Fairy tales in children's reading. Preparing for the literature exam
Folk tale and the world in children's reading
Myth and folk tale: genre continuity
Modern researchers, as a rule, talk about the gap between folk tales and myth, arguing for this conclusion by the freedom of interpretation of mythological elements and traditions in the author's texts. The formation of fairy tales and classics of Russian folklore studies was associated with the crisis of the mythological worldview (E.M. Meletinsky, V.Ya. Propp).
The folk tale, having emerged at the moment of crisis of mythological thinking (more precisely, its certain historical forms), became a new form of existence of that timeless content, the repository of which before it was myth. In the same logic, the fairy tale, having appeared at the moment of crisis of the mythologized folklore genre (obviously also caused by the historical insufficiency of its form), inherits it in the aspect of preserving the same eternal beginning - a certain metaphysical constant of myth. Thanks to this, with all the wealth of cultural, historical and national versions, the fairy tale genre, over the course of its long development, demonstrates its inescapable universality.
The genre of folk fairy tale, like myth, according to the observations of V.Ya. Proppa, associated with the initiation rite. It is to the initial ritual that the content of the main groups of fairy tales, identified by scientists on the basis of an analysis of Russian and European material, ultimately comes down: fairy tales with a complex of dedication and fairy tales reflecting ideas about death. Behind the entertaining and fantastic plot, at first glance, the listener/reader must discover the secret metaphysical meaning of the dedication.
The ultimate goal of the genre is the manifestation of the initial rite in an allegorical form, which determines the morphology and syntax of the World-Labyrinth of a folk tale. Therefore, the solution to the problem of artistic coding of the metaphysics of myth in the folk fairy tale canon is associated with the understanding of semantic, morphological and syntactic changes in the mythological type of the World-Labyrinth inherited by the folk tale.
The similarity between the structures of the Labyrinth World of folk fairy tales and myth lies in the use of the two-world model. Folklore and fairy-tale dual worlds presuppose the coexistence of two spheres of existence: one’s own kingdom (the Labyrinth of Life) and another kingdom (the Labyrinth of Death). In most cases, a folk tale retains the principle of linearity characteristic of the mythological Labyrinth. The border between the worlds, which the hero undergoing initiation has to cross, is marked by a dense forest, Baba Yaga's hut, a fiery river, etc. The function of the border is not only to delimit the kingdoms, but also to consolidate them, designating / strictly defining the transition / crossing and the direction of the path. The plot of the fairy-tale Hero in this case turns out to be a Labyrinth with one corridor, articulating the experience (internal, symbolic passage) of the initiation rite: this type of Labyrinth is marked by expectation, prediction and the inevitability of the outcome and deprives the Hero located in it of any variability of behavior.
However, the World of a folk tale can also be built as a nonlinear structure. In this case, the Hero faces not one, but several movement options, from which it is necessary to choose only the right way. In this case, the plot, as a rule, becomes more complicated due to the use of the principle of trinity: trinity of characters, when three initially equal heroes go different paths, realizing different versions of existence in a conventional fairy-tale plot; trinity of events, when the hero goes through the same path three times.
Folklore tales still retain the principle of linearity due to the peculiarities of the genre, plot-shaped and aesthetic guidelines, however, even here branching structures can be found.
Myths in children's reading
Usually the beginning of children's literature is attributed to the second half of the 18th century. and Rokhova, Kampe and Weisse are considered its founders. But even in ancient times, the need for reading for children was recognized. Even before the time of Socrates, young men began to be prohibited from reading certain passages from Homer. Plato gave extensive instructions regarding choice literary material for talking with children. In his ideal state, nannies are required to famous stories and fairy tales. Myths about gods and heroes are allowed only to the extent that they can serve as moral models. Even Homer and Hesiod were censored by Plato and given higher value fables.
Mythology is that area of knowledge in which, despite the apparent vastness of the material being studied and studied, science has not yet said the last word.
No less important than the concept of the essence of a myth is the understanding of the stages of its development, which are directly related to the periods of formation of the foundations of people’s religious consciousness. An outstanding researcher of the beliefs of the ancient Slavs, historian B.A. Rybakov writes: “Mythology takes shape at the last stage of the primitive communal system. In the language of absolute dates, this can be translated as the Chalcolithic and Bronze Age. The previous proto-myths of Stone Age hunters were generated... by a special worldview, their fragments are found in fairy tales.”
The concept of “myth” in folklore and literary history has many meanings, typical of which are the following:
1) ancient myth, i.e. myth in the proper sense of the word;
2) a new myth, which is a concrete historical form of the existence of this phenomenon in modern times right up to the present day;
3) figurative meaning, used in everyday speech as a synonym for the words “fiction”, “nonsense”, “lie”, “untruth”;
4) figurative meaning, which is used to explain various kinds of mental states, both passive and active-creative, aimed at some kind of “reorganization” of reality and its processing in the consciousness of the subject.
We are primarily interested in the ancient myth. “A specific feature of myth is the coincidence in it of worldview and narrative, a fantastic idea of the surrounding world and a story about gods and heroes.” A. N. Afanasyev very accurately noticed that myth is the most ancient poetry, and just as free and varied a people’s poetic views on the world can be, just as free and varied are the creations of their imagination, depicting the life of nature...
A child's first acquaintance with myth in Rus' was oral. Pagan deities, the calendar, and rituals have been preserved, significantly transformed, to this day, mainly due to the vitality of the word and name. From the 10th century with the adoption of Christianity in Rus', there is a “superposition” of “holidays”: in Slavic paganism Maslenitsa with festive memorial pancakes-suns, in Orthodoxy the same day Forgiveness Sunday, also a memorial day, the last day before the start of Lent; and the names of sacred events: Candlemas On February 2/15, winter and spring meet (hence the meeting Candlemas), but in Orthodoxy this is also a big holiday, reminiscent of the meeting of the prophet Simon in the temple of the infant Jesus, when the elder recognized the Savior in the baby.
For the first time, a little reader in Rus', and then in Russia, became acquainted with the Christian myth through participation in church services Oh, general readings The Gospel and the Old Testament, became acquainted with Christian mythology as sacred knowledge. Then, perhaps, he was not a reader, he only listened, listened, remembered, and then, together with others in the temple, he relived what he had heard about the long past, lived and sang in the liturgical service. The Christian myth was not perceived in memorable times, and is not perceived by believers today as an archaic plot, since it coexists with reality social life and speech, is parallel to it, moreover, it is all-pervasive: reflected in the church calendar, holiday rituals, and the idiom of oral speech.
Ancient myth entered the artistic speech and artistic consciousness of children in Russia through the study of ancient Greek and Latin.
Consideration of the ancient myth in children's reading today is also possible according to the linear-concentric principle. Initially for a preschooler these are “Stories about gods and heroes,” both Slavic, ancient, and others. The starting point in the formation of myth are two cults: the cult of nature and the cult of ancestors. This is obvious in living religions, in Christianity in particular, and in myths that are preserved in the metaphorical structure of other legends, and in fairy tales.
Returning to myth in children's reading allows us to reveal many meanings contained in one or several plots united by one hero. And also to see the East Slavic pantheon (in Greek “all gods”), established in 980 by Prince Vladimir (“The Tale of Bygone Years”), and the pantheon of Greek and then Roman gods in plots that were later very widely used by new and recent literature .
Myth in children's reading today is presented in preschool and school programs from the following positions: Pagan (Slavic), ancient myth. Christian myth. The purpose of the retelling. The Bible for children retold by Archpriest A. Sokolov. "Legends of Christ" by Selma Lagerlöf. Two types of approaches. Symbol and myth. Myth and metaphor, allegory. Myth and phraseology. Myth and literary plot. Christian myth in literary genres. Christian myth in Russian poetry for children and in youth reading from G. Derzhavin to B. Pasternak. (Circle of children's and youth reading.)
The mythology course at school is designed to:
1) introduce children to the origin, features, and development of the myth;
2) on simple ones vivid examples show the transformation of myth into later folklore forms, thus illustrating the progressive social, religious, philosophical, scientific development society.
In 1st grade, students study Russian folk tales from the perspective of its origins in ancient myths, rituals, and customs. In 2nd grade there is a detailed, systematic introduction to ancient history. Greek mythology; third graders consider the origins of Slavic pagan beliefs, the development of Slavic mythology and its influence on Russian folk culture, etc.
Science systematizes myths according to their archetypal grain. Almost all nations have astral myths (myths about stars and planets) or calendar myths, in which the mythologization of the change in time cycles is manifested: day and night (light and dark), winter and summer, etc. Up to cosmic cycles that correlate with cosmogonic myths. Further, anthropogonic myths are myths about the origin, about the creation of man; totemic myths etiological myths about the kinship of people with objects of living nature; Russian fairy tales about a wonderful spouse go back to them: Finist Clear Falcon, Princess Frog; eschatological myths (eschatos last) myths about the end of the world about the flood, about the destruction of the first generations (giants). One of the “primordial” myths, the myth of the world egg, is alive in many mythological worlds as well. It is also preserved in the Russian folk tale “The Ryaba Hen.” As in most myths about the world egg, in “Ryab the Hen” this egg is golden with other attributes of the sun; it is clear that the myth about the world egg is correlated with the important role of eggs that they play in calendar and other rituals ( Easter eggs). Naturally, over time, with the evolution of the worldview, the mythological “erased” in the fairy tale, where, according to the modern understanding of what is happening, everything is illogical.
On the contrary, the mythopoetic, seen in a seemingly simple fairy tale, allows us to better imagine those distant people, their artistic vision of the world. When the egg rolled the egg broke; but the simple egg promised by the chicken is of a lunar nature. It turns out that the fairy tale, which is almost the first to be told to a baby, is full of universal symbols, which will later be revealed to the child’s consciousness in different contexts.
For educational purposes, the teacher can use the classification given as an example above. However, without a doubt, the pedagogical expediency of linear-concentric reading of ancient myths, Slavic, Christian, etc. is great. This also contributes to the formation of the child’s speech culture, representing the living source of this or that myth.
Folk tale in children's reading circle
O. Kabachek, based on the fact that each age group has its own genre preferences (this fact was established by researchers from different countries), offers his system literary genres.
Following this system, in her opinion, is a serious prerequisite for developing the ability to navigate the structure and content literary text. In addition, the typology of genres proposed by O. Kabachek contributes to the formation of not only the reading culture of students, but also their personal development.
The first (original) type is a folk fairy tale. She introduces her reader (listener) not only to the moral standards by which a person should live, but also to the very artistic structure of a fairy tale, which is of great importance for the reader’s development.
In a fairy tale, the subject of art is clearly identified - the hero, as well as such essential elements of the artistic form as simple composition, single-hero character, dynamic action, chronological incompatibility of actions, simple images.
The psychological origins of children’s attachment to fairy tales, which satisfy certain needs of childhood, and the possibility of “living out emotions” are interestingly described by the famous American psychologist and psychiatrist Bruno Bettelheim. He states: “Children need fairy tales” (that’s the title of his monograph), because they are necessary food for personality development.
Children's anthropomorphic consciousness endows toys, animals, and various objects with certain human characters, based on their “appearance” or “behavior” and drawing an analogy with the appearance and behavior of real people. So in a fairy tale, a person can turn into an animal or a stone (“The Frog Princess”, “West of the Sun, East of the Moon”) and vice versa. The more reliable the fairy tale seems to the baby.
Fairy tales are full of characters and situations that can give impetus to the processes of identification and identification, with the help of which a child can indirectly realize his dreams, compensate for his imaginary or real shortcomings. The fact is that a child’s vision of the world, the way of thinking of children and the psychological specificity of fairy tales are characterized by close kinship in their attraction to opposites and extremes. Fairy-tale images are not ambivalent, as is typical of human characters in real life. There, one brother is stupid, the other is smart, one sister is hardworking and diligent, the other is lazy, etc. In fairy tales, only extremely strong and very weak, incredibly brave and unbearably cowardly heroes, giants and dwarfs, fight. Polarities, “white” and “black” tones, also predominate in children’s perception and evaluation of literary works. This is why “children need fairy tales,” because in their best examples, according to V. A. Zhukovsky, they are morally pure and do not leave behind a “bad, immoral impression.” Thanks to fairy tales, a child develops the ability to empathize, have compassion and rejoice, without which a person is not a person. For the goal of storytellers is “to cultivate humanity in a child - this wondrous ability of a person to be worried about other people’s misfortunes, to rejoice at the joy of another, to experience someone else’s fate as his own.”
“Forms of primitive thinking should be used to explain the genesis of a fairy tale,” wrote the famous folklorist V.Ya. in the book “Historical Roots of a Fairy Tale.” Propp. He proposed and justified an approach to the study of folk tales as a transformed and literaryized myth. The main provisions of this methodology are as follows:
1. The fairy tale has preserved traces of disappeared forms social life. You can study fairy tales, getting to their basics, by comparing their content with rituals, customs, and myths.
2. When studying the transformation of a fairy tale, it is necessary to distinguish the main forms associated with its origin from derivative, secondary ones. Causes
transformations lie in changes in everyday life, beliefs, and rituals.
3. Particular attention is paid to the analysis of magical rituals in a fairy tale, because “the ancient basis of a fairy tale is often the witchcraft ritual itself.
Speaking about folk tales, it is impossible not to touch upon the specifics of the extensive material with which children will certainly deal: literary fairy tales and actually literary, so-called author's fairy tales, which have a folk basis, a folk prototype. Comparing a folk tale with a literary adaptation and with a literary fairy tale created based on folk motives seems to fall out of the context of historical analysis, solving not research questions, but rather literary ones.
The fairy tale does not give direct instructions to children, but its content always contains a lesson that they gradually perceive, repeatedly returning to the text of the fairy tale. For example, the fairy tale “Turnip” teaches younger preschoolers be friendly, hardworking; the fairy tale “Masha and the Bear” warns: you can’t go into the forest alone - you can get into trouble, and if this happens, don’t despair, try to find a way out difficult situation. Hard work in folk tales is always rewarded (“Khavroshechka”, “Moroz Ivanovich”, “The Frog Princess”), wisdom is praised (“The Man and the Bear”, “How a Man Divided Geese”, “The Fox and the Goat”), caring for loved ones is encouraged (“Bean Seed”).
In all fairy tales there is a character who helps the positive hero maintain his moral values. Most often this is a wise old man. “The old man always appears at the moment when the hero is in a hopeless and desperate situation, from which only deep reflection or a successful thought can save him. But since due to internal and external reasons the hero cannot cope with this himself; knowledge comes in the form of a personalized thought, for example in the form of an insightful and helpful old man. He helps the hero get through a difficult situation in which he found himself through his own fault, or at least helps him obtain information that will be useful to the hero in his wanderings. The elder helps to communicate with animals, especially birds. He warns of lurking dangers and provides the means necessary to meet them fully armed... Often in a fairy tale, the old man asks questions like “Who? Why? Where? Where?" in order to provoke self-reflection and mobilize moral strength, and even more often it provides an unexpected and incredible means for achieving success, which is ... one of the characteristics of a complete personality” (C. G. Jung).
No. 1. Children's literature as a form of art. Definition of the concepts “children’s literature”, “children’s reading”, “children’s reading circle”, “children’s literary creativity”. Word art for children as an object of scientific research.
"Children's literature" - a set of works created taking into account the psychophysiological characteristics of age.
"Children's reading" - works or fragments from works of general literature available children's perception, interesting to children and therefore ingrained in their reading.
"Children's Reading Circle" -
"Children's Literary Creativity" - i.e. works composed by the children themselves.
- Specifics of literature for children preschool age: theme, artistic features, type of hero.
Subject: Children's literature favors themes drawn from the life of its reader. Subject children's games and toys(A. Barto “Game of the Herd”, cycle “toys”, etc.), childhood theme(stories by N. Nosov, V. Dragunsky), nature theme, image of the animal world(V. Bianki, Yu. Linnik), subject intra-family relations and relationships within children's group (L. Charskaya “Princess Javakha”, S. Georgiev “Grandfather”). In literature. For preschoolers, applied themes are widely developed (N. Pikulev’s “Persuaders”), initially there were production and revolutionary themes. At the beginning of the 21st century, preference is given to the following topics: the phenomenon of childhood as the nature of life, home, family, inner world child, ecology of man and nature.
Hood. Peculiarities: language(the writer must grasp the peculiarities of the language of the age group about which and for which he writes); unity of literary and pedagogical principles(the writer must tell specifically, “in a childish way” about abstract, “non-childish” things); their artistic means of depicting reality; animism- belief in the existence of souls and spirits; anthropomorphism- likening to a person, endowing with human mental properties objects and phenomena of inanimate nature, celestial bodies, animals, mythical creatures; irrationality of the real; children's speech; cumulativeness; short genre forms; onomatopoeia; alliteration- repetition of the same consonant sounds; assonance- repetition of the same vowel sounds.
Hero type: 1) The hero is small, equal in age and height to the reader, but “daring”, strong, rushing to the rescue (K. Chukovsky “Crocodile”).
2) A hero in distress, in need of help, protection, advice, compassion (S. Kozlov “The Sick Hippopotamus”). Substitute heroes.
3) A hero or character who does not exist in reality and has no analogues in it (gnome, brownie, T. Alexandrova).
4) Hero-why. He is distinguished by a thirst for knowledge, sets many unexpected questions, rushes to satisfy his interest, curiosity (B. Zhitkov).
No. 2. Functions of children's literature, criteria for selecting literature for reading to preschool children. Selection principles.
Functions of children's literature: entertaining. Without it, everything else is unthinkable: without interest in a child, you cannot develop or educate him; aesthetic - must instill true artistic taste, the child must be introduced to the best examples art of words; educational - firstly, there is a special genre of scientific and artistic prose, where children are presented with certain knowledge in a literary form (for example, the natural history fairy tale of V. Bianchi). Secondly, works, even those that do not have a cognitive orientation, help expand the child’s range of knowledge about the world, nature and man; illustration; psychological feature perception of children's literature; identification - identifying oneself with a literary character. This is especially true for adolescence, but not only: we see a unique example of identification, for example, in the finale of I. Surikov’s poem “Childhood”; escapism - escape into the imaginary world of a book.
No. 4. The concepts of “folklore” and “ fiction" Specificity of folklore. " Vagrant plot"in folklore.
"Folklore" - oral folk art, reflecting the life of the people, views, ideals created by the people.
"Fiction" - the art of the written word.
"Wandering Plot" - stable complexes of motives that form the basis of oral or written work, moving from one country to another and changing their artistic appearance depending on the new environment of their existence.
No. 5. Folk tale: definition of the concept, history of origin and existence, current state of the genre. Classification.
Folk tale– oral narrative piece of art of a magical, adventurous or everyday nature with a fictional attitude, told for educational or entertainment purposes. “The fairy tale is a lie, but there is a hint in it, a lesson for the good fellow.”
The fairy tale has always been attributed to an audience of different ages, but only in the twentieth century it began to mainly belong to children. The name itself did not appear immediately, N.V. Novikov suggests that in Ancient Rus' 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 story 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 Russian fairy tales is rich in events.
IN late XVIII centuries, fairy tales began to be written down, and literary plots began to be created based on folk tales.
Classification: V.G. Belinsky divided fairy tales into two types: 1. heroic tales 2. satirical (the life of the people, their home life, moral concepts, and this crafty Russian mind).
Afanasyeva classified according to the time of creation and plot. Highlights:
Tales about animals (the most ancient)
Fairy tales
Everyday tales
Adventure tales
Boring tales.
The architectonics or aesthetic plan for constructing a fairy tale has elements common to all types.( Saying- to prepare listeners for the perception of the fairy tale “Oh, should I amuse you with a fairy tale?..” OPTIONAL.
Initiation- the beginning of a fairy-tale action, takes readers into the fairy-tale world “In a certain kingdom...”. it determines: 1. the place of action, 2. the time of action, 3. the heroes of the fairy tale. OBLIGATORY.
The main part of the tale- three-stage plot structure: preparatory chain of actions, central action and denouement.
Outcome or ending- the final part of the fairy tale. “They began to live well and make good things...”
The artistic time of a fairy tale does not go beyond the progressive development of the action (the action moves only forward, without knowing any side lines or retrospect), and never has an exact designation or real correspondence to anything. The artistic space of a fairy tale has no real outlines. It is uncertain, easily overcome. The hero does not know any resistance from the environment: “go away from here, wherever your eyes look...”
Stylistic formulas - phrases without change or with minor changes passing from fairy tale to fairy tale: “once upon a time, the morning is wiser than the evening...”.
Retardation is a formula for tripling: three times the cat punishes the rooster not to respond to the fox’s call.
No. 7. Tales about animals and fairy tales: their similarities and differences, content, form of fiction, poetics.
Tales about animals are the most ancient work fairy tale epic. Ancient man He animated nature, transferred his properties to animals, and did not see any differences between them and himself. Animals are capable of thinking, speaking, and acting intelligently. The fairy tale is characterized by: animism - the 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 microplot onto another with some expansion in some cases and almost contented repetition in others (for example: 1. “Beasts in the Pit”; 2. “Turnip”, “Kolobok”, “Teremok”).
In a fairy tale about animals, animals are carriers of one sign, one special characteristic (the fox is cunning)
These tales are allegorical.
Artistic structure: simple, unpretentious, understandable language, the presence of dialogues, short but expressive songs.
Kostyukhin points to 2 species-forming characters:
1) The primary object of narration in such a tale is the entire organic and inorganic world, endowed with human characteristics.
2) Depends on the setup of the performer, on what problem ends up in 1st place.
Fairy tales - the presence of a miraculous action (V.P. Anikin)
IN poetics V.Ya. Propp believes that "fairy tales are characterized by the uniformity of their composition." Function of temporary absence of the hero, ban, violation of the ban, test. They play a big role in the development of the action of the fairy tale.
Fairy-tale fiction, based on magic, is always connected with reality in its own way.
Significance c. Fairy tales: 1. Visibility of description (fascinates the listener). 2. Energy of action, 3. Play on words, 4. Careful and unusual choice of words, 5. Dynamics.
V. A fairy tale is, first of all, the magic of words.
DIFFERENCE:
The main features of fairy tales are 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 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 arise as a result of the use of special (miraculous) objects; in special techniques and methods of composition, storytelling and style. But at the same time, in fairy tales, more often than in other types of fairy tales, the so-called contamination is observed - the combination of different plots or the inclusion of motives from another plot into the plot. The structure of fairy tales. Fairy tales have a structure different from the structure of fairy tales about animals and social everyday life. 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 - humorous jokes that are not related to the plot.
No. 8. Fairy tales, everyday and adventurous: their similarities and differences, content, form of fiction, poetics.
Everyday tales are social satire. brief. The plot is usually centered on one episode, the action develops quickly, there is no repetition of episodes, the events in them can be defined as absurd, funny, strange. In these tales, comedy is widely developed, which is determined by their satirical, humorous, ironic character. They are not horror, they are funny, witty, everything is focused on action and narrative features that reveal the images of the characters. “They,” wrote Belinsky, “reflect the way of life of the people, their home life, their moral concepts and this crafty Russian mind, so inclined to irony, so simple-minded in its craftiness.
The form of fiction is based on the alogism of the real.
DIFFERENCE: Adventure tales, being satirical, essentially do not achieve social generalizations. It is not social, but universal human vices that are ridiculed here.
SIMILARITY:
in poetics, having all the signs of the comic, the main feature of the character is exaggeratedly depicted.
No. 9. Boring fairy tales, their types, artistic features, role in introducing preschool children to fairy tales.
Boring tales are tales with endlessly repeating content.
1. Prosaic (“bast on a stake”)
2. poetic (once upon a time there were two soldiers...).
The role in the fairy tale epic is not so much aesthetic as psychological. It sparked interest in the fairy tale or, on the contrary, stopped it.
No. 10. Children's folklore, its specifics. History of the study. Classification. Current state.
D.F. as a type of oral literary art, it has retained echoes and realities of life of many generations of people.
Collecting and Scientific research started late in the 60s. XIX century (Bessonov - 1st publisher; Shane - carried out scientific publication a large number of texts; Vinogradov and?….-made a huge contribution)
1970- Melnikov “Russian children's folklore of Siberia”.
In the XX age division children's folklore.
XX-XXI – serious interest in children's folklore in general.
Plays a big role:
Communication activities. Has its own habitat, ped. Orientation, psychophysiological.
№11. The poetry of nurturing is clearly related to the interests, requests and needs of the child. Therefore, it is considered actually children's folklore. Each of the three groups of texts is intended for children of a certain age. Pestushki are addressed to the youngest children, nursery rhymes are addressed to slightly older children. Jokes are intended for children who can not only understand the message, but also respond to it. Pestushki are called short sentences or songs that accompany playful movements or physical exercises (stretching, spreading arms, braking, stroking, tossing, tickling). They helped to establish emotional contact with an adult, without which the normal mental and physical development of a child is unthinkable, taught language and melody, and gave the first ideas about the realities of the surrounding reality.” Pestushki help maintain a good mood in the child during the waking period, keeping him from tears and whims. At the same time, massage or simple physical exercises are performed. Practical medicine and folk pedagogy have developed a whole set of exercises, accompanied by the performance of pestles from the first weeks of a child’s life. The name pestushka (pestyushka) comes from the verb to nurture - to nurse, to carry in one’s arms, to educate, to raise, to care for someone. Movement plays a special role in child development early age. Back in the 19th century, one of the first collectors of children's folklore, Dr. E.A. Pokrovsky noted: “These movements have some educational meaning, both physically and spiritually, for teaching children the necessary movement, dexterity, and ingenuity.” Each stage of child development was accompanied by a corresponding pestle. Pestushki usually begin with onomatopoeia: “Jump, jump”, “Chiki, chiki, chikalochki”. In form, pestles represent a simple common or complex sentence. The dialogic form is rare. Usually paired rhyme is used (“pillows-girlfriends”, “mouse-higher”) or internal rhyme (“Into the woods up to the midges”). Repetitions contribute to the creation of the sound organization of the pestles (“The harrier is swimming, the harrier is swimming”). The text of the pestolka consists of words with diminutive suffixes, various parts of speech are used. Nursery rhymes. As the beginning of the game intensifies, the pestles turn into nursery rhymes and elementary games: “Ladushki”, “Magpie-Crow”, “Horned Goat”. They create an elementary play situation that provides for the child’s conscious response. Nursery rhymes usually begin to be told in the second year of life, when the child masters vocabulary and pronounces the first words. During the game, fingers, hands or any other parts of the child’s and adult’s body are used. They represent a wide variety of objects and actions. The most popular game, accompanied by an appropriate verbal sentence, is “Ladushki”. Usually an adult sits the child on his lap and, taking his hands in his own, then brings them together, then separates them, depicting the flight of birds. For children aged four to six years, they came up with other fun things, introduced an element of surprise and a trick into the nursery rhymes, which the child had to solve: Folding the index fingers of both hands crosswise, the adult invited the child to stick his finger into the resulting “well”: “Put your finger in well” or “Stick your finger in, there’s a bunny!” In the latter case, the adult clasped his hands into a “lock” and curled his thumbs, as if indicating bunny ears. The point of the game was to get ahead of the adult and pull out your finger in time. Nursery rhymes are a gradually unfolding story, during which the child is involved in the game. The nursery rhyme “Magpie-Crow” is divided into separate parts. The adult twirls his finger over the child’s palm, pretending to stir porridge. When the porridge is “cooked”, it is distributed to children, who are represented by the child’s fingers. Touching each finger, the adult says: “I gave it to this one.” In some variants, the dish in which the porridge is served is called: “This is on a spoon, this is in a cup, this is in a ladle,” etc. All finger children get porridge, except for the smallest one - the little finger. Sometimes the refusal to feed is motivated by: “I didn’t go for water, I didn’t chop wood, I didn’t cook porridge.” The next stage of the game - the deprived little finger goes to look for work. Now the action goes to the whole hand, the little finger “pushes, grinds, walks on water”, etc. The hand seems to depict the road along which the little finger goes. The child is tickled on the crook of the hand, at the elbow and under the armpit; it is said that the little finger finds here “a stump, a log, a well and warm water.” The game ends with tickling the child under the arm, causing laughter.
№13. Russian literature, according to many experts, begins in the 16th century. The emergence and further development of literature is closely related to the development of general literature and oral folk art. In Kievan Rus, the development of general literature began in the 11th century, which was influenced by the literature of more developed and civilized countries. Byzantium contributed to the development of Russian literature. In 988, Rus' was baptized. After baptism, books were needed with which to rule the church. From this moment on, Russian books began to be written; first of all, chronicles developed that described the life of the state to record a new historical period. The need for beauty of words was satisfied during church services: the “lives of the saints” were read at them. Works of ancient Russian literature were designed to be heard by people of different ages. They could not only be read, but also heard from those who read them. The content of ancient Russian literature contained many different miracles, magical fragments that were interesting to children and easily perceived by them, but often very important thoughts were embedded in such miracles. By the end of the 15th century, the need for education began to be understood in Russia, and at this time children's literature began to develop. The first books were educational, not fiction. They were translated from Greek and Latin. Fiction also appears later. In Ancient Rus' human life proceeded as a single, brief moment without awareness of any stages and periods in it, without concentration childhood experience life and transferring it to other generations. And only one work, the “Teaching” of Vladimir Monomakh (1053-1125), most likely written by him in 1117, shortly before his death, is a generalization of the experience of a man who lived a lot and accomplished a lot. Monomakh realizes that his experience may be shared by other people, and above all by youth. This is the first and for a long time the only work addressed directly to both one’s own children and descendants. For Vladimir Monomakh, it was important not to list his achievements, but to edify his descendants with a moral code.
№14. One of the most popular books for children's reading and learning was "ABC". She was the first printed Russian educational book, which had the subtitle “Elementary teaching for children who want to understand the Scriptures.” This happened in 1574, thanks to the activities of Ivan Fedorov, who chose sowing “spiritual seeds throughout the universe” as the motto of his life. He developed the structure of the ABC and selected texts to read in it. The “ABC” consists of the alphabet given in forward, reverse and random order. Then came the syllables. The texts included in the “ABC” were supposed to contribute not only to consolidating reading skills, but also to the moral improvement of children. Its creator addresses not only children, but also their parents, with calls to be prudent in raising children. "ABC" - "a book for teaching literacy." Facial primer(faces-pictures) is the first Russian illustrated children's book. It was created by Karion Istomin. It was intended for the son of Peter 1, Tsarevich Alexei, and was first made in handwritten form, and then published in Moscow in 1694. Each page of the primer is dedicated to a separate letter, originally and attractively designed. In the center of the sheet there were drawings depicting a letter and objects whose verbal designation began with it. K. Istomin was the first Russian poet to use assonance and alliteration in the alphabet not only as an artistic, but also a pedagogical device.
№17. Literary fairy tale as a cultural phenomenon.
In Western Europe in the 12th-14th centuries. The chivalric romance was very popular, depicting a knight-hero and his exploits in the name of glory and love. Translations in Rus' appear in the 17th century. Their purpose is to entertain, amuse the reader, and take them into the world of touching, but not cloudless love, which sometimes has to be defended in a difficult struggle. The novels were built according to a certain pattern - separations, obstacles, a happy ending and even the unity of death.
Novels took root in Rus', were processed and spread in the form folk book. This is the story of two works - “The Tale of Bova the Prince” and “The Tale of Eruslan Lazarevich”. They are close to the Russian fairy tale and epic, not only thematically, many of those artistic means, which were familiar to the Russian consciousness, for example, a hyperbole: “And when Eruslan Lazarevich was four years old in the fifth year, he began to go to the Tsar’s court and joke not very kindly: whoever grabs his leg, his leg is off, whoever grabs his hand “He’s got his hands off him.” Here, as in Russian folklore, the young man is given moral lessons: seeing the sleeping hero, Eruslan “wants to put him to quick death; and he thought to himself: “It would be no honor for me, no praise, to kill a sleepy one: sleepy man, like dead."
These works performed the same function as folk tales - they entertained and taught wisdom to the merchant, the monk, the priest, the corporal, and the peasant. Eruslan, who came to us from the East, began to be called a Russian hero. And the question about its origin did not arise among readers, because... these works were Russified.
The origin of these works is clearly literary; there are a large number of characters whose names are not included in the Russian folklore tradition, where most often only the leading characters have names. The connection with literature is evidenced by the multi-step construction of the plot, the combination of various, including fairy-tale, motifs.
They received wide circulation in popular literature, but did not become a reason for the mass creation of literary fairy tales as a new variety of a long-known and beloved genre among the people.
The 17th century did not contribute anything interesting to the history of the development of literary fairy tales for children. Neither classicism, with its strict regulation of genres and special poetics, nor sentimentalism, with its attempt to penetrate into the human soul and know it, were those artistic movements whose aesthetics were close to the fairy tale genre. And although Catherine 11 herself turned to him, who wrote fairy tales for her grandchildren, the author’s fairy tale was an event in literary life I didn’t at that time.
But in the 40s. XIX century V.G. Belinsky congratulates Russian children on the “wonderful gift” that they can receive from their parents in the form of fairy tales by grandfather Irenaeus (pseudonym of V.F. Odoevsky), “a writer who would be the envy of the children of nations.” At the same time, the critic expresses displeasure about the abundance of fairy tales by various authors, the “fairytale flood” that flooded the book market. He does not see originality in them and among them he does not even single out the fairy tales of A.S. Pushkin and P. Ershov. It seems to him that the authors are “fake” “the tone and harmony” of folk tales.
“Since the beginning of the 30s, we can talk about the formation of the genre of Russian literary fairy tales, not only and not so much in the development of popular motifs and plots in Russian folklore, but in the mastery of the system of images typical of folk tales, its language and poetics.” I.P.Lupanova.
By this time folk tale became a subject for active collection, study, and publication. From oral to written. Both Western European folk and original fairy tales have become popular among readers. In 1768 The works of C. Perrault were translated. 1826- V.A. Zhukovsky translates German fairy tales processed by the Brothers Grimm. A German folk tale about a fisherman and his wife becomes the source of the plot for Pushkin’s “Tale of the Fisherman and the Fish.”
In the 30s 19th century Heatedly debated nationality problem, which also contributed to the development of attention to the fairy tale as a truly folk work. Engaging in scientific research in the field of the Russian language, trying to preserve the truly national spirit, V.I. Dal was one of the first to create fairy tales.
The most fruitful and significant for the history of literary fairy tales is cultural creative direction, like romanticism with its aesthetic exclusivity: unusual heroes, acting in unusual situations, with his craving for the fantastic, the wonderful beyond. Romanticism emphasized in the fairy tale: magic, magic, the desire to transform everyday life, to identify the unknown in a person. Creators - V.A. Zhukovsky, A.S. Pushkin.
It was the romantics who felt the need to create special literature for children, designed for the perception of a child, taking into account their psychophysiological characteristics. Romanticism established the cult of the child and the cult of childhood, 18th century. Before them, I understood the child as a small adult. Children start out as romantics and are valued for themselves, not as candidates for future adults. V.A. Zhukovsky has a number of poems written in 1851 for his young children and dedicated to them. These are “Lark”, “Bird”, “Tom Thumb”. The diminutive vocabulary of poems and fairy tales, the purity and fabulousness of their content indicates that writers who have gone through the school of romanticism learn to write for children, discover childhood as a special world, different from the world of adults.
Folk tales have always been close to the world of childhood. But by the 30s of the XIX century. she began to gradually give way to her position. Fewer and fewer new stories were created. She began to live a book life more and more actively. And then a literary fairy tale arose, combining the genre and artistic features of previous works and a new, book culture of existence.
Appeared author's fairy tale(in the first half of the 19th century, fairy tales by Zhukovsky, Pogorelsky, Odoevsky were written especially for children) continued the tradition of the folk tale genre - to be both a “lesson to the young man” and entertainment for him. One of the first pages of children's fiction.
For writers, the fairy tale becomes not only a previously mastered genre, but also a sign family life, and for some, a means of raising children. “The Black Hen...” by Pogorelsky, dedicated to his nephew Alyosha Tolstoy, whose upbringing the author was involved in, is one of such works.
- lack of money among Russian emigrants. A. Tolstoy and N. Petrovskaya, who lived in Berlin, translated the fairy tale by C. Collodi “The Adventures of Pinocchio”, on the basis of which ten years later Tolstoy wrote “The Golden Key, or the Adventure of Pinocchio”, but this happened already in the USSR.
- Children's lack of true knowledge about nature and love for it has led to V. Bianki, and later biology teacher Yu. Dmitriev to the creation of natural history tales. Author's fairy tale this is what makes it different from a folk tale, in that it has its own original story a creation that not only arouses interest in the work, but also helps to understand it.
Despite the long path of development, the author's fairy tale does not have such a long and fruitful history of study. Many questions in it, and the main thing among them - the definition of the genre and the classification of what was created - remain controversial to this day. Attempts to define a literary fairy tale and note it character traits were done a very long time ago (J. Grimm, H. K. Andersen).
Thanks to these works, it can now be emphasized that characteristic of the author's fairy tale: canonical text with no variants; the possibility of expressing the author's individuality, Magic world, the synthetic nature of the genre, associated with folklore and literature. There is an inherent desire to comprehend real life“with the help of fairy-tale images and motifs”, a deeper philosophical and psychological basis.
Classification.
It is difficult to classify an author's fairy tale, since it is difficult to identify the principles that can be used as the basis for classification. Yes, from the point of view address affiliation fairy tales can be divided into works for children(but they are not homogeneous. A teenager is unlikely to be interested in Chukovsky’s fairy tales, and a young child will not understand much in Bazhov’s fairy tales); works for adults(satiristic tales of Saltykov - Shchedrin); universal works, interesting for different age groups of readers (Pogorelsky “The Black Hen”).
From point of view type of literature a fairy tale can be poetic, prose, and dramatic.
Way of development poetic tale uneven, first half of the 19th century. Pushkin, Ershov. Second half of the 19th century. Nekrasov, Minaev. But being artistically imperfect, they were not preserved in people's memory.
- Prose fairy tale begins in the 30s. 19th century. Pogorelsky and Odoevsky. Its intensive development has not stopped to this day.
- Dramatic tale for preschool children - a not very common phenomenon, typical of 20th century literature. Marshak, Schwartz, Mahalkova, Tokmakova.
Their assimilation and inheritance of traditions.
- Russian or world folklore tradition (Aksakov, Bazhov).
- World literary tradition , which has developed within the genre itself. Some borrow and then interpret the plots: “The Tale of the Arabian Stargazer” Irving - Pushkin “The Tale of the Golden Cockerel”. Others, turning to a well-known plot, begin to use fairy tale intrigue, the names of significant heroes: K. Collodi - A. Tolstoy. Still others read the tales of their predecessors in their own way: Andersen - Tsyferov “My Andersen”, Andersen “The Ugly Duckling” - Moskvina “What Happened to the Crocodile”. The fourth preserve in fairy tales the spirit of the works of their teachers: Andersen - Paustovsky.
It is difficult to achieve a strict systematization of what has been created, because:
1. There is no unambiguous definition of the author's fairy tale on the basis of which the division could be made;
3. It is difficult to determine whether a fairy tale belongs to a certain age group of readers;
Systematization contributes to the understanding of what has been done in the genre of the author’s fairy tale, what are further paths its development and study, although it is imperfect.
Literary fairy tale as an object of research.
The literary fairy tale in the choice of artistic means is closely related to the folk fairy tale and at the same time differs significantly from it. There are no clear lines between the poetics of fairy tales and everyday fairy tales; an artistic technique, more characteristic of one type of folk works, is used everywhere (for example, animism).
Literary fairy tale close to reality. Convincing the reader of the reality of what is happening, creating the illusion of authenticity, erasing the line between the magical and the real is the creative task of a fairy tale, leading to a violation of the purity of the genre. “The Black Hen” begins with a specific location, geographical names, but the specifics are deceptive, conditional, borderline, like the genre itself, where a fairy tale is at the same time a “non-fairy tale”, a story is a fairy tale, a fairy tale story, a novel is a fairy tale.
The architectonics may be invented by the author himself (Ershov’s “The Little Humpbacked Horse”), but it may correspond to the folk one (the construction of Bianchi’s fairy tale “The Teremok”). Ershov freely, in his own way, handles the well-known compositional elements of a folk tale, divides his work into parts, and at the end of each part, summing up, he gives a plan for the next one.
The plot development is extremely complicated. Such a link in the plot of a folk tale, like prohibition and violation of prohibition, in the author's version is either excluded altogether, or performs the opposite function. In Schwartz’s fairy tale “Two Brothers,” Great-Grandfather Frost not only forbids the Elder Brother to seek the release of the Younger, but also promises to freeze him himself. Violation of the prohibition as a function in the plot of a fairy tale helps the author show the character of the hero.
Deprived of such an important link in the development of the plot as miracle. It may not have miraculous transformations, miraculous heroes and helpers. But there is a miracle of meeting, recognizing, discovering, and being able to make someone else happy.
For the creators of a literary fairy tale, the process of understanding the “I” of the hero in the world of others like him is important. Alyosha not only stopped working on his homework and listening to his “inner voice,” he stopped thinking altogether, which is why he succumbed to his vices.
Authors working in the fairy tale genre have the opportunity to show psychology, the process of developing the character of a hero, often a child hero, which is not typical of a folk tale. Without excluding the emotional nature of the genre, it strives to more actively involve the reader in the process of thinking about what is happening not only in a fairy tale, but also in reality.
The author's fairy tale breaks the usual canonical world of heroes folk tale. There are no traditional animal epic mask types (the fox is cunning, the bear is strong). Here everything depends on the specific situation, on the specific act and its understanding by those who commit this act. In Moskvina’s fairy tale “The Elephant and the Hedgehog,” the crocodile is envious, he claims to be the primacy of the animals, for which he is punished by not being allowed to touch the miracle. Unlike the Elephant, his apple tree never grew.
In a literary fairy tale addressed to children, there are many small and cute heroes, rushing to each other’s rescue, who know how to help, encourage, convince of something, and instill faith in goodness, in eternal life (fairy tales by Moskvina, Tsyferov). The little reader is calmer and more comfortable in the world of heroes like him, who ask others the same questions as he does, who know how to protect themselves and others, who openly look at the world and want to see it created for good.
Conflict in a literary fairy tale it often does not boil down to a simple opposition of good and evil. Sometimes it may not exist. Abramtseva’s Evil Dream (“A Tale of Two Dreams”) is not of this nature: he simply does not know that one can be kind, and therefore there is no conflict in the fairy tale.
Magic helpers and magical objects also perform other roles and functions; they are never perceived as a mechanical quantity. The magic assistant has not only the function of giving, but also the function miraculous transformation(Chernushka is Pogorelsky’s minister).
A literary fairy tale is an author's, artistic or poetic work, based either on folklore sources, or invented by the writer himself, but in any case, subject to his will. The work is predominantly fantastical, depicting the wonderful adventures of fictional or traditional fairy tale characters and in some cases aimed at children; a work in which magic, miracle plays the role of a plot-forming factor, helps to characterize the characters
It is at the age of 4-5 years that it is determined who will be a reader in the future and who will not. At this age stage, it is especially important to introduce the child to the golden fund of children's books. The collections “Russian Fairy Tales” and “Once Upon a Time” were recognized as the best publications.
Among poetic works for children 4-5 years old, it is advisable to purchase, first of all, works of 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 among 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”). N. Nosov’s stories “The Living Hat”, “Bobik visiting Barbos” are very loved by children aged 4-5 years.
Children of this age can relate to Hans Christian Andersen’s fairy tales “Thumbelina”, “The Steadfast” tin soldier", Brother Grimm "Musicians of Bremen".
More than one generation of 4-5 year old children grew up on the picture book “The Adventure of Pyth” and on Kipling’s fairy tale “The Little Elephant”.
Among best books about living nature should be called “Big and Small” by E. Charushin, many editions of the works of 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, it contains great place It is occupied by scientific, artistic and popular science literature, encyclopedic books, photo books on various fields of knowledge.
If we talk about folklore publications, they have been enriched with collections of riddles and proverbs. These include the collection of riddles "Clever Ivan, the Firebird and the Golden Grain." As for collections of fairy tales, among many others we can highlight the colorful translated book “Treasures of Fairy Tales” and the collection “The Golden Book of the Best Fairy Tales of the World”.
Of the poetic works in the home library for preschoolers, you should first of all have the works of classical poets - A. Pushkin, V. Zhukovsky, F. Tyutchev, A. Maykov, I. Bunin, A. K. Tolstoy, S. Yesenin. It is recommended to introduce “Fables” by I. Krylov into the reading circle of children aged 6-7 years, many of which will be studied at school. The point of preliminary reading is not to understand the moral of the fables (that will come later), but to touch the sample 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. Sobakiia, M. Boroditskaya should be on the bookshelf of preschoolers , R. Makhotina, M. Yasnova it is very important that the child gets to know them before school.
Many collections of stories and fairy tales by writers from different countries have been published for preschoolers. To the fairy tales and stories of Russian writers of the 19th century, already recommended for reading by children 4-5 years old, are added the fairy tale “The Scarlet Flower” by S. Aksakov, “Alenushka’s Tales” by D. Mamin-Sibiryak, “The Frog Traveler” by Garshin, “The Town in the Snuff Box” "V. Odoevsky. Among the stories we can recommend “Theme and the Bug” by N. Garin-Mikhailovsky, “The Jump” by L. Tolstoy, “The White Poodle” by A. Kuprin, “Kashtanka” by A. Chekhov. From the writers of the 20th century Special attention parents should be drawn 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 in children's reading is A. Volkov's book "The Wizard emerald city" - a free retelling of the book by American writer Frank Baum "The Wizard of Oz".
Among the writers of the second half of the 20th century, V. Dragunsky with his "Deniska's Stories", V. Golyavkin with his "Notebooks in the Rain", N. Nosov with the famous "The Adventures of Dunno and His Friends", E. Uspensky firmly entered the circle of children's reading for preschoolers with “Crocodile Gena” and “Uncle Fedor”, T. Alexandrova with “Kuzka”. In addition, the “classics” of children's reading include the works of other writers, among whom one cannot fail to mention Sergei Kozlov and his book “Hedgehog in the Fog.” For preschoolers, the writer G. Tsiferov and his book “The Story of a Pig” are interesting.
As for the fairy tales of foreign writers of the 19th century, children are mainly recommended the tales of E. T. A. Hoffman ("The Nutcracker and the Mouse King"), V. Gauff ("Little Muk", "Dwarf Nose"), D. Harris ("Fairy Tales Uncle Remus"), C. Collodi ("The Adventures of Pinocchio"). Among the writers of the 20th century, I would like to mention R. Kipling with his fairy tales. 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 has grown up reading D. Rodari’s book “The Adventures of Cippolino.” Children aged 6-7 years already have access to one of Astrid Lindgren's most famous works, “Three Stories about the Kid and Carlson.” It is impossible not to mention one more book - the book of the Austrian writer F. Selten "Bambi". A special place in the lives of people of different generations is occupied by M. Maeterlinck's fairy tale "The Blue Bird". After reading it at least once, parents will certainly want to have the book in the house to bring their child the same joy that they themselves experienced when reading it in childhood.
As noted above, for children 6-7 years old the range of educational books published is significantly expanding, in particular about the world around them. Classics of such literature are recognized as I. Akimushkin, V. Biapki, M. Prishvin, N. Sladkov, E. Charushin, I. Sokolov-Mikitov, etc., 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 encyclopedias, introducing the child to different areas of knowledge
Ministry of Education of the Republic of Mordovia
GBOU RM SPO (SSUZ) “Zubovo-Polyansky Pedagogical College”
Test
Discipline: "Children's Literature"
Extramural studies
Specialty: 050144 “Preschool education”
4th year students: Larionova T.V.
Teacher: Andronov V.G.
"Zubovo-Polyana"
Topic 3. Magic fairy tales in children's reading.
1. Distinctive features of a fairy tale.
2.Fairy-tale hero of Russian fairy tales.
3. Poetics of a fairy tale.
4.Analysis of the fairy tale “Khavroshechka”.
5. The importance of fairy tales in raising children.
Literature:
Anikin. V.P. Russian folk proverbs, sayings, riddles and children's folklore. –M., 1987.
Anikin V.P. Russian folktale. Teacher's manual. -M., 1989.
Nagishkin D.N. Fairy tale and life. -M., 1997.
Litvinov Z.M. Folk poetry in publications for children.
In the book. Issues in children's literature. -M., 1983.
1. Distinctive features of a fairy tale.
Fairy tales originated in ancient times. Traces of them are found in the earliest written sources, and they appear wherever there is language. We are obviously faced with a version of the problem facing archeology and comparative linguistics - the need to make a choice between the independent evolution (or, more precisely, spontaneous generation) of similar phenomena; origin from a common prototype; and distribution (in different time) from one or more cultural centers. Any disputes most often depend on the fact that the disputants (one side or both) try to oversimplify the phenomenon. The dispute between adherents of the three listed theories is no exception. The history of fairy tales is probably more complex than the history of the physical development of the human race, and as complex as the history of language. All three methods - spontaneous generation of plots, origin from a common ancestral religion and borrowing - obviously played a role in the formation of the complex structure of the fairy tale.
Of the three methods, the spontaneous generation of plots is the main, the most important, and therefore, naturally, the most mysterious. For the creator of fairy tales, or rather, the storyteller, the other two methods are to a certain extent a step back. The theory of “borrowing” or migration in space of works of art, including fairy tales, simply transfers the question of the origin of this type of art to another place. In this supposed center of culture, from where the borrowing occurs, there is a point where the creator-demiurge once lived. The same thing happens with the mythological theory of a single proto-religion and proto-language: following this path into the depths of centuries, we will eventually get to the ancient first order. If we assume that from time to time similar ideas, plots and techniques arose independently of each other in different places, then we should assume the existence of not one, but several demiurges, which, however, will not bring us any closer to understanding their gift.
2.Fairy-tale hero of Russian fairy tales.
In a fairy tale, a special, mysterious world appears before the listener than in fairy tales about animals. It features extraordinary fantastic heroes, good and truth defeat darkness, evil and lies.
“This is a world where Ivan Tsarevich rushes through the dark forest on a gray wolf, where the deceived Alyonushka suffers, where Vasilisa the Beautiful brings scorching fire from Baba Yaga, where the brave hero finds the death of Kashchei the Immortal.”..1
Some of the fairy tales are closely related to mythological ideas. Such images as Frost, Water, Sun, Wind are associated with the elemental forces of nature. The most popular of Russian fairy tales are: “Three Kingdoms”, “The Magic Ring”, “Finist’s Feather – the Clear Falcon”, “The Frog Princess”, “Kashchei the Immortal”, “Marya Morevna”, “The Sea King and Vasilisa the Wise”, “ Sivka-Burka", "Morozko" and others.
The hero of a fairy tale is courageous and fearless. He overcomes all obstacles in his path, wins victories, and wins his happiness. And if at the beginning of the fairy tale he can appear as Ivan the Fool, Emelya the Fool, then at the end he certainly turns into the handsome and well done Ivan Tsarevich. A.M. drew attention to this at one time. Bitter:
“The hero of folklore is a “fool”, despised even by his father and brothers, always turning out to be smarter than them, always the winner of all everyday adversities.”2
A positive hero is always helped by other fairy-tale characters. So, in the fairy tale “Three Kingdoms” the hero is chosen into the world with the help of a wonderful bird. In other fairy tales, the heroes are helped by Sivka-Burka, the Gray Wolf, and Elena the Beautiful. Even such characters as Morozko and Baba Yaga help the heroes for their hard work and good manners. All this expresses popular ideas about human morality and morality.
Next to the main characters in a fairy tale there are always wonderful helpers: Gray Wolf, Sivka-Burka, Obedalo, Opivalo, Dubynya and Usynya, etc. They have wonderful means: a flying carpet, walking boots, a self-assembled tablecloth, an invisible hat. Images of positive heroes in fairy tales, helpers and wonderful objects express people's dreams.
The images of female heroines of fairy tales in the popular imagination are unusually beautiful. They say about them: “Neither to tell in a fairy tale, nor to describe with a pen.” They are wise, possess witchcraft powers, have remarkable intelligence and resourcefulness (Elena the Beautiful, Vasilisa the Wise, Marya Morevna).
The opponents of the positive heroes are dark forces, terrible monsters (Kashchei the Immortal, Baba Yaga, Dashing One-Eyed, Serpent Gorynych). They are cruel, treacherous and greedy. This is how the people’s idea of violence and evil is expressed. Their appearance sets off the image positive hero, his feat. Storytellers spared no expense in color to emphasize the struggle between the light and dark principles. In its content and in its form, a fairy tale contains elements of the wonderful and unusual. The composition of fairy tales is different from the composition of fairy tales about animals. Some fairy tales begin with a saying - a humorous joke that is not related to the plot. The purpose of the saying is to attract the attention of listeners. It is followed by a beginning that begins the story. It takes listeners into a fairy-tale world, designates the time and place of action, the setting, and the characters. The fairy tale ends with an ending. The narrative develops sequentially, the action is given in dynamics. The structure of the tale reproduces dramatically tense situations.
In fairy tales, episodes are repeated three times (Tsarevich Ivan fights three snakes on Kalinov Bridge, three beautiful princesses are saved by Ivan in the underworld). They use traditional artistic means of expression: epithets (good horse, brave horse, green meadow, silk grass, azure flowers, blue sea, dense forests), similes, metaphors, words with diminutive suffixes. These features of fairy tales echo the epics and emphasize the vividness of the narrative.
3. Poetics of a fairy tale.
Fairy tales have a strict and harmonious composition. It is mainly based on the unity of the idea that permeates the entire story. At the same time, the plot can become very complex and include many side moves, but all actions in the fairy tale are based on the main character’s desire for a goal. Very often, when the hero is close to the goal, the story suddenly takes a turn towards failure, and a new cycle of adventure and quest begins. The fairy tale invariably resolves with a favorable outcome for the positive hero.
The best fairy tales are characterized by the traditional formulas of a saying, beginning, narration and ending. Sometimes a fairy tale begins with a saying that is not related to the plot of the fairy tale. The purpose of the saying is to show the skill of the storyteller, to prepare the audience for listening to the tale. A saying is an optional part of a fairy tale; it can be short: “It happened at sea, on Okiyan, on the island of Buyan, in the middle of the water, where trees grew,” or expanded: “The tale begins from Sivka, from Burka, from the things of Kaurka. On the sea, on the ocean, on the island of Buyan, there is a baked bullock, next to it there are crushed onions; Three young men were walking, they came in and had breakfast, and then they went on, boasting and amusing themselves. This is a saying, a fairy tale will come!”
The saying is followed by a fairytale beginning, which, with its uncertainty, removes the question of the reliability of the events. The opening indicates a fantastic place (“In a certain kingdom, in a certain state”), a fantastic time (“Under Tsar Pea”) and names the heroes (“Once upon a time there was a king and he had three sons”). After the beginning comes the main narrative part of the tale. The narration is told using numerous artistic techniques, one of them is fairy-tale formulas or commonplaces: “soon the tale is told, but not soon the deed is done”, “the morning is wiser than the evening”, “such beauty that it is impossible to say in a fairy tale, not even to describe with a pen” etc. The structure of a fairy tale is subordinated to the creation of dramatically tense situations, which emphasizes the repetition of events. Most often, the event is repeated three times - a triplicity of action, perhaps a threefold repetition of the episode with an increase in the effect, this technique gives the tale a characteristic epic quality, slowness in the development of action. There are also multiple repetitions in the fairy tale.
Fairy tales are sometimes very large in volume, which is facilitated by the use of the “pile up of homogeneous actions” technique. In the fairy tale “Marya Morevna” this technique is used repeatedly; it seems to combine several plots. The ideological orientation of the fairy tale also determined the contrasting depiction of the hero’s virtues and the vices of his enemies, therefore contrast is one of the main artistic techniques in the fairy tale. Psychological characteristics are elementary, some are always positive, others are always negative. There are few characters, only those who take an active part in the action. The characters' characters do not change; they are manifested not in reasoning, but in action, in actions. The fairy tale does not stop at direct idealization of the hero and heroine.
The fairy tale plot is characterized by the technique of “reflected action”, based on the fact that if the hero at the beginning of the fairy tale generously helps someone, then later he is paid in kind (“The Magic Ring”, “By pike command""). In fairy tales, the technique of “stepwise narrowing of the image” is also found (for example, the description of the place where Koshchei’s death is hidden - from the description of the island where the oak tree grows... to the tip of the needle). In dramatically tense places, the fairy tale resorts to repetition of description, to rhymed parallelism (“the horse runs, the earth trembles,” “he drives with a pestle, he sweeps with a broom”). The tale widely uses retardation, slowdown in the development of action, which is facilitated by the use of repetitions, triplicity of action, as well as dramatic and lively dialogue, which is repeated without changes throughout the narrative.
A fairy tale usually ends with an ending, which, like a saying, is often humorous, rhythmic, and rhymed: “and I was there, I drank honey and wine, it flowed down my lips, but it didn’t get into my mouth,” “here’s a fairy tale, but I got a bunch of bagels.” The purpose of the ending is to return the listener from the fairy-tale world to the real one. Sayings, beginnings and endings have a fairly stable text and represent a kind of formula.
The language of a fairy tale is close to colloquial speech, it uses, as in all folklore works, constant epithets (blue sea, dense forest), tautological combinations (wonderful, wonderful, wonderful), fused synonyms (path-path, sadness-longing). The text of the fairy tale is full of proverbs, sayings, and riddles.
4.Analysis of the fairy tale “Khavroshechka”.
This is a kind fairy tale about the hard life of the orphan Khavroshechka. Despite all the hardships and insults inflicted on her, the main character is always kind, patient and obedient - it is this kind of moral purity that is always glorified in Russian fairy tales. The full version of the fairy tale is built according to all the requirements of this genre: firstly, it begins with the saying “There are good people in the world, there are worse ones, and there are those who are not ashamed of their brother,” secondly, the narration is told at a slow pace thanks to three times repeated plot lines (three times the sisters go to spy on Khavroshechka, three times she lulls their eyes to sleep), thirdly, the repetitions are accompanied by a quantitative increase in the eyes (first one, then two, then three eyes), which creates a special tension in the action. The language of the fairy tale is folk, there are many colloquial words and expressions, for example: starved, beaten, scolded, ordered, worked, hard, live, live, etc. In addition, the text contains many rhymed phrases, which creates a special melodiousness and musicality of the narrative: “she weaves, she spins, she tidies up, she is responsible for everything,” “sit at the gate and look at the street,” “Me they beat and scold them, they don’t give them bread, they don’t tell them to cry,” “The sisters wanted to knock them down - the leaves in their eyes fall asleep, they wanted to pick them off - they unravel their braids.” The smoothness and melodiousness of the content are words with a diminutive meaning: cow, neck, peephole, mother cow, Kroshechka-Khavroshechka, bones, apples, twigs, etc. There are places in the text where the definition is placed after the word being defined, for example: pouring apples, golden leaves - this also creates a special melodiousness of the fairy tale.
In the abbreviated version there is no saying, there is no description of the fact that Khavroshechka was left an orphan, and what hardships befell her among people. In addition, the fairy tale has been altered, and instead of three daughters - One-Eyes, Two-Eyes and Three-Eyes - we see only one daughter. Khavroshechka does not lull her eyes to sleep, and her daughter herself pretends to be asleep. There is no slowness, no tension in the action, all events happen quickly, without strong emotions from the characters. There are much fewer colloquial words and expressions than in full version fairy tale content. There are not enough rhyming expressions that would give the text a special melodiousness and musicality. A small number of words with a diminutive meaning also do not serve the smoothness and melodiousness of the content. The dialogues between Khavroshechka and the little cow are shortened; the grief that the orphan experiences when saying goodbye is not felt. A description of how Khavroshechka looked after the cow’s bones, and then a description of the apple tree, is also given in an abbreviated version. A scant picture is given in a few words of how the sister rushed to pick an apple for the young man, without a detailed description, without details of how the apple tree prevented her from doing this. And although the ending sounds the same as in the full version: “And they began to live well, they knew no harm,” but after reading the fairy tale there is no satisfaction, a feeling of justice from the fact that Khavroshechka was rewarded according to her deserts for her persecution and ordeal, because How does this text not evoke strong emotions and experiences during the reading process?
Thus, we were able to find out that the fairy tale “Kroshechka-Khavroshechka” in its abbreviated version has lost its originality, melodiousness, and musicality. In addition, the scarcity of content and the rapid development of action make this work less interesting, meaningful, and does not evoke strong reader empathy for the heroine.
5. The importance of fairy tales in raising children.
Fairy tales have been known to us since childhood and have been passed down from generation to generation for thousands of years. Fairy tales are just an inexhaustible treasure folk wisdom , on which our ancestors were brought up. The magical world of fairy tales, their intricate plots and fairy-tale characters, which children like so much, can be used to solve a number of problems: instilling in children all that is good and positive, the desire for education, the development of an independent personality and general correction of behavior. The child is very emotional, so any , even a small problem in our opinion, is a serious test for him. He seeks help from his parents, but often we limit ourselves to clever phrases thrown in casually, which are simply incomprehensible to such a child. The child withdraws into himself, remaining alone with his problem, which he simply cannot solve on his own. This is how a feeling of inferiority develops, communication problems both with family and peers, and new fears appear. However, we, parents, bear enormous responsibility for the mental state of our child, but often we cannot independently find an approach to him or reach the depths of his subconscious. How to find and convey to the child a way out of this situation and prevent unnecessary worries? This will be helped by the connection between the magical world of fairy tales and the real world of the child, which connects his events, thoughts, and behavior with fairy-tale characters. Having deciphered the hidden meaning of the fairy tale, an experienced psychologist will be able to see all possible ways to solve the child’s problems and apply all the wisdom hidden in the fairy tale to his future behavior. Although a child begins to be interested in fairy tales only at the age of two, even from the cradle he can be told simple stories, since it is from them that the child’s acquaintance with the world around him begins. Why are fairy tales so interesting to children? They have a simple plot that is always understandable to him - this does not force the baby to think intensely about the events; a fairy tale always suggests the right ways to solve a problem, personifying good and evil, and, as a rule, the child always imagines himself in the role of a positive hero, while distinguishing what is good. You can tell and discuss an existing fairy tale with your child; draw your favorite moment with him; independently invent a fairy tale in which all events and characters will be similar to the child’s real world and where, in the end, the fairy-tale hero wins and finds a solution to all problems; dramatize a fairy tale both by yourself and with the help of puppet toys. Being carried away by the story, the child will be grateful to you for your support, and the happy ending of the fairy tale will give him confidence in his own abilities and instill hope for a speedy resolution of his problems. After all, in fairy tales there is always a way out of a difficult situation, there is always the right to choose and there is always the possibility of one’s own unique creativity. The longer your child believes in miracles, the more optimistic and joyful his reality will be.
Description of work
Fairy tales originated in ancient times. In the earliest written sources Traces of them are found, and they appear everywhere where there is language. We are obviously faced with a version of the problem facing archeology and comparative linguistics - the need to make a choice between the independent evolution (or, more precisely, spontaneous generation) of similar phenomena; origin from a common prototype; and spread (at different times) from one or more cultural centers.
Creative research for the project
"The role of fairy tales in the education of children of senior preschool age."
Subject:“Analysis of the content and poetics of fairy tales included in the reading circle of children of senior preschool age.”
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Fairy tale - an amazing phenomenon of folk art that equally interests and delights both children and adults to this day. If an adult, having certain historical knowledge rereading fairy tales, makes more and more new discoveries for himself, then a fairy tale helps a child to feel the identity of his people in different historical periods. Rooted in the primitive communal system, it reflects social organization human society in various periods of its development, way of life, ideas about the world around us, aspirations and way of thinking, beliefs and customs. That is, he introduces him to the history of his people.
The fairy tale, like all folk art, is deeply national, although most fairy tales are found among different nations.
According to the classification developed in the 19th century by the Russian scientist A.N. Afanasyev based on the time of creation, fairy tales are in second place after tales about animals, earlier in time of origin and human ideas about animals (totemism, animism), but shorter in volume and easy for a child to understand. Therefore, the most favorable age for getting acquainted with a fairy tale, more voluminous, with more complex plot, characters, structure, morality - this is the senior preschool age. It should be remembered that the teacher, when choosing a fairy tale to introduce children to it, must take into account that children do not always understand the ancient customs reflected in it. It is important to see and convey to the child’s understanding the modern educational meaning of the fairy tale: the victory of hard work, faith in one’s own strength, repaying good for good, etc. V.Ya. wrote about this in his works. Propp.
Before moving on to the analysis of the content and poetics of fairy tales that are part of the reading range of children of senior preschool age, it is necessary to find out what the poetics of a fairy tale in general is.
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Each type of fairy tale, including fairy tales, has its own artistic characteristics and its own poetic world. At the same time, there is something common to all types, except the boring one, which unites them and makes a fairy tale a fairy tale. This plot And architectonics works.
It is typical for the plot of a fairy tale progressive development of action(only forward, no side storylines). Artistic time And art space in fairy tales they do not have specific designations: “how long, how short, in some kingdom, in some state.”
The aesthetic plan of construction also has elements common to all types of fairy tales (except boring ones): saying, beginning, main part, which is a three-stage plot structure, outcome or ending. For a fairy tale, as for others (except for the boring one), certain features are also characteristic art world: constant stylistic formulas(“once upon a time,” “the morning is wiser than the evening”), retardation(three sons, three kingdoms, three pairs of iron boots to wear, etc.), lack of portrait descriptions of heroes, their character and age(“Once upon a time there was a wealthy peasant...” in the fairy tale “Fenist-Clear Falcon”, “All alike in face and appearance...” in the fairy tale “Seven Simeons”), intonation of a living story(verbal techniques that create the illusion of a conversation, the presence of a narrator, characters, images).
Along with all these signs, there are also special ones that are unique to a fairy tale. Each researcher defines his own criteria for distinguishing this species from the vast world of fairy tales. V.Ya. Propp, who most fully studied a fairy tale, considers its main criterion to be poetics, “uniformity of composition,” and the presence of functions temporary absence hero, ban(“Don’t leave the high tower... don’t hang around with bad people” in the fairy tale “The White Duck”), violation of the ban(“...finally I thought: it’s not a problem to walk around the garden, and I went” in the fairy tale “The White Duck”), trials or punishments(“Look for me far away in the thirtieth kingdom” in the fairy tale “The Frog Princess”). Long trials lead to changes in the hero, his awarding. These functions are interconnected and play a large role in the development of the action of a fairy tale.
V.P. Anikin calls the main feature of this type of fairy tales presence of miraculous action(transformation of a person into an object, animal or bird, revival after death, etc.). It is also generally accepted for fairy tales to have magical hero (Baba Yagas, Firebirds), magical assistant(pike, horse, cow, etc.), magic item(self-assembled tablecloths, living water, etc.), magic word (“at the command of the pike, at my will...”, “hut, hut, turn your back to the forest, turn your front to me”).
A fairy tale based on of magic, despite its fantastic nature, it is a reflection of reality. There are examples when the lack of knowledge about a specific real phenomenon makes it, in human perception, fabulous, unusual, and not accessible to everyone 1 (the glow of sulfur dioxide in a swamp in the Ural fairy tale “Cat Ears” from the collection “Malachite Box” by P.P. Bazhov). What seems to us to be pure fiction, a simple fantasy of the mind, is in fact a specific reflection of ancient forms of social life. A fairy tale is a pre-realistic and ancient art at its core. Her fantastic world is a long-gone reality, and, moreover, artistically transformed. 2
Thus, the images of the heroic maiden Marya Morevna, the Wise Vasilisa and the forest mistress Baba Yaga, who commands animals and birds, reflect the then social position of women in the era of matriarchy.
The fairy-tale marriage of the hero to a princess, necessarily from another kingdom, is determined by the norms of exogamous marriage, in which the bride
1 Indicated by V.P. Anikin.
2 See: Propp V.Ya. Historical roots of fairy tales. L., 1986
chose outside of their kind.
The fairy tale reflected ancient beliefs, first of all, totemism, and therefore in it people marry and marry animals: the wife of Ivan Tsarevich turns out to be a frog, the husband of a girl lost in the forest becomes a bear, and the groom flies to the bride through the window like a clear falcon.
The cult of ancestors, the belief that people even after death influence the lives of their relatives, are widely reflected in the fairy tale, hence the deceased father rewards his son, who came to the grave, with the wonderful horse Sivka-Burka; the mother, dying, leaves a wonderful doll - a family shrine depicting the ancestors of the family, which will then help her daughter in everything. A dead body can be a wonderful helper.
The fabulous Morozko and the Sea King were generated by the ancient belief in the existence of “masters” of all natural phenomena. The fabulous “three kingdoms” are based on the idea of death and the existence of “another world” where ancestors go.
The fairy tale reflected not only beliefs, but also rituals and customs based on them. A significant influence on the formation of motives, plots and even the structure of a fairy tale was exerted by the rite of initiation, or initiation of young men into full members of the clan, which was widespread at the stage of the clan system among different peoples. The ritual, performed secretly in the forest, involved the isolation of young men for a certain period of time, their various trials, then an imaginary temporary death and a new birth as a new person - a man. A fairy-tale forest house where 7 or 12 heroes live, or a hut where Ivan the Bear's Ear ends up with his companions, as well as a number of other images and situations reflect some aspects of this ritual.
If most of the motifs of a fairy tale were formed during the period of the tribal system within the framework of mythology or primitive folklore, then “as an artistic genre, as an artistic phenomenon, the fairy tale was generated not by the tribal society, but by its collapse.” 3
A type of fairy-tale plot took shape: ancient motifs were framed family conflict. A fairy tale depicts a person primarily in the family. “Once upon a time there lived an old man and an old woman. They had a son...”, “The king had three sons...” - a typical exposition of a fairy tale. If a family is incomplete, there are no children, this is always the greatest sorrow in a fairy tale, and the development of the main action will be preceded by a story about how miraculously a child appeared in the family. If in a fairy-tale family the children have stepparents (usually a stepmother), then this will lead to further misadventures of the stepdaughter.
The fairy tale always ends with the creation new family. “Ivan Tsarevich married a beautiful princess, they began to live and live well and make good things” - this is the typical conclusion of the biography of a fairy-tale hero and the limit of fairy-tale time.
In the era of the decomposition of the clan system, the type of fairy-tale hero was formed - the “inferior” hero: the stepdaughter, younger son, not a promising fool. The fairy tale always idealizes the socially disadvantaged and comes to his defense. It always ends with the triumph of the weak: the youngest son, persecuted by the elders, turns out to be a hero and becomes the royal son-in-law, the stepdaughter, after all the misadventures, marries the prince.
At the time of the formation of fairy tales as a genre, the most ancient motifs were no longer perceived as a reflection of reality. “The creators of folk fairy tales no longer thought mythologically.” 4 Both fairy-tale characters and events began to be perceived as impossible, fantastic, i.e.
3 Meletinsky E.M. Hero of a fairy tale: Origin of the image. M., 1958 P. 256.
The main genre-forming features are fiction and entertaining content.
Subsequent centuries were also reflected in the fairy tale, but at the level of the surroundings: a king, a merchant, a soldier appeared in the fairy tale, the action could be transferred to the city, etc., but the innovations did not concern the plot itself.
The productive period of development of the fairy tale genre ended a long time ago. The Middle Ages no longer produced new fairy tales. But the subsequent life of fairy tales turned out to be extremely long, and perhaps the fairy tale as a classical heritage will live as long as humanity lives. The key to this is the eternal ideals of fairy tales.
The focus on the future is clearly manifested in fabulous miracles that anticipated many scientific achievements of the future. A. M. Gorky wrote about this: “Already in ancient times, people dreamed of the opportunity to fly through the air - the legends about Phaeton, Daedalus and his son Icarus, as well as the fairy tale about the “flying carpet,” tell us about this. We dreamed of accelerating movement on the earth, the fairy tale about “swift boots”... We thought about the possibility of spinning and weaving in one night great amount matter, about the possibility of building a good home in one night... they created a spinning wheel, one of ancient tools labor, a primitive hand-loom for weaving and created the fairy tale about Vasilisa the Wise.”
Based on the above, we can conclude that a fairy tale, reflecting real events , customs, phenomena, presents them in the form of fiction. If distinctive feature fairy tales, be it a fairy tale about animals, everyday life or fairy tales, - an orientation towards fiction, then in a fairy tale fiction is presented most vividly. She creates a special magical world that lives by its own laws. The fairy-tale world is populated by characters who do not exist in reality. Baba Yaga, Kashchei the Immortal, the Serpent Gorynych live in it, fellow invisible people appearing from the ring, etc. Even if the characters are real at first glance, like the king and princess, Ivan Tsarevich and his brothers, animals and birds: a horse, a falcon etc., then the events that happen to them are impossible in the real world. In a fairy tale, a person can emerge from snow or a log of firewood. He can die and be cut into pieces, and then reassembled from the pieces and revived with water. In the fairy tale, the horse gallops below the walking cloud, but above the standing forest. In it, a young man gets into a horse’s ear, and when he gets out of another, he completely changes his appearance; Having hit the floor, the birds turn into brave heroes. Doesn't look like a real or fairy-tale king.
A fairy tale is high art. In her artistic system, everything is honed to perfection. No wonder Pushkin admired: “What a delight these fairy tales are! Each is a poem! » 5 The character system in it is simple and harmonious. In a fairy tale, as in all folklore, the characters are not individualized. It “has certain character types, but there are no characters." 6
In a fairy tale, a character is revealed only in action, and characters who perform the same role in the plot perform the same actions. “The fairy-tale Ivan Tsarevich and Ivan the Peasant Son are one and the same character for a whole series of different plots.” 7
In their faces we see “high” and “low” heroes. The first is Ivan Tsarevich, well-born and handsome. The second - Ivan (Emelya) - is a fool, a peasant son, a dirty fellow, “sits on the stove, catches flies, picks in the ashes.”
Ivan Tsarevich is looking for activity. Ivan the Fool runs away from her. The first one himself gets involved in a conflict (burns the skin of a frog, etc.), the second one does not show initiative and the action is always involved by someone: his older brothers (“Sivka-Burka”) send him to his father’s grave at night, and his daughters-in-law (“Sivka-Burka”) send him to fetch water. By magic"). But as the plot develops, it turns out that Ivan Tsarevich is a two-dimensional hero. In the same fairy tale, he can also be an unrestrained offender.
5 Pushkin A.S. Full collection Op. M.; L.T. XIII. P. 121.
6 Korepova K.E. Russian fairy tale. M.: Higher. school, 1992.- 525 p.- (Literature student’s book)
7 Propp V.Ya. Folklore and reality // Selected articles. M., 1976. P. 99.
ban, and a hero who took the path of correcting the troubles that he himself created. In the process of overcoming trials, he transforms into a “high” hero, but now not in terms of social status, but in terms of spiritual qualities and good deeds. The fairytale path of the “low” hero is associated with magical powers acting in his place and leading him to the blessings of life. E.M. Meletinsky, exploring the image of a “low” hero, saw in him the typical features of the peasantry: passivity and backwardness combined with an inexorable dream of happiness, justice and better life, change social status(at the end of the tale, Ivan becomes the royal son-in-law).
A fairy tale is built on an acute conflict. A positive hero is opposed to a negative one, enemy.
A fairy tale knows no halftones, it contains only white and black colors - the world of good and evil. The hero's antagonist represents the world of evil. He is always a negative character. He is treacherous and cruel.
The hero’s opponent is usually a mythical creature: Baba Yaga, who has a bone leg and her nose is rooted to the ceiling, the Serpent Gorynych with three, six, nine and even twelve heads, Kashchei the Immortal, but the antagonist can be both the stepmother and older brothers.
Baba Yaga, personifying the hostile and evil forces of nature and humanity, appears in fairy tales, either as a warrior (“Yaga and Zamoryshek”), or as an avenger for her sons - the three snakes, defeated by the hero. She can be a giver (“Vasilisa the Beautiful”), a kidnapper (“Baba Yaga”), or a cannibal.
But whatever forms, depending on the assigned functions, this image takes, the constant verbal characteristics of this character pass from fairy tale to fairy tale. Baba Yaga - a bone leg rides in a mortar, “drives with a pestle, covers up the trail with a broom.” Appearing and sniffing everything around, he shouts: “Fu-fu! Smells like the Russian spirit! Who is there?" Most often she lives in a hut. In the depths of the forest “... stood Baba Yaga’s hut: a fence around the hut made of human bones, human skulls with eyes sticking out on the fences; instead of doors at the gate there are human legs, instead of locks there are hands, instead of a lock there is a mouth with sharp teeth..." "Vasilisa the Beautiful"). Heroes who appear in front of the hut often turn to stone with horror and mentally give up their lives. One of Baba Yaga’s most important functions is to test those who come to her. But sometimes Baba Yaga is favorable to the hero and, without testing, gifts him or allows him to deceive her.
According to V.Ya. Proppa, this terrifying image is associated with the kingdom of the dead and goes back to the ancient, bloody rite of initiation. Currently, Baba Yaga is a metaphor for the horror of evil and black deeds.
The positive hero is the main character around whom other characters are grouped, whose actions drive the plot; in fact, the fairy tale tells about his deeds.
Depending on the main character, we can talk about "male" And "feminine" fairy tales In the “male” films, the hero - a royal or peasant son, usually Ivan - goes in search of his betrothed, to obtain a curiosity, to search for a kidnapped sister, mother or wife, to search for someone who is ruining his father’s farm: stealing golden apples, trampling crops, etc. He is always a positive character, even an idealized one. He good son, an intercessor for the offended, is courageous and fearless, he will overcome all obstacles and emerge victorious. The image at the beginning of the fairy tale can be deliberately reduced - the hero appears as an “ironic success”: Ivanushka the Fool, stupid Emelei, Dunno - but then the true ones are revealed all the more clearly by contrast. excellent qualities his. “The hero of folklore is a “fool”, despised even by his father and brothers, always turning out to be smarter than them, always the winner of all everyday adversities.” 8
8 Gorky A.M. Collection cit.: In 30 volumes. T. 27. pp. 305-306.
Another type of positive hero is the type of hero. Such in the Russian fairy tale are Pokatygoroshek, Ivan the Bear's Ear, such are the three miraculously born brothers (Zorkin, Vechernik, Midnighter) or Ivan Bykovich, Ivan the Mare's son, etc.
In “women's” fairy tales, the heroine is a victim of the forces of evil, she is an innocently persecuted stepdaughter, a slandered, loving wife who goes in search of her husband. There is one more female type- princess, the bride whom the hero eventually marries.
Female images in fairy tales are more diverse than male ones. There are powerful women warriors here, like Marya Morevna, there are wise women who also master witchcraft, like Vasilisa the Wise, there are omnipotent wonderful women who are able to command nature, like the frog princess who creates lakes and birds, whose ride is accompanied by thunder and lightning. But there are also meek, defenseless, patient ones, like Cinderella-Zamarashka, sister Alyonushka, stepdaughter, who ends up with Morozka. As E.V. Pomerantseva correctly noted, the diversity of female characters is explained by the fact that “the genetic prerequisites for the creation of each of these images are different.” However, although “their characters, behavior, and role in the main conflict of the fairy tale are different, all of them... embodied the people’s ideas about the ideal image of a loving, selfless, faithful, hardworking woman - wife, mother, daughter, sister.” 9
But in the aesthetics of the fairy tale, this help is no longer interpreted as the character’s powerlessness, but as the recognition of the high people around him. human qualities, his merits.
A motive appears in a fairy tale "grateful helpers", usually animals. A bear, a falcon, and a pike help Ivan Tsarevich get an egg
9 Pomerantseva E.V. Russian oral prose. M., 1985. P. 48.
with the death of Kashchei, because he had previously spared them, showing generosity and kindness; compassion; eagle (bird Mogol, Nagai) carries out underground kingdom in gratitude for saving their chicks.
The deceased father rewards his son with Sivka-Burka because only he fulfilled his father’s behest and came to the grave three times.
Animals turn out to be assistants: a horse, an eagle, helping to overcome space and get to the thirtieth kingdom or return from it; bear, pike, falcon, raven, etc.; Wonderful craftsmen and artists can also be assistants.
The set in a fairy tale is diverse wonderful objects , and ordinary peasant objects can become magical: a towel, a ball of thread, a comb, a carpet, boots, a tablecloth, a saucer, etc. Magic objects are genetically related to primitive magic and at the same time, as already mentioned, they reflect in a fairy tale the people's dream of improving the tools of production, technical capabilities person.
In the structure of a fairy tale, the main character has, in the words of A. I. Nikiforov, the functions of “so to speak, of a biographical order.” The tale tells of his miraculous birth, rapid development, a test of strength, getting weapons, a horse, assistants, about fighting with the enemy or solving difficult problems, and the fairy tale ends with his marriage. The functions of “secondary” characters are “adventurously complicating: helping the hero or hindering him.”
Action always develops in a fairy tale rapidly.
A miraculous birth and a heroic childhood is a prehistory that is only briefly reported, and not all fairy tales often tell about some kind of misfortune at once, and now the hero, if he is a hero-seeker, leaves home, and if the hero is a victim , he (or more often she) is expelled from the house. Leaving home is required in any fairy tale. Events develop as the hero moves. He meets donor, receives an assistant or a magical remedy. And the climax follows. The hero endures a test, solves a difficult problem, or wins an open battle. The conflict is resolved and a happy ending follows.
The fairy tale knows no descriptions, there are no portraits or landscapes that slow down the action. Even if in a fairy tale there is a need to describe the portrait of the heroine in order to show her perfection, then the portrait is given through a refusal to describe: such beauty that neither can be said in a fairy tale nor described with a pen. Or quality is shown through action. This is an image of the agility, swiftness or heroic power of a horse: “The horse runs - the earth trembles, smoke comes out of its ears, flames burst from its nostrils.” Or it shows how a horse in the dungeon, destined by fate for Ivan Tsarevich, beats the ground with its hoof as he approaches, breaks the chains with which he is chained.
But to create entertainment, to keep the listener in suspense, some slowing down of the action is still necessary. And in a fairy tale, this slowdown is created by repeating dynamic elements, that is, repeating the action itself: three times In a fairy tale, the same episode is repeated, but the development does not proceed in a circle, but in a spiral: each repetition brings reinforcement, or two repeat each other, and reinforcement in the third, last one. Seeking the hand of the princess, the hero performs difficult tasks three times, and each new task is more difficult than the previous one: three times he fights with the snake, and each new opponent is stronger than the one already defeated.
There are also special rules verbal design fairy tale, the special “ritualism” of its telling. 10 It is told
10 On the stylistic uniqueness of a fairy tale, see: Anikin V. Russian folk tale. M., 1984. S. 130-173.
different from a fairy tale about animals or an everyday one. The development of the plot here may be preceded by a saying, which seems to set the listener in a special mood, preparing him for immersion in the world of incredible events: “The fairy tale begins from Sivka, from the burka, from the things of the kaurka. On the sea, on the ocean, on the island of Buyan, there is a baked bull, crushed garlic in his butt; cut from one side, and dip and eat from the other” (Af., 295). Sometimes a saying ends with the words: “This is not a fairy tale, it’s only a saying, and the fairy tale will come.” Accordingly, a comic or ironic ending emphasizes the conventionality of the story and returns listeners to reality: “I was there, I drank honey-beer, it flowed down my mustache, but it didn’t get into my mouth”; “It’s a fairy tale, you can’t lie anymore,” etc.
Over the many centuries of the existence of fairy tales, a rich set of traditional formulas, stable phrases, and storytellers use them in similar situations of various plots. “Soon the tale is told, but the deed is not done soon,” say storytellers, to emphasize the duration of events; when approaching a forest hut, a fairy-tale hero in any fairy tale utters a magical spell formula: “Turn, hut, with your back to the forest, and with your front towards me!”; “Fu-fu, it smells like Russian spirit!” - will meet the hero Baba Yaga.
Formulas not only help to tell fairy tales, they decorate the fairy tale, give it a special dimension, and distinguish it from everyday speech. The formulas use syntactic parallelism, creating special rhythm, sometimes a rhyme: “Stand in front of me like a leaf in front of the grass!”, “I was at those feasts, drank mead beer, no matter how much I drank, I just wet my mustache,” etc. eleven
11 A special monograph is devoted to the study of formulas. See: Roshiyanu I. Traditional fairy tale formulas. M., 1974.
From time immemorial, fairy tales have lived orally; they have been told, not read. Printed, it loses the charm of live performance: the color of the situation of its performance, the lively intonation of the spoken word, facial expressions, gestures of the narrator, and the reaction of the listeners disappear. In order to at least partially compensate for what was lost, collectors who record the tale try to verbally convey the environment in which it lived and was told.
