Legends Species: Historical (about Jean d'Arc, Ivan the Terrible). Toponymic - about the origin of names (names of cities: Paris from Paris, Kyiv from Kiy). Church traditions. Arises from eyewitness accounts. When transferred from one person to another, it undergoes metaphorical changes, sometimes distorting the meaning of the event.
Chronicle legends In Byzantium they were called chronicles; in Western Europe in the Middle Ages by annals and chronicles. The First Kiev Chronicle - "The Tale of Bygone Years". Novgorod - distinguished by the conciseness of the style, Pskov - vividly draw social life, South Russian - literary, sometimes poetic.
Historical prose L.N. Gumilyov "From Russia to Russia" G. Naryshkin "The Stone Chronicle - Our Anxiety" A.P. Gaidar "Military Secret", "Rockets and Grenades" L.A. Kassel "Street of the Youngest Son" V. Nikitin "The Song of the Old Russian Partisans" I. Savinova “Forgive me for talking about the war again” G. Baklanov “Forever nineteen” Stories for children Ishimova, Platonov, Sipovsky
About the author... Boris Vasiliev was born on May 21, 1924. After graduating from the 9th grade, at the age of seventeen he volunteered for the front. In 1954 he left the army and took up professional literary activity. Works: There were and weren't. (1977-1980) Novel Not listed. (1974) Tale greetings to you from woman Lera ... (1988) Magnificent six. (1980) Story Veteran. (1976) Story Prophetic Oleg. (1996) East. novel Encounter. (1979)
Heroes of the story Sergeant Major Vaskov F.E. - 32 years old, commandant of the patrol, "mossy stump", gloomy, military man. A personal tragedy - his wife left him after the Finnish war, his son Igor died. Junior Sergeant Osyanina M.S. - Strict, laughs a little, calm and reasonable, proud, lived tight with a belt, kept apart from everyone. A personal tragedy - she lost her beloved husband at the beginning of the war.
Komelkova E. - Tall, red-haired, white-skinned, with childish green eyes as big as a saucer, sharp-tongued, artistic, sociable mischievous. A personal tragedy - before her eyes, her mother, brother and sister were shot by the Germans. Brichkina E. - Chunky, dense, the daughter of a forester. I always believed that tomorrow would come and be better than today. A personal tragedy - the whole economy was on it. her mother was seriously ill, unrequited love.
Chetvertak G. - Chetvertak G. - Twisted, thin, sharp-nosed city pigal, pigtails from tow, chest flat like a boy's. A personal tragedy - she did not know her parents, she was thrown into an orphanage. Gurvich S. - She was a translator in the detachment, a timid, city pigalina, an ugly face, skinny shoulders. A personal tragedy - an orphan, her parents probably died in Minsk.
Moral problem: the formation and transformation of the character and psyche of the individual in the conditions of war. Moral problem: the formation and transformation of the character and psyche of the individual in the conditions of war. The theme of war, unfair and cruel, the behavior of different people in its conditions is shown on the example of the heroes of the story. The topic of war is relevant at any time.
Features Appearance and character of the characters, the author partly took from classmates, partly from girls serving as radio operators, nurses, scouts. The name uses a default figure, it does not include the essence of what is happening, but the state of mind and emotional stress transmitted by the characters.
Task number 3 What types of legends do you know? The first Kievan chronicle? Who first introduced the term "epic"? Examples of works of the hagiographic genre? Why "Dawns ..." is an innovative work in the "lieutenant's prose"? Where does the action take place?
The work can be used for lessons and reports on the subject "Philosophy"
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Artistic criteria for children's literature. World children's classics in the interpretation of Russian artists, playwrights, film directors. Fairy tale as a genre of children's folklore. Small folklore genres. A. Chekhov's stories for children. Features of V. Garshin's prose.
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1. Children's literature is literature specially intended for children up to 15-16 years of age and carrying out the tasks of raising and educating children in the language of artistic images. At the same time, the scope of children's reading includes works written originally for adults, such as the famous fairy tales of A. S. Pushkin, Charles Perrault, V. Hauff, Hans Christian Andersen, the brothers J. and V. Grimm, as well as Robinson » Daniel Defoe, Don Quixote by M. Cervantes, Gulliver's Travels by Jonathan Swift and many others. In this regard, the concept of "children's reading" arises.
The material embodiment of literary works for children are children's books.
Children's literature is usually called all the works that children read. However, in this case, it is more correct to speak of a “circle of children's reading”. Three groups of works are distinguished in its structure. The first group includes works directly addressed to children (for example, the fairy tales of Pogorelsky, Mamin-Sibiryak). The second group - works written for adult readers, but resonated with children (for example, the fairy tales of Pushkin, Ershov). Finally, the third group consists of works composed by the children themselves, i.e., children's literary creativity.
The circle of children's reading changes with each era. Its composition and breadth depend on many factors. Social conditions are changing, and with them are changes in the social, religious and family traditions of children's reading. In addition, upbringing and education programs are updated, publishers select certain works for mass release. As a result, the reading circle of each person from an early age develops in its own way. Lyceum student Pushkin, for example, read ancient authors, French enlighteners, Russian poetry and prose of the previous period. And the next young generation already read the works of Pushkin himself, as well as Zhukovsky, Ershov, Gogol ... The history of changes in the circle of children's reading is part of the general literary process. Strictly speaking, only literature for children can be called children's literature. Not all writers who tried to create works for children achieved noticeable success. The explanation lies not in the level of writing talent, but in its special quality. For example, Alexander Blok wrote a number of poems for children, but they did not leave a truly noticeable mark in children's literature, and meanwhile, many of Sergei Yesenin's poems easily moved from children's magazines to children's readers.
Literature for children goes its own way of development, consistent with the general literary process, although not with absolute accuracy: it either lags behind for a long time, then suddenly ahead of adult literature. In the history of literature for children, the same periods and directions are distinguished as in the general literary process - the medieval Renaissance, enlightenment classicism, baroque, sentimentalism, romanticism, realism, modernism, etc. At the same time, this was precisely its own path of development, the purpose of which is to create literature that meets the needs of children. The selection of specific forms and techniques was long and difficult. As a result, any reader can easily distinguish for whom this work was created - for children or for adults.
2. Classification - the distribution of any objects (objects, phenomena, processes, concepts) into classes in accordance with certain characteristics. As a classification feature (characteristics, bases of division), a property of an object is taken, which determines its difference or commonality with other objects. Essential (objective, natural) is a sign that expresses the fundamental nature of an object and thereby distinguishes it from objects of other types and genera. Classification is a general scientific and general methodological concept, meaning such a form of systematization of knowledge, when the entire area of the studied objects is presented as a system of classes, or groups, into which these objects are distributed based on their similarity in certain properties. Literature for adults and children's literature are divided according to age. But it should be clarified that there are no exact age limits. Because it happens that literature written for children becomes readable by adults, for example, “Alice in Wonderland” by L. Carroll; or vice versa: a work for adults is read by children, for example, “The Adventures of Gulliver” by J. Swift. But also of particular value is literature written specifically for children, taking into account the psychological characteristics of the corresponding age. The standard for publications for children and adolescents sets the following boundaries: senior preschool age (from 4 to 6 years old inclusive), junior school age (from 7 to 10 years old inclusive), middle school age (from 11 to 14 years old inclusive), senior school age (from 15 to 17 years old inclusive).
In children's literature, as a rule, a distinction is made between fiction and scientific and cognitive. As for other types of children's literature allocated for social purposes, additional research is needed. Publicistic, reference, "business" (transformed industrial and practical - practical advice to help amateur creativity) were called as varieties of scientific and educational literature. Currently, there are popular science publications for children, publications for leisure, educational publications for preschool age (for developing learning). Apparently, in children's literature there are also such types of literature as mass-information and entertainment, religious-popular and liturgical. Educational literature for a secondary general education school in the existing classifications does not apply to children's literature.
3. Types (genres) of children's literature
* Fairy tale - a genre of literary creativity:
1) Folk tale - an epic genre of written and oral folk art: a prose oral story about fictional events in the folklore of different peoples. A type of narrative, mostly prose folklore (fairy tale prose), which includes works of different genres, the texts of which are based on fiction. Fairy-tale folklore opposes "reliable" folklore narrative (non-fairytale prose) (see myth, epic, historical song, spiritual poems, legend, demonological stories, tale, legend, bylichka).
2) A literary fairy tale is an epic genre: a work oriented towards fiction, closely related to a folk tale, but, unlike it, belonging to a specific author, which did not exist before publication in oral form and had no options. A literary fairy tale either imitates a folklore one (a literary fairy tale written in a folk poetic style) or creates a didactic work (see didactic literature) based on non-folklore plots. The folk tale historically precedes the literary one.
The word "fairy tale" is attested in written sources no earlier than the 17th century. From the word "kazamt". It mattered: a list, a list, an exact description. It acquires modern significance from the 17th-19th centuries. Previously, the word fable was used, until the 11th century - blasphemer.
The word "fairy tale" suggests that they learn about it, "what it is" and find out "what" it, a fairy tale, is needed for. A fairy tale with a purpose is needed for the subconscious or conscious teaching of a child in the family the rules and purpose of life, the need to protect their "area" and a worthy attitude towards other communities. It is noteworthy that both the saga and the fairy tale carry a colossal informational component, passed down from generation to generation, faith in which is based on respect for one's ancestors.
* Poem- (other Greek? ufYachpt - row, system), a poetic term used in several meanings:
artistic speech, organized by division into rhythmically commensurate segments; poetry in the narrow sense; in particular, it implies the properties of versification of a particular tradition (“antique verse”, “Akhmatova's verse”, etc.);
a line of poetic text organized according to a certain rhythmic pattern ("My uncle of the most honest rules").
* The story is a prose genre that does not have a stable volume and occupies an intermediate position between the novel, on the one hand, and the short story and short story, on the other, gravitating towards a chronicle plot that reproduces the natural course of life. This definition of genre is characteristic only of the Russian literary tradition. In Western literary criticism, for prose works of this kind, the terms "novel" or "short novel" are used. In Russian literary criticism, the genre definition of “story” originates from the Old Russian attitude of the narrator to the events described: the word “story” comes from the verb “tell”. The ancient meaning of the term - "the news of some event" - indicates that this genre has absorbed oral stories, events that the narrator personally saw or heard about. An important source of such "tales" are chronicles ("The Tale of Bygone Years", etc.). In ancient Russian literature, a “tale” was any narrative about any actual events (“The Tale of Batu’s invasion of Ryazan”, “The Tale of the Battle of Kalka”, “The Tale of Peter and Fevronia”, etc.), whose reliability and actual significance ( value dominant) did not raise doubts among contemporaries.
* Poem (ballad) - (ancient Greek rpYazmb), a large poetic work with a narrative or lyrical plot. A poem is also called an ancient and medieval epic (see also Epos), nameless and author's, which was composed either through the cyclization of lyric-epic songs and legends (the point of view of A. N. Veselovsky), or by "swelling" (A. Heusler) of one or several folk legends, or with the help of complex modifications of the most ancient plots in the process of the historical existence of folklore (A. Lord, M. Parry). The poem developed from an epic depicting an event of national historical significance (the Iliad, the Mahabharata, the Song of Roland, the Elder Edda, etc.). In general, this is not entirely true.
* A story is a large literary form of written information in literary and artistic design and a relatively large volume of the text of an epic (narrative) work in prose, while maintaining it in the form of any printed publication. In contrast to the story, a shorter form of presentation. It goes back to the folklore genres of oral retelling in the form of legends or instructive allegory and parable. As an independent genre, it became isolated in written literature when recording oral retellings. Distinguishable from short stories and/or fairy tales. It is close to foreign short stories, and since the 18th century - to essays. Sometimes short stories and essays are considered in the form of polar varieties of the story.
* Novel (adventure, historical, family, fairy tales) - a literary genre, as a rule, prose, which involves a detailed narrative about the life and development of the personality of the protagonist (heroes) in a crisis, non-standard period of his life.
* Fantasy - (from the English. fantasy - "fantasy") - a genre of fantasy literature based on the use of mythological and fairy tale motifs. In its modern form, it was formed at the beginning of the 20th century. Since the middle of the century, John Ronald Reuel Tolkien has had a huge influence on the formation of the modern look of fantasy.
Fantasy works most often resemble a historical adventure novel, which takes place in a fictional world close to the real Middle Ages, whose characters encounter supernatural phenomena and creatures. Often fantasy is built on the basis of archetypal plots.
Unlike science fiction, fantasy does not seek to explain the world in which the work takes place in terms of science. This world itself exists hypothetically, often its location relative to our reality is not specified in any way: whether it is a parallel world, or another planet, and its physical laws may differ from earthly ones. In such a world, the existence of gods, witchcraft, mythical creatures (dragons, elves, gnomes, trolls), ghosts and any other fantastic creatures can be real. At the same time, the fundamental difference between fantasy miracles and their fairy-tale counterparts is that they are the norm of the described world and operate systematically, like the laws of nature.
Fantasy is also a genre of cinema, painting, computer and board games. Such genre versatility is especially characteristic of Chinese fantasy with elements of martial arts.
fairy tale genre story prose
4. Artistic criteria for children's literature
In The Commandments for Children's Poets, Korney Chukovsky listed the rules by which children's poems and poems should be created. Imagery seemed important to him in combination with effectiveness (i.e., a quick change of images), musicality, saturation with verbs with minimal use of adjectives, proximity to children's folklore, to the game, an abundance of humor. The last commandment is this: "Do not forget that poetry for little ones should be poetry for adults." It is known that children have increased speech talent, gradually decreasing by the age of seven or eight. It manifests itself in memory for words and grammatical constructions, in sensitivity to the sound and meaning of words. The language of a children's book should be especially rich, because if a child learns a poor, inexpressive language, then it will be very difficult for him to overcome this shortcoming in later life. However, the language must be accessible. These qualities of speech style are achieved by careful selection of each word, strictly verified grammatical structure of each sentence. Ideally, even prose works should be easy to memorize by heart, become part of the baby's speech experience (as, for example, "Ryaba the Hen").
In the work of modern young writers, one can trace a tendency towards the emancipation of linguistic means, which were recently still fettered by strict regulatory requirements for children's books. This process is natural, since the language of a children's book must remain alive for all its literary character.
Little children unconditionally believe everything that is written in the book, and this faith makes the task of the writer extremely responsible. He must be truthful with his reader, but the truth here is of a special kind - artistic, which means the persuasiveness of fiction with moral purity and integrity of the idea. Only in this case, a children's book can fulfill its main task - to educate a moral person. For a writer, the question “how to write for kids?” is essentially a question of how to communicate with the child. Deep spiritual interaction between an adult author and a small reader is the most important condition for success. In both adult and children's books, the main thing is the artistic image. As far as the writer succeeds in creating an image (in particular, a hero, real or fabulous, but certainly full-blooded), to the extent that his work will reach the mind and heart of the child. Another feature of the baby book is maximum concreteness. As the Czech poet Jan Olbracht said, “for children, one should not write “a bird was sitting on a tree”, but “oatmeal was sitting on a tree”.
The child most easily responds to simple stories about people close to him and familiar things, about nature. He can also perceive works with more complex content, even some psychological subtleties in the subtext. However, questions arise: what is the role and possible limits of subtext in a children's book? The fact that a work should be “for growth” has been written for a long time, but to what extent should it exceed the level of child development? Psychologists have found that if an adult helps to read a book, a child can understand a lot and go far enough beyond what he is capable of on his own. Therefore, you should not be afraid that the child does not meet in the book with something to which he seems to have not matured. When children are protected from the incomprehensible, they have nothing to comprehend, nowhere to reach out, and there is a danger that such readers will not learn to think and cognize, they will grow up infantile.
The characteristic features of literature for kids include a dynamic plot and humor. True, the simplest forms of the comic are accessible to them. Unlike adults, it is difficult for them to feel the funny in themselves, but it is easy to imagine the ridiculous situation that other heroes of books find themselves in. And of course, a sharp plot is always attractive to a child. The masters of such a story were, for example, Boris Zhitkov, Nikolai Nosov, Viktor Dragunsky.
Psychological studies have shown that the little reader, more than an adult, is characterized by an effective imagination, which encourages not only to contemplate what is being read, but also to mentally participate in it. Among the literary heroes, he makes friends, and he himself often reincarnates in them. From its very origins, children's literature is focused on eternal, unshakable humanistic values, it teaches to distinguish between good and evil, truth and lies. At the same time, a children's writer cannot be completely free from the social ideas of his time, and his individual artistic style corresponds to the style of the era. Each writer develops his own way of talking with kids. He can come to lyrical-epic intonations (like Chukovsky), use folklore narrative techniques (like Bazhov), get as close as possible to the fresh and poetic worldview of a child (like Tokmakova). As children's literature matures, psychologism in the depiction of characters increases, rapidly changing plot events gradually give way to reflections and descriptions (for example, a reflective hero is typical for the stories of Radiy Pogodin, Viktor Golyavkin). Let us especially note that in a baby book there is always a full-fledged co-author of the writer - an artist. A small reader can hardly be captivated by a solid alphabetic text without pictures. The topic of illustrating children's books is covered in a separate section at the end of the textbook.
5. Review of a new work (Prose)
Lyudmila Petrushevskaya stands apart among contemporary writers. Her plays and stories cannot but make a person think about life, about the meaning and purpose of existence. She writes primarily about the problems that concern people, about the most important issues that interest a person. In the story “The New Robinsons,” the writer paints a picture of the flight, the flight of the main characters from reality, from the world in which millions of people live and suffer.
Life is impossible in such an inhuman civilization. Cruelty, hunger, the meaninglessness of existence - all this becomes the reason for fleeing from such a life. A person does not want to be responsible for everything that is happening in the world, does not want to be responsible for the deaths of people, for blood and dirt. This is how an ordinary city family ended up in an abandoned and remote village. They fled, could no longer endure that regime, that system in which they were: “My mom and dad decided to be the most cunning and at the beginning of all things, they left with me and a load of collected food to a village, deaf and abandoned, somewhere across the river More." Arriving at this godforsaken place, they immediately set to work: “Father dug a garden, planted potatoes.” A new life began. Here everything had to be started anew, to build a new, different, not like that cruel, better life. “There were three old women in the whole village”
And only one of them had a family who sometimes came for pickles, cabbage and potatoes. Loneliness has become a habitual way of life. They have no other age. They are already accustomed to living in hunger, cold and poverty, they have come to terms with such a life. Marfutka, one of the old women, did not even go out into the garden, she “survived another winter” and, apparently, “was about to die of hunger.” The situation in which all the villagers find themselves is hopeless.
Someone is trying to survive, and someone is tired of the constant struggle for a meaningless existence. The family, who had just arrived here, found, as it were, their “island of happiness”. They themselves chose this path for themselves, they could no longer be victims. And I think they did the right thing. Why endure a life that is bad when you can make it better yourself. The protagonist of the story is the father, the head of the family. It was he who decided that real life is life in isolation.
He hopes for himself, for his strength, for the fact that he will be able to provide for the existence of his wife and daughter. Also important in the story is the image of the little girl Lena, whose mother, the shepherd Verka, hanged herself in the forest from lack of money for pills, “without which she could not.” Lena is a symbol of the future. A little girl with her whole life ahead of her. She just has to learn and maybe even survive this life.
Together with her, the representative of the future generation is a boy, a baby, abandoned by refugees. They found him on the porch and called him Found. These children will understand only in the future how it is necessary to fight for existence, for the best, for the light. What fate awaits them? Will they, too, become victims? The heroes of the story, a young family, have everything: children, bread, water, love, in the end. Life is not over yet, it still goes on, you just have to fight for it, resist everything that gets in the way. We must hope for the best and never think about the bad. In such a difficult and cruel life, one cannot be weak, one cannot be pessimists, otherwise one can pay a lot for it. Life teaches everything, it hits many so hard that its lessons remain forever in the memory. You have to have great willpower to resist it. You can't stop even for a minute. The main character ran away, he surrendered.
I couldn't deal with the difficulties. On the one hand, of course, he did the right thing. There was no other way out. Only isolation. On the other hand, he is just a weak person. He is incapable of fighting. He was left alone with himself, with his misfortune, but it seems that he is pleased with this. Recall, for example, the episode with the receiver: “Once my father turned on the receiver and fumbled on the air for a long time. Ether was silent. Either the batteries ran out, or we really were left alone in the world.
My father's eyes sparkled: he managed to escape again! He seems to be content to be left alone at the "end of the world." Now he does not depend on anyone but himself. He would never again see what was going on outside the village. He is grateful to fate for his salvation. They broke out of the iron cage, flew away to nowhere, broke away from what destroys both a person and everything good in a person. They have everything and at the same time they have nothing. They do not have the most important thing - the future. This is the tragedy of the story. The development of society is suspended, they are isolated from the outside world, from other people. You can't live like that either. Nothing good will come of this. The future depends only on ourselves, how we make it, so it will be. The world depicted in the story is inhuman. And I think that Petrushevskaya is trying to show that it was we who made him so. We are to blame. And we have to redo it. To do this, the author tells us about a family, although not capable of fighting, but still abandoned such a worthless life. In my opinion, Petrushevskaya expressed her dream of building a new, different life. She meant that we should not run, we should not give up.
We do not need a life without meaning, we do not need only existence. We must all strive for the best, all together, only then will something change.
6. D. literature - a subject that studies the history of literature, which was originally addressed to children, as well as literature, which, not being intended for children, is included in the circle of children's reading over time. For children - Aibolit K. Chukovsky, and in the circle of children. reading Robinson Crusoe D. Defoe (there is a fascinating adventure story). D. l. as a collection of written works addressed to children appeared. in Rus' in the 16th century. to teach children to read. The basis of D.L. is UNT, as an integral part of folk culture, and Christianity. The first printed books in Rus' - the ABC and the Gospel. The specifics of yavl. its addressing (age and psychologist.) to children for decomp. stages of their personality development.
Children's literature - literary works created specifically for young readers, as well as included in the circle of their reading from oral-poetic folk art and literature for adults. For children from 3 to 4 years old.
Children's literature has the same qualities that fiction has. But still it is art of a specific orientation. D.l. associated with pedagogy., designed to take into account the age characteristics, capabilities and needs of young readers. The organic fusion of the laws of art and pedagogical needs is the main feature of the d.l.
D. l. as a tool for the knowledge of life, it pushes the boundaries of the world before young readers, helps to master it, i.e. literature enriches spiritually, promotes self-knowledge, self-improvement, helps to understand one's destiny in the world.
The task is detailed: Each historical epoch sets its own tasks. Old Russian literature: "for the sake of learning", as soon as possible to educate people in the religious spirit, obedient to princely power. Early 18th century: to educate young people who support the reforms of Peter 1. 19th century: to educate active fighters against the feudal system (according to Chernyshevsky and Dobrolyubov).
The plot is tense and dynamic, many interesting events, adventures, a lot of everything mysterious. The younger the reader, the less his interest in describing the nature and psychology of the hero. The hero is the engine of the story. The main character is the same age as the reader, this character draws this world as the child imagines it. A peer hero deserves more empathy from the child.
The language is grammatically correct, without archaisms, provincialisms, simple sentences. Sentimental style is excluded. An example is a folk Russian fairy tale that speaks to the reader on an equal footing. Barbaric style is not allowed.
One of the features of DL is its intermediate position between narrow local literatures and classical, "high" literature. Another feature is the specifics of the dialogue, the writer builds a dialogue with an imaginary reader, taking into account the difference in the levels of ethical and aesthetic perception. D.l. conservative, the discipline of the creative process determines the canonical way of artistic thinking.
7. The main functions of children's literature as art of the word
Children's literature is a part of general literature, which has all its inherent properties, while being focused on the interests of child readers and therefore distinguished by artistic specificity, adequate to child psychology. Functional types of children's literature include educational, educational, ethical, entertaining works.
Children's literature as part of general literature is the art of the word. A. M. Gorky called children's literature the "sovereign" area of all our literature. And although the principles, tasks, artistic method of literature for adults and children's literature are the same, the latter is characterized only by its inherent features, which can conditionally be called the specifics of children's literature.
Its features are determined by educational tasks and the age of readers. Its main distinguishing feature is the organic fusion of art with the requirements of pedagogy. Pedagogical requirements mean, in particular, taking into account the interests, cognitive abilities and age characteristics of children.
8. Origins of children's literature
The world origins of children's literature must be sought in the same place where all world literature begins - in archaic civilizations and the era of antiquity, in the early stages of the development of world religions, as well as in the boundless ocean of world folklore.
Thus, the Mesopotamian civilization, known for the birth of writing in the 3rd millennium BC, left behind the ruins of temple and palace schools of scribes - “tablet houses”. Children began to learn the craft of a scribe from about the age of six. Among several tens of thousands of so-called "school" tablets1 there are teaching aids, tablets with educational exercises in various branches of knowledge (mathematics, language, jurisprudence), literary works (epics, lamentations, hymns), works of "wisdom literature", which included teachings , fables, proverbs, sayings, as well as texts describing the daily life of the school with its cruel "bursat morals".
The scribes preserved folklore "knowledge", of course, of a magical nature, and folklore works (from lamentations and prayers to epic songs), and also created models of literature. The scribe, fixing the oral text, transformed it, and taking into account the educational purposes, most likely, he simplified and shortened it.
In the initial period of its history, literature as a whole showed truly infantile features: blood relationship with oral folk art, orientation towards the “naive” reader, who had not yet achieved all wisdom. One should not confuse the ancient "school" writing with children's literature in its modern sense, but one cannot ignore the union of writing and school - two components of literature.
The date of the appearance of children's literature in Russia is not known. She appeared in the depths of folk literature. In the X-XI centuries. there were songs, fables, fairy tales, legends, epics, legends. Researchers believe that folk and children's literature existed earlier, and only later materials have come down to us. Old women storytellers were kept in the houses for children, and mothers and grandmothers also told fairy tales and sang songs.
Old Russian literature. "For the sake of learning", as soon as possible to educate a religious person, obedient to princely power. Early 18th century: to educate young people who support the reforms of Peter 1. 19th century: to educate active fighters against the feudal system (according to Chernyshevsky and Dobrolyubov). In the 18th century, Tatishchev identified 4 age groups: 1) the camp of infancy (birth-12 years); 2) youth camp (12-25 years old); 3) courage (25-50 years); 4) old age (after 50 years). Dal: 1) childhood (up to 14 years old) 2) youth (14-15 years old) 3) adolescence. Modern pedagogy: 1) preschool age (3-7 years); 2) primary school age (7-12 years); 3) adolescence (12-16 years); 4) youthful age (15-18 years).
Genre system: almost all genres of fiction. 17th century - adaptation of ancient literature, Aesop's fables, myths, historical stories about the capture of Azov were processed. 18th century - fairy tales, sentimental stories.
Thematic focus. The topic was determined by the state. One of the main themes of the children's book is religion. 16-17 century - the emergence of secular motifs. Topics - the glorification of letters, education of interest in knowledge, the heroic traits of the Russian people. 18th century - there are thematic barriers between adult and children's literature. The beginning of the 19th century - romantics brought in d.l. literature for children, focused on a folklore children's fairy tale. The end of the 19th century - Dobrolyubov approved of the acquaintance of children with the problems that concern society (serfdom). The 20th century is an abundance of various irregularities, neologisms, etc. Another component of DL is the creativity of children. "Old" d.l. developed on the basis of the handle of classical culture, "new" - its beginning refers to the pre-October period. D.l. goes its own way of development, consistent with the general literary process. In the history of literature for children, the medieval Renaissance, the Baroque, etc., also stand out. At the same time, this is a special path of development, the purpose of which is to create literature that meets the needs of readers.
For d.l. there is a selection of topics. The following are taken into account: 1) how relevant the topic is for a given time; 2) whether the topic is accessible to a child at this age; 3) whether the topic meets the solution of educational tasks.
9. The date of the appearance of children's literature in Russia is not known. She appeared in the depths of folk literature. In the X-XI centuries. there were songs, fables, fairy tales, legends, epics, legends. Researchers believe that folk and children's literature existed earlier, and only later materials have come down to us. Old women storytellers were kept in the houses for children, and mothers and grandmothers also told fairy tales and sang songs.
At the end of the XII century. fairy tales began to be recorded in handwritten collections. In the first handwritten collections, there is already a fairy tale about Ilya Muromets.
In the middle of the 9th century, as a result of a long historical development and struggle, an ancient Russian state was formed in Eastern Europe, which finally took shape after the merger of Kyiv and Novgorod. In 988 Christianity was adopted as the official religion, which served as an impetus for a wider spread of writing and Russian culture. Competent people were needed to create, disseminate and develop culture, to strengthen power. And perhaps the first condition and initial step in the development of this culture was teaching children to read and write.
Information about the beginning of the education of children in Kyiv came to us from the "Tale of Bygone Years". Following Kiev, similar education for children was organized in Novgorod, Pereslavl, Suzdal, Chernigov, Murom, Smolensk, Galicia, Rostov, Vladimir, Nizhny Novgorod and other places. In 1143 A literacy school was opened in Polotsk, which was led by the daughter of Prince Svyatoslav Vsevolodovich Efrosinia of Polotsk. At school, she organized a book-writing workshop. The princes and their entourage took care of the spread of literacy and book writing in different ways. For his passion for books, Vladimir's son Yaroslav received a second name - Wise, and Prince Galitsky - Yaroslav-Osmomysl. Book writing gained wide scope in Kievan Rus. In the XIII-XIV centuries, Moscow became the center of book writing.
The first information about children's reading that has come down to us dates back to the end of the 10th - the beginning of the 11th century. One of the first original works of Russian literature - "The Tale of Boris and Gleb" tells about the interest with which the young sons of Prince Vladimir Boris and Gleb read books. We find a lot of information about books, reading, and the spread of letters in Novgorod birch bark letters. The largest number of birch bark letters remained and came down to us from the boy Onfim, who, according to scientists, was no more than five years old. From them one can judge in what way children were taught to read and write, what books they were given to read.
Almost all hagiographic stories tell about how heroes read books with enthusiasm in early childhood. However, there were no special books either for Boris and Gleb, or for Onfim and other children for a long time. Children read the same books as adults. As a result of a long selection, the reading circle of children began to include works that to some extent satisfied them, met their age characteristics and interests. Such were the Teachings, Lives, chronicle tales and legends.
10. Since the advent of writing and until the first half of the 15th century, inclusive, there were no special works for children in Rus'. Children of that era read the same works as adults. But educators were forced to select from the available books the closest and most accessible to children both in content and in the form of presentation. These works were not for children, although they were included in the circle of children's reading. Therefore, the era from the end of the 10th to the first half of the 15th century is considered the prehistory of children's literature. Its real history begins with the advent of special works for children. This happened in the second half of the 15th century.
The first works for children appeared in Rus' in the second half of the 15th century. The very first steps of Russian children's literature give grounds to draw some conclusions:
The first works for children appeared in Rus' in a critical era, they grew up on a national basis, rose on a wave of patriotism and met the needs of education; they had not only educational, but also educational value. 2. The very first works created in Rus' for children were educational in nature. 3. The most ancient method of popularizing knowledge among children was a dialogue between a child and an adult.
The first handwritten book for children was created in 1491. Russian diplomat and translator Dmitry Gerasimov. He decided to make the dry food of science easy for children to understand. Its grammar is written in the form of questions and answers. The title emphasizes that this book is addressed to children, that it is given to those who have already overcome the alphabet, can read, write and want to learn further. From Gerasimov, the very first recordings of Russian folk tales, interesting for children, have come down to us. This gives reason to consider him the first figure in Russian culture who took part in the creation of children's literature, and his thoughts are the very first statements about the essence of children's literature.
With the advent of printing, books for children began to be published. In the second half of the 16th century, 12 children's books were published (or rather, so many have come down to us). Although all of them were intended for educational purposes, they went far beyond the textbook, as they often served as books for reading. They were called alphabets or grammars, but not primers, since until the middle of the 17th century this word was called a teacher, a literate, well-read person.
The first printed children's book is the ABC, compiled by the Russian printing pioneer, Muscovite Ivan Fedorov, published by him in Lvov in 1574. In the history of East Slavic printing, this was the first book for secular purposes. In the textbook part of the alphabet, works were placed that can be considered as the beginnings of poetry, prose, journalism and educational literature for children. These include a poetic (Virsh) work - the so-called acrostic alphabet. Each of its lines begins with the next letter of the alphabet, and all the first letters together make up the alphabet.
The author asks to remember the words of wisdom, to spread them among people, not to create violence against the poor, not to offend the poor, widows and orphans, to be honest, obedient, hardworking, to honor father and mother. The ABC of Fedorov is the first printed book for children, which was used not only in Slavic countries, but also abroad: in Italy, Austria, Germany, Denmark, England.
Thus, educational, secular motives and many other phenomena in the history of our culture and social thought originated for the first time in children's literature.
This is the general cultural significance of the first printed books for children.
11. Since the 17th century, schools of various types have appeared (private, public, state). Much more widespread is the education of children at home. At the end of the century, the first higher educational institution was opened - the Slavic-Greek-Latin Academy. Throughout the 17th century, children's literature became more diverse in thematic and genre terms, enriched with artistic techniques, more and more separated from educational literature and turned into an independent field of verbal creativity. During the century, about 50 children's books were published, most of which were still educational in nature. The presentation of cognitive material is becoming more and more vivid, figurative, as a result, the process of convergence of pedagogy with art is accelerating, their organic merging takes place, which is one of the main features of children's literature. A children's book acquires a holistic character, it is better and richer in design. A variety of decorations appear in the book: graceful endings, headpieces, initial letters, ornaments, engravings.
The first Russian poet for children should be considered Savvaty, the director of the Moscow printing house. On the recommendation of Patriarch Filaret, father of Tsar Mikhail Romanov, in September 1634. Savvaty was admitted to the printing house as an informer (the most educated and reliable people were appointed to this position). In his messages, Savvaty acts as a patriot who sincerely loves Russia and wishes her well, but at the same time is critical of the highest nobility and sympathetic to ordinary people. It is no coincidence that these works were included in the children's book: they brought up patriotic feelings.
In a short preface to the first section of the ABC Teaching, Savvaty compares the book with sunlight. The ideas expressed by him reached the pinnacle in the work of Karion Istomin.
One of the first poets for children was Simeon of Polotsk. He is an outstanding Russian poet of the 17th century, an active figure in the field of education. His vast literary heritage is permeated with pedagogical ideas. And this is not accidental, because all his life he was engaged in pedagogical work. Therefore, it is quite natural for him to participate in the creation of children's literature. Under his leadership, Princess Sophia and the future Tsar Peter I were brought up. Simeon wrote, published or prepared for printing 14 books, half of which are educational or children's books. His largest creations are the poetic books "Rhymologion" and "Multicolored Vertograd". The poetry of Simeon of Polotsk is full of hymns to the book, literacy, and reading. The book, according to him, is of great benefit: it develops the mind, expands education. It makes a person wise. But he considered the real sages to be those who, having knowledge, generously share it with others and apply it in everyday life with great benefit. Simeon took part in the preparation for the publication of the primer of 1664, for which he wrote ten greetings addressed to children, their parents and benefactors. Ten years later, in 1679, Simeon compiled and published a new primer. For the history of children's literature, two poems contained in it are of the greatest interest. These are "Foreword to young men, who are willing to learn" and "Exhortation".
In the "Foreword" S. Polotsky calls on children to work constantly, for those who work from youth will live in peace in old age. Literacy, according to him, is a great gift, the focus of wisdom. "Exhortation" is placed at the end of the book and is not intended for everyone, but only for the lazy and violent. The poet convinces the little reader: if he wants to be educated and smart, he must constantly work, fulfill certain requirements.
All this gives us the right to consider Simeon Polotsky an outstanding Russian teacher, figure of education and children's poet of the 17th century. He, as it were, summed up the achievements of Russian children's literature and pedagogy for all previous centuries of their development and prepared the ground for the figures of subsequent eras. In the last two decades of the 17th century, his work was continued by associates and students, of whom Karion Istomin did the most for children's literature.
The work of Karion Istomin, the most important Russian poet of the late 17th century, is entirely dedicated to children. In all the works of Karion Istomin, the main theme for him is touched upon - education and science. He wanted to teach everyone: children and adults, men and women, slaves and servants, Orthodox and non-Christians. He considered the school to be the main conductor of education. Therefore, he ardently urged everyone to open schools to teach children from an early age. Along with the school, he considered the book to be a powerful means of spreading education.
The central place in the philosophical views of Karion is occupied by moral education, the formation of positive spiritual qualities, the instillation of kindness, spiritual purity, and philanthropy. In this he is close to the figures of humanism and the Enlightenment. At the same time, Karion did not bypass the issues of labor education, since he considered diligence to be an integral part of the moral code. An important place in the work of Istomin is occupied by the ideas of humanism and patriotism. He admires the abilities of man, his mind and strength. Propaganda of education, sciences, ideas of humanism and patriotism, struggle for moral ideals in the spirit of progressive views of the era Karion Istomin stands out from among his contemporaries. This puts him in the ranks of the leading figures of the era, who made a significant contribution to Russian culture. The practical implementation of the educational, humanistic and patriotic ideas of Karion Istomin are the educational and children's books he created, his poems addressed to young readers.
During his lifetime, Karion published three books, and all of them were for children: "Face Primer" (1694), "Primer of the Slovene language" (1696) and "The Tale of Ivan the Warrior" (1696). Karion owns the creation of a chronicler for children (history textbook). He is credited with the first textbook of arithmetic. Thus, Istomin compiled a complete set of textbooks, which completed the entire previous period in the development of educational literature, starting from Ivan Fedorov. He approached the creation of textbooks not only as a teacher, but also as a poet and thinker. In addition, Karion wrote a large number of poetry books and individual poems for children, imbued with advanced ideas.
"Face Book" is an illustrated encyclopedia for children, the only richly designed book of the Moscow Printing Yard of the 17th century; it has no equal among later editions. The subject of the primer is the most diverse - it also talks about work, science, teaching, books, games and children's amusements, and poses the moral problems of good and evil. In the "Big Primer" ("Primer of the Slovene language") the author tries to tell about the seasons, about people, to fill the poems with lyrical feelings and specific everyday details. The Big Primer continues the traditions of Russian educational literature. Karion Istomin achieved an organic synthesis of pedagogy and art, which 170 years later was brought to perfection by K.D. Ushinsky and L.N. Tolstoy.
The literary talent of Karion Istomin was most clearly manifested in his poetry books: “Polis”, “Domostroy”, “The book of admonishment in poetic words”, “Smart Paradise”, in the poems “A gift from students to children in their youth”, “For the contraction of morals”, in prose story about Ivan the Warrior. The rules of decency, according to the author, should be combined with the internal culture of a person, his education, supported by high moral qualities. Istomin speaks about children with respect, provides them with relative freedom and independence, recognizes their right to games and fun, which should be allowed to them “for the sake of joy”.
One of the significant works of Karion Istomin is the "Book of admonition in poetic words", dedicated to Tsarevich Peter and presented on the day of his 11th birthday. In its content and ideological direction, this is a kind of program for the future king, a program that has an educational and humanistic character. God, then the Mother of God, or the mother of the prince, Natalia Kirillovna, turn to the prince with great monologues. The prince carefully listens to each of them and adequately answers each one. It turns out a poetic dialogue between Peter and his three imaginary mentors and well-wishers. Propaganda of enlightenment, glorification of the sciences, calls to learn and teach everyone as the only way leading to the happiness and power of Russia - this is the main ideological meaning of this work. It must be assumed that the work played an important role in the education of the future reformer tsar, aroused in him a thirst for knowledge.
With his multifaceted work, Karion Istomin completed more than two centuries of history of ancient Russian literature for children. Istomin made his works a means of promoting science, enlightenment, and book veneration. Knowledge and enlightenment in his work and worldview are inseparable from moral problems, from the progressive views of the era. He understood the nature of children, took into account their age characteristics, enriched children's literature with new genres, and raised its ideological and artistic level. With his educational and humanistic views, technique and rhythm of verse, Istomin paved the way for the development of children's literature in the 18th century.
12. The development of Russian children's literature in the 17th century took place against the backdrop of great changes. Muscovite Rus united and pushed back the borders to Siberia and the southern steppes. The reforms of Patriarch Nikon split the church and believers. The influence of foreigners on the capital society increased. Gained strength secular culture.
The literary process went in the direction from educational and educational literature to works of art and scientific and educational. The educational book gave the child ready-made information that had only to be memorized. Such a book was focused on the one-sided thinking of the reader, accustomed him to someone else's monologue.
Books for learning to read and write were intended for younger children. They were of two types: alphabet-books for reading, written in semi-charter and bound, and alphabet-books, written in cursive on sheets glued into a scroll. ABCs-books were needed at the first stage of training, ABCs-copy - at the second, when the student already knew how to read and write semi-characteristically.
In total, more than 300 thousand alphabets and primers were printed in the 17th century (the first primer was published in Moscow in 1657).
Among the fifty books for children that have been preserved since those times, there are those that are not related to educational tasks, but are intended, rather, for entertainment and teaching. They were read by middle-aged children who had mastered literacy.
In the 30s-40s of the 17th century, poetry for children was born. The first children's poet was Savvaty, the director of the Moscow Seal of the Court.
Prose for children begins its formation. Russian military stories are being revised and shortened (adapted): “The Tale of the Battle of Mamaev” (about the Battle of Kulikovo), “The Tale of the Siege of the Don Cossacks”, the family-household “The Tale of Peter and Fevronia”. The rudiments of the genre of the story also appear. One of the stories tells how a criminal son, on the way to execution, bit off his mother's ear, explaining the evil deed by the fact that his mother was the culprit of his death, because she did not punish him for the first theft.
Historical literature itself is also developing for novice readers: there are often revised articles with historical information - from the beginning of The Tale of Bygone Years, as well as the book Synopsis - a brief review of Russian history.
Forewords to books, the genres of "words", "messages" were the beginnings of journalism addressed to children.
Children and adults interested in questions of the universe read translated cosmographies with descriptions of countries and peoples. As an example, let us cite a commendable description of Muscovite Rus in the compilation cosmography of 1670.
The course of natural science could be obtained by reading translated six-day books - works commenting on the Old Testament story about the creation of the world in six days. Nature in the six days is a "school of theology." The data of modern science - about the spherical shape of the Earth, the movement of stars and planets, about atmospheric phenomena, about the structure of ears of corn, the vine or lily, the classification of flogged fish and reptiles, etc. - are cited as proof of the greatness of the Creator of the world, "Wonderworker and Artist."
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Historical literature begins, on the one hand, with national epics, epics, historical songs, which for a long time (up to the present day) remain a living oral syncretic word, are performed by storytellers, and both acting and musical sound are important for their content.
Christianity opens up new sources, springs of historical literature, they are diverse. This sacred history, significantly expanding the geographical scope of the historical space - it refers to biblical times, moreover, to the Old Testament times, far removed from the present Ancient Rus', but, which is extremely important, giving new contours to the idea of the world and man's place in it.
This patristic legacy, coming from Byzantium hagiography saints, martyrs, passion-bearers whom the Orthodox Church commemorates in its services - subsequently this circle of reading and listening will be expanded at the expense of the lives of Orthodox martyrs and saints, primarily the first Russian saints - princes Boris and Gleb (in monasticism Roman and David), Nicholas , Prince of Chernigov, Alexander Nevsky (monastic Alexy), Vladimir, Prince of Kiev, Prince Dmitry Donskoy, as well as the holy ascetics of the church, primarily Sergius of Radonezh and his disciples and followers, such as Savva Zvenigorodsky.
Hagiographic literature laid the foundation for the first historical biographies, artistic biographies of prominent people in Rus' and in Russia. It was highly educative literature set forth within the canon of hagiography, providing not only examples of ascetic life, but affirming spiritual priorities and love for the Fatherland as its main values. She already then helped to educate citizens. Karion Istomin (1640s - not earlier than 1718 or 1722) publishes the story Service and life of John the Warrior”, dedicated to John, who lived in Constantinople under Julian the Apostate and became famous for the fact that instead of persecuting Christians that he was supposed to repair, he sheltered and protected them, for which he was imprisoned and suffered torment, but he did not renounce the faith. In the XVIII century. The story has been reprinted several times.
This genre was further developed at the beginning of the 19th century, when in 1809 it was published "Plutarch for Youth" in 10 volumes. "Plutarchs" in Russia were called, after the "Comparative Lives" of this ancient Greek writer and historian, these biographies themselves. Their translations from French (performed by P. Blanchard and K. Zh. Propiak), published in Russia, also included the biographies of the princes, Peter I, Feofan Prokopovich, M. V. Lomonosov, A. V. Suvorov, and in the edition of 1823 The biography of M. V. Kutuzov is included.
Four volume edition "Plutarch for young girls" which included biographies of 76 prominent women, was carried out by Fyodor Nikolaevich Glinka (1786-1880). Let us pay attention to the fact that the upbringing of the girl considered it necessary to include examples of the ascetic life of women, and did not at all limit the circle of girlish interests to fortune-telling and various kinds of entertainment.
Starting from the X century. the source of many instructive impressions, including historical ones, for the illiterate was the church, including its architectural structure and interior decoration. The favorite forms of the temple from ancient times, containing a deep symbolic meaning, were: a) oblong, like a ship, meaning that the holy church, like a ship, leads believers through the sea of life to the haven of eternal life; b) cruciform, meaning that the church received life and strength through the cross; c) round, meaning the eternity of the church; d) octagonal, in the form of a star, symbolically indicating that the church, like a star, shines with the grace-filled light of Christ. The top of the temple is crowned with domes or a head and marks the invisible Head of the Church of Jesus Christ. At the top of the head, a cross is erected, as a banner of the victory that the faith of Christ won over the world. Sometimes three domes are erected on the temple in the image of St. Trinity, and sometimes five chapters, the middle of which depicts Jesus Christ, and the rest of the four evangelists.
Murals, icons with hallmarks, in fact, were “read”, almost in the same way as ordinary books are read by a modern child. Unfortunately, this literacy has been lost for the vast majority of modern children, and today restoring it is also the task of the head of children's reading, the language teacher, because it was a story in faces, taken to heart.
A significant historical component was contained in life according to the church calendar, in the possession of the semantics of what is happening at the liturgy. In move forward And "back to square one" the man of Ancient Rus', and in particular the child, was well aware of the extremely important connection with the past for any person: the ancient man did not go into some unknown future: his ancestors walked ahead of him, he followed them. This connection (grandfathers - parents - children) was important not only as a memory of a family, clan, but as a memory of a nation, state, human unity. To belittle the importance of such historical education means to ignore its spiritual and moral component in general.
Until the last third of the XVI century. (the first "ABC" of Ivan Fedorov was published in 1574) the book was handwritten. Writing was not just a craft, but an art that was learned, and possession of it was considered honorable. One of the most important genres of handwritten historical literature of Ancient Rus' was the chronicle genre, which included chronicles of the life and work of statesmen, descriptions of major events, as well as original works that scholars consider the beginning of literature in Rus'. This "Initial Code"(1095), " The Tale of Bygone Years"(beginning of the 12th century), "Teachings of Vladimir Monomakh"(c. 1117)," A word about Igor's regiment» (1187). All these are works of different genres - a story, a lesson, a word, but they all have a pronounced historical component.
17th century laid the foundation for the development of historical prose for children, when military, military stories began to be transcribed for them: “ The legend of the Mamaev battle"(about the Battle of Kulikovo)," The story of the Azov siege seat of the Don Cossacks"(1642), written by the head of the military office F. I. Poroshin.
- See: Dyachenko G. Complete Church Slavonic Dictionary. M. : Publishing Department of the Moscow Patriarchate, 1993. S. 794, 802.
slide 1
Historical genres in children's and youthful reading Artist: Tikhonova M.Yu. Student 12 r / n groupslide 3
Genres Folklore. Epic and song. Chronicle stories. hagiographic genre. Historical prose.
slide 4
Legends Species: Historical (about Jean d'Arc, Ivan the Terrible). Toponymic - about the origin of names (names of cities: Paris from Paris, Kyiv from Kiy). Church traditions. Arises from eyewitness accounts. When transferred from one person to another, it undergoes metaphorical changes, sometimes distorting the meaning of the event.
slide 5
Epics and songs For the first time the term "epics" was introduced by Ivan Sakharov in the collection "Songs of the Russian people" in 1839. Each epic is divided into two parts: consistent and typical
slide 6
Chronicle legends In Byzantium they were called chronicles; in Western Europe in the Middle Ages by annals and chronicles. The First Kiev Chronicle - "The Tale of Bygone Years". Novgorod - distinguished by the conciseness of the style, Pskov - vividly draw social life, South Russian - literary, sometimes poetic.
Slide 7
Hagiographic genre The life of a saint is not so much a biography as a description of his path to salvation, such as his holiness. Examples: "The Life of Prince Andrei Nevsky"
Slide 8
Historical prose L.N. Gumilyov "From Russia to Russia" G. Naryshkin "The Stone Chronicle - Our Anxiety" A.P. Gaidar "Military Secret", "Rockets and Grenades" L.A. Kassel "Street of the Youngest Son" V. Nikitin "The Song of the Old Russian Partisans" I. Savinova “Forgive me for talking about the war again” G. Baklanov “Forever nineteen” Stories for children Ishimova, Platonov, Sipovsky
slide 9
About the author... Boris Vasiliev was born on May 21, 1924. After graduating from the 9th grade, at the age of seventeen he volunteered for the front. In 1954 he left the army and took up professional literary activity. Works: There were and weren't. (1977-1980) Novel Not listed. (1974) Tale greetings to you from woman Lera ... (1988) Magnificent six. (1980) Story Veteran. (1976) Story Prophetic Oleg. (1996) East. novel Encounter. (1979)
slide 11
The tragic events of the story take place in the spring of 1942 in Karelia at the little-known 171st junction, away from the Murmansk road.
slide 12
Heroes of the story Sergeant Major Vaskov F.E. - 32 years old, commandant of the patrol, "mossy stump", gloomy, military man. A personal tragedy - his wife left him after the Finnish war, his son Igor died. Junior Sergeant Osyanina M.S. - Strict, laughs a little, calm and reasonable, proud, lived tight with a belt, kept apart from everyone. A personal tragedy - she lost her beloved husband at the beginning of the war.
slide 13
Komelkova E. - Tall, red-haired, white-skinned, with childish green eyes as big as a saucer, sharp-tongued, artistic, sociable mischievous. A personal tragedy - before her eyes, her mother, brother and sister were shot by the Germans. Brichkina E. - Chunky, dense, the daughter of a forester. I always believed that tomorrow would come and be better than today. A personal tragedy - the whole economy was on it. her mother was seriously ill, unrequited love.
slide 14
Chetvertak G. - Twisted, thin, sharp-nosed city pigal, pigtails from tow, chest flat like a boy's. A personal tragedy - she did not know her parents, she was thrown into an orphanage. Gurvich S. - She was a translator in the detachment, a timid, city pigalina, an ugly face, skinny shoulders. A personal tragedy - an orphan, her parents probably died in Minsk.
slide 15
Moral problem: the formation and transformation of the character and psyche of the individual in the conditions of war. The theme of war, unfair and cruel, the behavior of different people in its conditions is shown on the example of the heroes of the story. The topic of war is relevant at any time.
slide 16
Features Appearance and character of the characters, the author partly took from classmates, partly from girls serving as radio operators, nurses, scouts. The name uses a default figure, it does not include the essence of what is happening, but the state of mind and emotional stress transmitted by the characters.
Federal State Educational Institution of Higher Professional Education
Graduate work
Federal Agency for Culture and Cinematography
Federal State Educational Institution
Higher professional education
"State Academy of Culture and Arts"
Library and Information Faculty
Department of Information Services
Historical literature in the reading of teenagers 10-14 years old
Graduate work
Executor:
group student
correspondence department
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cand. ped. Sciences,
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cand. ped. Sciences, Associate Professor
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Introduction
I. Features of reading teenagers in the modern period
1.1. Adolescent Reading Studies
1.4. Teenager as a reader
II. Analysis of the activities of the Teshnyar rural library
2.1. The work of the Teshnyar rural library to introduce students to the study of historical literature
2.2. Reading Historical Literature: Results of a Poll of Teenage Readers
Conclusion
Bibliography
Introduction
"History is the teacher of life," said the ancients. And indeed, people always, especially in critical periods for society, try to find answers to the most pressing questions of our time in the historical past.
To talk about the great commanders, outstanding compatriots, to remember those who made history means to instill in the younger generation respect for the history of the Motherland, for the exploits of the defenders of the Fatherland, a sense of pride in their country.
Dmitry Sergeevich Likhachev wrote: “Love for one's Motherland is not something abstract; it is also love for one's city, for one's locality, for the monuments of its culture, pride in one's history." Therefore, it is so important to learn love for the motherland on the monuments of history and culture of one's region.
In connection with the foregoing, the topic of the thesis is relevant, as it sets the task of studying the reading of historical literature by a teenager; revealing the specifics of the genre "historical book" will allow to outline the ways of familiarization with this literature.
Object of study: adolescents aged 10-14 as readers of historical literature.
Subject of study: the influence of historical literature on the reading development of adolescents aged 10-14.
The base for the study: Teshnyarskaya rural library and Teshnyarsky municipal secondary school of the Sosnovoborsky district.
The purpose of the study: to determine the place of historical literature in the reading of adolescents, to substantiate the optimal ways of familiarizing with this literature in libraries.
Research objectives: study of literature and experience of libraries in accordance with the research topic; selection and analysis of printed publications on history, addressed to the reader - a teenager; determining the place and role of historical books in adolescent reading; development and implementation of the most effective methods of working with literature on history.
Research methods: analysis of psychological, pedagogical and library science literature, documentation and experience of the library; reader survey.
Scientific novelty: determining the specifics of a historical book, identifying the motives and factors for choosing a book by teenagers.
Practical significance: the result of the study will contribute to the improvement of the work of the library with historical literature.
The structure of the work: this work consists of an introduction, two chapters, a conclusion, a list of references.
The introduction formulates the relevance of the study, goals, objectives, subjects, objects, research methods.
The first chapter reveals the features of reading teenagers in the modern period, the study of the reading interests of teenagers, the features of the historical genre of fiction, the age characteristics of teenagers, the teenager as a reader.
The second chapter analyzes the activities of the Teshnyar rural library, the work of the Teshnyar rural library to familiarize students with the study of historical literature, and presents the results of a survey of adolescent readers.
Chapter 1. Features of reading teenagers in the modern period
1.1.Research on the reading interests of adolescents
Changes took place in the cultural life of the country, which led to a sharp increase in interest in national history, the origins of national culture, and lost traditions. These changes significantly affected the work of libraries.
Allegations of a "children's reading crisis" are far from accidental and have a real basis. At the beginning of the XXI century. children read “wrong” and “wrong” like previous generations. But they certainly read. At the same time, there is an intensive process of transformation, a radical change in the reading habits of young readers. Almost all characteristics of children's reading are changing: the status of reading, its duration (reading time at leisure), the nature, the way of working with printed text, the reading circle of children and adolescents, the motives and incentives for reading, preferred works, etc. The sources of obtaining printed materials are also changing. , information in general and much more. Our research allows us to talk about the development of a number of trends in children's reading, as well as the fact that there is a process of changing the old model of mastering book culture by children for a new one.
What are the new picture and the new model of reading (a set of new features of a young reader) when entering a literary culture? Let us immediately note that in some regions of Russia the situation is relatively favorable, while in others there are negative processes of rejection of children from printed culture.
We will rely only on the results of a sociological study of the reading of schoolchildren in the 7th and 10th grades. According to our data, on average, the majority of children and adolescents read in their spare time, and if a fifth of the respondents spent up to 30 minutes reading. a day, a third of them read from half an hour to an hour. About 42% read for more than one hour a day. But, as a rule, most of those who love to read are children of primary school age. The older children are, the less time they take to read at leisure, and the less they like to read. If the proportion of those who chose the answer option “I like to read, I read a lot” at a younger age is 43%, then by grade X it drops to 17%, and at the same time the proportion of those who among the younger ones chose the answer option “I read rarely, I don’t like”, will melt from 8% to 17% in the senior classes. The attitude towards reading is an important characteristic, and it indicates that, in general, the positive attitude of schoolchildren towards reading is preserved.
Research results show that only one in ten schoolchildren surveyed does not read anything other than the books needed to complete the lessons. If we analyze the reading circle of adolescents, then about 40% of it is literature of an entertaining nature, while scientific and educational books occupy half as much as 21%
At the turn of the century in the reading of children, and especially adolescents and youth, various magazines became especially popular. An active appeal to periodicals begins already at primary school age, but it especially intensifies by adolescence.
While magazines are often bought and sometimes borrowed by teenagers from libraries, the sources of books are mainly home, public and school libraries. Thus, according to the above-mentioned survey of students in various regions of Russia (2001), in 43% of cases schoolchildren read books from their home library. In second place was a public (public) library (18%), in third - a purchase (16%). Adolescents, boys and girls also borrow books from friends, and with age, the share of this source more than triples (from 6% to 21%), ranking second among high school students after the home library. The last place among the sources of obtaining books is the school library, which is used by about every ninth schoolchild. In general, the share of all "home" sources of obtaining books is approximately 60%, and libraries - about 30%.
However, in the provinces, libraries often serve as virtually the only source of books for schoolchildren. In the last decade, the problem of library acquisition has become extremely acute. The uneven distribution of book resources persists, and the further one moves away from central Russia, the distribution channels become worse and worse. At the same time, the needs of schoolchildren for new, relevant literature have increased dramatically, which is associated not only with changes in reading, but also with the ongoing reform of the school. As a result, in many regions of Russia, the needs of children and adolescents often remain unsatisfied.
When asked what books they would like to read but could not find, children aged 11-14 named books about nature and animals (16% of respondents), adventures and "horror" (11%), fairy tales (7%). Adolescents noted science fiction (8%), books on technology (7%), history (4%), various popular science literature (3%). The number of different topics on which children need books is huge. It would seem that there is a lot of literature on these topics. But due to the fact that it does not reach the regions, children experience a “book hunger” that they themselves do not realize. The specificity of the children's reading group lies precisely in the fact that they need the book "here and now", children cannot, like adults, put off their unfulfilled needs for the future, they simply switch to other means of communication and ways of spending their leisure time.
In the modern situation, the process of socialization of the individual becomes especially difficult. Along with the main social institutions of education and upbringing, the family and the school, “electronic educators” play an increasingly important role in it. Television continues to occupy a significant place in the lives of children and adolescents. Over the past decade, it has become the most common way of spending leisure time for most children and adolescents, both in the city and in the countryside, and ranks first in the list of daily leisure activities.
In large cities, new media are an alternative to television. The modern teenager has a great opportunity to choose one or another way of spending leisure time. These are various means of mass communication and electronic mass media. It is children, adolescents, youth and young people today who are the most active social groups that easily master new information technologies. They do not have those psychological barriers that interfere with adults, because they are receptive to the new; many of them already in early childhood get acquainted with the computer. This is a new "multimedia generation", which has different values, behaviors and orientations in the world of information.
Electronic culture, including video production and a variety of multimedia, is often perceived as a competitor to the printed word. Of course, at the first stage of mastering a new type of media and the new opportunities that it provides, there is a keen interest in it. Later, after mastering it, it will "integrate" into the structure of life and take its proper place in it. The book won't go away, and neither will the reading. The point is not what medium will be chosen - a book or a computer, where the text will be - on paper or on a monitor screen, the point is different: what exactly will be read there and what information, what knowledge, what culture and art will these means represent for the development of a young person.
While we are still in line with the old literary tradition. But this time is quickly running out, which is especially noticeable in children's reading. In recent years, there has been a deterioration in a number of reading characteristics of schoolchildren, a decrease in their level of literacy. Teachers are sounding the alarm about the simplification and coarsening of students' speech, primitive clichés, with which their compositions are often full.
The concern for reading the nation in many advanced economies is striking. We have a situation where many children do not have new books in their immediate environment (including libraries). And according to VTsIOM, 34% of adult Russians no longer read! The difficulties of the process of transformation of reading are superimposed by the difficulties of the deterioration of the environment of book resources in which many children live. They need to realize their right to read the best classical and modern literature.
In the future society, reading and "the person who reads" will certainly be considered as a national value. But reading nations are made up of reading children. Today in Russia it is also necessary to recognize the problem of reading children and adolescents as a national problem due to the fact that at present children's reading especially needs to be protected and supported not only by society, but also by the state.
So, in the reading of children and adolescents today, very serious changes are taking place, which are of a profound nature. And many parents, teachers, librarians are still focused on the old literary model, while most of today's children and adolescents have very different preferences and a different perception of book culture. They treat the book not as a "textbook of life", but as one of the media and mass communication. Thus, to some extent, there is a gap between generations in the transmission of the long-standing tradition of mastering literary culture. During this period, the role of libraries becomes especially important as organizations that support children's reading and protect the rights of young readers to access books and information. This becomes more and more visible when comparing the social groups of children visiting and not visiting libraries. For example, young readers who frequent libraries read more and better than their peers who do not use libraries. Libraries are also engaged in "levelling" the socio-cultural and educational opportunities of children from different walks of life, primarily helping children from poor and low-income families. But the role of libraries in book culture can only grow if their funds are properly stocked in accordance with the changing needs and interests of readers.
1.2. Features of the historical genre of fiction
The writer, like the historian, can recreate the events and appearance of the past, although this artistic recreation differs from the scientific one. Based on historical data, the writer at the same time always follows the path of creative fiction, without which art is impossible; he depicts not only what was, but also what could be. However, the right to historical fiction does not exclude the fact that fictional situations must be historically possible and motivated, and the depiction of truly historical events, the era of its life, individual details must be strictly based on the achievements of historical science, data from historical sources. The reflection of history in fiction, the depth of the artist's comprehension of the historical process, is closely connected with the development of historical, sociological and all social sciences, with the prevailing concepts of historical development. The writer's reflection of the historical past is directly influenced by the development of certain historical problems and topics in historical science, and the level of processing of historical sources achieved. Truly artistic historical works are imbued with historicism, alien to modernization and subjectivism, which distort historical truth. The best examples of historical fiction are not only aesthetic, but also historical and educational value. Historical fiction is capable of depicting a bygone era in its entirety, revealing in living images the social activities, ideology, way of life, and psyche of its representatives; historical fiction, which has the power of great emotional impact, embodying historical events in a living, figurative form, contributes to the familiarization of broad sections of the people and youth with history. Among the literary works on historical themes, there are many works that, although they set the task of depicting the life of any historical era, in reality do not rise to historicism, distort and modernize history (and, therefore, have no historical and educational value). Thus, it is often rightly said about the pseudo-historicism of certain historical novels, plays, poems. Not every work that refers to the events of the past sets itself the task of actually recreating this past, and has proper historical goals. Sometimes a writer looks in the past only for material for a sharp plot, colorful paintings, a special color - sublime, exotic, etc. e. This clearly appears, for example, in many adventure novels that absorb events of the past (for example, in the novels of A. Dumas, which have a very limited historical and educational value). Also widespread (especially in the literature of modern times) are works that can be called historical allegories, where the historical plot is used by the writer only to embody one or another idea (such, for example, is the drama of the Brazilian playwright G. Figueiredo "The Fox and the Grapes", in which the image the ancient Greek fabulist Aesop is used by the author to affirm the need for human freedom, or the drama of the French playwright J. Anouil "The Lark", in which the author raises the problem of the responsibility of the individual, the assertion of human dignity, referring to the image of Joan of Arc). These works occupy their place in literature. , but they can by no means always be attributed to historical literature proper. At the same time, the value of historical fiction is far from being exhausted by its historical and cognitive significance. Sometimes a literary work of historical subject matter, even far from historical accuracy, but consonant with the modern era, expressing large, progressive ideals, affirming the national self-consciousness of the people, painting vivid pictures of the revolutionary and liberation struggle, has the power of tremendous ideological influence (for example, "Spartacus" by R. Giovagnoli, 1874, "The Gadfly" by E. Voynich, 1897). Historical literature is of great educational value. The beginning of historical fiction proper dates back to the turn of the 18th and 19th centuries, when the historical novel was formed as a special literary genre, which set itself the direct goal of depicting the life of past eras. The historical novel (and the historical drama proper that arose later) qualitatively differs from historical works of previous eras in their subject matter. The formation of historical fiction proper coincides with a significant turning point in historical knowledge itself - with the process of the formation of history as a science. The rapid and abrupt upheaval in social relations during the era of the French bourgeois revolution made it possible to finally realize the irreversibility and qualitative nature of historical changes. Historicism, as such, enters into historical knowledge, and a similar process occurs in fiction. In an aesthetic sense, the formation of the Historical genre was associated with the artistic discoveries of romanticism: the mastery of depicting the color of place and time, the acuteness of perception of the special, individual in each phenomenon, interest in national movements, in the national past in all the unique originality of each of its stages.
The formation of historical fiction in the proper sense is associated with the name of the English writer W. Scott (1771-1832). The great German writers I. Goethe (dramas Goetz von Berlichingen, 1773, Egmont, 1788) and F. Schiller (dramas Wallenstein, parts 1-2, 1798-99,) have already done a lot for the formation of this genre. Mary Stuart”, 1801, “William Tell”, 1804, etc.), but it was the work of W. Scott, the founder of the historical novel, that was a real milestone. W. Scott created a whole series of novels depicting the era of the Crusades (“Ivanhoe”, “Richard the Lionheart”, “Robert, Count of Paris”), the period of the formation of national monarchies in Europe (“Quentin Dorward”), the English bourgeois revolution (“Puritans ”, “Woodstock”), the collapse of the clan system in Scotland (“Waverley”, “Rob-Roy”), etc. The transition to a bourgeois lifestyle that took place in England gave the writer the opportunity to keenly feel the change of eras, a sharp difference in social relations, ideology , psychology and life of the Middle Ages and modern times. The artist strives to realistically recreate the spirit and appearance of a way of life that has sunk into the past. For the first time, an artistic recreation of the past is based on a real study of historical sources (whereas earlier the artist was limited to reproducing only the general course of historical events and the most characteristic features of the figures of the past). The work of W. Scott had a direct impact on subsequent historical fiction. Many romantic writers widely turn to historical topics, for example, V. Hugo (the drama Cromwell, 1827, the novels Notre Dame Cathedral, 1831, The Man Who Laughs, 1869, The Ninety-Third Year, 1874), and de Vigny (the novel Saint-Map, vols. 1-2, 1826), Manzoni (The Betrothed, 1827), the English writer E.J. Bulwer-Lytton (the novels The Last Days of Pompeii, 1834, Rienzi, the Last of the Roman Tribunes, 1835, and others), North American novelist F. Cooper (The Spy, 1821), Russian novelists: M. Zagoskin ( Yuri Miloslavsky, or Russians in 1612, ch. 1-3, 1829), I.I. Lazhechnikov ("Ice House", 1835). The works of the historical genre created by the romantics do not always have historical and educational value. This is hindered both by the subjective-idealistic interpretation of events and the substitution of objective social conflicts for contrasts of good and evil, darkness and light. The main characters in such novels are most often not historically specific types, but only the embodiment of the romantic ideal of the writer (Esmeralda in Hugo). The subjective political convictions of the author also have an effect: for example, A. de Vigny, who sympathized with the aristocracy, made a representative of the feudal opposition the program hero of his novel. However, the merits of a work of the historical genre as an artistic creation cannot be judged only by the degree of scientific authenticity of the depicted. Hugo's novels, for example, have great power of emotional impact. “He sounded the alarm bell,” A.N. wrote about Hugo. Tolstoy: “Wake up, man is in poverty…” associated with the victory of realistic principles in the historical novel and drama. The conquest of realism was the creation of social characters, penetration into the complex process of the struggle of historical forces, the depiction of the role of the people in history - aesthetic moments, in many respects already prepared by the school of W. Scott (Chuans by Balzac, Jacquerie by Mérimée). In Russia, the realistic historical genre triumphed in the work of A.S. Pushkin ("Boris Godunov", "Arap of Peter the Great", "The Captain's Daughter").
New in the 30s and 40s. 19th century was the deepening of psychological analysis in the works of I. Zh. (“The Chronicle of the Times of Charles IX” by Merimee and especially the episodes of the image of Waterloo in Stendhal's novel “The Parma Monastery”, which L. Tolstoy later referred to). The epic of L. Tolstoy "War and Peace" is a majestic pinnacle in the development of the historical genre in the 19th century. Its historicism is manifested both in a large-scale awareness of the very course of the historical process, and in the creation of historical types, and in the exact transfer of social, everyday, ideological, psychological and linguistic features of the time.
However, after the achievements of realistic historical literature of the mid-19th century, the most outstanding works of which raised the most important questions of people's life and the historical destinies of the nation on the basis of historical material, they sought to resolve the problems of the connection between the individual and the people, etc., while giving high examples of historicism - there is a regression in the development of historical fiction. This is connected primarily with the general processes of strengthening the reactionary nature of bourgeois ideology in the late 19th and early 20th centuries, with the ever greater departure of bourgeois social thought from historicism. The authors of historical novels modernize history. So, for example, even such an outstanding realist artist as A. France, in the novel from the time of the Great French Revolution "The Gods Are Thirsty" (1912), promotes the idea that humanity is, as it were, marking time in its development. A special kind of “symbolic” historical literature is becoming widespread, which, sometimes claiming to have a deep understanding of the historical process, actually creates purely subjectivist constructions of a mystical nature (“The Veil of Beatrice” by A. Schnitzler, 1901, “historical” trilogy by D. Merezhkovsky - “ Pavel I", 1908, "Alexander I", 1911-12, "December 14", 1918). On the contrary, in a number of countries of Eastern Europe, historical themes acquired in the late 19th and early 20th centuries. great importance and public resonance, which is associated with the national upsurge in these countries. The leading place in the themes of historical literary works of this period was occupied by the history of the beginning liberation struggle. In some cases, historical fiction is romantic in nature. Such, for example, are the historical works of the Polish novelist G. Sienkiewicz (“With Fire and Sword”, vols. 1-4, 1884, “The Flood”, 1886, “Pan Volodyevsky”, 1887-88, “Kamo are coming”, 1894-96, "Crusaders", 1897). Many works are written in a realistic manner: the Czech writer and historian A. Irasek creates a series of novels and dramas depicting the era of the Hussite wars (historical novels "Between Currents", vol. 1-3, 1887-90, "Brotherhood", vol. 1- 3; 1898-1908, etc., historical drama "Jan Zhizhka", 1903, "Jan Hus", 1911), Bulgarian writer I. Vazov - historical dramas based on scenes from the life of medieval Bulgaria ("Borislav", 1909, "K abyss”, 1908, “Ivaylo”, 1911). The national liberation movement, the awakening of national consciousness were the basis for the emergence and development of the historical novel genre in many countries of the East. In India, the creator of the historical novel in Bengali literature was the outstanding writer Bonkima Chondro Chottopadhay ("The Commandant's Daughter", 1865, "Mrinalini"), in Marathi literature - Hari Narayan Apte ("They took the fortress - they lost the lion", 1903, "The Tiger of Mysore" , 1890-91, "Princess Rupnagara", 1900-02, "Chandragupta", 1902-04, etc. ), in Hindi literature - V. Varma ("Kundar Fortress", 1928, "Rani Jhansi-Lakshmi Bai", 1946, and many others). The historical novel was the first genre of the new Arab fiction (historical novels by Jirji Zeydan, 1861-1914 - "Ghassanid", "Egyptian Armanossa", etc., Farah Antun, 1873-1923 - "New Jerusalem, or the Capture of Jerusalem by the Arabs", etc.) . In the 20s. the first historical novels began to appear in Iran (“The Tale of the Artist Mantz” and “Spreaders of the Nets, or Avengers for Mazdak” by Sanatiz-zade Kermani, “Love and Power” by Agasheikh Musa Hamadani, etc.). Most of the works of young historical literature of the countries of the East were written in a romantic manner, many of them played a significant role in the national liberation struggle.
In the countries of Western Europe, a new upsurge in the development of the realistic historical novel begins after the Great October Socialist Revolution. This world-historical upheaval enabled the great realists of the West to create a number of outstanding examples of historical fiction. At the same time, the appeal to the historical theme of the leading writers of the West was associated with their protection of the cultural heritage and progressive traditions of the past, with the anti-fascist speeches of humanist writers. Such, for example, are the historical works of G. Mann (the novel The Youth of King Henry IV, 1935) and T. Mann (the story Lotta in Weimar, 1939), numerous historical novels by L. Feuchtwanger (The Ugly Duchess, 1929, " Jew Suess, 1925, The Jewish War trilogy, 1932, Sons, 1935, The Day Will Come, 1942, The False Nero novel, 1936, Foxes in the Vineyard, 1948, Wisdom of an Eccentric, or Death and transformation of Jean-Jacques Rousseau, 1953, Goya, 1951, etc.). Closely connected with modernity, distinguished by a humanistic, democratic orientation, they are at the same time characterized by the writer's careful work on historical sources. However, even these best works of Western historical literature are imprinted by the general conceptions of the historical process, which are characteristic of bourgeois historical science. Thus, in Feuchtwanger's historical novels (especially in pre-war ones), the idea of historical progress is sometimes expressed as a struggle between reason and inertia, which rarely ends in the victory of reason, the role of the people in history is underestimated, and the author's subjectivism is clearly manifested. A new stage in the development of historical fiction is associated with the literature of socialist realism. Standing on the positions of a materialistic understanding of history, affirming historical existence as the creativity of the masses of the people, this literature has all the objective conditions for successful development on the principles of genuine historicism and has achieved major results along this path. M. Gorky, evaluating the first attempts at creating a Soviet historical novel, wrote in 1930 (referring, in particular, to the works of A.N. Tolstoy about Peter I and 10. N. Tynyanov about the Pushkin era): “... a historical a novel that was not in pre-revolutionary literature...” (M. Gorky on Literature, 1955, p. 413). The most important topics of Soviet historical literature were the depiction of the revolutionary and patriotic traditions of the Russian people, the problem of the role of the people in history, the depiction of critical, significant eras; historical literature is characterized by a desire for epic, great artistic generalizations. So the novel by A.N. Tolstoy "Peter 1" (1st book - 1929-30, 2nd - 1933-34, 3rd - unfinished, 1944-45), depicting the image of Peter I, is at the same time an epic about the fate of the Russian people at one of the turning points in its development. A deep understanding of the era of Peter is given in the story of A. Platonov "Jestfan Gateways" (1927). The topic of revolutionary peasant movements of the past was widely covered in Soviet historical literature (for example, Chapygin's novels "Razin Stepan", 1926-27, "Walking People", 1935-37, "Pugachevshchina" by K.A. Trenev, 1924, "Emelyan Pugachev ", V.Ya. Shishkova, 1-3, 1938-45).
The important themes of Soviet literature were the liberation struggle against tsarism, the fate of advanced Russian culture in tsarist Russia (the novels by O.D. Forsh “Dressed with Stone”, 1925, the trilogy about Radishchev - “Yakobinsky leaven”, 1934, “Kazan landowner”, 1936, “ Pernicious book", 1939, etc.; novels by Yu.N. Tynyanov "The Death of Vazir-Mukhgar", 1927-28, "Kukhlya", 1925, "Pushkin", 1936-43, etc.). Of particular importance are works about the era of the preparation of the revolution and about the revolution itself and the civil war. So, to a large extent, the Life of Klim Sangin by M. Gorky belongs to historical literature (although Gorky himself did not attribute this work, nor The Case of the Artamonovs to the genre of a proper historical novel), and The Quiet Don by M.A. Sholokhov, and A.N. Tolstoy, and "First Joys" and "Unusual Summer" by K.A. Fedin. In Soviet historical literature, the military-historical theme is widely developed, which received special significance during the years of the Great Patriotic War and in the immediately preceding Sevastopol Strada (1937-40) by S.N. Sergeev-Tsensky, "Tsushima" (1932-1935) A.S. Novikov-Priboy and others. V. Yan’s trilogy (“Genghis Khan”, 1939, “Batu”, 1942, “To the Last Sea”, 1936) depicts the invasion of the Mongols on the states of Asia and Rus' and shows the struggle of the Russian people against the Mongol-Tatar yoke; the theme of the fight against the Mongol-Tatar yoke and the rise of Moscow is also devoted to the novel by S.P. Borodin "Dmitry Donskoy" (1941).
1.3. Age features of adolescents
Adolescents are children between the ages of ten and fourteen. Among them, three age groups are distinguished: 10-11 years old - younger teenagers; 12-13 years old - teenagers (in the narrow sense of the word); 14 years old - older teenagers.
The transition to adolescence is characterized by profound changes in the conditions affecting the child's personal development. They relate to the physiology of the body, the relationships that develop in adolescents with adults and peers, the level of development of cognitive processes, intelligence and abilities. In all this, a transition from childhood to adulthood is outlined, the child begins to quickly rebuild and turn into the body of an adult. The center of the physical and spiritual life of the child moves from home to the outside world, passes into the environment of peers and adults. Relationships in peer groups are built on more serious than recreational joint games, affairs covering a wide range of activities, from working together on something to personal communication on vital topics. A teenager enters into all these new relationships with people, already being an intellectually sufficiently developed person and having abilities that allow him to take a certain place in the system of relationships with peers. The child's intellect, understood as the ability to set and solve problems in practical, figurative and symbolic terms, is developed by the beginning of adolescence. During this period, the formation of the child as a person continues. During three or four years of high school education, the motivational sphere of a person is formed, his personal and business interests are determined, professional inclinations and abilities are manifested.
Adolescence is the most difficult and complex of all childhood ages, which is a period of personality formation. At the same time, this is the most crucial period, since the foundations of morality are formed here, social attitudes, attitudes towards oneself, towards people, towards society are formed. In addition, at this age, character traits and the main forms of interpersonal behavior are stabilized. The main motivational lines of this age period, associated with an active desire for personal self-improvement, are self-knowledge, self-expression and self-affirmation.
At the beginning of adolescence, the child develops and intensifies the desire to be like elders, children and adults, and such a desire becomes so strong that, forcing events, the teenager sometimes prematurely begins to consider himself already an adult, demanding appropriate treatment of himself as an adult. At the same time, he still does not fully meet the requirements of adulthood. All teenagers, without exception, strive to acquire the qualities of adulthood. Seeing manifestations of these qualities in older people, a teenager often imitates them uncritically. Adolescents' own desire for adulthood is strengthened by the fact that adults themselves begin to treat adolescents no longer as children, but more seriously and demandingly. Teenagers are asked more than junior schoolchildren, but he is allowed a lot of things that are not allowed to first graders. For example, a teenager, much more than a younger student, can be out of the house, on the street, in the company of friends and among adults. He is allowed to participate in situations to which younger students are usually not allowed. This confirms the more equal and independent position of the adolescent in the system of human relations. All this taken together gives the teenager an idea of himself as a person who has ceased to be a child, who has stepped over the threshold of childhood. The result of these processes is the strengthening internal desire of the teenager to become tall as soon as possible, which creates a completely new external and internal situation of personal psychological development. It requires that it generates a change in the entire system of the adolescent's relations with other people and with himself.
A teenager is also forced to grow up quickly by the circumstances of life associated with physical changes in his body. Rapid maturation, physical strength give rise to additional responsibilities that a teenager receives both at school and at home.
In adolescence, the content and role of imitation in personality development change. If at the early stages of ontogenesis it is spontaneous, little controlled by the consciousness and will of the child, then with the onset of adolescence, imitation becomes manageable, begins to serve the numerous needs of the child’s intellectual and personal self-improvement. A new stage in the development of this form of learning in adolescents begins with the imitation of the external attributes of adulthood.
The easiest way to achieve the goal of "being like an adult" is to imitate the external forms of observable behavior. Adolescents, starting from the age of 12-13 (girls a little earlier, boys later) copy the behavior of adults who enjoy authority in their circle. This includes fashion in clothes, hairstyles, jewelry, cosmetics, special vocabulary, demeanor, recreational activities, hobbies, etc. In addition to adults, adolescents can become role models for their older peers. The tendency to look like them and not like adults in adolescence increases with age.
For teenage boys, the object of imitation often becomes the person who behaves “like a real man” and has willpower, endurance, courage, courage, endurance, loyalty to friendship. Girls develop a tendency to imitate those who look "like a real woman": older friends, attractive, popular adult women. Many teenage boys are very attentive to their physical development, and starting from the V-VI grades of the school, many of them begin to perform special physical exercises aimed at developing strength and endurance. In girls, the imitation of the external paraphernalia of adulthood is more observed: clothes, cosmetics, coquetry techniques, etc. .
In adolescence, the process of formation and development of the child's self-awareness continues. The improvement of self-awareness in adolescence is characterized by the child's special attention to his own shortcomings. The desired image of "I" in adolescents usually consists of the merits of other people that they value.
Since both adults and peers act as role models for adolescents, the ideal they create turns out to be somewhat contradictory. He combines the qualities of both an adult and a younger person, and not always these qualities are compatible in one person. This, apparently, is one of the reasons for the inconsistency of adolescents with their ideal and their constant worries about this.
In the 7th-8th grades of the school, some teenagers begin to systematically and purposefully engage in self-education. This is especially true for boys, among whom the ideal of masculinity becomes one of the main ideals that give rise to criteria for evaluating the surrounding people. Teenagers love adventure, romantic films and related literature, since it is in them that heroes are found who have the necessary qualities of masculinity, courage, character and willpower. Teenagers try to imitate these characters in real life, reproducing in games and situations they create scenes read in books or seen in films. This is especially typical for younger teenagers between the ages of 11 and 13.
In older adolescence, many boys begin to engage in self-development of the necessary volitional personality traits. Comrades, older in age, young men and adult men, become the object of imitation for them. In companies with them, a teenager takes part in cases that require the manifestation of will.
A very common way among modern teenagers to develop their volitional personality traits is to engage in sports associated with great physical exertion and risk, such as requiring extraordinary strength and courage. This is boxing, wrestling, weightlifting, hockey. Taking a great interest in many types of sports activities, at first for the sake of developing strong-willed personal qualities, some teenagers then continue to engage in them in order to achieve high results. Thanks to this, the motivation to achieve success is further developed.
The general logic of the development of all volitional qualities can be expressed as follows: from the ability to manage oneself, concentrate efforts, withstand and endure heavy loads to the ability to manage activities and achieve high results in it. According to this logic, they replace each other, and the methods of developing volitional qualities are being improved. At first, a teenager simply admires them in other people, in a good way envies those who have these qualities (10-11 years old). Then the teenager declares his desire to have such qualities in himself (11-12 years old) and, finally, proceeds to their self-education (12-13 years old). The most active period of volitional self-education in adolescents is considered to be the age from 13 to 14 years.
In adolescence, all cognitive processes, without exception, reach a very high level of development. During these years, the vast majority of the vital personal and business qualities of a person openly manifest themselves. For example, direct mechanical memory reaches its highest level of development in childhood, forming, together with sufficiently developed thinking, the prerequisites for the further development and improvement of logical, semantic memory. Speech becomes highly developed, varied and rich, thinking is represented in all its main forms: visual-effective, visual-figurative and verbal-logical. All these processes acquire arbitrariness and verbal mediation. In adolescents, they already function on the basis of the formed inner speech. It becomes possible for a teenager to learn various types of practical and mental (intellectual) activities, moreover, using a variety of techniques and teaching aids. General and special abilities are formed and developed, including those necessary for future professional activities.
Adolescence has many contradictions and conflicts characteristic of this particular age. On the one hand, the intellectual development of adolescents, which they demonstrate when solving various problems related to school subjects and other matters, encourages adults to discuss quite serious problems with them, and adolescents themselves are actively striving for this. On the other hand, when discussing problems, especially those related to the future profession, ethics of behavior, responsible attitude to one's duties, one discovers the amazing infantilism of these people, outwardly looking almost adults. A psychological and pedagogical dilemma arises, which can only be resolved by an experienced adult: how, while treating a teenager in a serious way, that is, in an adult way, at the same time treat him like a child who constantly needs help and support, but outwardly, such a “childish” treatment cannot be detected.
It is known that with age, the interest of adolescents in themselves changes rapidly. Children studying in grades IV-V of the school are characterized by increased attention to the position that they occupy in the classroom among their peers. Sixth graders begin to show a certain interest in their appearance, in children of the opposite sex and relationships with them. Seventh-graders have common hobbies of a business nature, there is a special interest in developing their abilities in various types of practical activities and in their future profession. Eighth graders highly value independence, individuality, personality traits that are manifested in friendship and camaraderie. Relying on these types of emerging interests of adolescents one after another, it is possible to actively develop in them the necessary strong-willed, businesslike and other useful qualities.
The main new feature that appears in the psychology of a teenager in comparison with a child of primary school age is a higher level of self-awareness. Along with it, a clearly expressed need arises to correctly assess and use the available opportunities, to form and develop abilities, bringing them to the level at which they are in adults.
At this age, children become especially sensitive to the opinions of their peers and adults; for the first time, they face acute problems of a moral and ethical nature, related, in particular, to intimate human relationships.
Adolescence - as adolescence is sometimes called - is the time of the formation of a true individuality, independence in learning and work. Adolescents discover confidence in the ability to determine and control their own behavior, their thoughts and feelings. Adolescence is a time of heightened desire for self-knowledge and evaluation, for the formation of a holistic, consistent image of the “I”.
Between the ages of 12 and 14, when describing themselves and other people, adolescents begin to use less categorical judgments, including the words “sometimes”, “almost”, “it seems to me” and others in their self-description, which indicates a transition to the position of evaluative relativism, understanding ambiguity, inconstancy and diversity of personal manifestations of a person.
In the middle classes of the school, instead of one teacher, several new teachers appear, who usually have very different styles of behavior and manner of communication, as well as methods of conducting classes. Different teachers have different requirements for teenagers, which makes them individually adapt to each new teacher. In adolescence, a differentiated attitude towards different teachers appears: some are loved, others are not, and others are treated with indifference. New criteria for assessing the personality and activities of adults are also being formed. On the one hand, this creates an opportunity for a more accurate and correct assessment of people by comparing them with each other, and on the other hand, it creates certain difficulties due to the inability of adolescents to correctly perceive an adult, to give him a correct assessment.
Adolescents appreciate knowledgeable teachers more, who are strict but fair, who treat children kindly, are able to explain the material in an interesting and understandable way, give fair grades, and do not divide the class into favorites and unloved ones. The erudition of the teacher, as well as his ability to properly build relationships with students, is especially highly valued by the teenager.
Between the ages of ten and fourteen, significant changes take place in the motives of a teenager's activities, in his ideals and interests. In the initial period of this age (10-11 years old), many adolescents (about a third) give themselves mostly negative personal characteristics. This attitude towards oneself remains in the future, at the age of 12 to 13 years. However, here it is already accompanied by some positive changes in self-perception, in particular, an increase in self-esteem and a higher assessment of oneself as a person.
As they grow older, the initially global negative self-assessments of adolescents become more differentiated, characterizing behavior in individual social situations, and then private actions.
In the development of reflection, that is, the ability of adolescents to realize their own strengths and weaknesses, there is a tendency, as it were, of the opposite nature. In the initial period of adolescence, children are mainly aware only of their individual actions in certain life situations, then - character traits, and, finally, global personality traits.
It has been established that with age, the perception of the surrounding people by adolescents also changes. The standards of interpersonal perception that they use when evaluating the people around them are becoming more and more generalized and do not correlate with the opinions of individual adults, as it was at primary school age, but with ideals, values and norms. The content of evaluative moral standards continues to expand and deepen, they become more subtle and differentiated, individually different.
As an illustration of this idea, A.A. Bodalev makes the following observation. If students of the seventh grade are asked, for example, to describe a person whom they do not know, but whose individual features they name in advance (for example, evil, kind, etc.), then among the answers that are obtained in this experience, four different groups. Adolescents from the first group name only the external signs of the person presented to them. Students from the second group mention both external and some internal features. In the third group, in addition to what was reported about a person, his deeds and deeds are called. In the fourth group, in addition to everything that has been said, the thoughts and feelings of the person being evaluated are also mentioned. Based on this experience, we can draw a conclusion confirming the existence of significant personal differentiation in adolescence of standards for interpersonal perception and evaluation of people.
1.4. Teenager as a reader
The reader's portrait of a teenager is largely determined at the age of 10-11. It should be taken into account that by this time parental care begins to weaken, and the school often "obliges" to read, without awakening personal motives for turning to the book. The time limit also affects reading (the study load increases, communication with peers, circle activities become more active, new hobbies arise). Experience shows that if by the age of 10 a child has already realized the significance of a book in his life, if turning to the printed word has become his inner need, if his cognitive interests have resulted in reading interests, then there is reason to believe that in the future these qualities will be strengthened and developed. If there is no interest in reading, then we can expect that at the senior school age this teenager will join the ranks of "non-readers".
Under favorable conditions, a child at the age of 10-11 years of age activates cognitive activity, there is a noticeable interest in unusual natural phenomena, in questions of the universe, in historical events unknown to countries, in understanding the facts of the surrounding reality. At this age, the reader, as a rule, already distinguishes between scientific and educational and fiction. The first attracts him with the opportunity to “learn something”, the second - to “survive”. It is now that the librarian can fully develop the reading needs of the children in the field of cognitive literature, introduce different types of literature into the circle of reading: reference publications, "business" books, popular science almanacs and magazines. It is useful during this period to reveal to the teenager the variety of technical methods of reading scientific and cognitive literature, to teach them how to apply them in practice.
It has been noted that the reading activity of adolescents is especially intensively formed in the process of reading books, the authors of which rely on mutual co-creation, put the reader in the role of an inquisitive researcher. Problematic materials meet the needs of children of this age, satisfy their interest in everything new, unusual, striking their imagination, pose more and more questions to them. Such qualities, for example, correspond to the books of P. Klushantsev, I. Akimushkin, Yu. Dmitriev, M. Ivin, G. Svirin and others.
A librarian needs to know that a focus solely on cognition can sometimes turn the reading of fiction into a purely rational process. This danger can be avoided if the teenager's attention is promptly focused on the peculiarities of reading different types of literature.
For some librarians, readers who from an early age show a steady interest in any one branch of knowledge act as an ideal. Others find it more desirable for a teenager to change interests. Psychologists say that no interest can develop in isolation from others. A varied reading experience, "trying on" different roles are fundamentally important for the full development of the individual. That is why the variety of hobbies of teenagers aged 10-11 must be supported, conditions must be created for a free, independent choice of books, and not be afraid of the variability of requests.
One of the reasons for the decline in interest in reading at the age of ten, according to psychologists, is the attitude towards giving up efforts. Reading requires active mental labor. Reading is boring for someone who does not have appropriate motives, strong motivations, no interests. Relying solely on entertainment, fascination, the game that librarians often resort to in promoting books to teenagers (quizzes, competitions, KVN, etc.), is not always consistent. It is easy to captivate and interest a momentary 10-year-old teenager with something unusual, but it is difficult to maintain and maintain this interest, to transform it into a reader's one.
The search for "surprising", "unusual" to a certain extent remains in younger adolescents and in relation to fiction. In this case, the reader's interest is driven by the plot, the extreme situation, the superhero. This meets the vital needs of a teenager: the desire to test their abilities, to test themselves mentally in unusual circumstances. Hence the natural interest in adventure literature, to which readers of 10-11 years old include books “about Indians”, science fiction, a literary fairy tale, books “about horrors”, books “about war”. The most requested and most read during this period, according to the observations of librarians, are the books of A. Volkov, K. Bulychev, Stevenson, W. Scott. Books with mythological plots are readily read by children.
Observations have shown that in the hero of adventure books, a teenager values courage and determination above all else, even if these qualities are combined with cruelty and callousness. It is necessary to help debunk the killer heroes in the mind of a teenager, no matter how attractive they may seem at first sight. In a conversation about heroes, more attention should be paid to manifestations of mercy, kindness, humanity.
The dominant reading interests of 10-11-year-old schoolchildren - orientation to the "exciting" in the book - can later lead to illegible reading, to the loss of a sense of the word. The task of the librarian is to skillfully rely on the interests of children to recommend highly artistic works for them to read.
Contact with a book at the age of 10-11 largely depends on the awareness of the motives for reading: why a teenager reads, what gives him reading, what he would like to read, what he can recommend to another. It is useful to draw the attention of every teenager to such questions. If the formation of reading motives is not given due attention during this period, then, as a rule, there is no development of needs.
The range of cognitive interests in adolescents aged 12-13 is significantly expanding. Cognitive requests often acquire personal meaning, become selective, conscious. Many adolescents have stable interests in individual subjects and, consequently, in the relevant areas of knowledge. As the study of G.I. Ginzburg, teenage readers are characterized not only by the appearance of questions in the process of reading, but also by the desire to resolve them themselves. It is the process of the emergence of questions in a teenager in connection with what he has read, the nature of his independent actions aimed at resolving them, the emergence of new questions that are an essential indicator of his reading activity.
According to the degree of reading activity and the nature of the motives for reading scientific and cognitive literature, adolescents can be divided into three groups. The first includes readers looking for entertaining, necessarily “new”, “easy” information “for themselves” and books “for the lesson”. Adolescents of this group are characterized by situationality, narrow practicality of reader demand, reflecting the passivity of their position, the absence of deep cognitive interests. When faced with something incomprehensible in the text, these readers skip it without trying to understand it. The cognitive activity of these adolescents is aimed primarily at reproducing what is being read (writing out fragments of text, numbers, names, dates, etc.).
The second group of readers are teenagers aged 12-13, who are able not only to obtain information from the book, but also to compare what they read with what is already known, to correlate with their own life experience. They are looking for answers to their questions, they are interested not only in the novelty of the material, but also in its connection with previous reading.
The smallest group includes readers whose motives are aimed at deepening the understanding of the known, the search for ways to apply knowledge. Readers of this group, not limited to the perception of new information, try to understand it in conjunction with the already known. The questions they raise reflect a desire to find meaningful connections. These teenagers consider books written in the form of conversations to be the most interesting, when the author connects the reader to the search for evidence of the hypotheses put forward, introduces the essence of scientific controversy. They are interested in books that help to model, design. To do this, they often use appendices to books (tables, maps, diagrams), look for an explanation of special terms. They willingly turn to popular science journals, to editions of recommendatory bibliography.
As for reading fiction, the peak of reading adventure literature is at the age of 12-13. The reading circle of adolescents consists of novels by A. Dumas, A. Christie, K. Simenon, A. Conan Doyle. Fantasy is second in demand. The reading repertoire of adolescents includes "adult" literature (works by V. Pikul, A. Rybakov and other authors). Unlike readers of 10-11 years old, these teenagers are interested not only in the actions of the characters, but also in their inner world, relationships with other characters. Many teenagers during these years include literature in the context of their own lives. Although they often formulate the motives for reading fiction as educational or entertaining (“I read to learn about life”, “to relax”), in fact (their reviews about what they read speak about this) the motivation for reading is deeper for many - interest in a person , to the psychology of relationships, the need for indirect life experience.
A characteristic feature of the perception of fiction at this age is self-awareness, which was previously extremely rare. When reading works of art, many teenagers create an “affiliation effect” and, on this basis, transfer what they read to themselves.
However, not all adolescents have a variety of motivation for reading fiction, and their perception is deep and rich in feelings. The primitivism of perception, the stereotype of entertaining reading, and the orientation towards mass culture are characteristic phenomena of today's teenage reading.
It is very important at this age to awaken the reader's self-esteem, to help the teenager see himself as a reader in comparison with others. To this end, some librarians hold debates “Reading as creativity”, organize special exhibitions: “What are you like, our reader?”, “Know yourself, reader”, “We are readers”, “Reader's portrait of a friend”, conduct business games , contests for the best reader.
Fourteen-year-olds need special attention from librarians. These are difficult teenagers to guide reading. The differentiation of attitudes toward books (positive or negative) that has become apparent among ten-year-olds becomes polarized by the age of 14. It is no coincidence that some call eighth-graders "the most readers", while others - "the most non-readers." Both of them are right. This is most affected by the results of the influence of the socio-pedagogical conditions in which the teenager developed earlier. Those teenagers who have gone through a good school of cultivating a culture of reading, whose friendship with a book has become habitual, are distinguished by the breadth and stability of reader requests, their selectivity, the ability to perceive works that are difficult for their age, and developed criteria for evaluating attitudes towards a book. The circle of reading, motives, perception of works bear the stamp of their individuality. These are readers-"researchers", readers-"thinkers". Some of them summarize what they have read “for themselves”, and make “scientific” reports.
Others, by the age of fourteen, acquire the features of a low reading stereotype: their demand for literature is situational and random, often dictated only by external factors, their perception does not differ in character from younger adolescents. It is not uncommon for them to display nihilism towards the book as an "obsolete" medium of information.
In general, the internal position of fourteen-year-olds is most often characterized by a pronounced tendency, on the one hand, towards self-determination, comprehension of one's “I”, on the other hand, towards the search for a moral ideal. Typical for them is the motive of self-education and self-education. Publicism is widely included in the circle of reading, and interest in poetry is growing. Attention is sharpened to the artistic originality, the creative manner of the writer. The attitude towards the hero is changing: the character of the personality in all its complexity and integrity worries. At this age, there is a tendency to separate the interests of boys and girls.
As for reading scientific and educational literature, in comparison with the previous age, the range of reader requests narrows somewhat, and the number of favorite activities also decreases. Many by this time had already formed core interests in specific areas of knowledge and activities, which determines the selectivity of reading. Career guidance intentions begin to affect demand.
The greatest opportunities for the reading development of an older teenager lie in individual communication with a librarian. The key to success is the parity nature of communication. In a librarian, a 14-year-old reader appreciates most of all competence, erudition, "non-interference in the affairs of the reader." An eighth-grader can enter into a dialogue with a librarian only if he has full confidence in him. He immediately notices the “white threads” of pedagogical calculation. Hence the high demands on the skill of a librarian, on the subtlety of his pedagogical techniques, the strengthening of the role of mediated forms of communication (the use of readers' reviews, "bookmarks", memos, etc.).
So, the life of a modern teenager is significantly different from the one that was 10-15 years ago. Today's student has access to a large number of sources of information. The younger generation lives in a rapidly changing, complex, contradictory world. The task of the pedagogical community and the library is to help the student find his place in this diverse world, to teach him to understand and appreciate cultural traditions.
Chapter 2
2.1 The work of the Teshnyar rural library to introduce students to the study of historical literature
The information and bibliographic base of the Teshnyar rural library is the basis for information support of the educational process. Moreover, special attention is paid to working with literature on the history of the Fatherland.
A reference and bibliographic apparatus has been formed to help students of Russian history. Literature on national history is reflected in the NC, SCS, in thematic mini-files, recommendatory bibliographic manuals, lists.
In order to study the demand for literature on the history of Russia, a survey was conducted among adolescents.
As it turned out, the main motive for turning to this type of literature was the fulfillment of a task within the framework of a school course on the history of the Fatherland, that is, the need for business reading. This group comprised 77 percent of the respondents. Turn to historical books for personal interest - 10 out of 100 respondents, and 16 combine both personal and business interests.
Among the various genres of literature of historical content, 29 percent of students are in great demand for works of art. 24 percent prefer scientific and educational literature on the history of the Fatherland, 23 - encyclopedic, 12 emphasized the need for reference literature.
Questioning and the practice of work on reference and bibliographic services for students indicate that the need for new, modern reference, educational, popular scientific literature on national history is high.
First of all, publications containing voluminous and objective information are valued. Among those in demand are documents, eyewitness accounts. Often schoolchildren use dictionaries for definitions of historical terms, words and expressions. Of interest are materials about significant historical dates, the dissident movement, national liberation wars. Most of the respondents noted that they receive information on the history of Russia in the library. In some cases - in the media, the Internet.
The students answered the questions about the historical events they remember and famous personalities in Russian history quite fully, highlighting statesmen, military leaders, and cultural figures from different eras.
To another question - about the use of the SBA library when choosing historical literature - only 25 percent of students answered positively.
In general, the survey data made it possible to draw a conclusion about the rather low reading culture of schoolchildren, about ignorance and misunderstanding of the advantages of independent search and selection of literature. Of course, librarians today need to improve and intensify individual and mass work on educating the information culture of adolescents.
The question of reading periodicals devoted to the history of the Fatherland, or publications publishing articles on this topic, put many students in a difficult position. Only 15 percent of the respondents answered positively and named a number of magazines, and only 9 percent know and read the historical magazine Rodina, as well as local history publications.
The survey showed that half of the adolescents are well versed in historical periods and have sufficient knowledge of specific historical events. Students' interest in historical and historical-biographical literature and the need for business reading are growing.
Therefore, the rural library pays special attention to the preparation of lessons on national history. A fairly complete collection of encyclopedias, dictionaries, reference books has been assembled. The fund of literature on this topic presents the main works of Russian historians, educational, reference, literature on the military history of Russia. Conditions have been created to guarantee free access to the search and receipt of information of any kind. One of the modern sources for fulfilling a bibliographic request is periodicals, which helps to fill in the gaps in the acquisition of the book fund. Readers-students are offered special headings of SCS, thematic mini-files, folders of newspaper clippings. Rodina magazine, which publishes materials on a wide range of issues of Russian history, enjoys particular success. The new scientific-practical journal “History and Social Studies for Schoolchildren” also helps the children to get to know the history of our country better. You can read about how to write a creative essay, how to avoid mistakes when preparing for testing, etc.
An analysis of bibliographic requests clearly showed that the fulfillment of school assignments on the history of the Fatherland requires students to turn to encyclopedias, dictionaries, reference books, textbooks, works of Russian historians, popular science literature, newspaper and magazine articles.
It can also be noted that the modern educational process contributes to a certain extent to the development of interest in historical literature among schoolchildren.
"Save yourself for Russia and Russia - for yourself" - this is the motto of the Club of History Lovers, jointly organized by the village library and the school. The purpose of the work is the revival of high moral values, national culture, education of respect for the customs of various peoples, for ourselves, our roots, awareness of who we are and what our destiny is.
As part of the work of the Club of History Lovers, many interesting events took place related to Russian culture, the history of their small Motherland - their village (Appendix 1).
In the general fund, historical literature was identified and thematic shelves were designed: “Fatherland”, “Feat to live forever”, “History in faces”, “Historical novels”, “Literary pages of history”, “Stories about Rus'”. In order to promote the fund, they developed and designed historical bookmarks and book "semaphores": "Interesting Book", "New Book".
Exhibitions play an important role in opening up the book fund. Each one is unconventional; in its preparation, librarians show a maximum of fiction and imagination. For example, the exhibition-dictionary "Stories about Rus'" was arranged in such a way that each bookshelf corresponded to a certain century. For the exhibition, a card index was prepared with questions from the quiz “Do you know the history of your country? Your village?
As already mentioned, the "Club of History Lovers" is organized by the school and the library, because. their common goals: the revival of national traditions and culture, historical education and patriotic education.
There have been many innovations in the work of the library. Games and discussions are actively used. Historical-game expedition "How our ancestors lived"; folklore hour "Feast of porridge"; literary-historical march-throw "With the Russian warrior through the centuries"; discussion hour “What our ancestors valued in a person”; historical messengers "I remember the whole XX century", "If you remember and compare"; historical minutes. These and other events involve the reader in an active activity, allow him to become a participant in what is happening.
Each meeting of the club or just an event is focused on the promotion of literature and attraction to reading, the awakening of the best feelings, primarily patriotic ones. And the education of patriotism is unthinkable without knowledge of the history of one's small Motherland. Therefore, librarians are no less actively involved in local history.
Many teachers and librarians today are worried about the nihilistic attitude of young people to national culture, the lack of interest in the historical past of their people, and healthy national pride. In this regard, special attention in the work of the club is given to this work. In particular, through the joint efforts of the school and the library, a scientific-practical conference of schoolchildren "Start in science" (Appendix 2), the Action "I am a citizen of Russia" (Appendix 3) was held. Students of grades 9-10 participated in the preparation of the conference.
The purpose of these events is to form the social maturity of students, their self-determination in culture and the development on this basis of a life position that allows them to understand belonging to their native people and at the same time be aware of themselves as a citizen of the country.
The main tasks are the following:
1. To form knowledge about the conditions for the formation of the culture of the Kuznetsk land.
2. Create conditions conducive to students' awareness of their involvement in the affairs of their ancestors and the development of responsibility for the future of their land.
3. To teach to carry out the simplest research in the field of studying the culture of the Kuznetsk land.
4. Create conditions for creative work.
For several years, students master the basics of the scientific organization of labor on the basis of historical and literary material. They get acquainted with the methods of theoretical research, questionnaire survey, interviewing, comparative ethnography, with theses, plans, summary of abstracts. Next, they are invited to choose a topic for a report on a historical and literary topic, independently compile a bibliography, write a report and defend it.
Presenting their work at the events, speakers introduce classmates to the culture of their fellow countrymen, from ancient times to the present day. They talk about people who have had a fateful influence.
Thus, along with the assimilation of the necessary amount of knowledge, the creative, mental development of students is ensured, which turns out to be very important for the formation of a personality.
The search for modern forms and methods of popularizing historical literature and developing the interests of schoolchildren is carried out in the course of coordinating the efforts of teachers, parents, representatives of cultural institutions and the public.
2.2. Reading Historical Literature: Results of a Survey of Teenage Readers
In the course of this study, I compiled a questionnaire in order to identify the interests of adolescents in the field of historical literature. This revealed:
1. Do you consider it important to read historical literature? Why?
3. Do you read for the “soul” or only according to the school curriculum?
4. Would you like to increase the number of hours devoted to the study of history at school?
5. What study materials would you choose?
6. What historical period are you most interested in?
7. Where do you prefer to take literature for reading?
8. Does the library fund meet your needs for reading historical literature?
9. What literature on history do you prefer to read?
10. What historical magazines do you know?
Adolescents aged 10-14 were surveyed
The following results are obtained.
To the first question, “Do you consider it important to read historical literature? Why? 100% of the respondents answered positively. The reasons given were as follows: “you need to know the history of your ancestors well”, “because it is interesting”, “a lot of educational material”, “because it is historical literature that makes it possible to understand modern history”.
The third question, “Do you read for the “soul” or only according to the school curriculum” revealed that adolescents read according to the school curriculum, but prefer reading “for the soul”.
Answers to the next question of the questionnaire “Would you like to increase the number of hours allocated for the study of history at school?” revealed that 65% of respondents would like to increase hours, 35% answered this question in the negative.
When answering the fifth question of the questionnaire “What materials would you choose for study?” Opinions were divided as follows: the respondents gave the first place to video materials, followed by a specialized textbook and special materials selected by the teacher, an equal number of votes were received by an electronic textbook and audio materials. It should be noted that the majority of respondents chose several types of materials, believing that this is the most effective.
The sixth question "Which historical period interests you more than others" received the following answers: "present time". "ancient centuries", "reign of tsars", "middle ages", "World War II", "formation of Russia, the USSR, Rus'", "future".
When answering the seventh question "Where do you prefer to take literature for reading?" 71% of the respondents preferred the library, 14.5% take literature from friends, the rest name the point or another, without indicating the source.
Answers to the eighth question “Does the library stock meet your needs for reading historical literature?” showed that the library fund does not fully meet the needs of adolescents.
When answering the ninth question “What literature on history do you prefer to read”, teenagers preferred fiction, but it should be noted that non-fiction literature was not left without attention - 64% of respondents showed interest in reading this type.
It was revealed (from the answers to the tenth question) that teenagers know the magazines: "Russian Federation", "Motherland", but about 40% are not interested in periodicals.
An analysis of the activities of the Teshnaria rural library showed that the library is actively involved in the educational process of the rural school. Particular attention in serving schoolchildren is paid to such topics as the history of the native land and the history of the fatherland.
A survey among teenage schoolchildren determined the students' motivation for literature on the history of Russia and revealed that reading historical literature occupies a priority place in the reading of adolescents.
Conclusion
Unfortunately, during the post-Soviet transformations in our country, teenagers have become simplistically related to such concepts as love for the motherland, patriotism, and civic duty. The central place in the young man's worldview was occupied by the attributes of success: money, regardless of its source, a prestigious level of consumption and leisure. To a large extent, this was the result of the intensified planting in our society of the individualistic model imported from the West.
As a result, a new type of young man appears, for whom the main thing is to live without “fanaticism”, or rather, without ideals and inspiration, according to calculation, “without tension”, without “getting into” anything. According to a number of historians and sociologists, the emerging tendency is fraught for Russia in the near future to turn into a socio-cultural catastrophe, with the inevitable degradation and collapse of the state, which from time immemorial has been holding on (note that the word “power” came from here) on duty and service to the Fatherland.
In this regard, it seems to me that in the work on patriotic education one should always take into account the peculiarities of the interests of modern youth in combination with the changes taking place in society. This can be done with the help of historical literature.
In the thesis, the reading of historical literature by adolescents was studied; the specificity of the genre "historical book" was revealed, which made it possible to outline the ways of introducing teenagers to this literature.
The result of the study will contribute to the improvement of the work of the library with historical literature.
The paper defines the specifics of a historical book, identifying the motives and factors for choosing a book by teenagers.
As a result of the study, the place of historical literature in the reading of adolescents was determined, and the optimal ways of familiarizing with this literature in the context of libraries were substantiated. The influence of historical literature on the reading development of adolescents aged 10-14 is shown.
In the course of the study, the following tasks were set and solved:
studied the literature on the problem and the experience of the library in accordance with the topic of the study;
the place and role of the historical book in the reading of adolescents is determined;
the most effective methods of working with literature on history have been developed and implemented.
The Teshnyar rural library pays great attention to introducing students to reading historical literature. On the basis of the library, research is conducted on the study of reading historical literature. At the same time, it is necessary to actively look for ways and methods, to identify factors that help to study the problem of students' reading, affect their reading in the process of learning and self-education. Undoubtedly, the results of the study conducted by the library are of great interest to teachers, as well as to libraries of other departments that serve this category of the population.
List of used literature:
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