Folk tale and the world in children's reading
Myth and folk tale: genre continuity
Modern researchers, as a rule, talk about the break between the folklore fairy tale and the myth, arguing this conclusion by the freedom of interpretation of mythological elements and traditions in the author's texts. The formation of fairy tales and classics of Russian folklore (E.M. Meletinsky, V.Ya. Propp) was associated with the crisis of the mythological worldview.
The folklore fairy tale, having arisen at the moment of the crisis of mythological thinking (more precisely, its certain historical forms), has become new form the existence of that timeless content, the repository of which was myth before it. In the same logic, a fairy tale, having appeared at the moment of the crisis of the mythologized folklore genre (obviously caused also by the historical insufficiency of its form), inherits it in the aspect of preserving the same eternal principle - a certain metaphysical constant of myth. Thanks to this, with all the richness of cultural, historical and national versions, the fairy tale genre has been developing for a long time and shows its inescapable universality.
The genre of a folk fairy tale, like a myth, according to the observations of V.Ya. Propp, associated with the rite of initiation. The content of the main groups of fairy tales, identified by scientists on the basis of the analysis of Russian and European material, is ultimately reduced to the initial rite: fairy tales with a complex of initiation and fairy tales reflecting ideas about death. Behind an entertaining and fantastic, at first glance, plot, the listener / reader must discover the secret metaphysical meaning of the initiation.
The super-task of the genre manifestation of the initial rite in an allegorical form determines the morphology and syntax of the World-Labyrinth of a folklore fairy tale. Therefore, the solution of the problem of artistic coding of the metaphysics of myth in the folklore fairy tale canon is connected with the understanding of semantic, morphological and syntactic changes in the mythological type of the World-Labyrinth inherited by the folk tale.
The similarity between the structures of the World-Labyrinth of a folklore fairy tale and a myth lies in the use of a dual-world model. The folklore-fairy-tale dual world assumes the coexistence of two spheres of being: one's own kingdom (the Labyrinth of Life) and another kingdom (the Labyrinth of Death). In most cases, the folklore tale retains the principle of linearity characteristic of the mythological Labyrinth. The border between the worlds, which the hero undergoing initiation has to cross, is marked by a dense forest, Baba Yaga's hut, a fiery river, etc. The function of the border is not only to delimit the kingdoms, but also to hold them together, designating / strictly defining the transition / crossing and the direction of the path. Plot fairytale Hero in this case, it turns out to be a Labyrinth with one corridor, articulating the experience (internal, symbolic passage) of the initiation rite: this type of Labyrinth is marked by expectation, prediction and the inevitability of a denouement and deprives the Hero of any variability of behavior in it.
However, the World of a folklore tale can also be built as a non-linear structure. In this case, the Hero has not one, but several options for movement, from which it is necessary to choose the only correct path. In this case, the plot, as a rule, becomes more complicated due to the use of the trinity principle: the trinity of characters, when three initially equal heroes go different ways, realizing different versions of being in a conditional fairy tale plot; trinity of events, when the hero passes the same path three times.
Folklore tales still retain the principle of linearity due to the peculiarities of the genre, plot-figurative and aesthetic guidelines, however, branching structures can also be found here.
Myths in children's reading
Usually the beginning of children's literature is attributed to the second half of the 18th century. and Rokhova, Campe and Weisse are considered to be its ancestors. But even in ancient times, the need for reading for children was recognized. Even before the time of Socrates, it was forbidden for young men to read some passages from Homer. Plato gave extensive instructions regarding the choice of literary material for conversation with children. In his ideal state, nannies are prescribed famous stories and fairy tales. Myths about gods and heroes are allowed only insofar as they can serve as moral models. Even Homer and Hesiod Plato censored and gave more importance to fables.
Mythology is that field of knowledge in which, despite the apparent vastness of the studied and studied material, science has not yet said the last word.
No less than the concept of the essence of a myth, it is important to understand the stages of its development, which are directly related to the periods of formation of the foundations of people's religious consciousness. An outstanding researcher of the beliefs of the ancient Slavs, historian B.A. Rybakov writes: “Mythology takes shape at the last stage of the primitive communal system. In the language of absolute dates, this can be translated as the Eneolithic and the Bronze Age. The previous proto-myths of the Stone Age hunters were generated ... by a special worldview, their fragments are found in fairy tales.
The concept of "myth" in folklore and literary history has many meanings, the following are typical of them:
1) an ancient myth, that is, a myth in the proper sense of the word;
2) a new myth, which is a concrete historical form of the existence of this phenomenon in modern times up to the present day;
3) a figurative meaning used in everyday speech as a synonym for the words "fiction", "nonsense", "lie", "untruth";
4) figurative meaning, which is used to explain various kinds of mental states, both passive and active-creative, aimed at some kind of "reorganization" of reality and its processing in the mind of the subject.
We are primarily interested in the ancient myth. " specific feature myth is the coincidence in it of worldview and narrative, a fantastic idea of the world around and a story about gods and heroes. A. N. Afanasiev very accurately noted that there is a myth ancient poetry, and how free and varied the poetic views of the people on the world can be, just as free and varied are the creations of their imagination, depicting the life of nature ...
The first acquaintance of a child with myth in Rus' was by word of mouth. Pagan deities, the calendar, rituals have been preserved, significantly transformed, to this day mainly due to the vitality of the word, name. From the 10th century with the adoption of Christianity in Rus', there is an “imposition” of “holidays”: in Slavic paganism, Maslenitsa with festive funeral pancakes-suns, in Orthodoxy the same day Forgiveness Sunday, also a memorial day, the last day before the start of Great Lent; and the names of sacred events: Candlemas On February 2/15, winter and spring meet (hence the meeting candlemas), but in Orthodoxy this is also a great holiday, reminiscent of the meeting of the prophet Simon in the temple of Jesus the baby, when the elder recognized the baby as the Savior.
For the first time in Rus', and then in Russia, a small reader got acquainted with the Christian myth through participation in church services, general readings of the Gospel and the Old Testament, got acquainted with Christian mythology as sacred knowledge. Then, perhaps, he was not a reader, he only listened, listened, memorized, and then, together with the others in the church, relived what he had heard about the past, lived and sang in the liturgical service. The Christian myth was not perceived in memorable times, and is not perceived by believers today as an archaic plot, since it coexists with the real social life and speech, parallel to it, moreover, all-penetrating: reflected in church calendar, festive rituals, idioms of oral speech.
The ancient myth entered the artistic speech and artistic consciousness of the child in Russia through the study of the ancient Greek language and Latin.
Consideration ancient myth in children's reading today it is also possible according to the linear-concentric principle. Initially, for a preschooler, these are “Stories about Gods and Heroes”, both Slavic and ancient, and others. The starting point in the formation of myth are two cults - the cult of nature and the cult of ancestors. This is evident in living religions, in Christianity in particular, and in myths preserved in the metaphorical structure of other traditions, and in fairy tales.
Returning to the myth in children's reading allows you to reveal many meanings contained in one or more stories, united by one hero. And also to see the East Slavic pantheon (in Greek, “all the gods”), established in 980 by Prince Vladimir (“The Tale of Bygone Years”), and the pantheon of Greek, and then Roman gods in plots that were subsequently very widely used by new and latest literature .
The myth in children's reading today is presented in preschool and school programs from the following positions: The myth is pagan (Slavic), ancient. Myth Christian. Retelling goals. Bible for children in the retelling of Archpriest A. Sokolov. "Legends of Christ" by Selma Lagerlöf. Two types of approaches. Symbol and myth. Myth and metaphor, allegory. Myth and phraseology. Myth and Literary Plot. Christian myth in literary genres. Christian myth in Russian poetry for children and youth reading from G. Derzhavin to B. Pasternak. (Circle of children's and youth reading.)
The course of mythology at school is designed to:
1) to acquaint children with the origin, features, development of the myth;
2) using simple vivid examples to show the transformation of the myth into later ones folklore forms, thus illustrating the progressive social, religious, philosophical, scientific development society.
In the 1st grade, students study the Russian folk tale from the standpoint of its origin from ancient myths, rituals, and customs. In the 2nd grade there is a detailed systematic acquaintance with the ancient Greek mythology; third-graders consider the origins of Slavic pagan beliefs, the development Slavic mythology and its influence on Russian folk culture etc..
Science systematizes myths according to their archetypal grain. Almost all peoples have astral myths (myths about stars and planets) or calendar myths, in which the mythologization of the change of time cycles is manifested day and night (light and darkness), winter and summer, etc. Up to cosmic cycles that correlate with cosmogonic myths. Further, anthropogonic myths are myths about the origin, about the creation of man; totemic myths etiological myths about the relationship of people with objects of wildlife, Russian fairy tales about a wonderful spouse go back to them: Finist Clear Falcon, Princess Frog; eschatological myths (eschatos last) myths about the end of the world about the flood, about the destruction of the first generations (giants). One of the "original" myths the myth of the world egg lives on in many mythological worlds as well. It is also preserved in the Russian folk tale "The Ryaba Hen". As in most myths about the world egg, in “Ryaba the Hen” this is a golden egg with other attributes of the sun, it is clear that the myth of the world egg is correlated with the important role that eggs play in calendar and other rituals ( Easter eggs). Naturally, over time, with the evolution of the worldview, the mythological was “erased” in a fairy tale, where, according to the modern idea of what is happening, everything is illogical.
On the contrary, the mythopoetic, seen in a seemingly uncomplicated fairy tale, allows us to better imagine those distant people, their artistic vision of the world. When the testicle rolled up, the testicle broke; but the simple egg promised by the hen has a lunar nature. It turns out that the fairy tale, which is almost the first to be told to a baby, is saturated with universal symbols, which in the future in different contexts will be revealed to the child's consciousness.
For educational purposes, the teacher can use the classification given as an example above. However, without a doubt, the pedagogical expediency of a linear-concentric reading of ancient myths, Slavic, Christian, etc. is great. This also contributes to the formation of the speech culture of the child, representing the living source of this or that myth.
Folk tale in the circle of children's reading
O. Kabachek, based on the fact that each age group has its own genre preferences (this fact was established by researchers from different countries), offers his system literary genres.
Following this system, in her opinion, is a serious prerequisite for the formation of the ability to navigate the structure and content. artistic text. In addition, the typology of genres proposed by O. Kabachek contributes to the formation of not only the reading culture of students, but also their personal development.
The first (original) type is a folk fairy tale. She acquaints her reader (listener) not only with the moral standards by which a person should live, but also with the very artistic structure of a fairy tale, which has great importance for reader development.
In a fairy tale, the subject of art is clearly distinguished - the hero, as well as such essential elements art form, as a simple composition, one-hero character, dynamism of action, chronological incompatibility of actions, simple images.
The psychological origins of children's attachment to fairy tales that satisfy certain needs of childhood, the possibilities of "getting rid of emotions" are interestingly described by the famous American psychologist and psychiatrist Bruno Bettelheim. He claims: "Children need fairy tales" (this is the title of his monograph), because they are the necessary food for the development of personality.
Children's anthropomorphic consciousness endows toys, animals, various objects with certain human characters, based on their "appearance" or "behavior" and drawing an analogy with the appearance and behavior of real people. So in a fairy tale, a person can turn into an animal or into a stone (“The Frog Princess”, “To the west of the sun, to the east of the moon”) and vice versa. The more reliable the fairy tale seems to the kid.
Fairy tales are full of characters and situations that can give impetus to the processes of identification and identification, with the help of which the child can indirectly fulfill his dreams, compensate for his imaginary or real shortcomings. The fact is that the children's vision of the world, the way of thinking of children and the psychological specificity of fairy tales are characterized by a close relationship in their attraction to opposites, extremes. Fairy-tale images are not ambivalent, as is characteristic of human characters in real life. There, one brother is stupid, the other is smart, one sister is hardworking and diligent, the other is lazy, etc. In fairy tales, only extremely strong and very weak, incredibly brave and unbearably cowardly heroes, giants and dwarfs oppose. In the perception and evaluation of literary works by children, polarities, "white" and "black" tones also predominate. That is why "children need fairy tales", because in their best examples, according to V. A. Zhukovsky, they are morally pure and do not leave behind a "bad, immoral impression." Thanks to fairy tales, a child develops the ability to empathize, sympathize and rejoice, without which a person is not a person. For the goal of storytellers is “to educate a child in humanity, this marvelous ability of a person to worry about other people's misfortunes, to rejoice at the joy of another, to experience someone else's fate as their own.”
“Forms of primitive thinking should be used to explain the genesis of a fairy tale”, wrote in the book “ Historical roots fairy tale” famous folklorist V.Ya. Propp. He proposed and substantiated an approach to the study of a folk tale as a transformed and literaryized myth. The main provisions of this methodology are as follows:
1. The fairy tale has preserved traces of the disappeared forms of social life. You can study fairy tales, reaching their foundations, by comparing their content with rituals, customs, and myths.
2. When studying the transformation of a fairy tale, it is necessary to distinguish the main forms associated with its origin from derivative, secondary ones. Causes
transformations lie in changes in everyday life, beliefs, rites.
3. Particular attention is paid to the analysis of magical rituals in a fairy tale, because “the ancient basis of a fairy tale is often the witchcraft rite itself.
Speaking of a folk tale, one cannot help but touch upon the specifics of the vast material with which children will certainly deal: literary processed fairy tales and actually literary, so-called author's fairy tales, which have a folk fundamental basis, folk prototype. Comparison of a folk tale with a literary adaptation and with a literary tale created according to folk motives, as it were, falls out of context. historical analysis, solving not research questions, but rather literary ones.
A fairy tale does not give direct instructions to children, but its content always contains a lesson that they gradually perceive, repeatedly returning to the text of a fairy tale. For example, the fairy tale "Turnip" teaches younger preschoolers be friendly, hardworking; The fairy tale “Masha and the Bear” warns: you can’t go into the forest alone - you can get into trouble, and if this happens, don’t despair, try to find a way out of a difficult situation. Hard work in folk tales is always rewarded (“Havroshechka”, “Moroz Ivanovich”, “The Frog Princess”), wisdom is praised (“A Man and a Bear”, “How a Man Divided Geese”, “The Fox and the Goat”), caring for loved ones is encouraged ("Bean Seed").
All fairy tales have a character who helps the positive hero to keep his moral values. Most often this is a wise old man. “The elder always appears at the moment when the hero is in a hopeless and desperate situation, from which only deep reflection or a successful thought can save him. But since, due to internal and external reasons, the hero cannot cope with this himself, knowledge comes in the form of a personified thought, for example, in the form of a shrewd and helpful old man. He helps the hero get through difficult situation, into which he fell through his own fault, or, at least, helps him to obtain such information that will be useful to the hero in his wanderings. The elder helps to communicate with animals, especially with birds. He warns of impending dangers and supplies the means necessary to meet them fully armed ... Often in a fairy tale, an old man asks questions like “Who? Why? Where? Where?" in order to evoke self-reflection and mobilize moral forces, and even more often it provides an unexpected and incredible means to achieve success, which is ... one of the features of a holistic personality ”(K. G. Jung).
Issues for discussion:
Definition of the genre of a fairy tale. The main features of the Russian folk tale.
General characteristics of fairy tales about animals.
Origin of fairy tales about animals. Animism and totemism in fairy tales about animals.
Animal tale character system. Anthropomorphism.
Composition of fairy tales about animals
Features of the language of fairy tales about animals
Tales about animals in the system of ecological ideas.
Analysis of works of students' choice
3. Fairy tales. Characteristics of this type of fairy tale.
The origin of fairy tales. Connection with mythology and religion. (Animism, totemism and magic in fairy tales).
Typology of heroes of fairy tales.
Minor characters of fairy tales
The main motifs of fairy tales
Time and space in fairy tales
Traditional formulas of fairy tales
Fairy tales in the practice of preschool education
4. Everyday fairy tales. Characteristics of everyday fairy tales.
Varieties of everyday fairy tales
The origin of this type of fairy tales Historical motifs in everyday fairy tales
The system of characters in everyday fairy tales
The social orientation of everyday fairy tales
Replenishment of the fabulous repertoire at the expense of works of literature.
Preparation of reports on the following topics:
Traditional formulas of Russian folk tales.
Images of the younger brother in folk tales.
Women's images in fairy tales, their functions.
Origin, features and functions of the image of Baba Yaga in fairy tales.
Origin, features and functions of the image of the Serpent Gorynych in fairy tales.
Origin, features and functions of the image of Koshchei the Immortal.
Tasks
Expressive storytelling
Comparative analysis of a fairy tale and a literary plot (at the student's choice).
Literature
Anikin V.P. Russian folktale. - M., 1977.
Bakhtin V. From the epic to the counting rhyme: Tales of folklore. - M., 1982
Begak B.A. An inexhaustible spring (Children's literature and folk art). - M., 1973.
Ersh Ershovich. Russian folk tales. - M., 1989.
Marshak S.Ya. About great literature for little ones. / Collected. op. in 8 vols., v.6. - M., 1971.
Melnikov M.N. Russian children's folklore. - M., 1987.
Neelov E.M. The fairy tale roots of science fiction. - M., 1986.
Pomerantseva E.V. The fate of the Russian fairy tale. - M., 1973
Propp V.Ya. The historical roots of fairy tales. - L., 1986
Propp V.Ya. Morphology of a fairy tale. - L., 1976.
Propp V.Ya. Russian fairy tale. - Leningrad State University, 1984.
Propp V.Ya. Folklore and reality. – M.
Roshiyanu N. Traditional fairy tale formulas. - M., 1984.
Slavic mythology. Encyclopedic Dictionary. - M., 1996.
Sharov I.A. Wizards come to people. - M., 1974.
Topic 4: Russian literary fairy tale of the 19th century
Issues for discussion:
The origin of the literary fairy tale genre. Conditions for the existence of a fairy tale
Forerunners of the literary tale
Similarities, differences between literary and folk tales:
volume and existence;
genre and generic transformations;
composition;
5 .The emergence and existence of a literary fairy tale in Russia
6 .Anthony Pogorelsky and his tale black hen, or Underground inhabitants":
Biographical data and history of writing a fairy tale;
A fusion of the realistic and the fantastic in Pogorelsky's fairy tale;
Skill in depicting a child's character;
Composition and plot of the tale;
Traditions and innovation in the fairy tale "The Black Hen, or Underground Inhabitants".
7 . V.F. Odoevsky- writer and educator
Biographical note. A fairy tale in the work of V.F. Odoevsky;
"Town in a Snuffbox" - the first scientific and artistic fairy tale;
"Moroz Ivanovich": plot basics fairy tales; Comparative characteristics of the literary fairy tale by V.F. Odoevsky "Moroz Ivanovich" and folk original.
"Lessons" of the fairy tale "Moroz Ivanovich".
8 .V.A. Zhukovsky- the founder of the literary fairy tale genre
Literary sources of fairy tales by V.A. Zhukovsky ("Sleeping Princess", "War of Mice and Frogs", "Puss in Boots", "Tulip Tree").
Folklore sources of fairy tales "Ivan Tsarevich and the Gray Wolf", "The Tale of Tsar Berendey ...".
Compare the tale of V.A. Zhukovsky “Ivan Tsarevich and Gray wolf” with the folk tale of the same name, paying attention to the similarities and differences in descriptions, characters and relationships of the characters.
The value of V.A. Zhukovsky's creativity and its place in the circle of children's reading.
9 . Pushkin and oral folk art. Reasons and motives for Pushkin's appeal to writing fairy tales.
Folklore and literary sources of A.S. Pushkin.
The problems of fairy tales by A.S. Pushkin. What role does fiction play in them? Pushkin's fairy tales as a work for adults and children.
Heroes of fairy tales A.S. Pushkin and artistic means of image formation.
Rhythmic originality of Pushkin's fairy tales.
10 .Life story P.P. Ershov and the history of the appearance of his fairy tale.
Folklore basis of Ershov's fairy tale.
Literary allusions in the fairy tale "Humpbacked Horse".
Satire in Ershov's fairy tale.
Compare the hero of the fairy tale "Humpbacked Horse" and Ivanushka - the fool from the folk tale. Similarities and differences between these images.
Features of the structure of the fairy tale "Humpbacked Horse"
The role of Ershov's fairy tale in children's reading.
Tasks
Comparative analysis of literary and folk tales with the same plots (at the student's choice).
literary taleIIhalfXIXV.
Features of the development of the literary fairy tale genre in the work of D.N. Mamin-Sibiryak, V.M. Garshina, S.T. Aksakova, L.N. Tolstoy.
Compare the tale of S.T. Aksakov with similar literary and folklore plots by Apuleius. "Metamorphosis", part 5.6 - "The Tale of Cupid and Psyche"; Mrs. LePrince de Beaumont. "Beauty and the Beast"; Russian folk tales "Finist the Bright Falcon" and "The Enchanted Prince". Similarities and differences in plot situations, character characteristics, language features, ideological sense.
What fairy tales L.N. Do you know Tolstoy? The fairy tale "Three Bears" and its connection with the pedagogical views of the author.
Tales of V.M. Garshin. Andersen's traditions and symbolism of the fairy tale "Attaleaprinceps", "About the toad and the rose", "About what was not". Fantasy and reality in the fairy tale "The Frog is a Traveler".
The structure of the cycle D.N. Mamin-Sibiryak "Alyonushka's Tales". Traditions and innovation of fairy tales. Folklore motifs in "The Tale of Tsar Pea ...".
draw conclusions about characteristic features literary tale II half of XIX V.
Literature
Anikin V.P. Introductory article / In the book. Ershov P.P. "The Little Humpbacked Horse". - M., 1994.
Anikin V.P. For curious readers. In the book: Two fairy tales. Tales of Russian writers. - M., 1975.
Akhmatova A.A. Pushkin and children. // Children's literature. - 1994. - No. 4.
Berezkina S.V. The history of the creation of Zhukovsky's last fairy tale / In the book. Zhukovsky and Russian culture. - L., 1987.
Bessarab M.Ya., Zhukovsky V.A. A book about the great Russian poet. - M., 1975.
Blagoy D.D. “We have everything from Pushkin. // Children's literature. - 1994. - No. 6.
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Tale of P.P. Ershov "Humpbacked Horse".
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Strelkova, L.P. Fairy tale lessons / L.P. Strelkov. M.: Eksmo, 2012. 398 p.
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Folklore is oral folk art: folk wisdom, knowledge about the world, expressed in specific forms of art. Verbal folklore is specific art. In the creation, storage, and sometimes performance of folklore big role team played. The problem of authorship, and even more so of attribution, has never been raised. The word "folklore" literally translated from English means folk wisdom. Folklore is poetry created by the people and existing among the masses, in which it reflects its labor activity, social and everyday way of life, knowledge of life, nature, cults and beliefs. Folklore embodies the views, ideals and aspirations of the people, their poetic fantasy, the richest world of thoughts, feelings, experiences, protest against exploitation and oppression, dreams of justice and happiness. This is an oral, verbal artistic creativity that arose in the process of the formation of human speech.
In a pre-class society, folklore is closely connected with other types of human activity, reflecting the rudiments of his knowledge and religious and mythological ideas. In the process of development of society, various types and forms of oral verbal creativity arose. Some genres and types of folklore have lived a long life. Their originality can be traced only on the basis of circumstantial evidence: on texts of later times that have preserved archaic features of content and poetic structure, and on ethnographic information about peoples that are at pre-class levels. historical development. Only from the 18th century and later are authentic texts of folk poetry known. Very few records survive from the 17th century. The question of the origin of many works of folk poetry is much more complicated than that of literary works. Not only the name and biography of the author - the creator of this or that text are unknown, but also the social environment in which the fairy tale, epic, song, time and place of their composition was formed is unknown. About ideological concept the author can only be judged by the surviving text, moreover, often written down many years later.
An important circumstance that ensured the development of folk poetry in the past was the absence of "sharp differences in the mental life of the people." Such historical conditions there were works created "by the whole people, as one moral person." Thanks to this, folk poetry permeates the collective principle. It is present in the appearance and perception by listeners of newly created works, in their subsequent existence and processing. Collectivity is manifested not only externally, but also internally - in the folk poetic system itself, in the nature of the generalization of reality, in images, etc. In the portrait characteristics of heroes, in certain situations and images of folklore works, there is little individual characteristics, occupying such a prominent place in fiction.
The images of folk heroes express best features Russian national character; the content of folklore works reflects the most typical circumstances of folk life. At the same time, pre-revolutionary folk poetry could not but reflect the historical limitations and contradictions of the peasant ideology. Living in oral transmission, the texts of folk poetry could change significantly. However, having reached complete ideological and artistic completeness, the works often remained for a long time almost unchanged as poetic legacy of the past as a cultural wealth of enduring value.
On the chronological interval from ancient times to the present day, folklore occupies an intermediate position, is a link in cultural space centuries. Perhaps folklore has become a kind of filter for mythological stories the totality of the Earth's society, having let universal, humanistically significant, and most viable stories into literature.
Children's folklore formed under the influence of many factors. Among them are the influence of various social and age groups, their folklore; mass culture; existing ideas and much more.
The initial sprouts of creativity can appear in various activities of children, if the necessary conditions are created for this. The successful development of such qualities depends on upbringing, which in the future will ensure the participation of the child in creative work.
Children's creativity is based on imitation, which serves an important factor child development, in particular artistic ability. The task of the teacher, relying on the tendency of children to imitate, is to instill in them skills and abilities, without which creative activity is impossible, to educate them in independence, activity in the application of this knowledge and skills, to form critical thinking, purposefulness. Foundations are laid at preschool age creative activity child, which manifest themselves in the development of the ability to plan and implement it, in the ability to combine their knowledge and ideas, in the sincere transmission of their feelings.
Russian folk tale is a genre of oral folk art. “A folk tale is understood as an oral narrative work of a magical, adventurous or everyday nature with a focus on fiction, told for educational or entertainment purposes” (V.I. Chicherov). Of all the folklore genres, the fairy tale is the most structured and, more than all other genres, subject to certain laws.
The word "fairy tale" first occurs in the seventeenth century as a term for those types of oral prose that are primarily characterized by poetic fiction. Until the middle of the nineteenth century, fairy tales were seen as "one fun" worthy of the lower strata of society or children, so fairy tales published at this time for the general public were often altered and altered according to the tastes of publishers. At about the same time, among Russian literary critics, interest was growing precisely in genuine Russian fairy tales - as in works that could become the foundation for the study of the so-called. of the “real” Russian people, their poetic creativity, and therefore able to contribute to the formation of Russian literary criticism.
It is known that many fairy tales begin with the beginning: "Once upon a time," and end with a sentence: "They began to live and live and make good." Yes, and the very telling of fairy tales presupposes the knowledge of special formulas, such as this: "Soon a fairy tale is told, but not soon the deed is done."
However, a fairy tale would not be a fairy tale if it allowed the villain to triumph over innocently persecuted people. Such an ending is common in fairy tales. There are no such troubles that the heroes of fairy tales would not fall into, but there are no such troubles that they would not take away from themselves. Goodness wins, justice prevails. Of course, such an ending to stories, like so much in a fairy tale, is fiction, but fiction is not aimless. The storytellers did not put up with the evil of life, they dreamed of a just life. In fairy tales, the persecuted, offended always win, justice always triumphs. The idea in the fairy tale is very simple: if you want happiness for yourself, learn your mind.
Fairy tales are a kind of moral code of the people, their heroism is, although imaginary, but examples of true human behavior. Fairy tales express the joyful acceptance of being - the destiny of an honest person who knows how to stand up for his dignity. Thus, fairy tales teach children not to submit to maltreatment, not to give up when problems arise, but to bravely fight troubles and defeat them.
Diverse fairy fund. Here, fairy tales are extremely simple in content and form (“Rocked Hen”, “Turnip”), and fairy tales with a sharp exciting plot (“Cat, Rooster and Fox”, “Geese-Swans”). With an amazing pedagogical talent, he leads the people of the child from simple play nursery rhymes to complex poetic images of fairy tales; from amusing, soothing lines to situations that require the tension of all mental strength from a small listener.
In an effort to awaken the best feelings in children, to protect them from callousness, selfishness, indifference, the people colorfully depicted in fairy tales the struggle between the powerful forces of evil and the force of good, most often represented in the image ordinary person. And in order to temper the spiritual strength of the child and instill in him confidence in the inevitability of the victory of good over evil, fairy tales told how difficult this struggle is and how courage, steadfastness and devotion will surely defeat evil, no matter how terrible it may be.
the same purposes moral education Fairy tales also serve, in which such human vices as malice, arrogance, cowardice, and stupidity are ridiculed. In many fairy tales, the attention of children is drawn to natural phenomena, to the features of the appearance of birds, animals and insects. Such fairy tales teach to figurative perception of the richness and diversity of the world around us, bring up interest in it. It is important that the child not only listens to this or that fairy tale, but also realizes its idea, thinks about the details of what is happening.
In order to raise the level of children's perception of literary works, the kindergarten program should provide for the familiarization of preschoolers with variants of fairy tales. Children subtly notice the shades in the plots, in the characters and behavior of the characters. There is a reassessment of what has been heard before. So, children of three - three and a half years old call the bear from the fairy tale "Teremok" kind, good. Older children re-evaluate the friendly work of animals from the fairy tale “Winter Cottage”; pampered, arrogant Malashechka from the fairy tale "The Picky Girl" brighter set off the kindness, responsiveness of Masha from the fairy tale "Geese Swans".
Children begin to listen more attentively to other fairy tales, to delve into events and characters. Preschoolers also have their own, often collectively invented versions of fairy tales. It is very important to support these manifestations of creativity in every possible way.
The completeness of the perception of a fairy tale also depends largely on how it is read, how deep the narrator's penetration into the text is, how expressively he conveys the images of the characters, conveys both the moral orientation and the sharpness of situations, and his attitude to events. Children are sensitive to intonation, facial expressions, and gestures.
Most of all, it is possible to excite children, capture their imagination, telling as if the narrator was a participant in the events or observed them. The emotionality of the story, its expressiveness, the skillful use of the figurative language of the fairy tale are so acutely perceived by children that they listen, afraid to miss even a single word. The immediacy of perception inherent in children, faith in the truth of what is happening enhance the sharpness of impressions. The child mentally participates in all the vicissitudes of the fairy tale, deeply experiences the feelings that excite her characters. This inner activity - "life together with the hero" - as if raises all the spiritual forces of the child to a new level, makes it possible to intuitively, with feelings, know what he cannot yet comprehend with his mind.
However, it is necessary to warn the narrator against attempts to interpret, to explain in his own words the content or moral of the tale. This can destroy the charm of a work of art, deprive children of the opportunity to experience and feel it.
The story needs to be told over and over again. On first listening, impressions are often inaccurate. Intensely following only the plot, children miss a lot. During repeated listening, the impressions deepen, the strength of emotional experiences grows, as the child more and more delves into the course of events, the images of fairy-tale characters, their relationships, and actions become clearer for him. The baby now listens more to the sound of the speech itself, remembers individual expressions he likes.
Repetitions are especially necessary for children who are emotionally less developed. For such a child, who, after the first story, listened to the excited judgments and assessments of his more receptive comrades, the repetition of a fairy tale helps to go from vague, obscure guesses and impressions to a complete understanding of what is happening, and then the fairy tale will excite him, capture his imagination, feelings. Combining children for additional reading, it is necessary to take into account their development, peculiarities of perception, emotionality.
In order for children to listen attentively, it is necessary to prepare them. Toddlers can be interested in the type of toys with which they will be shown a fairy tale (a kind of table theater). In children of three or four years of age, interest can be aroused by a saying. She will prepare the narrator himself for the slowness, rhythm of the storyteller's speech.
A fairy tale is an epic, prosaic genre. Every nation has its own tales. But plots common to different peoples have long been noticed. V.Ya. Propp wrote that “a fairy tale is a symbol of the unity of peoples. Peoples understand each other in their fairy tales. The researcher made a classification of fairy tales, identified types and gave their characteristics: a fairy tale, everyday fairy tale and cumulative tale. In fairy tales V.Ya. Propp analyzed the morphological structure.
A characteristic feature of the plot of a fairy tale is the progressive development of the action. It moves without knowing side lines and retrospectives. The artistic time of a fairy tale does not go beyond its limits, does not have an exact designation and real correspondence to anything. art space fairy tales are vague, easily overcome.
The architectonics of a fairy tale has elements common to all types: saying, beginning, main part, outcome or ending. There are common features for all types of fairy tales: constant stylistic formulas, retardation, lack of portrait descriptions heroes, descriptions of their character and exact indications of age, intonation of a lively story.
Russian folk tale has existed since ancient times and is a "witness" of many social processes. The fairy tale reflects all the changes taking place in the social system of society, and the process of education is one of the processes reflected in Russian folk tales.
A fairy tale can give the keys to enter reality in new ways, it can help a child to know the world, it can endow his imagination and teach him to critically perceive the environment.
Literary creativity is a two-pronged process: - the accumulation of impressions in the process of cognition of reality and their creative processing in verbal form; - writes A.E. Shibitskaya. Verbal creativity is manifested in finding words, phrases and verbal statements that most accurately reflect the concreteness of images, pictures, phenomena that have arisen in the mind of the child. These images - representations formed on the basis of past experience, are not at the same time an exact repetition, a copy of what the child has seen, heard, experienced.
This is the result of the activity of thinking and imagination, aimed at recreating past experience in new combinations.
Forms of expression of verbal creativity in children:
1. Word creation (in the narrow sense), that is, the creation of new words, neologisms.
2. Composition of poems.
3. Composing your own stories and fairy tales, creative retellings.
One of the factors determining the development of children's verbal creativity should be recognized as the influence of folklore. Firstly, folklore has an educational impact on the child's personality, forms artistic abilities, mental properties necessary for such a complex process as literary creativity, that is, creates the prerequisites for its occurrence. Secondly, folklore has a direct influence on the verbal activity of children, develops figurative speech, determines the structure and style, feeds it with its material, gives images, and imagines the way the story is constructed.
Most often, children compose fairy tales, stories under the direct influence of Russian folklore.
The themes and images of fairy tales are close to children. The world of fairy tales is basically real.
Fairy tales are an inexhaustible source for the development of feelings, fantasy, and imagination for a child. The fairy tale activates the child's imagination, makes him empathize and internally contribute to the characters (anticipation of events, thinking out, free fantasy, and so on). What serves as a source for children's verbal and artistic creativity. The magic of a fairy tale, its fantasticness allows you to free the child's imagination from patterns and show their own unique individuality.
1. Questions - motivations for the development of history (helping the narrator in the next step, as well as saturating the tale with events): “And what happened next?”, “And what then?”
2. Questions - clarifications (helping to reveal the motives of the characters' behavior and circumstances important for the plot): "where?", "When?", "How?", "Why?", etc.
3. Questions that help to sustain the genre of history (to increase the eventfulness of a fairy tale): “What is fabulous here?”, “Where is the magic here?”, “How does it happen in fairy tales?” etc.
4. Remarks - intervention in the plot (transition to the position of a co-author - narrator, which happens in real life; goal: increasing the eventfulness of a fairy tale and / or speeding up the story (increasing the density of events)): “And then he ...”, “And suddenly ... "," And then one day ... "and the like.
The task of developing creativity - the central component, the core of general and artistic abilities - requires, in addition to the traditional formation of reproductive types of literary and artistic activity for preschoolers (learning by heart, retelling the text, etc.), pay special attention to the development of productive abilities of preschoolers. The main ones are writing, children's literary and artistic creativity. In preschool education, it is necessary to present all types of writing activity child: versification, writing fairy tales, stories, genres of small folklore, more actively use the methods of stimulating literary creativity: inventing a continuation of the text; writing based on specially selected pictures, toys; commenting on the child's own drawing and the like.
LB Fesyukova in the book "Education with a fairy tale" offers a large list of methods for working with a fairy tale. Part of this list is the methods that J. Rodari described in his famous book"A Grammar of Fantasy". Creative methods of working with fairy tales make it possible to use texts that children love more widely and in a more diverse way.
LB Fesyukova offers the following methods of working with a fairy tale.
1. Writing fairy tales from a funny rhyme, from a rhyme, from a riddle, from grammatical arithmetic, from phraseological units, from a puzzle, from scary story, from simple rhymes, from nursery rhymes of chants, as well as from other forms of small folklore, from fantastic phenomena and everyday objects, from comic questions and transformations, from short stories and one word. In addition, about living drops and blots, about monsters in mixed images, about fantastic countries and favorite toys, about the seasons, smells, sounds, as well as by analogy with famous fairy tales, from comic pictures, from veiled pictures.
2. The use of ready-made well-known texts in various versions: introducing heroes into new circumstances, creating a collage of fairy tales (salad from fairy tales), continuing a familiar fairy tale, changing a ready-made situation, twisting a fairy tale, telling a familiar fairy tale in a new way, modeling, creating a new ending fairy tales and many more.
Here is a list of methods for working with a fairy tale, and, probably, it does not exhaust all the possibilities of interaction between an adult and a child. Not all of these methods are suitable for working with preschoolers. Many methods require a rich vocabulary and command of the expressive means of the language. However, most methods are suitable for all ages.
The fabulous language is characterized by the use of stable formulas:
· Formulas of the beginning: “In a certain kingdom, in a certain state they lived-were…”, “lived-were…”;
The formulas of the fairy tale itself: “it grows by leaps and bounds ...”, “the morning is wiser than the evening ...”, “the fairy tale soon tells, but the deed is not done soon ...”;
Ending formulas: “an honest feast for a wedding ...”, “I was there, honey - I drank beer ...”, “began to live and make good things” ....
In the poetic language of fairy tales, forms characteristic of all Russian folklore are often found:
· Merged synonyms: sadness - melancholy, path - path;
· Tautological combinations: miracle - wonderful, marvelous;
Constant epithets: dark forest, at an oak table, a crystal bridge, gemstones, a bone leg, good fellow, red girl, filthy monster.
Traditional formulas do not interfere with the free development of the idea and theme of the tale.
A fairy tale is distinguished by an even greater dynamism of events than fairy tales about animals (the hero overcomes obstacle after obstacle, retreats and overcomes them again).
The fairy tale spreads the knowledge of children, introduces the names of animals, birds, plants, insects. But this is only a secondary task of the tale.
First of all, in a fairy tale we find people's ideas about goodness, about truth, about justice, about beauty, which determine the morality of a fairy tale, its character. goodie. Good always triumphs over evil. Heroes master the magical power. Often they are opposed by age (well done and old man). The function of the hero depends on age: old advisers, young heroes or rivals. The plot depends on the age of the character. Therefore, the principle of fairy tales is divided into two groups: about a child, about an adult. A fairy tale where the main character is a child or a fairy-tale creature resembling him has special treatment to folk pedagogy.
Animals and birds in fairy tales about animals can speak, their habits remain the same, and the situations that the heroes of fairy tales find themselves in are unusual. The most important ideas - about the mind and stupidity, about cunning and straightforwardness, about good and evil, about the wisdom of greed, generosity and deceit, courage and cowardice - the child first receives from fairy tales. And these ideas determine the norms of behavior for the child.
The main means of character typification is the figurative language of the fairy tale. It is based on a common language, a layer of colloquial vocabulary is widely used. In the concretization of characters, the speech of the characters plays an important role. The language of the narrative expresses his attitude to what is happening. The role of the intonational-syntactic structure of his speech is essential.
For the language style of a fairy tale, the expression of reality is more characteristic than of quality: verbs are widely used from parts of speech; adjectives are less common. Description in a fairy tale is not often, detailed descriptions are achieved by certain means - constant epithets. In general, tropes (epithets and metaphors) are used with restraint, with great tact, more often in fairy tales. They also have many comparisons. The sound organization of speech plays a significant role.
Based on a comparative analysis of folk and literary fairy tales, we can say that since in many respects they have a similar nature, their influence on the development of literary and artistic creativity of older preschool children will be equivalent.
So the specific artistic means folk and literary fairy tales for children corresponds to the peculiarities of the perception and psyche of the child.
It is known that the closest, accessible and exciting activity for a preschooler is a game. There is a two-way connection between play and speech: on the one hand, the child's speech develops and is activated in the game, on the other hand, the game itself is improved under the influence of speech enrichment.
The readiness of the child to be introduced into artistic creativity is evidenced by certain qualities of his play behavior, which can act as a kind of indicators and are quite accessible to the observation of an attentive adult. Such qualities, important for further artistic development, Leites identifies at least five following in the order of occurrence within the role-playing game, observing the chronology of their appearance.
1. Ease of accepting a role in role-playing game and appeal to expressive means in role behavior(quality of role-playing dialogue, intonation, facial expressions and pantomimics).
2. The ability to come up with what should happen to the game character, that is, the ability to plot.
3. Planning subsequent game actions, coordinating them with partners in the game, which indicates the presence of a plan, realizing that it is not represented in the mind of another, and searching for the embodiment of this plan.
4. An attempt to express attitude towards game character, to give a kind of emotional "score", a figurative interpretation of the character (for example, a child can play the same Baba Yaga both as scary and as funny, depending on how he treats her that day).
What does your child like to play with the most? Of course, in a fairy tale!
For thousands of years, fairy tales have served adults. But gradually she moved into the children's environment. When moving from an adult to a children's environment, a fairy tale always had an intermediary (nanny, grandmother, mother or father), they chose what corresponded childhood, taste. Before, fairy tales about animals passed into children's, they are the simplest in composition, they are the easiest to digest, therefore, they are intended for the smallest. Once seen a fairy tale leaves a feeling of miracle, magic, holiday in the child's soul for a long time. A fairy tale in which good usually wins, the sick become healthy, the poor become rich, and the weak become strong, gives children a sense of security.
A fairy tale is the most attractive material for children with ONR. The fairy tale most corresponds to the worldview of the child. B. Bettelheim notes that the adult language, logic are incomprehensible to the child (because he has visual - effective thinking prevails over abstract - logical). Therefore, it is easier for him to find answers to his problems and questions in fairy-tale situations and images.
However, even for an adult, burdened with conventions and excessive rationalism, fairy tales help to turn to their imagination and intuition, free their creativity, and look at the world in a new way.
On speech therapy classes, a fairy tale serves as a tool for a variety of developmental exercises. With the help of playing fairy tales, a speech therapist can correct various aspects of speech activity, namely: develop phonemic perception; improve the syllabic structure of words; automate evoked speech sounds; replenish, clarify and activate vocabulary; clarify the structure of proposals; improve connected sentences.
By expression famous psychologist S.L. Rubinshtein "in the game, as in a focus, they gather, manifest in it and through it all aspects of the mental life of the child are formed." Children who know how to play can transform, improvise, endure stress more easily, it is easier for them to take the point of view of another person, understand others, empathize with them.
In the process of demonstrating a fairy tale, a child, naturally, has an emotional upsurge. But, in addition to this, his concentration, perception and mental activity noticeably increase. At the very beginning of training, the speech therapist models and plays the fairy tale on his own (with the help of desktop toys), without the participation of the child. During such a lesson, the child is silent, he only looks and listens. It is obvious that his speech is improved only in a passive way. However, all cognitive abilities (motivation, attention, imagination, memory, thinking) function actively. All learning involves a gradual complication of tasks, this complication due to the increasingly active participation of the child in playing and modeling a fairy tale.
1. Discussing the viewed plot.
Immediately after showing the fairy tale, the adult asks questions that help the formation of the child's lexical and grammatical ideas, as well as encourage him to analyze, reason, and draw conclusions. For example: “Who was the fox hiding from? Who were you watching? To whom did she like it? etc.
Thanks to such exercises, it is possible to improve the child’s vocabulary and logical thinking, the grammatical correctness of his phrasal statements and vocabulary, as well as to automate the evoked sounds in independent speech.
2. Connecting the child to playing a fairy tale.
During the demonstration of the tale, in the course of action, the speech therapist, without explaining anything to the child, passes him one of the toys. And then, referring to this toy, on behalf of his character asks a question to the character of the child. ("Where are you going, Chicken?").
You can address the child's character with a replica, requiring explanations, apologies, generalizations, etc. from him. For example, “Dwarf, please disenchant the Goat! How will you do it?"
Such exercises, in addition to attention, thinking, imagination, allow you to improve the speech activity and the construction of the child's phrasal statements.
3. Playing a familiar fairy tale by a child.
At first, in case of indecision, you can invite the child to play a small fragment of a fairy tale (for example, its very end). Then you should proceed to reproduce the tale in its entirety. If the child is accustomed to the teacher, is in good contact with him, then it is psychologically easier to act out a fairy tale without the presence of other children.
Only after the successful experience of showing a fairy tale to one adult, it is worth moving on to “performance” in a team.
This exercise stimulates the child's speech activity, helps to improve his phrasal and coherent speech.
4. Playing a familiar fairy tale with the participation of several children.
Before starting to play the fairy tale, the speech therapist distributes the roles, distributing the appropriate toys to the small actors.
Giving children relative independence when playing a fairy tale, an adult continues to direct the development of its plot through the replicas of the storyteller or one of the characters.
Thanks to such exercises, children learn to participate in a conversation, to form their statements according to the laws of dialogical communication.
5. Playing a fairy tale by a child based on what he saw, with a change in characters, time or result of an action.
At the beginning of training, a fairy tale should be offered for independent playback, in which there are minimal changes. For example, a stubborn bull can be replaced by a donkey or a pugnacious goat by a wolf.
Adding a new character to the fairy tale makes the child think and fantasize even more intensely.
A more difficult option would be to change the time of its action in the fairy tale. For example, a dog whose tail is frozen in a hole in the winter, according to the content of the tale, should act completely differently when the action of the tale takes place in the summer. Moreover, in this case, the result of the action also changes.
Such changes in the tale will necessitate a detailed analysis of the actions of the characters.
6. Playing and modeling a fairy tale by a child using a set of toys compiled by an adult.
In this case, the child will have to be independent not only to demonstrate a fairy tale, but also to invent its plot. At first, in case of difficulties, you can remind the child of the plot, by analogy with which he can create his own.
In the future, the child should be given more independence.
Such exercises help develop the most complex shapes coherent statement - the compilation of creative stories.
7. Playing and modeling by the child of a fairy tale according to the set of toys chosen by him.
This type of lesson differs from the previous one in that the child is given even greater independence in creativity.
Peculiarities of children's understanding of small folklore forms.
Proverbs and sayings are a special kind of oral poetry that has absorbed the labor experience of numerous generations for centuries. Through a special organization, intonational coloring, the use of specific linguistic means of expression (comparisons, epithets), they convey the attitude of the people to a particular object or phenomenon. Proverbs and sayings, as well as another genre of oral folk art, in artistic images recorded the experience of a lived life in all its diversity and inconsistency.
Using proverbs and sayings in their speech, children learn to express their thoughts and feelings clearly, concisely, expressively, coloring their speech intonation, develop the ability to creatively use the word, the ability to figuratively describe an object, give it a vivid description.
Guessing and inventing riddles also affects diversified development children's speech. The use of various means of expression to create a metaphorical image in a riddle (the method of personification, the use of polysemy of a word, definitions, epithets, comparisons, a special rhythmic organization) contribute to the formation of figurative speech of preschool children.
Riddles enrich the vocabulary of children due to the ambiguity of words, help to see the secondary meanings of words, form ideas about figurative meaning words. They help to master the sound and grammatical structure of Russian speech, forcing them to focus on the language form and analyze it. A riddle is one of the small forms of oral folk art, in which the most vivid, characteristic signs of objects or phenomena are given in an extremely compressed, figurative form. Solving riddles develops the ability to analyze, generalize, forms the ability to independently draw conclusions, conclusions, the ability to clearly identify the most characteristic, expressive features of an object or phenomenon, the ability to vividly and concisely convey images of objects, develops a "poetic view of reality" in children.
Lullabies, according to the people, are a companion of childhood. They, along with other genres, contain a powerful force that allows the development of the speech of preschool children. Lullabies enrich the vocabulary of children due to the fact that they contain wide circle information about the world around us, primarily about those objects that are close to the experience of people and attract with their appearance, for example, "hare".
The grammatical variety of lullabies contributes to the development of the grammatical structure of speech. When teaching children to form single-root words, you can use these songs, as they create images that are well known to children, for example, the image of a cat. Moreover, this is not just a cat, but a "kitten", "cat", "cat", "cat". In addition, positive emotions associated with this or that from the cradle in a familiar way make this development more successful and durable.
The lullaby, as a form of folk poetry, contains great opportunities in the formation of phonemic perception, which is facilitated by a special intonation organization (singing out vowel sounds, slow tempo, etc.), the presence of repetitive phonemes, sound combinations, onomatopoeia. Lullabies allow you to memorize words and forms of words, phrases, master the lexical side of speech. Despite the small volume Lullaby conceals an inexhaustible source of educational and educational opportunities.
Actual task speech development in the older preschool age is the development of diction. It is known that in children the organs of the speech-motor apparatus are not yet sufficiently coordinated and clearly working. Some children are characterized by excessive haste, fuzzy pronunciation of words, "swallowing" endings. Another extreme is also observed: an unnecessarily slow, stretched manner of pronouncing words. Special exercises help children overcome such difficulties, improve their diction.
An indispensable material for diction exercises is proverbs, sayings, songs, riddles, tongue twisters. Small forms of folklore are laconic and clear in form, deep and rhythmic. With their help, children learn clear and sonorous pronunciation, go through the school of artistic phonetics. According to the apt definition of K.D. Ushinsky, proverbs and sayings help to "break the child's language into the Russian way."
The purpose of diction exercises is diverse. They can be used to develop the flexibility and mobility of the child's speech apparatus, to form the correct pronunciation of speech sounds, to master the pronunciation of difficult-to-combine sounds and words, to master the child's intonation riches and different speech rates. For example, with the help of small forms of folklore, children learn to express this or that intonation: grief, tenderness and affection, surprise, warning.
It is important that when performing diction exercises, there is a reality behind each spoken word. Only in this case the child's speech will sound natural and expressive.
Rhymes, tongue twisters, proverbs, sayings are the richest material for the development of sound culture of speech. By developing a sense of rhythm and rhyme, we prepare the child for further perception of poetic speech and form the intonational expressiveness of his speech.
The language created by the people is replete with figurative colloquial forms, expressive vocabulary. This richness of the native language can be conveyed to children with the help of folk games. The folklore material contained in them contributes to the mastery of native speech. For example, the game is the fun "Ladushki-crackers", where an adult asks questions, and a child answers, accompanying his answers with imitation movements. In the process of games - fun, not only speech develops, but also fine motor skills, which prepares the child's hand for writing.
The use of riddles in working with children contributes to the development of their speech-proof and speech-description skills. To be able to prove is not only to be able to think correctly, logically, but also to correctly express one's thought, wrapping it in an accurate verbal form. Speech-proof requires special speech turns, grammatical structures, and a special composition that are different from the description and narration. Usually preschoolers do not use this in their speech, but it is necessary to create conditions for their understanding and development.
Systematic work on the development of speech-evidence skills in children when explaining riddles develops the ability to operate with a variety of interesting arguments for a better guess.
In order for children to quickly master the descriptive form of speech, it is necessary to draw their attention to the linguistic features of the riddle, to teach them to notice the beauty and originality of the artistic image, to understand by what speech means it was created, to develop a taste for the exact and figurative word. Given the material of the riddle, it is necessary to teach children to see compositional features riddles, to feel the originality of its rhythms and syntactic constructions.
For these purposes, the analysis of the language of the riddle is carried out, attention is paid to its construction. The author recommends having several riddles in reserve about one subject, phenomenon, in order to show the children that the images and expressions they have found are not isolated, that there are many opportunities to say differently and very capaciously and colorfully about the same thing. Descriptive skills there is talk more successful if, along with riddles, literary works, illustrations, paintings.
So, through riddles, children develop sensitivity to language, they learn to use various means, select the right words, gradually mastering figurative system language.
With the help of small forms of folklore, it is possible to solve almost all the problems of the methodology for the development of speech, and along with the main methods and techniques of speech development of older preschoolers, this richest material of the verbal creativity of the people can and should be used. All of the above forms of work indicate this, it remains to develop a comprehensive methodology for their application.
Folklore
Magic ring: fairy tales and stories.
Magic box: old Russian proverbs, sayings, riddles.
Crane feathers: [Japanese folk tales. Songs. Poems of Japanese poets].
Ilya Muromets and the Nightingale the Robber: epics.
When the sun is warm, when the mother is good: Rus. Proverbs and sayings.
Russian heroes: epics and heroic tales.
Russian fairy tales.
Sadko: epic tale.
Tales of the peoples of Russia.
Tales of Old England.
Three magic leaves: fairy tales of the peoples of Scandinavia.
Shergin B. V. Vanya Danish: Byl Arkhangelsk.
Japanese fairy tales.
Grigoriev, O. E. Poems for children: [poems].
Zakhoder, B.V. About everything in the world: the elements of a fairy tale.
Kruzhkov, G. M. A cloud with a porch: poems.
Krylov, I. A. Fables.
Lear, E. whole volume nonsense; English classical absurdity of the 19th century.
Mikhalkov S.V. Poems and fairy tales.
My Motherland: poems of Russian poets about the Motherland.
We do not live for war: poems by poets from different countries
Nekrasov, N. A. Selected poems for children.
Nekrasov, N. A. A man with a marigold: Poems. Poems.
Pushkin, A. S. Feast of Peter the Great: a poem with an introduction. and comment.
Rodari, J. Hello Children!: Poems.
Sef, R. S. The Blue Meteorite: Poems.
Yasnov, M. D. Kids time: [poetry].
Aleksandrova, T. I. Winter friends, summer friends: stories.
Vodopyanov, M.V. In the days of war: stories.
Voronkova, L. F. A girl from the city; Geese-swans: stories.
Gaidar, A.P. Distant countries: novels and stories.
Gaidar, A.P. Timur and his team: stories.
Golyavkin, V.V. Notebooks in the rain: [stories and novel].
Golyavkin, V. V. Drawings on asphalt: stories.
Davydychev, L. I. The life of Ivan Semenov, a second-grader and repeater: [tales].
Davydychev, L. I. Hands up, or Enemy No. 1: a novel that is a little detective, and even with a scientific and medical bias, and even with a prologue, but without an end.
Dmitriev, Yu. D. The mysterious night guest: stories.
Dmitrieva, V.I. Malysh and Zhuchka: a story.
Dostoevsky, F. M. The boy at Christ on the Christmas tree.
Durov, V. L. My animals.
Yesenovsky, M. Yu. Ur-Yur-Vyr: stories.
Zhitkov, B. S. Stories about animals.
Zoshchenko, M. M. Stories for children.
Kazakov, Yu. P. Teddy: The story of a bear: a story.
Koval, Yu. I. Adventures of Vasya Kurolesov: stories.
Lindgren, A. The Adventures of Emil from Lenneberga: a tale.
Loskutov, M. P. The story of talking dog: stories.
Nosov, N. N. Vitya Maleev at school and at home: a story.
Nosov, E. M. Where does the sun wake up?: stories.
Pivovarova, I. M. Once Katya and Manechka: [novels, stories].
Prishvin, M. M. Forest floors: stories for children.
Prokofieva, S. L. The adventures of the yellow suitcase: (fairy tales).
Rozanov, S. G. Adventures of Grass: a story.
Romanovsky, S. T. Tchaikovsky's childhood: a story.
Sakharnov, S.V. Visiting Crocodiles: Stories and Tales.
Seton-Thompson, E. Chink; Arno; Street singer; Johnny Bear: Stories.
Skrebitsky, G. A. Long-tailed robbers: stories and tales.
Skrebitsky, G. A. Unknown paths: stories for children.
Snegirev, G. Ya. Beaver hut: stories and novels.
Sotnik, Yu. V. "Archimedes" by Vovka Grushin: stories.
Sotnik, Yu. V. How they saved me: stories.
Tikhonov, N. S. Surprising little stories: stories.
Chaplin, V.V. Pets of the zoo: [stories].
Chaplin, V.V. Fomka - a white bear cub: [stories].
Chekhov, A.P. Kashtanka.
literary tales
Akim, Ya. L. Teacher TakTak and his colorful school.
Aksakov, S. T. The Scarlet Flower: The Tale of the Housekeeper Pelageya.
Andersen, H.-K. Fairy tales.
Argilli, M. The Adventures of Carnation.
Bzhehva, J. Academy of pan Klyaksa: a story-tale.
Bonsels, V. Maya the bee: [story].
Volkov, A. M. The Wizard of the Emerald City: a fairy tale.
Volkov, A. M. Urfin Deuce and his wooden soldiers: fairy tale.
Volkov, A. M. Seven underground kings: a fairy tale.
Volkov, A. M. The fiery god of the Marrans: a fairy tale.
Volkov, A. M. Yellow fog: a fairy tale.
Volkov, A. M. The mystery of an abandoned castle.
Gauf, V. Tales.
Geraskina, L. B. In the Land of Unlearned Lessons: (a magical incident).
Gernet, N.V. Katya and the crocodile: a story.
Hoffmann, E.-T.-A. Nutcracker and Mouse King: fairy tale.
Graham, K. The Wind in the Willows: A Tale.
Gubarev, V. G. The kingdom of crooked mirrors: a fairy tale.
Ershov, P. P. The Little Humpbacked Horse: Russian fairy tale: in 3 hours.
Zhukovsky, V. A. Tales.
Kaverin, V. A. Three fairy tales and one more.
King-Smith, D. Babe, the famous pig: [novels].
Collodi, C. Pinocchio.
Kruzhkov, G. M. Potato Nose: Tales of Treasures, Cowboys, Pigs in the Land of Rutabag.
Kruzhkov, G. M. Bear, dandelion, owl tales.
Kurguzov, O. F. Stories of a little boy: stories and tales.
Laboulet, E. Fairy tales.
Lindgren, A. Malysh and Carlson, who lives on the roof: fairy tales.
Lindgren, A. Pippi settles in the villa "Chicken": a fairy tale story.
Lindgren, A. Peppy is going on a journey: a fairy tale story.
Myakelya, X. Uncle AU: a fairy tale story.
Nosov, N. N. Dunno on the Moon: a fairy tale novel.
Oster, G. B. Legends and myths of Lavrov Lane.
The Troll's Gift: Scandinavian Tales.
Pogorelsky, A. Black Hen, or Underground Inhabitants: A Magical Tale for Children.
Preusler, O. Little Baba Yaga.
Preusler, O. Little merman: a fairy tale.
Preusler, O. The Little Ghost: A Tale.
Pushkin, A.S. The Tale of the Golden Cockerel.
Raspe, R. E. The Adventures of Baron Munchausen.
Raud, E. M. Muff, Polbootka and Mossbeard: a fairy tale story.
Remizov, A. M. Dokuka fairy tale "Hare": Tibetan fairy tales.
Rodari, J. The Adventures of Cipollino: a fairy tale story.
Rodari, J. Voyage of the Blue Arrow.
Rodari, J. Tales on the Phone.
Sedov, S. A. Tales about mothers: [stories].
Sedov, S. A. Tales about kings, as well as tales about the boy Lesha.
Topelius, S. Tales of the Sea King.
Topelius, S. Tales of the Mountain King.
Travers, P. Mary Poppins: [fairy tale].
Fallada, G. Stories from Bedokouria: Tales.
Fallada, G. Fridolin - impudent badger and others.
Chapek, K. Fairy tales and funny stories.
Egner, T. People and robbers from Cardamom: [tale-tale].
Ekholm, J. Tutta Karlsson The First and Only, Ludwig the Fourteenth and others: a tricky tale.
Jansson, T. Moomintroll and others: a fairy tale story.
Jansson, T. Dangerous Summer: Fairy Tales.
Janson, T. Magic Winter: story-tales.
Jansson, T. The Wizard's Hat: Fairy Tales.
