Issues for discussion:
Definition of the genre of a fairy tale. The main features of the Russian folk tale.
General characteristics of fairy tales about animals.
Origin of fairy tales about animals. Animism and totemism in fairy tales about animals.
Animal tale character system. Anthropomorphism.
Composition of fairy tales about animals
Features of the language of fairy tales about animals
Tales about animals in the system of ecological ideas.
Analysis of works of students' choice
3. Fairy tales. Characteristics of this type of fairy tale.
The origin of fairy tales. Connection with mythology and religion. (Animism, totemism and magic in fairy tales).
Typology of heroes of fairy tales.
Minor characters of fairy tales
The main motifs of fairy tales
Time and space in fairy tales
Traditional formulas of fairy tales
Fairy tales in the practice of preschool education
4. Everyday fairy tales. Characteristics of everyday fairy tales.
Varieties of everyday fairy tales
The origin of this type of fairy tales Historical motifs in everyday fairy tales
The system of characters in everyday fairy tales
The social orientation of everyday fairy tales
Replenishment of the fabulous repertoire at the expense of works of literature.
Preparation of reports on the following topics:
Traditional formulas of Russian folk tales.
images younger brother in folk tales.
Women's images in fairy tales, their functions.
Origin, features and functions of the image of Baba Yaga in fairy tales.
Origin, features and functions of the image of the Serpent Gorynych in fairy tales.
Origin, features and functions of the image of Koshchei the Immortal.
Tasks
Expressive storytelling
Comparative analysis of the fairy tale and literary plot(at the student's choice).
Literature
Anikin V.P. Russian folktale. - M., 1977.
Bakhtin V. From the epic to the counting rhyme: Tales of folklore. - M., 1982
Begak B.A. An inexhaustible spring (Children's literature and folk art). - M., 1973.
Ersh Ershovich. Russian folk tales. - M., 1989.
Marshak S.Ya. O great literature for little ones. / Collected. op. in 8 vols., v.6. - M., 1971.
Melnikov M.N. Russian children's folklore. - M., 1987.
Neelov E.M. The fairy tale roots of science fiction. - M., 1986.
Pomerantseva E.V. The fate of the Russian fairy tale. - M., 1973
Propp V.Ya. Historical roots fairy tale. - L., 1986
Propp V.Ya. Morphology of a fairy tale. - L., 1976.
Propp V.Ya. Russian fairy tale. - Leningrad State University, 1984.
Propp V.Ya. Folklore and reality. – M.
Roshiyanu N. Traditional fairy tale formulas. - M., 1984.
Slavic mythology. Encyclopedic Dictionary. - M., 1996.
Sharov I.A. Wizards come to people. - M., 1974.
Topic 4: Russian literary fairy tale of the 19th century
Issues for discussion:
The origin of the literary fairy tale genre. Conditions for the existence of a fairy tale
Forerunners of the literary tale
Similarities, differences between literary and folk tales:
volume and existence;
genre and generic transformations;
composition;
5 .The emergence and existence of a literary fairy tale in Russia
6 .Anthony Pogorelsky and his tale black hen, or Underground inhabitants":
Biographical data and history of writing a fairy tale;
A fusion of the realistic and the fantastic in Pogorelsky's fairy tale;
Skill in depicting a child's character;
Composition and plot of the tale;
Traditions and innovation in the fairy tale "The Black Hen, or Underground Inhabitants".
7 . V.F. Odoevsky- writer and educator
Biographical note. A fairy tale in the work of V.F. Odoevsky;
"Town in a Snuffbox" - the first scientific and artistic fairy tale;
"Moroz Ivanovich": plot basics fairy tales; Comparative characteristics literary fairy tale by V.F. Odoevsky "Moroz Ivanovich" and folk original.
"Lessons" of the fairy tale "Moroz Ivanovich".
8 .V.A. Zhukovsky- the founder of the literary fairy tale genre
Literary sources of fairy tales by V.A. Zhukovsky ("Sleeping Princess", "War of Mice and Frogs", "Puss in Boots", "Tulip Tree").
Folklore sources of fairy tales "Ivan Tsarevich and the Gray Wolf", "The Tale of Tsar Berendey ...".
Compare the tale of V.A. Zhukovsky “Ivan Tsarevich and Grey Wolf” with the folk tale of the same name, paying attention to the similarities and differences in descriptions, characters and relationships of the characters.
The value of V.A. Zhukovsky's work and its place in the circle children's reading.
9 . Pushkin and oral folk art. Reasons and motives for Pushkin's appeal to writing fairy tales.
Folklore and literary sources of A.S. Pushkin.
The problems of fairy tales by A.S. Pushkin. What role does fiction play in them? Pushkin's fairy tales as a work for adults and children.
Heroes of fairy tales A.S. Pushkin and artistic means of image formation.
Rhythmic originality of Pushkin's fairy tales.
10 .Life story P.P. Ershov and the history of the appearance of his fairy tale.
Folklore basis of Ershov's fairy tale.
Literary allusions in the fairy tale "Humpbacked Horse".
Satire in Ershov's fairy tale.
Compare the hero of the fairy tale "Humpbacked Horse" and Ivanushka - the fool from the folk tale. Similarities and differences between these images.
Features of the structure of the fairy tale "Humpbacked Horse"
The role of Ershov's fairy tale in children's reading.
Tasks
Comparative analysis of literary and folk tales with the same plots (at the student's choice).
literary taleIIhalfXIXin.
Features of the development of the literary fairy tale genre in the work of D.N. Mamin-Sibiryak, V.M. Garshina, S.T. Aksakova, L.N. Tolstoy.
Compare the tale of S.T. Aksakov with similar literary and folklore plots by Apuleius. "Metamorphosis", part 5.6 - "The Tale of Cupid and Psyche"; Mrs. LePrince de Beaumont. "Beauty and the Beast"; Russian folk tales "Finist the Bright Falcon" and "The Enchanted Prince". Similarities and differences in plot situations, character characteristics, language features, ideological sense.
What fairy tales L.N. Do you know Tolstoy? The fairy tale "Three Bears" and its connection with the pedagogical views of the author.
Tales of V.M. Garshin. Andersen's traditions and symbolism of the fairy tale "Attaleaprinceps", "About the toad and the rose", "About what was not". Fantasy and reality in the fairy tale "The Frog is a Traveler".
The structure of the cycle D.N. Mamin-Sibiryak "Alyonushka's Tales". Traditions and innovation of fairy tales. folklore motifs in "The Tale of Tsar Pea ...".
Draw conclusions about the characteristic features of a literary tale II half of XIX in.
Literature
Anikin V.P. Introductory article / In the book. Ershov P.P. "The Little Humpbacked Horse". - M., 1994.
Anikin V.P. For curious readers. In the book: Two fairy tales. Tales of Russian writers. - M., 1975.
Akhmatova A.A. Pushkin and children. // Children's literature. - 1994. - No. 4.
Berezkina S.V. History of creation last fairy tale Zhukovsky / In the book. Zhukovsky and Russian culture. - L., 1987.
Bessarab M.Ya., Zhukovsky V.A. A book about the great Russian poet. - M., 1975.
Blagoy D.D. “We have everything from Pushkin. // Children's literature. - 1994. - No. 6.
Introduction to literary criticism / ed. Motylets E.A. - Novokuznetsk, 1999.
Kurochkina G. Writer, educator, teacher, storyteller.// Preschool education. - 1992. - No. 6.
Kurochkina G. Writer, educator, storyteller. Preschool Education, No. 6, 1975.
Kurochkina G. Pushkin's Tales // Preschool education, 1993. - No. 9.
Leonova T.G. On some aspects of the study of a literary fairy tale.//Literary fairy tale. History, theory, poetics. - M. 1996.
Lupanova I.P. P.P. Ershov / In the book. Ershov P.P. "The Little Humpbacked Horse". - M., 1976.
Marshak S.Ya. Notes on Pushkin's fairy tales in 4 vols., Vol. 4 - M., 1964.
Mineralova I.G. Children's literature. - M. 2002.
Nagishkin V.B. Literary tale. - M., 1963.
Naidich L.E. Zhukovsky's Tale “The Tulip Tree and Its German Source. / In the book. Zhukovsky and Russian culture. - L., 1987.
Distinctive features of a literary fairy tale.
Pigarev K.V. Zhukovsky. / In the book. Zhukovsky V.A. Ballads. - M., 1990.
Russian literature for children / Ed. T.D. Polozova. - M., 2000.
Sakharov V.I., Odoevsky V.F. - Writer and teacher. // Primary School. – 1994. – № 12.
Semenko I.M. Life and poetry of V.A. Zhukovsky. - M., 1975.
Tale of P.P. Ershov "Humpbacked Horse".
Slonimsky A.L. Pushkin's skill. - M., 1993.
Stroev N. Birth of a literary fairy tale. / In the book: "French literary fairy tale of the 17th - 18th centuries." - M., 1989.
Tomashevsky B.V. Literary Theory: Poetics. – M.
Utkov I.N. “On the Roads of the Horse - the Humpbacked Horse”. - M., 1983.
Utkov I.N. "Born in the depths of bad weather" - M., 1976.
Frumkin A. New edition old fairy tale A. Pogorelsky. // Preschool education. - 1994. - No. 7.
Frumkin A. A new edition of the old fairy tale by A. Pogorelsky. Preschool Education, No. 7, 1974.
Sharov A.I. Wizards come to people. - M., 1974.
It is at the age of 4-5 that it is determined who will be a reader in the future and who will not. At this age, it is especially important to introduce the child to the golden fund of the children's book. The collections "Russian fairy tales", "Once upon a time" were recognized as the best publications.
Of the poetic works for children 4-5 years old, it is advisable to purchase, first of all, the works of the classics of children's literature. Among them are works by A. Pushkin, N. Nekrasov, A. Blok, K. Chukovsky, S. Marshak, V. Berestov, I. Tokmakova. Poems and stories by E. Uspensky, S. Kozlov, A. Barto, E. Blaginina are very popular with children.
Among the stories and fairy tales of Russian writers, the leading publications are the works of K. Ushinsky (stories and fairy tales "For Children") and L. Tolstoy ("For Children" and "ABC"). The stories of N. Nosov "Live hat", "Bobik visiting Barbos" are very loved by children of 4-5 years old.
Children of this age can handle G. Andersen's fairy tales "Thumbelina", "The Steadfast Tin Soldier", brother Grimm "The Bremen Town Musicians".
More than one generation of 4-5 year old children grew up on the picture book "Pif's Adventure", on Kipling's fairy tale "Elephant".
Among the best books on wildlife should be called "Big and Small" by E. Charushin, many editions of works by V. Bianchi and V. Sladkov.
As for the selection of children's books for senior preschool age, that is, for children 6-7 years old, in it great place occupies scientific-fiction and popular-science literature, books of an encyclopedic nature, photo books in various fields of knowledge.
If we talk about editions of folklore, they were enriched with collections of riddles and proverbs. These include a collection of riddles "Smart Ivan, the Firebird and golden grain". As for the collections of fairy tales, among many others, one can single out the colorful translated book "Treasures of Fairy Tales" and the collection "Golden Book best fairy tales peace."
Of the poetic works in the home library for preschoolers, one should first of all have the works of classical poets - A. Pushkin, V. Zhukovsky, F. Tyutchev, A. Maikov, I. Bunin, A. K. Tolstoy, S. Yesenin. It is recommended to introduce "Fables" by I. Krylov into the reading circle of children 6-7 years old, many of which will be studied at school. The essence of preliminary reading is not to understand the morality of the fables (this will come later), but to touch the model of native figurative speech.
Next to the poetic heritage of K. Chukovsky, S. Marshak, B. Zakhoder, S. Mikhalkov, V. Mayakovsky, A. Barto, collections of poems by S. Cherny, D. Kharms, T. Sobakiya, M. Boroditskaya should be on the bookshelf of preschoolers , R. Makhotina, M. Yasnova it is very important that the child gets to know them even before school.
Many collections of stories and fairy tales by writers have been released for preschoolers different countries. To the fairy tales and stories of Russian writers of the XIX century, already recommended for reading by children 4-5 years old, a fairy tale by S. Aksakov is added " The Scarlet Flower", "Alyonushka's Tales" by D. Mamin-Sibiryak, "The Frog Traveler" by Garshin, "The Town in the Snuffbox" by V. Odoevsky. From the stories we can recommend "Theme and the Bug" by N. Garin-Mikhailovsky, "Jump" by L. Tolstoy, "White Poodle" by A. Kuprin, "Kashtanka" by A. Chekhov Among the writers of the 20th century, special attention of parents should be paid to P. Bazhov ("Silver Hoof"), B. Zhitkov ("Stories about Animals"), A. Tolstoy ("The Golden Key or the Adventures of Pinocchio"), M. Zoshchenko (" Selected stories for children"), K. Chukovsky "Doctor Aibolit". A kind of bestseller for children's reading is A. Volkov's book "The Wizard of the Emerald City" - a free retelling of the book by American writer Frank Baum "The Wizard of Oz".
Of the writers of the second half of the 20th century, V. Dragunsky with his "Deniskin stories", V. Golyavkin with his "Notebooks in the rain", N. Nosov with the famous "Adventures of Dunno and his friends", E. Uspensky with "Crocodile Gena" and "Uncle Fedor", T. Aleksandrova with "Kuzka". In addition, the "classics" of children's reading include the works of other writers, among which one cannot fail to name Sergei Kozlov and his book "The Hedgehog in the Fog". For preschoolers, the writer G. Tsiferov and his book "The Story of a Piglet" are interesting.
As for the fairy tales of foreign writers of the 19th century, children are mainly recommended fairy tales by E. T. A. Hoffmann ("The Nutcracker and mouse king"), W. Gauf (" Little Muck"," Dwarf Nose "), D. Harris ("Tales of Uncle Remus"), C. Collodi ("The Adventures of Pinocchio"). Of the writers of the 20th century, I would like to mention R. Kipling with his fairy tales. A voluminous book will also be a real gift for children A. Milne "Winnie the Pooh and All-All-All and much more."
More than one generation of preschoolers grew up on D. Rodari's book "The Adventures of Chippolino". Children aged 6-7 years already have access to one of the most famous works Astrid Lindgren "Three stories about the Kid and Carlson". It is impossible not to say about one more book - the book of the Austrian writer F. Selten "Bambi" A special place in people's lives different generations occupies the fairy tale by M. Maeterlinck " Blue bird". Having read it at least once, parents will certainly want to have a book in the house to bring their child the same joy that they themselves experienced when reading it in childhood.
As noted above, for children 6-7 years old, the range of publications is significantly expanding. educational book in particular about the environment. I. Akimushkin, V. Biapki, M. Prishvin, N. Sladkov, E. Charushin, I. Sokolov-Mikitov, and others, who managed to reveal to the child the life of forests, seas, rivers, sky and earth, animals and insects, they have become a kind of encyclopedia that introduces the child to different areas of knowledge
No. 1. Children's literature as an art form. Definition of the concepts "children's literature", "children's reading", "children's reading circle", "children's literary creativity". Art of the word for children as an object of scientific research.
"Children's literature" - a complex of works, created taking into account the psychophysiological characteristics of age.
"Children's Reading" - works or fragments from works general literature, accessible to children's perception, interesting to children and therefore entrenched in their reading.
"Children's Reading Circle" -
"Children's Literary Creativity" - i.e. works written by the children themselves.
- The specifics of literature for preschool children: themes, artistic features, type of hero.
Subject: Children's literature favors topics drawn from the life of its reader. Topic children's games and toys(A. Barto "Playing in a herd", cycle "toys", etc.), childhood theme(stories by N. Nosov, V. Dragunsky), the theme of nature, the image of the animal world(V. Bianki, Yu. Linnik), the theme of intra-family relations and relationships within children's team (L. Charskaya "Princess Javakha", S. Georgiev "Grandfather"). In literature. preschoolers widely developed applied topics (N. Pikuleva "Persuaders"), initially there were industrial and revolutionary topics. At the beginning of the 21st century, preference is given to such topics: the phenomenon of childhood as the nature of life, home, family, the inner world of the child, the ecology of man and nature.
Hood. Peculiarities: language(the writer must catch the peculiarities of the language of the age group about which and for which he writes); unity of literary and ped. principles(the writer must tell specifically, “childishly” about abstract, “non-childish” things); own artistic means of depicting reality; animism- belief in the existence of souls and spirits; anthropomorphism- likening to a person, endowing with human mental properties of objects and phenomena of inanimate nature, celestial bodies, animals, mythical creatures; alogism of the real; children's speech; comulativity; short genre forms ; onomatopoeia; alliteration- repetition of the same consonant sounds; assonance- repetition of the same vowel sounds.
Hero type: 1) The hero is small, equal in age and height to the reader, but “daring”, strong, in a hurry to help (K. Chukovsky “Crocodile”).
2) A hero in distress, in need of help, protection, advice, compassion (S. Kozlov "Sick Hippo"). Substitute Heroes.
3) A hero or character that does not exist in reality, has no analogues in it (gnome, brownie, T. Aleksandrova).
4) Hero-why. He is distinguished by a thirst for knowledge, asks many unexpected questions, hurries to satisfy his interest, curiosity (B. Zhitkov).
No. 2. Functions of children's literature, criteria for selecting literature for reading to preschool children. Selection principles.
Functions of children's literature: entertaining. Without it, all the rest are inconceivable: if a child is not interested, it is impossible to develop or educate him; aesthetic - should instill a true artistic taste, the child must be introduced to the best examples of the art of the word; cognitive - firstly, there is a special genre of scientific and artistic prose, where in literary form children are presented with this or that knowledge (for example, the natural history tale of V. Bianchi). Secondly, works that do not even have a cognitive orientation contribute to expanding the child's circle of knowledge about the world, nature and man; illustration; psychological feature perception of children's literature; identification - identifying oneself with literary hero. This is especially characteristic of adolescence, but not only: we see a peculiar example of identification, for example, in the finale of I. Surikov's poem "Childhood"; escapism is a retreat into the imaginary world of the book.
No. 4. The concepts of "folklore" and " fiction". The specificity of folklore. "Wandering plot" in folklore.
"Folklore" - oral folk art, reflecting the life of the people, views, ideals created by the people.
"Fiction" - the art of the written word.
"Wandering Plot" - stable complexes of motives that form the basis of an oral or written work, passing from one country to another and changing their artistic appearance depending on the new environment of their existence.
No. 5. Folk tale: definition of the concept, history of origin and existence, state of the art genre. Classification.
folk tale- an oral narrative work of a magical, adventurous or everyday nature with a fantasy setting, told for educational or entertainment purposes. "A fairy tale is a lie, but there is a hint in it, a good lesson for a good fellow."
The fairy tale has always been attributed to an audience of different ages, but only in the 20th century did it become mainly owned by children. The name itself did not appear immediately, N.V. Novikov suggests that in ancient Russia various oral stories were called “tales” (“bayat” - to speak) A fairy tale is a document based on facts (“revision tale” was used in this sense by Pushkin, Gogol). Most likely, by the middle of the 19th century, the bike was called a fairy tale.
The fairy tale has replaced the myth. E.V. Pomerantseva (folklorist of the 20th century) testifies: the first mentions refer to Kievan Rus. The history of the Russian fairy tale is rich in events.
At the end of the 18th century, they began to write down the fairy tale, and literary plots began to be created on the basis of folk stories.
Classification: VG, Belinsky divided into two kinds of fairy tales: 1. heroic 2. satirical (the life of the people, their domestic life, moral concepts, and this crafty Russian mind).
Afanasyeva classified according to the time of creation and the plot. Highlights:
Tales about animals (the most ancient)
Fairy tales
Household fairy tales
adventurous tales
The architectonics or aesthetic plan for constructing a fairy tale has elements common to all types. ( Saying- prepare listeners for the perception of the fairy tale “Ay, amuse you with a fairy tale? ..” OPTIONAL.
Zachin- the beginning of a fabulous action, takes readers into fairy world"In a certain kingdom ..". it determines: 1. the place of action, 2. the time of action, 3. the heroes of the fairy tale. MANDATORY.
Main part of the story- a three-stage structure of the plot: a preparatory chain of actions, a central action and a denouement.
Outcome or ending- the final part of the story. “They began to live to live and to make good ..”
artistic time fairy tale does not go beyond the progressive development of the action (the action only moves forward, not knowing side lines and retrospectives), it never has an exact designation and real correspondence to anything. art space fairy tales have no real outlines. It is uncertain, easily overcome. The hero does not know any resistance of the environment: “go from here, wherever your eyes look ...”
Stylistic formulas are phrases that pass from fairy tale to fairy tale without change or with minor changes: “once upon a time, the morning is wiser than the evening ..”.
Retardation is a triple formula: three times the cat punishes the rooster not to respond to the call of the fox.
No. 7. Tales about animals and fairy tales: their similarities and differences, content, form of fiction, poetics.
Animal tales are the most ancient work of the fairy tale epic. ancient man animate nature, transferred his properties to animals, did not see the differences between them and himself. Animals are able to think, speak, act intelligently. The fairy tale is inherent in: animism-animation of animals, etc.; totemism is the deification of animals.
They are divided into 2 groups: comic (“tops and roots”).
Moralistic (“Cat, rooster and fox”).
Cumulative tales (collection). The principle of their construction is the principle of stringing one micro-plot onto another with some expansion in some cases and almost content repetition in others (for example: 1. "The animals in the pit"; 2. "Turnip", "kolobok", "teremok").
In the fairy tale about animals, animals are carriers of one sign, one special characteristic (the fox is cunning)
These stories are allegorical.
Artistic structure: simple, unpretentious, understandable language, the presence of dialogues, short but expressive songs.
Kostyukhin points to 2 species-forming features:
1) The primary object of narration in such a fairy tale is the entire organic and inorganic world, endowed with human features.
2) Depends on the installation of the performer, on what problem will be in 1st place.
Fairy tales - the presence of a wonderful action (V.P. Anikin)
AT poetics V.Ya. Propp believes that "fairy tales are characterized by the uniformity of their composition". The function of the hero's temporary absence, ban, violation of the ban, test. They play an important role in the development of the story.
Fairy-tale fiction based on magic is always connected with reality in its own way.
Significance in. Tales: 1. The visibility of the description (fascinates the listener). 2. Energy of action, 3. Wordplay, 4. Careful and unusual choice of words, 5. Dynamics.
B. A fairy tale is, first of all, the magic of words.
DIFFERENCE:
The main features of fairy tales consist in a much more developed plot action than in fairy tales about animals. In the adventure nature of the plots, which is expressed in the hero's overcoming a number of obstacles in achieving the goal; in the extraordinary nature of events, miraculous incidents that occur due to the fact that certain characters are able to cause miraculous phenomena, which can also occur as a result of the use of special (miraculous) objects; in special tricks and methods of composition, storytelling and style. But at the same time, in fairy tales more often than in other varieties of fairy tales, so-called contamination is observed - the connection of various plots or the inclusion of motifs of another plot in the plot. The structure of fairy tales. Fairy tales have a structure different from the structure of animal and social fairy tales. First of all, they are characterized by the presence of special elements, which are called sayings, beginnings and endings. They serve as the external design of the work and indicate its beginning and end. Some fairy tales begin with sayings - playful jokes that are not related to the plot.
No. 8. Fairy tales everyday and adventurous: their similarities and differences, content, form of fiction, poetics.
Everyday fairy tales are social satire. brief. There is usually one episode in the center of the plot, the action develops quickly, there is no repetition of episodes, the events in them can be defined as ridiculous, funny, strange. Comic is widely developed in these tales, which is determined by their satirical, humorous, ironic nature. There are no horrors in them, they are funny, witty, everything is focused on the action and features of the narrative that reveal the images of the characters. “In them,” wrote Belinsky, “the way of life of the people, their domestic life, their moral concepts and this crafty Russian mind, so inclined towards irony, so simple-hearted in its cunning, are reflected.
The form of fiction is based on the alogism of the real.
DIFFERENCE: Adventurous tales, being satirical, in fact, do not reach social generalizations. Here, not social, but universal human vices are ridiculed.
SIMILARITY:
in poetics, which has all the signs of a comic, is exaggeratedly depicted main feature character.
No. 9. Boring fairy tales, their types, artistic features, role in introducing preschool children to the fairy tale.
Boring tales are tales with endlessly repetitive content.
1. Prose (“bast on a stake”)
2. poetic (once there were two soldiers...).
The role in the fairy tale epic is not so much aesthetic as psychological. Kindled interest in a fairy tale, or vice versa, stopped.
No. 10. Children's folklore, its specificity. History of study. Classification. Current state.
D.F. as a kind of oral verbal art, it retained the echoes, the realities of the life of many generations of people.
Collection and scientific research began late in the 60s. XIX century (Bessonov-1st publisher; Shane-implemented scientific publication a large number of texts; Vinogradov and? .... - made a huge contribution)
1970 - Melnikov "Russian children's folklore of Siberia".
In XX age division children's folklore.
XX-XXI - a serious interest in children's folklore in general.
Big role plays:
Communicative activity. Has its own habitat, ped. Orientation, psychophysiological.
№11. The poetry of nurturing is clearly connected with the interests, requests and needs of the child. Therefore, it is considered actually children's folklore. Each of the three groups of texts is intended for children of a certain age. The smallest are addressed to pestles, children a little older - nursery rhymes. Jokes are intended for children who can already not only understand the appeal, but also respond to it. Pestushki called short sentences or songs that accompany game movements or physical exercises (sipping, spreading hands, braking, stroking, tossing, tickling). They helped to establish emotional contact with an adult, without which the normal mental and physical development of a child is unthinkable, they taught the language and melody, gave the first ideas about the realities surrounding reality". Pestles help to maintain a good mood in a child during wakefulness, keep him from tears and whims. At the same time, massage or simple physical exercises are carried out. Practical medicine and folk pedagogy have developed a whole range of exercises accompanied by the performance of pestle from the first weeks of a child's life. The name pestushka (pestushka) comes from the verb to nurture - to nurse, carry, educate, raise, care for someone. Movement plays a special role in the development of the child early age. Back in the 19th century, one of the first collectors of children's folklore, Dr. E.A. Pokrovsky noted: “These movements have some educational meaning, both physically and spiritually, for accustoming children to the necessary movement, dexterity, sharpness.” Each stage of a child's development was accompanied by a corresponding pestle. Pestles usually begin with onomatopoeia: "Jump, jump", "Chiki, chiki, chikalochki." The shape of the pestle is a simple common or compound sentence. The dialogic form is rare. A paired rhyme is usually used (“pillows-girlfriends”, “mouse-higher”) or internal (“In the forest midges”). The creation of the sound organization of pestles is facilitated by repetitions (“The harrier swims, the harrier swims”). The text of the pestle consists of words with diminutive suffixes, various parts of speech are used. nursery rhymes. As the playing beginning intensifies, the pestles turn into nursery rhymes, elementary games: "Okay", "Magpie-Crow", "Horned Goat". They create an elementary game situation, which provides for a conscious response of the child. Nursery rhymes usually begin to be told in the second year of life, when the child masters the vocabulary, pronounces the first words. During the game, fingers, hands or any other parts of the body of a child and an adult are used. They denote a wide variety of objects and actions. most popular game, accompanied by an appropriate verbal sentence, are considered "Ladushki". Usually, an adult sits the child on his knees and, taking his hands in his, then brings them together, then spreads them, depicting the flight of birds. For children aged four to six years, they came up with other amusements, introduced an element of surprise, a catch into the nursery rhymes, which the child had to unravel: index fingers both hands, the adult offered the child to stick his finger into the formed "well": "Put your finger into the well" or "Put your finger, there is a bunny!" In the latter case, the adult clasped his hands in a “lock” and tucked his thumbs in, as if denoting hare ears. The meaning of the game was to get ahead of the adult and pull out the finger in time. Nursery rhymes are a gradually unfolding story, during which the child is involved in the game. The nursery rhyme "Magpie-crow" is broken into separate parts. An adult twirls his finger in the palm of a child, depicting stirring porridge. When the porridge is "cooked", it is distributed to the children, who are depicted by the child's fingers. Touching each finger, the adult says: "I gave it." In some variants, the dishes in which porridge is given are called: “This is on a spoon, this is in a cup, this is in a ladle”, etc. All baby fingers get porridge, except for the smaller one - the little finger. Sometimes the refusal to feed is motivated: “I didn’t go for water, I didn’t chop firewood, I didn’t cook porridge.” The next stage of the game - the deprived little finger goes to look for a job. Now the action passes to the whole hand, the little finger “pushes, grinds, walks on water”, etc. The hand, as it were, depicts the road along which the little finger goes. The child is tickled at the crook of the hand, at the elbow and under the arm, it is said that the little finger finds here “a stump, a deck, a spring and warm water.” The game ends with the tickling of the child under the arm, causing laughter.
№13. Russian literature, according to many experts, begins in the 16th century. The emergence and further development of literature is closely connected with the development of general literature and oral folk art. In Kievan Rus, the development of general literature begins in the 11th century, which takes place under the influence of the literature of more developed and civilized countries. Byzantium contributed to the development of Russian literature. In 988 Russia was baptized. After baptism, books were needed to rule the church. From that moment, Russian books began to be written, first of all, chronicles developed that described the life of the state in order to fix a new historical period. The need for the beauty of the word was satisfied during church services: "the lives of the saints" were read at them. The works of ancient Russian literature were designed for listening to people of different ages. They could not only be read, but also heard from those who read them. Content ancient Russian literature many different miracles, magical fragments that were both interesting to children and easily perceived by them, but often very important thoughts were laid in such miracles. By the end of the 15th century, Russia began to understand the need for education, at which time children's literature began to develop. The first books were educational, not artistic. They were translated from Greek and Latin. Fiction also appears later. In ancient Russia, human life flowed as a single, brief moment without awareness of any stages and periods in it, without concentration. childhood experience life and transfer it to other generations. And only one work - "Instruction" by Vladimir Monomakh (1053-1125), most likely written by him in 1117, shortly before his death, is a generalization of the experience of a person who lived a lot and accomplished a lot. Monomakh is aware that his experience may be shared by other people, and especially young people. This is the first and for a long time the only work, addressed directly to both their own children and descendants. For Vladimir Monomakh, it was important not to list his achievements, but to edify the descendants of the moral code.
№14. One of the most popular books for children's reading and learning was "ABC". It was the first printed Russian educational book, which had the subtitle "Elementary Teaching to Children Who Want to Understand Scripture." This happened in 1574, thanks to the activities of Ivan Fedorov, who chose the sowing of "spiritual seeds throughout the universe" as the motto of his life. He developed the structure of the "ABC", selected texts for reading in it. "ABC" consists of the alphabet, given in direct, reverse order and broken down. Then came the syllables. The texts enclosed in the "ABC" were supposed to contribute not only to the consolidation of reading skills, but also to the moral improvement of children. Its Creator appeals not only to children, but also to their parents, with calls to be prudent in raising children. "ABC" - "a book for teaching literacy." Facial primer(face-pictures) - the first Russian children's illustrated book. It was created by Karion Istomin. It was intended for the son of Peter I, Tsarevich Alexei, and was first made in handwritten form, and then published in Moscow in 1694. Each page of the primer is dedicated to a single letter, originally and attractively designed. In the center of the sheet there were drawings depicting a letter and objects whose verbal designation begins with it. K. Istomin was the first Russian poet who used assonance and alliteration in the alphabet not only as an artistic, but also a pedagogical device.
№17. literary tale as a cultural phenomenon.
AT Western Europe in 12-14 centuries. was very popular chivalric romance, depicting a knight-hero, his exploits in the name of glory and love. Translations in Russia appear in the 17th century. Their purpose is to entertain, amuse the reader, take them into the world of touching, but not cloudless love, which sometimes has to be defended in a difficult struggle. The novels were built according to a certain scheme - separation, barriers, a happy ending, and even the unity of death.
Novels took root in Russia, underwent processing and spread in the form of a folk book. This is the history of two works - "The Tale of Bova the King" and "The Tale of Yeruslan Lazarevich". They are close to the Russian fairy tale and epic not only thematically, many of the artistic means that were familiar to the Russian consciousness are used here, for example, hyperbole: jokes are not much kind: whoever is enough by the leg, that leg is off, who is enough by the hand, that hand is off. Here, as in Russian folklore, moral lessons are given to the young man: seeing the sleeping hero, Eruslan “wants to bring him to an early death; and he thought to himself: “It won’t be an honor for me, it’s not praise that I’ll kill a sleepy person: a sleepy person, like a dead one.”
These works performed the same function as folk tales - they entertained, taught the mind and mind and the merchant, and the monk, and the priest, and the corporal, and the peasant. Eruslan, who came to us from the East, began to be called the Russian hero. And there was no question about its origin among readers, because. these works were Russified.
The origin of these works is clearly literary, a large number actors, whose names are not included in the Russian folklore tradition, where most often only the leading characters have names. The connection with literature is evidenced by the multi-way construction of the plot, the combination of various, including fabulous, motives.
They were widely used in popular literature, but they did not become a reason for the massive creation of a literary fairy tale as a new variety of a genre that has long been known and loved by the people.
The 17th century did not bring anything interesting to the history of the development of a literary fairy tale for children. Neither classicism, with its strict regulation of genres and special poetics, nor sentimentalism, with its attempt to penetrate into human soul and to know her were not those artistic directions, whose aesthetics are close to the fairy tale genre. And although Catherine 11 herself turned to him, who wrote fairy tales for her grandchildren, the author's fairy tale was an event in literary life that time did not.
But in the 40s. 19th century V. G. Belinsky congratulates Russian children on the “wonderful gift” that they can receive from their parents in the form of fairy tales of grandfather Iriney (pseudonym V. F. Odoevsky), “a writer who would be envied by the children of nations.” At the same time, the critic expresses dissatisfaction with the abundance of fairy tales by various authors, with that “fabulous flood” that flooded the book market. He does not see originality in them, and among them he does not single out even the fairy tales of A.S. Pushkin and P. Ershov. It seems to him that the authors "forge" "the tone and harmony" of folk tales.
“Since the beginning of the 1930s, we can talk about the formation of the genre of the Russian literary fairy tale, not only and not so much in the development of motifs and plots popular in Russian folklore, but in mastering the system of images typical for folk tales, its language and poetics.” I.P. Lupanova.
By this time, the folk tale had become a subject for active collection, study, and publication. Moved from oral to written. Western European folk tales, as well as author's tales, became popular among readers. In 1768 The works of Charles Perrault were translated. 1826 - V. A. Zhukovsky translates German fairy tales in the processing of the Brothers Grimm. The German folk tale about the fisherman and his wife becomes the source of the plot for Pushkin's "The Tale of the Fisherman and the Fish".
In the 30s. 19th century hotly debated problem of nationality, which also contributed to the development of attention to the fairy tale as a truly folk work. Being engaged in scientific research in the field of the Russian language, striving to preserve the true folk spirit, one of the first begins to create fairy tales V.I.Dal.
The most fruitful and significant for the history of a literary fairy tale is the cultural creative direction, like romanticism, with his aesthetic exclusivity: unusual characters acting in unusual situations, with his craving for the fantastic, wonderful beyond. Romanticism emphasized in the fairy tale: magic, magic, aspiration to transform everyday life, to reveal what is not identified in a person. Creators - V.A. Zhukovsky, A.S. Pushkin.
It was the romantics who felt the need to create special literature for children, designed for the perception of the child, taking into account their psychophysiological characteristics. Romanticism established the cult of the child and the cult of childhood, 18th century. Before them understood the child as an adult small format. Children begin with romantics, and they are valued for themselves, and not as candidates for future adults. V.A. Zhukovsky has a number of poems written in 1851 for his young children and dedicated to them. These are "Lark", "Bird", "Boy with a finger". Diminutive the vocabulary of poems and fairy tales, the purity and fabulousness of their content testifies to the fact that writers who have gone through the school of romanticism learn to write for children, discover childhood as a special world, different from the world of adults.
The folk tale has always been close to the world of childhood. But by the 30s of the XIX century. she began to gradually give up her position. Fewer and fewer new stories were created. She began to live a book life more and more actively. And then a literary fairy tale arose, combining the genre and artistic features of previous works and a new, bookish culture of existence.
Appeared author's fairy tale(in the first half of the 19th century, the fairy tales of Zhukovsky, Pogorelsky, Odoevsky were written especially for children) continued the tradition of the folk tale genre - to be both a "lesson to the young man" and entertainment for him. One of the first pages of children's fiction.
For writers, a fairy tale becomes not only a genre that has been mastered so far, but also a sign of family life, and for some - a means of raising children. Pogorelsky's Black Hen, dedicated to his nephew Alyosha Tolstoy, whose upbringing the author was involved in, is one of such works.
- lack of money among Russian emigrants. A. Tolstoy and N. Petrovskaya, who lived in Berlin, translated the fairy tale by C. Collodi "The Adventures of Pinocchio", on the basis of which ten years later Tolstoy wrote "The Golden Key, or the Adventure of Pinocchio", but this happened already in the USSR.
- Children's lack of true knowledge about nature and love for it has led to V. Bianki, and later the teacher of biology Yu. Dmitriev to the creation of natural history tales. Author's fairy tale it differs from the folk tale in that it has its own original story of creation, which not only arouses interest in the work, but also helps to understand it.
Despite the long path of development, the author's fairy tale does not have such a long and fruitful history of study. Many questions in it, and the most important among them - the definition of the genre and the classification of the created - are still debatable. Attempts to define a literary fairy tale, to mark it character traits were made a very long time ago (J. Grimm, H.K. Andersen).
Thanks to these works, it can now be emphasized that peculiar to the author's fairy tale: canonical text with no variants; the possibility of expressing the author's individuality, Magic world, the synthetic nature of the genre, associated with both folklore and literature. There is a desire to comprehend real life"with the help of fabulous images and motifs", a deeper philosophical and psychological basis.
Classification.
It is difficult to classify an author's fairy tale, since it is difficult to single out those principles that can be used as the basis for classification. Yes, in terms of address affiliation fairy tales can be divided into works for kids(but they are not homogeneous. A teenager is unlikely to be interested in Chukovsky's fairy tales, and a young child will not understand much in Bazhov's fairy tales); works for adults(satirist tales of Saltykov - Shchedrin); universal works, interesting to different age groups of readers (Pogorelsky "The Black Hen").
From point of view type of literature a fairy tale can be poetic, prose, and dramatic.
Way of development poetic tale uneven, first half of the 19th c. Pushkin, Ershov. Second half of the 19th century Nekrasov, Minaev. But being artistically imperfect, they were not preserved in the people's memory.
- prose tale begins in the 30s of the 19th century. Pogorelsky and Odoevsky. Its intensive development does not stop until today.
- dramatic fairy tale for preschool children - a phenomenon not too common, characteristic of the literature of the 20th century. Marshak, Schwartz, Makhalkova, Tokmakova.
Assimilation and inheritance by them of traditions.
- Russian or world folklore tradition(Aksakov, Bazhov).
- World literary tradition within the genre itself. Some borrow and then interpret plots: "The Tale of the Arab Stargazer" Irving - Pushkin "The Tale of the Golden Cockerel." Others, having turned to a well-known plot, begin to use fairy-tale intrigue, the names of significant heroes: K. Collodi - A. Tolstoy. Still others read the tales of their predecessors in their own way: Andersen - Tsyferov "My Andersen", Andersen " ugly duck"- Moskvin" What happened to the crocodile. The fourth retain the spirit of the works of their teachers in fairy tales: Andersen - Paustovsky.
It is difficult to achieve a strict systematization of what has been created, because:
1. There is no unambiguous definition of an author's fairy tale, on the basis of which a division could be made;
3. It is difficult to determine the belonging of a fairy tale to a certain age group readers;
Systematization contributes to the understanding of what has been done in the genre of the author's fairy tale, what are further ways its development and study, although it is imperfect.
Literary fairy tale as an object of research.
The literary tale in the choice of artistic means is closely connected with the folk tale and at the same time differs significantly from it. There are no clear lines in it between the poetics of magic and everyday fairy tales; artistic technique, more characteristic of one species folk art, is used everywhere (for example, animism).
literary tale close to reality. To convince the reader of the reality of what is happening, to create the illusion of authenticity, to erase the line between the magical and the real is the creative task of a fairy tale, leading to a violation of the purity of the genre. "Black Hen" - begins with a specific location, geographical names, but the specifics are deceptive, conditional, borderline, like the genre itself, where a fairy tale is at the same time a "non-fairy tale", a story is a fairy tale, fairy tale, novel - fairy tale.
The architectonics can be invented by the author himself (Ershov "The Little Humpbacked Horse"), but it can correspond to the folk one (the construction of Bianchi's fairy tale "Teremok"). Ershov freely, in his own way, handles the well-known compositional elements of a folk tale, divides his work into parts, at the end of each part, summing up, gives a plan for the next.
The development of the plot is extremely complicated. Such a link in the plot of a folk tale, like prohibition and prohibition violation, in the copyright or excluded altogether, or performs the opposite function. In Schwartz's fairy tale "Two Brothers", great-grandfather Frost not only forbids the Elder brother to strive for the release of the Younger, but also promises to freeze him himself. Violation of the prohibition as a function in the plot of a fairy tale helps the author to show the character of the hero.
Deprived of such an important link in the development of the plot as miracle. It may not have miraculous transformations, miraculous heroes and helpers. But there is a miracle of meeting, recognizing, discovering, the opportunity to make another happy.
For the creators of a literary fairy tale, the process of understanding the “I” of the hero in a world like him is important. Alyosha not only stopped working on his lessons, listening to his " inner voice”, he stopped thinking at all, that’s why he succumbed to vices so much.
Authors working in the genre of fairy tales have the opportunity to show the psychology, the process of formation of the character of the hero, often the hero - a child, which is not typical of a folk tale. Not excluding the emotional nature of the genre, it seeks to more actively involve the reader in the process of thinking about what is happening not only in a fairy tale, but also in reality.
The author's fairy tale breaks the usual canon world of heroes folk tale. There are no types of masks traditional for the animal epic here (the fox is cunning, the bear is strong). Everything here depends on the specific situation, on the specific act and its comprehension by those who perform this act. In Moskvina's fairy tale "The Elephant and the Hedgehog", the crocodile is envious, he claims the primacy of gray animals, for which he is punished by not being allowed to touch the miracle. Unlike the Elephant, his apple tree never grew.
In a literary fairy tale addressed to children, there are many small and cute heroes who rush to the rescue of each other, who know how to help, encourage, convince of anything, instill faith in goodness, in eternal life (the fairy tales of Moskvina, Tsyferov). Little Reader calmer and more comfortable in the world of heroes like him, who ask others the same questions as himself, who know how to protect themselves and others, who openly look at the world and want to see it created for good.
Conflict in a literary fairy tale is often not reduced to a simple opposition of good and evil. Sometimes it may not be. Abramtseva's Evil Dream ("The Tale of Two Dreams") is not by its nature: he simply does not know that it is possible to be kind, and therefore there is no conflict in the tale.
Magic Helpers and Magic Items also perform other roles and functions, they are never perceived as a mechanical quantity. The magical assistant has not only the function of giving, but also the function of miraculous transformation (Chernushka is Pogorelsky's minister).
Literary fairy tale - author's, artistic or poetic work based either on folklore sources, or invented by the writer himself, but in any case subordinate to his will. The work is predominantly fantasy, depicting the wondrous adventures of fictional or traditional fairy tale characters, and in some cases aimed at children; a work in which magic, a miracle plays the role of a plot-forming factor, helps to characterize the characters
A characteristic feature of fairy tales about animals (and even fairy tales) is their animalism. At the same time, the heroes of fairy tales - animals - are described as thinking, speaking, performing actions motivated by fairy conditions. The creation of such an impression on the reader and listener is facilitated by personification - a technique that, on the one hand, allows you to build a story about animals like a story about people, and on the other hand, point to several layers artistic content. It is no coincidence that the main characters ancient tales about animals turn out to be a rooster, a fox, a bear, etc. In their content there is a mythopoetic meaningful plan, which was erased over time, so that today's reader often perceives the content of these original tales as allegorical, in which we can hardly guess the mythological (belief in the true symbolism of that or some other character). The antagonism of the rooster and the fox is often understood by us in everyday life: the fox is a cunning animal, and the rooster is its constant prey. Without canceling these meanings, it is necessary to recall that for the ancient Slavs, even the Balto-Slavs - a symbol of the hearth, a guardian of the house, moreover, a symbol of dawn and rebirth.
Rooster in Slavic mythology symbolizes the element of fire: so, the rooster is an image-symbol of the hearth. At the same time, the fox, as a reminder
A. N. Afanasyev in "The Poetic Views of the Slavs on Nature" is a symbol of alien fire coming from the forest. Every symbol is based on a myth (A.F. Losev), so the eternal conflict in fairy tales about animals, where the plot revolves around an event between a rooster and a fox, is not accidental. "Zayushka's hut", "Cat, thrush and rooster", even "Gingerbread Man" demonstrate these mythopoetic meanings of images. If the rooster is a symbol of the hearth and a talisman at home, then it is obvious that the farther from the house, the weaker the powers of the amulets and the more opportunities to get into unpleasant situation. Maybe that's why the cat and the thrush warn the homebody rooster not to succumb to the fox's affectionate speeches: "Tomorrow we will go even further into the forest, we won't hear you ...". However, it is the rooster that turns out to be the liberator of Zayushka's hut, while no other helper (dog, bull, bear) can defeat the insidious fox. However, the very image of a bunny in this tale refers us to the mythopoetic primordial memory. The "sunny bunny" of Russian speech retained allusions to these meanings of warm spring light.
Animal tales often contain songs that are functional in the plot. Compositionally and in content, they are spells and are designed to change the course of events: like spells, they have a two-part composition (the 1st part is a statement describing the present “state of affairs”, the 2nd is an imperative, a call to heroes or magical forces capable of help).
I'm walking on my heels
I carry a scythe on my shoulders, - 1 I want to cut the fox.
Get down, fox, from the stove,
Come on, fox, get out! - 2
Repeating three times enhances the magical power contained in the spell. This circumstance once again proves both the antiquity of the origin of fairy tales about animals, and the multidimensionality of their content, which cannot be reduced to fable content, when animal characters are perceived as allegories.
In fairy tales about animals, the “meeting method” (Yu. M. Sokolov) is used, thanks to which these fairy tales are built on dialogue.
Outwardly, fairy tales about animals look simple, defined as cumulative, events in which are "strung", accumulate, and a glut of events and heroes leads to a denouement. This is how the content of "Turnip", fairy tales "Cockerel and bean seed”, “Teremok”, “Kolobok”, etc.
Folk tales about animals are an important and extremely effective part of folk pedagogy. Amusing, the fairy tale teaches, instructs, forms moral and social guidelines. Home, family - the basis happy life she says. A fairy tale simultaneously teaches to live, speak and think.
Fairy tales: genre features. The Russian writer V. I. Belov, reflecting on the origins of the peasant way of life in the book Lad, remarked: “Human life is between two great secrets: the secret of our appearance and the secret of disappearance. Birth and death protect us from the terror of infinity." This idea perfectly reflects the worldview of ancient people and its reflection in artistic creativity, in particular in fairy tales.
Fairy tales have a pronounced mythopoetic basis. Their stories reflected different sides many rituals and customs, the most important of which are initiation rites - the initiation of boys and girls into the age class of adult men and women. So, the main conflict of fairy tales is the conflict of the hero with evil, hostile and powerful forces, the victory over which promises love, family, prosperity.
In a fairy tale, metaphorical today, and in the past mythological, the whole macro- and microcosm is enclosed. human life, all levels of maturity, formation, all spiritual, moral, social experience. The imaginative world of a fairy tale can be adequately comprehended if one understands what ancient people think. This genre is characterized by the following features of ancient mythology:
- - animism (from lat. anima- soul, spirit) - the animation of all nature;
- - anthropomorphism (from the Greek. anthropos- man and morphe- the form);
- - zoomorphism (from the Greek. zoon- animal and morphe- form) - assimilation to an animal;
- - totemism (from Indian. totem, which literally means "his kind");
- - fetishism (from fr .fetiche)- belief in the magical power of things.
Without understanding the essence of these phenomena, it is difficult to imagine what the ancient man wanted to express in a fairy tale and what has come down in its plot, in the entire figurative system, to this day.
Myth is the basis fairy story and metaphors fairy tale. Metaphorically, the main conflict of fairy tales is also resolved: the conflict of life and death. An ancient man is trying to discover the mysterious laws that would allow him to conquer death. In the fairy tale, there is a struggle between good (hearth, home) and evil, bringing down a myriad of its faithful servants on a person. The plot of fairy tales about animals in a fairy tale becomes more complicated: the hero overcomes many obstacles before he gets what he wants - a smart wife, a needlewoman, a guarantee of the future happy life for himself and his family. Often the animals he talks to help him. human language like with people.
Here is an episode from the fairy tale "Ivan the widow's son":
At that time, the earth shook, everything around was shaking, good fellow barely on his feet.
Hurry up! - horse says.- Goblin is close!
Ivan jumped into the saddle. The horse rushed forward and jumped over the fence.
Leshy drove up to his kingdom from the other side, jumped over the fence and shouted:
Hey, servant, take the horse!
Waited and waited - no Ivan. He looked around and saw: the gates to the dungeon were wide open.
Oh, such and such, they ran away! Well, okay, I'll catch up anyway.
Asks the horse:
- - Can we catch up with the fugitives?
- - We'll catch up with something, but I feel, master, misfortune-adversity over your head and over yourself!
The goblin got angry, scolded:
Oh, you, wolf's satiety, grass bag, do you frighten me with misfortune-adversity!
Both Ivan's horse and the goblin's horse are talking, and both of them, according to the plot of the tale, give advice to the owners and provide other active assistance.
The fairy tale also reflected the evolution of human ideas about the world and nature. It is a fairy tale that shows that the pagan is not in conflict with the Christian worldview. Plot fairy tale, as a rule, figuratively expresses the initiatory path of the hero in life. The plot of a fairy tale is described in detail by V. Ya. Propp. In his other book - "The Historical Roots of a Fairy Tale" - V. Ya. Propp writes:
“Here we will study the genre of fairy tales that begins with the infliction of some kind of damage or harm (abduction, exile, etc.) or with the desire to have something (the king sends his son for the firebird) and develops through sending the hero from home, a meeting with the donor, who gives him a magic tool or an assistant with which the subject of the search is found. In the future, the tale gives a duel with the enemy (its most important form is snake fighting), a return and a chase. Often this composition gives a complication. The hero is already returning home, the brothers throw him into the abyss. Later on, he re-arrives, is tested through difficult tasks, and reigns and marries either in his own kingdom or in the kingdom of his father-in-law. This is a brief schematic presentation of the compositional core that underlies so many and varied plots. Fairy tales reflecting this scheme will be called fairy tales here, and it is precisely this that constitutes the subject of our study.<...>Although fairy tales are part of folklore, they are not a part that would be inseparable from this whole. They are not the same as the hand is to the body, or the leaf is to the tree. They, being a part, at the same time constitute something whole and are taken here as a whole.
The study of the structure of fairy tales shows their close relationship with each other. This relationship is so close that it is impossible to accurately delimit one story from another.
The course of thought and the criteria for singling out a fairy tale here are typical of the cited author. Since this textbook pursues other goals, we will not use the conceptual apparatus of the works of V. Ya. Propp or other folklorists to any extent. For operational purposes, in accordance with our task, we will single out key elements from almost three dozen elements of a fairy tale plot:
- 1) the unusual origin of the hero: "The Frog Princess", "Finist - the Clear Falcon", "Marya Morevna";
- 2) an unusual scene of action: “far-away kingdom, far-away state”;
- 3) incredible heroes with whom main character must join the fight: Baba Yaga, Kashchei (Koschei) the Immortal, the Serpent Gorynych, the filthy Idolische, famously one-eyed, etc .;
- 4) the hero's magical assistants that appear if he himself comes to the aid of creatures obviously weaker than him and, "proud" and "arrogant", could neglect their requests (participation in the fate of the "small" leads the hero to a great victory over the greatest evil) ;
- 5) magic items (self-assembled tablecloth, walking boots, golden ring, towel, living and dead water).
Composition fairy tale opens saying, but more often tie - beginning, which contains the initial, initial intrigue - an event containing a mystery, arousing curiosity to unravel what is happening. The plot of a fairy tale is a kind of riddle, the plot of a fairy tale is a path to a solution that will be revealed only at the end.
The hero goes through tests which become more difficult over time. The most common number of tests is three, they are passed through thanks to magical helpers. It is impossible to defeat evil outside and in oneself, avoiding magical transformations: the problem is so difficult that it can only be solved " turning around" turning into someone, becoming different, gaining valuable life experience and returning home. Miracle- the key to the plot of a fairy tale.
Every fairy tale ends return from wonderful world, its composition ring the fairy tale ends ending (outcome). In the development of the plot, the lines that are obligatory in every fairy tale are extremely important: adventure, "travel" (from it grows symbolic theme paths-roads) to be developed different genres Literature, mostly prose.
In a fairy tale, heroic tales stand apart, essentially being a later processing of the historical epic, epics in order to teach a sense of the Motherland, historical roots, strengthen the mythopoetic relationship of the word in various oral and written genres. fiction. At present, acquaintance with epics at school is difficult due to a number of circumstances; reading them implies a special range of interests and appropriate educational opportunities. However, thanks to heroic tales that convey their plots, everyone imagines the images of the main heroes (Ilya Muromets, Dobrynya Nikitich, Alyosha Popovich, etc.) and their deeds, i.e. receives an indirect idea about the epics.
Household and satirical tales: joke, parable, anecdote
Everyday, satirical tales owe both their plot and imagery to folk games, they gravitate towards a booth, a folk theater, where the mythological itself has lost its strength, but allegory, social satire, and a humorous beginning have become actual. The conflict in them is "played out by roles." It is no coincidence that subsequent recordings of fairy tales and their processing are placed in the title of “participants in the conflict”: “The Kochetok and the Hen”, “The Fox and the Black Grouse”, “The Soldier and the Devil”, “The Old Man and the Wolf”, “The Master and the Dog”, etc. sometimes a comic situation is also carried out: “How the master bought a sheep”, “The funeral of a goat”, “How Ivan the Fool guarded the door”, “Shoemaker in heaven”, sometimes this situation is indicated by a saying, an aphoristically well-aimed expression: “Behind a bad head - work for the feet "," Do not like - do not listen "(Ersh Ershovich. Russian folk tales. M., 1989).
- Belov V. I. Lad: essays on folk aesthetics. M .: Young Guard, 1989. S. 176.
- “Initiation was one of the “rituals of transition” that accompanies the most significant social and personal changes in a person’s life: birth, growing up, marriage, maturity, death, etc. The expression “ritual of transition” shows that a person has moved from one level of his experience to another. The performance of the “ritual of transition” speaks of the socially recognized right to change or transformation - the right to enter into new level its development...” (E. Herrien). Those. how to pass an exam to a new level of your personal and social maturity and receive new instructions for the correct passage of a new stage of life” // Belkovsky S. A. Initiation of growing up in various cultures. URL: http://www.follow.ru/article/265 (date of access: 10.10.2015).
- Propp V. Ya. Morphology of a fairy tale. M., 1969.
- Propp V. Ya. Historical roots of a fairy tale. M.: Labyrinth, 2000. S. 5-6.
