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Professional library of the school librarian series 2 subscription. At first, the verses are read slowly, remembering

Professional library of the school librarian series 2 subscription. At first, the verses are read slowly, remembering

24.02.2019

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Exhibition in the school library.

Supplement to the magazine "School Library" Series 2 - Moscow

Nikolai Alekseevich Nekrasov. To the 185th anniversary of his birth. 2006.
Nikolai Semyonovich Leskov. To the 175th anniversary of his birth. 2006.
Mikhail Evgrafovich Saltykov-Shchedrin. To the 180th anniversary of his birth. 2006.
Nikolai Nikolaevich Miklukho-Maclay. To the 160th anniversary of his birth. 2006.
Evgeny Lvovich Schwartz. To the 110th anniversary of his birth. 2006.
Fedor Mikhailovich Dostoevsky. To the 185th anniversary of his birth. 2006.
Agnia Lvovna Barto. To the 100th anniversary of the birth. 2006.
Vladimir Ivanovich Dal. To the 205th anniversary of his birth. 2006.
Mikhail Vasilievich Lomonosov. To the 295th anniversary of his birth. 2006.
Books - anniversaries of 2007. 2006.
Konstantin Georgievich Paustovsky. To the 115th anniversary of his birth. 2007.
Ivan Alexandrovich Goncharov. To the 195th anniversary of his birth. 2007.
Alexei Konstantinovich Tolstoy. To the 190th anniversary of his birth. 2007.
Battle of Borodino. September 7 (August 26), 1812. 2007.
Marina Ivanovna Tsvetaeva. To the 115th anniversary of his birth. 2007.
Korney Ivanovich Chukovsky. To the 125th anniversary of his birth. 2007.
Samuil Yakovlevich Marshak. To the 120th anniversary of his birth. 2007.
Astrid Anna Emilia Lindgren. To the 100th anniversary of the birth. 2007.
Charles Perrot. To the 380th anniversary of his birth. 2007.
Vasily Andreevich Zhukovsky. To the 225th anniversary of his birth. 2007.
Books - anniversaries 2008.
Maksim Gorky. (Alexey Maksimovich Peshkov) To the 140th anniversary of his birth. 2008.
Valentin Dmitrievich Berestov. To the 80th anniversary of his birth. 2008.
Alexander Nikolaevich Ostrovsky. To the 185th anniversary of his birth. 2008.
Boris Vladimirovich Zakhoder. To the 90th birthday. 2008.
Rasul Gamzatovich Gamzatov. To the 85th anniversary of his birth. 2008.
Nikolai Nikolaevich Nosov. To the 100th anniversary of the birth. 2008.
Pavel Petrovich Bazhov. To the 130th anniversary of his birth. 2008.
Ivan Andreevich Krylov. To the 240th anniversary of his birth. 2008.
Vitaly Valentinovich Bianki. To the 115th anniversary of his birth. 2008.
2009.
Books - anniversaries 2009.
Irina Petrovna Tokmakova. She was born on March 3, 1929. To the 80th anniversary of his birth. 2009.
Nikolai Vasilyevich Gogol. To the 200th anniversary of the birth. 2009.
Alexander Sergeevich Pushkin. To the 210th anniversary of his birth. 2009.
Anna Andreevna Akhmatova. To the 120th anniversary of his birth. 2009.
Vasily Makarovich Shukshin. To the 80th anniversary of his birth. 2009.
Alexander Vasilievich Suvorov. To the 280th anniversary of his birth. 2009.
Nikolai Ivanovich Sladkov. January 5, 1920 – June 28, 1996
Boris Leonidovich Pasternak. To the 120th anniversary of his birth. 2009.
Anton Pavlovich Chekhov. To the 150th anniversary of his birth. 2010.
Anniversary books. 2010.
Hero Cities. 2010.
Profession teacher. 2010.
A.I. Bunin. A.I. Kuprin. To the 140th anniversary of his birth. 2010.
Gianni Rodari. October 23, 1920 - April 14, 1980
Robert Louis Stevenson. November 13, 1850 - December 3, 1894. Joseph Rudyard Kipling. December 30, 1865 - January 18, 1936.
Afanasy Afanasyevich Fet. To the 190th anniversary of his birth. 2010.
Osip Emilievich Mandelstam. To the 120th anniversary of his birth. 2010.
Space pioneers. 2010.
Mikhail Afanasyevich Bulgakov. May 3 (15), 1891 - March 10, 1940. 1011.
Mikhail Vasilievich Lomonosov. To the 300th anniversary of his birth. 2011.
Alexander Melentievich Volkov. June 14, 1891 - July 3, 1977. 2011.
Beecher Stowe Harriet (Elizabeth) On the 200th anniversary of her birth. 2011.
Fedor Mikhailovich Dostoevsky. To the 190th anniversary of his birth. 2011.
Dmitry Sergeevich Likhachev. To the 105th anniversary of his birth. 2011.
Valentin Petrovich Kataev. To the 115th anniversary of his birth. 2011.
Sergei Timofeevich Aksakov. To the 220th anniversary of his birth. 2011.
Imperial Tsarskoye Selo Lyceum. Pushkin edition. To the 200th anniversary of its founding. 2011.
Pyotr Arkadyevich Stolypin. Activities in the name of great Russia. 2011.
Boris Stepanovich Zhitkov. To the 130th anniversary of his birth. 2012.
Konstantin Eduardovich Tsiolkovsky. To the 155th anniversary of his birth. 2012.
Antoine de Saint-Exupery. To the seventieth anniversary of the publication of the fairy tale story "The Little Prince". 2012.
Sergei Vladimirovich Mikhalkov. To the 100th anniversary of the birth. 2012.
Anton Semyonovich Makarenko. To the 125th anniversary of his birth. 2013.
The Romanov dynasty, years of reign 1613 - 1917. To the 400th anniversary of the dynasty. 2013
Korolenko Vladimir Galaktionovich. 2013
Solzhenitsyn Alexander Isaevich. To the 95th birthday. 2013.
Selma Lagerlöf. To the 155th anniversary of his birth. 2013.
Koval Yuri Iosifovich. To the 75th anniversary of his birth. 2013.
Tendryakov Vladimir Fyodorovich To the 90th birthday. 2013.

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1 PROFESSIONAL LIBRARY OF THE SCHOOL LIBRARY SUPPLEMENT TO THE JOURNAL "SCHOOL LIBRARY" Series 2 Issue 2 KONSTANTIN GEORGIEVICH PAUSTOVSKY 19 (31) July July 1968 On the occasion of the 115th anniversary of the birth EXHIBITION IN THE SCHOOL LIBRARY Moscow 2007

2 BBK 83.3(2Ros=Rus) P 21 Composers: Andreeva M.S., Korotkova M.P. Ch. editor: Zhukova T.D. Rep. editor: Korshunova L.E. TO THE SCHOOL LIBRARY Dear colleagues! P 21 Issue 2 (2007) of the supplement to the School Library magazine (series 2) is dedicated to the 115th anniversary of the birth of Konstantin Georgievich Paustovsky. In the minds of most readers, Paustovsky, first of all, is an excellent landscape painter, lyricist, in love with nature and art. But his books are also distinguished by close attention to the good feelings of a person, to courage, nobility, mutual understanding. The writer's work is significant for all ages, but, perhaps, it is of particular importance for the development of the personality of a growing person. “We really need him today,” Boris Chichibabin writes about him, he will be useful in the future. In our reader's grateful love, in our memory, in our souls, in the present and future, on our land, which he saw so beloved and beautiful, may Paustovsky always live. The issue brought to your attention contains a brief biography of the writer, a script for a literary holiday for children, a dramatization based on his stories, quizzes and guidelines for working with his books. ISBN "Russian School Library Association" Andreeva M.S., Korotkova M.P.

3 KONSTANTIN GEORGIEVICH PAUSTOVSKY May 19 (31), July 1968 “The imagery and magic (according to Turgenev) of the Russian language are in an elusive way connected with nature, with the muttering of springs, the cry of flocks of cranes, with fading sunsets, the distant song of girls in the meadows and the smoke from afar pulling from campfire. K. G. PAUSTOVSKY “I would not exchange middle Russia for the most glorified and stunning beauties of the globe. I would give all the elegance of the Gulf of Naples with its feast of colors for a willow bush wet from the rain on the sandy banks of the Oka or for the winding little river Taruska. 1 K. G. PAUSTOVSKY

4 CHILDHOOD AND YOUTH K. Paustovsky, a student of the gymnasium The first Kiev gymnasium, where K. Paustovsky studied, Konstantin Georgievich Paustovsky was born in Moscow on May 19 (31), 1892, and his childhood and youth were spent in Ukraine. Father is a railway statistician by profession, by nature "an incorrigible dreamer", "who could not bear any hardships and worries" (K. Paustovsky). He didn't stay in one place for long. After Moscow, he served in many Russian cities and finally arrived in Kyiv. Paustovsky recalled about his mother that she was "a domineering and unkind woman", but "her unkindness was feigned." The mother believed that only with a strict and harsh upbringing could “something worthwhile” come out of the children. "The family was large and diverse, prone to art, they sang a lot, played the piano, argued, reverently loved the theater." Konstantin Paustovsky graduated from the First Kyiv Gymnasium and entered Kiev University. In the famous First Gymnasium, at the same time, boys studied with him, whose names are now well known and revered in Russia. These are writer Mikhail Bulgakov, playwright Boris Romashov, director Ivan Bersenev (Pavlishchev), composer Boris Lyatoshinsky, singer, composer and poet Alexander Vertinsky. In 1912, Paustovsky's first story "On the Water" appeared in print, it was published in the Kiev literary magazine "Lights". Since then, Paustovsky's life has been subordinated to a single goal: to become a writer. In 1914 he moved to Moscow and transferred to Moscow University. He failed to graduate from the university, the First World War began. Paustovsky decides to leave his studies, leave for a while and "writing his vague stories and" go into life ". 2 Kyiv. Monument to Prince Vladimir on Vladimirskaya Gorka (view from the Pechersk steep)

5 “EVERY MY BOOK IS A JOURNEY” “At that time the book was above my life, not my life above the book. I had to fill myself with life to the very brim. Realizing this, I completely stopped writing and began to wander around Russia, change professions and communicate with a variety of people. K. PAUSTOVSKY K. Paustovsky nurse during the First World War “Almost every book of mine is a trip. Or rather, every trip is a book.” K. PAUSTOVSKY z Paustovsky changed many professions: he was a Moscow tram leader, served as an orderly on trains carrying the wounded, traveling around the country, worked at a factory in Yekaterinoslav, in Yuzovka, in Taganrog, fished on the Sea of Azov. And in his free time, he writes his first story, Romantics (which was published much later, in 1935). In 1925, a book of short stories "Sea Sketches" was published in Moscow, then in 1929 the novel "Shining Clouds". Writing fame was brought to Paustovsky by works written in the 30s: “Kara-Bugaz” (1932) about the destruction of deserts, “Colchis” (1934) about draining the swamps of the Colchis lowland, “The Black Sea” (1936) is a kind of artistic pilotage. After the publication of the story "Kara-Bugaz" Konstantin Georgievich leaves the service and devotes himself entirely to writing. 3

6 "ABOUT PEOPLE OF ART" "I have always been interested in life wonderful people. I tried to find common features their characters are those traits that put them in the ranks of the best representatives of mankind. zk. PAUSTOVSKY In the late 1930s, Paustovsky wrote several biographical books about artists and writers: Orest Kiprensky (1936), Isaac Levitan (1937), Taras Shevchenko (1938), Paustovsky also wrote stories and essays about Maxim Gorky , Pyotr Ilyich Tchaikovsky, Anton Pavlovich Chekhov, Alexander Sergeevich Pushkin, Hans Christian Andersen, Edvard Grieg, Arkady Petrovich Gaidar, Mikhail Mikhailovich Prishvin, Mikhail Yurievich Lermontov and many others. Paustovsky was worried about the fate of the artist, the responsibility of talent to people. Related to this topic is his book Golden Rose»a book about writing, about the fate of art, about the nature of creativity and the tasks of the artist. 4

7 "MESHHERSKAYA SIDE" Fig. E. Meshkova to the fairy tale “Warm Bread” K. Paustovsky at work “I found the greatest simple and unsophisticated happiness in the forest Meshchersky region. The happiness of being close to your land, concentration and inner freedom, favorite thoughts and hard work. K. PAUSTOVSKY Paustovsky discovered the Meshchera region for himself in the 30s and called it "an unknown and reserved land." Here was everything that attracted him from childhood - dense forests, lakes, winding forest rivers, abandoned roads. This region became a second home for the writer. Subsequently, Meshchera gradually became the favorite region of several more writers. Paustovsky's friends Arkady Gaidar, Reuben Fraerman, Andrey Platonov lived here for a long time. 5

8 THE STORY OF LIFE For more than 30 years the writer has been working on the autobiographical story The Story of Life. He managed to write six books in full, they appeared in print one after another: Distant Years (1946), Restless Youth (1954), Beginning of an Unknown Age (1956), Time of Great Expectations (1958), Throw to the South "()," Book of Wanderings "(1963). The story "Distant Years" is about childhood, about Kyiv at the beginning of the 20th century. In spring, besides the flood of the Dnieper, “another flood of sunshine, freshness, warm and fragrant wind began in Kyiv. It was time for Kyiv gardens. In the spring I spent all my days in the gardens. I played there, taught lessons, read.” “One spring I was sitting in the Mariinsky Park and reading Stevenson's Treasure Island. A tall midshipman with a tanned, calm face walked easily along the alley. winds and all the charms that were associated with the picturesque work of navigators. The boy met a sailor, who gave him a photograph of “a magnificent corvette with sailing equipment and a wide pipe: Take it as a keepsake. This is my ship. I rode it to Liverpool." One of the wonderful chapters of the book "Water from Limpopo". Geography teacher Cherpunov invites the boy to his home to see the home museum and tells about the traveler Miklukho-Maclay: “He managed to do so much good for the savages, show so much patience that when our corvette “Emerald” came for him to take him to Russia, crowds of savages weeping on the shore, stretching out their hands to the corvette and shouting: “Maclay, Maklay. So, remember: kindness can achieve anything. z 6 Fig. V. Dekhtereva

9 PAUSTOVSKY FOR CHILDREN “Writing it / a fairy tale / is as difficult as conveying in words the faint smell of grass. You write a fairy tale almost without breathing so as not to blow away the finest pollen with which it is covered. And you write quickly, because the flickering of light, shadows and individual pictures happens quickly and easily. You can’t be late, you can’t lag behind the run of the imagination.” K. PAUSTOVSKY Heroes of Paustovsky's fairy tales: "Warm Bread" (1945), "The Adventures of the Rhinoceros Beetle (Soldier's Tale)" (1945), " steel ring"(1946), "Dense Bear" (1947), "Disheveled Sparrow" (1948), "Artel Men" (1949), "Caring Flower" (1953), "Wing Tree" (1954) modest and simple people, they are sensitive , responsive and able to see the extraordinary in the ordinary. In his fairy tales, everything is simple and vital, there are almost no miracles and magical characters. But in them nature is endowed with magical powers: frosts and rains, trees and animals. These magical forces of nature invade people's lives, they can be merciful or evil, they can help and reward, but they can also punish. Many of Paustovsky's stories also became children's favorite books: Badger Nose, Thief Cat, Hare's Paws, Gift, Residents of the Old House, The Last Devil, Basket with Fir Cones and others. 7

10 MUSEUMS OF KONSTANTIN GEORGIEVICH PAUSTOVSKY Konstantin Georgievich spent the last 13 years of his life in a small town near the Oka River in Central Russia, Tarusa. Paustovsky enjoyed the love and respect of the inhabitants and became the first "honorary citizen" of the city. Here, in Tarusa, in 1968 he was buried in the city cemetery. Now there is a museum in Paustovsky's house in Tarusa, literary holidays are held. In Odessa, in the house where the writer lived in 1998 (Chernomorskaya st. 6), the National Museum of K.G. Paustovsky, transformed in 1999 into a branch of the Odessa state museum. Paustovsky lived in Odessa from 1919 to 1922 and worked in the editorial office of the Mayak newspaper. creative life Paustovsky was also closely connected with the South-Eastern Crimea. He often visited Feodosia, Koktebel, Stary Krym. In Stary Krym, Paustovsky repeatedly stayed at house 31 on Karl Liebknecht Street. In 2005, the Paustovsky Museum was opened in this house. In Moscow, in amazing beautiful place in Kuzminki Park there is the Literary Museum-Center of K.G. Paustovsky. It began its existence as a school museum, in 1982 it became the "People's Museum" and was housed in the "Grey Dacha", a wooden monument. 18th architecture century on the territory of the Kuzminki park. Konstantin Georgievich had never been in this house, but best place for this museum can not be found. Konstantin Georgievich loved to live in old wooden houses and settled his heroes in them. In 1987, the museum became a state museum, the museum contains books, manuscripts, photographs, memorial things of the writer. Museum address: Moscow, Kuzminskaya street, 8. House-museum and room of K. Paustovsky in Tarusa House-museum of K. Paustovsky in Odessa

11 KONSTANTIN GEORGIEVICH PAUSTOVSKY May 19 (31), July 1968 M.S. Andreeva, Scientific and Methodological Center of the Eastern District Department of Education, Moscow Korotkov, library of the Center for the Development of Creativity of Children and Youth named after. A.V. Kosareva, Moscow

12 “I WILL NOT EXCHANGE MIDDLE RUSSIA FOR THE MOST FAMOUS AND STUNNING BEAUTY OF THE EARTH” The east has turned green through the diamond net. Away across the earth, mysterious and strict, Thousands of paths and roads radiate. Oh, if only we could pass through the world on the same road! See everything, understand everything, know everything, experience everything, Absorb all forms, all colors with your eyes, Walk the whole earth with burning feet, Perceive everything and embody again. This poem by Maximilian Voloshin, written in 1904, is considered his poetic credo. It fully reflects the point of view of the prose writer Konstantin Georgievich Paustovsky. Konstantin Georgievich himself liked to say: “Every writer should have interesting biography". The biography of Paustovsky himself was also interesting. He was born in Moscow on May 19 (31), 1892, but the family soon moved from Moscow, and his childhood and youth were spent in Ukraine. My father was a railway statistician by profession, but by nature he was an "incorrigible dreamer and Protestant", "who could not bear any hardships and worries" (K. Paustovsky). Apparently, because of these properties of his character, he did not get along for a long time in one place. After Moscow, he served in Pskov and Vilna, and finally settled in Kyiv. Paustovsky's father came from Zaporizhzhya Cossacks, who moved 2 later on the banks of the Ros River near Belaya Tserkov. Konstantin's grandfather and grandmother lived there. The grandfather is a former Nikolaev soldier, and the grandmother is a Turkish woman. Paustovsky recalled about his mother that she was “a domineering and unkind woman”, but “her unkindness was feigned” (K. Paustovsky). The mother believed that only with a strict and harsh upbringing could “something worthwhile” come out of the children. Konstantin Georgievich recalled that "the family was large and diverse, prone to art, they sang a lot, played the piano, argued, reverently loved the theater." Konstantin studied at the First Kyiv Classical Gymnasium. At that time there were good teachers humanities Russian literature, history and psychology. The students knew and loved literature and spent a lot of time reading books. In this gymnasium, at the same time as Paustovsky, several young men studied, who later became famous people in art. These are writer Mikhail Bulgakov, playwright Boris Romashov, director Bersenev, composer Lyatoshinsky, singer Alexander Vertinsky. In Konstantin Paustovsky, a love for literature, a passion for theater and painting woke up early. Already at the age of 14, he decided to write a story, but more often poetry appeared in his notebooks. “These were very elegant and, of course, bad poems,” Paustovsky recalled. But they taught me to love the Russian word and the melodiousness of the Russian language. Subsequently, the writer ruthlessly burned these notebooks. When Konstantin studied at the 6th

In the 13th grade of the gymnasium, the family broke up, and from then on, the future writer had to earn his own living and study. “I survived by rather hard work, writes Paustovsky, the so-called tutoring. In 1912, Paustovsky's first story "On the Water" appeared in print, it was published in the Kiev literary magazine "Lights". Since then, Paustovsky's life has been subordinated to a single goal: to become a writer. After graduating from high school, Konstantin Paustovsky entered Kiev University, then in 1914 he moved to Moscow and transferred to Moscow University. But he failed to graduate from the university: the First World War began. Paustovsky decides to leave his studies, leave for a while and "writing his vague stories and" go into life ". “At that time, the book stood above my life, and not life above the book,” Paustovsky wrote, “I had to fill myself with life to the very brim. Realizing this, I completely stopped writing and began to wander around Russia, change professions and communicate with a variety of people. He works as a leader on a Moscow tram, serves as an orderly on trains carrying the wounded. “We took the wounded in Moscow and transported them to deep rear cities. Paustovsky later recalled this time: “Then I first learned and with all my heart and forever fell in love with the middle zone of Russia with its low skies, with the milky haze of villages, lazy bell ringing, snowfall and the creak of sledges, undergrowth. While working on an ambulance train, I heard from wounded many wonderful stories and conversations on all sorts of occasions. A simple record of all this would amount to several volumes. But I didn't have time to write." On the fronts of the First World War, two older brothers of Paustovsky died, he was left completely alone with his mother, not counting his half-blind and sick sister. Freed from service, he returns to his mother in Moscow, but he could not sit out for a long time and again began his wandering life. He travels around the country, changing professions: he works at a factory in Yekaterinoslav, in Yuzovka, in Taganrog, and fishes in the Sea of Azov. And in his free time, he writes his first story, Romantics (which was published much later, in 1935). After the February Revolution, Paustovsky returned to Moscow and worked as a reporter for newspapers. He witnessed all the events in Moscow at that difficult, turbulent time. Then again wandering: the south of the country, Kyiv, service in the Red Army, Odessa. In Odessa, in the editorial office of the Mayak newspaper, he met young writers Valentin Kataev, Ilya Ilf, Eduard Bagritsky, Isaac Babel, Semyon Kirsanov. Soon the muse of distant wanderings again took possession of him: Sukhumi, Batumi, Tiflis, Yerevan, Baku. All these travels will be reflected in his future works. “Almost every book of mine is a trip. Or rather, every trip is a book,” Paustovsky wrote. In one of the letters of 1923, Paustovsky admitted: “I think that if I really have been given a talent (and I feel it), then I must sacrifice everything to him, both myself and my whole life, so as not to bury it in the ground, let it bloom in full bloom and leave behind at least a small, but still a trace in life. So now I work hard, write, wander a lot, study 3

14 life, entered the lives of people of various social strata. At the beginning of his career, critics reproached him for imitating Alexander Grin. Yes, Paustovsky and Green are kindred natures. Paustovsky dreamed of countries "remote, but really existing." “When the meeting with these countries took place, Paustovsky admitted, he experienced a state of“ awake dream ”. “He tried to direct all the power of his imagination to see the extraordinary in the ordinary and the ordinary in the extraordinary. The accuracy of specific descriptions, the careful transmission of real details helped him to reveal the poetry of life, the romance and magic inherent in life itself” (A. Pavlovsky). In 1925, a book of stories "Sea Sketches" was published in Moscow, then in 1929 the novel "Shining Clouds" But Paustovsky's literary fame was brought to him by works written in the 30s: "Kara-Bugaz" (1932) about the destruction of deserts, " Colchis” (1934) about draining the swamps of the Colchis lowland, “The Black Sea” (1936) is a kind of artistic sailing. After the publication of the story "Kara-Bugaz" Konstantin Georgievich leaves the service and devotes himself entirely to writing. In the late 30s, Paustovsky wrote several biographical books about artists and writers: Orest Kiprensky (1936), Isaac Levitan (1937), Taras Shevchenko (1938). In addition to these books, Paustovsky has many more stories and essays about M. Gorky, P. Tchaikovsky, A. Chekhov, A.S. Pushkin, H. Andersen, E. Grige, A. Gaidar, M. Prishvin, M. Lermontov and many others. “I have always been interested in the lives of wonderful people. I tried to find common features of their 4 characters, those features that put them in the ranks of the best representatives of humanity, ”wrote Paustovsky. The theme of the fate of the artist, the responsibility of talent to people, his book "Golden Rose" is also connected with this topic, a book about writing, about the fate of art, about the nature of creativity and the tasks of the artist. A special place in the work of Paustovsky is occupied by the Meshchersky region. The writer discovered it for himself in the 30s and called this region "an unknown and reserved land." Here was everything that attracted him from childhood, dense forests, lakes, winding forest rivers, abandoned roads. This region became a second home for the writer. “There, for the first time, I realized that the imagery and magic (according to Turgenev) of the Russian language are in an elusive way connected with nature, with the muttering of springs, the cry of flocks of cranes, with fading sunsets, the distant song of girls in the meadows and the smoke from the fire pulling from afar” (K. Paustovsky). Meshchera gradually became the favorite region of several writers. Paustovsky's friends writers A. Gaidar, R. Fraerman, A. Platonov lived here for a long time. Paustovsky wrote about his beloved Meshchera: “I found the greatest simple and unsophisticated happiness in the forested Meshchera region. The happiness of being close to my land, concentration and inner freedom, my favorite thoughts and hard work to Meshchera, I owe many of my stories, “ summer days"(1937) and a short story" Meshcherskaya side"(1939)". The Central Russian hinterland became for Paustovsky a place of a kind of "emigration", a creative, and perhaps even physical salvation during the period of Stalinist repressions. During the Great Patriotic War, Paustovsky worked as a military corps

15 respondents on the Southern Front, published his articles in the newspapers "Defender of the Motherland", "Red Star" and others. He also wrote short stories, among them "Snow" (1943) and "Rainy Dawn" (1945), which critics called the most delicate lyrical watercolors. The anxiety of the war hard times left its mark on many of Paustovsky's works. The military era is not presented by Paustovsky in broad epic canvases: there are almost no explosions and descriptions of battles. Paustovsky showed wartime through the perception of it by an individual, through an individual destiny. In the 1950s, Paustovsky lived in Moscow and Tarusa on the Oka. The years of the “thaw” have come, and at this time Paustovsky actively advocates the literary and political rehabilitation of the writers I. Babel, Yu. Olesha, M. Bulgakov, A. Green, N. Zabolotsky and others persecuted under Stalin. Even before the war, Paustovsky began working on an autobiographical story. He gave this work about 30 years, but it still was not finished. The first mention of this work appeared in the journal "Children's Literature" in 1937: Paustovsky shared his idea with readers. He managed to write six books in full, they appeared in print one after another: Distant Years (1946), Restless Youth (1954), Beginning of an Unknown Age (1956), Time of Great Expectations (1958), Throw to the South "()," Book of Wanderings "(1963). The writer planned to write two more books to bring the action of this cycle to the mid-60s. Excerpts from the seventh book entitled "Palms on the Ground" appeared in print in the late 60s, but the writer failed to finish this work. "The Tale of Life" is the main work of the writer, written at the time creative maturity. The author put into it everything that he changed his mind and felt for long life. "The Tale of Life" introduces readers to the fate of Paustovsky for a quarter of a century. “I am writing only my testimony,” Paustovsky emphasized in The Tale, and in no way am I going to give in this book a broad picture of the first post-revolutionary times. And yet the story is unique in the richness of historical material, in the number of characters, in the importance of the problems raised, and the artist remembered and appreciated most of the events from the height of his years. In a brief preface to the first part of the book, Paustovsky recalls the words of Thomas Mann: “It seems to us that we express only ourselves, we speak only about ourselves, and it turns out that from a deep connection, from an instinctive community with others, we have created something super-personal. This is super-personal and is the best that is contained in our work. The writer believed that these words could be put as an epigraph to most autobiographical books, because "the writer, expressing himself, thereby expresses his era" (K. Paustovsky). Among the numerous memoirs created in the 20th century, The Tale of Life is perhaps one of the most significant. The writer Boris Zaitsev, after reading The Tale of Life, wrote about Paustovsky: “This finally showed the writer, the real one, writing for himself as he likes, and not as ordered, a gifted, intelligent and calm writer, sometimes very touching in his calmness, but not sentimental. On the contrary, restrained, courageous, pictorial. * Saved by the author's spelling 5

16 In the mid-1950s, Paustovsky gained worldwide recognition, his books were translated into foreign languages. The writer got the opportunity to travel around Europe. He visited Poland, Czechoslovakia, Turkey, Greece, Sweden, Italy, France, England and other countries. In 1965 he lived for a long time on the island of Capri. The impressions of these trips were reflected in the travel essays and stories of the 1990s “Italian Encounters”, “Fleeting Paris”, “Channel Lights” and others. At the same time, he wrote: “I will not exchange Central Russia for the most famous and stunning beauties of the globe. I would give all the elegance of the Gulf of Naples with its feast of colors for a willow bush wet from the rain on the sandy banks of the Oka, or for the winding Taruska river on its modest banks, I now live often and for a long time. Paustovsky died in 1968 in Moscow, according to his will, he was buried in the city cemetery of Tarusa. The place is a high hill, surrounded by trees with a gap on the Taruska River, the writer chose himself. She buried Paustovsky Tarusa, She carried it in her arms, did not drop it, She did not scream, did not rush about, Only a tear rolled after a tear. Everyone left, she alone remained And then struck with a thunderstorm. (M. Aliger. July 17, 1968) HOW BOOKS ARE WRITTEN "These are just notes about my understanding of writing and my experience." K. Paustovsky 6 “The work of a writer, Paustovsky said, deserves much more than just an explanation. It deserves to be found and revealed the greatest, sometimes difficult to convey poetry of writing, its hidden pathos, its passion and strength, its originality, and finally, its most amazing property, which lies in the fact that writing, enriching others, enriches, perhaps, most of all the writer himself, the master himself. What is this greatest poetry of writing? The writer spoke about this in the story "Golden Rose". "A writer can only be one who has something new, significant and interesting to tell people, that person who sees a lot that others do not notice." In the chapter “Notches on the Heart”, K. Paustovsky wrote: “Readers often ask people who write how and for how long they collect material for their books. And they are usually very surprised when they are told that there is no deliberate collection of material and never happens. Life material, all that Dostoevsky called "details of current life" is not studied. It’s just that writers live, so to speak, inside this material, they live, suffer, think, rejoice, participate in big and small events, and every day of life, of course, leaves its notes and notches in their memory and heart. But, in addition to these life notes and notches, in order to become a writer, one must have many more necessary qualities. One of them is inspiration. “Inspiration is a strict working state, but it has its own poetic coloring, its own, I would say, poetic subtext. Inspiration enters us like a radiant summer morning that has just thrown off the mists of a quiet night, spattered with dew, with thickets of wet foliage. Inspiration is like first love when the heart

17 knocks loudly in anticipation of amazing meetings, unimaginably beautiful eyes, smiles and omissions. K. Paustovsky considered imagination to be an excellent environment for the flowering of creative thought. According to him, Arkady Gaidar spoke of imagination in the following way: “It is a property of a person, using the reserve of life observations, thoughts and feelings, to create, along with reality, a fictional life, with fictional people and events.” Human life without imagination is fruitless, just as fruitless is imagination divorced from reality. Imagination is based on memory, and memory is based on the phenomena of reality. or by proximity in time and space, in other words, it generalizes and extends into a continuous sequential chain. This chain of association is the guiding thread of the imagination” (ch. “The Life-Giving Principle”). Almost all writers make plans for their future works, but it often happens that the characters enter into a struggle with the author and most often win. “And only writers who have the gift of improvisation can write without a preliminary plan. Of the Russian writers, Pushkin possessed such a gift to a high degree, and of our contemporary prose writers, Aleksey Nikolaevich Tolstoy Genius is so inwardly rich that any topic, any thought, incident or object evokes an inexhaustible stream of associations in him ”(ch.“ Revolt of Heroes ”). Another trait that a writer must have is the “art of seeing the world” in all its diversity, i.e. he needs “knowledge of all related areas of the art of poetry, painting, architecture, sculpture and music is unusually enriching inner world prose and gives expressiveness to his prose. The latter is filled with the light and colors of painting, the capacity and freshness of words characteristic of poetry, the proportionality of architecture, the convexity and clarity of the lines of sculpture, and the rhythm and melody of music. “I don’t believe writers,” wrote Paustovaky, “I don’t lovers of poetry and painting. At best, these are people with a somewhat lazy and arrogant mind, at worst, ignoramuses. But much in the work of the writer depends on a sense of proportion. “A writer who has fallen in love with the perfection of classical architectural forms will not allow heavy and clumsy composition in his prose. He will strive for the proportionality of the parts and the rigor of the verbal pattern. The composition of a prose thing must be brought to such a state that nothing more can be thrown out and nothing more can be added without violating the meaning of the narrative and the natural course of events "(Ch. "The Art of Seeing the World") "Even in As a child, I developed a passion for geographical maps, the writer said. I could sit over them for several hours, as if over a fascinating book. I studied the course of unknown rivers, whimsical sea coasts, penetrated into the depths of the taiga. Gradually, all these places came to life in my imagination with such clarity that it seems that I could write fictitious travel diaries to different continents and countries. imagining different places helps to see them correctly in reality. 7

18 “Many Russian words,” Paustovsky wrote in his chapter “Diamond Language,” radiate poetry in themselves, just as gems radiate a mysterious brilliance It is undeniable that most of these poetic words are connected with our nature. The Russian language is revealed to the end in its truly magical properties and wealth only to those who deeply love and know their people “to the bone” and feel the hidden beauty of our land. “If the writer, while working, does not see behind the words what he writes about, then the reader will not see anything behind them,” wrote Konstantin Georgievich in the chapter “Language and Nature”. “The landscape is not an appendage to prose and not an ornament. You need to immerse yourself in it, as if you immersed your face in a pile of leaves wet from the rain and felt their luxurious coolness, their smell, their breath. Simply put, nature must be loved, And this love, like any love, will find the right ways to express itself with the greatest power. (Ch. "In the back of a truck"). “Every thought sometimes comes to mind,” wrote K. Paustovsky in the chapter “Dictionaries”, for example, the idea that it would be good to compile several new dictionaries of the Russian language. In one such dictionary it is possible, for example, to collect words related to nature, in another good and accurate local words, in the third words of people different professions, in the fourth, garbage and dead words, all the bureaucracy, vulgarity that clogs the Russian language. Dictionaries, of course, must be explanatory. Each word should be explained, and after it should be placed several passages from the books of writers, poets and scientists who have a scientific or poetic relation to this word. Some of our writers, as far as I know, have such "personal" dictionaries. But they do not show them to anyone and are reluctant to mention them. The Russian language is very rich in words related to the seasons and natural phenomena associated with them. Our country is no less rich in local sayings and dialects than “natural” words. A local word can enrich the language only if it is figurative, harmonious and understandable. One incomprehensible word can destroy the most figurative construction of prose for the reader. The Golden Rose is not a beginner's guide to writing books. This story is about the characteristics writer's work, it is also addressed to us, the readers, it helps to improve the culture of reading, to educate a creative reader. The story was published in 1956, it was the time of the "thaw", as I. Ehrenburg called it. The Golden Rose was attacked by many critics, who probably did not understand that Paustovsky's story serves universal, humanistic ideals, but it did not meet the requirements of socialist realism, which dominated our literature at that time. According to A. Tvardovsky, socialist realism in literature looked like this: You look, a novel, and everything is in order: The method of new masonry is shown, A backward deputy, growing before And going to communism grandfather. She and he are advanced, The engine launched for the first time, Party organizer, snowstorm, breakthrough, emergency, Minister in the workshops and the general ball And everything is similar, everything is like What is or can be, And in general, that's how inedible, That you want to howl in a voice . 8

19 K.G. Paustovsky is one of the few who was able to pass without loss the crucible of such socialist realism, which A. Tvardovsky spoke about, that is, to write without lies and falsehood. Paustovsky remained true to his talent as an artist, a connoisseur of beauty in nature, in people, in art. L.P. Krementsov in The Book of Paustovsky writes: “Paustovsky was among the few Russian writers who managed to pass almost without loss between Scylla and Charybdis of lies and falsity of socialist realism. Although one can only guess how his talent would develop in favorable conditions. It is no coincidence that a subtle connoisseur, a singer of beauty in people, in nature, in art, he put courage in the foreground among the virtues of a writer. He, one of the outstanding masters of the great Russian language, remained unappreciated to the end. And, perhaps, the following lines of V. Bryusov can be attributed to it: To be free, lonely, In the mysterious silence of open fields. Go your own way, aimless and wide, Without future and past days. To pluck flowers, instant, like poppies, To drink in the rays, like first love. Fall, and die, and drown in darkness Without bitter joy, rise again and again! GAME TASKS 1. Dictionaries. “It would be nice to compile several new dictionaries of the Russian language” (K. Paustovsky) Offer to compile explanatory dictionaries of “forest” words: “About the seasons”, “About rivers and lakes”, “About plants and animals”. 2. Monuments to heroes. “Why don't we erect monuments to literary heroes” (K. Paustovsky) Which of the literary heroes would you suggest erecting a monument to? Consider his project. List of great people. “I started compiling a list of remarkable people for this book” (K. Paustovsky) Make a list of remarkable famous people of the 20th century. Describe these people. Explain why they were chosen. 3. Geographic maps. “As a child, I developed a passion for geographical maps. I could sit over them for several hours, like over a fascinating book” (K. Paustovsky) Take a trip on a geographical map to the places where Paustovsky lived and visited. MOSCOW PAUSTOVSKY (Material for conversation near the map of Moscow). Konstantin Georgievich Paustovsky was born in Moscow, in Granatny Lane. But his childhood and youth were spent in Kyiv, where Konstantin graduated from high school and entered Kiev University. Two years later he moved to Moscow and transferred to Moscow University. His writing life, as he recalled, began with the desire to "know everything, see everything and travel." He traveled a lot, visited the Polar Urals, on the shores of the Caspian Sea, the Volga River, was in Ukraine, Karelia, the Crimea, the Caucasus, the Polesie swamps, the Kama region, the Ochie and Meshchera. He spoke about all this in his works,

20 viv many readers fall in love with these places. From travels, he often returned to Moscow, the city where he was born, lived and worked for a long time. What was Moscow like in those years? How K.G. saw her Paustovsky? It was Moscow at the beginning of the 20th century. The hero of the novel “Romance”, the beginning writer Maximov, says this about it: “I look from the Moskvoretsky bridge at the black gullies of the river. The Kremlin domes are golden in the smoke. Here is Moscow. Blue from tavern signs, tangled in alleys, screaming from frost and smoky from fires. From the gloomy squares of Zamoskvorechye, Asia looks out, monotonous sunsets blaze in the windows of the mezzanines, cabbies shout, they announce Vespers. For the second time, Paustovsky came to Moscow from Kyiv for the holidays. His relatives lived here: mother, sister Galya and brother Dmitry, a student Institute of Technology. Dmitry met his brother at the Bryansk railway station: “I was surprised by the Moscow railway station, wooden, low, looking like a huge tavern.” “To Razgulay,” Dima said to the cab driver, “just drive through the Kremlin.” We drove into the Kremlin through the Borovitsky Gates. I saw the Tsar Bell, the Tsar Cannon, the Ivan the Great Bell Tower rising into the evening sky.” On that visit to Moscow, Konstantin managed to visit the Art Theater for two performances: "Three Sisters" and "The Living Corpse", in the Tretyakov Gallery. “For a long time I stood near Nesterov’s painting “Vision to the youth Bartholomew”. Thin birch girls turned white like candles, each blade of grass trustingly reached for the sky. My heart ached from this touching and demanding beauty. ran out the winter vacation, and Konstantin had to leave for Kyiv. 10 The next time he comes to Moscow is at the end of the summer of 1914. This is "a formidable and disturbing summer of war." Mom lived on Bolshaya Presnya, the windows of the apartment overlooked the Zoological Garden. “The war was rolling ever closer with its inevitable course, the smoke of its fires is already clouding the sky near Moscow.” Konstantin leaves his studies at the university and goes to work in the tram depot. “I was accepted as a leader in the Miussky tram depot. But I did not work as a counselor for long. I was soon transferred to a conductor. Miussky Park was located on Lesnaya Street, in red brick buildings blackened with soot. He had to work on several tram routes: "B" "copper line", or, as the Muscovites called it, "Insect", it passed along the Garden Ring, past the station squares and along the roadsides of Moscow; "A" "silver line", or "Annushka" is the Boulevard Ring, the line "smart, theatrical and shop". “To the tram service,” Paustovsky wrote, I owe the fact that I studied Moscow well, this disorderly and many-sided city with all its Zatseps, Stromynki, taverns, Knife lines, Bozhedomki, hospitals, Lenivki, Annenhof groves, Yauza, Widow’s houses, settlements and Krestovsky towers." In 1914 Moscow was a deep rear. Only the abundance of the wounded and mourning dresses of women reminded of the war. The war brought grief to many families. Grief also came to the Paustovsky family. In one day, two brothers of Konstantin Georgievich Boris and Vadim died. One on the Gallic front, the other on the Riga direction. And life in Moscow went on as usual. Once Konstantin made his way to one

21 well from literary "environments". The writers used to gather in a mansion in an alley near Gruzin. A.N. Tolstoy, I. Shmelev, B. Zaitsev, I. Bunin. To a young man It was interesting to listen to them. For some time, Paustovsky worked on ambulance trains that carried the wounded from the Brest railway station to the hospital in Lefortovo. Then he worked as an orderly on a military hospital train that traveled to different places in Russia. He returned to Moscow in the spring of 1917. As he later recalled: "From February to October 1917, there was supposedly a continuous rally in the country." “Moscow rallied with particular inspiration and brilliance,” he wrote, who then worked for the newspaper Vedomosti of the Moscow City Administration. In the fall, Paustovsky leaves for his mother in Polesie, and upon his return he settles in a two-story house near the Nikitsky Gate. The house was on the corner and faced three streets at once: Tverskoy Boulevard, Bolshaya Nikitskaya and Leontievsky Lane. During the October battles in Moscow, the house came under machine-gun fire. The room of Konstantin Georgievich was destroyed, and he moved to an outbuilding of a brick house in Granatny Lane. It was near the house where he was born. Since September 1918, Paustovsky collaborated in the newspaper "Power of the People". He became friends with the recently returned from exile writer Mikhail Osorgin. He also met the “king of reporters” V.A. Gilyarovsky, who was in the editorial office of the newspaper. In Stoleshnikov Lane there was then a "Cafe of Journalists". Here you could meet Andrei Bely, the Menshevik Martov, Valery Bryusov, Konstantin Balmont, Ivan Shmelev, Maximilian Voloshin, the poet Agnivtsev, and many famous journalists and artists. (The cafe was closed at the end of 1918). Occasionally, when the days off fell, Paustovsky went for a walk along the outskirts of Moscow, through the whole city he went to Presnya, Maiden's Field or Noevsky Garden. This garden was located near the Sparrow Hills on the banks of the Moscow River. The garden was named after the owner of the best shops in Moscow, industrial gardener F.F. Noev, who bought these places Mamonovskaya dacha at the end of the 19th century. “In the outskirts of Moscow, there was a charm of its own in wooden slanting houses propped up with dark logs, in poplar fluff, which rolled along the streets in light silver-gray rolls. Curly mountains of greenery ran from the Noevsky Garden to the Moscow River itself. The lindens were blooming. “Everyone has in his soul, like a delicate smell of lindens from Noah's garden, the memory of a glimpse of happiness, then littered with worldly garbage,” Paustovsky wrote. The newspaper "Power of the People" was closed, and Konstantin Georgievich, having received a letter from his sister and mother, began to gather to them. Before leaving, I walked around all my favorite Moscow places. As he later recalled, he wrote a story about his life for quite a long time. “I don’t know if I can finish it,” he doubted. Only in 1923 did the writer return to Moscow. In the late 1920s, he worked as an editor for ROST, then for the Our Achievements magazine founded by M. Gorky. The editorial office of this magazine was located at Spiridonievka, house 2. And the writer lived on Bolshaya Dmitrovka. In the mid-30s, he moved to Lavrushinsky lane. His last Moscow address is a high-rise building on Kotelnicheskaya Embankment. There is a memorial plaque on the house. Paustovsky died in Moscow, in 1968, Moscow-11

On the 22nd, she said goodbye to him on Bolshaya Nikitskaya in the Central House of Writers, not far from Granatny Lane, where he was born. Paustovsky was buried according to his will in Tarusa, where he lived for a long time in last years. Images of Moscow, its streets and houses, its nature, its appearance repeatedly appeared on the pages of his books. This is the "Tale of Life", and the story "Romantics", and the stories "Laurel Wreath", "Rook in a Trolleybus" and others. Moscow remembers the writer, and therefore there is a street named after him in the city, Paustovsky Street in the South-West in Yasenevo. Probably, as one of the heroes of The Romantics, Paustovsky considered Moscow an eternal city. “Nothing can kill Moscow. It is impossible to destroy its essence, its soul, thousands of shocks will not do anything to it. Each new shock will add another trait to the face of Moscow, but will not kill it. So the Kremlin and underground railways will live nearby. Boris Godunov and Stanislavsky, railway stations and old lindens of the Zamoskvorechye Moscow, like Rome and Paris, is an eternal city. "PLACES K.G. PAUSTOVSKY" IN MOSCOW (for a conversation at the map of Moscow.) B. Dmitrovka Brest Station (Belorussky) Bryansk Station (Kiev) Boulevard Ring Garnet Lane Georgians (near Gruzinskikh St.) Maiden's Field Zoological Garden Kotelnicheskaya embankment Kremlin Lavrushinsky per. Lesnaya street Lefortovo Moscow art theater Nikitsky gate Noevsky garden Paustovsky street Polytechnical museum Presnya Spiridonievka Stoleshnikov per. Tretyakov Gallery“WRITE A TALE, ALMOST NOT BREATHEING” (About the fairy tales of K. G. Paustovsky). “Life always seems to me deadly interesting in all its aspects. This, obviously, explains why I equally willingly turn to the most diverse topics and genres - a story, a novella, a novel, a fairy tale, ”wrote Paustovsky. Paustovsky had his own view on the features of literature addressed to children. In 1944, in the article "City of Masters" (premiered at the Central Children's Theater), he wrote: "Children must be introduced into the world of big ideas, classic images in all the diversity and richness of life. You can’t bend your head down to the small stature of children, squat down, reduce topics to their childish interpretation and thereby lisp. This is not how art is created, designed to influence the flexible and responsive consciousness of children. And about fairy tales, he wrote: “Writing it / a fairy tale / is as difficult as conveying in words the faint smell of grass. You write a fairy tale almost without breathing so as not to blow away the finest pollen with which it is covered. And you write quickly, because the flickering of light, shadows and individual pictures occurs rapidly.

23 is really easy. You can’t be late, you can’t lag behind the run of the imagination.” "A fairy tale, embodied in a poetic form, a person's dream of beauty." “The tale expresses a truly folk, based on deep knowledge, man's love for nature. A man in a fairy tale is surrounded by mighty nature with dense forests, wide rivers, deep seas, magical herbs. Fairy lands are full of the whistling of birds, the smell of flowers, the murmur of cold springs, the cheerful rustle of foliage, rainbows, sunlight, the play of stars and animal paths. Such are the fairy tales created by Paustovsky himself. He wrote these tales in the first post-war decade: "Warm Bread" (1945), "The Adventures of a Rhinoceros Beetle (Soldier's Tale)" (1945), "Steel Ring" (1946), "Dense Bear" (1947), "Disheveled Sparrow "(1948)," Artel peasants "(1949)," Caring flower "(1953)," Frog "(1954). They were published for the first time in the magazines Murzilka and Ogonyok, the newspapers Pionerskaya Pravda and Literaturnaya Gazeta. The heroes of Paustovsky's fairy tales are modest and simple people, they are sensitive, responsive and able to see the extraordinary in the ordinary. And the writer himself considers this ability quite natural, normal. Paustovsky remarked about one of his fairy tales: “It is a fairy tale, but at the same time there is a lot of real life in it, and it is happening in our days.” Most of the fairy tales were written in the first post-war years, and therefore the writer included in them material from the recent history of the Great Patriotic War. Paustovsky writes about warrior-defenders with special warmth. In the fairy tale "The Steel Ring", the girl Varyusha meets the sappers, and in gratitude for sharing her grandfather's shag with them, they give her a magic ring. The tale "The Adventures of the Rhinoceros Beetle" even has the subtitle " soldier's tale”, is a story about a soldier who kept a gift from the son of a rhinoceros beetle throughout the war. Interestingly, the military events in this tale are revealed from the position of a rhinoceros beetle. The father of the girl Masha in the fairy tale "The Disheveled Sparrow" is a military sailor, he sank several fascist ships, was wounded and now continues to serve in Kamchatka. In the fairy tale “The Dense Bear”, the shepherd, the common favorite of Petya, is the youngest son of the deceased warrior Peter the Elder. When he gets into trouble, all animals and plants stand up to protect him. And in the fairy tale “Warm Bread”, a German shell that exploded on the outskirts wounded the leg of a black horse, the wounded horse remained in the village, and each of its inhabitants considered it his duty to feed him. In Paustovsky's fairy tales, everything is simple and vital, there are almost no miracles and magical characters. Only in the "Artel peasants" do magical heroes appear, somewhat reminiscent of gnomes, only in a Russian way. But the writer's works are faithful to the fairy tale genre in the most important way: the central incident underlying the fairy tale is always unusual, and its main idea is presented in allegorical form. Birds and animals, though they behave in accordance with their nature, are at the same time endowed with both human feelings and the ability to

24 talk. And although there are almost no wizards in Paustovsky's fairy tales, nature is endowed with magical power in them: frosts, rains, trees, birds, animals. These magical forces of nature invade people's lives, they can be merciful or evil, they can help and reward or punish. This interweaving of the real and the fantastic is a characteristic feature of Paustovsky's fairy tales. And the reader can decide for himself: whether the boastful magpie brought a warm wind or just a thaw (“Warm Bread”), whether the swallows brought rain at the request of the tree frog, or it came on its own (“Wing Tree”), whether the magic ring helped the sick grandfather or he felt better from the warm spring sun (“Steel Ring”). And everyone understands as they wish. Quiz "WHAT IS IT? WHO IT?" What it is: “The old wheel creaked, icicles rained down from it and slowly turned. The millstones gnashed, then the wheel turned faster and suddenly the whole / it / began to shake, started shaking and went to knock, creak ”(The mill from the fairy tale“ Warm Bread ”). Who is it: he was caught in the garden and put in a matchbox. He "got angry, knocked, demanded to be released." But they didn’t let him out, but slipped blades of grass into the box: so that he wouldn’t die of hunger. (Rhinoceros beetle from the fairy tale "The Adventures of the Rhinoceros Beetle"). Who is it: / He / “sleep on the hearth, swollen like a ball. All winter / he / lived in Kuzma's hut on his own, 14 as the owner pecked Kasha out of bowls, and tried to snatch bread from his hands ”(Sparrow Sidor from the fairy tale“ Steel Ring ”). Who is it: “I thought / he / thought, sniffed the water, scratched his head and finally decided to jump into the water, gasped and swam and the stupid calves they still raised their heads, set their ears and look: what kind of old stump is floating along the river? » (bear from the fairy tale "Dense Bear"). Who is it: / She / “walked through the fields like a young mistress. She had only to look at the ravine, as a stream immediately began to gurgle and overflow in it. (Spring in the fairy tale "Steel Ring"). What is it: “A sparrow flew up to Cinderella and on the fly threw a small crystal one into her palm” (Crystal bouquet, in the tale “The Disheveled Sparrow”). Who is it: “We can get into the walkers, clean all the mechanics with sandpaper and wipe with a rag. For this, by agreement, we charge five kopecks, or even all six. ("Artel men"). What it is: “Recently, /it/ was considered a weed. He was only good enough for cheap tea. But they soon noticed that the pines in those places where /he/ was destroyed, cannot fight the cold at all and die completely. It turned out that /he/ is a very warm flower, because there is warm air around /it/. /He/ emits heat from himself /He/ not only heats the air, but also the soil.” (Fireweed in the fairy tale "Caring Flower"). Who is it: “Pashka was lying in the snow: he was dying of pain in his head. Oh, you homeless child! said the policeman, took off his mitten, put Pashka in it and hid it in the pocket of his tire -

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"PROFESSIONAL LIBRARY OF THE SCHOOL LIBRARY" APPENDIX TO THE MAGAZINE "SCHOOL LIBRARY" Series 1 Issue 3 G.M. Palguev READING...»

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SCHOOL LIBRARY PROFESSIONAL LIBRARY

APPENDIX TO THE MAGAZINE "SCHOOL LIBRARY"

G.M. Palgueva

READING GIVING

Pre-reading lessons:

on the ladder at bookshelves

Russian School Library Association

Palgueva, G.M.

Reading donation. Lessons of "pre-reading": on the stairs near the bookshelves / G.M. Palguev. – M.: Russian School Library Association, 2011. – 224 p. - (Professional library of the school librarian. Ser. 1. Issue 3). - Supplement to the magazine "School Library". – ISBN Dear friends and colleagues! We bring to your attention the book of Galina Mikhailovna Palgueva "Reading the gift". These are original scenarios of lessons of "meetings" of a librarian with his readers at the "book ladder". The author calls such classes the term "pre-reading".

“My idea is that you need to try again to see the “whole elephant”. It seems to me that teachers who teach children the technique of reading, using excerpts from works of art, show only "part of the elephant." And librarians, who mostly do reading quizzes (hence working for “afterreading”), are also focused on the “elephant piece”. Is it possible to combine this: both touch on the reading technique and see the book as a whole. I developed several "meetings" for grades 3-4 - 11 "meetings" so far, in which I tried to focus on "prereading", to combine school and library methods of working with a book. The content range of “meetings” is from classical to modern works,” writes the author, chief librarian of the Moscow Central Library Service of the Kanavinsky District of Nizhny Novgorod.

"Meetings" have been tested by practice and received excellent reviews from both children and teachers. Enjoy your reading, dear colleagues, and the successful implementation of the "meetings" offered to you today!

Us. 1 region: Readers of secondary school No. 11, Sarov, Nizhny Novgorod region.

Part I. Ladder for my colleagues

Step 3. On what basis did you select the literature?.................15 Step 4. In what ways was the task accomplished?

Step 6. Summary

Part II. Reading donation

Hi all!

I read - I grow

Encounter I. Fairy tale - a firefly at bedtime in the cradle

Meeting II. Chur I - Baba Yaga!

Meeting III. Looking for treasure

Meeting IV. About old times

Meeting V. Translated from a dog

Meeting VI. What is happiness?

Meeting VIII. What is a character?

Meeting IX. Captains. Knights. Sails and Wings

Meeting X. "Halle ap - look into the box!"

Meeting XI. Who's in the bag?

What happened as a result?

Part III. Give yourself the talent of a reader

Discussion as a way of reflection of readers aged 12–14 ..........173 Discussion as a form of reader activity

If I'm only for myself - why me? Guidelines for working with the book of Natalia Solomko. 6-9 grades.

How much does it take to be loved? Guidelines for working with the book G. Demykina. 8th-9th grades.

– – –

Sinitsyna Alevtina Gennadievna, class teacher of the 4th "b" class, secondary school No. 73, Nizhny Novgorod In 2010/2011 academic year I, the class teacher of the 4th "b" class of the MOU secondary school No. 73, often brought my fourth-graders to the children's library named after. A.M. Peshkov. Both the children and I liked the comfortable atmosphere, which was conducive to work and creative recreation for the children.

We are grateful to all library staff for informative library lessons, quizzes, and intellectual games.

I would especially like to say thanks to Galina Mikhailovna Palgueva. Over the course of several months, she hosted memorable library meetings, which she called "Reading for the Gift." These meetings are unusual both in structure and content.

The "hero" of each meeting was one book. But the conversation about her was comprehensive. Galina Mikhailovna, together with the children, examined the external design and structure of the book: cover, title page, content, illustrations, book ciphers and bibliographic description. With the help of new game techniques each time, she suggested that the children find a book in the fund, arrange a bookshelf.

Then they delved into the content of the book. First they looked for unfamiliar words and explained their meaning with the help of dictionaries and reference books. Along the way, it was explained what metaphors, associations, definitions, literary genres are. The illustrations of different artists were compared. Then it was about the heroes of the books: their characters, thoughts, emotions. From the heroes of the books, the conversation turned to the life experience of the students.

At each lesson, Galina Mikhailovna gave the children the opportunity to speak about the book they read or an excerpt from the work they were getting to know. At the same time, she encouraged free independent assessments of the children.

The presentations that were prepared for each class helped to keep my students thinking.

Most importantly, the children listened very attentively and with sympathy to Galina Mikhailovna's expressive reading of poems and excerpts from her works. At each meeting, the children received positive emotions, they had a desire to take a book from the library and read it on their own. They discussed for a long time everything they had heard in Galina Mikhailovna's classes. It was noticeable that new words, heard in the library, appeared in their conversations. They hurried to each new meeting with pleasure.

In the readers' diaries that the children kept during the year, many reviews were written about the books read aloud to them by Galina Mikhailovna.

I think that this form of work literary reading important and acceptable to both the library and the school.

– – –

How is the relationship between a child and an adult, a librarian and a reader built in the process of reading? The options are innumerable.

The most effective, in my opinion, is the one that can be represented in the form of a diagram:

The librarian leads They go together The reader goes on their own It is on this principle that the materials offered to colleagues are built.

The first part includes reflections on the intermediary role of the librarian between the child and reading, as well as the rationale for a synergistic model of working with works of art, which I called “Reading Giving”.

In the second part - practical examples of joint actions of a librarian and a younger reader: reading aloud, explanations and discussions, linguistic and bibliographic games, dialogues with the text.

The third part is work with teenagers, based largely on independent reading and reading comprehension, as well as the ability to synthesize and express one's own opinion during the discussion of the book.

PART I. LADDER FOR MY COLLEAGUES

Dear Colleagues!

I appeal primarily to those who work directly with children: at the subscription, in the reading room, conduct individual conversations and public events. I appeal to those who believe that the children's library is not only a center of information, but more of a territory for creative reading. I appeal to those who are taking real steps to mediate between the child and reading.

“Korney Ivanovich dreamed of building a staircase that would lead a growing person to “Eugene Onegin”. What and in what order should a growing person read, from which to which step should he move (on his own and with the help of adults), so that, say, by the age of fourteen, fifteen, sixteen, the Onegin stanza does not complicate, does not scare, but captivates him? What and in what form and in what sequence should be given to a growing person in childhood in order to protect him from vulgarity, which always, at all times, inevitably and indestructibly rushes from all cracks? What to give so that a growing person freely and joyfully climbs the ladder of literary culture, without which there is no spiritual culture? This staircase has no end, but what should be the beginning and what is the sequence of steps?”1 This image of K.I. Chukovsky can be regarded as a guideline in the formation of the emotional personal responsiveness of children and adolescents to works of art.

The author of creative reading technology V.A. Borodina argues: the reader Chukovskaya L.K. Childhood memories. My father is Korney Chukovsky / L.K. Chukovskaya // Bibliogide: The essence of the matter.

personality orientation expressed in need, motive, interest, attitude. At the same time, a change in the system of conscious reading attitudes occurs in the reading activity itself2.

The creation and functioning of conscious attitudes is unlikely to be successful without the personal responsiveness of the one who undertook the difficult and often thankless task of accompanying a growing person up the ladder of literary culture.

Librarians, and if desired, parents, have ample opportunity to help in shaping the reading orientation of children. But in the presence of a variety of types and genres of literature, as well as technologies and methods of reading, they need guidance in choosing the appropriate options.

The most effective approach seems to be what psychologists call the “I concept”. In turn, S.L. Waldgard, who created the concept of “I am a reader”, aims at developing in everyone the ability to “emotionally respond, understand, agree, argue, strain attention, participate and empathize”3.

I construct it, relying on the one that my teachers at school, at the institute, friends and colleagues - children's librarians built in my time. This program, based on my understanding of the thesis “I am a reader”, is an example of the practical implementation of Waldgard's concept.

Structurally, the program is a cycle of meetings united by the idea of K.I. Chukovsky. In my opinion, the "ladder" is akin to the "golden shelf", which everyone has their own. Climbing steps along it, in another way - Borodina V.A., Borodin S.M. Technologies of reader development.

Summer Reading School / V.A. Borodina, S.M. Borodin // School Library. - 2010. - No. 3-4. – S. 105.

There. - S. 106.

the stages of compiling the “golden shelf” can be similar or different, just as the predisposition and level of reading development can be similar and different.

Each “Meeting”, like a step, helps to “reach out”

to the next bookshelf with different books: funny, smart, sincere, strict.

Librarians of practice have the opportunity to build their ladder, taking organizational, content, methodical forms that formed the structure of each meeting.

First, a few explanations about the “steps” that I went through while preparing the program and which may be useful to colleagues.

Step 1. Why did I do this?

During my professional life, I have gone from an ordinary employee of the service department, a methodologist to the deputy director of the regional children's library. Along the way, I had the opportunity to host events, write scripts, and give recommendations on how best to do both.

I think that the time has finally come to translate everything thought out and worked out into a practical product.

In the proposed "Meetings" one can find observations, reflections and answers to questions caused by these reflections. They can be represented as follows.

1. When talking about reading, librarians usually mean the post-phase of working with a work. For this, quizzes and games with questions that require only the mechanical reproduction of plot details are most often used. How many legs does an octopus have? What is the name of the heroine in Ilyina's story "The Fourth Height"?

Sometimes quizzes and games are held on books, not only not read, but also on those that most of those present at the event simply have not heard of. Art Word, as a rule, does not take up much space in library events.

2. At school, even the best of teachers use literary texts as an aid in the technique of "analysis of the work" that they are "going through". Sometimes grammar, expressive means of the language: metaphor, epithet, comparison, etc. are studied using excerpts from works of art as an example. Reading as a concept “I am a reader”, as a free immersion in the emotional sphere of a book, most often remains outside the school lesson.

3. In both cases, a vision arises of the same elephant, whose legs, ears, and trunk are studied separately, but the whole elephant is never seen4.

I think that a good book deserves to be considered as something integral: the subject and object of human thoughts and emotions, the art of the Word and the Image, the product of printing, the object of bibliographic description and search.

I think that a child deserves that READING ORIGINALLY be an adventure, a discovery, a game for him. “The child feels himself the creator of his play world: its conditional realities, its heroes, its rules and laws.

The child's play experience makes it easier for him to enter the space of art, because the child already knows what "conventionality" is, knows some tricks and methods of artistic transformation of reality"5.

But adventures and discoveries do not come by themselves, sometimes it is worth suggesting the direction in which they can be found. Sometimes you need a kind of stalker into the world of Words, Books, Reading.

An adult reading can become such a guide. In the current situation of the reading crisis, a parent, teacher, librarian, according to N.K. Safonova, simply obliged

Palgueva G.M. Information center or creative area

th reading? ABOUT eternal values and new realities / G.M. Palgueva // Library business. - 2010. - No. 16. - P. 8–12.

Safonova N.K. Games in the children's library: Theory, methodology, library practice / N.K. Safonov. - Chelyabinsk: ChGAKI, 2006. - P. 1.

"Win the reader" by playing book and library games with him.

True, there is a danger of “playing” and “losing” if the game is an end in itself. Valentina Aleksandrovna Borodina insists that reading is an emotional, intellectual and objectively active game. It is based on the actualization of the reader's experience and culture, on work with the Word6.

I think that the Artistic Word deserves to be treated as a way to excite thoughts and feelings. The Word does not always reveal its secrets to everyone. Penetration into them is possible through creative game tasks related to word creation and verbal image creation.

All this taken together and prompted me to take up the work, the fruits of which I present to your attention.

I would like the "Meetings" to serve as a starting point for your own creative methods, to bring pleasure to you and your readers.

The most important. I had the opportunity of synergy between library and school methods of literary reading. I tried to find new accents to develop the need, motivation, interest, reading attitude. I hope meetings like this help you move from UNREADING to READING.

Step 2. How did I do it?

In the proposed "Meetings" I tried to go the natural way. Let's remember how we choose an unfamiliar book in a store, in a library. We will turn it in our hands, look at the pictures on the cover and inside. Let's read the annotations. Find out if there is information about the author, artist.

Let's stick to some page, look at the end: we have the right according to Pennak! We perceive the book first externally, visually. Having received at this level some

Borodina V.A., Borodin S.M. Game in acme reading. For Business, Leisure,

Souls / V.A. Borodin // Librarianship. - 2011. - No. 5. - P. 2–9.

signal, sometimes unconscious, we decide whether to read it.

Of course, we are not talking about books chosen purposefully: this particular author, this particular topic. We make this choice most often on the recommendations of friends and acquaintances. But in this case, we first see the book, and if it is outwardly unpresentable, this may devalue friendly advice. For a long time I could not force myself to read V. Pietsukh's book "Me and Others" because of the "ugly" cover, although it was recommended to me by people whom I trusted. Only much later Pietsukh became my favorite writer.

How do we read? Sometimes - in one breath. But I remember that at school I was taught to read thoughtfully. STOP HANGING and think about what you read, try to understand what you don't understand. My son and I chose and read books this way, and I myself still read this way.

It turns out that our personal “relationship” with books is both diverse and synergistic. When we act as a teacher or a librarian, we begin to dissect the book. On library lessons we talk about its structure, at school - about positive and negative characters. In life, as I have already noted, we ignore something, we unconsciously combine something.

I assumed the possibility of COMBINATORY in use different methods. Of the existing set of approaches to solving the problem of developmental reading, none of the methods can be said with absolute certainty that this is the only effective way.

Therefore, I adopted everything that in one way or another contributes to the disclosure of the book as an integrated phenomenon: reading aloud with stops and comments (according to O.K. Gromova), creative reading (according to V.A. Borodina), a journey deep into lines (according to I.I. Tikhomirova).

In addition, each meeting uses methods for introducing library and bibliographic literacy.

In each encounter of the child with the Book that I propose, different elements of these methods are used, reinforced by their own reflections and techniques.

We often say that the reader should be interested. How? Daniel Pennack provided a great tip in his essay “Like a Novel”: READING SHOULD BE GIVED. Korney Chukovsky spoke about the same.

But do not bestow from above, but give as an equal - to an equal, give what is interesting to you, brings pleasure, what is dear to you. Therefore, I offered to read with the children the works that caused a storm of emotions and reflections in myself. This does not mean that I impose my tastes and preferences on others or that my reading ladder is the best. I'm just SHOWING what pleasure I myself managed to derive precisely from these works, i.e. I show my gift and give my reading without asking for anything in return.

Reflecting on what is the main thing in my program, I settled on the phrase “reading giving”.

This is mostly discontinuous reading - with stops, explanations and discussion, as well as games, riddles, bibliographic searches, creative tasks. “Reading Giving” is seen by me as an invitation to reader activity.

During the meetings, I encountered disagreement on the question of when to read the work in full: before or after explanations of unfamiliar words and concepts. I suppose both are possible. Books also need an individual approach: one can be interrupted, the other is not worth it, so as not to destroy the holistic impression. It is probably better to read poetry first, then “work” with them, then read it again.

At the same time, it should be taken into account that the abundance of unfamiliar words in the text causes inhibition of perception, rejection and even distortion of what is read. Natalya Grigoryevna Malakhova, head of the psychological support department of the Russian Children's Children's Library, told how young readers were asked to draw broken trough who left a greedy old woman. Children drew something similar to coffins7. And what can you draw if you have not seen this trough with your eyes? The question is, what will be the impression of Pushkin if there are coffins in the eyes (imagination)?

Perhaps stopping reading and explaining unfamiliar words and situations that have no analogues in the life experience of modern children, on the contrary, will work on the impression that the work is intended for. Therefore, I reread the poems or the story after explanations and reasoning.

And I came to the conclusion that the impression remains quite deep and holistic.

Discussion during a reading stop for today's schoolchildren with their clip perception is also more good than harm. After reading the work to the end, they forget what they read at the beginning, they cannot answer the question. And so, in the course of reading and discussion, they will think about something.

I think there are different paths to creative reading.

My path is to focus on the PRE READING phase, on the fact that, according to V.A. Borodina, it is delicate to draw attention to the book.

Work in the pre-reading phase enables the child to feel that he is not being examined, that he is free to choose, that he has the right NOT to READ, but he clearly sees that READING is not harmful, but on the contrary, it is interesting.

In itself, the variety of methods for presenting a book and working with text shows that when reading, you can seriously think, have fun playing, learn something new, and remember the familiar.

Step 3. On what basis did you select literature?

According to personal preferences and childhood memories.

To the supporters of the view that the librarian's professional activity is guided by professional principles and not by personal views, I can answer that free expression of opinion is required for conversations and discussions of works of art. In this case, the librarian can and does act as a leader in reading, setting an example in reading and discussing the book on an equal footing, for which he just needs to have his own opinion based on personal preferences. This is the professional principle of the children's librarian.

Of course, I do not claim that the entire list of similar wounds is impeccable. In addition to a few of the most modern, it includes works that have stood the test of time. Anyone who is interested in this way of talking to children about reading can use their own “golden shelf” for this.

To some, perhaps, the selected books will seem widely known. Sadly, I can state that they are practically unfamiliar to modern schoolchildren and, perhaps, will be rediscovered for them. Perhaps they "passed" the works at school ... as usual - by. But repetition is the mother of learning. Looking at something familiar from a different angle never hurts.

Of course, many more books are read in childhood.

In addition, the list does not include works foreign authors. They will appear in the next cycles.

For "Meetings" the main principle of selection of literature was that the work should show to the greatest extent any moment of choice, internal moral movement, moment of overcoming oneself or unfavorable internal and external circumstances.

Palgueva G.M. “I would be glad to serve, sickening to serve”: O inside

early freedom, equality of relations and professional duty / G.M. Palgueva // Library business. - 2010. - No. 20. - P. 4–8.

Step 4. In what ways was the task accomplished?

Since the task was to combine school and extracurricular methods of working with literature, the meetings are arranged chronologically in accordance with the school curriculum: from folklore to the present day. From the school curriculum on literary reading, moments of explanation of the artistic means of the language are taken: comparisons, metaphors, images, genres, etc.

In accordance with library technologies, at each meeting there is not only a book exhibition, but also an active work, the elements of library and bibliographic knowledge are voiced and consolidated.

The main symbol of each meeting is an ordinary stepladder. It is used both independently and as an element of the exhibition. On it are books or subject accessories.

In most meetings, an eye stopper (eystoper) is used, a catchy look. This is some kind of detail, object, drawing, which sometimes sharply dissonate with the theme of the meeting and the design of the exhibition. But this is exactly what eye-stoppers attract attention. They encoded the main idea of the meeting.

Not all librarians and parents can and therefore not all dare to read aloud. Much depends on what the reader himself experiences aloud. If he is not indifferent, his feelings and emotions will sound when reading and will be heard. However, you should pay attention to the fact that there are many techniques for working with text to prepare it for reading aloud. Most of all, you need to learn how to make pauses, highlight the main semantic, stressed word with your voice, enliven the text with the help of lowering and raising intonations.

In the first two entries of the cycle, the necessary graphic hints of the technique of working with text are given. Pause signs: one on "oblique" (/) means a short pause, two "oblique" (//) - a long pause. The semantic and stressed word is underlined. This // intonationally semantic / preparation of the text // can be done by everyone // "for themselves".// Eight meetings of the cycle is a presentation of one book and one author. Three meetings devoted to classical literature, literature for children about the Great Patriotic War and modern children's literature are different forms of reviews: a detective review, a classic review and a “bag of surprises” review.

The meetings do not provide exhaustive knowledge of bibliography, literary criticism, or the Russian language. Information of this kind is voiced in the course of a conversation in minimal quantities - only to show their "presence" in each book, to prove the practical necessity, methods and ability to "see" them.

In connection with the presence of diversified deviations from the text, I would especially like to draw attention to the need to observe the tempo of the rhythm of each meeting. In those moments where any actions are planned, the physical movements of children, the performance of written exercises, you should not insist on the punctuality of their implementation and the achievement end results so as not to distract from the main thing. The main thing is to SHOW HOW the text is read with stops, but the stops cannot be long. More than once I myself had to deviate from homework and shorten explanations, depending on the reaction of the children.

“It is very important not to fall into the division of a literary text, not to deviate into everyday or natural scientific interpretations. Otherwise, it may turn out as in the story of V. Dragunsky, where a geography teacher teaches Deniska Korablev to understand Pushkin: “The sky is transparent” Pushkin told us that the amount of precipitation in this area is very insignificant”9.

Malakhova N.G. About a shower jacket, kitsch and ... a broken trough /

N.G. Malakhov // Library business. - 2010. - No. 2. - P. 40–44.

Step 5. What are the advantages of the "meeting" form?

The child is not required to read the works beforehand, he gets acquainted with them during the meetings.

Reading aloud shows beauty, musicality, imagery, expressiveness literary word. In some cases, audio recordings of works are used.

All those present become participants in the action:

games, reflections, discussions, bibliographic search, creative response.

The tasks proposed during the meeting can be carried out according to the principle of case technology, i.e. using various auxiliary materials. In the course of work, participants can independently and freely unite in any mini-groups: pairs, triplets, etc.

Prolonged (homework) tasks are not obligatory, but stimulate the opportunity to express yourself after the meeting.

Discussion during acquaintance with the text contributes to the activation of emotional perception, stimulation of speech activity, the development of analytical thinking, observation, the birth of fantasy.

Step 6. Summary good books, but to use your instructions as you wish and choose from them, according to your own understanding, the most interesting for them - the young reader himself will be able to do this ”(N.A. Rubakin).

– – –

Do you love gifts? Present? Or receive? Sometimes giving is even better than receiving. What gifts do you like best? As a child, I liked those that you can play with, disassemble into its component parts and see "what's inside."

I really liked the gift of books. You can do the same thing with them: play around, take it apart and see what's inside. Only to “take it apart” means to read the book in such a way as to understand and feel everything that its author wanted to talk to me about. Seeing "what's inside" means being able to communicate with literary characters or imagine yourself in their place.

When do you like to receive gifts the most: New Year's Eve? For a birthday? What if for no reason?

Just?!

Just like that, not counting the grains.

Just so that the soul laughs, So that joy, a capricious bird, Surprised - how good life is.

Once I wanted to please myself by giving joy to everyone. And my gift is not just a book, but READING. That's right - all capital letters. Because READING is JOY.

Perhaps someone will disagree with me, because different people are happy with different gifts. Well, no big deal. You can talk about it, express your opinion and your own point of view.

But first, take a look at my gifts.

Yes, more! To present a gift, I invited you to the children's library. Because there are many books here that can give you real joy to read.

And I will also be glad if you have a desire, when you return home, to read to the end the book that you and I began to read in the library. Read on your own or with all your family: parents, brothers and sisters. Or talk about it with friends.

Even if you do not have such a desire - it's okay. The book will wait in the wings, and someday you will still remember and read it. Believe me - it happens.

I read - I grow Does anyone remember that if you fly in a dream - it means you are growing? I remember my parents made notches on the door - marks how many centimeters I grew in a year.

I did the same when my son was little. But not only the body grows in a person, but also the soul, and the heart, and the mind.

This happens when a person thinks, performs an “adult” act, sometimes makes a difficult choice. A person grows when he admires something, pities someone, overcomes himself in something. There is an expression: a man with a big heart. This means that a person’s heart responds to the joy and sorrow of another person, is ready to understand, help, accept him as he is.

This is the spiritual, moral growth of a person. It doesn't come out right away. But as? And when? Reading often helps to understand these questions. Not any, but only when the book resonates in the soul and heart.

The remarkable children's poet Korney Ivanovich Chukovsky dreamed of erecting a staircase that would lead a growing person to "Eugene Onegin", i.e. to the best book, the most best literature. What does it mean?

Many books are read aloud to you by adults when you are very young. You yourself read many books at five, at seven, you will read at ten, fifteen. Years will pass, you will remember what you once read.

And remember just a few books. Only those that have sunk into the soul. These five, six, ten, twenty, thirty or fifty most beloved books are the ladder that the writer Chukovsky dreamed of. You will read them and you will understand something very important about yourself, about your friends, about all people.

The best thing that can be remembered about these books is that they were read freely and joyfully and imperceptibly for you helped to climb the ladder of literary culture, without which there is no spiritual culture.

This staircase has no end, and everyone has their own. At first, it is better if it is a slightly familiar ladder, reminiscent of a ladder of friends, because it is always more fun to walk with friends.

Therefore, remembering my book ladder, which I enjoyed climbing between the ages of five and twelve, I want to give you this joyful reading. I remember that in my childhood I read somewhere, or heard from someone, the rule that you should read slowly, stop and think about what you read. I honestly tried to do it, but I didn’t know: how to think and about what? It turns out that this can be done in a fun and interesting way. Shall we try?

I offer you some unusual encounters with interesting books.

This stepladder will be the symbol of our meetings. In libraries with lots of tall bookcases, ladders are used to get books from the top shelves. The higher the shelf, the more serious and interesting, the more “adult” the books are on it. In order to reach them, you have to stand first on one, then on the second, then on the next step of the ladder. The heroes of our meetings will be different books but I hope they are all interesting. And such a ladder will be with us every our meeting.

Now at the very first step - a fairy tale. Start with her.

– – –

Exhibition Name. "A fairy tale is a firefly at bedtime in the cradle."

Target. Immersion in the atmosphere of a fairy tale, a reminder of the origin, purpose, genre diversity, the meaning of a fairy tale in literature and in human life.

Form. Installation: a "nursery" corner for a child whose parents are already reading books. There should be a feeling that the child will soon appear here and they will read to him before going to bed. And they didn’t have time to put away toys and books.

Decor. The name of the exhibition is placed on the wall above the cradle, or on the side wall of the cradle. Dolls, bunnies, bears and other toys are located on the children's table, chair, ladder, stepladder, along which the child himself climbs into the crib. They can "hold" point "flyers" with quotes, pop-up books in the paws of foxes. Fairy tales of different genres and books about fairy tales are located in the cradle itself, on the table and on the ladder. Toys: rattles, dolls, Stuffed Toys, a large ball, create the illusion of the presence of a child.

Hey stopper. Baby crib cradle (or stroller).

Exhibition work. Find among the books about fairy tales a collection of poems by Ivan Surikov.

BBZ The concept of a book cover, its design, imprint. Find the desired work by "Content".

Dialogues with text The concept of narrative, intonation. Lyric hero. Mental representation of pictures of what was read, search for words that characterize the actions, feelings of the characters, describing the situation of the plot. Discuss questions as you read the text.

Musical accompaniment by P.I. Tchaikovsky "The Seasons", A. Vivaldi "Winter", Russian folk song"In a low light."

Electronic accompaniment Footage of a winter village, rolling down a hill, a peasant's hut, a wonderful garden, the fire of a bird.

Literature Magic fairy tales Magic country of fairy tales: Visiting a fairy tale. - Rostov n / a: Vladis, 2008. - 272 p.: ill.

The best fairy tales: Tales from around the world. - Rostov n / D: Vladis, 2007. - 272 p.: ill.

Wonderful Russian fairy tales / comp. I.I. Komarov. - M.: RIPOL classic, 2007. - 512 p.

Tales about animals Russian fairy tales about animals: magical Russian fairy tales about animals. - Rostov n / a: Vladis, 2007. - 208 p.: ill.

Household fairy tales Hen Ryaba: Russian folk tale/ ed. M. Pogarsky; hu doge. I. Solovyov. - M .: Baby. - 1995. - 7 p.: ill.

ed. text, foreword and note. V.P. Anikina; rice. L. Nepomniachtchi. - M.: Det. lit., 1987. - 239 p. - (School library).

Ulupov M.B. Ivanovo kingdom: tales and tales / M.B. Ulupov; hu doge. N. Logvanova. - Nizhny Novgorod: Publisher Minakov, 2004. - 160 p.: ill.

Schwartz E.L. The Tale of Lost Time / ill. O. Nezvetskaya. - M.: Eksmo, 2005. - 400 p.: ill. - (World children's classic).

*** Hello, friends! Perhaps you were surprised that I invited you here, to this corner of the library, where you see a real baby's cradle. She stands against the wall for a reason. Let's take a closer look at this composition. What do we see?

There is a title on the wall, inside the cradle, next to it on the children's table and high chair there are toys and books - fairy tales about animals, magical and everyday. Here you can also see books about fairy tales.

And also the necessary explanations, saying modern language, - flyers:

A fairy tale was born with a man - a man lives, a fairy tale will live.

A fairy tale is a joy: for the little one who listens, and for the old one who speaks.

As a librarian, I can tell you that all this is a book exhibition, and it is called "I listen to a fairy tale, my heart is dying." But tell me, please, why I arranged all these books in such a strange way, what does the cradle have to do with it?

(Answers.) In this case, the cradle is an eye stopper. It's such an English word. You probably know him, or will soon. This is what draws attention. I saw that you immediately drew attention to the cradle, but for some reason you were embarrassed to come up and look at everything. Do it right now.

You can pick up any book, flip through and remember that fairy tales are a kind of folklore, folk tale. They come from myth, there are folk and literary tales, as well as magical, everyday, heroic ones. You can see all these fairy tales at the exhibition.

The fact is that, just as one person begins his life from the cradle, so in a fairy tale, as in the cradle, humanity reflected and predicted its development. Imagine that there were times when in our lives there were not only computers, iPhones, TVs, but even paper books and writing itself.

And in fairy tales there was already a lot:

an airplane carpet is a future airliner and a spaceship, boots are fast walkers - future cars, trains, ships. Remember: in the fairy tale "The Scarlet Flower" - the inscriptions on the wall that appear on their own, the voice that sounds from nowhere - these are modern digital technologies.

If we remember our early childhood and my first book, for sure it will be a fairy tale! From a fairy tale, as from a cradle, literature begins. In a great variety of literary works the spiritual life of all mankind is imprinted. And in a separate work you can see everything that develops in the soul of an individual person. How does this happen? Differently.

For example, as in the poem by Ivan Surikov.

Has anyone seen a book by this author at the exhibition? Let me take her in my arms.

It is worth taking a close look at its cover, because the cover is the clothes of the book. And you know the proverb: they meet according to their clothes, they see them off according to their mind. The cover is the first thing our eyes see when we look at a book. This is a paper illustrated or text cover of the edition. A publication in a printing house is any book that is printed or published there. What is the cover for? It protects the pages from being destroyed and soiled. It also contains a number of output information and serves as an element of external design.

We will talk about the output information a little later, but now let's look at the design. What do you think we can learn about a book by looking at the cover?

The cover of the edition I am holding reads:

Ivan Surikov. Poems. This is the most important and most necessary thing that it is important for us to know first of all: the name and surname of the author. By this we immediately distinguish one typographical publication from another. There are other differences, but more on that another time.

Surikov I.Z. Poems / comp. and enter. article by Yu. Belyaev. - M: Sovremennik, 1982. - 199 p., ill.

Now it is clear that in the book that I am holding in my hands, we will find poems by the wonderful Russian poet Yves na Zakharovich Surikov. Can anyone tell me how to find big book one little poem You can, of course, flip through each page, or you can do everything much faster: look at the page, sometimes at the end, sometimes at the beginning of the book, which says: Contents.

In this case, we need to find the poem "Childhood".

Which one of you will do it quickly?

As a child, I loved this poem very much, because everything in it is about me. Today I want to give you a reading of this poem.

It is called symbolically - "CHILDHOOD". Who among you was born in the village, who rested with his grandmother - he will understand me. And whoever has never been there, let him make a small virtual journey with us and the poet Ivan Surikov.

So, the poem begins with the line: Here is my village. A very simple start. The author seems to have spread his hand and shows something. Where does it show? Here is where? (From the answer.) I can also show: here, in the painting by N. Smirnov “Remembrance” is a village. It is very similar to my village. Therefore, it seems to me that Ivan Surikov is talking not just about some village, some guys, but about me!

But most likely he spoke about himself, about his childhood.

The poet himself main character poems. You probably remember from literature lessons, and if you don’t remember, I’ll tell you that in this case it is called a lyrical hero.

Consequently, the poet, who is also a lyrical hero, shows us the village that he keeps in his memory. And now we can close our eyes, hide and imagine ourselves as this lyrical hero. And remember ... even what was not with us, but with that very lyrical hero.

Our memory, like a computer, can simultaneously see, voice something and show different pictures. She shows. Close your eyes. Listen to your memory, imagine and see!

First, a wide panorama: Here // is my village. Then the panorama decreases, but everything is seen in a fairly close-up: here is my home, and then a smaller one - here I am. And immediately I want to imagine: what is he himself, the author in childhood? Does he look like me or not? Let's try to mentally see this country boy.

I think we didn't do very well because we don't know much about the hero we're talking about yet. But here artists and new technologies can help us.

Let's look at the slides and continue reading.

I just want to say that, unlike a computer, memory still retains our feelings, sounds, smells, moods, so we hear different intonations in poetic lines.

At first, the verses are read slowly, remembering:

Here // is my village; // Here / is my home / native; // Here I am rolling in a sled / On a steep mountain;

You yourself have ridden down the hill many times and you know what a mess and what mood it can be.

– – –

The action is accelerating. In what words did Surikov convey this acceleration? (I roll, curl up, head over heels.) And from what words you read can you understand that the hero could only roll head over heels? (The mountain is steep.) By the way, how is it - cube rem?

– – –

That's so wow! What kind of friends are they if they laugh.

And how does the lyrical hero feel? What are the relations between them? Do you think the hero of the poem was offended by his friends? (We are discussing.) But meanwhile // the village of the Sun has long been; // A blizzard has risen, // It's dark in the sky.

Probably, they are still good friends, because they are a little fun and they all rolled on the hill together to the very dark note.

You / will be cold all over, / You won’t / bend your arms / / And / go home / quietly, / Reluctantly // wander.

Why reluctantly? I wonder what a person feels at such moments? Have you ever experienced this? How would you call this state?.. (We are discussing it.) I called it joyful fatigue... But finally, at home!

Throw off your shabby fur coat / off your shoulders / off; // Climb onto the stove // To your grandmother / gray-haired.

(Here, perhaps, some words should be explained for modern children.) Dilapidated - how is it? (Old, worn out, with patches.) And what is an oven? (A building made of bricks with a pipe. Firewood is piled into the space inside and set on fire, they burn, heat the bricks, and the air in the hut heats up from them, it becomes warm.) There is such a bench on the stove. It is warm and cozy… It is so good to warm up on it, having come running from the cold after skiing down the hill.

(Answers.) Consider that in those days there was neither a TV nor a computer. You can imagine, there was not even electric lighting. Or maybe the music will tell us? Or a song? (The beginning of the Russian folk song “A light burns in a low room ...” is turned on. Against the background of a fading song, a poem is read.) And you sit, / not a word ... // Quiet // everything / all around; // Only // you hear / - the Blizzard howls outside the window. // In the corner, // bent over, grandfather weaves bast shoes;

Mother // at the spinning wheel // Silently / flax is spinning. // The hut is illuminated by the Light of the Light; // Winter evening / lasts, Lasts // endlessly... // Here, probably, explanations are also needed. Do you know the words: bast shoes, spinning wheel, svetets, flax? There are dictionaries on the table in front of you, find the meanings of these words in them and write them down in a notebook ... Why do you think the author needed such a long description of the picture of a winter evening in a peasant hut?

(We are discussing.) I think in order to create a mood of mystery, because further ... and then sitting on the stove is just so boring ...

– – –

You and I can use our technical capabilities and imagine how a grandmother tells her fairy tale.

(We turn on the audio or video recording of the fairy tale about Ivan Tsarevich, after a minute the sound decreases.) I listen to the fairy tale - // The heart // is dying; // And in the pipe // angrily // The wind / angry / sings.

How does this heart die? How does the boy feel about it?

And you? Was it like that with you?

I'll stick with the old lady. // Quietly // speech / murmurs, And my eyes // hard // Sweet dream // closes. // Oh, really, how you walk up, you get cold - it's so great to fall asleep in the warmth! Have you ever had a sweet dream? What is it, according to you?

And in a dream // I dream of Wonderful lands. // And Ivan Tsarevich - / It's like // me.

The boy has a good imagination. For sure, he is very mobile, mischievous and, probably, brave. After all, Ivan Tsarevich faces many trials. Let's think about what words of definitions reflected the heard fairy tale in the boy's sweet dream?

Here // in front of me // A wonderful garden blooms; // In that garden // a big tree is growing. // Golden cage Hanging on a bough; // In this cage, // a bird, / Like a fever, / burns. // Jumps in that cage, / Sings merrily; // With a bright, wonderful light, the whole // Garden is bathed.

Can you name a few words that describe the strangeness of the picture that the boy had dreamed of? (Garden - what? Cage - what? Bird - what, Light - what?) Here / I / crept up to it // And for the cage // - grab it!

And I wanted to run away from the garden with a bird. // I remember when I read these poems as a child, I was so worried about him, I was afraid that he would be caught.

– – –

Of course, it's scary ... Or do you think that he was scared? Would you like to have such a friend? But after all, he rescued a friend and still rescued him. But how will our story end in Surikov's poem? (We are discussing.) After all, this poem is a memory of childhood, and it ends with praise for this wonderful time in the life of every person.

Already in the hut, // in the window, / The sun // looks; // In front of the icon // grandmother / Praying, standing. // You flowed merrily, // Children's years! // You // were not darkened // Woe and misfortune.

But grief and trouble, probably, were there? How do you remember your childhood? Do you remember fairy tales from that time? Or some other book?

Let's now read the poem again, this time without interruptions, and mentally imagine everything that Ivan Surikov remembered about. Let's enjoy every word and all this cute and already a little unreal picture...

(The whole poem is read.) You and I read only one poem about how a fairy tale, composed in time immemorial, occupied the imagination of a person in childhood in the nineteenth century far from us.

And how do we, living in the 21st century, relate to a fairy tale, how do we read and perceive it?

This is what we will devote our next meeting to. It will be much more interesting if you read one of the fairy tales from the collection of A.N. Afanasiev "Russian children's fairy tales".

– – –

Form. The installation is the same: a “nursery” corner for a child whose parents are already reading books. In the center: Afanasiev's open book of fairy tales. A place to play Geese Swans.

Decor. The same as in the previous lesson.

Hey stopper. A basket or a basket with which they go mushrooming (or a "fabulous" box). Inside - a ribbon and a handkerchief of several colors, pieces of bread, butter and meat, a scallop, a towel.

Exhibition work. Find among the books a collection of fairy tales by A. Afanasyev, a book about Afanasyev himself.

BBZ Reminder of the book cover and its elements: title, author. Introduction to the bibliographic description.

Dialogues with text Characteristics of heroes, feelings of heroes, motives for their actions. Explanation of unfamiliar words. Discussing questions as you read the text.

Action The old game "Geese Swans". Game representation of pictures in the course of reading the text.

Musical accompaniment by P.I. Tchaikovsky "The Seasons": "Summer".

Electronic accompaniment Frames - loom, children's old games, Baba Yaga.

Literature Tales of Baba Yaga Geese Swans: Sat. Russian nar. fairy tales, songs, riddles and short rock / processed. M. Bulatov; artistic Yu.A. Vasnetsov, K. Kuznetsov.

Det. lit., 1986. - 216 p.: ill.

Golden pages of favorite fairy tales. - M.: ONYX 21st century, 2004. - 320 p.: ill.

On the sea, on the ocean, on the island of Buyan: Rus. fairy tales and fables / comp. L.N. Eliseev. - M.: Malysh, 1983. - 96 p.: ill.

Preusler O. Little water and other tales / O. Preusler;

per. with him. Y. Korinets; artistic M. Moskalenko. - Riga: Association 21, 1992. - 192 p.: ill.

Russian fairy tales for kids / ed. T. Rashina. - Rostov n / a: Prof Press, 2009. - 142 p.: ill. - (Favorite fairy tales for kids).

Tale of Baba Yaga: Russian. fairy tale in processing M. Bulatova / artist. V. Kanevsky. - M.: Soviet Russia, 1989.

- 16 s.:

*** Today I will give you a reading of a fairy tale about Baba Yaga. Look at our exhibition "A Fairy Tale - A Firefly Before Sleeping in the Cradle" and look for a book that may contain a fairy tale about Baba Yaga. (The guys find the book.) Why did you think that it was in this book that we would find what we needed? What testifies to this? Name?

Cover art? Your memory? (Perhaps you remember this book from childhood?) I myself visually remember this book, which I take from our ladder of the exhibition. My old friend is Afanasiev's collection "Russian Children's Tales". Let me introduce you to him.

Any acquaintance always begins with a greeting, or with an introduction. For example: “Hello. I am Sasha from Nizhny Novgorod. The book can also be presented briefly. But each book has its own passport: a bibliographic description. It indicates the author, title, place and year of publication of the book. Here, look ... (Read the highlighted elements of the description.) Afanasiev A.N. Russian children's tales / A.N. Afanasiev;

scientific ed. text, foreword and note. V.P. Anikina; rice.

L. Nepomniachtchi. - M.: Det. lit., 1987. - 239 p. - (School library).

This is how the book presented itself. Look at her carefully, she is already quite shabby. This suggests that it was often picked up and read. A sure sign: for chitana - it means interesting. We take? Reading?

But first I want to say a few words about the author, without whom it would not exist.

Alexander Nikolaevich Afanasiev studied fairy tales for scientific purposes. He compared them, found out when they were created, how they are built, what they talk about, what they are: magical, about animals, household, etc. The scientist published all his conclusions in scientific collections. Soon his friends and acquaintances began to ask him to publish separately the fairy tales themselves for children. Almost one hundred and fifty years ago they were published, and since then the tales from Afanasyev's collection have been published and republished, they are read by children and adults.

In ancient times, fairy tales were told by adults and for adults. In them, as in today's Wikipedia, everyone who retells a fairy tale added something of his own about what he sees around, expressing his opinion and judgment. Therefore, although good wins in fairy tales, evil in them is exactly the same as it occurs in life.

I learned all this much later, when I was in high school, at the institute, and as a child I just loved to read fairy tales, because the brave and kind won in them. And also because it was possible to play fairy tales.

There was a game of hide and seek in our time. In it, it was necessary to run to a certain place before the driver with the call "Keep away from me, stay away from me." When they chose roles in the game, they said “be careful not to be a monk in blue pants” or “be careful not to be Baba Yaga”. By the way, the word "chur" comes from the word "ancestor"

(ancestor), and the invocation means: ancestors, help me.

We will now read together and play one fairy tale from Afanasyev's collection.

To make the game interesting, we need something that we can put the fabulous items we need into. What do you think it could be? Our exhibition can help your memory. Did you notice that there appeared new item? (Basket basket.) Since my friends and I often played this fairy tale in childhood, I took ... an ordinary basket. However, it is not quite ordinary, because they are in it ... but we will learn about this a little later.

Now we will do so. I will read a fairy tale, and you will play it, act it out.

Each of us can play any role, and even several roles, and even several people - the same role. The main thing is to say "mind I'll be ..." who? Then imagine yourself in the place of these heroes, listen to what I read, and do or say instead of the heroes.

The story usually begins with a beginning. The beginning in many fairy tales is repeated: “There once were ...”, “In a certain kingdom, in a certain state ...”, etc.

There lived // a husband and wife, // and they had a // daughter.

Probably, she lived well with her mother and father?

I wonder what kind of girl it was? How old was she?

How did she look? What did she do, what did she do? (We are discussing.) Probably, she ran on the street all day, played with her girlfriends? For example, in "Geese Swans". A very old game. Let's try to play it to imagine how the girl lived with her family.

A GAME. On one side of the site, a line is drawn separating the “goose”, and on the other side, a line beyond which there is a “pasture”. "Shepherd" and "wolf" are chosen from the players using the "counter".

“On the golden porch sat:

king, prince, king, prince, shoemaker, tailor. Who will you be - speak quickly, do not delay the good and honest people". Who will fall on the last word counting rhymes, chooses the role of "shepherd". Once again they say the rhyme and choose the "wolf". The rest are "geese swans".

"Shepherd" is located on the side of the "geese", and "wolf" - in the middle of the site. The "shepherd" says: "Geese geese..." The "geese" answer: "Ga ha ha!" "Shepherd": "Do you want to eat?" "Geese": "Yes, yes, yes!" "Shepherd": "So fly home!" "Geese": "The gray wolf under the mountain." "Shepherd": "Well, fly as you like, just take care of your wings." All the "geese" run from the "pasture" to the "goose house", trying to dodge the "wolf". "Wolf" catches "geese". Whom he catches - he becomes a "wolf", and "wolf" - "shepherd", the shepherd becomes a goose. And the game starts again. So until everyone has been a "wolf" and a "shepherd", or the time agreed in advance does not come out. In this case, 3-5 minutes is enough.

Soon / the wife, / the girl's mother, fell ill // and / died. // The man mourned, mourned, // and he married // another. // The evil woman / the girl did not like, // beat her, / scolded, / only thought, // how to completely lime, to destroy.

It's just hard to imagine what kind of life began for the girl. But here, everything is like in life. Sometimes life is cruel. But if there were no evil, there would be no good. And also this story.

Once / the father left / somewhere, / and the stepmother // and says to the girl: // - Go to my sister, // your aunt //, ask her / for a needle and thread // - to sew a shirt for you. // There seems to be nothing wrong with this request. I just have the feeling that something is about to begin. Any fairy tale is a story about the relationship between people, evil and good. There are already several people in our fairy tale. Father left, we don't count him. Remain (to list) a girl, a stepmother, an aunt. What do you think, which of them will be the villain in the fairy tale? Who has what characters? (We discuss.) A girl? Most likely good. Why? She is still small, did not have time to do any evil, loved her mother and father, was friends with other children, played interestingly.

Stepmother? Most likely evil? In fairy tales, all stepmothers are evil. And in life? Have you met real stepmothers? Maybe it's not true that they are evil?

Aunt, stepmother's sister? So far, nothing is known about her.

And this aunt // was Baba Yaga, / bone leg. // The girl did not dare / refuse, // she went, // yes, before // she went to her own aunt.

Another character. Is this lady evil or good? Since she is dear, then for sure she is kind, in any case, she does not wish evil to the girl.

Hello / auntie! // - Hello, dear! // Why did you come?/ - My stepmother sent me to her sister / to ask for a needle and thread // - wants me / to sew a shirt. // - Well, niece, // why did you come to me before, // - says the aunt. // - Here's a ribbon for you, / butter /, a loaf / and a piece of meat. // This is where our fairy basket comes in handy. Everything that my aunt gave the girl, I already hid in her. And why did she give all this to the girl? (We are discussing.) There will be a birch / in your eyes to quilt // - you // bandage it with a ribbon; // the gates will // creak and clap, // hold you back // - you / pour them / under the heels // oil; // dogs will tear you // - you throw them some bread; // the cat will tear your eyes // - you give him // meat.

// The girl thanked her aunt // and went. // She walked, / walked and came // into the forest. // Stands in the forest // behind a high fence // a hut // on chicken legs, / on ram horns, // and in the hut // sits // Baba Yaga, a bone leg // - canvas / weaves. // This is where the actions we can play already begin. Which of you will be a girl, who will be Baba Yaga? Say only “Chur I will…”, and everyone will receive a copy of the fairy tale. (You can copy.) (The players are determined.) Now let's play out what happens in the fairy tale.

Baba Yaga sits down here, the canvas is weaving. By the way, what is it?

Baba Yaga sits at the camp or loom. This is a structure made of wooden frames, one is located vertically, the other is horizontal or at a certain angle, threads are stretched over them. Baba Yaga has a shuttle in her hands, threads are also wound on it. The shuttle is pulled between the threads on the camp, they are intertwined, compacted with a special device and a canvas is obtained - a fabric, a canvas from which shirts and other clothes are then sewn.

So the girl comes up and says:

Hello // auntie! // - says the girl. // What should the one who plays Baba Yaga answer?

Hello / niece! // - says Baba Yaga. // - What do you want / need?

Do you remember why the stepmother sent the girl to her sister?

Whoever remembers, he can also play the role of a girl.

My stepmother / sent me // to ask you for a needle and thread // - to sew a shirt for me. // Baba Yaga, of course, immediately understood what gift her sister sent her, and says ... (Playing Baba Yaga answers and shows.) - All right, niece, // I'll give you a needle and thread, // and you / / sit down for a while // work!

Here the girl sat / by the window // and began // to weave.

(We show how a girl weaves a canvas.)

And Baba Yaga came out of the hut // and said to her worker:

Need another worker. Who will say "Chur I will be a worker"?

Baba Yaga says… - I / will go to sleep / now, // and you / go, heat the bath // and you are my niece. // Yes, look, // wash it well: / wake up // - eat it! // The worker needs to be shown how she heats the bathhouse. It is necessary to show how to put firewood in the stove and set it on fire so that the boiler with water is heated.

The girl / heard these words // - sits // neither alive nor dead.

// How Baba Yaga left, / she began to ask the worker:

My dear! // You / do not set fire to firewood in the oven, // how much / fill it with water, // but carry water with a sieve! // - and / gave her // a handkerchief. // That's where my gift basket came in handy. You just need to decide which handkerchief is suitable for the worker. He must match her character. Do you think the worker who serves at Baba Yaga looks like Baba Yaga herself? If she does, I would give her a black, gloomy handkerchief. Isn't it similar? What is she? What handkerchief should I give her?

The worker heats the bath (we show), // and Baba Yaga / woke up, // went to the window / (We show) and asks: // - Do you weave, // niece, / do you weave, dear? // - Weaving, / aunt, / weaving, dear!

Baba Yaga / again / went to bed, // and the girl / gave the cat // meat.

Remember what the girl's own aunt said? What should the cat do with it?

Who among us will say: "Chur I'll be a cat"? Well, the cat must be feisty? Or what? Who is going to play the cat, can you describe to me what you think he looks like? What habits does he have, where does he like to sit most of all?

Here the girl gave meat to the cat (we show) and asks:

Brother cat, / teach // how to // run away from here.

The cat / says: // - There / on the table / lies (takes from the table and gives to the girl) a loten and a scallop, / take them / and run as soon as possible: // not that / Ba ba yaga will eat! / Will chase you / Baba Yaga - / you / put your ear // to the ground. // As soon as you hear // that it is near, // throw the comb / - a dense, dense forest will grow. // As long as it will make its way through the forest, // you will run far // away. / And again you hear the chase // - throw a towel: // it will overflow // a wide and deep river.

What should the girl say here?

Thank you, / cat brother! // - says the girl. // She thanked / the cat, / took a towel and a comb // and / ran. // Do you remember who else, according to your own aunt, should detain the girl? Dogs. How many dogs do you think Baba Yaga had? Everyone who wants to portray dogs come out here and start grabbing the girl. What is the girl doing at this time?

Dogs rushed at her, // wanted to tear her, / bite // - she gave them / bread /. // The dogs let her through.

Further, on the way there are gates. They can be portrayed by two, and four, and six people. Depending on how they appear to you. They creak, try to slam shut. What is the girl doing? (Depicting.) The gate // creaked, / wanted to slam shut // - and the girl // poured oil on them / under their heels. // They missed it. // Behind the gate is a tree. Which? Birch, and maybe not one. Those depicting a birch raise their hands up, sway and try to detain the girl.

The birch made a noise, // wanted to // quilt her eyes / // - the girl / bandaged her with a ribbon ... // It seems to me that not every ribbon will suit a birch either.

It really depends on how we ourselves treat the birch.

What ribbon can indicate the attitude of a Russian person to a birch?

Birch // and // missed her. A girl ran out / and // ran as fast as she could. // Runs / and doesn't look back. //

And what happens in Baba Yaga's hut?

And the cat // in the meantime // sat down by the window / and / began to weave. // Not so much weaving // as confusing! // (We show.) Baba Yaga woke up // and / asks: // - Do you weave, // niece, // do you weave, / dear? // And the cat / answered her: // - Weave, aunt, // weave, dear! . (We show.) Baba Yaga began / beat and scolded the cat: // - Oh, you, // old rogue! // Oh, you, / villain! // Why // released the girl? // Why didn't / her eyes // rip out? / Why didn’t you scratch your face?..

And // the cat / in response to her ... // Now it's time for us to guess what the cat answered her. And most importantly, why did he say that, how did he feel?

I have been serving you / for so many years, // you have / not thrown a gnawed bone /, / but she / gave me meat! // Is it clear from these words how the cat relates to the girl and how to Baba Yaga?

Baba Yaga ran out of the hut, // pounced // on the dogs: // - Why / didn’t they tear the girl, // why didn’t they bite? .. // In fairy tales there is such a technique - chanting - repeated repetition of words or actions. So you can easily guess what the dog, the gate, the birch, the worker answered Baba Yaga. These are the episodes we are going to play now.

The dogs / say to her: // - We // have been serving you for so many years, you didn’t throw us a burnt crust, // and she // gave us a loaf of bread! //

Baba Yaga ran up // to the gate:

Why didn't they creak, // why didn't they clap? // Why did they let the girl out of the yard?..

The gates / say: // - We // have been serving you for so many years, // you didn’t add water to us under the heels, // but she / didn’t spare us oil!

She jumped // Baba Yaga to the birch: // - Why didn't / the girl // quilt her eyes? // Birch // answers her: // - I / have been serving you / for so many years, // you // didn't tie me up with a thread, / but she // gave me a ribbon! // Baba Yaga began to scold the worker: // - What are you, / such and such, // didn’t wake me up, / didn’t call me? / Why did you let her out?.. // The worker says: // - I have been // serving you for so many years // - I have never / heard a kind word // from you, / but she // gave me a handkerchief, / it’s good and kind / was talking to me! // Baba Yaga shouted, // made a noise, // then // sat down in a mortar and // rushed / in pursuit. He drives with a pestle, / with a broom // sweeps the trail ... Before showing, tell me, who knows what a mortar, pestle and broom are? Now let's picture. (They depict Baba Yaga.) Further, the girl and Baba Yaga will participate in the action, so I will read, and the girl (or different girls for each action) will depict what I read.

And the girl // ran ran, // stopped, // put her ear to the ground and // hears: the earth is trembling, / shaking // - Baba Yaga is chasing, // and very close. // The girl took out a comb // and // threw it over her right shoulder. // (We show.) A forest has grown here, // dense and tall: // the roots of the trees // go three fathoms underground, // the tops // of the clouds prop up. // (We show.) Baba Yaga rushed in, // began to gnaw and break the forest. // (We show.) She gnaws and breaks, // and the girl / runs further. // How much, how little time has passed, // the girl put her ear to the ground // and hears: // the earth is trembling, shaking // - Baba Yaga is moving, // very close.

// The girl took / a towel and threw it over her right shoulder. // (We show.) At the same moment / the river overflowed - // wide / very wide, / deep / deep! // Baba Yaga jumped up to the river, / from anger / her teeth // gritted // - she cannot / cross the river. // She returned home, / gathered her bulls / and drove to the river: // - Drink, / my bulls! / Drink the whole river / to the bottom! // The bulls began to drink, // but the water in the river // does not decrease. // Baba Yaga got angry, / (we show) lay down on the shore, // herself / began to drink water. // Saw, saw, saw, saw, // drank until then, / until it burst.

Meanwhile, the girl / know / runs and runs. // In the evening father returned home // and / asks his wife: // - Where is my daughter? // Baba says: // - She went to her aunt / - to ask for a needle and thread, / yes, something was delayed. // The father got worried, // he wanted to go look for his daughter, // but the daughter / ran home, out of breath, / can't catch her breath. // - Where have you been, // daughter? // - asks the father. // - Oh, / father! // - the girl answers. // - My stepmother sent me to her sister, // and her sister // Baba Yaga, bone leg. // She / wanted to eat me. // I ran away from her by force! // As the father found out all this, / he got angry / at the evil woman // and drove her out of the house with a dirty broom. // And he began to live alone with his daughter, // friendly and good. //

– – –

Form. Review detective.

Decor. At the beginning - an exhibition stand without books.

Only a poster, lined with 10 squares.

In the upper left corner of each square is a book cipher:

The title of the exhibition is put in the course of work. Cards with a copy of the cipher of the books with which we will deal are with the librarian.

Hey stopper. Necklace (jewellery). Hanging on an empty wall de.

Exhibition work. Arrangement of books on the stand. Design of the exhibition.

BBZ What is a review? Acquaintance with words: fund, cards, catalogs, file cabinets, (SBA), book cipher, copyright mark. Reminder of the bibliographic description.

Dialogues with text Etymology of the word "review". Associative series to the word "treasure".

Activity Searching the fund for books of Russian classics using cards with bibliographic descriptions, arranging these books at the exhibition. Reading excerpts from found books, listening to audio fragments from the works of the classics.

Electronic accompaniment Frames - portraits of classics, covers of their books. Necessarily large: bibliographic description.

Exemplary literature for the exhibition Works of the classics (XIX century) about children.

Chekhov "Kashtanka", "Vanka Zhukov"; Pogorelsky "Black Hen".

"Adult" works included in the reading circle of children.

Pushkin "Tales"; Lermontov "Borodino".

*** I climb in my reading memories one more rung of the literary ladder. And the higher you climb this ladder, the farther and deeper you can see around. Here I have another present for you.

What do we usually do with gifts? With some, we immediately begin to play, use. About some we think that we can do without them and politely remove them out of sight. But sometimes the extraordinary happens. Once hidden and forgotten gifts are suddenly discovered and we sincerely rejoice at them. No wonder they say: a gift is not expensive, but love is expensive. In every gift there is a particle of love of the one who gave us the gift, and we rejoice in this love.

The same happens with books. Each book is a gift from the writer to us, the readers. Sometimes we feel great without these gifts. I can agree that it is impossible and unnecessary to read many books. Especially books written two hundred, one hundred, fifty years ago. There are many of them and they are written about something completely unknown to us. But suddenly it turns out that the distant past is in some ways very similar to our present. And then we understand that good books never get old. This means you can enjoy them anytime. And give yourself and others to read them.

Today I will start Reading for a Gift with a book exhibition.

Probably, you still do not understand why you see empty shelves and a poster with a field lined with 10 squares.

The image of this exhibition presented itself to me in the form of a playing field of a children's game of hopscotch.

According to the rules of the children's game, we must jump on one leg over each of these squares. But I'm changing the game a bit. Pay attention: on the lined field, it is not clear why, a necklace hangs. Classic squares and a necklace?! The necklace is a treasure. Classics and treasures?! Hidden treasures! Classics! What would that mean? What kind of puzzle do you think I suggest you solve? (We are discussing.) Actually, everything is very simple: this is how I propose to name our exhibition: “In Search of Treasures”! In each cell of this field, we will place the treasures of the classics of Russian literature of the 19th century. However, you must first find them. After all, it happens like this with treasure troves: they lie in plain sight, but we do not see them. But it is worth making some effort, and then ... We will review the detective at our exhibition. What is a "review"? Let's work on this word. Can it be divided into component parts? OB and ZOR. Which of these parts is the main one? ZOR. Does it remind you of any other words? What words can you think of that have these three letters in them? … LOOK. True, the letter "O" can run away.

SEE, VIEW. In other words, it means "to see something". What can you do with OB? CIRCLE. Take a look around. Look around. Explore, find out. So, REVIEW is a relative of the word "review". So, a review is an opportunity to cover some space with your eyes. And talk about what you saw. But very briefly. Librarians call a review a short post about several books. How this works out, we will see a little later.

I think you have already met the word "detective", you know what it is.

Now we turn into detectives for a while. But not simple, but bibliographic. In the upper right corner of each cell, you see numbers and letters written in two lines. Any of you can guess what it is. (We are discussing.) I repeat, this is undoubtedly a cipher. Look carefully, maybe you will find some pattern here? (We are discussing.) The upper lines of the cipher in each cell are almost the same, the lower ones are different everywhere. Since we are in the library, the key to the cipher must also be looked for here. Take a look around, examine every centimeter of the library space. Here are the shelves with books - this is our library fund. Here are the card cabinets. Catalogs and card indexes are a reference bibliographic apparatus (SBA). Both in the foundation and in the SBA, you will surely come across this cipher again. (Time is given for inspection and reflection.) The cipher must be written in the passport of the book - its bibliographic description, so that each of you can be a detective and quickly find a book in the library, in the store. And on the Internet too.

Compare the cipher in the cells of the playing field, on the SBA cards (you can copy several cards in advance and hand them out to everyone) and on the books. You may well guess, but I will tell you that the numbers and letters 84 (2Ros=Rus)1 designate the section of the fund where the works of Russians are collected. writers of the 19th century. Those whom we call classics. And what do the lower, everywhere different lines of the cipher say?

Ten volunteers learn about it after careful searches. You can team up in pairs or threes, discuss the problem and how to solve it. You can work overnight, whichever is more convenient for you. Here are cards with a copy of the cipher (books that we will deal with during this meeting) and I suggest that you go to the appropriate section of the fund. I hope you find similar combinations and try to understand what the second part of the entries means.

And at this time we will listen to an audio recording of poems and excerpts from the works of Russian classics.

By the way, this is also the key to unraveling the cipher.

Attention! Our bibliographic detectives solved the cipher and achieved the result. They are holding books. Which of the detectives will report to us the results of the search?

So, let's repeat: our cipher is the author's sign, under which the works of each author are stored on the bookshelf. I will ask everyone who completed the task to explain the course of their thoughts: how did you guess, how did you find the necessary books, and put the books themselves on the exhibition.

Whoever did not manage to complete the task, please find those books encrypted on your card in the fund, and put them on the exhibition in the same way. Thus, thanks to our detectives, we found the "classics". Now let's look for their treasures.

Volunteers, step forward! You are given the same cards with a cipher, only an entry has been added here: there is a letter “C” and numbers. This is the page number. Your task: on your own or in mini-teams, find the desired book at the exhibition by code, open the indicated page, read it and then read aloud again for everyone the passage that you liked best or that is marked there. While this task is being carried out, we will also listen to the actors' performance of the classics.

Before the volunteers read the passages to us, let's take a closer look at the classics we have transcribed.

First, help the books introduce themselves. Remember, at the last meeting we said that the passport of a book is a bibliographic description. We usually find it on the back title page. This is the sheet before the beginning of the text.

On it, as well as on the cover, all the most important information about the book. Sometimes the bibliographic description is placed at the end of the book, after the "Contents".

Let me first look for such a description, and after me you will find it. (The books already found by the detectives are distributed to other readers.) Mamin Sibiryak D. Alyonushkiny tales / D. Mamin Sibiryak. - St. Petersburg: ABC Classics, 2008. - 224 p.: ill. - (Childhood friends).

Tolstoy L.N. For children: stories, fables, poems, epics / L.N. Tolstoy; artistic M. Fedorovskaya. - M.: Astrel: AST, 2004. - 184 p.: ill. - (Chrestomathy of a schoolboy).

Turgenev I.S. Mu Mu. Notes of a hunter: stories / I.S. Turgenev; ed. intro. Art. V. Sakharov; artistic A. Milovanov. - M.: Det. lit., 2002. - 239 p. - (School library).

Chekhov A.P. Kashtanka and other stories: for ml. school

age / A.P. Chekhov; artistic V.Yu. Chernoglazov. - M.: Samovar, 2008. - 96 p.: ill.

And now the word to the volunteer decryptors.

I think that we should not be too embarrassed that our brave men did not read their passages as beautifully as we heard in the audio recording. It's just that the actors had time to prepare well, to feel everything that writers and poets put into their stories and poems. But it is in our power to do the same: to feel the soul and heart of the authors.

Pushkin, Lermontov, Turgenev, Chekhov, Gogol, Tolstoy... Everyone has their own treasures, and all together - this is our rich spiritual necklace. After all, what is treasure? Have you ever wondered what this word means, where did it come from? (We are discussing.) In my opinion, it comes from the word “secret”, “hidden” ... Ripened in your thoughts and in your soul, something that you will not entrust to everyone, but you will gladly share with friends.

The classics wrote stories, novellas, novels, putting their innermost thoughts and feelings into them, about human affairs, characters, relationships and shared them with us. You have the right to partake of them, to read them when your time comes to comprehend and meditate on them.

And I would like to give you one jewel from the necklace that we see at the exhibition - reading a short poem by one of the greatest classics- Alexander Sergeevich Pushkin. This is the topic of our next meeting.

Encounter IV About ancient antiquity Exhibition Title. "About the ancient times."

Target. Immersion in the theme of ancient Russian statehood, life and life of the Russians of the era of the Prophetic Oleg.

Flyers:

Oleg would have listened - another shield would have been nailed to the gates of Tsaregrad (V. Vysotsky).

Form. Exhibition darts Decoration. Stylization of the title and quotes as birch bark scrolls.

Hey stopper. A circle for playing darts (the ancient words from the “Song of the Prophetic Oleg” are written on its sectors), darts, a prince’s cloak or helmet, and a magician’s staff.

Exhibition work. Search and arrangement of illustrations by different artists for the "Song of the Prophetic Oleg".

BBZ (literary criticism) Illustrations. Artists illustrators. A reminder of the bibliographic description. The concept of association.

Dialogues with the text Meaning and image (associations) of ancient and incomprehensible words. Alternate reading by the librarian and children of the text.

Mental representation of pictures of what was read, search for words that characterize the actions, feelings of the characters, describing the situation of the plot. Discussion of questions in the course of reading the text.

Action Throwing darts, working with a dictionary, illustrations and a "birch" scroll.

Electronic support Table of meanings and images of words. Illustrations from the book being read.

Literature Pushkin A.S. Song about the prophetic Oleg / A.S. Pushkin; artistic V. Losin.

M.: Malysh, 1978. - 12 p.: ill.

Ballads and songs / comp. N.N. Svetlovskaya, T.S. Piche ool; artistic

N.N. Orekhov. - M.: [b. and.], 1997. - 16 p.: ill. - (Library of the magazine la " Primary School»; issue 2).

Great children's encyclopedia. History of Russia: from ancient times to the nineteenth century: an encyclopedia. - M.: AST: ASTREL, 1999. - 927 p.: ill.

Degtyarev A.Ya. The beginning of the fatherland / A. Degtyarev, I. Dubov; artistic

V. Beskaravayny. - M.: Det. lit., 1983. - 184 p.: ill.

Kalashnikov V.I. Rus' Legendary: the most ancient history of the Russian people, unknown pages of the great past, myths and legends of the “hoary antiquity” / V.I. Kalashnikov. - M.: White City, 2007.

- (Atlas of secrets and mysteries).

Book 1: Legendary Rus'. - 2007. - 233 p.: ill.

Leikin A.L. Journey to Gardariki: stories of legend from the history of Russian cities / ed. foreword IN AND. Buganov; artistic M. Samo Rezov. - 2nd ed., corrected. and additional - M.: Det. lit., 1988. - 206 p.: ill.

- (Library series).

Chlenov A.M. In the footsteps of Dobrynya / A. Chlenov; foreword F.P. Shevchenko. - M.: Physical culture and sport, 1986. - 287 p.: ill. - (Unusual travels).

*** Thank God, it is still difficult to find a person in our country who does not know who Pushkin is. Pushkin lived and wrote two hundred years ago, in the 19th century. So is it worth reading today?

Many do not read and ... nothing. But then a boy from the city of Sarov suddenly "saw" that Alexei Berestov from Pushkin's "Belkin's Tales" is very similar to ... a Goth, a representative of modern youth. I was interested in this guy, I wanted to argue with him. But how did he manage to see a modern informal in a work of two hundred years ago? So, in our days it is possible not to be excommunicated from the classics and look at it with completely different eyes?

Pushkin knew the history of the Russian state well. He read chronicles, studied archives, he wrote historical works. I once looked at his works as a bridge connecting "traditions of antiquity deep"

with our time.

This is a bridge in the form of fairy tales, songs, legends and legends, which often served as the basis for the poet's own writings. He retold something in his own way, he took a plot or form from others, he simply mentioned some in his works.

The poet knew well folk art, and Russian epics were well known to him. In the native name of the epic - old man, old woman, old woman.

So today we will set off together with Pushkin to travel to the old days.

Today we are reading the "Song of the Prophetic Oleg", which is very similar to the folk epic.

Here is this wonderful book in front of you, with everything that it should have: a cover, on the cover is the author's name, title, year of publication. All this is recorded in the passport - a bibliographic description. Which of you will find and read us the bibliographic description of the book?

Pushkin A.S. Song about the prophetic Oleg / A.S. Pushkin. - M.:

Kid, 1978.

We will make a journey with the help of the most powerful time machine - the Word.

When it comes to the affairs of bygone days, there is a danger of getting lost. To prevent this from happening, we need to prepare. You know that in the old days the bow and arrows were the main weapons. They will come in handy for us today. True, I propose to replace the bow and arrows with kami darts. Have you already noticed that this uncomplicated object hangs at the exhibition “Into the Old Ages”?

The target for darts is not quite ordinary. Various incomprehensible old words are written in its sectors. Game task: each of you will throw a dart, remove a piece of paper with an incomprehensible word from it, find an explanation for the word in the dictionary, write it down in a “birch bark scroll” (“I will distribute the scrolls” to you).

Our ancestors wrote on similar scrolls made of birch bark in the old days. Today we will take pity on the birch, and our scroll will not be made of bark, but of a piece of paper folded into a tube.

Everyone can find an explanation for one word that he "shot" with a dart. For those who help the neighbor and find more explanations, I have prepared a small surprise prize. So, I'm handing out scrolls with a table. Please note that there are three columns in them. Each of you will write an explanation of “his” word in the “Dictionary Meaning” column.

And then we will create the image of the word. Or, in other words, associations. An association is a connection between several phenomena or objects, sometimes very distant, when something else is remembered at the mention of one, an image of something else arises.

For such an association to arise, imagination is needed. This is the ability to recreate the IMAGE. To IMAGINE means to see in the letters and hear the picture in the sound of the word. In this case, we need to imagine, to see pictures of Ancient Rus' behind the word: what different objects served for, how they dressed, talked, what people did.

For example, the definition of THINGS - from the word to know. The following associations arise: to know, to understand, to see into the distance, to foresee. But what do you think, at a time when not only computers, but even books did not exist, how long did a person need to live in order to know a lot?

Probably so much that during this time a large gray beard will have time to grow? Or maybe PROPHETIC is from the word "broadcast" - to speak, to predict. But even in this case, I personally see a prophetic person as a deep old man with a long beard. That's what I wrote in the first line of the game table.

And now we will return to Pushkin and the old days.

From the annals it is known that at the beginning of the 10th century, and this is 1100 years ago, our ancient state was called Kievan Rus. Prince Oleg then ruled. He made successful campaigns in response to the raids of nomadic tribes from the east. The most famous was the long campaign towards the Caspian Sea.

In those places, in the lower reaches of the Volga, as well as where the Republic of Dagestan is now located, the warlike tribes of the Khazars lived. The Song of the Prophetic Oleg tells about the victory over them.

The people folded legends, epics, fairy tales, songs about military campaigns and Oleg himself. In them, Oleg was called prophetic because he knew a lot, was a wise prince, and knew how to predict the future. At the same time, he himself was young ... So it is perhaps difficult to imagine the prince as a deep old man with a gray beard. The prince is a warrior. Strong, powerful, in armor. But he still had a beard, according to the customs of that time. He is a military commander, so he must know a lot, so his eyes are smart, slightly cunning, his face is friendly. This is how I imagined Prophetic Oleg. But for some reason it was the beard that became the image of the word “prophetic” for me.

And now each of you will try to create an image of the word that he shot at the darts. We think for one minute and fill in the third column of the "scroll" - "the image of the word."

So, what images did you see each behind your word entered in the table? (We discuss 3-4 words.) Today we do not have much time, and we are unlikely to have time to discuss the images of all the words from the Song. But we can mentally imagine images of words while reading. And it will be great if you finish this work at home. Everyone can get a tablet that is different from the others, because the imagination that creates the image of the word is different for all of us. Your entries on a birch bark scroll will adorn our exhibition.

And I will show my sign on the screen. We will all look at it together while reading, and everyone will create their own images of these words.

– – –

So, "The Song of the Prophetic Oleg." Let's finally pick up the book. Let's leaf through it, look at the illustrations, compare them with the images that we had when we were looking for the meaning ancient words. Most likely, they will not match, because the illustrations are images that were seen by a completely different person - the artist. I saw them in my own way. The name of the illustrator must be indicated in the book's passport - the bibliographic description. In this case, the artist Veniamin Nikolaevich Losin helped us travel in time together with Pushkin.

"The Song of the Prophetic Oleg" was published many times, and various artists illustrated it. Other artists simply created paintings on the theme of Prophetic Oleg and his campaigns.

Now we will do so. On a separate stand you can see several illustrations relating to different situations of the Song. They are located chaotically, in disorder. As we read the book, we will find illustrations that correspond to different episodes and place them in the exhibition in the order in which the action takes place.

And with your drawings that you make at home, you can later supplement the exhibition.

Every epic, like a fairy tale, begins with a verse, a beginning ... How the prophetic Oleg gathers now ... This, perhaps, is the key to all our reading. You and I are reading poetry now, today, today, today, but as if we remember what happened to us a thousand years ago. To really feel that era, we need ... a princely helmet or cloak, as well as a magician's staff. Here they are at our exhibition. On whom I put on a princely cloak (helmet), he will read the words of the prince, to whom I will hand over the staff, he will be a magician. Don't be embarrassed if your reading is less than perfect. It's just that the word, read aloud, sounds very different. It takes courage to say unfamiliar words out loud. Bolder!

(The librarian begins.) How the prophetic Oleg is now going

Take revenge on the unreasonable Khazars:

Their villages and fields for a violent raid Doomed him to swords and fires;

With his retinue, in Constantinople armor, the Prince rides across the field on a faithful horse.

From the dark forest, an inspired magician is walking towards him, An old man obedient to Perun alone, a messenger of the future Testaments, Who spent the whole century in prayers and fortune-telling.

And Oleg drove up to the wise old man.

(A student in a princely helmet reads.) “Tell me, sorcerer, favorite of the gods, What will come true in my life?

And soon, to the delight of the neighbors of enemies, Will I cover the grave with earth?

Tell me the whole truth, don't be afraid of me:

You will take a horse as a reward for anyone.

I wonder why the prince says in advance, they say, do not be afraid of me? (We are discussing.) I think the point is not only that you could predict an unpleasant future and be punished for it. However, maybe the wise men, fearing punishment, were sometimes cunning, did not say everything that they could predict?

The words “tell me the whole truth” are worth paying attention to and remembering.

And we'll see if there is an illustration for this episode?

Move it from one stand to another, to where the books are.

(A student with a magician's staff reads.) “Magi are not afraid of mighty lords, And they do not need a princely gift;

Truthful and free is their prophetic language And friendly with the will of heaven.

Not only soothsayers and sorcerers refer to the will of the gods, but also poets. What word of definition did Pushkin use to show the magician as a poet? (Inspirational. The gods inspire poets and soothsayers.) I will say more, Pushkin wanted to say with these words that a real poet always tells the truth and is not afraid of earthly rulers.

(A student with a magician's staff reads.) “The coming years lurk in the mist;

But I see your lot on a bright forehead.

Now remember my word:

Glory to the Warrior is a joy;

Your name is glorified by victory;

Your shield on the gates of Tsaregrad:

And the waves and the land are submissive to you;

The enemy is jealous of such a wondrous fate.

What do you think is the main word in this passage? (We are discussing.) It seems to me that this word is “lot”. Why? A lot is an object, often completely random, according to which they give or make a choice. Sometimes it happens that a person's life can change from a trifling event. In this fragment, the magician says that everything in Oleg's life will be fine, but the word "lot" is alarming, makes you wonder if some kind of accident will happen. Remember it for him.

(The staff is passed to another, and he reads.) “And the deceptive shaft of the blue sea In the hours of fatal bad weather, And the sling, and the arrow, and the crafty dagger The years spare the winner ... Under the formidable armor you do not know wounds;

An invisible guardian is given to the mighty."

By the way, pay attention to one more definition:

mighty. To whom does it apply? Pushkin could have written - to the mighty, because these words are similar. Nevertheless, Pushkin chose the word for the mighty - why? What features, shades, features in the character of Oleg did Pushkin emphasize with the word "powerful"? How does Oleg appear to us thanks to this definition? (He CAN do anything.) (The staff is passed to the next.) “Your horse is not afraid of dangerous labors;

He, sensing the master's will, Now meek stands under the arrows of enemies, Now he rushes across the battlefield.

And the cold and cutting him nothing ... But you will accept death from your horse.

Here is the draw. Here it is - an accident that can change your whole life.

(The librarian reads.) Oleg chuckled - but his forehead and eyes were clouded with thought.

I would be very scared in this place. What do you think, what does the prince think about and what does he feel at this time? And what does it mean: clouded by thought? Imagine that you are playing in a movie.

What facial expression would you have in this episode?

What decision will the prince make? (We are discussing.) In silence, leaning his hand on the saddle, He gets off his horse, gloomy;

And a faithful friend with a farewell hand And strokes and pats a steep neck.

(Another student with a princely helmet reads.) “Farewell, my comrade, my faithful servant, The time has come for us to part;

Now rest! The foot will not set foot In your gilded stirrup.

Farewell, be comforted - but remember me.

Still, he didn't get mad. Has his relationship with the horse changed? What word in the text confirms this? What other trait can be added to the character of the prince from this episode?

(We are discussing.) And how is this episode reflected in the illustrations?

What is the next illustration we will move to the book fair?

(Another student with a helmet reads.) “You, other youths, take a horse!

Cover with a blanket, shaggy carpet;

Take me to my meadow by the bridle;

Bathe; feed with selected grain;

Drink spring water."

And the youths immediately departed with the horse, And the prince brought another horse.

(The librarian reads.) The prophetic Oleg feasts with his retinue At the ringing of a cheerful glass.

And their curls are as white as morning snow Over the glorious head of the barrow... They commemorate days gone by And the battles where they fought together.

How much time do you think has passed since Oleg said goodbye to the horse? What words support this?

(“And their curls are white...”) This means that they have already turned gray, i.e.

a lot of time has passed.

(A student with a helmet reads.) Where is my comrade? - said Oleg. - Tell me, where is my zealous horse?

Are you healthy? Still, is his run easy?

Is he still the same stormy, playful?

And he listens to the answer: on a steep hill He has long since rested in a sound sleep.

(Another student with a helmet reads.) Mighty Oleg drooped his head And thought: “What is fortune-telling?

Magician, you deceitful, mad old man!

I would despise your prediction!

Yes ... to despise, not to believe. Could the prince not believe the magician? It seems to me that at the moment of that prediction, the prince was faced with a choice. What? (We discuss.) Own life or death and betrayal of a friend? How difficult it is to choose from.

(The librarian reads.) "My horse would still carry me."

And he wants to see the bones of the horse.

Here comes the mighty Oleg from the yard, Igor and the old guests are with him, And they see - on the hill, near the banks of the Dnieper, Noble bones lie;

The rains wash them, their dust falls asleep, And the wind excites the feather grass above them.

What illustration would fit here?

(A student with a princely helmet reads.) The prince quietly stepped on the horse's skull And said: “Sleep, lonely friend!

Your old master has outlived you:

At the funeral feast, already not far away, It’s not you who will stain the feather grass under the ax And drink my ashes with hot blood!

Nobody wants to ask me, or Pushkin, a question about these last lines? (What ancient custom is described in these lines?

Why do they say: faithful to the grave? Why does the prince regret that it was not this horse that would stain the feather grass on the feast of the prince himself?) (The librarian reads.) “So this is where my death lurked!

The bone threatened me with death!”

From dead head the grave snake, hissing, meanwhile crawled out;

Like a black ribbon wrapped around his legs, And suddenly the stung prince cried out.

Ladles are circular, foaming, hissing On Oleg's deplorable funeral feast;

Prince Igor and Olga are sitting on a hill;

The squad is feasting at the shore;

The fighters commemorate the past days And the battles where they fought together.

What picture will illustrate this episode? Let's put it on display.

Usually at a feast at some moments everyone speaks at once, sometimes in turn, that's how we are now with you. After all, we are also at a feast - a literary feast - and each of us has tasted a little of the feast of Pushkin's word and thought. Now is the time to ask questions to the librarian, i.e. to me. Have any words, thoughts and expressions of the author remained incomprehensible to you?

In turn, I would like to clarify whether everything is clear to us in this poem? What impressions and what main idea will remain in our memory? Let's discuss?

But here comes the moment when everyone listens to one thing: a singer, a storyteller, a poet, a reader - they seem to sum up all the statements. Let's listen and we now have the whole poem in full. From the beginning to the end. And once again enjoy Pushkin's line. And may this pleasure and these thoughts remain with you forever.

– – –

And the dog loves you because you just exist in this world ... Form. Exhibition search.

Decor. At first, the booth contains only photographs (or drawings) of the paws of various animals or birds.

Hey stopper. Unbuttoned dog collar. This means that the dog is set free. Friendship can only be free.

Exhibition work. Installing books on exhibition stand. Decor.

BBZ (literary criticism) Appearance of the book. Alias concept. The genre of the story. Series. Reminder of the shelf index, copyright, bibliographic description. Continued work with illustrations.

Dialogues with the text Determine the mood of the story. By illustrations.

Search for metaphors and comparisons in the text. Discuss questions as you read the text.

Homework Flyers with "Mickey the Fox Questions" and mood indicators.

Action The work of the search teams. Search in the fund of books about animals. Comic drawing.

Electronic accompaniment Illustrations from the book you read.

Literature Big book about nature: poems and stories of Russian poets and writers / artist. V. Dugin. - M.: Bustard, 2006. - 208 p.: ill.

Dinets V.L. Pets / V.L. Dinets, E.V. Rothschild.

M.: ABF, 1998. - 512 p.: ill. - (Encyclopedia of the nature of Russia).

Dolgova T.V. Mysterious Beasts / T.V. Dolgov. - M.: ROSMEN, 2003. - 334 p.: ill. - (I wonder about the unknown).

Zhitkov B.S. Stories about animals / art. V. Chelak. - M.: Maha on, 2004. - 127 p.: ill. (native nature).

Cat Thief: poems, stories, tales about animals / art. V. Bastrykin [i dr.]. - M.: ROSMEN PRESS, 2004. - 109 p.: ill.

Lavrova S.A. Riddles and secrets of pets: entertaining zoology / S.A. Lavrov. - M.: White City, 2007. - 48 p. - (Encyclopedia of secrets and riddles).

The world of animals: mammals / comp. E.N. Sinkevich, L.V. Sin kevich. - Minsk: Mirinda: Rhodiola plus, 2000. - 415 p.: ill. - (Children's encyclopedia in questions and answers).

Seton Thompson E. Stories about animals / E. Seton Thompson; per. from English. N. Chukovsky. - Minsk: Mastatskaya Litaratura, 1980.

- 347 p.:

Chaplina V.V. From the life of the zoo / V.V. Chaplin; comp. N.N. Svetlovskaya, T.S. Piche ool; artistic N.N. Orekhov. - M.: [b.i.], 1996. - 32 p.: ill. - (Library of the journal "Primary School"; issue 8).

Charushin E.I. Oleshki: stories / E.I. Charushin. - L .: Det. lit., 1976. - 32 p.: ill. - (We read for ourselves).

*** Let me move to the next rung of my reading ladder. Not all of us remember the titles of the books we read, and even less do we remember the authors. So I can’t remember the name and author of the book I read in early childhood, but I see the picture very clearly. Not an illustration for a book, but a picture that popped into my head while reading that book. This is a corner of some kind of gloomy forest. Some sort of ferns. The sun's rays barely breaking through the thick branches of trees.

And the feeling that I can smell the mushrooms. This image of a mushroom forest is something eternal that can be found in the books of writers who lived two hundred, one hundred, and fifty years ago, and those who write today. Love for nature and animals brings us closer. Books about animals were written and read at all times - this also erases the distance between centuries.

Today I want to give you the reading of a book that I myself read quite recently, already an adult, but admired it, as in childhood. The book itself was written a long time ago. At the time that is called paradise silver age Russian literature. This late XIX- the beginning of the XX century. It was written by Sasha Cherny - Russian poet, prose writer, translator, children's writer.

Sasha Cherny is, of course, a literary name, a pseudonym. Sometimes writers sign their works not with their real name, but with an invented name instead of ... i.e. pseudo before him. The reasons for this are different. It so happened that in the family of the pharmacist Glikberg there were two sons of Alexander.

One is blonde, the other is brunette. Accordingly, the family called one White, the other Black. The lot of this family, as well as the lot of people who lived in those years, fell on difficult trials: revolution, civil war, life in a foreign land - in emigration. In the last years of his life, Sasha Cherny lived in Paris. He wrote many good books there, including for children.

I will talk about one of them. Here she is in my hands.

We read her passport:

Sasha Black. Fox Mickey's diary: a story. Shmelev I.

My Mars: short story / art. V. Bastrykin. - M.: Bustard Plus, 2004. - 128 p.: ill. - (Stories about animals).

You have probably noticed that every time I present the passport of the book, I introduce you to some additional information. In this passport we see the word "story". This is the genre of this book. A genre is a historically established type (way of writing) of a work of art. There is an epic genre (telling, narrating), lyrical (poetic) and dramatic (plays for theatrical productions).

The book in question, like any other, does not live by itself. She likes to live among other books, likes to compare herself with them. Let's try to help her.

Let's find it in the fund first. Remember how we can find it in the library? To do this, you need to consider the cipher, which is also listed in the bibliographic description.

Here he is:

84(2Ros=Rus) 6 H - 49 So, it can be found in the section of the fund "Fiction of Russian Russian writers of the XX century." And today we will see her also at the book exhibition "I have never seen such a paw."

This is an exhibition search. You see: here are photographs of the paws of various animals, and on each - a cipher (by local index and copyright). According to it, you will find information about the book in the catalog: the author's surname, title, and in the fund the book itself about this animal. Moreover, these are works of art about animals.

So, I need as many search commands as there are paws. Teams can consist of two three four people. Each team receives a code, searches in the fund the right book and places it at the exhibition next to the paw of the animal about which the book tells. Then we will put a title and flyers on the exhibition, or, as librarians say, quotes from the exhibition.

And now, when our exhibition is framed, let's take a closer look at the book - the heroine of today's meeting. In 2004, it was republished by the Drofa Plus publishing house.

Look how modern it looks: good paper ha, large print, colorful illustrations. And the dog on the spoon is so expressive! But what does he express? Is it possible to say something about his character? (We are discussing.) Sasha Cherny's story "The Diary of Mickey the Fox" is quite long; in the audio recording, it sounds for almost two and a half hours. Therefore, we will not read the whole story today.

But let's try to guess from the illustrations of the artist Viktor Bastrykin WHAT kind of story this is. Not ABOUT ANYTHING, because from the title and the picture on the cover it is clear that it is about a dog. What mood is it and what mood will we get from reading it. I have converted all illustrations to electronic format. Let's look at them all in a row and try to express in words the mood of the story, which the artist has depicted with paints. But let your words be not random, but, for example, comparisons or metaphors. You probably remember from school lessons, what it is.

If you don't remember, don't worry. I will pick up a book and remember. Metaphor is the use of a word or expression in figuratively based on the similarity of two objects or phenomena.

So, what comparisons or metaphors will help us guess what mood we will be reading?

To be sure, let's try to put these words in the table:

Basis Direct comparison An illustration for comparison or a metaphor (why did you decide so (hidden comparison)) And now I'm wondering: is it possible to assume from the illustrations what Fox Mickey will do in the story, is there something in him that makes him different from everyone dogs you know? (We are discussing.) Having studied the illustrations, let's return to the beginning, i.e. to the title.

A diary is a daily record of what happened during the day: events, thoughts, plans for tomorrow. But judging by the title, the diary in the story is kept by a dog? Can this be? What would that mean, do you think? (We are discussing.) Well, we will have to read the story to prove that this cannot be. Dogs can't write! But maybe the point is not who writes, but what and how is written?

I have a suggestion for you: in order to understand all this, let's draw comics right while reading - such a chain of drawings. Well, maybe not draw, but make sketches, explain in words what can be depicted in a comic book picture. I will stop reading and give you time to do so.

So, the title on the first page of the diary: About Zina, about food, about a cow! It's funny. And who eats whom here: Zina the cow, or Zina the cow? Well, let's read!

MY mistress Zina looks more like a fox than a girl:

she squeals, jumps, catches the ball with her hands (she doesn't know how to use her mouth) and gnaws sugar, just like a little dog.

I don’t know about you, but it immediately seemed to me that if a girl looks like a fox, why shouldn’t a dog look like a girl, or rather, in this case, a boy? How would you portray this in a comic book? (We discuss.) I keep thinking - does she have a tail? She always walks in her girl's caps; but he won't let me into the bathroom - I would have peeped.

Typical boyish antics. Or not?

Yesterday she boasted: you see, Mickey, how many aunts I have. Arithmetic - dictation - compositions ... But you, unfortunate tsutsik, can neither speak, nor read, nor write.

Woof! I can think - and this is the most important thing. Which is better: a thinking fox or a talking parrot? Aha!

The thinking fox is interesting. How would you portray him? (We discuss, draw.) I can read a little - children's books with the largest letters.

Write... Laugh, laugh (I can't stand it when people laugh)! I also learned to write. True, my toes do not bend, because I'm not a man and not a monkey. But I take a pencil in my mouth, step on the notebook with my paw so that it does not fidget, and write.

There is an illustration for this episode in the book. By the way, what did you think when at the beginning you were just looking at Viktor Bastrykin's drawings and saw a dog with a pencil in its teeth? (We discuss.) At first, the letters looked like crushed earthworms. But foxes are much more diligent than girls. Now I write no worse than Zina. I just can't sharpen pencils. When mine is exhausted, I run quietly into the office and drag the stubs honed by people from the table.

*** I put three stars. I saw in children's books: when a person makes a leap to a new thought, he puts three stars... What is the most important thing in life? Food. Nothing to pretend! We have a full house of people. They talk, read, cry, laugh - and then sit down to eat. Eat in the morning, eat at noon, eat in the evening. And Zina eats even at night - she hides biscuits and chocolate ki under the pillow and slowly champs.

How much they eat! How long do they eat! How often do they eat. And they also say that I am a glutton ... They put a bone from a veal cutlet (they will eat the cutlet themselves!), pour half a saucer of milk - and that's it.

Do I pester, do I ask for more, like Zina and other children?

Do I eat sweets: a paste called jelly, or a liquid muck of prunes and raisins, or a cold horror, which they call ice cream? I am more delicate than all dogs, because I am a thoroughbred fox. I'll gnaw on a bone, eat it, carefully taking a biscuit from Zina's hands, and that's it.

But they... Why these soups? Isn't pure water tastier?

Why these peas, carrots, celery and other nasty things with which they spoil the roast?

Why boil and fry at all?

I recently tried a piece of raw meat (fell on the floor in the kitchen - I had every right to eat it!) ... I assure you, it was much tastier than all those sizzling cutlets in a frying pan ... And how nice it would be if it were not boiled and fried ! There would be no cooks: they do not know how to treat decent dogs at all. If everyone ate on the floor, without dishes, it would be more fun for me.

And then you always sit under the table, among other people's legs. They push, they blunt us on their paws. Think how fun it is!

Or better yet, eat on the grass in front of the house. A raw cutlet for each. And after dinner, everyone would flounder and squeal, like Zina with me ... Woof woof!

They call me a glutton (I drank a sip of milk from a cat's saucer, think about it) ... And themselves ... After soup, after roast, after compote, after cheese - they also drink colorful things: red - wine, yellow - beer, black - coffee ... Why? I yawn under the table to tears, I'm used to hanging around people, and they all sit, sit, sit ... Woof! And everyone is talking, talking, talking, as if everyone had a gramophone in their stomach.

In my opinion, excellent episodes for a comic! Sasha Cherny remarked very subtly. People do eat and talk a lot. But after all, Mickey himself in the book is very similar to people, although he is offended that he is called a glutton.

Remember, put three stars and said that they mean a jump to a new thought. So Mickey thinks my most important thing in life is food? And do you agree with him? And how can you express your agreement or disagreement, but it is better to say your own thought, what is the most important thing in life for you personally? (We discuss, draw.) *** Three stars.

New thought. Our cow is stupid.

Well, that's right, the boy is rude!

Why is she giving so much milk? She has one son - a calf, and she feeds the whole house. And in order to give so much milk, she eats all day, eats her grass, it’s even a pity to look. I wouldn't have survived. Why doesn't a horse give so much milk? Why does a cat feed her kittens and take care of no one else?

Would a talking parrot come up with such an idea?

And here Mickey is also a bouncer!

And further. Why do chickens lay so many eggs? It's horrible. They never have fun, they walk like sleepy flies, they have completely forgotten how to fly, they do not sing like other birds ... It's all because of these unfortunate eggs.

I can't stand eggs. Zina too. If I could explain myself to the chickens, I would advise them not to carry so many eggs.

New thought and new plots for comics. Before drawing them, perhaps, it is necessary to answer Fox's questions? But let's try to do the opposite. It seems to me that the writer did not accidentally describe this whole episode with the help of questions. He, of course, wanted us to think about them, but in fact, we can ask completely different questions here. Let's try to unravel the author's idea and make up one or two questions for this episode. (We think. We discuss.) I would ask this question: why do a cow and a chicken give more milk and eggs than they themselves need? Are they friends with the person? And why does a cat, a horse, and even dogs, which produce nothing, also live together with a person and a person considers them friends?

It’s good to be a fox all the same: I don’t eat soup, I don’t play this damned music that Zina runs her fingers over, I don’t give milk and “the like,” as Zina’s dad says.

Fuck! The pencil broke. You have to write more carefully - the cabin is not locked, and there are all the pencils.

Next time I will compose dog poems - this interests me very much.

Yes, but ... Dog poems are cool! I wonder if you will like his poems?

Fox Mickey, the first dog to write.

What language do you think Fox Mickey writes his diary in? We discuss and draw a picture of the co-mix for this episode and continue to read and translate from the dog language ... But on our own. Agreed! You come to the next meeting with comics based on Sasha Cherny's story "The Diary of Fox Mickey". Whoever thinks that he cannot draw on paper, try to draw your comic in your mind in your imagination, and then tell it in words.

And I also think that since Mickey is so smart that he can read, write and ask questions, he probably could ask you a few questions too.

These are:

When do I act like a boy and when do I act like a dog?

If the author still depicts a boy under the guise of a dog, make a verbal portrait of the boy (how old he is, how he looks, dresses, walks, talks with friends and different people), describe his character (his strengths and weaknesses).

Did I have a situation of choice, do you approve of my choice? Or would you do it differently?

How do I really feel about my mistress Zina and in general to all people and to life?

Fox Mickey's diary is published in the series "Stories about animals". Remember, in the bibliographic description - the passport - these words are written in brackets? This means that the publishing house has printed many books about animals and all these books have similar covers and on the cover of all the books it says: "Stories about animals."

The authors of such books, as a rule, want us to know as much as possible about animals and nature. But there are books that we read not because they give new knowledge, but because they cheer us up, encourage us to think, to create images of what we have read in our imagination.

Probably, you will agree that our mood is colored. I will now hand out flyers to you. On one side are multi-colored circles. When you have read the whole book, please mark the circle that corresponds to your mood from what you read. Remember the beginning of our meeting, when I asked you WHAT kind of book is this, what is its mood. Has your opinion about it changed now? (We discuss.) And on this flyer you will see poetry. They were written by Fox Mickey, under the pseudonym Sasha Cherny. I think you will like them.

THE WOLF The whole village sleeps in the snow, No gugu.

The moon has disappeared for the night, Snow is falling.

The kids are all on ice, on the pond.

Together sleds squeal - Let's go in a row!

Who is in harness, who is a rider, Wind to the side.

Our convoy stretched to the birches.

Suddenly the leader shouts:

"Damn, stop!"

The sledges began, the laughter fell silent, - “Brothers, the wolf! ..”

Wow, how they splashed back!

Like a city

Loose everything from the pond - Who goes where.

Where is the wolf? Yes, this is a dog - Our Watchdog!

Laughter, roar, laughter and talk: “Ah yes wolf!” Sasha Black

And on the other side of the leaflet of the flyer are the questions of Fox Mickey.

If you want, you can answer his questions verbally, if you don't want, don't answer at all. But I think that some of you are so fond of Mickey that he will want to answer questions even in writing. Then our exhibition will be enriched by your reflections. Let others compare different, including their own, answers to these questions. And Mickey will be happy and happy.

– – –

He composed his stories like an endless game.

Form. Exhibition search.

Decor. Posters from the Civil War. Image of bourgeois bourgeois.

Hey stopper. Paper four-pointed origami pinwheel. Each end of it has its own color and the inscription: “Fifteen-year-old commander of the regiment”, “Cunning man - writer”, “Timur and others”, “And again into battle ...”.

Exhibition work. With the help of a turntable, find books with bookmarks and quotes about Gaidar, his work, books, heroes. Use the annotation to find the desired book at the exhibition.

BBZ (literary criticism) Annotation. Associations. Difference between short story and novel.

Dialogues with the text Reconstruction of the event by the word (“with annoyance”, “bourgeois in”, etc.). Verbal characteristics of heroes, search for synonyms. Answer questions as you read.

Action Draw an association tree. Two teams (2 3 4 people) look up the meaning of the word "abstract" in a dictionary and on the Internet. Who will quickly find and give a more complete definition.

Musical accompaniment Song of the Civil War "There, in the distance, beyond the river" (arr.

A.V. Alexandrova, sl. N. Koolya).

Electronic accompaniment Illustrations from the book being read. Episodes of the Civil War.

Literature Alekseev S.P. A book for reading on the history of our Motherland: (from 1670 to 1945): a guide for students of grade 5. / S.P. Alekseev. - 2nd ed., to work. - M.: Enlightenment, 1991. - 206 p.: ill.

Alekseev S.P. On that distant, on the civil one: the history of the Fatherland: stories for children / S.P. Alekseev. - M.: Pedagogy, 1988. - 256 p.: ill.

Kamov B.N. Ordinary biography (Arkady Gaidar) / B.N. Kamov. - M.: Young Guard, 1971. - 415 p.: ill. - (The life of remarkable people. A series of biographies; issue 4 (493)).

Kotov M.I. Gaidar at war / M.I. Kotov, V.G. Lyaskovskiy; ed.

foreword N. Tikhonov. - 2nd ed. - M.: Young Guard, 1984.

Morozov E.I. Stories about Kotovtsy / E.I. Morozov. - 2nd ed., add. - M.: Young Guard, 1981. - 192 p.: ill.

Suslov V.N. There was a civil war: dokum. stories and poems / V.N. Suslov. - L .: Det. lit., 1987. - 239 p.: ill.

*** Today on my reader's ladder is a book about happiness.

"What happiness is - everyone understood it in their own way, but all together people knew and understood that one must live honestly, work hard and love and protect this huge happy land, which is called the Soviet country."

It is these words that are carved on a marble slab at the grave of the Russian writer Arkady Petrovich Gaidar. He had an extraordinary biography. True, the time for such a biography was the most unusual: the Civil War in Russia. A civil war is when the majority of the country's population understands differently what is good for the country and what is bad. And everyone defends his understanding with weapons in his hands. And everyone considers it a happiness to defend their truth. Almost 90 years ago, our entire country was divided into two camps, into two armies: the Red and the White.

At our previous meeting, we talked about the writer Sasha Cherny. He himself and his associates fought in the White Army. They lost civil war, and Sasha Cherny ended up in exile, in exile, in Paris.

Arkady Petrovich Gaidar fought on the side of the Red Army. At the age of seventeen, he became a regiment commander and thought of staying in the army, which he loved very much all his life. But old wounds began to make themselves felt, and I had to leave the army. Then he became a writer.

He wrote wonderful stories and novels for children. In the story "Chuk and Gek" he found a very precise word for happiness, I read it to you, and you see these words at the exhibition. He saw happiness in not speaking his country, and in encouraging his readers to do so.

Every person wants happiness. Various writers write about it in their works. But really everyone understands it in their own way. And you can't define it in one word. You can type a whole tree of such words. Tree in associations. We have already talked about what associations are. Remember when you read "The Song of the Prophetic Oleg"

A.S. Pushkin. At that time we selected associations for many words.

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