Sergey Alpatov

The article is devoted to the study of the problem of continuity between images, motives, poetic clichps of Russian as well as Jewish folk cultures and components of the laughter discourse of the Soviet era: genre patterns  procession,  round  dance,  game,  street  song,  everyday  wit ,  chronotope  Pesach  / Easter / May day , archetype  a dying and resurrecting hero, ethnical and social stereotypes  “aliens” , ritual objects  carnival carriage, matzo vs Easter baking , grotesque rhymes  “matzo – lamza-dritsa”  are analysed on the basis of the popular city song “Tram № 9”, ditties, memoirs, satirical wall newspapers. Those elements of the traditional laughter culture of the Slavs and Jews had been actively interacted in the urban environment at the turn of the 19th–20th centuries, was e[ploited by the Soviet carnivals of the 1920s–190s, and remained in Russian folklore of the second half of the 20th century. The study demonstrates that the scriptwriters and actors of the Soviet carnivals borrowed some of the brightest and at the same time common elements of folk laughter culture, which formed extremely labile semantic ties outside the traditional calendar and everyday contents changing their content in agreement with the political situation. At the same time, the basic techniques and bottom semantics of the folk comic remain un-changed.

The article is devoted to the study of the problem of verbal representation of the real experience of family tragedies in the cultural baggage of European oral and handwritten traditions, which is becoming particularly relevant in modern conditions of the growth of information flows, a change in communicative paradigms and the transformation of social roles and value hierarchies. The object of study is the popular tales of the plot ATU 1343* “The Children Play at Hog-Killing”, considered in terms of motive structure, genesis, as well as genre forms of its implementation (rumor, short story, ballad, life of the saint, novel, urban legend). The study shows that for the traditional minds the depiction of bloody details and the elaboration of an atmosphere of horror aims not to entertain the audience, but to form a collective psychological response to such a powerful existential challenge as a bloody family tragedy. In turn, for a researcher folk narratives about fatal events breaking t...

This paper reviews the book Old Russian Translation of Krzysztof Dzierżek's Tale about the Astrologer Mustaeddin and its Later Reworkings (Study and Edition) by Eliza Małek, which is the ninth volume of the Library of 17th–18th Century Russian Translations of Old Polish Literature series. The book is concerned with Polish-Russian literary relations of the Early Modern period.

The article examines the typical problems of representing oral and handwritten forms of traditional culture in digital format using the example of a new electronic resource dedicated to the last Pechora writer and copyist of ancient manuscripts S.A. Nosov.

The subject of the article is interaction of Russian handwritten rhymes and oral paremiae in XVII–XVIII centuries. The interplay between the literature and oral genres bases on the unity of motifs, characters and topoi as well as folk beliefs and stereotypes.

The subject of the article is interaction of Russian democratic literature and folklore in XVIII century. The interplay between handwritten facetiae and oral tales, rhymes and anecdotes takes place on the level of motifs and characters as well as on the level of topoi – verbal units of figurative, thematic and formulaic nature.