the combination of their life-domestic features unites them into one system. E.V. According to Pomerantseva, "As noted in the literature, the leadership of fiction in the conscious description of reality is the main feature of the fairy tale as a genre" [12]. The sign of "ordinary, vital" indicates the loss of connection between the text and folk beliefs, that is, about the de-sacralization of prose that occurred in the fairy-tale tradition, but this does not prevent the introduction of fairy tales into the system of real beliefs when necessary. In our opinion, the fact that both the storyteller and his listeners realize that the events described in the story are fictional shows that they do not accept them as truth. As I.A. Razumova pointed out, the magical events in the fairy tale cannot be the basis for its inclusion in the system of beliefs, the reason being that the fairy tale is a product of artistic thinking, and mythological beliefs are distinguished by the fact that the events described in the sacred text are accepted as truth by the listener. Therefore, although the description of mythological images, strange objects and magical events is found in the plot of the fairy tale, the events in it serve to satisfy the artistic aesthetic needs of
the listener. However, a magical event or a mythological figure in the plot of a mythological myth is understood as a verbal mantra that informs the listener of ancient world mysteries.
The combination of fictional and its quality (life or imaginary) signs shows the nature of works consisting of narration, story, legend, matal, fairy tale in the genre system of folk prose. From the point of view of textual pragmatics, the "actual" attribute (or relation to authenticity) is the main genre marker of myth. However, in an educational genre with the principle of reliability, everything is not as simple as in a fairy tale oriented to artistic interpretation. "In the texts of fairy tales, whether magical or domestic, the question of authenticity is completely removed" [13]. In fairy tales, the task of creating the same impression for both the performer and the listeners is carried out through the fantastic image in his art, but fantasy and artistry are mandatory in the text of the fairy tale. That is, in the pragmatic system "Performer - text - listener", the fairy tale is perceived by all three components of this system in one sense.
Such a clear perception of the text is not possible in the educational genres of folk prose. In the pragmatic aspect, what the performer can present as reliable, real, can be perceived by a certain part of the audience as imaginary, fantastic. Therefore, the criterion of reliability / unreliability in relation to the educational genre should be determined in relation to each of the three components of the system "Performer - text -listener" [6].
In the pragmatics of the text, the performer-text-listener relationship is of great importance. More specifically, the listener's perception of events in the performer's oral text plays an important role.
According to the folklorist N.A. Krinichnaya, enlightened genres go from "complete belief in the truth of their content (otherwise such works would not have appeared) to the loss of this belief, as a result of which what once existed, accepted as a real fact, is understood as fantastic, imaginary started" [5]. However, according to Uzbek folklorists: K. Imomov, U. Sattorov, Z. Jumaev, M. Rakhmonova, in legends and narratives, matal and oral stories, the attitude of the listener to the reality described in the oral text - the listener's trust
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category is understood as an important sign of educational genres [1]. Perception of the texts of educational genres as "unreliable" by the performer and the listener is contrary to their essence. According to popular opinion, educational genres usually tell about real events. It corresponds to the functions of educational genres. In our opinion, it is appropriate to include oral artistic texts aimed at educating the listener into educational genres. Therefore, narratives, myths and tales are close to fairy tales in terms of their task of educating the listener, but these genres, as K.Imomov said, differ from fairy tales, which have a high artistic function with an informative function. That is, in the small informative genres, legends, narratives, tales and myths are leading the function of information carriers, and high poetic skills are not visible in the image.
The above applies to such genres as oral stories, legends and tales. These sub-genres are dominated by the sign of "holiness", which is directly related to the religious worldview and folk beliefs. The presence of supernatural characters in these genres led to the fact that the content of these works was dominated by an unusual, fictitious, fantastic image, which led some experts to get confused in identifying the artistic features of myths and fairy tales. Therefore, in modern folklore, it is customary to distinguish narratives and tales from educational genres by their content, not by the presence of artistic images, but by the presence of supernatural symbols. In the mind of the performer, something that is clearly separated from the supernatural, worldly, and at the same time unreal, fantastic for the performer can be observed only in fairy tales. The performers of fairy tales realize that they do not believe in the events they are telling. However, the performers of the legend or narration believe that the events they are talking about happened in real life. A performer's telling a story with confidence makes the listener believe it.
The genre of oral education, which represents the events of the distant past and modern times with the participation of the heroes of the mythology of the peoples of the world, is usually called myths. The functional purpose of myths is "Life events are interpreted through the imagination consisting of moral concepts, ideas, doctrines, norms and rules that arose on the basis of religious views...". In Russian folklore, stories with characters of lower mythology, demonology and telling about the recent past or things that exist are called demonological stories in Uzbek folklore. The difference between a demonological story or a myth, which expresses the moral and cultural norms of religion, is that they are a reflection of a certain world view of the people. Thus, the myth and the
demonological story represent the dual worldview of the people, which has been distinguished by faith since ancient times [6].
The main characteristics of genres such as myths and demonological stories, bilikh, as mentioned above, are authenticity and sanctity, with the predominance of the latter. In the educational genres of folklore -narrations and sayings, it is observed that the combination of "sacred + ordinary, vital" characteristics is dominated by "ordinary, vital", that is, the reliability of the report. The difference between legends and oral stories from myths and oral demonological stories, lore is that the sign of sanctity, as a rule, is the absence of other worldly natural symbols in myths and oral demonological stories, the leadership of deities or divine characters in the described events, and the reliable acceptance by the listener of the unnatural events that have occurred. Also, K.V. As Chistov writes, in oral stories and legends, which are explained by another functional purpose, their function is informative -mnemonic, the difference between the informative and educational function of narratives and the informative, instructive, "warning" function of a demonological story [4].
In addition to common genre features and a common functional purpose, myth and oral history are also united by the fact that both genres belong to the so-called "historical folklore" field, the content of which is "the social and cultural life of the community in its various aspects". Supernatural events, usually associated with a historical figure, feature prominently in both legends and demonological stories. The only difference between these two genres is that in legends the events always take place in the past, summarizing the historical experience of the community [2] and providing its internal connections through its history, while in the oral demonological story, the events take place in the present time in the life of a real historical person who is our contemporary [7]. It is a verbal form of understanding the time and the world.
It is not without reason that oral stories are often the "provider" of plots for legends, because "a fairy tale with a canonized plot inevitably becomes a myth." And any myth, in turn, was formed as an oral story telling about its time from the very beginning of its existence [4].
According to the well-known Uzbek folklorist K.Imomov, who studied the art of folk prose, educational genres in folklore are distinguished by a stable, ready-made plot structure, based on traditionalism. Fictions of any genre are distinguished by their own compositional device, in particular,
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conflict and its resolution features, colorful artistic image tools.
The leading pragmatic feature of small epic genres of an informative nature is its narrative basis, and their features related to the occurrence of events are also determined by the poetic expression of the categories of time and space.
In legends, the events take place in the distant past, in the primitive times when the earth or man appeared. And in the narratives, the time is more specific than the legend. For example, "In the times when Noshi Ravani ruled justly", "In the times when Timur ruled", "In the times when Peter 1 ruled". It seems that the period of activity of the historical rulers is more precise than the ancient period. In an oral demonological story, events take place in the "present tense" of the narrator's lifetime [3].
The space category is also one of the specific pragmatic features of informative genres. Where the events and events described in the oral prose work took place shapes the listener's reaction to the oral text. When myths describe events in outer space involving celestial bodies or supernatural beings, the listener believes it to be true. Because the myth tells about the origin of the world. In a legend, the events that happened between a mythological character and a person or between historical figures are described. The predominance of exaggeration in the depicted events raises doubts in the fictional listener. For example, let's pay attention to the legend called "Zahhaq Castle": once upon a time, life flourished in one of the ancient castles near the city of Karshi. Now only a hill is left in place of this fort. Local people call it Qala Zahhok Moron. Famous archaeologist scientist M.E. Masson recorded several myths and legends related to this castle during his archaeological research on that hill. It is said that the tyrannical and ignorant Zahhok once ruled this fortress built by the legendary Jamshid.
In ancient times, a king named Zahhok, who tormented the people with his tyranny, wanted to repair one of his old castles. He mercilessly employed hundreds of craftsmen and plasterers to restore the ruins of the abandoned fortress. He taxed the people to raise the costs of the construction, let alone pay the wages of those who served in the construction. Even after the completion of the fortress, the king's taxes, tributes and zakats increased more and more. Unable to bear the tyranny, the people, who had dried up, rebelled against the king. Because the hungry child of the nation, who threw the pot in the water, will die, and the knife will go to the bone!
One day, in Zahhok's palace, "a young man came to our fortress with a flower in his hand." Rumors were
spreading that the person who ate the food cooked by him would not be disappointed. When this news reached the ears of Zahhok, he wanted to bring that cook to his palace and try his delicious dishes. Indeed, the chef's craft is excellent. The ruler, who had eaten some of the strange dishes he had cooked, was so happy that he found a wonderful cook, and he was so happy that he forgot that the whole country was in turmoil, and he worked hard day and night. Finally, one day Zahhok, who was satisfied with his cook, called him to his presence:
- You are a skilled cook, thanks to your teacher who taught you the trade! Tila said what you wish!
Then the cook:
- Olampanoh, your beauty is better to me than any gold or silver. "If you allow me, I will kiss one of your two hands," he said, not wanting to miss the opportunity.
Afraid to be separated from such a wonderful cook, Zahhok reluctantly agreed to avoid offending her. A few days later, during the call to prayer, when Zahhok was sleeping sweetly, suddenly something moved on his shoulders. Knowing that something cold was crawling on his body, the king woke up with a start. Look, two snakes have grown out of the place where the cook kissed. Seeing this terrible scene, Zahhok, whose face was as pale as three-washed gauze, trembled for a while and was speechless. These two snakes wrapped around Zahhok's neck, strangled him, and sucked his human brain. They had to kill several innocent people every day and give their brains to snakes. Because Zahhok, who was afraid that snakes would eat his brain, ordered to execute one person every morning. He gave the man's brain and raised his snakes [11].
In this case, days after days have passed. The tyranny of the king was so extreme that it touched people's lives. A master blacksmith named Kavat also lived in this city. One day, according to the emir of the tyrannical king, his seventeen-year-old son was beheaded, and the curd of his brain was fed to snakes. Days later, they once again knocked on the master's gate, and when the blacksmith came out, the servants of the king agreed to take away his youngest son. The master, who was fed up with the tyranny of the khan, gathered the victims like him and vowed to kill the wicked king. The plans of the rebels failed twice due to the difficulty of entering the fortress surrounded by a nine-story straw wall. But they continued to besiege the fortress and tried to break through again. After 3:00 puch, they broke into the palace with the help of some servants who were dying from the khan's torture, found Zahhok in the camp and cut him to pieces with a sword.
Thus, the nation got rid of the tyrant king.
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Although the plot of the above-mentioned legend is based on the plot of the "Avesta" texts, the people associate the events of the appearance of the fortress with the name of Zahhok and his reign. The motif of the epic hero of the legend, the ruler Zahhok being enchanted by the chef's kiss on his palms and snakes growing out of his shoulders, is an imaginary fabrication in the legend, which makes the listener doubt that the event really happened.
Or, we can see more clearly that the fictional fabrication arouses doubt in the listener in the following legend recorded by us in 2022 from Rukhshona Alimova from Kashkadarya:
There is a hill called "Ko'ktepa" in Kashkadarya. It is said that whoever climbs this hill with good intentions and slaughters one sheep at each step, and goes down without looking back, the number of sheep he slaughtered will multiply by a hundred times and he will be blessed. One day a shepherd did this. He slaughtered a sheep every step of the way until he reached the top of the hill. When he reached the top, an old man met him and said: "Son, go down now, just go without looking back, you will achieve your goal." The shepherd did what the old man told him to do and walked half way without looking back, and at that moment he looked back and saw that his slaughtered sheep had revived and increased tenfold. As Haligi looked back despite the old man's prohibition, all his sheep disappeared from sight. And the shepherd went crazy.
In this myth, the events centered around the motive of the mythological prohibition of the enlightened old man on the hill with supernatural powers and the madness of the epic hero who broke the prohibition are imaginary fabrications, and the focus on revealing the old man's magic is his sacred sign. However, the events of the legend are taking place in an ordinary place in the world of the earth, in one of the mountain ranges of Kashkadarya.
In a demonological story (bilichka), the events take place in our time, in an ordinary place: there are many stories about house wrinkle (domovoy), forest wrinkle, mermaids and various Russian mythological figures. For example, the content of the texts about domovoy is explained about the disagreements between a person and a house wrinkle or friendly relations between them. Outwardly, he is not much different from a goblin: "... a small, wrinkled fur..." or "... looks like an ordinary person", "... he is small, with a white beard, in a cap, so scary that it is impossible to describe ", "...a small old man, with a big head, short legs, with a white knee-length beard...". According to information: He lives in a hut behind the stove, in the kitchen, underground, appears in the barn, on the porch. He always appears is
described as a diligent, kind and fair owner, if the owners of the house are kind to him and every morning or night, before going to bed, leave him delicious food on a plate behind the stove and show him kindness, respect. if he notices, the house wrinkle will try to drive the owner out of the house in different ways (at night, various voices, footsteps or clattering of dishes are heard in the house, shoes, socks, clothes are lost, change of place is observed).
Also, stories about the conflict between human and demonological images are often found in Russian folklore. For example, water (river), according to ancient Slavic beliefs, is the border between the worlds and, accordingly, poses a danger to people, especially when "others" manifest themselves more actively: "We lived by the river, the river divided the village in two. Where there was water there will be a water wrinkle and a mermaid. One day, when it was getting late, we went to bathe, the water was warm. Suddenly a green thing came out of the water and started coming towards us. We screamed and it all ran away, but I froze in place, I didn't run, but I kept shouting. It was something or someone who came to me. It was green and fluffy (woolly), came up to me, smelled me and went back into the water. But when it was going into the water, it threatened me". There are many similar examples.
Since Bilichka is an educational (neskazochnoy prose) genre, the most important feature of the genre is its emphasis on authenticity. In the text, it can be told in narrative form (in the 1st person), that is, the story has the character of an eyewitness account, and it often refers to reliability. If the narrator is not a participant in the event, but only a narrator, he describes an event that happened to close or familiar people. To prove reliability, you can also speak by referring to persons, a specific place ("my grandmother told me about this", "this incident happened in our village", etc.).
Bilichka is often one-episode, that is, its plot is based on one event, one conflict. However, it may contain several episodes united by the same mythological or demonological character. At the heart of each episode of Bilichka is a motive. Motive means action in relation to the subject or object, the state of the action in relation to itself. There are invariant motifs and plot motifs. An invariant motif combines different variants.
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For example, the invariant
"The witch changes her appearance"
The witch takes the form of a cat"
"The witch takes the form of a dogand"
"The witch takes the form of a leech girl"
Determining the motifs of paintings leads to the idea that there are cross-functional motifs-functions that unite people's ideas about the alien world: the function of the image is to change its appearance, scare, predict, mysteriously disappear and appear. But in the book, there are motives for each character related to his character. For example: A which harms a farm, deceives, casts a spell. Or the dead (dead husband) goes to his wife's house. Domovoy takes care of cattle, sometimes harms them or strangles them, etc.
Balls often describe the environment in which the event took place, convey the emotional state of the participants, which creates a slow-motion story. However, with the appearance of a legendary character, the action quickly develops and reaches a climax. The story rarely gives a clear portrait of the character, the narrator only draws attention to the details that indicate the worldliness of the character (a man in a white shirt, white hair, horse hooves); or none of the participants remember the description at all.
Bilichka can depict not only the actions of a legendary hero, but also a person. Invariant motives, which are the subject of a person, are stable: A person violates a prohibition. A person reveals a mythological character. A person communicates with a mythological character. Man protects himself from mythological character. A person experiences the consequences of a collision with a mythological character. 4 CONCLUSIONS
We should emphasize that small prose genres based on stories should be studied as part of informative genres of folklore. Story-based folklore genres in Uzbek and Russian folklore consist of the same myths, legends, demonological stories, narratives, bilichka, etc., and their main feature is visible in information transmission. Also, their pragmatic signs are seen in:
> When and by whom the story is performed;
> When and where the events described in the story take place;
> In the way of describing the reality in the oral story, the attitude of the listener to the narrated event (whether he believes it or not);
It is noticeable in their performance of artistic-aesthetic and didactic tasks
References
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[2] Botkin B. Applied Folklore: Creating Understanding through Folklore // Southern Folklore Quarterly. 1953. Vol. 17. -P. 199-206.
[3] Basilishina, M.R. Oral folk story: the functional nature of the genre. dis. ...cand. Philol. Sciences / M.R. Basilishina. - Irkutsk, 1997.
[4] Darmonov I. Ozbek shomon afsonalari va ularning yrganilishi// https://uza.uz
[5] Imomov K. Ozbek halq nasri poetikasi. - Tashkent, fan, 2008. - B.9.
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[7] Kayumova G. Myth folklore genre sifatida/ "ilm-fan taraqqiyoti: muammolar, yechim va istiqbollar" mavzusidagi" mavzusidagi respublika ilmiy-amaliy konferensiya materiallari/ - Toshkent, 2023.
[8] Kayumov O. Ozbek shomon marosim folklore (specificity, genesis, genrelar tarkibi va poetikasi). Philol.fan doctoral diss. - Tashkent, 2020. - B. 102.
[9] Putilov B.N. Folklore and reality. - Moscow, Nauka, 1994. - P. 161.
[10] Propp V.Ya. Poetics of folklore. M.: Nauka, 1976.
[11] Rogul T. M. Russian oral mythological prose. Maykain, Bayanaul district, Pavlodar region. — 1994
[12] Russian oral folk art: educational and methodological manual / comp. N. S. Rubtsova. - Izhevsk: Udmurt University Publishing Center, 2018
[13] The expedition gave the material lari. 1- daftar. 12-bet. Aituvchi: Alimova R. - TAFU Talabasi, 20 yosh. 2022-yil.
