Who invented the fairy tale Aibolit. Good Doctor Aibolit
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In 1954, French engineer Marc Gregoire discovered a method of applying polytetrafluoroethylene (PTFE) to aluminum and thus invented the first non-stick frying pan. 2 years later, in 1956, Tefal was founded in Sarcelles (France).
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Aibolit is a fairy tale by Korney Chukovsky about a good doctor who helped everyone who turned to him. And then one day a telegram came to Aibolit from Hippopotamus, who called the doctor to Africa to save all the animals. The doctor repeats “Limpopo, Limpopo, Limpopo,” and wolves, a whale, and eagles help him on his way. The good doctor Aibolit cures everyone.
Fairy tale Aibolit download:
Fairy tale Aibolit read
1 part
Good Doctor Aibolit!
He is sitting under a tree.
Come to him for treatment
And the cow and the she-wolf,
And the bug and the worm,
And a bear!
He will heal everyone, he will heal everyone
Good Doctor Aibolit!
part 2
And the fox came to Aibolit:
“Oh, I was bitten by a wasp!”
And the watchdog came to Aibolit:
“A chicken pecked me on the nose!”
And the hare came running
And she screamed: “Ay, ah!
My bunny got hit by a tram!
My bunny, my boy
Got hit by a tram!
He ran along the path
And his legs were cut,
And now he's sick and lame,
My little bunny!”
And Aibolit said: “It doesn’t matter!
Give it here!
I'll sew him new legs,
He will run along the track again.”
And they brought a bunny to him,
So sick, lame,
And the doctor sewed his legs.
And the bunny jumps again.
And with him the mother hare
I also went dancing.
And she laughs and shouts:
“Well, thank you, Aibolit!”
Part 3
Suddenly a jackal came from somewhere
He rode on a mare:
“Here is a telegram for you
From Hippopotamus!
"Come, doctor,
To Africa soon
And save me, doctor,
Our babies!
"What's happened? Really
Are your children sick?
"Yes Yes Yes! They have a sore throat
Scarlet fever, cholera,
Diphtheria, appendicitis,
Malaria and bronchitis!
Come quickly
Good Doctor Aibolit!”
"Okay, okay, I'll run,
I will help your children.
But where do you live?
On the mountain or in the swamp?
"We live in Zanzibar,
In the Kalahari and Sahara,
On Mount Fernando Po,
Where does Hippo walk?
Along the wide Limpopo.
Part 4
And Aibolit stood up and Aibolit ran.
He runs through fields, through forests, through meadows.
And Aibolit repeats only one word:
"Limpopo, Limpopo, Limpopo!"
And in his face the wind, and snow, and hail:
“Hey, Aibolit, come back!”
And Aibolit fell and lies in the snow:
And now to him from behind the tree
Shaggy wolves run out:
“Sit down, Aibolit, on horseback,
We’ll get you there quickly!”
And Aibolit galloped forward
And only one word repeats:
"Limpopo, Limpopo, Limpopo!"
Part 5
But here in front of them is the sea -
It rages and makes noise in the open space.
And there is a high wave in the sea,
Now she will swallow Aibolit.
"Oh, if I drown,
If I go down.
With my forest animals?
But then a whale swims out:
“Sit on me, Aibolit,
And, like a big ship,
I’ll take you ahead!”
And sat on the whale Aibolit
And only one word repeats:
"Limpopo, Limpopo, Limpopo!"
Part 6
And the mountains stand in front of him on the way,
And he begins to crawl through the mountains,
And the mountains are getting higher, and the mountains are getting steeper,
And the mountains go under the very clouds!
"Oh, if I don't get there,
If I get lost on the way,
What will happen to them, to the sick,
With my forest animals?
And now from a high cliff
Eagles flew to Aibolit:
“Sit down, Aibolit, on horseback,
We’ll get you there quickly!”
And Aibolit sat on the eagle
And only one word repeats:
"Limpopo, Limpopo, Limpopo!"
Part 7
And in Africa,
And in Africa,
On black
Sits and cries
Sad Hippopo.
He's in Africa, he's in Africa
Sits under a palm tree
And by sea from Africa
He looks without rest:
Isn't he going on a boat?
Dr. Aibolit?
And they prowl along the road
Elephants and rhinoceroses
And they say angrily:
“Why is there no Aibolit?”
And there are hippos nearby
Grabbing their tummies:
They, the hippos,
Stomachs hurt.
And then the ostrich chicks
They squeal like piglets.
Oh, it's a pity, a pity, a pity
Poor ostriches!
They have measles and diphtheria,
They have smallpox and bronchitis,
And their head hurts
And my throat hurts.
They lie and rave:
“Well, why isn’t he going?
Well, why isn’t he going?
Dr. Aibolit?"
And she took a nap next to her
toothy shark,
toothy shark
Lying in the sun.
Oh, her little ones,
Poor baby sharks
It's been twelve days already
My teeth hurt!
And a dislocated shoulder
The poor grasshopper's;
He doesn't jump, he doesn't jump,
And he cries bitterly
And the doctor calls:
“Oh, where is the good doctor?
When will he come?
Part 8
But look, some kind of bird
It rushes closer and closer through the air.
Look, Aibolit is sitting on a bird
And he waves his hat and shouts loudly:
"Long live sweet Africa!"
And all the kids are happy and happy:
“I’ve arrived, I’ve arrived! Hooray! Hooray!"
And the bird is circling above them,
And the bird lands on the ground.
And Aibolit runs to the hippos,
And pats them on the tummies,
And everyone in order
Gives me chocolate
And sets and sets thermometers for them!
And to the striped ones
He runs to the tiger cubs
And to the poor hunchbacks
Sick camels
And every Gogol,
Mogul everyone,
Gogol-mogol,
Gogol-mogol,
Serves him with Gogol-Mogol.
Ten nights Aibolit
Doesn't eat or drink or sleep
Ten nights in a row
He heals unfortunate animals
And he sets and sets thermometers for them.
Part 9
So he cured them,
Limpopo! So he cured the sick,
Limpopo! And they went to laugh
Limpopo! And dance and play around,
And the shark Karakula
Winked with her right eye
And he laughs, and he laughs,
As if someone was tickling her.
And baby hippos
Grabbed their tummies
And they laugh and burst into tears -
So the mountains shake.
Here comes Hippo, here comes Popo,
Hippo-popo, Hippo-popo!
Here comes the Hippopotamus.
It comes from Zanzibar,
He goes to Kilimanjaro -
And he shouts and he sings:
“Glory, glory to Aibolit!
Glory to the good doctors!
Aibolit character
Older children and adults are often interested in how it was possible to come up with such unusual fairy-tale characters? However, it is likely that Chukovsky’s characters are not entirely fiction, but a simple description real people. For example, the well-known Aibolit. Korney Chukovsky himself said that the idea about Dr. Aibolit came to him after meeting Dr. Shabad. This doctor studied in Moscow at the Faculty of Medicine, and that’s all free time spent in the slums, helping and healing the poor and disadvantaged. For his already modest means, he even gave them food. Returning to his homeland, Vilnius, Doctor Shabad fed poor children and did not refuse to help anyone. They began to bring him pets and even birds - he helped everyone selflessly, for which he was dearly loved in the city. People respected him so much and were grateful that they erected a monument in his honor, which is still located in Vilnius.
There is another version of the appearance of Doctor Aibolit. They say that Chukovsky simply took the character from another author, namely, from Hugh Lofting, his doctor Dolittle, who treated animals and could speak their language. Even if this version is correct, in any case, Doctor Aibolit by Chukovsky is a unique work for young children, which teaches cleanliness and order from an early age, justice, love and respect for our smaller brothers.
Leningrad, Gosizdat, 1925. 35 p. with ill. Circulation 10,000 copies. In color publisher's lithographed cover. Extremely rare!
In 1924, the Leningrad branch of Detgiz published a book on title page which read: "Lofting Guy. Doctor Aibolit. For small children, retold by K. Chukovsky. Fig. E. Belukha. L. State. Publ. 1925." In this imprint, it is worth paying attention to four points at once: the name of the author, the title, the wording “retold for small children” and the release date. The simplest problem is with the date. The year 1925, stamped on the title page, is a common trick in publishing practice when a book published in late November or December is marked with the following year to preserve the novelty of the publication. The author's name, incorrectly indicated in both first Russian editions of Lofting (in Chukovsky's retelling and Khavkina's translation), is a publishing error. The author's name (the initial "N." on the cover of the original edition) was misinterpreted by employees of the State Publishing House, perhaps (if the name was known at all) as an abbreviated form. Indirectly, this error indicates, by the way, one important circumstance. Russian Lofting began as a publishing project. Moreover, the project is “multi-age” - Khavkina translated the material provided by the publishing house for middle ages, Chukovsky retold it for younger ones. Probably, it was planned to publish a series of books (in any case, in the afterword to Lyubov Khavkina’s translation, Lofting’s second book in the series, “The Travels of Doctor Dolittle,” was announced, and it was promised that “this book will also be published in Russian translation in the Gosizdat publication”). For obvious reasons, there was no continuation. Neither the second nor the third books were published in the twenties.
One of the features creative manner Chukovsky is the presence of the so-called. “through” characters who move from fairy tale to fairy tale. At the same time, they do not unite the works into some kind of sequential “series”, but, as it were, exist in parallel in several worlds in different variations. For example, Moidodyr can be found in “Telephone” and “Bibigon”, and Crocodile Krokodilovich can be found in “Telephone”, “Moidodyr” and “Barmalei”. No wonder Chukovsky ironically called his fairy tales “crocodiles.” Another favorite character - Hippopotamus - exists in Chukovsky’s “mythology” in two guises - Hippopotamus itself and Hippopotamus, which the author asks not to confuse (“Hippopotamus is a pharmacist, and Hippopotamus is a king”). But, probably, the most diverse characters of the writer were the good doctor Aibolit and the evil cannibal pirate Barmaley. So in the prose “Doctor Aibolit” (“retelling according to Hugh Lofting”) the doctor comes from the foreign city of Pindemonte, in “Barmaley” - from Soviet Leningrad, and in the poem “Let’s Defeat Barmaley” - from fairyland Aibolithia. It’s the same with Barmaley. If in the fairy tale of the same name he reforms and goes to Leningrad, then in the prosaic version he is devoured by sharks, and in “Let's Defeat Barmaley” he is completely shot from a machine gun. Tales about Aibolit are a constant source of controversy about plagiarism. Some believe that Korney Ivanovich shamelessly stole the plot from Hugh Lofting and his tales about Doctor Dolittle, while others believe that Aibolit originated with Chukovsky earlier and only later was used in Lofting’s retelling. And before we begin to restore the “dark” past of Aibolit, it is necessary to say a few words about the author of “Doctor Dolittle”.
So, Hugh Lofting was born in England in 1886 inMaidenhead (Berkshire) in a mixed Anglo-Irish familyand, although he adored animals since childhood (he loved to tinker with them on his mother’s farm and even organized a home zoo), he did not study to be a zoologist or veterinarian, but to become a railway engineer. However, his profession allowed him to attend exotic countries Africa and South America.After graduation in 1904 private school in Chesterfield decided to devote himself to a career as a civil engineer. Went to study at Massachusetts State University Institute of Technology in America. A year later he returned to England, where he continued his studies at the London Polytechnic Institute. In 1908, after short attempts to find decent job in England, moved to Canada. In 1910 he worked as an engineer at railway in West Africa, then again on the railway, in Havana. But by 1912, the romance of changing places and the hardships of this kind of camping life began to become boring, and Lofting decided to change his life: he moved to New York, got married and became a writer, started a family and even began writing various specialized articles for magazines. In many articles dedicated to life path Lofting notes a curious fact: the first story of the former engineer, who had traveled extensively around the world and gained a wide variety of impressions, was not at all about African or Cuban exoticism, but about drainage pipes and bridges. To people who know Lofting only from the epic about the adventures of Doctor Dolittle, it seems strange that he began as a completely “adult” writer and that “The Story of Doctor Dolittle,” so noticeably different from other books in tone and naivety of presentation, is not “ the first experience of a beginning writer." By 1913, Lofting the writer already had a fairly strong reputation among the publishers of New York magazines, in which he published his stories with avid regularity. short stories and essays. Life is gradually getting better. Children born: Elizabeth in 1913 and Colin in 1915. By the outbreak of the First World War, Lofting was still a British subject. In 1915, he entered the service of the British Ministry of Information, and in 1916 he was drafted into the army with the rank of lieutenant in the regiment of the Irish Guards (Lofting's mother is Irish).His children really missed their dad, and he promised to constantly write them letters. But would you really write to kids about the surrounding carnage? And so, impressed by the picture of horses dying in the war, Lofting began to compose a fairy tale about a good doctor who learned animal language and helped various animals in every possible way. The doctor got quite telling name“Do-Little” (“Do little”), which makes you remember Chekhov and his principle of “small things”.
H. Lofting:
“My children were waiting at home for letters from me - better with pictures than without. It was hardly interesting to write reports from the front to the younger generation: the news was either too terrible or too boring. Moreover, they were all censored. One thing, however, that increasingly caught my attention was the significant role that animals played in the World War, and as time went on they seemed to become no less fatalistic than humans. They took risks just like the rest of us. But their fate was very different from that of humans. No matter how seriously the soldier was wounded, they fought for his life, all the means of surgery, which had perfectly developed during the war, were aimed at helping him. A seriously wounded horse was shot with a well-timed bullet. Not very fair, in my opinion. If we exposed animals to the same dangers that we faced ourselves, then why didn't we give them the same attention when they were injured? But, obviously, to operate on horses at our evacuation points, knowledge of horse language would be required. That’s how this idea came to me...”
Lofting illustrated all of his books himself.
In total, Lofting wrote 14 books about Doctor Dolittle.
V. Konashevich, Soviet edition
prose retelling of "Doctor Aibolit".
Good Doctor Aibolit!
He is sitting under a tree.
Come to him for treatment
And the cow and the she-wolf...
V. Suteev, Book “Aibolit” (M: Children's literature, 1972)
A number of articles in Russian publications set forth, probably at some point, a legend invented by Lofting himself that the writer’s children allegedly independently handed over their father’s letters to one of the publishing houses, and by the time the latter returned from the front, the book had already been published. The reality is a little more prosaic. In 1918, Lofting was seriously wounded and discharged from the army due to disability. His family met him in England, and in 1919 they decided to return to New York. Even before returning home, Lofting decided to rework the stories about the animal doctor into a book. By a happy coincidence, on the ship on which the family was returning to America, the writer met Cecil Roberts, a famous British poet and short story writer, and she, having familiarized herself with the manuscript during the voyage, recommended that he contact her publisher, Mr. Stokes. In 1920, the first book was published by Stokes. In 1922 - the first sequel. From that moment on, until 1930, Stokes began producing one Dolittle per year. The success of the series was not phenomenal, but sustainable. By 1925, the year of the release of the Russian translation and arrangement, Lofting was already a well-known author in America and Europe. Winner of several literary prizes. Several translations of his books are being published and are being prepared for publication. To some extent, one can even say that his Doctor Dolittle became a symbol - a symbol of the new “post-war humanism.” What is this symbolism? In 1923, at the American Library Association's Newbery Award ceremony, Lofting "admitted" that the idea for "The Story of Doctor Dolittle" came to him from seeing horses killed and wounded in battle, and that he was so impressed by the courageous behavior of horses and mules under fire, that he invented a little doctor for them in order to do for them what was not done in reality - to do a little (in fact, this principle is illustrated by the speaking surname doctor - do-little). But “doing little” also means going back to the past and replaying, making impossible what is happening today.
In this sense, Doctor Dolittle is not just a fairy tale or an adventure series for children and teenagers, but one of the first developed projects alternative history. No wonder the epic takes place in the 30s - mid-40s. XIX century - “almost a hundred years ago”, and without mention of “values” Victorian England Almost no detailed review is included. In total, Lofting's Doolittle cycle consists of fourteen books. Ten of them are novels written and published during the author’s lifetime:
The Story of Doctor Dolittle. 1920;
The Voyages of Doctor Dolittle ( The Voyages of Doctor Dolittle. 1922);
Doctor Dolittle's Post Office. 1923);
Doctor Dolittle's Circus. 1924);
Doctor Dolittle's Zoo. 1925);
Doctor Dolittle's Caravan. 1926);
Doctor Dolittle's Garden. 1927);
Doctor Dolittle in the Moon the Moon. 1928);
Doctor Dolittle's Return. 1933);
Doctor Dolittle and the Secret Lake and the Secret Lake. 1948).
Two are compilations, published by Olga Fricker (sister of Lofting's third wife, Josephine) after his death. Two more are “additional” ones, compiled by Lofting in between: a collection of stories “Gab-Gab's Cookbook” (Gab-Gab's Book, An Encyclopedia of Food. 1932) and “ Notebook Doctor Dolittle's Birthday Book. 1936) - an illustrated diary with quotes. Without exception, all books are equipped with the author’s illustrations, heirs of the pictures with which Lofting accompanied his letters home. The order of release of the books differs from their " internal chronology"Starting from the second volume, the figure of the narrator appears in the text - Tommy Stubbins, the son of a shoemaker who works as an assistant for the doctor; others appear quite vividly, in psychological manner depicted permanent characters. The action begins to be built as a memory (in hindsight, what happens in the first book turns out to be not just backstory, but, as it were, also a memory, albeit retold from other people’s words). In general, the style of storytelling changes noticeably. These are adventure stories for middle-aged children, eventful, with numerous inserted episodes, on the alternation of which the internal logic of the story is built. It is from the second book that Lofting's animals begin to acquire " human traits"(moreover, these human traits are not idealized, they are given “unvarnished”; animals seek profit, are lazy, capricious, the motivations for their actions are largely dictated by selfishness, etc.). It is from the second book that we begin to learn some details from the life of the doctor himself, his family (the life story of his sister Sarah), and the people around him (Tommy Stubbins, Matthew Mugg).
In 1924, Dolittle was noticed in Soviet Russia. The publishing house ordered two translations of the fairy tale. The first was designed for middle-aged children, and it was performed by E. Khavkina. Subsequently, it was forgotten and was never republished in the USSR. But the second option, which bore the title “Guy Lofting. Dr. Aibolit. For small children, retold by K. Chukovsky,” had a long and rich history. It was the target audience that became the reason why the language of the fairy tale is very simplified. In addition, Chukovsky wrote that he “introduced dozens of realities into his revision that are not in the original.” And indeed, in new editions the “retelling” was constantly revised. So Dolittle turned into Aibolit, the dog Jip - into Ava, the pig Jab-Jab - into Oink-Oink, the boring puritanical prude and the doctor's sister Sarah - into the very evil Barbara, and the native king Jolinginki and the pirate Ben-Ali completely merged into uniform image cannibal pirate Barmaley. And although the retelling of “Doctor Aibolit” was constantly accompanied by the subtitle “according to Hugh Lofting,” a mysterious editorial afterword appeared in the 1936 edition:
“A few years ago there was a very strange thing: two writers on two ends of the world composed the same fairy tale about the same person. One writer lived overseas, in America, and the other lived here in the USSR, in Leningrad. One was named Gyu Lofting, and the other was Korney Chukovsky. They had never seen each other or even heard of each other. One wrote in Russian, and the other in English, one in poetry, and the other in prose. But their fairy tales turned out to be very similar, because both fairy tales have the same hero: a good doctor who treats animals...”
So after all: who invented Aibolit? If you don’t know that Lofting’s first retelling came out back in 1924, then it seems that Chukovsky simply took Aibolit from his poetic tales and just put it in the retelling. But taking into account this fact, everything does not look so clear, because “Barmaley” was written in the same year as the retelling, and the first version of the poetic “Aibolit” was written 4 years later. Here, probably, one of the paradoxes arises that manifests itself in the minds of people comparing the worlds of Doctor Dolittle and Doctor Aibolit. If we start not just from Lofting’s first tale, but from at least three or four stories in the cycle, we begin to consider it as part of the whole, as a kind of preliminary approach that only designates and outlines the system of relationships between the characters, but does not yet convey all its complexity and completeness (even though the core still remains there, in the first book). The characters change, the narrator (Tommy Stubbins) grows up, potential readers grow up (all this, of course, is not a certain " distinguishing feature"of the Lofting cycle, the same thing happens with the heroes of Milne, Tove Janson, Rowling, etc.). When we begin to compare the Lofting cycle with the Chukovsky cycle, it turns out that (with almost equal volumes) the heroes of Chukovsky's fairy tales remain, as it were, unchanged. It's not even a matter of the absence of a "continuous chronology". Each of Chukovsky's fairy tales is a separate world, and these worlds are not just parallel, they influence each other, they are mutually permeable (albeit to a certain limit). In fact, we cannot even say nothing definite about the identity of the heroes. Indeed, Aibolit "Barmaleya", Aibolit "Limpopo", Aibolit of various versions of Lofting's "Doctor Aibolit", Aibolit of the "war tale", etc., etc. - these are literally the same hero ? If yes, then why does one live somewhere abroad, the other in Leningrad, the third in African country Aibolithia? And Barmaley? And the Crocodile? And why, if Barmaley was eaten by sharks, does he again attack Aibolit with Tanya-Vanya? And if this was before, then he has already corrected himself, why does he behave so badly again that in the end he is eaten by sharks? Or even not sharks at all, but the valiant Vanya Vasilchikov cuts off his head? We are dealing with certain “invariants”: invariants of the characters, what happens to them, and our assessments. That is, Lofting’s first book (retold by Chukovsky and becoming, if not the center of this world, then the first step into it) in this system of relationships does not receive the development that it received in the system of Lofting’s books. Development here is going in a completely different direction. At the same time, it is also worth especially noting that here the texts not only do not have a direct chronology, there is not even a mandatory set of the texts themselves. The potential reader will always have a certain truncated version at his disposal, will have a deliberately fragmentary idea not even of the whole, but of the relationship of the parts at his disposal. The number of versions and editions of fairy tales that we have today (only Lofting’s “Doctor Aibolit” has four main versions, different from each other not only in volume, but also in characters, plot construction, general direction actions), gigantic circulations of books (preventing one or another rejected or corrected edition from completely disappearing without a trace), the lack of clear author's instructions, multiplied by the arbitrariness or incompetence of publishing houses in selecting materials, create a situation in which the reader himself (but unconsciously, at will) case) draws up some kind of individual reading map for himself. If possible, we will try to work with the entire main body of texts, trying to trace the main movements within this special space. But even in the present study it is possible to consider only the main variants containing fundamental plot and semantic differences (while Chukovsky made edits to almost all publications of the 1920-1950s).
Chukovsky himself claimed that the doctor appeared in the first improvised version of “Crocodile”, which he composed for his sick son. K. Chukovsky, from the diary, 10/20/1955:
“... and there was “Doctor Aibolit” as one of characters; only it was called then: “Oybolit.” I brought this doctor there in order to soften the difficult impression that Kolya had from the Finnish surgeon.”
Chukovsky also wrote that the prototype of a good doctor for him was a Jewish doctor from Vilna, Timofey Osipovich Shabad, whom he met in 1912. He was so kind that he agreed to treat the poor, and sometimes animals, for free.
K. Chukovsky:
"Doctor Shabad was the most a kind person, whom I knew in life. Sometimes a thin girl would come to him, and he would say to her: “Do you want me to write you a prescription? No, milk will help you. Come to me every morning and you will get two glasses of milk.”
Whether the idea of writing a fairy tale about an animal doctor really swarmed in Chukovsky’s head or not, one thing is clear: the impetus for its appearance was clearly his acquaintance with Lofting. And then almost original creativity began.
Belukha, Evgeniy Dmitrievich(1889, Simferopol - 1943, Leningrad) - graphic artist, artist of decorative and applied arts, book illustrator. Studied in St. Petersburg in the engraving workshop of V.V. Mate (1911), Higher art school painting, sculpture and architecture at the Imperial Academy of Arts (1912–1913), took lessons from V.I. Shukhaeva (1918). Lived in Leningrad. IN early work worked under the pseudonym E. Nimich. He worked in the field of easel, book, magazine, and applied graphics; He was engaged in etching and lithography. He performed portraits, landscapes, animal studies and sketches; in 1921–1922 he created several miniature portraits (of his wife, E.K. Spadikov). He illustrated the magazines “The Whole World”, “Ogonyok” (1911–1912), “Sun of Russia” (1913–1914); painted for “Krasnaya Gazeta” (1918), “Petrogradskaya Pravda” (1919–1920; including creating the newspaper’s headline). Created designs for bookplates. He was engaged in painting porcelain products at the State Porcelain Factory (1920s). In the 1920s and 30s, he mainly illustrated books for publishing houses: Gosizdat, Priboi, Academia, Lenizdat and others. Designed the books: “Fairy Tales” by R. Kipling (1923), “Tales of the Southern Slavs” (1923), “Doctor Aibolit” by K. I. Chukovsky (1924), “Passionate Friendship” by H. Wells (1924), “Student Stories” L. N. Rakhmanova (1931), “In People” by A. M. Gorky (1933), “A Mule without a Bridle” by Payen from Mézières (1934), “The Stars Look Down” by A. Cronin (1937), “The Course of Life” E. Dabi (1939) and others. During the Great Patriotic War was in besieged Leningrad. He made posters: “Fighter, take revenge on the German bandits for the suffering of the Soviet people” and others, the series “Leningrad in the days of war” (1942–1943). Since 1918 - participant of exhibitions.
Exhibited at exhibitions: Communities of Artists (1921, 1922), Petrograd artists of all directions, original drawings Petrograd book signs (both - 1923), Russian book signs (1926), “Graphic art in the USSR. 1917–1928", anniversary exhibition fine arts(both 1927), “Artistic bookplate” (1928), “Woman before and after the revolution” (1930) in Petrograd (Leningrad), “Russian book sign” in Kazan (1923), “Artists of the RSFSR for XV years” (1933 ), “Heroic Front and Rear” (1943) in Moscow and others.
Participant of many international exhibitions, including book exhibition in Florence (1922), exhibition of artistic and decorative arts in Paris (1925), “The Art of the Book” in Leipzig and Nuremberg (1927), “Modern book art on international exhibition press" in Cologne (1928). Personal exhibition artist was held in Leningrad (1951). The works are in the largest museum collections, among them - State Tretyakov Gallery, Pushkin Museum im. A. S. Pushkin, State literary museum, State Russian Museum and others.
The translation by K. Chukovsky is known to our reader much better than the translation by L. Khavkina:
Lofting, Hugh John. The Adventures of Doctor Dolittle. Drawings by the author. Translated into Russian by Lyubov Khavkina. Moscow, Gosizdat, 1924. 112 p. with ill. Circulation 7000 copies. In the publishing house paperback. Extremely rare!
Gosizdat used illustrations by the author himself - they are funny:
Khavkina, Lyubov Borisovna(1871, Kharkov - 1949, Moscow) - Russian theorist and organizer of library science, a major librarian and bibliographer. Honored Scientist of the RSFSR (1945), Doctor of Pedagogical Sciences (1949). Born into a family of Kharkov doctors. After graduating from the women's gymnasium in 1888-1890. taught at a Sunday school founded by Khristina Alchevskaya. In 1891 he was one of the organizers of the first Kharkov free library. In the same year he went to work at the Kharkov Public Library, where he worked, intermittently, until 1918. In 1898-1901. Khavkina studied library science at the University of Berlin and attended the 1900 World's Fair in Paris, where she became acquainted with the methods of the American Library Association and the ideas of its founder Melville Dewey, which greatly influenced her. In addition, Khavkina, in parallel with working in the library, graduated from Kharkov School of Music with a degree in Music Theory, which allowed her in 1903 to organize and head the first music department with a subscription in the Kharkov Public Library in Russian public libraries; Khavkina also published music reviews and reviews in Kharkov newspapers. Khavkina’s library science works begin with the book “Libraries, their organization and technology” (St. Petersburg: Publishing House of A. S. Suvorin, 1904), which received wide recognition in Russia and was awarded a gold medal at the 1905 World Exhibition in Liege. Throughout the 1900-1910s. Khavkina collaborates with the magazines “Russian School”, “Prosveshchenie”, “Bulletin of Education”, “For people's teacher", writes several articles for " People's Encyclopedia" In 1911, Khavkina’s “Guide for Small Libraries” was published (M.: Publication of the I. D. Sytin Partnership), which went through six editions (until 1930); For this book, Khavkina was elected an honorary member of the Russian Bibliographic Society. During the same period, Khavkina published the popular science books “India: A Popular Essay” and “How People Learned to Write and Print Books” (both - M.: Publishing House of the I. D. Sytin Partnership, 1907). Since 1912, Lyubov Khavkina divides her life between Kharkov and Moscow, where in 1913, at the Shanyavsky People's University, based on the project she compiled, the first librarian courses in Russia were opened, the need for which Khavkina spoke about back in 1904 in her report at the Third Congress Russian figures technical and vocational education. Khavkina combines teaching courses in a number of disciplines with work for the Kharkov Public Library (in 1914 she was elected to the library board) and foreign trips - in 1914, in particular, Khavkina became acquainted with the experience of organizing librarianship in the USA (New York , Chicago, California, Honolulu) and Japan, describing this experience in the book “New York public library” and in various reports. Khavkina’s work “Ketter’s Author’s Tables, revised for Russian libraries” (1916) is also based on American experience - rules for arranging books on library shelves and in library catalogs based on the principles developed by C. E. Cutter; these tables are used in Russian libraries to this day and are colloquially referred to as “Havkina tables” (author's mark tables). In 1916, Lyubov Khavkina took part in the preparation and holding of the founding congress of the Russian Library Society and was elected chairman of its board, remaining in this post until 1921. In 1918, Khavkina published the work “Book and Library”, in which she formulated her attitude towards ideological trends of the new era:
“The library lays the foundation of universal human culture, therefore the influence of state policy diminishes its task, narrows its work, gives its activities a tendentious and one-sided character, turns it into an instrument of party struggle, to which the public library, by its very essence, should be alien.”
After October revolution Shanyavsky University was reorganized (and essentially closed), but the department of library science, headed by Khavkina, was preserved in the form of the Research Office of Library Science (since 1920), which later became the basis for the Moscow Library Institute (now the Moscow State University culture and arts). In 1928, Lyubov Khavkina retired. Throughout the 1930s and 40s. she advised various Soviet organizations (not so much as a librarian, but through foreign languages: Khavkina was fluent in ten languages). At the same time, she did not stop working on methodological works on library science, publishing the books “Compiling Indexes to the Contents of Books and periodicals"(1930), "Unified catalogs (Historical and theoretical practice)" (1943), etc. After the Great Patriotic War, Khavkina was remembered. She was awarded the Order of the Badge of Honor (1945), she was awarded the title of Honored Scientist of the RSFSR (1945), and in 1949, shortly before her death, she was awarded the degree of Doctor of Pedagogical Sciences (for the book “Unified Catalogues”). Lyubov Borisovna was buried at the Miusskoye cemetery in Moscow.
Ballet in 4 acts and 8 scenes (based on the fairy tale by K. I. Chukovsky). Comp. I. V. Morozov, stage. P. F. Abolimov, September 20, 1947, Novosibirsk theater, ballet. M. F. Moiseev, art. B. G. Knoblock, conductor I. A. Zak; Doctor Aibolit M. F. Moiseev, Tanechka A ... Ballet. Encyclopedia
DR. AIBOLIT- “DOCTOR AIBOLIT”, USSR, SOYUZDETFILM, 1938, b/w, 72 min. Adventure tale. Based on the fairy tale of the same name by K. Chukovsky. Cast: Maxim Shtrauch (see STRAUCH Maxim Maksimovich), Anna Williams, Igor Arkadin, Victor Seleznev (see SELEZNEV Victor) ... Encyclopedia of Cinema
Dr. Aibolit- Dr. Aibolit … Russian spelling dictionary
Dr. Aibolit - (fairy tale character) … orthographic dictionary Russian language
Doctor Aibolit (story)- This term has other meanings, see Aibolit (meanings). Doctor Aibolit Genre: story
Doctor Aibolit (cartoon)- This term has other meanings, see Aibolit (meanings). Doctor Aibolit Cartoon type Hand-drawn animation Genre Fairy tale Director David Cherkassky ... Wikipedia
Doctor Aibolit (film)- This term has other meanings, see Aibolit (meanings). Doctor Aibolit ... Wikipedia
Aibolit and Barmaley (cartoon)- Aibolit and Barmaley Aibolit and Barmaley ... Wikipedia
Aibolit (disambiguation)- Aibolit: Aibolit is a fictional veterinarian, a character in several works by Korney Chukovsky, 1929-1936. Aibolit (fairy tale) children's fairy tale in verse by Korney Chukovsky, 1929. Aibolit 66 one-episode musical fiction ... Wikipedia
Aibolit- A character from the fairy tale “Aibolit” (1929) by a famous literary critic and children's poet Korpel Ivanovich Chukovsky (pseudonym of Nikolai Vasilyevich Korneychukov, 1882 1969) is a kind, eccentric doctor who treats animals and birds: Good Doctor Aibolit. He's under... Dictionary winged words and expressions
Books
- Doctor Aibolit, Chukovsky K.. The book "Doctor Aibolit" by K. Chukovsky includes the famous fairy tale about the travels of the good Doctor Aibolit and his friends: Kiki the duck, Ava the dog, the little pig Oink-Oink, the parrot Carudo and the owl... Buy for 508 RUR
- Doctor Aibolit, Chukovsky K.I.. In the book "Doctor Aibolit" K. Chukovsky included the famous fairy tale about the travels of the good doctor Aibolit and his friends: the duck Kiki, the dog Ava, the little pig Oink-Oink, the parrot Carudo and...
Aibolit: Aibolit is a fictional veterinarian, a character in several works by Korney Chukovsky, 1929-1936. Aibolit (fairy tale) children's fairy tale in verse by Korney Chukovsky, 1929. Aibolit 66 one-episode musical fiction ... Wikipedia
Aibolit and Barmaley Aibolit and Barmaley ... Wikipedia
AIBOLIT 66, USSR, Mosfilm, 1966, color, 99 min. Fairy tale, eccentric musical comedy. Based on the fairy tale “Aibolit” by Korney Chukovsky. Director R. Bykov made a humorous, cheerful, carnival performance. He even came up with a special idea for such a spectacle... ... Encyclopedia of Cinema
This term has other meanings, see Aibolit (meanings). Aibolit 66 Genre fairy tale comedy adventure, family film musical f ... Wikipedia
This term has other meanings, see Crocodile (meanings). Crocodile Genre: fairy tale
The Tsokotukha fly on a Russian postage stamp. 1993 The Fly Tsokotukha children's fairy tale in verse by Korney Chukovsky and main character this fairy tale. The fairy tale was written in 1923, but was initially banned by censorship: in the phrase “And the horned beetles, Men... ... Wikipedia
- “Crocodile” is a children’s fairy tale in verse (poem) by Korney Chukovsky, the author’s first children’s work. The fairy tale was written in 1916-1917. First published under the title “Vanya and the Crocodile” in the supplement to the Niva magazine “For Children”. In 1919, under... ... Wikipedia
This term has other meanings, see Barmaley (meanings). Barmaley Genre: fairy tale
This term has other meanings, see Aibolit (meanings). Doctor Aibolit ... Wikipedia
This term has other meanings, see Aibolit (meanings). Doctor Aibolit Cartoon type Hand-drawn animation Genre Fairy tale Director David Cherkassky ... Wikipedia
Books
- Dr. Aibolit. Fairy tale, Chukovsky K.. The book includes the first two parts famous fairy tale K. Chukovsky "Doctor Aibolit", written based on the fairy tale story about Doctor Dolittle by the English writer Hugh Lofting. About dangerous...
- Aibolit. Fairy tale, Chukovsky K.. DEAR PARENTS! . . Has your child started school and is learning to read? The colorful editions of the “Book by Book” series will help him take his first steps into the vast world of literature. Stories, fairy tales, poems...
