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Исторические корни волшебной сказки
The Russian folklorist Vladimir Propp published his first book, Morphology of the Folktale, in 1928. Since it was translated to English, in 1958, it has become an international bestseller and is well known as a major theoretical work in oral literature. Now, Anatoly Liberman has selected seven essays and three chapters from his later books which together reveal the full range of Propp's thought in Theory and History of Folklore. This will help readers see that his work is essentially a theory of narrative. Included are the famous essay by Claude Levi-Strauss about Propp and Propp's response to Levi-Strauss's Critique.
"This book will give Propp's admirers in the English-speaking world a whole new perspective on this distinguished scholar's contribution to folkloristics. Liberman provides the necessary background in terms of Russian/Soviet intellectual (and political) currents to place Propp's work in a new light. No student of structuralism in folklore can afford to miss Liberman's anthology." Alan Dundes
"This book will give Propp's admirers in the English-speaking world a whole new perspective on this distinguished scholar's contribution to folkloristics. Liberman provides the necessary background in terms of Russian/Soviet intellectual (and political) currents to place Propp's work in a new light. No student of structuralism in folklore can afford to miss Liberman's anthology." Alan Dundes
368 pages, Hardcover
First published January 1, 1946
90 people are currently reading
1070 people want to read
About the author
Vladimir Propp
35 books80 followersVladimir Yakovlevich Propp (Russian: Владимир Яковлевич Пропп; 29 April 1895 – 22 August 1970) was a Soviet formalist scholar who analyzed the basic plot components of Russian folk tales to identify their simplest irreducible narrative elements.
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Displaying 1 - 30 of 31 reviews
April 5, 2023
Мой мир никогда не будет прежним
February 27, 2010
Sometimes I feel it is one of the most important books I've ever read.
July 10, 2016
Zanimljivo, poučno.
Ali se na kraju više od polovine knjige svelo na prepričavanje ili citiranje odlomaka različitih bajki. Ako ne to, onda bi krenuo zanimljivu temu (recimo porijeklo nekog motiva, simbola...) i onda samo prekine. Navodeći da je to zadatak neke druge naučne discipline. WHY YOU DO THIS TO ME?!
Nema veze. Bajke ću zauvijek voljeti. Znala sam da su mračne zahvaljujući necenzurisanoj verziji bajki Braće Grim na kojoj su me naučili čitati- sada znam zašto i zbog čega su mračne.
ALI PREVIŠE PREPRIČAVANJA BAJKI. Knjiga se mogla zvati 'Zbornik Afanasijevog zbornika bajki i ostali'.
Ali se na kraju više od polovine knjige svelo na prepričavanje ili citiranje odlomaka različitih bajki. Ako ne to, onda bi krenuo zanimljivu temu (recimo porijeklo nekog motiva, simbola...) i onda samo prekine. Navodeći da je to zadatak neke druge naučne discipline. WHY YOU DO THIS TO ME?!
Nema veze. Bajke ću zauvijek voljeti. Znala sam da su mračne zahvaljujući necenzurisanoj verziji bajki Braće Grim na kojoj su me naučili čitati- sada znam zašto i zbog čega su mračne.
ALI PREVIŠE PREPRIČAVANJA BAJKI. Knjiga se mogla zvati 'Zbornik Afanasijevog zbornika bajki i ostali'.
June 28, 2025
Este libro me resultó un grato viaje a través de lo que yace tras la creación de los cuentos maravillosos (sic), aquellos que fueron forjados por los pueblos para transmitir un conocimiento, una cosmovisión y forjar una identidad. Propp realmente muestra las conexiones entre cuentos, mitos y leyendas para desentrañar qué pueden decirnos sobre nosotros.
June 17, 2008
Continuation from Propp's Morphology of the Folktale (1928). Furthers his attempt to make folklore a social science, establishing generic laws through empirical research and historical/ethnographic analysis. There's a good section on the wondertale, a type of folktale defined as follows:
"A wondertale begins with some harm or villainy done to someone (for example, abduction or banishment) or with a desire to have something (a king sends his son in quest of the firebird), and develops through the hero's departure from home and encounters with the donor, who provides him with a magic agent that helps the hero find the object of the search. Further along, the tale includes combat with an adversary (the most important form is slaying a dragon), a return, and a pursuit. Often this structure is more complicated, for example, when the hero is on his way home and his brothers throw him into a pit. Later he escapes, is subjected to a trial by difficult tasks, and becomes king and marries, either in his own kingdom or in that of his father-in-law. This is the compositional core of many plots in brief outline" (102).
Propp argues the wondertale originally derives from social institutions, especially as sacred mythical narratives told as part of initiation rituals. They are bound up with tribal identity and tend to focus on its ideas about death.
“Myths are not only components of life; they are part of every individual person. To take away a man’s tale is tantamount to taking away his life. Such myths have inherent economic and social functions, and this is not a local phenomenon, this is a law…Without its myths a tribe would not be able to perpetuate itself” (120).
The wondertale emerges when severed from its sacred roots. This "fall," Propp urges, shouldn't be regarded as a bad thing.
“However, the wondertale devoid of its religious functions is not inferior to the myth from which it was derived. On the contrary, exempt from religious conventions, it finally emerges into the free air of artistic creation, now motivated by different social factors, and begins to live a life of its own” (121).
The change Propp doesn't necessarily approve of is when the wondertales are written down, which marks their appropriation by an elite, their meanings altered to correspond with ruling ideology (a claim humorously exaggerated by Propp's Soviet loyalties). Literature and even oral epic (Homer, etc.) is a sophistication of the stories and ways of life of common people.
"A wondertale begins with some harm or villainy done to someone (for example, abduction or banishment) or with a desire to have something (a king sends his son in quest of the firebird), and develops through the hero's departure from home and encounters with the donor, who provides him with a magic agent that helps the hero find the object of the search. Further along, the tale includes combat with an adversary (the most important form is slaying a dragon), a return, and a pursuit. Often this structure is more complicated, for example, when the hero is on his way home and his brothers throw him into a pit. Later he escapes, is subjected to a trial by difficult tasks, and becomes king and marries, either in his own kingdom or in that of his father-in-law. This is the compositional core of many plots in brief outline" (102).
Propp argues the wondertale originally derives from social institutions, especially as sacred mythical narratives told as part of initiation rituals. They are bound up with tribal identity and tend to focus on its ideas about death.
“Myths are not only components of life; they are part of every individual person. To take away a man’s tale is tantamount to taking away his life. Such myths have inherent economic and social functions, and this is not a local phenomenon, this is a law…Without its myths a tribe would not be able to perpetuate itself” (120).
The wondertale emerges when severed from its sacred roots. This "fall," Propp urges, shouldn't be regarded as a bad thing.
“However, the wondertale devoid of its religious functions is not inferior to the myth from which it was derived. On the contrary, exempt from religious conventions, it finally emerges into the free air of artistic creation, now motivated by different social factors, and begins to live a life of its own” (121).
The change Propp doesn't necessarily approve of is when the wondertales are written down, which marks their appropriation by an elite, their meanings altered to correspond with ruling ideology (a claim humorously exaggerated by Propp's Soviet loyalties). Literature and even oral epic (Homer, etc.) is a sophistication of the stories and ways of life of common people.
June 5, 2020
Propp is best known, of course, for his Morphology of the Folktale, but this invaluable collection sets that in the broader context of his work over a long and productive career.
His longevity is all the more remarkable given that he was negotiating throughout the lurches of official Stalinist ideological positions. This collection allows the reader to see both the changing limitations imposed on Propp and other scholars (nationalist perspectives restricting his discussion of foreign scholarship at one point, for example), and the resultant somewhat tortuous through-line of his thinking as it developed within those constraints. It is a strength of Anatoly Liberman's 'Introduction' that it brings out both aspects well.
Liberman is less successful in his consideration of Marxism on Propp, because he sees it solely in those state ideological terms. Certainly it is clear that Propp was responding to direct state pressures - inevitably, given the realities of Stalinist suppression of scholars elsewhere - but he was also drawing something more interesting from it. The book does allow anglophone scholars to begin picking at those questions, which are important and have not gone away. (I'm intrigued by Propp identifying the new development of Soviet folkloristics with Gorky's 1934 speech to the All-Union Congress of Soviet Writers, for example, because this had a direct political purpose in the turn towards the Popular Front politics that later folklorists would do well to consider more closely).
The book also contains Lévi-Strauss's famous critique of Morphology..., and the editorial matter is clear and impressive in its exposure of the French scholar's slightly slippery and evasive misrepresentations. Propp's robust response is included in the book, and it is revealing to read that alongside the unjustly injured tone of Lévi-Strauss's 'Postscript' that followed.
His longevity is all the more remarkable given that he was negotiating throughout the lurches of official Stalinist ideological positions. This collection allows the reader to see both the changing limitations imposed on Propp and other scholars (nationalist perspectives restricting his discussion of foreign scholarship at one point, for example), and the resultant somewhat tortuous through-line of his thinking as it developed within those constraints. It is a strength of Anatoly Liberman's 'Introduction' that it brings out both aspects well.
Liberman is less successful in his consideration of Marxism on Propp, because he sees it solely in those state ideological terms. Certainly it is clear that Propp was responding to direct state pressures - inevitably, given the realities of Stalinist suppression of scholars elsewhere - but he was also drawing something more interesting from it. The book does allow anglophone scholars to begin picking at those questions, which are important and have not gone away. (I'm intrigued by Propp identifying the new development of Soviet folkloristics with Gorky's 1934 speech to the All-Union Congress of Soviet Writers, for example, because this had a direct political purpose in the turn towards the Popular Front politics that later folklorists would do well to consider more closely).
The book also contains Lévi-Strauss's famous critique of Morphology..., and the editorial matter is clear and impressive in its exposure of the French scholar's slightly slippery and evasive misrepresentations. Propp's robust response is included in the book, and it is revealing to read that alongside the unjustly injured tone of Lévi-Strauss's 'Postscript' that followed.
June 27, 2020
Great book in terms of aggregating an inventory of common themes in fairy tales; however, the analysis provided was disappointing and simplistic. Perhaps at the time this was the only analysis of this type, but with emergence of Joseph Campbell and Carl Jung writings on the same topics, Propp's interpretations of the themes lack depth . The concepts of archetypes, hero's journey, and psychological significance of symbols, have evolved since the time of Propp's writings; this work is more interesting as an example of the early and systematic research on the topic of fairy tales.
Main disappointments are with the way Propp interprets the symbolism of devouring, and the role of the dragon/serpent. He simplifies the symbolism of devouring to death and rebirth of the hero, but leaves it at that. Campbell's and even Jordan Peterson's analysis of death and rebirth is much deeper, compared to Propp's.
Also, author's disdain for religion and dismissal of ancient rituals as superstition only weakens the entire work further. To approach these subjects without recognizing deep significance of religious thought and practices, and how they connect to the concept of "story" and "journey", is to miss the point.
Main disappointments are with the way Propp interprets the symbolism of devouring, and the role of the dragon/serpent. He simplifies the symbolism of devouring to death and rebirth of the hero, but leaves it at that. Campbell's and even Jordan Peterson's analysis of death and rebirth is much deeper, compared to Propp's.
Also, author's disdain for religion and dismissal of ancient rituals as superstition only weakens the entire work further. To approach these subjects without recognizing deep significance of religious thought and practices, and how they connect to the concept of "story" and "journey", is to miss the point.
July 13, 2021
Вот вроде и интересно, и многое кажется логичным, и в это веришь... но чем дальше, тем больше скрипит сова, натаскиваемая на глобус исторического материализма.
April 2, 2021
Sencillamente maravilloso. Mágico.
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October 19, 2013Прекрасное исследование, интересно не только специалисту, но и рядовому читателю. Читала два раза, сделала много открытий для себя в области фольклора.
August 12, 2023
The historical roots of a fairy tale.
The book is too academic. Everything could be easily reduced to 100 pages.
I tormented the book for a whole week. A very heavy book. And quite controversial. The author deduces a certain theory, and as proof of his innocence, he constantly refers to another folklorist, a certain Fraser. Well, how can the words of one author serve as proof of the correctness of the other? This is some kind of scholasticism. But the work is considered fundamental in the field of studying the structure of a fairy tale. My rating is 3 stars, The text might be formulated more friendly to readers.
Слишком академичная книга. Все можно было спокойно свести к 100 страницам.
Я книгу мучал целую неделю. Очень тяжелая книга. И достаточно спорная. Автор выводит некую теорию, а как доказательство своей правоты все время ссылается на другого фольклориста, некого Фразера. Ну как слова одного автора могут служить доказательством правоты следующего? Это какая-то схоластика. Но произведение считается основополагающим в области изучения структуры волшебной сказки. Моя оценка 3 звезды, все тоже можно изложить намного более человеколюбиво.
The book is too academic. Everything could be easily reduced to 100 pages.
I tormented the book for a whole week. A very heavy book. And quite controversial. The author deduces a certain theory, and as proof of his innocence, he constantly refers to another folklorist, a certain Fraser. Well, how can the words of one author serve as proof of the correctness of the other? This is some kind of scholasticism. But the work is considered fundamental in the field of studying the structure of a fairy tale. My rating is 3 stars, The text might be formulated more friendly to readers.
Слишком академичная книга. Все можно было спокойно свести к 100 страницам.
Я книгу мучал целую неделю. Очень тяжелая книга. И достаточно спорная. Автор выводит некую теорию, а как доказательство своей правоты все время ссылается на другого фольклориста, некого Фразера. Ну как слова одного автора могут служить доказательством правоты следующего? Это какая-то схоластика. Но произведение считается основополагающим в области изучения структуры волшебной сказки. Моя оценка 3 звезды, все тоже можно изложить намного более человеколюбиво.
October 2, 2023
15+ лет назад читал эту книгу по совету коллеги - бизнес-аналитика.
Книга тяжелая, но важная для ознакомления.
По прошествии кучи лет запомнилось следующее:
1. Книга открыла для меня новые горизонты - было удивительно как можно систематизировать сказки - да вообще любые истории, творчество в еще более широком смысле... - а вот можно и НУЖНО!
2. Данную конкретную книгу кажется писал очень гуманитарный человек - ну и получилось то что получается когда гуманитарий пытается системно что-то описать.
Это как если бы гуманитарий никогда не работавший в ИТ попытался требования команде разработки составить. По сути все что он там насистематизировал надо выбросить и самому по нормальному пересистематизировать. ;-)
Но все это было очень давно и возможно я уже все забыл, а это придумал ;-)
Книга тяжелая, но важная для ознакомления.
По прошествии кучи лет запомнилось следующее:
1. Книга открыла для меня новые горизонты - было удивительно как можно систематизировать сказки - да вообще любые истории, творчество в еще более широком смысле... - а вот можно и НУЖНО!
2. Данную конкретную книгу кажется писал очень гуманитарный человек - ну и получилось то что получается когда гуманитарий пытается системно что-то описать.
Это как если бы гуманитарий никогда не работавший в ИТ попытался требования команде разработки составить. По сути все что он там насистематизировал надо выбросить и самому по нормальному пересистематизировать. ;-)
Но все это было очень давно и возможно я уже все забыл, а это придумал ;-)
October 4, 2022
Книгу читала для будущей курсовой работы, так как тема в чем-то связана с трудом Проппа (а еще по совету Штейнман Марисанны, студентам вшей привет!). Очень чувствуется контраст между этой книгой и «Морфологией волшебной сказки», которая, хоть и легко прочиталась, мне совершенно не запомнилась. Эту книгу было искренне интересно читать, и, я думаю, я из нее довольно многое узнала.
А еще это супер книга для того, чтобы пьяным в баре рассказывать интересные факты из нее! Теперь все мои друзья узнают, почему Иван-дурак — шаман, Баба Яга — проводница в мир мертвых, а свадьба в сказках гораздо менее романтична и более страшна, чем может показаться на первый взгляд.
А еще это супер книга для того, чтобы пьяным в баре рассказывать интересные факты из нее! Теперь все мои друзья узнают, почему Иван-дурак — шаман, Баба Яга — проводница в мир мертвых, а свадьба в сказках гораздо менее романтична и более страшна, чем может показаться на первый взгляд.
August 23, 2021
Довольно познавательный, но страшно нудный и академический текст! Мысль при этом чистая, ясная. В 1946-м году просто ещё не умели писать научпоп, видимо :) Я никогда не читала диссертаций или докторских работ, но почему-то подумалось, что это, наверное, очень похоже. Чтец отличный, прекрасно интонирует. А вот звук записи катастрофически низкий, увы: на улице даже на максимуме в обычных наушниках можно слушать только вдали от дорог, а дома - не во время мытья посуды.
July 11, 2021
Научный труд, который интересно читать и хочется как можно лучше запомнить основные моменты. Аналитический талант В.Я.Проппа, его выдающиеся способности исследователя и учёного вызывают огромное уважение. Очевидно, предложенные схемы актуальны не только для сказок и мифов, с их помощью можно лучше понять и литературу, и театральные постановки, и фильмы.
December 31, 2021
Le radici storiche dei racconti di fate di Vladimir Propp è un compendio ampio e ricco di nozioni in merito ai motivi fiabeschi tutto da studiare. Molto utile per seguire storicamente come la fiaba segue le variazioni di morale e viceversa.
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April 19, 2018
Out of ten how much did I read (okay maybe I was skimming by the end) this whole thing only to realise after a frustrated google search that Propp's character types are in the volume before this???? Unfortunately for my brain, it's a ten.
November 29, 2022
Wyśmienita analiza. Bardzo ciekawe wnioski. Muszę poczytać jakieś naukowe recenzje, bo na pierwszy rzut oka ciężko się przyczepić do rozumowania autora. Choć oczywiście wiele pozostaje ukryte za kwestią doboru przykładów.
September 12, 2019
Me va a explotar la cabeza
April 19, 2020
Un classico imperdibile!
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June 20, 2022О, а я ж це в універі вивчала
September 5, 2022
Непреходна класика в областта на фолклористиката.
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March 22, 2024Зачем всерьёз читать словарь?
July 28, 2024
Казалось бы "сказка-ложь, да в ней намек, добрым молодцам-урок"
July 20, 2021
Мой мир никогда не будет прежним после того, что я узнал про сказки от Проппа. И это не психологическое прочтение какого-то сюжета или фрейдистское обоснование поступков героев - это серьезное исследование исторических основ всего массива сказок. Царство мертвых, инициация мальчиков, сестрички в мужских домах, сказка как забывание варварских обрядов... Вау.
June 19, 2010
Propp is the guy who reduced a certain kind of folktale (the wondertale) to thirty-one plot points that always appear in the same order, though not every one appears in every tale. This book includes essays and chapters from later books by Propp. It also includes Lévi-Strauss's essay on Propp and Propp's rejoinder.
The introductory essay is a model of knotty prose (and only 81 pages!), but it's worth reading for a portrait of Soviet scholarship. It also sums up Propp in one marvelous observation: "Not a single joke or verbal twist can be found in his entire published heritage; [not:] even [in:] the book on laughter [Problems of Laughter and the Comic:]."
The introductory essay is a model of knotty prose (and only 81 pages!), but it's worth reading for a portrait of Soviet scholarship. It also sums up Propp in one marvelous observation: "Not a single joke or verbal twist can be found in his entire published heritage; [not:] even [in:] the book on laughter [Problems of Laughter and the Comic:]."
January 7, 2012
This is one of my favorite books on mythology and folklore. In fact I still don't know any better book on this subject unfortunately.
Propp wrote the scientific work, and some of it's chapters are a little bit difficult but worth to read.
Propp wrote the scientific work, and some of it's chapters are a little bit difficult but worth to read.
April 22, 2013
Круто! Надо было прочесть еще в институте. Но после этой книги вся прелесть сказок, конечно, исчезает для читателя, а появляется зато новое занятие: искать в них составные элементы и определять их происхождение, ведь у каждого поворота сюжета есть, как оказалось, конкретная причина его появления.
September 26, 2021
Один из важнейших научных трудов в области изучения мифа и сказки. Детальный анализ сюжетных единиц в исторической перспективе даёт представление и глубокой связи сказки с религией и ритуалом, в то же время показывая её принципиальное отличие.
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August 20, 2014Ineed to read the history of folklore
Displaying 1 - 30 of 31 reviews