American Journal Of Social Sciences And Humanity Research
98
https://theusajournals.com/index.php/ajsshr
VOLUME
Vol.05 Issue02 2025
PAGE NO.
98-101
10.37547/ajsshr/Volume05Issue02-24
The history and theory of folklore as a form of
worldview
Aitmuratova Ziyba
Karakalpak State University, Assistant of the Department of "Social Sciences", Uzbekistan
Received:
24 December 2024;
Accepted:
26 January 2025;
Published:
28 February 2025
Abstract:
This article explores the history and theoretical foundations of folklore as a form of worldview, focusing
on the development of oral folk art in Karakalpak culture. Folklore, which emerged as a primary means of artistic
expression, played a crucial role in reflecting the social, economic, and political life of the people. The study
examines the syncretic nature of early artistic forms and their evolution into distinct literary genres
—
lyric, epic,
and drama. Special attention is given to Karakalpak folklore, its genre classification, and its function in shaping
national identity and cultural continuity. The study concludes that folklore serves as both an artistic and
philosophical means of understanding reality, preserving historical memory, and transmitting cultural values
through generations.
Keywords:
Folklore, oral literature, artistic worldview, genre classification, Karakalpak folklore, lyric, epic, drama,
cultural heritage, oral tradition, literary theory.
Introduction:
As a result of this complex development,
which spanned many millennia, humanity acquired the
ability to experience aesthetic pleasure and be
influenced by the surrounding environment, events,
and phenomena. More precisely, in the history of world
culture, a remarkable form of art emerged, revealing
the delicate and diverse mysteries of life’ s
phenomena. Art has shaped multiple forms of artistic
expression reflecting life's phenomena, such as
architecture, sculpture, painting, music, and more.
Alongside these art forms, “literature
—often regarded
as the highest and most intricate art form,
”
1 the
“
art of
words”2
—also emerged. From the dawn of human
consciousness to the present day, it has continued to
evolve and expand.
In the words of the Russian literary theorist V.G.
Belinsky, "Artistic literature exists in a person's free
speech, possessing both harmony and imagery, as well
as a clearly expressed concept." Therefore, poetry
encompasses all other aspects of art, utilizing all the
means available in various forms of art. Poetry stands
out as an integral form of art, incorporating all its
elements
and
capturing
their
distinctive
characteristics.3 From this, it follows that fiction is
divided into three types based on the artistic depiction
of life’ s phenomena, events, and the portrayal of a
specific person—that is, in terms of genre: lyric, epic,
and drama.
However, before the division of fiction into genres, it
had a syncretic nature, emdiving features inherent in
all three genres—lyric, epic, and drama. An example of
this is the chorus performed by large groups of people
in ancient Greek and Roman literature. During the
performance of a chorus in ancient communal
societies, emotionality (characteristic of lyric poetry)
was expressed through the performers
sorrows and joys, while the content of events (a feature
of epic poetry) and, at times, dialogues (a characteristic
of drama) were also conveyed through song.
Additionally, the performers' movements, gestures,
and facial expressions were combined during the
performance, creating a theatrical effect.
Over time, these syncretic features were classified
separately, leading to the emergence of distinct forms
of art: lyric, epic, and drama. "These forms evolved
from century to century—the old ones disappeared,
while new ones emerged. This dynamic process is a
fundamental law that has existed, continues to exist,
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American Journal Of Social Sciences And Humanity Research (ISSN: 2771-2141)
and will persist in the nature of the genre."4
Aristotle was the first philosopher to classify fiction into
genres. Based on the development of fiction in his time,
he divided literature into three types in the third
chapter of his work Poetics ("Different Methods of
Expression")5. Building on this theoretical foundation,
V.G. Belinsky later wrote his well-known article
Divisions of Poetry by Genre and Type, in which he
presented a clear and remarkable idea about genre.6
The word genre comes from French7 and, in our view,
is synonymous with the meaning of "category" or
"type." Therefore, it would not be incorrect to use the
word genre to refer to the three main types of
literature: lyric poetry, epic poetry, and drama. In our
opinion, this represents the concrete emerging from
the general.
When discussing the literary genre, we have the right
to analyze its origin, formation, and development over
long historical periods, as well as its subject matter and
artistic reflection in relation to time. This is because
"genre is an evolving concept. The development of
genres is a living process. Genres emerge, evolve,
transform, disappear, and reappear."8 However, this
development is closely tied to the historical formation
and evolution of national literature in each nation.
Therefore, in our view, the way literature emerged
among different peoples—when and how it appeared—
serves as the foundation for the historical and
theoretical basis of literary studies in those cultures.
Aristotle, who regarded literature as a "copy of nature"
or an "imitation of nature,"9 demonstrated that this
process occurs in three distinct ways.
That is, the "imitator" can depict events and the real life
in which they unfold as an observer—"like Homer, he
can describe events as something separate from
himself."10 Through such an artistic representation of
objective reality (epic), the genre of epos emerges.
Additionally, the imitator can reflect reality by "copying
nature" without altering their own identity, remaining
unchanged.11 In this case, they respond to life's events
through personal emotions, creating truth through
spiritual feelings and sensations. On this basis, the
genre of lyric poetry arises.
The author, by depicting "all the portrayed
characters in motion and, at the same time, as
individuals engaged in decisive dramatic action,"12
creates a sharply dynamic and eventful reality of life. In
this context, the drama genre emerges.
The distinction between these three unique genres in
the artistic representation of life’ s reality through
three different approaches is determined by what they
depict (subject) and how they depict it.
The three genres we are analyzing, in addition to their
role in the artistic representation of life’ s reality, are
classified into the following genre forms (scales):
•
Lyric genre
: Lyric poetry, elegy, satire;
•
Epic genre
: Short story, novella, novel;
•
Drama genre
: Tragedy, comedy, drama.
The theoretical classifications given above correspond
to scientific analyses conducted in relation to written
realistic literature.
And before the formation of written literature, the oral
form of artistic expression
—
folklore
—
emerged among
the peoples of the world, fulfilling its function and
remaining a spiritual treasure of the people to this day.
In the history of Karakalpak literature, folk oral
creativity developed from early periods, and we would
not be mistaken in stating that it took shape alongside
the formation of the Karakalpak language.
"Folklore, by its nature, is closely connected with
philosophy, pedagogy, and other forms of art. It is
especially intertwined with the history and
ethnography of the people."13
The entire history of the Karakalpak people, whose
written records have been preserved in limited
quantities, has been artistically reflected in folklore.
Karakalpak folklore is recognized worldwide as one of
the richest examples of artistic expression shaped by
genuine folk wisdom. The term folklore itself means
folk creativity, highlighting its deep-rooted connection
with the people.
The Karakalpak people have referred to their oral folk
art by various names, including "dastan" (epic poems),
"fairy tales," "qissa" (narratives), "proverbs," "riddles,"
"songs," "folk songs," "aytis" (poetic contests), and
"legends." Moreover, they have collectively called
these works "the people's sorrow," "the people's
song," or "the people's word."
The first scholar to classify Karakalpak folklore by genre
was N.Davqarayev. The second scholar to conduct such
a classification was Q.Ayimbetov. Later, based on the
scientific
conclusions
of
these
researchers,
K.Ubaydullayev carried out his research work.
Following them, the folklore scholar and professor
Q.Mambetov further classified Karakalpak folklore, and
this method of classification has been consistently
applied as a definitive approach to this day. According
to Professor Q.Maqsetov, folklore is divided into two
main genres:
1.
Lyric genre 2. Epic genre
The scholar classifies large-scale folk works that
artistically depict events in Karakalpak folklore under
the epic genre, including dastans (epic poems), jirlar
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American Journal Of Social Sciences And Humanity Research (ISSN: 2771-2141)
(narrative songs), tolg‘ ovlar (lamentations), etc. Under
the lyric genre, he includes songs, poetic contests
(aytis), terme-tolg‘ ov (lyrical and philosophical songs),
proverbs, children's songs, ritual songs, and others.
The folk nature of folklore works is manifested in their
ideological content, closely intertwined with the social,
political, and economic life of the people. In the multi-
genre Karakalpak folklore, one can find profound ideas
created with masterful artistic expression in works that
can truly be called folk-centered.
Our people have created numerous epics related to the
seasons of the year and historical events, which have
been passed down for centuries. Through such songs,
they instilled in people a deep love for nature and
society. Depending on the seasons, there are wise
sayings such as: "All ninety are half-winter when winter
falls, and I'm afraid of you in the heat of summer."
"Sumbula gives birth stretching, and the horse grows
fat in the heat of summer." "Drink poison in winter,
drink what you earn in spring." "If your brain doesn't
boil in the heat of summer, your pot won't boil."
"Autumn's work is more than a flower." "If you plow
the land in the autumn month, if you don't plow in the
autumn month, in the hundred month." («Тоқсанның
бәри қыс жаўса жары қыс, саратан сеннен де
қорқаман», «Сүмбиле туўар суңқыйып, ат семирер
қунтыйып», «Қыстың күни зәҳәр иш, тапқаныңды
бәҳәр иш», «Саратанда мийиң қайнамаса, қазаның
қайнамайды», «Гүздиң жумысы гүлден көп», «Жер
айдасаң гүз айда, гүз айдамасаң жүз айда») These
proverbs highlight the uniqueness of each season and
how people should adapt to them. Traditions
associated with the Navruz holiday are also widely
reflected in seasonal folk art.
In the epics Alpamysh, Edige, Forty Girls, Er Shura, and
Jahansha, which were created in connection with the
past history of the Karakalpak people, there is a
profound ideological content that instills deep love for
the homeland. Thus, in all genre forms of Karakalpak
folklore, we observe the artistic depiction of motifs that
resonate deeply with the hearts of the people, evoking
their best emotions and reflecting the realities of life.
When substantiating the social and chronological
features of Karakalpak heroic epics from a historical
perspective, scholars have examined the content of the
corresponding plots and the opinions of researchers on
the subject. For example, historical sources indicate
that the Matriarchy period corresponds to the early
stages of the ancient social system. It emerged among
some peoples before the establishment of Patriarchy,
and certain governing characteristics of this system
persisted even during the transition from a tribal
society to a feudal society.
According to the examples found in our epics, this
system must be recognized as a pre-patriarchal social
structure. Among our people, mothers whose names
have been passed down to the present day—such as
Ariwxan and Aqsholpan—are known as clan leaders and
revered folk heroes. Additionally, legendary figures
such as Zanay, the ruler of Samiram, Tumaris, the
queen of the Massagetae, and Gulayim, the brave
daughter of our people, hold a significant place in
history. Therefore, defining the exact timeframe of the
Maternal (matriarchal) period in centuries remains a
subject requiring further study. However, it is
undeniable that the period of Motherhood persisted
for a long time in the historical past of our ancestors,
leaving a lasting imprint on their social consciousness.
It is evident that in recent historical and social stages,
our epics have established themselves as invaluable
sources, reflecting the natural conditions in which
people take pride, cherish, and find spiritual fulfillment
in their memory. Another historical basis for this claim
is that many researchers associate the geographical
location of the maternal period with the regions of
Central Asia and the Caucasus. Of course, this does not
imply that matriarchal societies did not exist
elsewhere. However, the preservation of a significant
amount of mythical information about the maternal
period in folklore from these regions and its emergence
in large epic works provide further clarity in supporting
the aforementioned ideas.
In conclusion, in this article, we analyze the history and
theory of Karakalpak folklore as a form of worldview
and come to the following conclusion:
1. The national folklore (oral folk art) of each nation is
formed and developed in close connection with the
distant history, socio-economic and political life,
culture, and national ethnography of the people to
whom it belongs. Therefore, when studying artistic
folklore from which direction, from what point of view,
it is advisable to analyze it through a historical
approach. From this point of view, we rely on the
opinions of our predecessor scholars14 and accept that
folklore was the primary form of society's worldview at
the time of its creation. The reason is that folklore not
only artistically depicts the lifestyle of the people but
also serves as a unique form of life expression. For
example, in folklore, songs in the form of "Badik-
gulapsan" were traditionally used by porkhans to heal
sick people in ancient times. Additionally, the
performance of traditional songs such as "Fatiha," "Bet
Ochar," and "Beshik Qo‘ shig‘ i" fulfilled the socio-
cultural needs of the people.
2. In our opinion, lyrical and epic genres in the
development of artistic folklore are considered literary
types. This is because, when depicting the reality of life,
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American Journal Of Social Sciences And Humanity Research (ISSN: 2771-2141)
special attention is given to the peculiarities of artistic
language. In all works characteristic of literature, the
conformity of form—its outward appearance—is
determined by the conformity of content from a
philosophical point of view. However, in folklore, the
unity of form and content is not preserved as a strict
requirement, as it is in realistic literature, because
folklore is considered a form of folk art. Therefore, such
parameters as variant and version are inherent in
folklore;
3. It is evident that the works of the epic genre in
Karakalpak oral literature—such as Forty Girls, Edige,
Sharyar, and Alpamysh—as well as national dastans and
lyrical works (traditional songs, folk songs, Karakalpak
proverbs, etc.) served as clear manifestations of the
people's worldview. At the same time, folk epics and
lyrical works fulfilled both ideological and artistic
functions as forms of understanding the world. In
carrying out this role, works were created that
embodied the most distinctive aesthetic characteristics
of these forms. The secular ideas and themes expressed
in these works became the foundation for the artistic
and aesthetic inspiration of the people, motivating
them to strive for new, real-life goals.
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