The writers of the 20th century are fabulous. Foreign literary fairy tale
English literary fairy tale of the 20th century. Traditions of L. Carroll in the works of D. Barry. Tales of Peter Pan. History of creation. "Peter Pan and Wendy" is like a fairy tale of children's consciousness. Peter Pan image. Nowhere Island as the materialization of the world of children's imagination. The traditional conflict of good and evil in a fairy tale. Captain Hook image. Correlation between children's and adult worlds. The motive of the eternity of childhood. Features of style. A. Milne's fairy tale “Winnie the Pooh and all-all-all” is like a fairy tale of children's consciousness. History of creation. Game reality as a source of fairy-tale reality. Space and time in a fairy tale. Absence of the traditional conflict of good and evil. Psychological and speech characteristics of the characters. Winnie the Pooh image. The role of Christopher Robin in the story. The meaning of the ending. Translations of fairy tales into Russian. Features of the translation by B. Zakhoder. "Mary Poppins" by P. Travers as a philosophical fairy tale. Fantastic and real. The image of a sorceress nanny. Philosophy of childhood in a fairy tale. Images of children and adults. Translation by B. Zakhoder.
Module 2. Basic educational literature
1 Ed. Zubareva E.E. Children's literature. Moscow, Education, 2004, 567 p.
2 Ed. Polozova T.D. Russian literature for children. Moscow, Education, 2002, 692 p.
3 Zaitsev B.K. Zhukovsky. Moscow, Education, 2003, 367 p.
4 Schmidt SO. V.A. Zhukovsky - a great Russian teacher. Moscow, Education, 2003, 453 p.
Guidelines for students
In order to comprehensively study the theoretical and practical material of the course, it is necessary to use a lecture outline, a practical lesson plan, a list of questions for the exam, as well as basic teaching aids
Educational and methodological map of the discipline
Correspondence shortened form of study
| No. | Discipline section | L | LR | PZ | WITH | form of control |
| Specifics of children's literature | ||||||
| Works of oral folk art in children's reading | Counter.r. | |||||
| Foreign literary fairy tale of the 17th-19th centuries. | Creative tasks | |||||
| Russian literary fairy tale ½ 19th century. | Essay | |||||
| Russian literary fairy tale 2/2 XIX century. | ||||||
| The theme of childhood in Russian literature of the 19th century. | Test | |||||
| Poets - Oberiuts - for children | ||||||
| Children's literature 20-30 XX century. | ||||||
| Humorous literature | ||||||
| Foreign literary fairy tale | Ex. |
Lectures
Practical
Module 4. Training quality control tools
Sample test questions
1 Show the features of the lullaby genre using the example of one or two songs (learn by heart).
2 Select several proverbs and sayings on one topic from various national literatures.
3 Give examples of nonsense rhymes and rhymes with a plot (2-3 works).
4 Reveal the features of the shapeshifter genre in children's folklore (2-3 works).
5 Identify the features of different types of fairy tales (magic, everyday, tales about animals) on
example 1-2 fairy tales to choose from various national literatures.
6 Show the importance of tongue twisters in the formation of a child’s speech activity; bring
examples.
7 Functions of pestles, nursery rhymes and jokes in children's folklore. Give examples.
Questions for the exam (interview)
1 The theme of nature in the works of M.M. Prishvina.
2 Man and nature in the stories of E. Seton - Thompson.
3 Forest newspaper V. Bianchi. Structure. The originality of the genre.
4 Metaphorical image of the world in the prose of A. Platonov. Analysis of one of the works.
5 Literary fairy tale of the 20s - 30s. Fight for a fairy tale.
6 Creativity of S. Mikhalkov for children. Trilogy about Uncle Stepa.
7 Philosophical understanding of the world in A. de Saint-Exupéry’s fairy tale “The Little Prince”.
8 Poetry by A. Barto for children.
9 Artistic understanding of the natural world in the works of K.G. Paustovsky.
10 Humorous stories by V.Yu. Dragunsky.
11 Features of N. Nosov’s depiction of the world of childhood. Tale of Dunno.
12 The genre of animalistic story in the works of E.I. Charushina.
13 M. Gorky’s story “Childhood”. Problematics and poetics.
14 Works by A. Milne for children.
15 Italian literary fairy tale (G. Rodari, C. Collodi).
16 Stories by A.I. Kuprin about children and animals.
17 The problem of relationships between children and adults in A. Lindgren’s story “The Kid and Carlson.”
18 “Nikita’s Childhood” by A. Tolstoy as an autobiographical story.
19 Children's stories by M. Zoshchenko.
20 The theme of war in the works of V.P. Kataeva.
21 Poetry I.P. Tokmakova.
22 Psychological prose A.G. Aleksina.
23 Literature for children during the Great Patriotic War. Genre and thematic originality.
24 Historical literature (A.N. Rybakov, S.P. Alekseev, S.M. Golitsyn, G.N. Yudin, etc.)
Module 5. Further reading
1. Ed. Ternovsky A.V. Children's literature. - Moscow, Education, 1977, 589 p.
2. Ed. Razova V.D. Soviet children's literature. - Moscow, Enlightenment, 1978, 711 p.
3. Setin F.I. History of Russian children's literature. - Moscow, Education, 1990, 599 p.
4. Ed. Setin F.I. Russian children's literature. - Moscow, Enlightenment, 1972, 678 p.
5. Chernyavskaya Y.A., Rozanov I.I. Russian Soviet children's literature. - Minsk, -, 1984, 874 p.
6. Writers of our childhood. Bibliographic Dictionary. - Moscow, Education, 1998, 500 p.
7. Russian children's writers of the 20th century. Biobibliographical dictionary. - Moscow, Education, 1998, 500 p.
8. Comp. Chernyavskaya I.S. Foreign children's literature. - Moscow, Education, 1982, 744 p.
9. Ed. Meshcheryakova N.K., Chernyavskaya I.S. Foreign literature for children and youth (in 2
parts). – Moscow: Education, 1989, 589 p.
10. Lupanova I.P. Half a century. Soviet children's literature. 1917 - 1967. –Moscow: Education, 1969, 533 pp.
11. Pavlova N.I. Lyrics of childhood. Some problems of poetry. – Moscow: Education, 1987, 534 p.
12. Putilova E.O. History of criticism of Soviet children's literature. 1917 -
1941. - Moscow, Enlightenment, 1982, 332 p.
13. Sivokon SI. Your cheerful friends: essays on humor in Soviet literature for
children. - Moscow: Education, 1986, 456 p.
14. Egorov SF. K.D. Ushinsky. Book for students. - Moscow, Enlightenment, 1977, 311 p.
15. Ilyushin A.A. Poetry of Nekrasov. - Moscow, Education, 1990, 401 p.
16. Kuznetsova N.I. et al. Children's writers. Teacher's Guide and
parents. - Moscow, Education, 1995, 501 p.
17. Melnikov M.N. Russian children's folklore. – Moscow: Education, 1987, 432 p.
18. Literary manifestos of Western European romantics. – Moscow: Education, 1980, 699 p.
Related information.
Nedorezova Elena
This work is a literary study of the development of the literary fairy tale genre in the 20th century. The author's goal is clearly visible - to prove that this oldest literary genre has not lost its significance, and in the 20th century it developed as successfully as in past times, although it acquired new features characteristic of the literature of recent decades.
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IV MUNICIPAL SCIENTIFIC AND HUMANITIES
STUDENT CONFERENCE
8-11 CLASSES OF GENERAL EDUCATIONAL INSTITUTIONS
"RUSSIAN LITERATURE OF THE XX CENTURY"
SECTION “FEATURES OF A WORK OF ART”
DEVELOPMENT OF THE FAIRY TALE GENRE
IN RUSSIAN LITERATURE OF THE XX CENTURY
9th grade student,
Branch of the municipal educational institution "Secondary school in Kushumsky"
In the village of Verkhniy Kushum.
Scientific director
Annina Galina Sergeevna,
teacher of Russian language,
literature
2018
Plan
I. Introduction. Fairy tale as a genre of Russian folklore. Literary fairy tale. Relevance of the topic. Goals and objectives of the study. Practical significance.
II. Features of the development of Russian literary fairy tales in the 20th century.
1. Prose fairy tale. A.N. Tolstoy, Yu.K. Olesha.
2. Dramatic tale. E.L. Shvarts.
3. Poetic tale. K.I. Chukovsky.
4. The evolution of the fairy tale genre in the works of K. Bulychev.
III. Conclusion. Traditions and innovation in the genre of Russian literary fairy tales of the 20th century. The demand for the fairy tale genre these days.
A fairy tale is a lie, but there is a hint in it -
A lesson to good fellows.
A.S. Pushkin.
I. The word “fairy tale” in relation to a generally understandable folklore genre appeared only in the 17th century¹; earlier such works of oral folk art were called “tales” or “fables” (the word “bayat” gave rise to these definitions)², and the storyteller was called “baharem”.
“A literary fairy tale is an author’s, artistic, prose or poetic work based on folklore sources, or purely original; the work is predominantly fantastic, magical, depicting the wonderful adventures of fairy-tale characters and in some cases aimed at children, a work in which magic, miracle plays the role of a plot-forming factor, serves as the main starting point for characterizing the characters.”³
A literary fairy tale, like any text, involves the production of three types of speech structures:
1) prose fairy tale
2) dramatic tale
3) poetic tale.
A literary fairy tale grew out of a folk fairy tale, inheriting its features,
_______________________________________________________________________
¹ Fairy tale . Own - Russian. It has been found in monuments since the 17th century. Formed using suf. –ka (say →derivative using pref. s- from general slavs. kazati - “talk, show.”
Shansky N.M. Brief etymological dictionary of the Russian language.
"Education". M. 1971 p.410
² Ibid., p. 39.
³ Timofeev L.I., Turaev S.V. Dictionary of literary terms.
Moscow “Enlightenment” 1974 p.194
appearing to varying degrees:
A fantastic plot, often based on everyday life;
Usually a happy ending;
Morality, moral teaching - not imposed on the reader or listener, but presented by the entire content;
Victory of good, punishment of evil;
A clear division of heroes into good and evil;
Artistic features: beginning, triple repetition, ending, constant epithets, metaphor, hyperbole, humor.
The purpose of this work is not to “embrace the immensity” - to analyze all literary fairy tales written in the 20th century.
Goal of the work – consider the variety of techniques and means of depicting life in Russian literary fairy tales, note their traditional nature, coming from oral folk art, and try to find out the innovative features that appeared in this genre in the 20th century.
This topic, in our opinion, is always relevant for a number of reasons:
The literary fairy tale was created on the basis of a folk tale and inherited many of its plots and artistic features; to know it is to know Russian literature, its origins, to understand and love the history of one’s people, one’s Motherland;
The language of a fairy tale - accurate, expressive, crafty, sonorous - is the basis of the Russian national language, which is simply a shame for a Russian person not to know, especially in the modern world, when the need for competent Russian speech is acutely felt;
Finally, by reading fairy tales (folk, literary), both children and adults perceive those healthy moral principles for which this literary genre has always been famous.
Hence practical significancethis work. The materials and results of the study can be used when preparing a report for a literature lesson or as a presentation at an extracurricular event.
II. 1.
As mentioned above, one type of literary fairy tale is a prose fairy tale. The first half of the 20th century saw an unprecedented flowering of the literary fairy tale. The prose fairy tale is represented by the names of A. Volkov, A. N. Tolstoy, Sasha Cherny, Yu. Olesha, V. Kataev, M. Prishvin and many others. Let's look at some of them.
The fairy tales of A.N. Tolstoy and Y. Olesha play a huge role in the merging of children's literature and the riches of folklore. A.N. Tolstoy, wanting to see great literature in fairy tales, argued: “A book should develop... a dream, a healthy creative imagination, give knowledge, cultivate emotions of goodness... A children's book should be kind, teach nobility and a sense of honor”¹.
These principles underlie his famous fairy tale “The Golden Key, or the Adventures of a Wooden Doll” (1935). The history of “The Golden Key...” began in 1923, when Tolstoy edited the translation of the fairy tale “Pinocchio, or the Adventures of the Wooden Doll” by the Italian writer Carlo Collodi. In 1935, having returned from emigration, due to a serious illness, he was forced to interrupt work on the novel “Walking Through Torment” and, in his words, “for mental relaxation”² he again turned to the plot of Pinocchio, creating “a novel for children and adults" (by his own definition).
Thus, turning to an already known plot, Tolstoy followed the tradition: many literary fairy tales are written based on already known plots or images.
But there is a significant difference. Collodi's fairy tale contains a moral lesson: Pinocchio, as a reward for becoming “good,” turns from a wooden doll into a living boy. “Our” Pinocchio is good as it is: not very intelligent, but lively, capable of learning from his mistakes, quick-witted,
______________________________________________________________________
¹ Tolstoy A.N. Works in 4 volumes.
Moscow. “Fiction” 1974 volume I p. 14
² Ibid., volume I p. 15
quick in decisions and actions, kind.
In A. Tolstoy’s fairy tale there is a division of heroes into positive and negative, traditional for folk tales, but all the characters’ characters are described as bright personalities. The author brings out his “scoundrels” in pairs: Karabas Barabas and Duremar, Alice the fox and Basilio the cat.
The doll heroes are initially conventional, but at the same time their actions are accompanied by changing facial expressions and gestures that convey their psychological life. In other words, while remaining dolls, they feel, think and act like real people. For example, Pinocchio can feel how “the tip of his nose has become cold from excitement” or how “goosebumps are running all over his (wooden!) body”¹.
Malvina, having learned about the approach of Karabas Barabas, “throws herself in tears” onto the doll’s lace bed, like a pampered young lady.²
In Russian folk tales, the characters of the heroes are rarely shown in development. If we are talking about development, then it is more about physical development: born, raised, became a hero. In Tolstoy's fairy tale, it is the characters that develop, although this is given rather conditionally and manifests itself in simple actions, like in children. For example, at Pinocchio's on the first day. From birth his thoughts were “small, small, trivial, trivial”³, but in the end adventures and dangers strengthened him: “I brought water myself, I myself collected branches and pine cones, I made a fire at the entrance to the cave, so noisy that they swayed branches on a tall pine tree... I cooked cocoa in the water myself.”³.
And Malvina is making very real plans - to work in the theater as a ticket and ice cream saleswoman, and maybe as an actress (“If you find my talent...”)4
_____________________________________________________________________
Moscow. "Fiction". 1974. Works in 4 volumes, vol. 4 p. 53
² Ibid., vol.4 p.62.
³ Ibid., vol.4 p.21.
4 Ibid., vol. 4 p. 46.
It is interesting to note the artistic skill of the writer. The fairy tale is about the theater - the Karabas Barabas Theater, the Golden Key Theater. And the plot is constructed as a series of paintings or scenes. Landscapes are depicted as scenery. Against their motionless background, everything moves, walks, runs.
Good and evil are also clearly separated, as are the heroes - positive and negative. Quite in the spirit of folklore. But at the same time, negative characters evoke laughter and even some sympathy, so the irreconcilable conflict between the heroes develops easily and cheerfully.
Situational comedy is widely used in fairy tales - the most accessible form of the comic. For example, it is a very funny sight when the ferocious Karabas Barabas, with his beard in his pocket, sneezes non-stop, causing everything in the kitchen to rattle and sway, and Pinocchio, hanging on a nail, begins to “howl in a plaintive thin voice: “Poor me, unhappy, no one.” then you don’t feel sorry for me.”¹
Tolstoy also uses verbal comedy: (“smart-prudent”, “wooden”), which is most clearly manifested in dialogues.
Consequently, the writer carefully preserves the best traditions of folk tales and develops them.
Y.K. Olesha, while writing the novel for children “Three Fat Men,” was known in the country as one of the best feuilletonists of the popular newspaper “Gudok.” This was in 1924. Four years later, the book “Three Fat Men,” designed by the famous artist Mikhail Dobuzhinsky, was published and immediately became the center of attention of children and adults. Let us give Osip Mandelstam’s assessment of the book: “This is crystal-transparent prose, thoroughly permeated with the fire of revolution, a book of European scale.”².
¹ Tolstoy A.N. The Golden Key, or The Adventures of Pinocchio.
Moscow. "Fiction". 1974. Works in 4 volumes, vol. 4 p. 18
² Olesha Yu.K. Three fat men. Preface.
Moscow. "Children's literature". 1982 p.3
Many literary scholars¹ believe that “Three Fat Men” is a unique literary result of the revolutionary changes that renewed the theatrical and circus arts in the 20s. City squares, crowds, and circus performances burst onto the scene. But we are interested in the connection of this tale with the traditions of Russian folklore.
The principles of creating images of heroes are close to the traditions of folk theater, in which ritual and mask were designed to hide individuality and create just a type: a fool, a jester, a simpleton, a hero, and so on. In Y. Olesha's fairy tale, only the children Suok and Tutti look natural, all the other characters are just masks, grotesque types. Their costumes highlight this. “The director came out from behind the curtain. On his head he had a very tall hat made of green cloth, round copper buttons on his chest, and beautiful blush carefully painted on his cheeks.”².
In general, the plot of “Three Fat Men” contains many fairy-tale situations; there is a clear division of heroes into positive and negative. The hero Tibulus, with the help of his friends, defeats evil in the person of the rulers of the city - three fat men.
But I would like to focus on something else: Y. Olesha’s work shows how much new has been introduced into the genre of literary fairy tales in the 20th century. Let's look at some of them.
The whole city (scene) resembles a huge circus: “It (the square) was surrounded by huge houses of the same height and shape and covered with a glass dome, which made it look like a colossal circus”³.
“The couples started spinning. There were so many of them and they were sweating so much that it was possible
think the following: some kind of colorful and, probably, tasteless soup is being cooked.
Now the gentleman, now the lady, swirling around in the general commotion, became similar
either a tailed turnip, or a cabbage leaf, or something else
________________________________________________________________________
² Olesha Yu.K. Three fat men.
Moscow. "Children's literature". 1982 p.16
³ Ibid., p. 22.
the weird, colorful and weird stuff you might find in a bowl of soup. And Razdvatris served as a spoon in this soup. Moreover, it was very long, thin and curved.”¹
In this episode, the metaphorical nature of the scene is simply striking. Russian folklore is highly characterized by metaphor (the battlefield is arable land, watered with blood, sowed with the bones of the dead, like grain; milk rivers, jelly banks). But comparing the ball scene with a fancy bowl of soup with a spoon in the face of the dance director is a new way of looking at the metaphor, this is innovation.
There is one more point that emphasizes the elements of new art, outside
Into the traditional poetics of fairy tales. The 20th century is the century of cinema. The principle of editing was discovered - one of the main principles of cinematography. Y. Olesha's fairy tale novel, while preserving the traditional form of a fairy tale, bears clear signs of cinema: one scene gives way to another, at the same time the action taking place in front of the audience is shown on the ground and above the heads of the audience. The city is a circus. At the top, under the dome, a heroic action develops - Tibulus walks along the cable to the Star-lantern; below is a comic action: a guardsman, struck by a shot, falls into the fountain.
Editing is used not only at the level of scenes, but also at the level of images of characters. Next to the semi-fantastic “three fat men” are a living boy and girl. The writer “transforms” the cabbage head into the head of a balloon seller: “He (Tibul) bent down, tore off one, round and weighty, and threw it over the fence. The cabbage head hit the director in the stomach. Then the second, third flew.
They exploded like bombs. The enemies were confused. Tibulus bent down for the fourth.
________________________________________________________________________
¹ Olesha Yu.K. Three fat men.
Moscow. "Children's literature". 1982 p.23
² Metaphorical – from metaphor - a type of trope in which individual words or expressions are brought together by the similarity of their meanings or by contrast.
Dictionary of literary terms. Editors and compilers L.I. Timofeev and S.V. Turaev. Moscow “Enlightenment” 1974 p.208
He grabbed her round cheeks, making an effort to pull her out, but - alas! – the cabbage head did not give in. Not only that, she spokehuman voice…»¹.
A modern reader will say that this scene was created using computer graphics.
Folk tales are characterized by hyperbole - exaggeration: the strength and power of the hero, the beauty and wisdom of the heroine, and so on are exaggerated. Yu. Olesha preserved this tradition. "Hooray! - the heir shouted so shrilly that geese responded in distant villages.”²
Let's imagine this picture through the eyes of a modern reader. This is an obvious montage of two paintings: on one - Tutti’s face, on the second - geese raising their heads, perking up.
Thus, the work of Y. Olesha is a vivid example of the combination of traditions and innovation in the genre of literary fairy tales.
II.2
In all the works of the outstanding playwright E. Schwartz, the main features of his work are manifested: independence of plots, novelty of characters, human relationships, combination of imagination, reality and fairy tales. Borrowing the form of allegory from a fairy tale, the playwright fills it with new content.
Let us turn to the play-fairy tale “The Naked King”, written by Schwartz in 1934. The composition of the play included plot motifs from three fairy tales by H.H. Andersen “The Swineherd”, “The Princess and the Pea”, “The King’s New Clothes”.
Having creatively reworked the plots of famous fairy tales, Schwartz created a new work - the play “The Naked King”. The main characters of the fairy tale are two inseparable
friend-swineherd Henry and Christian, as well as the Princess - a girl with independent
________________________________________________________________________
¹ Olesha Yu.K. Three fat men.
Moscow. "Children's literature". 1982 p.49
² Ibid., p.53
and cheerful character. They go through many trials. The image of the Princess connects all the characters with each other.
In Schwartz's tale, the swineherd is actually a commoner, the story of his acquaintance with the Princess is the beginning of the play. At the beginning The main features of a fairy tale are revealed: miracles, terrible monsters, wonderful objects. Henry and Christian havemagic item- a bowler hat with a talking nose and jingling bells that play any dance tune. It is this magical object that is played out in the fairy tale in a new way: it allows you to hear the truth about the society in which the Princess lives. Nose from the Cauldron tells how the ladies of the court “save money” by dining for months on end in other people’s houses or the royal palace, while hiding food in their sleeves.
The author uses satirical techniques in his tale: dialogue between the nose and the ladies and the phrase of one of the court ladies, repeated several times and causing a comic effect: “I beg you, be silent! You are so innocent that you can say absolutely terrible things.”¹. The lady of the court says these words to the Princess, and it sounds like a self-exposure of the hypocrisy of high society. At the end of the play, the same phrase is said to Princess Christian, and this causes laughter.
The play contains many funny situations related to wordplay. The ladies of the court are outraged that Henry and Christian gave nicknames to the pigs as titled persons - Countess, Baroness, and so on. The Princess’s answer sounds like a challenge: “The pigs are his subjects, and he has the right to grant them any titles”².
Unlike the heroines of Andersen's fairy tales, Princess Schwartz is a cheerful, sincere girl with an open character, who is alien to falsehood and hypocrisy. She even scolds the stupid king based on the piece of paper that Henry wrote to her.
Other heroes of Schwartz's tale are created entirely in the spirit of fairy-tale traditions: a stupid king, hypocritical ministers who flatter the king. According to
¹ Ten tales. Fairy tales of Soviet writers.
Moscow "Children's literature" 1989 p. 51.
² Ibid p.63.
literary scholars¹, the fairy tale contains clear political overtones - a hint at the events associated with Hitler and his entourage who came to power in the 30s.
This demonstrates the innovation characteristic of most literary fairy tales of the 20th century - a connection with time, a specific political situation, and real historical characters.
II. 3
In Russian literature of the 20th century, fairy tales written in poetic form are widespread. This is understandable: works of this folklore genre have always been distinguished by rhythm, sonority, and melodiousness. And there’s no need to talk about the origins of the literary fairy tale (V.A. Zhukovsky, A.S. Pushkin and others).
The most prominent author of poetic fairy tales of the 20th century is K.I. Chukovsky. His tales make up entire “series”, connected by constant characters, complementary events, and common geography. Rhythms and intonations echo. An example is the “crocodile”, as the author himself called it, the fairy-tale poem “Crocodile”.
A special feature of the poem is the “Korneev stanza” - a meter developed by the author K.I. Chukovsky.
Once upon a time there was
Crocodile.
He walked the streets
I smoked cigarettes
He spoke in Turkish -
Crocodile, Crocodile Crocodilovich!²
“Korneyev stanza” is a heterogeneous trochee (–́ –), exact paired rhymes (was – crocodile, walked – smoked – spoke), and the last line is not rhymed,
¹ http://lit.ru/prose/
² Korney Chukovsky. Poems and fairy tales. Library of world literature for children.
Moscow "Children's Literature" 1981 p.91.
The plots of Chukovsky's fairy tales are close to children's games - receiving guests, going to the hospital, playing with words, etc. For children, the fairy tale “Crocodile” is like the first “novel in verse”, expanding the horizons of life. The action takes place either on the streets of Petrograd, or on the banks of the Nile, in Africa. Serious events are unfolding - war and revolution, as a result of which the relationship between people and animals changes. People cease to be afraid of wild animals, the animals in the Zoo gain freedom, peace and prosperity begin. At the center of all events is a child, “the valiant Vanya Vasilchikov.” He is not only “terribly menacing, terribly fierce,” as the Crocodile says about him, but also fair, noble, he himself frees the animals, saves the girl Lyalechka and all Petrograd residents from the “furious reptile.”
He's a fighter
Well done,
He's a hero
Daring:
He walks the streets without a nanny.
He said: - You are a villain,
You eat people.
So for this my sword -
Your head off your shoulders! -
And he waved his toy saber.¹
As we can see, the image of the hero Vanya is based on epic, fairy-tale motifs of heroic prowess and strength, of course, with a touch of humor.
But the image of the Crocodile is a parody of the romantic hero.
Through swamps and sands
The animal regiments are coming.
Moscow "Children's Literature" 1981 p.93.
Their commander is ahead,
Crossing your arms over your chest.¹
Traditional positive and negative characters, but the talented author deprived Krokodil Krokodilovich of boring ambiguity: now he is a villain, now an exemplary family man, now a freedom fighter, now a pleasant “old man”.
Vanya’s image is also ambiguous: he is either a courageous hero, or a merciless “pacifier” of an animal uprising.
Good and evil in “Crocodile” are not separated as sharply as is usually the case in fairy tales. The little reader is given the opportunity to judge the characters for himself.
Chukovsky used a lot of traditional fairy tale elements in other fairy tales.
In “The Stolen Sun” there are images of folk mythology: the Crocodile, the eater of the Sun, is the embodiment of Evil; The bear is a hero who saves the whole world.
In “The Fly-Tsokotukha” there is a traditional arrangement of images: a virtuous maiden, a villain and a gentleman who saves everyone. The characters are not described, but shown as pictures. And here the children themselves choose who to give their sympathies to.
So, K. Chukovsky in his fairy tales easily and cheerfully diversified traditional fairy tale motifs, while maintaining the main thing: a moral lesson given to readers unobtrusively and naturally.
II. 4
In the last decades of the 20th century, the evolution of the fairy tale genre was especially noticeable. A fairy tale, which has always been built on the basis of a miracle, miraculous events, extraordinary heroes, acquires elements of fantasy.
¹ Korney Chukovsky. Poems and fairy tales. Library of world literature for children.
Moscow "Children's Literature" 1981 p.103
Fantasy (Greek phantastike - the art of imagining) is a type of fiction in which the author’s imagination extends from the depiction of strangely unusual, implausible phenomena to the creation of a special - fictional, unreal, “wonderful” world.¹
A striking example of the combination of fairy tales and science fiction is the work of Kir Bulychev, whom critics called “an optimistic children's science fiction writer,” largely due to his fairy-tale and fantasy stories.
Let's dwell on the work “The Witches' Dungeon”², which was filmed in the 90s. The events described in the book take place on a recently discovered planet with a biosphere reminiscent of Earth's. The intelligent inhabitants of this planet are no different from earthlings, only they are at a lower stage of development. Earthlings are exploring the planet with a noble goal - to bring civilization to the tribes living here. They encounter Evil in the form of witches living in the dungeon. - alien robots. The ending is quite happy. In the spirit of a fairy tale. But it can be considered more deeply, from the point of view of modern positions: the experiment of earthlings, consisting in creating an ideal society without terrible historical upheavals, failed. This is something new that the author introduced into the fairy-tale-fantastic plot; there is no good without evil; it is necessary to spend a lot of effort to achieve good. Although, if you think about it, this idea is not so new. In folk tales, heroes go through many trials before reaching their goal.
The writer Kir Bulychev gives a similar moral lesson in each of his works.
IV. A folk tale and a literary fairy tale. What new did the 20th century bring to the history of the development of this genre? And have the traditional values of folk tales been preserved?
¹ Dictionary of literary terms. Editors and compilers L.I. Timofeev and S.V. Turaev. Moscow “Enlightenment” 1974 p.407
² Bulychev Kir. Dungeon of witches.
Undoubtedly, the literary fairy tale of the 20th century inherited certain folklore traditions, manifested to varying degrees: a magical, fantastic plot, extraordinary heroes and their adventures, magical objects. Helping to perform miracles, the confrontation between positive and negative heroes, the victory of good over evil. The main thing is the moral lesson that readers receive.
Many literary fairy tales have creatively adopted the poetics of folk tales: expressive, apt, crafty language, filled with metaphors, comparisons, hyperboles, and wonderful humor.
A remarkable property of the literary fairy tale of the 20th century is that it treated the folk heritage with care and introduced a lot of new things into the development of the genre.
First of all, this is a close connection between the plot, characters, and poetics with the specific time of creation of the fairy tale. This makes the moral lesson contained in the work more valuable and in demand.
In a literary fairy tale of the 20th century, the humorous, and in other cases satirical, orientation of the depicted is more felt. How can one not recall the great Gogol, who spoke of laughter as a “great force” acting on the reader and viewer. It seems that this is one of the reasons why almost all famous literary fairy tales are filmed in cinema or animation.
Modern literary fairy tales with fantastic elements are also a requirement of the times. Space, distant stars, new magical objects in the form of lasers and blasters must necessarily be present in a modern fairy tale, just as flying carpets, invisible hats, and running boots reigned in the Russian folk tale.
Do we really need a fairy tale today?
Of course you need it! A fairy tale is a preparation for real life. By empathizing with the heroes of a fairy tale, we learn to distinguish good from evil, we learn to draw the right conclusions. A fairy tale is a role-playing game in which we figure out what is good and what is bad. And this is the main moral lesson of the fairy tale.
Literature.
1. Bulychev Kir. Dungeon of witches.
Moscow "Fiction" 1993
2. Ten tales. Fairy tales of Soviet writers.
Moscow "Children's Literature" 1989
3. Olesha Yu.K. Three fat men.
Moscow. "Children's Literature" 1982
4. Timofeev L.I., Turaev S.V. Dictionary of literary terms.
Moscow "Enlightenment" 1974
5. Tolstoy A.N. The Golden Key, or The Adventures of Pinocchio.
Moscow. “Fiction” 1974. Works in 4 volumes, vol.4
6. Chukovsky Korney. Poems and fairy tales. Library of world literature for children.
Moscow "Children's Literature" 1981
7. Shansky N.M. Brief etymological dictionary of the Russian language.
"Education". M. 1971
Internet resources
Http:// www.lit.ru/prose/
XX century in children's reading.
Transformation of foreign classics
OBJECTIVES: 1) To introduce students to the works of foreign and Russian writers of the 20th century, the concept of “transformations;
2) learn to do a comparative analysis of works transferred from foreign
classics into Russian;
3) Formation of students’ skills in independent organization of educational
educational work in the classroom;
4) Deepening and consolidating the theoretical knowledge acquired by students in professional
process of studying the topic, creative use of the work experience of the best teachers
city schools.
EQUIPMENT: Portraits of C. Perrault, G. Andersen, L. Carroll, A. Milne, A. Volkov, Y. Olesha and others. Exhibition of books, illustrative material.
TOPIC: Fairy tales of Russian and foreign writers of the 20th century. Transformation of foreign classics in Russian literature.
1.By heart
2. Comparative analysis of “Doctor Aibolit”
3. “Silver coat of arms”, “From two to five”
P. Main part
The literary fairy tale as a genre, which emerged in all its diversity back in the 19th century, received further development in the 20th century, inheriting traditions and innovations, while simultaneously becoming saturated with the realities of another time.
A powerful incentive for the further development of the genre of literary fairy tales and the appearance of a large number of so-beloved fairy tales by K.I. Chukovsky, S.Ya. Marshak, V. Kataev, A. Tolstoy, Yu. Olesha and other writers was the attempt of figures from pedagogical science in the 20s years to take away a fairy tale from children. K.I. Chukovsky will later write about this in the book “From Two to Five” (chapter “The Fight for a Fairy Tale” - take notes).
The Soviet literary fairy tale has retained connections with the traditions of folk and literary fairy tales of the 19th century, developing them based on the material of modern reality. The fight against evil, injustice, an active positive hero saving the weak and oppressed from violence and cruelty, the triumph of good and justice - all this attracted people to the folk tale and was in tune with the moral principles proclaimed by the rebellious people. The real events of the revolution and civil war burst into the pages of works of various genres of prose, without even avoiding the fairy tale. Social motives permeate the fairy tales of Y. Olesha “Three Fat Men”, E. Permyak “The Tale of the Country of Tera-Ferro”, A. Gaidar “The Tale of Malchish-Kibalchish...”, “Hot Stone”.
A literary fairy tale for children of the Soviet period was intended to help fulfill the social order of the state to educate the younger generation, to form in children moral ideas about friendship, mutual assistance, work, “the wise power of the collective,” and selflessness. Moral and educational problems are highlighted in the fairy tales of V. Kataev “The Pipe and the Jug”, “The Seven-Flower Flower”, V. Oseeva “The Magic Word” by Evg. Shvarts “The Tale of Lost Time”, N. Nosov “The Adventures of Dunno and His Friends”, A. Tolstoy “The Golden Key, or the Adventures of Pinocchio”, V. Gubarev “The Kingdom of Crooked Mirrors”, E. Uspensky “Crocodile Gena and His Friends”, “Uncle Fyodor, the Dog and the Cat”, etc.
Numerous heroes come to the fairy tale of the 20th century - Soviet schoolchildren, who, finding themselves in a fairy-tale, fantastic country, find themselves in difficult circumstances where courage, kindness and willpower are required. These are Volka Kostylkov and Zhenya Bogorad in L. Lagina’s fairy tale “Old Man Hottabych”, Olya and Yalo - V. Guberva’s “The Kingdom of Crooked Mirrors”, Vitya Perestukin - L. Geraskina’s “The Adventures of the Yellow Suitcase”, Petya Zubov - E. Shvarts’ “The Tale of lost time”, heroes of A. Aleksin’s fairy tales “In the Land of Eternal Vacations”, etc.
In the 20th century, the author's own fairy tale develops primarily, when the plot and its characters are a figment of the writer's own imagination. However, folk motifs are also developed in the fairy tales of S. Marshak “Teremok”, “12 Months”, “Cat’s House”, S. Mikhalkov “The Arrogant Bunny”, E. Shvarts “Two Maples”, etc.
The fairy-tale heritage of K. Paustovsky has not yet been fully studied, in whose works real people and events and heroes of fairy-tale epics are intertwined (“Dense Bear”, “Dishesive Sparrow”), educational problems are solved (“Warm Bread”, “Steel Ring”) .
In the 20th century, the natural history fairy tale also developed, which provided a great educational foundation for young readers, primarily in the works of V. Bianchi (“The Owl”, “Whose Nose is Better?”, “How the Ant Was in a Hurry Home”). In his work, M. Prishvin always gravitated towards fairy tales, stories, and myths. It is no coincidence that the genre of his post-war works was defined this way: a fairy tale (“The Pantry of the Sun”), a story-fairy tale (“The Thicket of Ships”), a novel-fairy tale (“Osudareva Road”).
The inexhaustibility of this genre is evidenced by the fairy tales created by G. Oster and E. Uspensky, S. Kozlov. G. Oster’s “A Kitten Named Woof”, “Petka the Microbe”, as well as his poetic “Bad Advice”, is based on the idea of paradox. E. Uspensky raises moral problems, raises questions of family education based on the material of the fairy tale genre. His tales are intricately intertwined
humor and lyricism. S. Kozlov acts as a master of dialogue in the fairy tales “Hedgehog in the Fog”, “Lion Cub and Turtle”, “Shake! Hello!"
The fairy tale of the 20th century greatly enriched this genre with new plots, images, and stylistics.
W.D/Z
1. Comparative analysis of C. Collodi “The Adventures of Pinocchio” and A. Tolstoy “The Adventures of Pinocchio”, Hugh Lofting “Doctor Dolittle” and K. Chukovsky “Aibolit”, Frank Baum “The Wizard of Oz” and A. Volkov “The Wizard of the Emerald City” "(by rows)
2. Artistic analysis of fairy tales by A. Milne, A. Lindgren, J. Rodari (write a review of any fairy tale)
3. Analysis of fairy tales by E. Permyak, V. Kataev, N. Nosov, Y. Olesha and others (from lecture)
4.0 Marshak
Yu.K. Olesha (1899-1960) in the 20s was known throughout the country as one of the best feuilletonists of the popular newspaper "Gudok". He also wrote the novel for children “Three Fat Men” in a cramped room on a roll of paper; this was in 1924. Four years later, the book “Three Fat Men,” designed by M. Dobuzhinsky, was published and immediately became the center of attention of children and adults.
The peculiarity of the “TT” genre is that it is a novel for children, written like a large feuilleton. Overall, the work is an outstanding monument to the literary avant-garde of the 20s.
Each chapter presents the reader with a complete plot and more and more new characters. The reader's attention constantly switches: from a heroic episode to a comic one, from a festive one to a dramatic one. The action branches out; It depicts not only what is directly related to the main conflict between the “fat men” and the “eccentrics,” but also seemingly extraneous episodes, for example, the story of Aunt Ganymede and the mouse, the story of the balloon seller.
Olesha unexpectedly embodied the theme of revolution in the plot of a festive circus performance. As in the circus, adventurous “numbers” are interspersed with funny reprises of the “clown” heroes. Jesters and heroes, eccentrics and romantics are caught up in turbulent events. However, a revolution is not only a celebration of the insurgent people, but also a great drama. And yet, for Olesha, the revolution is akin to art, a fairy tale, a circus, since it completely transforms the world, makes ordinary people heroes.
In essence, "Three Fat Men" is a work about the art of the new century, which has nothing in common with the old art of mechanisms. New art is alive and serves people. New things are born from fantasy and dreams, so there is lightness and festivity in it, this art is similar to colored balloons (that’s why we need an “extra” hero - a balloon seller).
The action takes place in a fairy-tale city, reminiscent of a circus tent, Odessa, Krakow, Versailles, as well as glass cities from the works of symbolist writers and projects of avant-garde artists. In the ideal architecture of the city, cozy antiquity and bold modernity are harmoniously combined.
Olesha would least of all want to destroy the old world “to the ground” - he suggested seeing it in a new way, with children's eyes, and finding the beauty of the future in it.
The history of A. Tolstoy’s fairy tale “The Golden Key, or the Adventures of the Wooden Doll” began in 1923, when Tolstoy edited the translation of the fairy tale “Pinocchio, or the Adventures of the Wooden Doll” by the Italian writer Carlo Collodi. According to Marshak, “it was as if he was playing some kind of fun game with the reader, giving pleasure primarily to himself.” As a result, “a novel for children and adults” (as defined by the author) remains one of readers’ favorite books today. In 1939, the Moscow Theater for Children staged the play “The Golden Key”; in the same year, a film of the same name was shot using animation.
Tolstoy's tale differs from Collodi's edifying tale primarily in its style, in particular in its ironic attitude towards any moral teaching. Pinocchio, as a reward for finally becoming “good”, turns from a wooden doll into a living boy; Buratino is good as is, and the teachings of Cricket or Malvina are not at all what he needs. It is, of course, made of wood and therefore not very intelligent; but he is alive and capable of quickly growing in intelligence. In the end it turns out that he is not stupid at all, on the contrary, he is smart and quick in decisions and actions. The writer renamed the hero: Pinocchio turned into Pinocchio. This is, according to Papa Carlo, a happy name; those who wear it know how to live cheerfully and carefree. The talent to live like this in the absence of everything that usually forms the foundation of well-being - an educated mind, a decent upbringing, wealth and position in society - sets the wooden man apart from all the other heroes of the fairy tale.
The literary fairy tale as a genre is, of course, a full-fledged and full-blooded direction of literature. It seems that the demand for these works will never be exhausted; they will certainly and constantly be in demand by both children and adults of all ages. Today this genre is more universal than ever. Literary fairy tales and their authors are popular, although certain failures occur. There is still a connection with folklore, but modern realities and details are also used. big enough. Trying to identify only the very best, you can fill up more than one sheet of paper. But we will still try to do this in this article.
Features of a literary fairy tale
How does it differ from folklore? Well, firstly, because it has a specific author, writer or poet (if it is in poetry). And folklore, as we know, presupposes collective creativity. The peculiarity of a literary fairy tale is that it combines the principles of both folklore and literature. You can say this: this is the next stage in the evolution of folklore. After all, many authors retell well-known plots of fairy tales, considered folk, using the same characters. And sometimes they come up with new original characters and talk about their adventures. The name may also be original. Hundreds of literary fairy tales have been invented, but they all have a specific authorship and a clearly expressed
A little history
Turning to the origins of the author's fairy tale, we can conditionally note the Egyptian “About Two Brothers”, written down in the 13th century before. Also recall the Greek epics “Iliad” and “Odyssey”, the authorship of which is attributed to Homer. And church parables are nothing more than a semblance of a literary fairy tale. During the Renaissance, a list of literary fairy tales would probably be a collection of short stories by famous writers.
The genre received further development in the 17th and 18th centuries in European fairy tales by C. Perrault and A. Galland, and Russian fairy tales by M. Chulkova. And in the 19th century, a whole galaxy of brilliant authors in different countries used the literary fairy tale. European - Hoffmann, Andersen, for example. Russians - Zhukovsky, Pushkin, Gogol, Tolstoy, Leskov. The list of literary fairy tales in the 20th century is expanded with their creativity by A. Tolstoy, A. Lindgren, A. Milne, K. Chukovsky, B. Zakhoder, S. Marshak and many other equally famous authors.
Tales of Pushkin
The concept of “literary author's fairy tale” is perhaps best illustrated by the work of Alexander Pushkin. In principle, these works: the fairy tales “About Tsar Saltan”, “About the Fisherman and the Fish”, “About the Priest and His Worker Balda”, “About the Golden Cockerel”, “About the Dead Princess and the Seven Knights” - were not planned for presentation to a children's audience . However, due to circumstances and the author’s talent, they soon found themselves on the children’s reading list. Vivid images and well-remembered lines of poetry place these tales in the category of unconditional classics of the genre. However, few people know that Pushkin used folk tales as the basis for the plots of his works, such as “The Greedy Old Woman,” “The Farmhand Shabarsh,” and “The Tale of Wonderful Children.” And in folk art itself the poet saw an inexhaustible source of images and plots.
List of literary fairy tales
We can talk for a long time about the originality of retellings and adaptations. But in this regard, it would be best to recall Tolstoy’s famous fairy tale “Pinocchio,” which the author “copied” from Collodi’s “Pinocchio.” Carlo Collodi himself, in turn, used the folk image of a wooden puppet for street theater. But “Pinocchio” is a completely different, author’s fairy tale. In many ways, according to some critics, it has surpassed the original in terms of its literary and artistic value, at least for the Russian-speaking reader.
From the original literary fairy tales, where the characters were invented by the author himself, we can highlight two stories about Winnie the Pooh, who lives with his friends in the Hundred Acre Wood. The magical and optimistic atmosphere created in the works, the characters of the inhabitants of the Forest, their characters are striking in their unusualness. Although here, in terms of organizing the narrative, a technique previously used by Kipling is used.
Also interesting in this context are Astrid Lindgren's fairy tales about the funny flying Carlson, who lives on the roof, and the Kid, who becomes his friend.
Screen adaptations of literary fairy tales
It should be noted that literary fairy tales are fertile and inexhaustible material for film adaptations, fictional and cartoonish. Just look at the film adaptation of the cycle of tales by John Tolkien (Tolkien) about the adventures of the hobbit Baggins (in one of the first translations into Russian - by Sumkins).
Or the world famous epic about young wizards and Harry Potter! And cartoons are endless. Here you have Carlson, and the Wizard of the Emerald City, and other heroes, characters from literary fairy tales familiar to everyone from childhood.
Literary fairy tale - a type of literature: theoretical issues
Literary fairy tale and problems of folklorism.54
§ 1. Literature for children and fairy tales.77
Genre typology of literature and folklore and literary fairy tale. The problem of classifying author's fairy tales.114
The artistic world of literary fairy tales of the 20th century.142
Folklore and literary tales.148
§ 1. Literary fairy tale of the “silver” age.178
§2. "Tales of Life" by M.M. Prishvin.187
The world and the “anti-world” in the fairy tales of L.S. Petrushevskaya.243
Adventures and worlds of fairy-tale and fantasy cycles
V. Kaverina and V. Krapivina.263
The world of strangeness, dreams and fairy tales" by V. Kaverina.264
Philosophical and adventure "worlds" in fairy tales
V.Krapivina.272
Adventure and didactic tales for children.287
Conclusion of scientific work dissertation on the topic "Russian literary fairy tale of the 20th century"
Conclusion
Let's summarize.
A fairy tale is an eternal way of understanding and depicting the world and man. The study of the dialectics of the development of folklore and non-folklore forms in the history of literature in the history of fairy tales is presented as follows. The fairy tale in literature is actively developing in those periods when the development of culture and literature is close to the individual principles of folklore-fairytale philosophy and aesthetics.
Certain elements of the poetics of folk tales were initially perceived by fiction (its various genres and “departments”). It is in these areas of literature that literary fairy tales themselves appear. A significant transformation of the folklore basis, the refusal of authors to focus on specific plots, the fusion of fairy-tale poetics with mythopoetics, with elements of spiritual literature are generally characteristic of the life of fairy tales in the literature of the 20th century.
By the end of the 20th century. The Russian literary fairy tale was finally defined as an independent type of literature.
A literary fairy tale is a multi-genre type of literature, realized in an endless variety of works by various authors. Each genre type of literary fairy tale has its own dominant feature (harmonious world image, adventure, educational aspect).
As the study showed, the classification of fairy tales in literature is as follows: all literary fairy tales (20th century) can be divided into two types: folkloristic and individually authored. Each subsection also has genres. Thus, the systematization we propose is based on the following principles: the originality of folklorism, genre synthesis, functional characteristics, author’s position and some other features of poetics.
Folklore (or folklore-literary) tales can include: folk-literary tales (B. Shergin, S. Pisakhov); writers' retellings and reworkings of existing folk tales (A. Tolstoy, A. Platonov, E. Schwartz), as well as a small group of fairy tale parodies. An intermediate position is occupied by literary fairy tales created on the principle of “connecting” to the existing tradition (A.N. Tolstoy, A.M. Volkov, E.L. Shvarts), since they partly reproduce the folklore method of “storing” and transmitting information, but on the other hand, they relate to literature, not folklore.
Within the general concept of “author's fairy tale”, a multi-stage identification of functional and thematic groups is possible: philosophical (philosophical-satirical and philosophical-allegorical (L.S. Petrushevskaya), philosophical-lyrical (M. Prishvin)); social adventure (A. Gaidar, Yu. Olesha, L. Lagin, etc.), romantic (V. Krapivin), science fiction (Strugatsky brothers, K. Bulychev), gaming (E. Uspensky)); cognitive (V. Bianki, K. Paustovsky, V. Suteev and others).
In accordance with the proposed systematization, the artistic world of many literary fairy tales of the 20th century has been studied.
Folk literary tales in the works of the authors of the first half of the century - B. Shergin and S. Pisakhov - became one of the facets of all new storytelling - “good art”. A significant number of them, for example, “Shish Moskovsky” by B. Shergin and fairy tales by S. Pisakhov, were created for “entertainment” and gravitate towards the traditions of buffoonery, folk aesthetics of the comic in general.
Folk literary tales, directly related to folklore tradition, represent the highest development of amateur storytelling creativity and at the same time its result.
As the study of the artistic world of folk and literary fairy tales has shown, it is also possible to distinguish different genres among them: buffoon fairy tales, short story fairy tales, bukhtin fairy tales. Compared to individually authored fairy tales, in this case the boundaries between individual genres are more fluid, which is due, in our opinion, to the orientation of the storytellers to the living folklore tradition, changed by time.
The first of them includes works that are very different and distant from each other, at first glance.
The fairytale principle manifested itself in different ways in the works of the authors of the “Silver Age,” but almost any appeal to it at that time was associated with the authors’ desire to comprehend the general, global problems of history and human destinies. Not all fairy tales of the first quarter of the 20th century. are the same. A special “world-modeling” character is given to the fairy tales of this time by an emphasis on universality, an orientation towards mythology, and towards individual genres of folklore (fairy tales, legends, epics and others), and towards various literary traditions.
The desire of the authors to comprehend the world, to depict what is “beautiful for everyone and always” in the fairy tales of N. Roerich, N. Remizov, M. Kuzmin, F. Sologub, as well as L. Charskaya is associated with an orientation towards the poetics of folk tales. They establish a special relationship between reality and the magical fairy-tale world. The motivation for the transition is associated with a person’s desire for beauty, with the desire to become better, with children’s games, dreams, a naive and poetic worldview in general, with admiration for the beauty and wisdom of the world.
A special place in the literature of the 20th century. occupied by the fairy tales of M.M. Prishvin. Prishvin's fairy tale is not only a genre form, but also an element of the writer's worldview, and a feature of creative comprehension of life, and the structure of the works, and the style of narration. The unity of were, essays and fairy tales gives rise to a lyrical-philosophical, ethnographic and magical fairy tale, presented in the forms of an autobiographical tale (the novel “Kashcheev’s Chain”), a fairy tale (“The Pantry of the Sun”, “Ship Thicket”, “Osudareva Road”), travel tales (“In the Land of Unfrightened Birds”, “Behind the Magic Kolobok”), lyrical miniature tales (“Fairy Tale”) and others.
A notable feature of Prishvin’s fairy tales and his other works with a pronounced “fabulousness” was the lyrical beginning, the ways of expressing the author’s position directly related to the fairy tale.
Thus, Prishvin's fairy tales are defined as the recreation of life in the form of a fairy tale or the experience of a fairy tale. Prishvin's philosophical realism is based on the fairy tale not only as a possible basis for organizing the narrative. It has become for the writer a way of explaining and experiencing the world, which, in fact, constitutes one of the conceptual foundations of the literary fairy tale as a whole.
Many features of Prishvin’s fairy tales and folk literary tales are related (the unity of documentary and lyrical principles; admiration for northern folk culture; perception of fairy tales as a synonym for artistic creativity). Thus, in the generalized philosophical understanding of the fairy tale, it is a fruitful trend for its literary life.
A different philosophical and satirical literary fairy tale appears before us in the works of authors of the end of the century.
Consideration of L. Petrushevskaya’s fairy tales allows us to conclude that they differ in the ways of expressing the author’s position, which are formed on the basis of dialogue (in the broad sense) with the ideological and artistic system of folk tales, as well as synthesis with other genres (legend, parable, utopia, fantastic or everyday story, entertaining and didactic drama, poem, etc.).
A story about painful problems of reality in the form of innocent stories, a unique style that combines a lightweight “language for children”, the colloquial manner of an ordinary person, and an emphasized “rawness” of oral speech - in Petrushevskaya’s fairy tales, they are combined with philosophical conclusions and comments.
In Petrushevskaya’s fairy tales, the traditions of folk satirical fairy tales, fairy tales about animals are used; in a parodic, reinterpreted form, motives, images, and details of fairy tales, as well as fable tales, horror stories, and anecdotes are visible.
Most satirical fairy tales are built on the principle of “laughter through tears”; moreover, it is precisely such works that can be called “anti-fairy tales”, and the artistic world - anti-fairy tale. Classifying them as fairy tales allows Petrushevskaya to draw the most important moral conclusion about the world and man.
A happy ending in Petrushevskaya’s philosophical and allegorical fairy tales (for example, in the puppet novel “The Little Sorceress”, the stories “New Adventures of Elena the Beautiful”, “Kitten of the Lord God” and others) often becomes an expression of the sad irony of the author, makes the reader think about the fact that a miracle possible only in a fairy tale, but still retains hope that “this world is still alive” if love, beauty and mercy remain in it.
Philosophical literary fairy tales in general affirm the eternity and immutability of the alternation of joy and sadness in life, becoming a means of artistic embodiment of the harmony of the world, the dialectic of the personal and the general, life and death.
We consider the fairy-tale cycles of V. Kaverin and V. Krapivin to be of the adventure-philosophical type. The essence of the fairy-tale and fantasy world is revealed in them through the narration of the adventures of the heroes. Some parts of the cycles are devoted to adventures and unusual incidents; the general meaning of the cycles is an explanation of the world and man’s place in it. V. Kaverin’s stories combine different time layers, it is mentioned that the main events are already in the past, that the child heroes have matured, but remember the harmonious world of “oddities, dreams and fairy tales”, where they can always return. In Krapivin’s complicated adventure-romantic stories and novels, the fairytale element is associated with the image of childhood and contributes to the expression of the author’s position and his concern for the fate of children in our world.
Children's literary fairy tales of the 20-80s, aimed at children of primary and secondary school age, are educational and adventure stories.
Moral philosophy of a fairy tale (magic), an attitude towards fiction, implemented in various genres, a traditional fairy tale conflict (primarily fairy-tale conflict, but also characteristic of social and everyday tales and fairy tales about animals), subject to the corresponding author’s position (attitude towards a fairy tale, dialogue with her) form a literary fairy tale in the 20th century. Conventionality and generality, the special nature of typification in the world of heroes can change. The typology of literary fairy tale heroes testifies to the wide possibilities for the development of the fairy tale form. The character and subject levels of the artistic world of a literary fairy tale have undergone the greatest modernization in comparison with the classical tradition.
We have determined the pattern in the influence of folk tales on literary ones as follows: fairy tales and short stories have the greatest influence on philosophical prose (M.M. Prishvin), science fiction works (Strugatsky) and magical fantasy stories (V. Shukshin, V. Kaverin), as well as adventure stories for children (A. Volkov, V. Veltistov, S. Prokofieva); fairy tales about animals - for children's scientific, educational and didactic stories, fairy tales, including for the little ones (S. Suteev, V. Bianki, E. Charushin, N. Sladkov and others). Elements of social, everyday and satirical fairy tales underlie fairy tales for adults (L. Petrushevskaya), they can also be found in everyday stories and children's fairy tales (E. Uspensky). The greatest influence on the author's fairy tales of all kinds was exerted by the magical folk tale (features of the poetics of this folklore genre, such as the “iconic” character, “understatement,” the extreme generalization of images, the universal-utopian character of the world-modeling function, are eternal and continue “living life”),
As a result, the originality of the artistic world of a literary fairy tale, the features of the interaction between the conventionally real and the magical-fairy-tale “other kingdom” are determined by the author’s intention and the characteristics of the miraculous. The central problem for a literary fairy tale is the unity of miracle and recognizable reality. But what is reflected in a folk (magic) fairy tale in forms and formulas that have developed over centuries, in literary fairy tales is more individualized, varied, and often requires detailed and lengthy comments from the authors. In particular, this is typical for depicting the transition from reality to a fairy tale. In a folk tale there are initial and final formulas.
In a literary fairy tale, a double “entry” and “exit” is possible: first, from reality into a fairy tale (the authors emphasize that their works will contain something unusual, wonderful, magical, fantastic using titles, genre designations and introductions) , and then from the story - into a fairy tale.
Magic and reality, their close connection and interpenetration constitute one of the features of the author's fairy tales of the 20th century. The literary fairy tale, of course, has always been oriented towards modernity, towards “its time” with all its problems and features. But this orientation itself was precisely “fairy-tale”, fairy-tale-mediated, when behind any topical problems there arose universal moral and social values.
On the basis of this, dual worlds are formed as a characteristic feature of a literary fairy tale. Artistically, the principle of dual worlds is realized in different ways in different genres of literary fairy tales: the formation of subtext, a journey into a fairy tale, a fairy tale within a fairy tale, etc. Our research shows that in new fairy tales, especially those of the late 20th century, miracle coexists with common sense and the author’s irony . Often a “double vision” is presented: the author and the characters can see the wonderful world in different ways; the author’s view (or even a special comment), often tinged with irony or sadness, gives the “other world” special features and helps to understand “one’s” world. This is typical of both children's and "adult" fairy tales. Magic receives a double motivation: childish, direct, when the miraculous exists because they simply believe in it, and complicated, symbolic and allegorical.
The originality of the artistic space of a literary fairy tale, the peculiarities of the interaction between the conventionally real and the magical-fairy-tale “other kingdom” are determined by the author’s intention. Fictional fantasy “worlds” can be associated with the past (conventional medieval), the real-everyday recognizable present or the cosmic technotronic future.
The image of childhood has become a structurally significant element of the artistic world of literary fairy tales of the 20th century. It includes an image of the world of childhood, a child hero, a “childish” view of the world and an orientation towards a certain reader’s perception; connects the concrete historical and the universal. This image is based on various folklore sources and traditions: children's folklore; fairy tales (“sympathy” for the weak and offended, stories with “wonderful children”); tales about animals, characterized by laconicism, a clearly expressed educational and edifying orientation, lively dialogues and entertaining wordplay. If a folk literary fairy tale does not know the image of childhood, then for all types of individually authored fairy tales it is central.
In children's fairy tales (fairy-tale stories, fantasy stories with fairy tale elements), the artistic world can be built in different ways: a magical hero (child, object, thing, doll, robot) in the real world; a real hero in a magical world; conventionally fairy-tale heroes in a fictional (conventionally medieval) country.
An adult literary fairy tale is distinguished by a greater complexity of the artistic world, the desire of the authors in the form of a fairy tale to reflect thoughts about the “sick” issues of time and human nature.
A common feature of Russian literary fairy tales of the 20th century. there is a tendency towards enlargement, complication, and a tendency towards a “large” form. Various types of enlargement of literary fairy tales can be defined as cycle, series and collection. They are based, respectively, on the world image, the adventures of the heroes, and the author’s point of view.
The ideological and artistic construction of cycles and series of fairy-tale and fantasy works is focused on the realization of the hopes and aspirations of any person, including the child reader (injustice must be eliminated without damage to beloved heroes, they must not die, any problem that is insoluble from a real point of view must be allowed).
Study of literary fairy tales of the 20th century. testifies to the fact that no writer can compose a tale that is completely original. Any literary fairy tale always develops and continues traditions and enters into dialogue with them. In this sense, the fairy tale as a type of literature is an open and productive artistic structure.
Polyfunctionalism of the author's position is a property of a literary fairy tale. The author of a literary fairy tale is more “free” in the ways of conducting the narrative, choosing characters, and focusing on historical and cultural traditions, but not free in the sense that a fairy tale is a “fragile” construction. We can talk about a certain “delimitation of the fields of action” of the author and tradition. The beauty and harmony of the artistic world of a folk tale are built largely on the unity of impression. And if the author succeeds, then his fairy tale becomes a real work of art. These are the fairy tales of M.M. Prishvin, as well as folk literary tales of B. Shergin and S. Pisakhov.
The author's position in non-children's fairy tales is meaningful and multifaceted. It is, as it were, realized in different “faces” and their corresponding stylistic design. This could be an ordinary person - our contemporary, expressing a “collective” skeptical view of everything. The author's position may overlap with the position of fictional characters, primarily child heroes.
The author can also be a wise storyteller, each time knowing and understanding more than the heroes and the reader, depicting the imperfection of reality and man with sad irony, while maintaining faith in eternal values. The author is the master and wizard in the “puppet” world. These are the tales of L. Petrushevskaya.
The author's position in children's literary fairy tales is focused on the fact that the child reader not only perceives, but experiences the fairy tale. After all, the original structure - a folk tale - is a complex universal formation, which includes both the most ancient mythological ideas about the world and its philosophical and symbolic interpretation. Talented children's writers, relying on some aspects of the poetics of folk tales, implement in their works only part of the folklore traditions and reinterpret them. Hence the other relationships in the system hero - author - reader (living participation in the action, active sympathy or condemnation, desire to get to know the heroes). The author's point of view is manifested in the way the world is constructed, the assessment of characters and style. It is always clearly defined, this is the position of the adult narrator, raising the child reader, playing with him and experiencing things with him. This is both emphasized lyricism and an appeal to a fairy tale as a memory of the best that is in a person’s life and soul - childhood.
In the 20th century The fairy tale entered into different branches and types of fiction. Among literary fairy tales there are those that have enriched Russian culture as a whole and have become part of “great” literature. Others - the majority of them - can be classified as fiction. There are also fairy tales that are included in “mass” literature.
The external similarity of a fairy tale and stable ideological and artistic stereotypes of mass literature indicates its viability in any conditions.
The closedness of the fairy-tale world, built on the special relationship between magic and reality, determines both the originality of the literary fairy tale and the boundaries of “fairy tale” and “non-fairy tale” in general. Based on the study of literary fairy tales (including for children), even those actively and clearly oriented towards the folk fairy tale tradition, we can conclude that there are “laws” that cannot be violated without destroying the fairy tale as a genre formation as a whole.
The destruction of a fairy tale occurs when magic loses its traditional functional significance, when a children's fairy tale is incomprehensible without an “adult” commentary, when positive characters need to be cruel, even with an explanation that “this is how it should be,” and when a fairy tale remains an empty shell for second-rate commercial "reading material".
The lack of details of the depicted world, the plot-event convention with the dominance of a moral conclusion leads to the transformation of a fairy tale into a parable or allegory. A similar trend was noted by folklorists, describing the destruction of traditional fairy tales even in the repertoire of the most talented storytellers. “By going over” the details of the depicted world, space and time, eclecticism or “turning around” lead to the transformation of fairy tales into fairy tale-adventure fiction or fantasy for children, to the emergence of “fairy tale-like” action films, “star wars”, mystical detective stories, helpless pseudo-historical series, etc. .e. works that exploit the closeness of fairy tales and children's perception. This destruction of the form of a fairy tale also destroys its moral foundations.
Made in the 50-60s. XX century folklorists concluded that the living fairy tale tradition was fading (which began back in the 60-80s of the 19th century) naturally led to the actualization of the problem of the further fate of the fairy tale in new socio-cultural conditions. Study of the artistic world of literary fairy tales of the 20th century. showed that the new “fate” of the fairy tale is determined by the possibilities of artistic synthesis of folklore elements and features of philosophical and satirical-allegorical prose, works for children and science fiction.
Each literary fairy tale ultimately provides its own unique picture of the world, built on the basis of genre synthesis, but all such worlds are parts of what can be called the “kingdom of the fairy tale.”
The main conclusion to which all fairy tale writers strive to lead their readers is that good and evil are opposed not only in a fairy tale, but also in life, in the human soul, that man is part of the world and that everyone is responsible for everything and for everyone.
List of scientific literature Ovchinnikova, Lyubov Vladimirovna, dissertation on the topic "Russian Literature"
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