Fairy tales. Peculiarities
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Fairy tales. This is the most popular and most loved genre by children. They are called magical because everything that happens in its plot fantastic and significant for the task: in such a fairy tale there is always a central positive hero. fights evil and injustice, he is helped by wizards and magical objects. Examples include Russian folk tales about Ivan Tsarevich.
The danger seems especially strong because... main opponents- villains, representatives supernatural dark forces: Serpent Gorynych, Baba Yaga, Koschey the Immortal. By winning victories over the evil spirits, the hero confirms his high human principle, closeness to the light forces of nature. In the struggle, he becomes even stronger and wiser, makes new friends and receives every right to happiness - to the satisfaction of his little listeners.
A character in fairy tales is always bearer of certain moral qualities. The hero of the most popular fairy tales is Ivan Tsarevich. He helps many people, animals and birds, who are grateful to him for this, and in turn, help him, his brothers, who often try to destroy him. He is presented in fairy tales as folk hero, embodiment highest moral qualities- courage, honesty, kindness. He is young, handsome, smart and strong. This a type of brave and strong hero.
The Russian people are characterized by the consciousness that a person always meets on his way with life's difficulties, and with his good deeds he will definitely overcome them. A hero endowed with such qualities as kindness, generosity, honesty deeply sympathetic to the Russian people.
To match such a hero female images - Elena the Beautiful, Vasilisa the Wise, Tsar Maiden, Marya Morevna. They are like that beautiful, that “neither can be said in a fairy tale, nor described with a pen,” and at the same time have magic, intelligence and courage. These “wise maidens” help Ivan Tsarevich escape from the sea king, find Koshcheev’s death, and complete impossible tasks. Fairy-tale heroes not in an ideal way embody folk ideas about women's beauty, kindness, wisdom .
Characters oppose the main characters sharply negative- insidious, envious, cruel. Most often it is Koschey the Immortal, Baba Yaga, the Serpent with three to nine heads, Dashing One-Eyed. They are monstrous and ugly in appearance, insidious, cruel in confrontation with the forces of light and good. The higher the price of victory for the protagonist.
IN difficult moments come to the aid of the main character assistants. These are either magical animals (Sivka-burka, pike, Gray wolf, Golden bristle pig), or kind old ladies, wonderful guys, strong men, walkers, boletus mushrooms. There is a great variety of wonderful objects: a flying carpet, walking boots, a self-assembled tablecloth, an invisible hat, living and dead water. Fleeing from persecution, the hero throws a comb - and a dense forest rises; a towel or scarf turns into a river or lake.
Fantastic world far away kingdom, the thirtieth state is multicolored, filled with many wonders: milk rivers with jelly banks flow here, golden apples grow in the garden, “birds of paradise sing and seals meow.”
Like a fairy tale incorporates many stylistic techniques of other genres folklore Here and constant epithets, characteristic of a lyrical song (“good horse”, “dense forests”, “silk grass”, “sugar lips”), and epic hyperboles(“runs - the earth trembles, smoke comes out of the nostrils, flames blaze from the ears”), and parallelisms: “Meanwhile, a witch came and cast a spell on the queen: Alyonushka became sick, and so thin and pale. On royal court everything is sad; the flowers in the garden began to wither, the trees began to dry out, the grass began to fade.”
Sayings, traditional beginnings, endings. Their appointment - demarcate fairy tale from everyday life.“In a certain kingdom, in a certain state,” “once upon a time,” are the most characteristic beginnings of a Russian fairy tale. The ending, like a saying, is usually of a comic nature; it is rhythmic, rhymed, and pronounced patter. Often the storyteller ended his story with a description of the feast: “They threw a feast for the whole world, and I was there, drinking honey, drinking beer, it flowed down my mustache, but it didn’t get into my mouth.” Explicit to listeners childhood The following saying is addressed: “Here’s a fairy tale for you, and for me a bunch of bagels.”
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 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 preschool children: topics, 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 the children's team(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- assimilation to a person, endowing objects and phenomena of inanimate nature with human mental properties, 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 of the art of words; cognitive - firstly, there is a special genre of scientific and artistic prose, where literary form children are presented with certain knowledge (for example, a natural history tale by 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 peculiarities of perception of children's literature; identification - identifying oneself with literary hero. 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 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 histories were called “tales” (“talk” - to speak) A fairy tale is a document based on facts (“revision fairy 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.
At the end of the 18th century, 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 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. Art space fairy tales have no real outline. 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 are phrases without changes or with minor changes that pass 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 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; V 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, is exaggeratedly depicted main feature character.
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.
Collection and scientific research began late in the 60s. XIX century (Bessonov - the first publisher; Shane - carried out the scientific publication of 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 called short sentences or songs accompanying game movements or physical exercise(stretching, spreading arms, braking, stroking, tossing, tickling). They helped to establish emotional contact with an adult, without which normal mental and physical development the child was taught language and melody, and given 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, 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. Most popular game, accompanied by a corresponding verbal sentence, are considered “Okay”. 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 old, 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 them crosswise index fingers both hands, the adult asked the child to put his finger into the resulting “well”: “Put your finger into the well” or “Put your finger, there’s a bunny!” In the latter case, the adult clasped his hands into a “lock” and pressed thumbs, as if denoting 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. Appearance and further development 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 the beauty of words was satisfied during church services: the “lives of the saints” were read on 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. In content ancient Russian literature sets various 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". It was the first printed Russian educational book, which had the subtitle “Elementary teaching for children who want to understand Scripture.” 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.
The novels took root in Rus', were processed and distributed in the form of a 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, 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 human soul and to know her were not the same artistic directions, whose aesthetics are 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 “ a wonderful gift”, which they can receive from their parents in the form of fairy tales of 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 motifs and plots popular in Russian folklore, but in mastering the system typical of folk tale images, its language and poetics." I.P.Lupanova.
By this time, the folk tale had become 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 adapted 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 child’s perception, 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”. Diminutive The 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. The author's fairy tale differs from a folk tale in that it has its own original creation story, which 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 manifestation of the author's individuality, the magical world, the synthetic nature of the genre associated with folklore and literature. There is an inherent desire to comprehend real life “with the help fairy tale images and motives”, 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 - this is not a very common phenomenon, characteristic of literature 20th century. 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, names significant heroes: K. Collodi - A. Tolstoy. Still others read the tales of their predecessors in their own way: Andersen - Tsyferov “My Andersen”, Andersen “ ugly duck" - 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 particular one age group 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; artistic technique, in to a greater extent specific to one species 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. "Black Hen" - starts from a specific location, geographical names, but the specifics are deceptive, conventional, 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 lessons, listening to his “ inner voice“, he stopped thinking at all, 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 magical assistant has not only the function of giving, but also the function of 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
- 26.64 KBMinistry 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: “The 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 always gets help from others 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 of a positive hero and 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”, “At the Pike’s 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, 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 the full version of the tale. 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 a huge responsibility for mental condition 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? Communication will help with this magical world fairy tales with the child’s real world, which connects his events, thoughts, 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 the events and characters will be similar to real world a child 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 own strength, will give 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.
Nowadays, very few people take the time to read to their children. Children are always playing on the computer, tablet, or phone. Children are distant from their parents' feelings and do not receive affection and warmth. They begin to imitate their heroes, but I want them to imitate good deeds and become kind, responsive, etc.
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The meaning of a fairy tale in a child's life.
Currently, there are many types of fairy tales - literary, folklore, everyday and about animals, but probably the most exciting, interesting, and beloved are fairy tales.
Unlike other types of fairy tales, fairy tales are based on a very clear composition and plot. It is the fairy tale that most often turns to those who are looking for traces of ancient knowledge in ordinary children's fairy tales, carefully preserved and passed on from mouth to mouth by our distant ancestors. Even in the fairy tales that have come down to us from our ancestors, it is not difficult to find simple universal values - that it is better to be kind than evil, generous - than greedy, hardworking - than lazy. That evil and deception are ultimately punished, and kindness, courage and honesty are rewarded. Perhaps many of these values will be considered outdated for our world. But how difficult and sad it is to live in a world of deception and evil. And here fairy tales give us a guiding thread, a ray of light leading to the hope that this is not forever, time difficulties will pass, evil will be punished. But maybe it’s smart fairy tales that will help our children make this world a better and kinder place.
The simple language of a fairy tale is understandable to a child; the characters are few and simplified as much as possible (often they don’t even have names). The plot of a fairy tale is as simple as possible, understandable, and not tied to time and space, which helps perception go beyond the ordinary. A fairy tale is an excellent teacher, a healer of souls, and simply a kind and intelligent interlocutor. The meaning of the tale is different for different people and even for the same person at different periods of his life - from early childhood to old age. She is like a priceless treasure, from which everyone will take only what he needs, what he is able to understand, assimilate, and appreciate. But the most valuable and necessary lessons are fairy tales for children.
A fairy tale reflects the cultural heritage of humanity. A fairy tale promotes the development of imagination, fantasy, creativity child, she helps him look at the world through someone else's eyes - through the eyes of a hero, teaching empathy, sympathy, sympathy. The heroes of a fairy tale always have a clear moral orientation. There is no place for halftones here. Good - or evil, good - or bad. It is impossible to stay away. At the same time, the positive hero of a fairy tale is always in a more advantageous, interesting, attractive position, so more often the child identifies himself with him. A positive hero attracts the child to his side - the side of good, thereby instilling in the child a craving for goodness, for cultivating positive qualities in himself.
Any fairy tale is a story about relationships between people. Through a fairy tale, it is easiest to explain to a child the first and main concepts of morality: what is “good” and what is “bad.” Fairy tale characters are always either good or bad. This is very important for determining the child’s sympathies, for distinguishing between good and evil. The child identifies himself with a positive hero. Thus, a fairy tale instills goodness in children. Moral concepts, clearly represented in the images of heroes, are reinforced in real life and relationships with loved ones. After all, if villains in fairy tales are always punished, then the only way to avoid punishment is to not be a villain. The concept of goodness appears in a fairy tale not in the form of laws and rules, but in the form of images of strong and brave heroes, knights, princes, in the form of a good sorceress or fairy, always ready to help.
Psychologists who practice the now quite popular area of fairy tale therapy are very fond of turning to fairy tales.
Between two and five years of age, a child's ability to visualize and fantasize begins to develop. In other words, the child’s brain is ready to perceive fairy tales. However, it is precisely this achievement of the child’s mental development that can cause the emergence of fears associated with the characters of fairy tales. Parents need to pay attention to the characters their child loves and dislikes, which will help them identify in time psychological problem baby, if it exists, and correct it in time mental development. The perception of a fairy tale should help increase the child’s self-confidence in his future, and not frighten him.
Fairy tales are very important for a child's development. But it is important to select fairy tales that are suitable for the child’s developmental level. Fairy tales can accompany a child everywhere: on a walk, when getting ready for kindergarten, while eating - and whenever an adult wants and is able to add a little creativity and imagination to their communication with the child. Children are always open to fairy tales. A fairy tale has almost limitless possibilities. With its help, you can give advice, help look at the problem differently, push the child to creative search and try to independently answer their questions, give information that would be difficult for the child to perceive without a fairy tale wrapper. Fairy tales open up a wide scope for creativity together with the child.
A fairy tale calms and fascinates a child, but what is especially significant is that a fairy tale has an educational effect - shaping the character of the developing personality. Each era, country, nation creates its own fairy tales, which describe the features of the social reality in which a person has to live and adapt. Therefore, we can say that from birth, from the moment he heard a fairy tale (available to him), a child is instilled with those norms, values, ideals that the social reality surrounding him will develop in him.
