Analytical article children's reading circle. The concepts of "children's literature", "literature for children", "children's reading circle". The concepts of "children's literature", "literature for children", "children's reading circle" in book publishing


Children's literature is a specific area general literature. Principles. The specifics of children's literature.
Children's literature is a part of general literature, endowed with all its inherent properties, while being focused on the interests of child readers and therefore distinguished by its artistic specificity, adequate to child psychology. Functional types of children's literature include educational, educational, ethical, entertaining works.
Children's literature as part of general literature is the art of the word. A.M. Gorky called children's literature the "sovereign" domain of all our literature. And although the principles, tasks, artistic method literature for adults and children's literature are one, the latter is peculiar only to it inherent traits which can be conditionally called the specifics of children's literature.
Its features are determined by educational tasks and the age of readers. Its main distinguishing feature is the organic fusion of art with the requirements of pedagogy. Under pedagogical requirements This implies, in particular, taking into account the interests, cognitive abilities and age characteristics of children.
The founders of the theory of children's literature - outstanding writers, critics and teachers - spoke about the features of children's literature as the art of the word. They understood that children's literature is a true art, and not a means of didactics. According to V. G. Belinsky, literature for children should be distinguished by “artistic truth of creation”, that is, be a phenomenon of art, and the authors of children's books should be well-educated people who stand at the level of the advanced science of their time and have an “enlightened view of objects” .
The purpose of children's literature is to be artistic and informative reading for a child. This appointment determines the important functions that it is called upon to perform in society:
Children's literature, like literature in general, belongs to the realm of the art of the word. This determines its aesthetic function. It is associated with a special kind of emotions that arise when reading. literary works. Children are able to experience aesthetic pleasure from reading to no lesser extent than adults. The child happily plunges into the fantasy world of fairy tales and adventures, empathizes with the characters, feels the poetic rhythm, enjoys sound and verbal play. Children understand humor and jokes well. Not realizing the conventions of the artistic world created by the author, the children ardently believe in what is happening, but such faith is the true triumph of literary fiction. We enter the world of the game, where we simultaneously recognize its conditionality and believe in its reality.
The cognitive (epistemological) function of literature is to acquaint the reader with the world of people and phenomena. Even in those cases when the writer takes the child into the world of the impossible, he speaks of patterns human life about people and their characters. This is done through artistic images that have a high degree of generalization. They allow the reader to see single fact, event or character is natural, typical, universal.
The moral (educational) function is inherent in any literature, since literature comprehends and illuminates the world in accordance with certain values. We are talking about both universal and universal values, as well as local values ​​associated with a specific time and a specific culture.
Since its inception, children's literature has performed a didactic function. The purpose of literature is to introduce the reader to the universal values ​​of human existence.
The functions of children's literature determine its important role in society - to develop and educate children by means of the artistic word. This means that literature for children largely depends on the ideological, religious, and pedagogical attitudes that exist in society.
Speaking about the age specificity of children's literature, several groups can be distinguished based on the age of the reader. The classification of literature for children repeats the generally accepted age stages of human personality development:
1) toddler, younger preschool age, when children, listening and looking at books, master various works of literature;
2) pre-preschool age, when children begin to master literacy, reading technique, but, as a rule, for the most part remain listeners of works of literature, willingly look at, comment on drawings and text;
3) junior schoolchildren - 6-8, 9-10 years old;
4) younger teenagers - 10-13 years old; 5) teenagers (boyhood) - 13-16 years old;
6) youth - 16-19 years old.
Books addressed to each of these groups have their own characteristics.
The specificity of literature for the smallest is determined by the fact that it deals with a person who knows almost nothing about the world around him and is not yet able to perceive complex information. For children of this age, picture books, toy books, folding books, panorama books, coloring books are intended ... Literary material for the baby - poems and fairy tales, riddles, jokes, songs, tongue twisters.
The series "Reading with Mom", for example, is designed for children from 1 year old and includes cardboard books with bright illustrations depicting animals unfamiliar to the child. Such a picture is accompanied either simply by the name of the animal, which the child gradually remembers, or by a short poem that gives an idea of ​​who is depicted in the picture. In a small volume - often just one quatrain - you need to fit maximum knowledge, while the words should be extremely specific, simple , sentences - short and correct, because listening to these verses, the child learns to speak. At the same time, the poem should give the little reader a vivid image, point out the characteristic features of the described object or phenomenon.
Therefore, writing such, at first glance, extremely simple verses requires the author to have almost a virtuoso command of the word, so that verses for the smallest can solve all these difficult tasks. It is no coincidence that the best children's poems heard by a person at a very early age often remain in the memory for life and become the first experience of communication with the art of the word for his children. As an example, here we can name the poems by S. Ya. Marshak "Children in a Cage", poems by A. Barto and K. Chukovsky.
Another characteristic feature of literature for the smallest is the predominance of poetic works. This is not accidental: the child's consciousness is already familiar with rhythm and rhyme - let's remember lullabies and nursery rhymes - and therefore it is easier to perceive information in this form. At the same time, the rhythmically organized text gives the little reader a holistic, complete image and appeals to his syncretic perception of the world, which is characteristic of early forms of thinking.

Features of literature for preschoolers

After three years the circle of reading changes somewhat: the simplest books with short poems gradually fade into the background, they are replaced by more complex poems based on game plots, for example, "Carousel" or "Circus" by S. Marshak. The range of topics naturally expands along with the horizons of the little reader: the child continues to get acquainted with new phenomena of the world around him. Of particular interest to younger readers with their rich imagination is everything unusual, so poetic fairy tales become the favorite genre of preschoolers: children "from two to five" are easily transferred to a fictional world and get used to the proposed game situation.
Fairy tales by K. Chukovsky are still the best example of such books: in a playful form, in a language accessible and understandable to kids, they talk about complex categories, about how the world works in which a little person has to live.
At the same time, preschoolers, as a rule, get acquainted with folk tales, first these are tales about animals ("Teremok", "Kolobok", "Turnip", etc.), and later fairy tales with complex plot twists, with transformations and travels and an unchanging happy ending, the victory of good over evil.

Literature for younger students

Gradually, the book in the life of the child begins to play an increasingly important role. He learns to read on his own, requires stories, poems, fairy tales about his peers, about nature, animals, technology, about the life of different countries and peoples. Those. the specificity of literature for younger students is determined by the growth of consciousness and the expansion of the range of interests of readers. Works for children of seven to ten years old are saturated with new information more than complex order, in connection with this, their volume increases, plots become more complicated, new topics appear. Poetic tales are being replaced by fairy tales, stories about nature, about school life.
The specificity of children's literature should be expressed not so much in the choice of special "children's" topics, and even submitted in isolation from real life, but in the features of the composition and language of the works.
The plot of children's books usually has a clear core, does not give sharp digressions. It is characterized, as a rule, by a quick change of events and entertaining.
The disclosure of the characters' characters should be carried out objectively and visibly, through their deeds and deeds, since the child is most attracted to the actions of the characters.
The requirements for the language of books for children are related to the task of enriching the vocabulary of a young reader. Literary language, accurate, figurative, emotional, warmed by lyricism, most corresponds to the peculiarities of children's perception.
So, we can talk about the specifics of children's literature on the basis that it deals with the emerging consciousness and accompanies the reader during his period of intensive spiritual growth. Among the main features of children's literature, one can note informational and emotional richness, entertaining form and a peculiar combination of didactic and artistic components.

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.
In the creation, storage, and sometimes the performance of folklore, the collective played an important role. 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 with early childhood to perception and mastery 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 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 is a document based on facts (“revision tale” was used in this sense by Pushkin and Gogol). 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 late XVIII centuries, they began to write down a fairy tale, on the basis of folk began to create literary plots.

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.

At the fairy tale 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.

Tales about animals - the most ancient work fairytale 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 tricks and methods of composition, storytelling 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 domestic 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 falsehood 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 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, and in the nineteenth century they were still quite understandable and familiar. I can't help noticing bright characters fairy tales. 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 does not mean anything and that, sometimes, only simplicity and determination lead to boundless heights.

Moreover, like any good fairy tale, "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 and 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 - typical character 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 folk and literary traditions 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 writings, especially his educational books Child's world"and" Native Word ", were very popular

Genre and themes of literary works by K.D. Ushinsky are diverse and diverse. Of these, stand out works of art for children, interesting and informative for novice readers. clear, plain language articles have been written that introduce children to natural science, to nature, to 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 heroes, differ artistic perfection form, poetic clarity and conciseness of 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. Main artistic technique in the depiction of peasant children, L. N. Tolstoy often turns out to be a device 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, helping to reveal inner world child, 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 most best reader". For children, he wrote stories and fairy tales: "Emelya the Hunter", "Zimovye on Studenaya", "Gray Sheika", "Spit", "The Rich Man and Eremka". Mamin-Sibiryak had his own, thoughtful attitude to children's literature. He believed that books for children form the mind and educate 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. to 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 brave hare- long ears, slanting eyes, short tail" begins as if traditionally, with 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 as the terrible Wolf himself that turned out to be a coward. "When the Hare fell on him, it seemed to him that someone had shot 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 the beginning to the end, one motive permeates the tale -" tired of being afraid, "tired of hiding." The conditional world of hares and wolves allegorically reflects the relationship between the weak and the strongest 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 artistic images fairy tale characters.

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, novels 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 Nikolayevich 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 character 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 processing 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 Valentinovic 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 patterns.

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 writer's "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 lyric-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 narrative style, 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 the internal restructuring of 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 greatly facilitated by his speech hometown, in which the Ukrainian language, almost everyday in the Kataev family, was mixed with Yiddish and 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 it produces on the reader. native nature, with boundless love described 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 native land, nature. Each of his stories makes you pay attention to the little things, without which it would not have turned out overall picture. 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 well-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. 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, the 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, egoism, inhumanity, characteristic of the surviving last days Nepman world. So childish literary tale under the pen of Mayakovsky 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? human portrait, for nothing that is tailed, ”- an aphorism designed not only for children's perception, so to speak, two-address. 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 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 lyrical 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.

"Everyone has it literary hero, captivating the hearts of readers, has its 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, gets excited, 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 fairy 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!

This construction 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 fabulous 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 in this way the author gives him an idea of ​​the dynamics of being, of the mobile, ever-changing world. Only ethical categories, ideas about good and evil turn out to be stable: evil heroes invariably die, the 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. Working with children in Voronezh, and then in Krasnodar, laid the foundation for pedagogical and artistic foundations creativity of the poet 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, oriental 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 historical story in verse ("False story"), 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 one more important point- this is the upbringing 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 best poems poetesses - "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 careful attitude to 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 wonder at the mind and quick wit of our smaller brothers. Is there sad stories about animals in trouble, evoking 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 chance: “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 what to compose for children— 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.

Most famous and loved by readers fabulous works 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 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. AT humorous stories Nosov always lurks something 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 Nikolaevich was opposed to flaunting the moralizing thought of his work, and sought to write in such a way that the little reader himself would draw a conclusion.

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 Nikolaevich will remain relevant regardless of 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. Brothers Grimm's portraits of sisters are not individualized, no speech characteristics: "They were beautiful and white in face, but evil and cruel in heart" The heroine of both fairy tales has a standard set of girlish virtues - she is kind, hardworking, obedient, quiet, modest and almost invisible, works 24 hours a day and for nothing does not complain, 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, which is known among different peoples as different names, in Romano-Germanic folklore it is "Beauty and the Beast", in Russian "Scarlet Flower".

According to V.Ya. Propp, these tales owe their appearance to ancient myth about 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 Kind fairy appears without preliminary manipulations, the image of a fairy can be considered identical to the image of a mother in a 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). Published even scientific works Charles.

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 into the work all the talent of a true master writer. 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 by 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 intended 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 naivete 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 duck", "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 yet forty five years.

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

"Tale of dead princess and about the seven heroes"

"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. Perrot

"Red Riding Hood"

"Puss in Boots"

Brothers Grimm

"Straw, coal and bean"

"Hare and hedgehog"

H.K. Andersen

"Ugly duck"

"Thumbelina"

It is at the age of 4-5 that it is determined who will be a reader in the future and who will not. At this age, it is especially important to introduce the child to the golden fund of the children's book. The collections "Russian fairy tales", "Once upon a time" were recognized as the best publications.

Of the poetic works for children 4-5 years old, it is advisable to purchase, first of all, the works of the classics of children's literature. Among them are works by A. Pushkin, N. Nekrasov, A. Blok, K. Chukovsky, S. Marshak, V. Berestov, I. Tokmakova. Poems and stories by E. Uspensky, S. Kozlov, A. Barto, E. Blaginina are very popular with children.
Among the stories and fairy tales of Russian writers, the leading publications are the works of K. Ushinsky (stories and fairy tales "For Children") and L. Tolstoy ("For Children" and "ABC"). The stories of N. Nosov "Live hat", "Bobik visiting Barbos" are very loved by children of 4-5 years old.

Children of this age can handle G. Andersen's fairy tales "Thumbelina", "Resistant tin soldier", brother Grimm "The Bremen Town Musicians".
More than one generation of 4-5 year old children grew up on the picture book "Pif's Adventure", on Kipling's fairy tale "Elephant".
Among the best books on wildlife should be called "Big and Small" by E. Charushin, many editions of works by V. Bianchi and V. Sladkov.

As for the selection of children's books for senior preschool age, that is, for children 6-7 years old, in it great place occupies scientific-fiction and popular-science literature, books of an encyclopedic nature, photo books in various fields of knowledge.
If we talk about editions of folklore, they were enriched with collections of riddles and proverbs. These include a collection of riddles "Smart Ivan, the Firebird and the Golden Grain." As for the collections of fairy tales, among many others, one can single out the colorful translated book "Treasures of Fairy Tales" and the collection "The Golden Book of the Best Tales of the World".
Of the poetic works in the home library for preschoolers, one should first of all have the works of classical poets - A. Pushkin, V. Zhukovsky, F. Tyutchev, A. Maikov, I. Bunin, A. K. Tolstoy, S. Yesenin. It is recommended to introduce "Fables" by I. Krylov into the reading circle of children 6-7 years old, many of which will be studied at school. The essence of preliminary reading is not to understand the morality of the fables (this will come later), but to touch the model of native figurative speech.
Next to the poetic heritage of K. Chukovsky, S. Marshak, B. Zakhoder, S. Mikhalkov, V. Mayakovsky, A. Barto, collections of poems by S. Cherny, D. Kharms, T. Sobakiya, M. Boroditskaya should be on the bookshelf of preschoolers , R. Makhotina, M. Yasnova it is very important that the child gets to know them even before school.
Many collections of stories and fairy tales by writers from different countries have been published for preschoolers. To Russian fairy tales and stories writers of the 19th pitch, already recommended for reading by children 4-5 years old, is added the fairy tale by S. Aksakov "The Scarlet Flower", "Alyonushka's Tales" by D. Mamin-Sibiryak, "The Traveling Frog" by Garshin, "The Town in a Snuffbox" by V. Odoevsky. From the stories we can recommend "Theme and the Bug" by N. Garin-Mikhailovsky, "Jump" by L. Tolstoy, "White Poodle" by A. Kuprin, "Kashtanka" by A. Chekhov. Of the writers of the 20th century, special attention of parents should be paid to P. Bazhov (" silver hoof"), B. Zhitkov ("Stories about animals"), A. Tolstoy ("The Golden Key or the adventures of Pinocchio"), M. Zoshchenko ("Selected stories for children"), K. Chukovsky "Doctor Aibolit". A kind of bestseller children's reading is the book by A. Volkov "The Wizard of the Emerald City" - a free retelling of the book American writer Frank Baum's The Wizard of Oz.
Of the writers of the second half of the 20th century, V. Dragunsky with his "Deniska stories", V. Golyavkin with his "Notebooks in the rain", N. Nosov with the famous "Adventures of Dunno and his friends", E. Uspensky firmly entered the circle of children's reading of preschoolers. with "Crocodile Gena" and "Uncle Fedor", T. Aleksandrova with "Kuzka". In addition, the "classics" of children's reading include the works of other writers, among which one cannot fail to name Sergei Kozlov and his book "The Hedgehog in the Fog". For preschoolers, the writer G. Tsiferov and his book "The Story of a Piglet" are interesting.
As for fairy tales foreign writers XIX century, children are recommended mainly fairy tales by E. T. A. Hoffmann ("The Nutcracker and mouse king"), V. Gauf ("Little Muck", "Dwarf Nose"), D. Harris ("Tales of Uncle Remus"), K. Collodi ("The Adventures of Pinocchio"). Of the writers of the 20th century, I would like to mention R. Kipling with A real gift for children will also be A. Milne's voluminous book "Winnie the Pooh and Everything-Everything-Everything and much more."

More than one generation of preschoolers grew up on D. Rodari's book "The Adventures of Chippolino". Children aged 6-7 years already have access to one of the most famous works Astrid Lindgren "Three stories about the Kid and Carlson". It is impossible not to say about one more book - the book of the Austrian writer F. Selten "Bambi". A special place in the life of people of different generations is occupied by the fairy tale of M. Maeterlinck "The Blue Bird". After reading it at least once, parents will certainly want to have a book in the house in order to bring to their child the same joy that they themselves experienced when reading it as a child.
As noted above, for children 6-7 years old, the range of publications of educational books is significantly expanding, in particular, about the world around them. I. Akimushkin, V. Biapki, M. Prishvin, N. Sladkov, E. Charushin, I. Sokolov-Mikitov, and others, who managed to reveal to the child the life of forests, seas, rivers, sky and earth, animals and insects, they have become a kind of encyclopedia that introduces the child to different areas knowledge

The first books in a child's life: toy books, pillow books and bathing books. Subject-meaningful perception of the book by a child up to one and a half to two years. The value of book pictures in the development of a child's analytical and figurative thinking. Techniques for the formation of skills of "reading" the illustrative text of the book.

A characteristic feature of children from 2 to 5 years old is an extraordinary craving for a rhythmically organized warehouse of speech, sonorous rhythms and rhymes, and expressive intonation. Children love to listen and read poetry, clearly preferring it to prose. At the same time, they gravitate towards dynamic rhythms, joyful, dancing melody.

In this regard, the reading circle of younger preschoolers consists mainly of works of Russian folklore. This is children's folklore - ditties, nursery rhymes, songs, games. These works best suit the needs of the younger preschooler, as they combine the word, rhythm, intonation, melody and movement.

In the genres of children's folklore, where in simple, unpretentious, short poems, the child is told about the rules of personal hygiene (For example, “Water, water, wash my face”), and about the rules of life among people, and about the high that should be in man, which makes him a moral man. The child is just starting to take his first steps, but he is already being told what awaits him in his future adult life.

With the help of folklore, ideas about life and morality are not only transmitted, but the problems of child development are solved. Folklore has a psychophysiological effect on children: it evokes joyful emotions, helps to coordinate movements, develop speech, teaches to overcome fear. Children's folklore contributes aesthetic development kids.

From the age of 4, children begin to understand the fables-shifters. This special kind of jokes is necessary for children to train their intellect.

Children of the 3rd and 4th years of life need to listen to fairy tales, stories, short poems, works of Russian and Soviet writers. Children of this age need not read fairy tales, but tell and even act them out, conveying the action in faces, in motion. Such tales include cumulative ones ("Kolobok", "Turnip", "Teremok" and others); folk (about animals, magic "Bubble, straw and bast shoes", "Geese-swans", any boring tales). It should be noted that for the development of children's thinking, folk tales in classical adaptations (both Russian and peoples of the world) are most effective. A folk tale can be viewed as a multidimensional model that includes an analysis of different life situations.

The child perceives the idea of ​​a work written specifically for younger schoolchildren intuitively and only when a literary event reproduces something similar to the life of the child himself. The fact is that children's literature, focusing on the characteristics of the mental development of a small reader, does not offer complex plots and plots, complex ideas. She is looking for ways to the mind of the child, using those artistic means, which will be available to the reader of this age - hence the peculiarities of the style of works for children. The child derives the idea not from the text, but from personal experience. How and why he made such a decision, the little reader cannot explain, and therefore does not want to answer our questions like “why did you decide so, why do you think so?”. It would be correct to say that the idea of ​​a work written specifically for children can be independently realized by a younger student at the level of everyday ideas, but he cannot comprehend it in all depth, rise to the level of artistic generalization without the help of adults: the subtext is not perceived by a small child without special education.

The reading circle from class to class gradually expands the reading abilities of children and their knowledge about the world around them, about their peers, about their life, games, adventures, about nature and its protection, about the history of our Motherland, helping to accumulate the child’s social and moral experience, to acquire qualities of "reader independence".

Although the reading circle of younger students is largely determined by the school curriculum (they study mainly the classics of children's literature), nevertheless, children aged 7-10 are offered a significant reading repertoire that goes beyond the scope of the program. It is difficult to imagine the development of a child of this age without the works of R. Pogodin, V. Voskoboynikov, V. Krapivin, V. Medvedev, E. Velktistov, Yu. Olesha, as well as A. Tolstoy, M. Zoshchenko, E. Schwartz and others.

Of particular interest to younger schoolchildren are books whose heroes are schoolchildren like themselves, for example: "Vitya Maleev at school and at home" by N. Nosova, "The difficult, full of hardships and dangers, the life of Ivan Semenov, a second-grader and repeater" L Davydychev, "Olga Yakovleva" by S. Ivanova and others.

For children of primary school age, the books of S. Lagerlef "The Adventures of Nils with Wild Geese", Preusler "Little Baba Yaga", O. Wilde ("Star Boy"), D. Tolkien ("The Lord of the Rings"), R. Kipling ("Mowgli"), A. Exupery (" The little Prince"), J. Korczak ("King Matt I"). Most of the works of Astrid Lindgren, the books of E. Rasie "The Adventures of Munchausen", D. Swift "Gulliver's Travels", D. Defoe "Robinson Crusoe" are intended for this age. Many children of primary school age already have access to the stories of Mark Twain "The Adventures of Tom Sawyer" and "The Adventures of Huckleberry Finn", "The Prince and the Pauper", as well as individual works by Charles Dickens. last years in the series "An Unfamiliar Classic. A Book for the Soul", the story of the American writer E. Porter "Polyanna" was published, which appealed not only to children, but also to adults. For reading girls, the book by F. Burnett "The Little Princess" is also recommended. For boys, the book by G, Bell "Valley of Thundering Hooves" and F. Burnett "Little Lord Fontleroy" has been published and is in great demand. These books awaken feelings of kindness and compassion in children.

A special place in the book collection for children of primary school age belongs to the Bible, as well as "Myths ancient greece", without reading which it is impossible to understand the great works of art created on their subjects. So, the book is addressed to younger students" tower of babel and other biblical traditions. "Reprints of the children's Bible are of particular value. For selective reading, we can recommend that younger students get acquainted with the book by N. Kuhn "Legends and Myths of Ancient Greece" or the book by V. and L. Uspensky "Myths of Ancient Greece".

From historical books Of particular value are books about our Fatherland, first published before the revolution, namely: Golovin N. "My First Russian History: In Stories for Children", and A. Ishimova's book "History of Russia in Stories for Children".

In the textbooks of R. N. Buneev and E. V. Buneeva there are a lot of fairy tales from different peoples of the world, for example, “Ivan the peasant son and the miracle Yudo” (Russian folk tale), “The Golden Crest Boy and the Golden Braid Girl” (Lithuanian fairy tale), “ Dyikanbai and the Maidens" (Kyrgyz fairy tale), "Bogatyr Naznai" (Dagestan fairy tale), "The Adventures of the Wild Cat Simba" (African fairy tale), "Why the hare's lip is cut" (Estonian fairy tale), "How the rooster deceived the fox" (Latvian fairy tale ).

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.

However, the urgency of the issue remains modern Russia 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 a 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, in the most young 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 funds of the city 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, parental education, and it plays 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 itself or its 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!”.

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