Circle of children's reading. Reading circle of a modern child Components of a children's reading circle of a modern child

The problem of forming a circle of children's reading has existed for a long time. The ability to correctly form a circle of children's reading is the basis of a teacher's professional activity. Without this skill, it is impossible to raise a talented reader in a child.

The concept of a student's reading circle as a component of reading competence

The elementary school faces a difficult task - the formation of a desire, ability and stable habit in each student to choose and read books, that is, the formation of a student-reader. The idea of ​​forming a younger student as a reader is developed in the Federal State Standard for Primary General Education, according to which “the priority goal of teaching literary reading in primary school is to form the necessary level of reading competence of a younger student, to realize oneself as a literate reader capable of using reading activity as a means of self-education” .

The problem of the formation of a younger student as a reader was posed in the 60s of the XX century in the works of N.N. Svetlovskaya. In our time, E.L. Goncharova, N.N. Smetannikova and others.

The most general definition of reading competence is given by N.N. Smetannikova. In her opinion, "reader's competence is the quality of preserving what has been read, formed on the basis of a person's general culture, providing the possibility of solving emerging educational, academic, social and professional tasks adequately to situations in broad social interaction and educational and professional activities" .

E.L. Goncharova considers reading competence as a psychological system. She believes that all components of this system are subordinate to its main function: the transformation of the content of the text into a personal, semantic, cognitive and creative experience of the reader.

Objective indicators of reading competence are the steady need and ability to read books by conscious choice, applying all the knowledge, skills, and abilities that the reader has at the time of reading.

The developers of the Federal State Educational Standard for Primary General Education in the content of the concept of "reader's competence" include the possession of reading technique, methods of understanding the read and listened to work, knowledge of books and the ability to choose them independently, the formation of the need for a book and reading.

In our opinion, not all essential features of reading competence are named in this definition. We believe that in addition to the above signs of reading competence, the aesthetic attitude to reality reflected in fiction and the formation of moral values ​​and aesthetic taste of the younger student, understanding the spiritual essence of works should be considered no less important. One of the components of reading competence is the circle of reading.

The reading circle is the circle of those works that the children themselves read (or listen to reading) and perceive.

The ability to correctly form a circle of children's reading is the basis of the teacher's professional activity. Without this skill, it is impossible to raise a talented reader in a child.

The problem of forming a circle of children's reading has existed for a long time. Even in the ancient era of its development, man cared about what children could and should read. The subject of adult attention was primarily the content of books read by the younger generation. Even then, there was a strong idea that children and adults have a different circle of reading.

At all times of its existence, humanity has shown attention to the moral problems of works for children, considering them the fundamental basis for the formation of a person in a child. A special concern of adults was historical reading, since without knowledge of the history of the country it is impossible to become a worthy citizen. There were constant disputes about what is considered a children's work, what criteria it should meet.

Questions of the circle of children's reading were raised in the 18th century. (I. Pososhkov, N. Novikov) and developed in detail in the 19th century. in the works of V. Belinsky, N. Chernyshevsky, N. Dobrolyubov, L. Tolstoy, K. Ushinsky. But until now, this problem remains difficult in the methodology of children's reading due to its many aspects: a person dealing with children's reading must have equally deep and versatile knowledge in the field of Russian and foreign folklore, Russian and foreign children's literature and children's reading. He needs to have good pedagogical and psychological preparation, since the circle of children's reading is formed taking into account the age-related characteristics of the child's perception of a work of art. Anyone who deals with issues of children's reading must constantly monitor the development of children's literature, children's book publishing, be able to give a correct critical assessment of the novelties of the book market, know where you can get information about what is published for children of a certain age. He himself needs to be a competent reader, to believe in the power of the influence of a literary word on a person, and to understand that the formation of a circle of children's reading is a process that requires a serious and painstaking attitude.

What determines the content of the children's reading circle?

• 1. From the age of the reader, his passions and preferences. Already in childhood, the child's interest in a certain genre (fairy tale), a certain type of literature (poetry), a certain author and book is manifested. Children can listen to the works they remember without getting tired.
• 2. A person's knowledge in the field of literature and his awareness play a special role in shaping the circle of children's reading. Since the younger student is neither particularly rich in knowledge nor extensive information, here we should talk about the knowledge and ideas of an adult about children's literature. The wider and fuller they are, the more interesting the children's book will be presented to the child.
• 3. From the state and level of development of literature itself.
• 4. The monotony of literature has made the circle of children's reading monotonous. In children's reading at the turn of the XX-XXI centuries. fairy tales and nonsense literature predominate, which does not contribute to the education of a versatile reader.
• 5. From the state of the funds of public and family libraries. The more complete and varied they are, the more correctly it will be possible to form a circle of children's reading.

A great influence on the formation of a circle of children's reading is exerted by the time in which the reader lives: his ideas, ideals, requests. When choosing a book to read, we must definitely think about the formation of positive emotions of the child, his positive activity as a result of understanding the content of the work.

Creating a children's reading circle involves leading children's reading. There are polarized opinions on this. Some believe that the guidance of children's reading deprives the child of the right to freely choose books for his own reading. Others talk about the need for qualified assistance to the child.

Children's reading circle cannot and should not be the same. Along with reading, the content of which depends on the educational program carried out in the institution, there is home, family reading. Home reading is a variable part of reading, the content of which depends on education, knowledge of children's literature, taste and capabilities of parents. The variability of reading plays a positive role, as it contributes to the preservation of the uniqueness of the child reader.

The formation of a children's reading circle is a serious theoretical and practical issue that requires constant updating. It cannot be approached only from a pedagogical point of view.

Very often, the perception of a younger student is influenced by the moral and ethical attitudes of the family, the environment, the time in which he lives, and understands the work depending on personal moral experience.

Only a careful selection of works for reading and observation of the process of perception of the book by an adult will lead to the achievement of the goal.

Forming the circle of children's reading, one should also pay attention to the fact that children's literature is characterized by the phenomenon of a multitude. It manifests itself in different ways. Often we are faced with the fact that writers create a large number of works on related topics in which the same characters act. We note the repetition of plots, the same artistic techniques, and at some point it begins to seem to the reader that "the writers began to work out the quantitative" norm "". Each writer has his own reasons for such creative behavior, for example: requests from readers to continue the cycle with Alexander Volkov, recognition and attractiveness of the hero from Sergei Mikhalkov. A writer of this kind can remain in the history of literature and the reader's memory, being associated with something: Alexander Volkov - with the history of the Emerald City, Sergei Mikhalkov - with the image of Uncle Styopa. But such works are not always destined for a long life.

Thus, the multidimensional nature of the problem of forming a circle of children's reading indicates the need for an adult to be a competent reader, to master the practice of evaluating works of art, the principles and criteria for their selection.

At all times of the existence of mankind, people have shown special attention to works for children, considering them the most important in the formation of a person in a child.

Questions about the circle of children's reading were raised in Russia in the 18th century, and in the works of N. Chernyshevsky, V. Belinsky, N. Dobrolyubov, L. Tolstoy in the 19th century.

But still, the acuteness of the issue remains in modern Russia of the 21st century.

A person dealing with children's reading needs to have versatile knowledge in the field of Russian folklore, and foreign creativity, writers of Russian and foreign children's literature. And also for the formation of a circle of children's reading, it is necessary to have excellent pedagogical and psychological preparation. It is important for him to follow the trends in the development of the children's literature market, children's book publishing, to read a lot and to believe that the literary word can influence and influence a person.

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Circle of children's reading.

At all times of the existence of mankind, people have shown special attention to works for children, considering them the most important in the formation of a person in a child.

Questions about the circle of children's reading were raised in Russia in the 18th century, and in the works of N. Chernyshevsky, V. Belinsky, N. Dobrolyubov, L. Tolstoy in the 19th century.

But still, the acuteness of the issue remains in modern Russia of the 21st century.

A person dealing with children's reading needs to have versatile knowledge in the field of Russian folklore, and foreign creativity, writers of Russian and foreign children's literature. And also for the formation of a circle of children's reading, it is necessary to have excellent pedagogical and psychological preparation. It is important for him to follow the trends in the development of the children's literature market, children's book publishing, to read a lot and to believe that the literary word can influence and influence a person.

So what is a children's reading circle? This is a circle of works that children listen to, read and perceive. They were written, passed from adults, were understood and accepted by children. The range of children's reading includes:

Folklore,

books for children,

Children's creativity,

Children's newspapers and magazines,

As you know, certain works correspond to each year of a child's life: nursery rhymes and four-line pestles at early preschool age, to fairy tale novels at senior preschool age.

This begs the question - what does the circle of children's reading depend on?:

From the age of the child, from his preferences. So, the youngest listeners prefer fairy tales, nursery rhymes, poems written by a certain author to a certain book.

From the development of literature itself. What can I say, the state of the level of development of children's literature at the end of the 20th century remained at a low level, poems for children were practically not published, there were very few historical and realistic works, which did not contribute to the education of a versatile reader.

From the selection of literature for children's reading. In the collections of urban and rural libraries, from books that are in families, the very time in which the child lives has a great influence.

The circle of children's reading cannot be the same for everyone, and should not be. After all, a child is able to choose a book for himself, even the smallest, according to an attractive cover, according to illustrations.

The educational program, which is carried out in a preschool institution, contains a specific list of recommended literature for reading to children, according to the age category.

Along with this, there is family, home reading. This is a variable part of reading, which depends on the knowledge of children's literature, taste, preferences, education of parents, and it plays a positive role in preserving the uniqueness of the child-listener, the child-reader.

In the circle of children's reading, there are a number of works that are mandatory, without which preschool childhood cannot be imagined. These are works that have been tested by many generations of readers, classic works:

Folk tales,

Works by K. Chukovsky, S. Marshak, A. Barto, N. Nosov,

Fairy tales by Ch.Perro, H.Andersen, A.Lindgrend.

V. G. Belinsky, argued that children tend to have a special perception of what they heard, about the importance of the role of the book in the upbringing of the child. After all, a “wrong” book can lead to a distortion of moral ideas, destroy aesthetic feelings, and about its place in the world around.

Preschoolers perceive art out of context: it can animate inanimate objects, changes works of art at its discretion, making it a hero of themselves or their friends. A favorite book makes a strong impression on the child, and he uses the plot in his games, lives by them, and includes them in his real life.

Literature, as a form of art, helps in educating a competent listener and reader, but it should be remembered that it will be better perceived when a special emotional atmosphere is created, the mood of the child to read the book.

Children should be given time to read, and nothing should interfere or distract. Children need to be explained that they should not read while eating, in transport, on the go. Don't read the same book over and over. When reading, you should not rush, pronounce the sounds and letters clearly and clearly. Adults should remember that it is unacceptable to force a child to listen if he is tired, distracted, wants to change the type of his activity. Only an attentive caring attitude towards preschoolers, a careful choice for reading this or that work will lead to the desired result.

When choosing a circle of children's reading, special attention should be paid to:

accessibility,

visibility,

amusements,

The dynamism of the plot

The educational value of the work.

So what should be included in the circle of children's reading?

All types of literature:

Prose (epos), poetry (lyrics), drama, fiction;

Folklore genres - folk tales, lullabies, pestles, nursery rhymes, incantations, sentences, fables-shifters, children's folk songs, horror stories;

Popular science genres (encyclopedias);

Works of literature of the peoples of the world.

The subject of the works should be as diverse as the reader requires:

Childhood;

Children's game, toys;

Nature, fauna;

Relationships between children and adults; family, duty to parents and relatives; internationalism; honor and duty to the Motherland;

War and heroism;

Historical periods;

Man and technology.

It is also important to take into account gender differences between children. Girls need to read books about women's virtues, about housekeeping, about women's destiny. Boys will be interested in literature about courage, about courage, about heroes, about travel, inventions, about people's behavior in difficult situations.

Children's literature is a valuable form of verbal art that plays an important role in the development and upbringing of a child. V. Lunin noted: “I must confess to you that I am writing not for you, but for myself!”.

LECTURES ON CHILDREN'S LITERATURE

SECTION 1. LITERATURE AS A BASIS FOR SPIRITUAL AND MORAL DEVELOPMENT OF A PERSON.

TOPICS 1.1. - 1.2. SPECIFICITY OF CHILDREN'S LITERATURE: ARTISTIC AND PEDAGOGICAL COMPONENTS. READING CIRCLE OF PRESCHOOL CHILDREN.

Literature is an indispensable means of aesthetic education of a preschool child. Children's literature is a complex of works created specifically for children, taking into account the psychophysiological characteristics of their development. There is an opinion among readers that children's literature is those works that a person reads three times in his life: as a child, becoming a parent and acquiring the status of a grandmother or grandfather.

Through children's literature, the emotional preschooler is carried out, the development of all his cognitive processes and abilities. Against the background of the ever-increasing influence of television and computer technologies on a small person, the importance of literature and children's reading is growing. The aesthetic education of a child by means of literature involves the development of his artistic needs, emotions and feelings. It is during the preschool period that the child develops the prerequisites for the development of literary and artistic abilities.

In the perception of the world by a preschooler, his characteristic tendency is manifested to enliven the environment, to give character, desires even to inanimate objects. That is why he is so fascinated by the world of art. For a preschooler who has just begun to discover the world of a work of art, everything in it is new and unusual. He is a pioneer, and his perception is bright and emotional. The feeling of a pioneer, which is very important for creativity, is also manifested in the assimilation and use of artistic speech forms: verse (sound, rhythm, rhyme); lyric-epic forms; prose, etc.

Introducing the child to the best examples of children's literature contributes to the comprehensive and harmonious development of the individual. The educator plays the leading role in introducing the child to literature in the conditions of preschool education. Therefore, knowledge of children's literature is necessary for future teachers.

One of the features of children's literature is the unity of literary and pedagogical principles. Both writers and researchers, speaking about the pedagogical, didactic essence of children's literature, pointed to the specifics of the text of a children's work, where there is a constant interchange of aesthetics and didactics.

The ability to correctly form a circle of children's reading (KCH) is the basis of the professional activity of a speech therapist. The CDN depends on the age of the reader, his passions and preferences, on the state and level of development of the literature itself, on the state of the collections of public and family libraries. Psychological, pedagogical, literary, historical and literary approaches or principles are the starting points for the formation of the KCH.

As you know, fiction plays a huge role in the upbringing and education of children. M. Gorky also noted the role of art in shaping a person’s attitude to various phenomena of reality: “All art, consciously or unconsciously, aims to awaken certain feelings in a person, to cultivate in him this or that attitude to a given phenomenon of life.”

B.M. Teplov reveals the psychological essence of the educational impact of art (including fiction) as follows: “The educational value of works of art lies in the fact that they make it possible to enter “inside life”, to experience a piece of life reflected in the light of a certain worldview . And the most important thing is that in the process of this experience certain attitudes and moral assessments are created, which have an incomparably greater coercive force than assessments that are simply communicated or assimilated.

This significance of art is especially great in the formation of feelings and relationships in children. But in order for a work of art to fulfill its educational role, it must be appropriately perceived. Therefore, the study of the problem of perception of literary works is of undoubted interest.

There are a number of studies on this problem in the Russian psychological literature. Valuable material is contained in the works of O.I. Nikiforova, in which general questions of the psychology of perception of works of fiction are considered. The analysis of the understanding of the psychology of a literary character by children of different ages is the subject of research by T.V. Rubtsova, B.D. Praisman and O.E. Svertyuk. In the study by L.S. Slavina, E.A. Bondarenko, M.S. Klevchenya, the question of the influence of the characteristics of children of the corresponding age on their attitude to literary characters is considered.

A review of these and other psychological studies, which deal with the psychology of the perception of fiction by children of different ages, shows that the subject of study was mainly questions of children's understanding of a literary work and its characters. However, the perception of a work of art in its essence is not a purely cognitive act. A full perception of a work of art is not limited to understanding it. It is a complex process, which certainly includes the emergence of one or another relationship, both to the work itself and to the reality that is depicted in it.

Let us consider in more detail the process of perception of fiction. The perception of fiction is the result of a psychological mechanism based on physiological processes. The perception of fiction is holistic and at the same time extremely difficult. Usually it proceeds directly, and only in difficult cases does one or another operation of the imagination or mental action become conscious. Therefore, this process seems to us simple. It distinguishes the following aspects: direct perception of the work (recreation of its images and their experience), understanding of the ideological content, aesthetic evaluation and the influence of literature on people as a consequence of the perception of works.

All these aspects are interconnected, but at the same time their mechanisms differ from each other. Thus, the understanding of the ideological content depends on the reconstruction of the images of the work, but the mechanisms of these processes are opposite. The whole process of perception of literary works at all its stages is of an aesthetic, evaluative nature, but the evaluative evaluation mechanism has specific features. The influence of fiction on people is the result of all the mentioned processes, but, in addition, it is determined by other factors as well.

There are three stages in the process of perception of fiction:

1) direct perception, i.e. recreating the experience of the images of the work. At this stage, the leading process is the imagination. With direct perception when reading a work, thought processes take place, but they must be subordinated to the reconstruction of images and not suppress the emotionality of the perception of the work. The fact is that the words of the text have a conceptual meaning and figurative content.

When reading, listening to a work, certain images, especially when reading intermittently, usually cause certain thoughts in the child - such thoughts are natural and do not kill the emotionality of perception.

2) understanding the ideological content of the work. A complete understanding of the idea is possible only when reading the entire work as a whole. At this stage, when perceiving a work, thinking becomes the leading one, but since it operates with what was emotionally experienced, it does not kill the emotionality of perception, but deepens it.

3) the influence of fiction on the child's personality as a result of the perception of works.

The process of cognition, whether it goes “from living contemplation to abstract thinking and from it to practice” or “by ascending from the abstract to the concrete”, is impossible without representations, which are an intermediate stage of cognition, a link in the dialectical transition from the sensory level to the rational and vice versa .

Any concept as an element of thinking is formed on the basis of ideas. The formation of ideas about the surrounding reality precedes the formation of a worldview. Answering questions, we are based on more or less realistic ideas and images about the object or phenomenon being studied. Therefore, we can say that representations are the basis of all meaning. Representations are among secondary images that, unlike the primary ones (sensation and perception), arise in the mind in the absence of direct stimuli, which brings them closer to the images of memory, imagination and visual-figurative thinking.

Usually under performance understand the mental process of reflecting objects and phenomena of the surrounding reality in the form of generalized visual images, and under imagination- a mental process that consists in creating new images by processing the material of perceptions and ideas obtained in previous experience.

The product of the view is representation image, or a secondary sensually visual image of objects and phenomena, stored and reproduced in the mind without a direct impact of the objects themselves on the senses. Representations are in a complex relationship with other mental processes. Representation is related to sensation and perception by the figurative, visual form of their existence. But sensation and perception always precede representation, which cannot arise from scratch. Representation is precisely the result of a generalization of a number of essential features of an object.

Views often act as references. This circumstance brings them closer to the processes of identification. Identification implies the presence of at least two objects - real, perceived and reference. There is no such duality in representations. Representations are often called memory images, because in both cases there is a reproduction of a person's past experience. Both are secondary images that arise without reliance on direct perception. But the view lacks the processes of remembering and saving. In the process of remembering, a person is always aware of the connection with the past, while in the representation, in addition to the past, the present and the future can be reflected.

Imagination images are very close to representations. Imagination, like representation, uses material previously received by perception and stored by memory. Imagination is a creative process that develops over time, in which you can often trace the storyline. In representation, the object is more static: it is either motionless, or a limited number of manipulative operations are performed with it. Representation acts as a mechanism for recreating the imagination. But besides it, there are also various forms of creative imagination that are not reducible to representation.

The degree of control of a person's side over the images of his imagination varies greatly. Therefore, distinguish between imagination arbitrary and involuntary. According to the methods of creating images, there are also recreating and creative imagination.

The content of the direct perception of a literary work, in addition to representation, includes emotional and aesthetic experiences, as well as thoughts that arise about the perceived. The perception of fiction at all stages of reading a work is always holistic, despite the fact that the work itself is divided into elements arranged sequentially in time.

Another essential feature of the perception of fiction is the emotional-volitional experiences of children. There are three main types:

1) internal volitional actions and experiences for the heroes of a literary work. As a result of such assistance and empathy with the hero, the child comprehends the inner world of the hero of the work. Here, emotional-volitional processes are a means of emotional cognition of literary characters.

2) personal emotional-volitional reactions. They contain an element of direct aesthetic evaluation.

3) experiences and reactions that are caused by perception through the work by the personality of the author. The idea of ​​a writer gives rise to a certain emotionally active attitude towards him.

The first type is objective, while the second and third are more subjective. All three types of emotional-volitional experiences coexist in the perception of the work and are interconnected. The mechanism of direct perception is very complex and consists of two parts: the mechanism of creative and emotional-volitional activity and the mechanism of figurative analysis of a literary text. They are internally linked.

The imagination does not immediately, not from the very beginning of reading the work, becomes creatively active and emotional. At first it works passively, then there comes a sharp change in the nature of its work. In this regard, the perception of the work also changes qualitatively. The moment of such a sharp turning point in the perception of the work and in the work of the imagination Binet aptly called entry into the text of the work.

The period of getting a person into the text of a work can be more or less long. It depends, first of all, on the features of the construction of the exposition. The duration of the entry also depends on the readers themselves, on the degree of liveliness and development of their imagination. At the beginning of the work and in its title, readers and viewers find landmarks that “guide” the creative activity of the imagination. O.I. Nikiforova identifies the following landmarks:

1. Orientation in the genre and general nature of the work.

2. Orientation in place and time of action.

3. Orientation in the main characters of the work.

4. Orientation in the emotional attitude of the author to the main characters of the work.

5. Orientation in the action of the work.

6. Orientation in the volume of the work.

7. Orientation in the figurative core of the work.

The mechanism of creative activity is formed by itself and very early, already at a young age, because. it is nothing more than a mechanism for understanding the purposeful behavior of people and their relationships transferred from ordinary life to the perception of literature. Figurative generalizations are formed in people in the process of their life and reading fiction. The mechanism of figurative analysis of a literary text does not form by itself in the process of life, it must be specially formed, and this requires certain efforts on the part of children.

The usefulness, artistry of perception of literature depends, in addition to the artistic merits of works, on the reader's ability to make a figurative analysis of a literary text. At the stage of direct perception of fiction, the main thing is the analysis aimed at extracting the figurative content of works from the text.

Figurative analysis is the basis of a full-fledged artistic perception of literature. From the point of view of perception, the text of a literary work consists of figurative artistic sentences. The sentences are organized into relatively integral, large elements of the work: a description of events, actions, appearance, etc. All major elements are in a certain relationship to each other and are synthesized into a single literary work.

The complex, multifaceted structure of a literary work also determines a multi-layered analysis of the text:

1) analysis of figurative sentences;

2) analysis of large elements in a literary text;

3) analysis of the methods of depicting literary characters.

Let's look at what the analysis of figurative sentences means. Understanding of individual words occurs instantly, while representations associated with words arise only if attention is paid to them after the meanings of words are realized. To understand colloquial speech, non-fiction texts, it is enough to analyze the meanings of words and their correlation, while representations associated with words are usually not needed. Therefore, people develop an attitude towards the conceptual perception of speech.

The analysis of large elements in a literary text occurs according to a double grammatical scheme. The course of the figurative analysis of sentences is determined by the contextual subject. The figurative details extracted from reading a large element are synthesized by readers into a whole complex representation based on their organization in space and time. The integrity and stability of ideas about the complex images of a literary text is ensured by internal speech articulation.

The analysis of a literary text according to a grammatical scheme with an orientation towards images evokes figurative processes in readers, regulates them, and as a result, they get an idea of ​​the images of the text. The material for recreating the images of the text is past visual experience.

There is a feature of the activity of the recreating imagination when reading, perceiving a literary text:

That which flows below the threshold of consciousness on a purely physiological level;

It is impossible to say how the performances turned out, therefore, one gets the impression of a complete immediacy of the perception of fiction.

This immediacy of perception of fiction is not innate, but developed, mediated by the acquisition of skills in the figurative analysis of a literary text and the formation of an attitude towards figurative processes. An analysis of the methods of depicting literary characters is the selection of characters from the text, attributing descriptions to a literary character and extracting from them everything that, one way or another, characterizes a particular character.

When reading a work, the selection of a literary character always occurs by itself, but the selection of image techniques and their assignment to a literary character presents certain difficulties, and the degree of this difficulty depends on the characteristics of the techniques.

The purpose of figurative analysis is to evoke and regulate figurative processes of imagination in readers.

Consider the conditions for understanding literary works:

1. Full direct perception of the work. Proper reconstruction of images and their experience.

2. The essence of the artistic idea.

3. Setting to understand the idea and the need to think about the work.

Young children under no circumstances perceive the idea of ​​a work, even if, as happens in fables, it is directly formulated in the text. For children, a work is a special reality, interesting in itself, and not a generalization of reality. They are influenced by the emotional and aesthetic basis of the idea of ​​the work, they are “infected” with the emotional attitude of the author to the characters, but do not generalize this attitude. They discuss only the actions of the heroes, and precisely as the actions of these heroes, and nothing more.

To work on the ideological content, it is necessary to choose works that can have a personal meaning for children, and that when working on these works it is especially important to reveal to them the personal meaning of the idea and the meaning of the works.

Aesthetic evaluation is a direct emotional experience of the aesthetic value of a perceived object and is a judgment of its aesthetic value based on aesthetic emotion. The objective side of emotion is a reflection of the perceived object in a peculiar form of experience.

Criteria determining aesthetic evaluations:

1.Criterion of figurativeness.

2. The criterion for the veracity of the images of the work.

3. The criterion of emotionality.

4. The criterion of novelty and originality.

5. The criterion of expressiveness.

The ability to experience aesthetic pleasure from truly artistic works and legitimately evaluate their artistic merit depends, first of all, on mastering the figurative analysis of a literary text.

The main way to master the analysis of the features of works of art is an exercise in a detailed comparison of works that are the same or close in theme, differing in form, in the interpretation of the theme. The impact of a literary work does not end with the end of reading. Influence is the result of interaction. The same work can have different effects on different people.

The influence of fiction on people is determined by its peculiarity - by the fact that it is a generalized image of life. The images of the work reflect reality, as well as the experience of the writer, his worldview, and the artistic images of the readers are recreated on the basis of their own experience.

Consider three types of readers' attitudes towards fiction:

1. Identification of literature with reality itself. The impact of fiction on children.

2. Understanding fiction as fiction.

3. Attitude towards fiction as a generalized depiction of reality. This is one of the essential conditions necessary for the transition of superficial feelings to deeper ones and influence people.

There are no children who do not like being read to. But sometimes some children, having learned to read, continue to communicate with the book in this way, while others do not. How can you help your child love books? What can be done to make reading a necessity for him, a pleasure? The answer is unequivocal: the future reader needs to be educated when he is just starting to walk, when he gets to know the world, when he experiences his first surprise from contact with others. Conventionally, in the process of becoming a reader, the following types of reading can be distinguished: indirect (reading aloud to a child), independent (reading by a child without the help of an adult) and creative reading (reading constructed as a process of creative development of a perceived work). But it is not necessary to consider the types of reading we have identified as stages in the development of the reader, they do not follow each other in a strict temporal sequence, but, gradually emerging in the life of the child, they seem to complement each other, becoming pages of his reader's biography.

The first type of reading that a child gets acquainted with is mediated reading. But this type of reading does not lose its significance even when the child begins to read on his own, and when he has already learned to read quite fluently. Therefore, it is important to read books to a child who is already familiar with the alphabet, and who is just establishing his own relationship with the book.
The leading role belongs to the reader, that is, an adult, and the child acts as a listener. This makes it possible for an adult to control the reading process: keep the rhythm, vary the text (for example, insert the name of a child in poems about children), making it more accessible and understandable; read clearly and expressively; monitor the child's reaction. Reading aloud to a child is not an easy task. You can’t monotonously pronounce the text, you need to beat it, take your time, create images of the heroes of the work with your voice.
Reading aloud is somewhat different from independent reading by an adult - a delightful journey into the land of literary images, taking place in peace and quiet, requiring solitude and complete immersion in the world of fantasy. The child does not sit still for a minute, he constantly asks some questions, is quickly distracted. An adult needs to be ready to respond to questions, comments that suddenly arise in the course of the text, as well as such manifestations of their attitude to what they read as crying, laughter, protest against the course of events set out in the text. Such reading is, first of all, communication (and only adults need to be reminded of this: for children, this is already an indisputable truth). This is your conversation with the child, this is a dialogue with the author of the work. And therefore, you should not refuse to read aloud together, even when the child has learned to read on his own: you need to continue to read, read in turn, listen carefully as he reads, involve other family members in reading aloud.

Reading aloud is the most important means of building relationships between a child and an adult, but it becomes such only when a number of conditions are met. First, it is necessary not only to reproduce the text, i.e. pronounce it out loud, but also try to comprehend it, understand it. Moreover, for an adult, this task splits into two: he finds something of his own in the text he has read, interprets it from the height of his own life experience, and at the same time tries to create a situation of understanding or an emotional response for the child listening to him. G.-H. Andersen wrote about this phenomenon of the perception of children's literature by adults: "... I definitely decided to write fairy tales! Now I tell from my head, I grab an idea for adults - and I tell for children, remembering that sometimes father and mother also listen and they need to be given food for thought!" The joint perception of a work of fiction, its comprehension must inevitably result in a discussion of what has been read: reading a fairy tale prompts us to reason about good and evil, acquaintance with poetic works makes us think about the unlimited possibilities of language in conveying a variety of meanings and emotions. It is also important how the range of literature for indirect reading will develop: what books we select for children, how diverse they are in subject matter, design, genre or mood. We cannot allow books to be perceived only as entertainment or only as education. The world of fiction is very rich and multicolored, it has a place for both serious conversation and a fun game.

The next type of reading is independent. Actually, reading will not become independent soon, and at first much depends on the adult: on his ability to harmoniously combine attention and interest in the child’s first reading experiences with the former habitual mediated reading aloud. The child himself determines how much his mother (father, grandmother, older sister or brother) reads to him, and how much he reads. The first attempts at reading should be accompanied by the gradual formation of the skill of writing letters, their drawing. For the young reader, it is still more important to get acquainted with the letters, his own reading is largely mechanical in nature: he is more interested in the purely technical side of the matter - how words are made from letters. Therefore, the expressive side of reading fiction (the ability to understand the text, pay attention to its artistic features) will remain the responsibility of an adult for a long time to come. Another important aspect of the formation of independent reading is the determination of the reading circle of a child who begins to read. When an adult reads a book, the questions that arise in the child during the reading are resolved immediately due to the presence of an adult who can answer them or explain something incomprehensible. How to choose books that will be interesting and understandable for a 4-5-6-year-old child? First, the child will re-read the books already known to him, children very often re-read familiar books, just leafing through them. The child does not stop in development, he simply, in this way, relieves stress by communicating with old friends. During the period of the formation of a child’s independent reading, it is very important to create additional conditions for his speech development, since his speech, which was recently only oral, has now acquired another form of existence - written. A variety of publications containing various puzzles, word puzzles and games can help with this.

The last type of reading that we have identified will be creative reading, which is the main means of developing a child: developing his speech, imagination, and ability to perceive fiction. It is not enough to read books to a child or create conditions for the formation of a circle of his independent reading. It is important to prepare the child for a meeting with the world of fiction - the world of fiction, fantasy, embodied in verbal images. How to make the frozen sounds of the poem come to life in front of the child? There is only one answer: you need to teach him the creativity of the reader. It is necessary to begin the development of such creative abilities from the period of mediated reading and not to stop these exercises during the formation of independent reading. But reader creativity is formed not only while reading books. A rich imagination is “gathered” gradually from a variety of impressions that a small person has from walking in the forest, from visiting a theater or an exhibition, playing outdoors and at home, observing animals, communicating with others, experiences.

The writer creates the world with the power of imagination, counting on the further co-creation of his reader. The world of a small child is like such a world of fantasy, a fairy tale - you just need to try to see and hear it: to see how two trees stand side by side "whisper", how a saucepan looks like an astronaut's helmet, hear a story told by an old suitcase, or a song of a stream. The creativity inspired by reading can be anything.

L. Tokmakova has wonderful words: “A children's book, for all its outward rusticity, is an exceptionally subtle and not superficial thing. Only the brilliant eye of a child, only the wise patience of an adult can reach its heights. Amazing art - a children's book! The craving for a book, as we said above, appears in children, as a rule, in early childhood. Interest in the book arises because it gives the child the opportunity to act, it gives pleasure both when looking at, and when turning over, and when listening.

In addition, the book satisfies two needs that simultaneously exist in the child: for the unchanging, stable and for the new, unfamiliar. The book is a constant. The child is a variable. The kid picks up a book at any time - but it is still the same. There is self-examination, self-validation. Children, on the other hand, change not only annually, but also hourly - different moods and states, and now the “constant value” is revealed to them in a new way. The joy of discovery! But each child has his favorite places in the book, which he always wants to listen to, watch.

The book is also an opportunity to communicate with adults. Through their speech, intonation, the plot, characters, moods are perceived. You can worry together, have fun and be reliably protected from evil and terrible. As the child grows up, the ways of working with the book change, certain skills are acquired: looking, listening, flipping, “reading”, reproducing previously heard text in accordance with the illustration. All this adds up to a "piggy bank" for the future reader. But in order for a reader to appear who is capable of co-creation with a writer and illustrator, the help of an adult is needed.

In a correctional institution, the teaching of literature is of particular importance. The analysis of works of art develops a coherent monologic speech of children, develops intonation, contributes to the development of the pronunciation side of speech, etc.

Questions for the exam

Questions for the exam

discipline: "Children's Literature"

1.The concept of children's literature. The specifics of children's literature. The main functions of the children's book. Reading circle of a preschool child.

"Children's Literature" - a complex of works, created taking into account the psychophysiological characteristics of age.

"Children's Reading Circle" - designed to replenish the literary horizons of children, increase their well-read.

There are different ideas about the concept of "children's literature". The most common is as follows: Children's literature is a complex of works created specifically for children, taking into account the psychophysiological characteristics of their development. There is an opinion among readers that children's literature is those works that a person reads three times: as a child, becoming a parent and then acquiring the status of a grandmother or grandfather. Children's literature that has passed such a test of time is called real, classical. In everyday life, children's literature is considered all the books that children read. However, in scientific research, the concepts of "children's literature" and "children's reading" are distinguished. Children's literature is a peculiar area of ​​general literature. It is created according to the same laws of artistic creativity, according to which all literature is created, while having essential features. Functions of children's literature: entertaining. Without it, all the rest are inconceivable: if a child is not interested, it is impossible to develop or educate him; aesthetic - should instill a true artistic taste, the child must be introduced to the best examples of the art of the word; cognitive - firstly, there is a special genre of scientific and artistic prose, where certain knowledge is presented to children in literary form (for example, the natural history tale of V. Bianchi). Secondly, works that do not even have a cognitive orientation contribute to expanding the child's circle of knowledge about the world, nature and man; illustration; psychological peculiarity of perception of children's literature; identification - identifying oneself with a literary hero. Outstanding writers of different eras took part in the construction of the building of children's literature, in the formation of a circle of children's reading.

These were Pushkin and Krylov, Chukovsky and Odoevsky, Pogorelsky and Ershov, L. Tolstoy and Nekrasov, Chekhov and Mamin-Sibiryak, Bianki and Prishvin and many, many masters of artistic expression. Children's reading includes such works by Gogol, Lermontov, Koltsov, Turgenev, Dostoevsky, Garshin, Korolenko and many modern poets and writers, whose work is considered in the corresponding review chapters.

2.Small genres of folklore. Variety of genres. Subject. Artistic features. The role of small genres in the upbringing of a physically healthy, cheerful, inquisitive child.

"Folklore" - oral folk art, reflecting the life of the people, views, ideals created by the people.

"Fiction" is the art of the written word.
"Wandering plot" - stable complexes of motives that form the basis of an oral or written work, passing from one country to another and changing their artistic appearance depending on the new environment of their existence.

Folklore is folk art, not only because it was created and kept to a greater extent by the broad masses of the people, but above all because it reflected folk cultural and moral traditions, way of thinking and ideas about the world, folk way of life, warehouse mind and character, which is now called the mentality.
The collective played an important role in the creation, storage, and sometimes the performance of folklore. In the perception of the collective, a folklore work existed as an anonymous one. The problem of authorship, and even more so the problem of attribution, i.e. establishing the name of the creator, has never been raised.

The folklore text differs from the literary one in the way of creation, existence, poetics. But here, as in literature, there is a specific division: epic, lyrics, drama.

Researchers believe that children begin to actively use folklore from the age of six. But in order for this to happen, they must be prepared from early childhood for the perception and mastery of folklore forms. Children's folklore and fairy tales are of great importance in the life of preschool age.

Folklore - oral folk art, folk wisdom, knowledge about the world, expressed in specific forms of art.

Verbal folklore is a specific art.

The collective played an important role in the creation, storage and performance of folklore. The folklore work existed as an anonymous one.
Folklore exists in both adults and children. Children's folklore and fairy tales are of great importance in the life of preschool children. Every nation has its own tales. But plots common to different peoples have long been noticed. Such plots are called vagrant plots, i.e. stories that pass from one nation to another.

3.Fairy tale as a genre of folklore. Types of Russian folk tales. A fairy tale is an active and aesthetic creativity that captures all spheres of a child's spiritual life, his mind, feelings, imagination, and will.

A folk tale is an oral narrative work of a magical, adventurous, or everyday nature with a fantasy setting, told for educational or entertainment purposes. “A fairy tale is a lie, but there is a hint in it, a good lesson for a good fellow.”

The fairy tale has always been attributed to an audience of different ages, but only in the 20th century did it become mainly owned by children. The name itself did not appear immediately, N.V. Novikov suggests that in ancient Russia, various oral stories were called "tales" ("bayat" - to speak). A fairy tale-document based on facts (Pushkin and Gogol used the “revision tale” in this sense). Most likely, by the middle of the 19th century, the bike was called a fairy tale.

The fairy tale has replaced the myth. E.V. Pomerantseva (folklorist of the 20th century) testifies: the first mentions refer to Kievan Rus. The history of the Russian fairy tale is rich in events.

At the end of the 18th century, they began to write down the fairy tale, and literary plots began to be created on the basis of folk stories.

Classification: VG, Belinsky divided into two kinds of fairy tales: 1. heroic 2. satirical (the life of the people, their domestic life, moral concepts, and this crafty Russian mind).

Afanasyeva classified according to the time of creation and the plot.

Highlights:

Tales about animals (the most ancient)

Fairy tales

Household fairy tales

adventurous tales

Boring tales.

A folk tale is an oral narrative work of a magical, adventurous or everyday nature with a fantasy setting, told for educational or entertainment purposes. (Chicherov V.I.)

A. Sinyavsky says that the fairy tale pursues, first of all, entertaining and aesthetic tasks, and not utilitarian or educational tasks. A fairy tale does not teach how to live, and if it teaches, it does it along the way and without pressure.

The fairy tale has a specific poetics. A fairy tale is an epic, prosaic genre. The fairy tale has always existed in an audience of different ages, and only in the 20th century began to belong mainly to children. N.V. Novikov suggests that in Ancient Russia various oral stories were called tales (bayat - speak).

4.Tales about animals. Allegorical depiction of human characters. A sharp distinction between positive and negative. Ideas about the mind and stupidity, cunning and straightforwardness, about good and evil, courage and cowardice, etc.

Animal tales are the most ancient work of the fairy tale epic.

Ancient man animated nature, transferred his properties to animals, did not see the differences between them and himself. Animals are able to think, speak, act intelligently. The fairy tale is inherent in: animism-animation of animals, etc.; totemism is the deification of animals.

They are divided into 2 groups: comic (“tops and roots”).

Moralistic ("Cat, rooster and fox").

Cumulative tales (collection). The principle of their construction is the principle of stringing one micro-plot on another with some expansion in some cases and almost content repetition in others (for example: 1. "The animals in the pit"; 2. "Turnip", "kolobok", "teremok").

In the fairy tale about animals, animals are carriers of one sign, one special characteristic (the fox is cunning)

These stories are allegorical.

Artistic structure: simple, unpretentious, understandable language, the presence of dialogues, short but expressive songs.

Kostyukhin points to 2 species-forming features:

The primary object of narration in such a fairy tale is the entire organic and inorganic world, endowed with human characteristics.

Depends on the installation of the performer, on what problem will be in 1st place.

Tales about animals are considered the most ancient works of fairy tale epic. Even J. Grimm (in the 19th century) drew attention to animism as a form of fiction in fairy tales about animals. Animals are able to think, speak, act intelligently. The fairy tale about animals is also characterized by such a form of fiction as totemism. It is interpreted in different ways in science - both as the oldest form of religion of the early tribal system and as the ideology of the same society. With the accumulation of knowledge and the loss of mythological ideas about the world, man ceased to perceive the animal as similar and God-bearing. Works appeared where the animal was an anti-hero, over which a person laughs. Researchers divide fairy tales about animals into comic and moralistic ones. The cumulative principle of constructing some fairy tales is the principle of stringing one microplot onto another with some expansion or with verbatim repetition. In fairy tales about animals, animals are the bearer of one trait, one character trait. And yet they are multifaceted.

The primary object of the narrative is an animal, a plant, an object endowed with human characteristics.

5.Magic tales. Fight for the victory of justice. idealized hero. Conflict with magical and social forces. Complex dramatic story. Great helpers. Special poetic formulas.

Fairy tales - the presence of a wonderful action (V.P. Anikin)

In the poetics of V.Ya. Propp believes that "fairy tales are characterized by the uniformity of their composition". The function of the hero's temporary absence, ban, violation of the ban, test. They play an important role in the development of the story.

Fairy-tale fiction based on magic is always connected with reality in its own way.

Significance in. Fairy tales:

1. The visibility of the description (fascinates the listener).

2. Energy of action,

3. Play-words,

4. Careful and unusual choice of words,

5. Dynamics.

B. A fairy tale is, first of all, the magic of words.

The main features of fairy tales consist in a much more developed plot action than in fairy tales about animals. In the adventure nature of the plots, which is expressed in the hero's overcoming a number of obstacles in achieving the goal; in the extraordinary nature of events, miraculous incidents that occur due to the fact that certain characters are able to cause miraculous phenomena, which can also occur as a result of the use of special (miraculous) objects; in special techniques and methods of composition, narration and style.

But at the same time, in fairy tales, more often than in other varieties of fairy tales, so-called contamination is observed - the combination of different plots or the inclusion of motifs of another plot in the plot.

The structure of fairy tales. Fairy tales have a structure different from the structure of animal and social fairy tales. First of all, they are characterized by the presence of special elements, which are called sayings, beginnings and endings.

They serve as the external design of the work and indicate its beginning and end. Some fairy tales begin with sayings - playful jokes that are not related to the plot.

6.Social tales. Pictures of labor and life of the Russian people. Compressed plot. Humorous and satirical nature of fairy tales.

Everyday fairy tales are social satire. brief. There is usually one episode in the center of the plot, the action develops quickly, there is no repetition of episodes, the events in them can be defined as ridiculous, funny, strange. Comic is widely developed in these tales, which is determined by their satirical, humorous, ironic nature. There are no horrors in them, they are funny, witty, everything is focused on the action and features of the narrative that reveal the images of the characters. “They reflect the life of the people, their home life, their moral concepts and this crafty Russian mind, so inclined towards irony, so simple-hearted in its cunning,” wrote Belinsky.

These types of fairy tales do not have a clear terminological definition.

Some folklorists call them everyday and separate them from other types of fairy tales, others do not make such distinctions and, combining everyday and adventurous tales into one group, call them differently: everyday, novelistic, realistic.

The heroes of everyday fairy tales are bars, officials, clergy, judges, endowed with all sorts of vices: stupidity, greed, irresponsibility, etc. They are opposed by smart, cunning, quick-witted, resourceful peasants, soldiers, people from the bottom.

Heroes of everyday fairy tales are antagonist heroes. The winner here, as a rule, is the one who stands at the lowest rung of the social ladder.

Everyday fairy tales, in fact, are a social satire on unjust legal proceedings, bribery and chicanery of officials, stupidity and unsuitability for life of bar and landowners, and falseness of clergymen.

The form of fiction is based on the alogism of the real.

The heroes of everyday fairy tales are officials, clergy, judges, endowed with all sorts of vices: stupidity, greed, irresponsibility. They are opposed by smart, cunning, resourceful peasants, soldiers, people from the bottom. Heroes of everyday fairy tales are antagonist heroes.

Household tales are social satire. The difference from other types of fairy tales is determined by Propp. He points to the absence of magical helpers and magical objects in fairy tales, as well as a different nature of the supernatural. Everyday fairy tales are fairy tales of late origin, since they are devoid of a mythological basis, they capture the worldview of a fairly civilized person (does not believe in the devil, laughs at him and faith in him).

The nature of fiction in everyday fairy tales is based on the alogism of the real. Household fairy tale - unusual, unheard of stories about the completely impossible.

7.Tales of A.S. Pushkin, their connection with folk tales.

The work of the greatest Russian national poet A. S. Pushkin unusually expanded the range of children's reading and had a huge impact on the development of literature. Pushkin's works included in the circle of reading have a deep and fruitful educational impact, reveal to us the great phenomena of human life and important social and moral problems in a simple, vivid and emotional form.

The first in the circle of children's reading, as a rule, are Pushkin's fairy tales, and often the acquaintance with the fairy-tale world of the poet begins with the prologue to the poem "Ruslan and Lyudmila" - "A green oak is near the seashore ...". The small artistic space of this prologue contains many motifs and images of folk tales, recreating the atmosphere of their magical world. Pushkin's fairy tales also have a folklore basis, but they are already perceived as completely original author's works.
Behind the traditional fairy tale poetics, social and psychological conflicts are hidden, it is obvious that Pushkin refers to the fairy tale primarily as a genre that preserves certain ethical values ​​and moral ideals. Creating images of fairy-tale heroes, the poet explores the nature of man, looking for in it what remains eternal and unchanged at all times, what the world and man rest on.

A little later, the children get acquainted with samples of Pushkin's lyrics. These are poems of the most diverse subjects: about nature, about friendship and love, about the history of the Motherland, etc. Just like fairy tales, the poems of the great poet imperceptibly become part of the linguistic environment in which the speech and consciousness of the growing person are formed. These verses are easy to remember and remain in memory for almost a lifetime, invisibly defining the entire spiritual structure of a person, because it is Pushkin who is considered the creator of the modern Russian literary language, the language spoken by a modern educated person.

In Pushkin's fairy tales, magical transformations and unusual paintings are logically motivated, justified and realistically accurate in detail. So, each time returning from the sea, the old man sees the real picture and the situation in which, at the behest of the fish, his old woman finds herself: either this is a new trough, or a “hut with a light room,” or a tall noble tower with a richly dressed old woman on the porch, or luxurious royal chambers. And they do not look fabulous, but real, only their appearance is fabulous.

Pushkin takes from the source only one, the most significant episode, develops it in more detail and deeper in order to highlight the character more clearly.

Relying on the folk story, Pushkin not only raises, but elevates the image of a simple worker in his fairy tales. An ordinary Russian person named Balda resembles Ivanushka the Fool.

8.Literary fairy tale in the work of P. P. Ershov.

"The Little Humpbacked Horse" is a wonderful fairy tale, which has been one of the best children's works for more than a century and a half. The first of its undoubted advantages is an entertaining plot, fascinating and instructive at the same time. It is not often that a children's fairy tale is read by an adult with such interest. The second merit of the tale is its beautiful style. The poetic text simply flows like water, children read the work in one breath. The figurative, vivid speech of the characters, colorful descriptions make a strong impression. In addition, the text is replete with various everyday details of old Russian life, which are already completely forgotten, but in the nineteenth century they were still quite understandable and familiar. I can not fail to note the bright characters of the fairy tale. And not only the main characters, but also quite episodic characters. Of course, the Little Humpbacked Horse is the most charming among them. The idea of ​​the fairy tale lies in true friendship and that appearance still means nothing and that, sometimes, only simplicity and determination lead to boundless heights.

In addition, like any good fairy tale, The Little Humpbacked Horse teaches children courage, ingenuity, truthfulness and many other necessary qualities.

Ershov did not simply combine pieces from separate fairy tales, but created a completely new, integral and complete work. It captivates readers with bright events, wonderful adventures of the protagonist, his optimism and resourcefulness. Everything here is bright, lively and entertaining. As a creation of art, a fairy tale is distinguished by its amazing rigor, logical sequence in the development of events, and the cohesion of individual parts into one whole. Everything that the heroes do is fully justified by the laws of a fairy tale.
Ershov's fairy-tale world is organically merged with peasant everyday life, and even magical, fairy-tale images have earthly beauty, earthly features. For example, the Firebird is wind, cloud, lightning plus the heat in the peasant oven, a red rooster outside the outskirts. The image of lightning is also associated with it (when lights flash over the grain field). The Tsar Maiden lives in a fabulous golden palace, this motif is also taken from folklore, more precisely from the period of pagan beliefs about the palace of the god - Yarila.
Ershovsky Ivanushka is a typical character of Russian folklore. He fools others, plays a fool out of himself. He is not greedy, he does not need money, honors and fame. Ershov preserves the traditional repetitions in the tale (the brothers go to guard the bread), combines the folk and literary traditions of that time. Ershov captured and embodied in his "fairy tale" the very essence of folk culture, which is associated with early pagan and later Christian ideas.

9.KD Ushinsky's works for children. Moral education and development of the emotional sphere of the child.

Konstantin Dmitrievich Ushinsky (1824 - 1870) - Russian teacher, founder of scientific pedagogy in Russia. He is a literary figure, a talented writer, the author of many pedagogical and literary and artistic works: poems, stories, fables, essays, reviews, critical and bibliographic publications.

Ushinsky collaborated in many magazines, including Sovremennik, the most progressive magazine of that time.

Excellent knowledge of the state of the theory of education and the practical work of the school, a deep analysis of the history of the development of views on the goals and objectives of education, a broad orientation in the achievements of contemporary scientific thought (in various fields of knowledge) allowed him to create numerous works that meet the most urgent needs of the Russian school, and put forward a number of scientific provisions of enduring value.

His works, especially his educational books "Children's World" and "Native Word", were very popular.

Genre and themes of literary works by K.D. Ushinsky are diverse and diverse. Of these, works of art for children, interesting and informative for novice readers, stand out in particular. Articles are written in a clear, simple language that acquaint children with natural science, with nature, with everyday, life issues.

GESE AND CRANES

Geese and cranes grazed together in the meadow. The hunters appeared in the distance. The light cranes took off and flew away, but the heavy geese remained and were killed.

NOT WELL CUT, YES STRONGLY Sewn

A white, smooth bunny said to the hedgehog:

“What an ugly, prickly dress you have on, brother!”

- True, - answered the hedgehog, - but my thorns save me from the teeth of a dog and a wolf; does your pretty skin serve you the same way?
Bunny only sighed instead of answering.

10.Stories about animals in the works of L.N. Tolstoy.

L. Tolstoy's stories about animals are especially poetic ("The Lion and the Dog", "Milton and Bulka", "Bulka", etc.). They have the greatest educational impact on young children. The writer teaches children about friendship and devotion using examples from the life of animals. The action in the stories is full of drama, emotionality, and imagery.

An unforgettable impression on children is made by the story "The Lion and the Dog". The realistic picture of the dog's death and the deep drama of the lion's behavior were reflected in the psychologically accurate and concise narration: “He hugged the dead dog with his paws and lay like that for five days. On the sixth day the lion died. In zoo-fiction stories, Tolstoy introduces children to the habits of animals and birds, humanizes them, endows them with individual character traits:

“The jackdaw wanted to drink. There was a jug of water in the yard, and the jug only had water at the bottom. Jackdaw could not be reached. She began to throw pebbles into the jug and threw so many that the water became higher and it was possible to drink.

The intelligence and resourcefulness of the jackdaw are easily remembered by young children. The writer introduced the readers to the habits of the bird in concrete, visible pictures, the chain of which the story consists of. Leo Tolstoy was the founder of the zoobelletristic story in Russian children's literature. His traditions were later developed by Mamin-Sibiryak, Garshin, Chekhov. The works of L. N. Tolstoy for children develop important moral problems, give a penetrating analysis of the inner world of the characters, are distinguished by the artistic perfection of the form, poetic clarity and laconism of the language.

11.Works about children and for children in the image of L.N. Tolstoy.

In one of his articles, L. Tolstoy wrote that children love morality, but only smart, not "stupid". This idea is also permeated with several stories for children. He seeks to evoke deep feelings of the child, to instill in him love and respect for people. Considering childhood as an important period in life, L. Tolstoy pays much attention to the images of children, especially peasant ones. He notes their impressionability, inquisitiveness, curiosity,; responsiveness, diligence.

“The grandmother had a granddaughter: before the granddaughter was small and slept all the time, and the grandmother herself baked bread, chalked the hut, washed, sewed, spun and wove for her granddaughter, and after that the grandmother became old and lay down on the stove and
sleeping. And the granddaughter baked, washed, sewed, wove and spun for her grandmother.

This short story reveals the very essence of the relationship between children and adults in a peasant family. The flow of life, the unity of generations are conveyed with folklore expressiveness and laconism. The moral of this story is not an abstract teaching, but the core that unites its theme and idea. Peasant children are shown in their native environment, against the backdrop of village life, peasant life. Moreover, the village, its life is often transmitted in such a way that we see them through the eyes of the guys:

“When Filipok walked through his settlement, the dogs did not touch him - they knew him. But when he went out to other people's yards, a bug jumped out, barked, and behind the bug a big dog, Volchok. The main artistic technique in the depiction of peasant children by Leo Tolstoy is often the technique of contrast. Sometimes these are contrasting details associated with the description of appearance. To emphasize how small Filipok is, the writer shows him in a huge father's hat and a long coat (the story "Filipok").

Sometimes it is the contrast of spiritual movements and their external manifestations, which help to reveal the inner world of the child, to psychologically substantiate each of his actions.

Misha understands: he must admit to adults that he threw fragments of a broken glass into the cow's slop; but fear binds him, and he is silent (the story "The Cow").

The story “The Bone” psychologically convincingly shows the painful hesitation of little Vanya, who saw plums for the first time: he “never ate plums and kept smelling them. And he really liked them. I really wanted to eat. He kept walking past them." The temptation was so strong that the boy ate the plum. The father learned the truth in a simple way: “Vanya turned pale and said: “No, I threw the bone out the window.” And everyone laughed, and Vanya cried. The stories of L. N. Tolstoy, dedicated to children, aptly denounce the evil and vividly show every good movement of the child's soul.

12.A prose tale about animals in the work of D.N. Mamin-Siberian.

Dmitry Narkisovich Mamin-Sibiryak has repeatedly said that "a child is the best reader." For children, he wrote stories and fairy tales: "Emelya the hunter", "Zimovye on Studenaya", "Grey Neck", "Spit", "Rich Man and Yeryomka". Mamin-Sibiryak had his own thoughtful attitude to children's literature. He believed that books for children shape the mind and nurture the feelings of the child. Seeing the future of mankind in children, the writer put forward deep social problems in the works addressed to them, and revealed the truth of life in artistic images. About Alyonushka's Tales, which the writer invented for his little daughter, he said: "This is my favorite book - it was written by love itself, and therefore it will survive everything else." There are no words, Alyonushka's Tales are good, but most of Mamin-Sibiryak's other works have a long and glorious life.

The artistic heritage of Mamin-Sibiryak for children is more than one and a half hundred works: stories and essays, short stories and fairy tales. Unfortunately, only a small part of them is known to our children. Only a few stories were included in the elementary school curriculum.

"Alyonushka's Tales".

Alyonushka's Tales, on which Mamin-Sibiryak worked from 1894 to 1897, are addressed to children of preschool age. They are works of genuine children's literature. This is a humanistic book in which moral and social ideas are organically combined. The allegory of fairy tales is associated with the transfer of social phenomena to the world of birds, animals, and fish. For example, "The Tale of the Brave Hare - long ears, slanting eyes, short tail" begins as if traditionally, with the Hare boasting: "I'm not afraid of anyone!" He shouted to the whole forest - I'm not afraid at all, and that's it! But it was not so much the braggart that turned out to be a coward, but the terrible Wolf himself. "When the Hare fell on him, it seemed to him that someone shot at him. And the Wolf ran away. You never know other hares can be found in the forest, but this one was kind of mad..." From beginning to end, one motive - "tired of being afraid", "tired of hiding". The conditional world of hares and wolves allegorically reflects the relationship between the weak and the strong in the world and the vulnerability of those who keep the weak at bay.

The main thing is to believe in yourself: "From that day on, the brave Hare began to believe himself that he was really not afraid of anyone." This idea is clearly embodied in the conflict and in the system of artistic images of the characters in the fairy tale.

Thus, "Alyonushka's Tales" is an excellent example of creativity for the little ones; they have become firmly established in the reading of more than one generation of children.

The truthful word of the writer-democrat taught to love one's country, to respect the working people, to protect one's native nature.

13.Creativity A.N. Tolstoy for children.

Tolstoy Alexei Nikolaevich (1882 - 1945) - Russian Soviet writer, publicist, count, academician of the USSR Academy of Sciences. Author of socio-psychological, historical and science fiction novels, novellas and short stories, journalistic works. It was he who was the author of the well-known and beloved fairy tale The Golden Key, or the adventures of Pinocchio. Tolstoy Aleksey Nikolaevich wrote two collections of author's tales Magpie's tales (Magpie, Fox, Vaska the Cat, Petushki) and Mermaid's tales (Mermaid, Water, Straw groom, Animal king) and made a large selection of Russian folk tales for young children in the author's processing (Geese- swans, Turnip, Ivan the cow's son, Teremok, Kolobok).

The rare talent of Alexei Nikolaevich consisted in the ability to remake folk tales in such a way as to arouse the interest of a small listener and not lose the ideological richness of Russian folk art. Such a collection of Tolstoy was called Magpie's Tales and in addition to it, in order to fully acquaint you with the author's work, we place his best creation in our opinion - the Golden Key or the adventures of Pinocchio. You can read Tolstoy's fairy tales starting from this wonderful work.

Tolstoy's tales occupy a special place among all the tales of Russian authors. Each hero of Tolstoy is a separate characteristic character, there are eccentricities and non-standard vision, which are always described delightfully! The Forty Tales of Tolstoy, although in essence they are a reworking of other fairy tales, and not his own invention, but the writing talent, language turns and the use of old words put Tolstoy's Magpie Tales in a number of cultural heritage.

14.Scientific fairy tale by V.V. Bianchi for children.

a special place in the literature for children belongs to Vitaly ValentinoVichu Bianchi. His stories,ki, an amazing encyclopedia of naturedy - "Forest Newspaper" - reveal many mysteries and mysteries of nature. ProdV. Bianchi's references help to answerto many questions from the life of nature dy. The names themselves evoke the need to find an answer: "Wherecrayfish hibernate?", "Whose nose is better?", "Who,what does he sing with?”, “Whose legs?” ...

All the works of V. Bianchi are based on his own observations on the life of the forest and its inhabitants. When creating books, the writer set himself the task of teaching children to independently observe natural phenomena.

Bianchi is one of the pioneers of a new genre for the little ones - scientific fairy tales.

The tales of V. Bianchi are very accuratematch the needs of the child. They areengage young readersmagical world, provide an opportunity to experience the events and adventures of heroes - insects, birds, animals - and unnoticed but for yourself to know the biologicalinformation and rules.

V.V. Bianchi was very fond of children, loved to tell them about the secrets of nature. He dreamed that children would live in friendship with animals, plants, amulets, protect them.

For 35 years of creative work V.V. Bianchi wrote more than 300 stories, novellas, fairy tales, articles and essays about nature. Throughout his life, he kept diaries and notes of a naturalist, answered many letters from readers. The total circulation of Vitaliy Bianchi's works exceeds 40 million copies, they have been translated into many languages ​​of the world. Shortly before his death, V.V. Bianchi wrote in the preface to one of his works: "I have always tried to write my fairy tales and stories so that they are accessible to adults. And now I realized that I have been writing all my life for adults who have kept a child in their souls." His life can hardly be called easy and cloudless - war, exile, arrests, a sick heart; however, some problems were replaced by others, and he remained an "eccentric", for whom the sight of a blossoming flower or a bird fluttering from branch to branch compensated for all the failures taken together. The last book of the writer, “Bird Identifier in the Wild,” remained unfinished.

15.Features of artistic and educational stories about the nature of E.I. Charushin.

Evgeny Ivanovich Charushin occupies a special place - both a writer and an artist. His stories about animals are amazingly expressive. Most often, the description takes only a few lines, but in them it is truly “the words are cramped, but the thoughts are spacious.” Let's look at some. The story "Cat": "This is the cat Maruska. She caught a mouse in a closet, for which her mistress fed her with milk. Maruska is sitting on the mat, full and contented. She sings and purrs songs, and her kitten is small - he is not interested in purring. He plays with himself - he catches himself by the tail, snorts at everyone, puffs up, bristles. That's all. And how much information is useful and interesting for the child in these five sentences! Here about what the owner appreciates the cat, what benefits it brings. Bright, expressive, imaginative characteristics are illustrated by a drawing on most of the page.

Another story is "The Hen". “A hen with chickens walked around the yard. Suddenly it began to rain. The hen quickly sat down on the ground, spread all her feathers and clucked: “Kvoh-quoh-quoh-quoh!” This means: hide quickly. And all the chickens climbed under her wings, buried themselves in her warm feathers. Attention and observation, warm admiration... One might say, a person's admiration for an ordinary chicken, so caring for its chicks. And again - on most of the page - an illustration.

The origins of the art of Evgeny Ivanovich Charushin are in his childhood impressions, in the beauty of his native nature that surrounded him from childhood, in the kind and caring attitude towards animals that he observed as a child. Let's take a look at any of his books. The object and the image exist in his inseparable unity. He starts from nature, transforms it in an artistic way, and already through the image again, as it were, returns to nature. His creative intuition is always on guard for such a transformation of nature, which does not violate, but, on the contrary, emphasizes its living authenticity with the texture of plumage and skin, the plasticity of an animal or bird. These are the words of the researcher of the writer V. Mekhanikov. Charushin himself wrote about himself this way: “I want to understand the animal, convey its habit, the nature of the movement. I'm interested in his fur. When a child wants to feel my little animal, I am glad. I want to convey the mood of the animal, fear, joy, sleep, etc. All this must be observed and felt.

16.Prose for children V.P. Kataeva

Kataev Valentin Petrovich (1897/1986) - Soviet writer. K. is distinguished by a wide creative range, the themes of his works: the struggle against philistinism (the play Square the Circle, 1928), the construction of socialism (the novel Time, Forward! Waves of the Black Sea", 1936/1961), the fate of a boy during the Great Patriotic War (the story "The Son of the Regiment", 1945), the story of V.I. Lenin (“Little iron door in the wall”, 1964). Kataev is the author of the lyrical and philosophical memoirs The Holy Well and The Grass of Oblivion (1967). In 1946 he was awarded the State Prize of the USSR, and in 1974 - the title of Hero of Socialist Labor.

The first publication - the poem "Autumn" - in the newspaper "Odessa Bulletin" (1910. 18 Dec.). He wrote poetry all his life and, according to some confessions, considered himself primarily a poet. His prose contains the strongest lyrical beginning, which is reflected not only in the narrative manner, but also in the very structure of the image, integrating reality according to the laws of poetry. The life path of Kataev covers almost the entire 20th century. Creative longevity, which did not have recessions, is also rare in duration - 75 years. Endowed with exceptional powers of observation, heightened emotional susceptibility and sharpness of thought, Kataev - in the totality of his works, which included poems, topical essays, feuilletons, and newspaper humorous scattering, as well as plays, scripts, melodramas, vaudevilles, and along with them large novels and novel cycles - created a multifaceted, polyphonic and stereoscopic portrait of his time, with its two world wars, three revolutions and internal restructuring of the art. thinking, partly already touched by the end of the century by apocalyptic shadows. Apparently, the intensity of the Kataev color and sound world was largely facilitated by the speech of his native city, in which the Ukrainian language, almost everyday in the Kataev family, was mixed with Yiddish and the urban petty-bourgeois jargon, which captured fragments of Greek and Romanian-gypsy; such an alchemical alloy created a kind of "language of Odessa", which easily slipped to enchanting and carnival. Goethe's aphorism that a poet can be recognized and understood only by visiting his homeland, applies to Kataev in full and even exhaustive measure, since his homeland - Odessa, the Black Sea region, the South-West - never moved away from him at any noticeable distance. Even the pronunciation of Kataev, who lived most of his life in Moscow, remained the same in old age, as if he had just stepped onto the Moscow platform yesterday.

17.Works about nature K.G. Paustovsky.

In his stories about nature, Paustovsky Konstantin Georgievich uses all the richness and power of the Russian language to convey in vivid sensations and colors all the beauty and nobility of Russian nature, evoking touching feelings of love and patriotism for the places of his native land.

Nature in the short notes of the writer passes through all the seasons in colors and sounds, either transforming and embellishing in spring and summer, or calming down and falling asleep in autumn and winter. Paustovsky's stories in short forms of miniatures reveal all the quivering patriotic feelings that native nature produces on the reader, described with boundless love by the words of the author.

Nature stories

The story "A collection of miracles"

· The story "Voronezh summer"

· The story "Watercolors"

· The story "Rubber boat"

· "Yellow Light" story

· The story "Gift"

· The story "My friend Tobik"

Paustovsky is a writer, without whose works it is impossible to fully educate love for the native land, nature. Each of his stories makes you pay attention to the little things, without which the overall picture would not have turned out. The world of Paustovsky's heroes is the world of simple unknown workers and craftsmen who lovingly decorate their native land. These are benevolent people, deeply peaceful, very “homely”, understandable and close, working people, with their established way of life and its familiar details.

18.Creativity V.A. Oseeva for children. Moral orientation of the themes of works.

Valentina Oseeva is on a par with such wonderful, talented children's writers as Lev Kassil, Nikolai Nosov, Alexei Musatov, Lyubov Voronkova. They appealed to the mind and heart of teenagers, our pioneers and Komsomol members.

The first that brought her fame was the story "Grandma". It would seem that an unremarkable everyday story about the spiritual callousness of a boy in relation to his own grandmother excites, awakens the heart of a reading teenager. The heartfelt insight of the hero of the story caused by the death of the “grandmother” allows him (and at the same time the reader) to draw the inevitable moral conclusion: relatives and friends or just acquaintances must be treated carefully and carefully so as not to hurt them with a rude word or inattention.

In 1943, two short stories-parables by V.A. Oseeva "Blue Leaves" and "Time" were published, where in the unpretentious, "ordinary" games of children, their conversations and actions, children's characters appear, pictures of a serious "adult" life arise . Sparingly, sometimes with a few phrases, the writer creates a scene where she vividly shows the children themselves in relations with their parents, with each other, with strangers, allows them to see themselves from the outside, to learn the necessary moral lessons.

With special kindness and cordiality, V.A. Oseeva warmed the works from the life of adolescents of the military and post-war period, where their amazing spiritual beauty is revealed. This is a twelve-year-old boy in the clothes of a craftsman, who dreams of replacing his older brother, who went to the front (“Andrey”), and the orphan Kocheryzhka, who found a second family, found by a soldier Vasily Voronov on the battlefield (“Kotcheryzhka”), and second-grader Tanya, respectfully referred to by those around her as Tatyana Petrovna ("Tatiana Petrovna").

VA Oseeva was distinguished by a rare ability to see in the ordinary, the ordinary - the extraordinary. Hence her unfading attraction to the magical, fabulous, elements of which can be found both in her prose and in poems.

But actually the writer created not so many fairy tales. One of them - "What a day" - was first published in 1944. The other two - "Hare Hat" and "Kind Hostess" appeared in 1947. Fairy tale "Who is stronger?" first saw the light in 1952, The Magic Needle was published in 1965.

In each of them, people, animals, forces of nature depicted by the writer exist and act according to the same laws of goodness, mutual assistance, joint opposition to evil, deceit, deceit, as in all the work of V.A. Oseeva.

19.The works of V.V. Mayakovsky for children.

When V.V. Mayakovsky (1893-1930) organized his literary exhibition "Twenty Years of Work", a significant place in it, along with works for adults, was occupied by books addressed to children. Thus, the poet emphasized the equal position of that part of the poetic work, which was carried out, as he put it, "for children." The first collection, conceived in 1918, but not completed, would have been called “For the Children”. The materials prepared for him convince us that Mayakovsky also strove to create a new revolutionary art for children, that the idea of ​​chamber "children's" themes was alien to him.

Mayakovsky's first work for children was The Tale of Petya, the fat child, and Sim, who is thin, written in 1925. With this literary tale, Mayakovsky reveals to the little reader the world of class relations that is difficult for him. On the one hand, there are new, humanistic ideals, the assertion of which is connected with the victory of the proletariat. On the other hand, selfishness, inhumanity, characteristic of the Nepman world, which is living out its last days. Thus, under the pen of Mayakovsky, a children's literary fairy tale acquires political features. The epic part consists of six chapters - this is also unusual for a fairy tale, but they are built on the principle of opposing the hero - Sima - to the antagonist - Petya. This principle of contrast between two characters is maintained consistently: in a fairy tale, each of them has its own world. In the images of Sima and his father, first of all, love for work is emphasized. While the image of Petya is satirical. In him and his father, the features of greed, gluttony, and slovenliness are emphasized.

Thus, consistently relying on his experience in agitational and poetic work for adults and creatively using folklore traditions, Mayakovsky in children's poetry affirms a new socialist morality, rooted in popular soil.

To achieve true artistry, a poetic signature must perform at least two functions: first, be concise; secondly, to be, as K.I. Chukovsky, graphic, i.e. provide material for the creative imagination of the artist. After all, in this genre, the unity of text and drawing has an extreme sharpness.

V. Mayakovsky managed not only to master this genre of children's books, but also to update it, improve it not only in the field of content, but also in form.

Often Mayakovsky brings the sketch to an aphorism: “There are no funnier monkeys. What to sit like a statue? A human portrait, for nothing that is tailed, ”an aphorism designed not only for children's perception, so to speak, two-addressed. Mayakovsky's poems for children and for adults are true poetry.

20.The World of Childhood in A.L. Barto, lyrical and humorous beginning; the skill of conveying the intonation of children's speech.

Agnia Lvovna Barto (1906-1981) - Russian poetess, famous children's poet and translator. Her poems are the pages of childhood. Maybe that's why they are so well remembered by those who have grown up since she started writing for children.

She asks herself in her "Notes of a Children's Poet": "Why do many adults love the poems of children's poets? - For a smile? For skill? Or maybe because poems for children are able to return the reader to his childhood years and in him to revive the freshness of perception of the world around him, the openness of the soul, the purity of feelings?

The Great Literary Encyclopedia gives a biography of A.L. Barto, which says that she was born in the family of a veterinarian. While studying at school, A.L. Barto attended drama school, wanted to become an actress. She began to write poetry early: they were mischievous epigrams to teachers and friends.

The main characters of her poems are children. The main task is the education of morality. She cares about what kind of people her readers will grow up to be. Therefore, with each poem, the poetess seeks to instill in the child an idea of ​​\u200b\u200btrue values.

Her poems are easy to remember - the dictionary is understandable and close to children, the fervent rhythm of poems is peculiar, successful finds, rhymes delight; children's intonations are natural and unconstrained.

Children love her poems because in front of them, as in a magic mirror, their childhood years are reflected, they themselves, their perception of the world, their experiences, feelings and thoughts. This is the secret of the vitality of A.L. Barto.

The modern child lives and grows up in a different world than his grandfathers and even fathers grew up in. The world of the modern child has become different. But there is something in the past and in the present that unites adults and their children - these are the timeless, always alive and necessary for people poems by A.L. Barto.

Her first book for children, Brothers, was published in 1925, when Agnia herself was only 19. It is dedicated to children of different nations. In 1949, the collection “Poems for Children” was published, and in 1970 - “For Flowers in the Winter Forest”.

The lyric poem “In the Morning on the Lawn” was written in 1981 and, along with the poems “First Grader”, “Who Screams”, “Mashenka Grows”, “Kitten”, “Game” and many others, was included in the collection “Different Poems ", but this collection did not become part of the book" Agniya Barto. Poems for children "(1981) The work is studied in the first grade and placed in the section "Let's jump, let's play ..." of the textbook "Droplets of the Sun", compiled by R. N. Buneev, E. V. Buneeva.

21.The versatility of S.V. Mikhalkov. The positive hero is Uncle Styopa. Socio-ethical content of Mikhalkov's poems.

Sergey Vladimirovich Mikhalkov was born in 1913 in Moscow in the family of a poultry farmer V. A. Mikhalkov.

“Each literary hero who has captivated the hearts of readers has his own secret of charm. Kind and cheerful children's favorite Uncle Styopa from the trilogy "Uncle Styopa" (1935), "Uncle Styopa - a policeman" (1954), "Uncle Styopa and Yegor" (1968). In spontaneity and good nature, the main secret of the hero's charm. Uncle Styopa's attitude towards people is determined by a childish selfless faith in the triumph of good.

What is the peculiarity of Mikhalkov's humor?

As paradoxical as it sounds, the poet never makes children laugh on purpose. On the contrary, he talks seriously, is worried, perplexed, asks, speaks with passion, seeking sympathy. And the children laugh.

Sergei Mikhalkov is not an actor, but when he is asked to read "Uncle Styopa", he reads in a way that no one else can, as if with all his heart sympathizing with a person who is so uncomfortable with his height. Uncle Styopa is worried before a parachute jump, and they laugh at him:

The tower wants to jump from the tower!

In the cinema they tell him: "Sit on the floor." Everyone comes to the shooting range. It's hard to have fun, but it's hard for poor Uncle Styopa to squeeze under the "low canopy". He barely got in there. So the author reads, as if wondering: why is everyone laughing? What's so funny?"

Children are very entertained by the fact that Uncle Styopa needs to raise his hand, and he will seem like a semaphore. What would have happened if he hadn't raised his hands? Crash. And imperceptibly, the understanding of the unity of the mundane and the heroic, simplicity and greatness enters into the minds of readers. “He stands and says (isn’t it easier?): “Here the path is blurred by rains.” The possibility of catastrophe arises in the mind of the child only fleetingly. The main thing is different: "I deliberately raised my hand - to show that the path is closed."

In this comic situation, the nobility of character is fully and at the same time unobtrusively shown. It's funny that a person can become a semaphore, reach out to the roof. But at the same time he saves people.

Inimitable intonations of innocence, childish charm sound in Mikhalkov's poems. Children simply and joyfully see life. Maybe poetry for children is a simple art? Words are used in their original meaning, images are simple, like a reflection in a mirror. It would seem nothing mysterious, nothing magical. But isn't it magic - poems that talk about the most difficult things with boyish enthusiasm and amazement? Isn't it magic, masterfully owning a pen, to see and feel the way you did in childhood?!

22.Tales of K.I. Chukovsky for the smallest and their features.

The poetics of poetic fairy tales by K. Chukovsky determines, first of all, that they are addressed to the smallest. The author is faced with the most important task - to tell a person who is just entering the world in an accessible language about the unshakable foundations of being, categories so complex that even adults are still interpreting them. Within the framework of the artistic world of K. Chukovsky, this task is brilliantly solved with the help of poetic means: the language of children's poetry turns out to be infinitely capacious and expressive, and at the same time well known and understandable to every child.

Literary critics note a unique feature of the fairy-tale world created by K. Chukovsky - cinematic principle , used to organize the artistic space and bring the text as close as possible to children's perception. This principle is manifested in the fact that text fragments follow each other in such a sequence as it could be during editing:

Suddenly from the gateway

scary giant

Red and mustachioed

Cockroach!

Cockroach,

Cockroach,

Cockroach!

Such a structure of the text corresponds to the gradual approach of the camera to the object: the general shot is replaced by a medium one, the medium one by a large one, and now an ordinary insect turns into a formidable fantastic monster before our eyes. In the finale, the reverse transformation takes place: the terrible monster turns out to be just a "thin-footed goat-bug".

The variability of the hero and the entire fairy-tale world - another characteristic feature of the poetics of fairy tales by K. Chukovsky. The researchers note that during the development of the plot, the fairy-tale universe "explodes" several times, the action takes an unexpected turn, the picture of the world changes. This variability also manifests itself at the rhythmic level: the rhythm either slows down or accelerates, long unhurried lines are replaced by short jerky ones. In this regard, it is customary to talk about "vortex composition" fairy tales by K. Chukovsky. The little reader is easily drawn into this cycle of events, and thus the author gives him an idea of ​​the dynamics of being, of the mobile, ever-changing world. Only ethical categories, ideas of good and evil turn out to be stable: evil heroes invariably die, good ones win, saving not only an individual character, but the whole world.

23.Creativity S.Ya. Marshak for children.

Children's poems are the younger children in Marshak's work. The poet began to write for children after he tried his hand at other areas of literary creativity. The writer went to the children from the knowledge of the general laws of art. The first children's book appeared in 1922, but the poet's interest in children arose long before he became a children's writer. An important role in this was played by the outstanding memory of childhood, which the poet possessed. The writer has always acted as a protector of childhood. In early correspondence from London, Marshak writes about new children's exhibitions, about the tragic situation of children in England, about children visiting the first cinema. But direct participation in the fate of children began after the return of Marshak to his homeland in the summer of 1914. Work with children in Voronezh, and then in Krasnodar, laid the pedagogical and artistic foundations for the poet's work for children. Communicating with children, the young writer, without realizing it, learned to understand the peculiarities of the child's psyche, listened to children's speech, saw what pleases or upsets the child. Observations of children's groups in England and mainly at home enriched Marshak the teacher. He had a feeling of a readership, which does not come immediately and not to everyone.

So, a rich school of literary experience and knowledge of children, combined, made possible the appearance of Marshak - a poet for children.

According to the figurative expression of V.G. Belinsky, a real writer for children is a "children's holiday." Samuil Yakovlevich Marshak became such a holiday.

The main characteristic feature of the creative image of the founder of Soviet children's poetry is the desire to introduce children to the treasury of world literature and folk art as early as possible, to instill in them respect for spiritual values, to develop artistic taste. To do this, he uses Russian, Czech, English, Latvian, Eastern folklore. Marshak's work therefore brings joy to both large and small, because it combines deep content, a humane idea and a fascinating form.

Marshak's work for children is extremely diverse. Among his books, children find an intricate joke ("Children in a Cage"), and a serious ballad ("Ice Island"), and a satirical poem ("Mr. Twister"), and a lyric cycle ("All the Year Round"), and many fairy tales ( "The Tale of the Stupid Mouse", "Ugomon" and others), and a historical story in verse ("Fairytale"), and fantastic poems ("Fire"), and poetic essays ("Mail", "Yesterday and Today", "How Your Book Was Printed", etc.), and an autobiographical story about childhood ("At the Beginning of Life"), and riddles, and songs, and fables.

24.The role of M. Gorky in the organization of new children's literature. Gorky's Tales for Children.

Writer Maxim Gorky is considered one of the founders of modern children's literature - although he does not have many works written for children. These are fairy tales "Vorobishko", "Samovar", "The Tale of Ivanushka the Fool", "The Case with Evseika", "Grandfather Arkhip and Lenka", "Tales of Italy" and some others.

The main distinguishing features of these works are the writer's ability to entertain and simply talk with children about important things, knowledge of their interests and language. And this is not accidental, because "we all come from childhood," as another good writer once noted - Antoine de Saint-Exupery.

Maksim Gorkygrew up in a folk environment, on Russian folk art, of which his grandmother was a great connoisseur, Akulina Ivanovna Kashirina , Balakhna lace. He inherited from his parents lively humor, love of life and truthfulness. A truly Russian folk trait of the writer was also love for children, whom he - all! - I wanted to protect, feed, teach, put on my feet, help to take place as a person, as a Person.

Bittersincerely loved children, felt sorry for them, remembering his difficult, and sometimes tragic childhood. He himself organized Christmas trees and a free skating rink for Nizhny Novgorod children from the poorest families. He was the organizer and editor of the first Soviet magazine for children "Northern lights", the first children's publishing house "Detgiz". He corresponded with children, and these letters brought joy to the writer, nourished his work. The theme of childhood always found a lively response in his heart.

Gorky's children's works are the golden fund of literature for children. One of the brightest - a fairy tale "Sparrow". In the image of the sparrow Pudik, the character of the child is clearly visible - direct, naughty, playful. Soft humor, discreet colors create a warm and kind world of this fairy tale. The language is clear, simple, and the essence is instructive.

Little Pudik did not want to obey his parents and almost disappeared. What comes out: listen to mom and dad, and everything will be all right? Yes, not really. Gorky does not scold Pudik at all, but sympathizes with him. Thanks to his audacity, the chick learned to fly. And to my mother’s condemning “what, what?” the chick answers convincingly and wisely: “You can’t learn everything at once!”.

In a fairy tale "Sparrow" there is another important point - it is the education of kindness to the world, to all its diversity - to birds, people, and even an insidious cat ... Those who will read Gorky's stories and fairy tales written for children today should think about his words again: "Live in harmony, like the fingers of a musician's miraculously working hands."

25.Features of E.A. Blaginina for children.

E.A. Blaginina (1903-1989) came to children's literature in the early 1930s. Her poems were published in the Murzilka magazine. In 1936, her first collection of poems "Autumn" and the poem "Sadko" were published, and in 1939 - the collection "That's what a mother!" Since then, the fund of Russian lyrics for kids has been constantly replenished with her poems.

Blaginina's style is significantly different from the style of Chukovsky, Marshak and even Barto - a special, feminine sound. In Blaginina's poems there is no loud, declarative pathos, their intonation is naturally soft. Femininity shines through in the images of little girls and blossoms in the image of the mother. Efficiency and cordiality, love for everything beautiful, elegant unites mother and daughter - two constant heroines of Blaginina. Her little poem "Alyonushka" can be called a poem of femininity. One of the best poems of the poetess - "That's what mom!"(according to her own assessment, it is “if not perfect, then still truly childish”). It is constructed in such a way that the voices of the mother, the girl (perhaps playing “daughter-mother”) and the author are merged in it:

Mom sang a song, Dressed her daughter, Dressed - put on a white shirt. White shirt - Thin line. That's what mom is - Golden right!

Her lyrical heroine speaks in a clear, sonorous voice about love - for her mother, for trees and flowers, for the sun and wind ... A girl knows how not only to admire, but in the name of love and work, and even sacrifice her own interests. Her love is manifested in business, in chores, which are the joy of her life ("Do not interfere with my work"). Children, especially girls, know Blaginina's poem from an early age. "Let's sit in silence."

Even the motives of Soviet life, the poetess wove into family life (poems "The Overcoat", "Peace to the World", etc.). Contrary to the spirit of ideology and production, Blaginina returned readers to the world of personal, intimate values. In confirmation, one can name her numerous collections: “That's what a mother!” (1939), "Let's sit in silence" (1940), "Rainbow" (1948), "Spark" (1950), "Shine, shine bright!" (1955), the final collection "Alyonushka" (1959), as well as new, later ones - "Grass-ant", "Fly away - flew away."

Elena Blaginina relied in her work on the traditions of folk lullabies for children's songs, on the high simplicity of Pushkin's "verbal" verse, on the color and sound writing of Tyutchev and Fet, the sonority of songwriters - Koltsov, Nikitin, Nekrasov, Yesenin. The rich heritage of folk poetry and classical Russian lyrics helped her to create her own world of pure colors, clear ideas, good feelings.

26.The works of M.M. Prishvin. Education of love and respect for nature.

Mikhail Prishvin (1873 - 1954) was in love with nature. He admired her grandeur and beauty, studied the habits of forest animals and knew how to write about it in a fascinating and very kind way. Prishvin's short stories for children are written in simple language, understandable even to kindergarteners. Parents who want to awaken in their children a kind attitude towards all living things and teach them to notice the beauty of the world around them should read Prishvin's stories more often to both kids and older children. Children love this kind of reading, after which they return to it several times.

Prishvin's stories about nature

The writer liked to observe the life of the forest. “It was necessary to find in nature something that I had not yet seen, and perhaps no one had ever met this in their lives,” he wrote. In Prishvin's children's stories about nature, the rustle of leaves, the murmur of a stream, the breeze, forest smells are so accurately and reliably described that any little reader is involuntarily transported in his imagination to where the author has been, begins to sharply and vividly feel all the beauty of the forest world.

Prishvin's stories about animals

Since childhood, Misha Prishvin treated birds and animals with warmth and love. He was friends with them, tried to learn to understand their language, studied their life, trying not to disturb. In Prishvin's stories about animals, entertaining stories about the author's meetings with various animals are conveyed. There are funny episodes that make the children's audience laugh and be surprised at the intelligence and ingenuity of our smaller brothers. And there are sad stories about animals in trouble, which evoke a feeling of empathy and a desire to help the children.

In any case, all these stories are filled with kindness and, as a rule, have a happy ending. It is especially useful for our children growing up in dusty and noisy cities to read Prishvin's stories more often. So let's get started as soon as possible and dive with them into the magical world of nature!

27.Humor in literature for children. Heroes N.N. Nosov.

Nikolai Nikolaevich Nosov (November 10 (23), 1908 - July 26, 1976) - November 10 (November 23), 1908 in the city of Kyiv, in the family of a variety artist, who, depending on the circumstances, also worked as a railway worker. He spent his childhood in the small town of Irpin, not far from Kyiv.

According to Nosov himself, he came to literature by accident: “A son was born, and it was necessary to tell him more and more fairy tales, funny stories for him and his preschool friends ...”

Nikolai Nikolaevich began writing children's stories in 1938: At first, he was just telling stories to his little son and his friends. “Gradually, I realized that composing for children is the best job, it requires a lot of knowledge, and not only literary ...”

The works of N.N. Nosov are intended for children of preschool and primary school age, they teach kindness, responsibility, courage and many other positive qualities.

The most famous and loved by readers are the fabulous works of Nikolai Nosov about Dunno. The first of them is the fairy tale "Cog, Shpuntik and the vacuum cleaner." Then the famous trilogy was written, "The Adventures of Dunno and His Friends" (1953 - 1954), "Dunno in a Sunny City" (1958) and "Dunno on the Moon" (1964 - 1965)

The curious cases described in the author's works help to show the logic of the hero's thinking and behavior. “The real reason for the ridiculous lies not in external circumstances, but is rooted in people themselves, in human characters.” Nosov wrote.

Reading the stories of Nikolai Nikolaevich Nosov, the reader sees before him real guys, such as we meet in real life - cheerful, cocky, kind and sincere. There is always something hidden in Nosov's humorous stories that makes the reader think about how to behave in a difficult situation. The works of Nikolai Nikolaevich help to get rid of bad qualities of character such as curiosity, rudeness, laziness and indifference. The author teaches young readers not only to think about themselves, but also about their comrades.

Nikolai Nikolayevich was opposed to flaunting the moralizing thought of his work, and strove to write in such a way that the little reader would draw his own conclusions.

Nikolai Nikolaevich Nosov wrote many stories and fairy tales for children, but still not everyone knows that he also has several works designed for a more adult audience: “The Tale of My Friend Igor”, “The Secret at the Bottom of the Well”, “Ironic humoresque". Time passes, and the characters invented by Nikolai Nikolaevich do not age. The stories of Nikolai Nikolayevich will remain relevant regardless of the time.

28.Thematic diversity and artistic features of the fairy tales of the Brothers Grimm.

The Grimm brothers pay almost no attention to everyday details, descriptions of the appearance of the characters, in this way they preserve the features of a folk tale, which is little interested in the landscape and the setting of the action, in a word, everything that serves in literature to describe the environment. The portraits of the sisters by the Brothers Grimm are not individualized, there are no speech characteristics: “They were beautiful and white in face, but evil and cruel in heart.” The heroine of both tales has a standard set of girlish virtues - she is kind, hardworking, obedient, quiet, modest and practical is invisible, works 24 hours a day and does not complain about anything, while also patiently enduring the ridicule of the sisters.

The development of the plot of the two tales diverges over several functions in order to coincide again at a certain point. The heroine receives a magical means to achieve a global goal with the help of a magical assistant. But the Grimm brothers introduce into the plot a motif well known from another very popular fairy tale, it is known under different names among different peoples, in Romano-Germanic folklore it is "Beauty and the Beast", in Russian "The Scarlet Flower".

According to V.Ya. Propp, these tales owe their appearance to the ancient myth of Cupid and Psyche. Thus, Cinderella from Grimm's fairy tale receives a magical assistant after a series of preliminary actions: she asks her father to bring her a gift of a branch that will touch his hat first, plants a branch on her mother's grave, a tree grows, and a white bird living in its branches fulfills Cinderella's requests .

Thus, the Grimm brothers want to emphasize that in fact, the deceased mother of the girl becomes a magical assistant, she, as promised, is constantly present next to her daughter. In Cinderella by Charles Perrault, the good fairy appears without preliminary manipulations, the image of the fairy can be considered identical to the image of the mother in the Grimm fairy tale, she, like a mother, is somewhere nearby, otherwise how would she feel that Cinderella is upset and needs support.

The above motives clearly resonate with wedding rituals, with the cry of a mother for her daughter being taken away to another family, and with promises of support and help at a difficult moment.

29.Tales of Ch. Perrault, their connection with folk tales.

Charles Perrault is known to us as a storyteller, but during his life he was better known as a poet, an academician of the French Academy (at that time it was very honorable). Even the scientific works of Charles were published.

Tales of Charles Perrault list:

1. Zamarashka

2. Cinderella or glass slipper

3. Puss in boots

4. Little Red Riding Hood

5. Boy with a finger

6. Donkey skin

7. Fairy gifts 8. Gingerbread house

9. Rike with a tuft

10. Blue beard

11. Sleeping Beauty

In part, Charles Perrault was lucky to start writing at the very time when fairy tales were becoming a popular genre. Many sought to record folk art in order to preserve it, transfer it to written form and thereby make it accessible to many. Please note that in those days there was no such concept in literature as fairy tales for children at all. Basically, these were the stories of grandmothers, nannies, and someone understood philosophical reflections as a fairy tale.

It was Charles Perrault who wrote down several fairy tales in such a way that they were eventually transferred to the genres of high literature. Only this author was able to write serious thoughts in simple language, give humorous notes and put all the talent of a true master writer into the work. As mentioned earlier, Charles Perrault published a collection of fairy tales under the name of his son. The explanation for this is simple: if the academician of the French Academy Perrault published a collection of fairy tales, he could be considered frivolous and frivolous, and he could lose a lot.

The amazing life of Charles brought him fame as a lawyer and as a writer-poet and storyteller. This man was talented in everything. In addition to the fairy tales known to all of us, Charles Perrault composed several poems and published books.

30.Fairy tales of H.K. Andersen in the reading of preschoolers: a variety of heroes and plots, the image of narration, features of speech.

Some of the brightest in their content, action, magical characters, kindness and philanthropy are the fairy tales of H.H. Andersen, since he wrote for both children and adults. It was a work of two floors, to put it in Andersen's way: he retained the language and the fabulous environment, but the ideas behind them were intended for the father and mother, who listened with the children. However, this poetic achievement was not entirely new. Already "The Little Mermaid" and "Galoshes of Happiness" are not designed only for children, but in children's fairy tales here and there there is "food for thought", hardly perceived by children. What was new was that after 1843 the writer consciously addressed the adult reader. Children can be amused by The Snow Queen, The Nightingale, and many other tales, but they will hardly understand their depth, and such tales as The Bell, The Story of a Mother, or The Shadow are generally inaccessible to children. The simple, pseudo-childish style of storytelling is just a spicy mask, a subtle naivety that emphasizes irony or seriousness.

This original form of fairy tale narration developed gradually in Andersen, reaching perfection after 1843. All his masterpieces: "Bride and Groom", "Ugly Duckling", "Spruce", "Girl with Matches", "Collar" and others - were created during this period. In 1849, all his fairy tales written by that time came out as a separate large edition, which became a monument to the artistic talent of the writer, who was not even forty-five years old.

The fairy tale genre became for Andersen a universal form of aesthetic comprehension of reality. It was he who introduced the fairy tale into the system of "high" genres.

"Tales told to children" (1835-1842) are based on a rethinking of folk motives ("Flint", "Wild Swans", "Swineherd", etc.), and "Stories told to children" (1852) - on a rethinking of history and modern reality. At the same time, even Arabic, Greek, Spanish and other subjects acquired from Andersen the flavor of Danish folk life. The fantasy of the storyteller in its richness argues with the folk fantasy. Relying on folk stories and images, Andersen did not often resort to fantastic fiction. In his view, life is full of miracles that you only need to see and hear. Any thing, even a very insignificant one - a darning needle, a barrel - can have its own amazing story.

Literature for reading

Fairy tales

"The Frog Princess" arr. M. Bulatova

"Havroshechka" arr. A.N. Tolstoy

"Wolf and Fox" arr. Sokolova-Mikitova

"Kolobok" arr. K.D. Ushinsky

"Geese-swans" arr. M. Bulatova

"Porridge from an ax"

"The Cockerel and the Beanstalk"

A.S. Pushkin

"The Tale of the Dead Princess and the Seven Bogatyrs"

"The Tale of the Fisherman and the Fish"

P.P. Ershov

"The Little Humpbacked Horse"

K. D. Ushinsky

"Petushka with family"

"Ducks"

"Lisa Patrikeevna"

"Four Wishes"

L.N. Tolstoy

"Bone"

"Lion and dog"

"Three Bears"

D. N. Mamin-Sibiryak

"The Tale of the Brave Hare - long ears, slanting eyes, short tail";

"The Tale of Komar Komarovich - Long Nose and Shaggy Misha - Short Tail"

V. V. Bianchi

"Bathing cubs"; "First Hunt"; "Owl"; "The Fox and the Mouse"

"How the Ant hurried home"

A.N. Tolstoy

"Hedgehog"

"Fox"

"Petushki"

M. Gorky -

"Sparrow"

"Samovar"

V.A. Oseeva

"Magic Needle"

"Magic word"

"On the rink"

N.N. Nosov

"Living Hat"

"Mishkina porridge"

K.G. Paustovsky

"Cat-thief"

"Disheveled Sparrow"

E.I. Charushin

"Bears"

"Volchishko"

MM. Prishvin

"Golden Meadow"

"Guys and ducks"

V.P. Kataev

"Flower-seven-flower"

"Pipe and pitcher"

V.V. Mayakovsky

"What is good and what is bad?"

“Whatever the page is, then the elephant, then the lioness”

K.I. Chukovsky

"Fly Tsokotukha"

"Fedorino grief"

S.Ya. Marshak

"Mustachioed - Striped"

"The Tale of the Stupid Mouse"

S.V. Mikhalkov

"About Mimosa"

"Uncle Styopa"

E.A. Blaginina

"That's what mom"

"Do not interfere with my work" (Collection of poems)

C. Perrault

"Red Riding Hood"

"Puss in Boots"

Brothers Grimm

"Straw, coal and bean"

"Hare and hedgehog"

H.K. Andersen

"Ugly duck"

"Thumbelina"

Children's literature is an art. As an art, it is characteristic of the expression of generalized ideas in a vivid form - in specific images.

Fairy tales, stories, poems form an artistic taste, increase the cultural level of the child. K.I. Chukovsky noted: “The child understands in his own way, and even if he is mistaken, his impressions are so vivid and figurative that there is no need to ground them.”

K.D. Ushinsky emphasized that literature should introduce the child "into the world of folk thought, folk feeling, folk life, into the realm of the folk spirit." These are works of oral folk art: riddles, counting rhymes, proverbs, sayings. When getting acquainted with the works of oral folk art, we improve the highest mental functions: auditory and visual memory, voluntary attention, creative thinking, enrich vocabulary, develop phraseological vocabulary, form the skills of grammatically correct speech. Even before the age of one, the baby begins to listen to the first nursery rhymes, songs, and consider them in book illustrations. At this age, he is interested in rhythms, intonation.

It is also necessary to note the colossal influence of oral folk art on the mental development of preschoolers.

The main task of parents is to know about the literary inclinations of their baby in order to improve them.

It is important to note that joint reading contributes to the formation of a warm emotional relationship between mother and child.

When reading fiction, pay attention to the following recommendations:

• - Read with expression, changing intonation depending on the character.
• - As often as possible, show an illustration to the text. This increases the interest of the child.
• - Remove toys and objects that distract your child from sight. Try to read in a quiet, calm environment.
• - Read aloud all your life! This need forms your child's interest in reading.
• - Children's books should be in a place accessible to the baby.
• - Sign up for a children's library, let your child participate in the selection of books.

Remember: PRESCHOOL AGE IS A FAVORABLE TIME FOR INTRODUCING A CHILD TO ART LITERATURE!

We teach nursery rhymes, poems, riddles with children, we transfer them to children's creativity, to the origami technique. The circle of children's reading should include books that are diverse in topics and genres.

The child needs to discover the wealth of genres of literature. This will allow, on the one hand, to form a breadth of reading interests in a preschooler, and on the other hand, selectivity, individuality of literary predilections.

Parents need to pay attention not only to the content of the work, but also to the expressive means of the language - fairy tales, stories and other works of fiction.

educational books about labor, about technology, about things, about nature, entered children's literature. They allow children to reveal the versatility of the world in which they live, to show the essence of phenomena in a figurative form, prepare a scientific worldview.

Poems by S.Ya. Marshak about creating things “Where the table came from”, “A book about a book”.

K.D. Ushinsky "How a shirt grew in the field." Zhitkov's encyclopedic book "What I saw".

Children's book has created a special type of book - a fun book for children.

She reveals to children the funny things in life, brings up valuable qualities - the ability to joke and laugh.

The works of K.I. Chukovsky, N.N. Nosova, V.G. Suteeva, S.Ya. Marshak, E.N. Uspensky and others.

The genre and thematic diversity of children's literature makes it possible to form individual reading interests and inclinations in children.

Children's Reading Circle designed to replenish the literary horizons of children, increase their well-read.

Ambiguous in design, multi-layered and multi-layered, imbued with subtle humor and irony, they attract the attention of the child not only with the amusing plot, but also with a deep thought that needs to be felt and understood, and revealing which the little reader is satisfied.

The focus of modern writers is the inner world of an adult and a child, the world of experiences, various relationships and feelings.

This is characteristic of the books of R. Pogodin, I. Tokmakova, E. Uspensky and other authors.

Children's writers make children aware of moral truths, choose a line of behavior, take the right position in relation to other people, things, nature.

Older preschoolers show a steady interest in a "thick" book.

This is an anthology, works of domestic and foreign writers.

Remember that the book is your good companion and best friend!