Conversation on the topic: "The image of animals in the works of folk decorative art"

with younger students.
Gorbova Nadezhda Yuryevna, teacher of MBOU DOD "Children's School of Arts" of the Yaransky district of the Kirov region, the city of Yaransk.
Description: This lesson summary describes, using the example of Russian painting, clay and wooden toys, how the image of animals was embodied in Russian folk art.
Purpose: designed for teachers of fine arts, teachers of additional education, parents.
Target: continuation of children's acquaintance with the animalistic theme on the example of folk decorative art, education of love for the Motherland and its cultural heritage.
Tasks:
- acquaintance with the images of animals and birds in Gorodets, Zhostovo paintings;
- acquaintance with the images of animals on the example of Dymkovo, Filimonov, Bogorodsk toys, as well as in Russian folk embroidery;
- Familiarity with such a concept as image stylization;
-development of aesthetic taste in children.
Materials and equipment: samples of folk toys, embroidery, painting; photo albums about folk crafts.

During the classes:

Organizational moment, preparation of jobs.
Hello guys!
Today we will talk about the image of animals in the works of folk decorative art.

Our Russia is great
And our people are talented
About Rus' native craftsmen
The whole world is talking.
Russian toy
You don't like her
Both Paris and New York
Our bear is flaunting.
I will buy myself a whistle
I will trill out
Masters from the glorious "Dymka"
We will never forget.
Toys are made in Tver
How much joy for the eyes
Craftswomen are growing up
Maybe among us.
The guests admired the miracle
Loudly admired -
Painted beauty
Remained smitten.
Our Russian toy
Doesn't age for hundreds of years.
In beauty, in Russian talent
Everything is a secret.
You play my harmonica
you friend sing along
Masters of Great Rus'
Praise with all your might!

The artist has always been inspired by nature! Images of animals have found their embodiment in various types of arts and crafts.

In Dymkovo, over the Vyatka River,
Precious continuing work,
Not looking for peace in old age,
Glorious craftswomen live.

Red viburnum outside the windows,
The steamboat is moving smoke.
There is still damp clay on the table,
Rough, unformed lump.

An old woman at work
He sits low on a bench.
Clay Vyatka toy
Sculpting... no, not sculpting, but creating!

Nice painted toy!
All sings, artlessly bright,
And young joy is visible in it
Became an art of craft.

(Leonid Khaustov)

The history of the Dymkovo toy has more than four hundred years. For the first time, this folk craft appeared near the city of Kirov (in those days it was called Vyatka), in the small settlement of Dymkovo. Local peasants sculpted bright figurines from clay painted with colors of juicy sunny flowers for the Vyatka Svistunya holiday, which was traditionally celebrated in the spring.
Dymkovo toys are quite diverse in form and appearance. As a rule, these are figurines of gentlemen and young ladies, bears, horses, molded from clay, hollow inside.

bushy-tailed turkeys, roosters, cows and goats.

Look closely at these tables. Here are clearly shown the stages of modeling clay toys.

The main element of the painting is geometric patterns, zigzags, circles, stripes, wavy lines, round spots, dots and a cage. In the design of the finished toy, the brightest, even contrasting colors are used - red, green, yellow, blue, crimson, light blue and others, as well as gilding.

There is a village near Tula,
The name is Filimonovo.
And the masters live there,
What good is brought to the house.
And good there is not simple,
And not gold, silver.
Filimonovo toy
It's called.
Strongly elongated necks
And a cow, like a giraffe,
And the bear, that the Serpent Gorynych,
It's just that.
To animals, birds, horses,
Young ladies, soldiers,
Both cows and bears
The guys liked it.
So that the heart warms with goodness and beauty
And so that the fairy tale never leaves us.

The main type of products is whistles of traditional shapes (horse, bear, etc.). They are characterized by elongated proportions associated with the plastic properties of the local "siniki" clay. When fired, the clay gives a white surface, on which a colored painting with characteristic rhythmic stripes is applied. According to local legends, the village was named after the potter Filimon, who discovered deposits of high-grade clay.
Teacher: Guys, what colors are typical for the Filimonovo toy?
Students: Three main colors were used - crimson red, yellow and green.
Teacher: Right! Sometimes blue or purple colors were used. What is another feature of the Filimonovo toy?
Students: The Filimonovo toy is characterized by elongated shapes and a major, unusually bright painting of a solid color, with alternating colored stripes.
Also used to decorate dots, circles, ovals, stars, triangles.
Teacher: Details of the painting can be deciphered. The circle is the sun, the triangle is the earth, Christmas trees and sprouts are a symbol of vegetation and life. All these patterns remind us of the connections between man and nature.
In the village of Filimonovo, toys were mainly made by women.

Oh, what a whistle
Striped duck!
Unusual, funny
And a little chubby!
-Wait a minute,
Where are you from, duck?
My duck whistles:
- Filimonovskaya me!

Rich deposits of oily, like oil, clay - blueberries were the best suited for modeling toys. It was the peculiarities of clay that gave such an unusual appearance to the figurines: they have elongated necks, elongated proportions. The fact is that oily clay settles and cracks during drying, and the master has to correct it several times until the figure is completely dry. And correcting, he involuntarily pulls it out - and this is how the Filimonov style was born, which cannot be confused with others.

Unlike Dymkovo toys, all Filimonov toys are whistles, even ladies and gentlemen. But the whistle was never made in the figurine, but only in the tail of animals or birds, which were given into the hands of the character. The burnt toy acquires a white or slightly pinkish color. The painting is done with aniline dyes ground on egg yolk or white, chicken feather.
Guys, what material is this toy made of?
Students: From a tree.
Teacher: Right!

In Bogorodsk-gorodok
Everyone walks light
On the wide streets
Never frown.
There from a lime board
There is a cure for sadness:
Because old and young
Everyone makes toys.
Even old ladies
They make their own toys.

Bogorodskaya toy" owes its birth to the village of Bogorodskoye, now located in the Sergiev Posad district of the Moscow region. In the 15th century, the famous Moscow boyar M.B. Pleshcheev.
Bogorodsk toys are traditionally made from soft woods - linden, aspen, alder, as it is easier to work with soft wood. Harvested linden logs are dried using a special technology for at least 4 years, so linden harvesting is a continuous process. Dried logs are sawn and sent to the notch. The master marks the resulting blanks according to the pattern and then cuts out the toy with a special Bogorodsk knife. In the work of the carver, a chisel is also used. The finished parts of the toy are sent to the assembly shop, and at the final stage they are painted. Toys that are not subject to coloring are covered with a colorless varnish.
A kind of symbol of the "Bogorodsk style" is a toy on a moving bar "Blacksmiths", which is more than 300 years old.

Skillfully carved wooden figurines of a man and a bear are beaten in turn with hammers on the anvil, one has only to move the bar on which funny figurines are fixed.
The “Long-liver” is also considered the toy “Chicken”, which was amused by the children back in the days of Alexander Sergeevich Pushkin.

A distinctive feature of the Bogorodsk toy is a bar, button or balance, with the help of which the toy begins to move, performing simple movements. As in the case of chickens, who take turns pecking at grains.
The plots of the first Bogorodsk toys were taken by carvers from peasant life and folk tales, the main characters of which were a hard-working peasant, a rustic gullible bear, domestic animals and birds.

There is an ancient city on the Volga,
By name - Gorodets.
Be famous all over Russia
With his painting, the creator.
Bouquets open up
Bright colors of grief,
Miracle - the birds flutter there,
As if in a fairy tale calling us.
look at the boards
You will see miracles!
Gorodets patterns Subtly brought out by hand!
Gorodets horse runs
The whole earth beneath him trembles!
Birds fly bright
And the water lilies are blooming!

Look, guys, what a painted chest, spinning wheels ....
Gorodets painting is one of the traditional decorative crafts and is among the highest achievements of Russian folk art.
You will never confuse with anything the joyful colors of Gorodets painting, its black horses with a hooked leg and swan neck, its birds with outlandish tails in the form of a butterfly wing. Horses are always depicted in profile, and people - only full face. And all this - surrounded by luxurious flower garlands.

Gorodets painting is symbolic. The horse in it is a symbol of wealth, the bird is a symbol of happiness, and the flowers are health and prosperity in business.

But each of these images is attractive in its own way and has its own special history. The most beloved character, one might say, the symbol of Gorodets art in the old days was a horse. These were horses of officers and Cossacks, horses in the arena and horses harnessed to carriages and tarantasses. The traditions of writing a horse date back to the first works of the legendary Melnikov brothers. Gradually, the image of the horse became more and more fabulous, and this is how it has come down to our days. It is not easy to write a real Gorodets horse, but it is even more difficult to portray a pair team or a troika. Gorodets masters do it truly virtuoso.
No less traditional characters of Gorodets painting are cats and cats.

From the everyday life of Gorodets, small dogs with sharp ears and famously curved tails also turned into paintings. Once upon a time, back in the era of carved bottoms, they certainly ran after carriages or, standing on their hind legs, barked at birds in hunting scenes.
If horses, cats and dogs are associated with everyday life, then the lions that never lived in the Volga region were undoubtedly borrowed by the masters of painting from the art of wood carvers. Being one of the most common characters in house carving throughout the 19th century, lions did not remain in the distant past only thanks to the masters of painting. Today, lions are indispensable heroes of many fairy-tale compositions, amazing characters are the embodiment of the kindness of Russian folk art, in which even a ferocious overseas beast does not evoke any other feelings than surprise and sympathy.

And look at this tray, what a beautiful peacock is depicted here.
What is this bird
Proud of her beauty!
Tail - like a golden fan
That wonderful bird!

This is a Zhostovo forged metal tray. Such trays are made and painted in the village of Zhostovo, Mytishchi district, Moscow region.
The main motif of Zhostovo painting is a flower bouquet.
In the art of the Zhostovo masters, a realistic feeling of the living form of flowers and fruits is combined with decorative generalization, akin to Russian folk brush painting on chests, birch bark tues, spinning wheels, etc. The main motif of the painting is a flower bouquet of a simple composition, in which large garden and small field flowers. There is also an image of a bird. These are peacocks and capercaillie ... ..

and colorful fiery roosters.

The painting is usually done on a black background (sometimes on red, blue, green, silver).
The artist must learn to see in nature what is not subject to the eye of a hurrying person, it is necessary to stop, look closely, peer and listen to the sounds and images of nature.
In order to convert a realistic image into a stylized form, an artist needs imagination, creative thinking, and the ability to improvise.

Stylization means decorative generalization and emphasizing the features of the shape of objects by simplifying or complicating the form.
We must try to see the most characteristic features in the object and preserve them so that the cockerel remains a cockerel, and the peacock remains a peacock. The main thing in the work is imagery.
Let's see what kind of animal looks like in embroidery.

The art of embroidery has a long history. The existence of embroidery in the era of Ancient Rus' is evidenced by the finds of archaeologists dating back to the 9th-10th centuries. These are fragments of clothing, decorated with patterns, made with gold threads. In ancient times, household items, clothes of noble people were decorated with gold embroidery.
So, by the age of 13-15, peasant girls had to prepare a dowry for their wedding (which included a large number of shirts, aprons, sundresses, towels, valances and countertops) and decorate them with bright, multi-color or snow-white embroidery.
Colorful and varied were towels, which were not only used in everyday life, but were also a traditional Russian gift: at a wedding - to the groom, all his relatives, matchmaker, friends and guests of honor, at christenings - to the godfather, priest, deacon, etc.
Before the wedding, at the exhibition of dowry, by the amount of canvas, by the perfection of the embroidered pattern, fellow villagers evaluated the bride's hard work, her ability to do homework. According to the things made by the hands of the bride, it was determined which mistress enters the house.
One of the first animals, judging by the numerous traces left in folklore, rituals, in embroidery, was a deer.
The deer cult was very widespread. The deer is a sign of a successful marriage, a sign of abundant life. Two deer, brought together by their heads, is the plot of a female kokoshnik. He was not only a sign of heaven, but also a sign - of mother and daughter, giving birth to all life on earth.
A frequent subject of Russian embroidery is a horse.

The horse was endowed with divine power and was considered a sign of the sun and sky. Horse, equestrian, wheel are equivalent signs of the sun and heat.
The bird is one of the most common images of Russian folk art.

On embroideries, it is most often included in the overall composition with a female figure or a tree. This is a sign of the resurrection of nature, the awakening of the earth, dawn - the rooster sings at dawn when the sun rises. Two birds head to head are a symbol of a happy marriage, which is why this plot is so common in ritual women's clothing. Birds on a towel are a sign of memory of the dead, a symbol of the soul, a messenger of another world. They are also a sign of a good harvest.

Thus, the embroideries reflected the beliefs of the ancient Slavs, the worship of the Deities, requests for happiness, kindness, abundance, harvest, help in a difficult life.
One hundred roads, one hundred different destinies,
And everyone has one dream
People are looking for the bird of happiness,
Which is born from the ashes.

But where is the bird of happiness?!
Who will see? Who will find?
Walk, roam somewhere people
Trampled a hundred roads.

Only a few know
That they can't find her.
This bird, next to them,
Invisible on the way

Those people are wiser than many
And they live - loving ....
To keep the bird close
You have to start with yourself!

Love! The Bird of Happiness,
Will knock on your window...
Because, to those who love,
That dream flies...

And you don't have to look for it
Outgoing a hundred roads,
You make friends with love
Well, the bird will find you!

And today Russian folk art is an inexhaustible source of inspiration. Young artists first copy the work of experienced masters, studying their experience, why they begin to improvise and create their own creative works.
Reflection at the end of the lesson. Decorative and applied art at school

• In ancient ornaments, along with plants, various animals are often depicted, such as horses, deer, wolves, and birds.
• Wonderful images of various animals are found in folk toys, household items, architecture, and traditional clothing.

Filimonov toy

This toy was born in the Odoevsky district of the Tula region. And it got its name from the village of Filimonovo.

Features of the Filimonovo toy

Conventionally, all toys can be divided into several groups:

1) People - a soldier, a mistress, an accordionist, a boy on a rooster, a horseman, a soldier with a goose, love.

2) animals - deer, cow, horse, ram, goat, dog, cat, fox.

3) birds - rooster, mother hen, peacock, duck.

4) multi-figured compositions - tea drinking, troika, carousel, tree, on a bench, George with a kite.

Why are Filimonovo toys so elongated?

It turns out that the whole thing is in the natural properties of local clay. Filimonovskaya clay is oily and plastic, and for its oily black color it is called “blue”.

When drying, the clay quickly becomes covered with cracks, it has to be constantly smoothed out with a wet hand, involuntarily narrowing and stretching the torso of the figure. From here, refined, elongated, but surprisingly elegant forms appear.

What pattern are Filimonov toys decorated with?

Stripes, dots, circles, ovals, stars, triangles.

The circle is the sun, the triangle is the earth, the Christmas trees are a symbol of vegetation and fertility. All patterns remind us of the connections between man and nature.

According to an old belief, the symbols in the patterns carried spiritual power that could protect from evil and injustice.

Images of animals in Russian folk tales

• Most often in Russian folk tales there are images of a bird, a horse or a wolf.
• In fairy tales birds wooed beautiful princesses, kidnapped them. When the hero-bird appeared for the beauty (the beauty symbolized the sun, moon, stars), his appearance was accompanied by whirlwinds and a thunderstorm. In the image of a raven, a falcon or a kite, a storm and a whirlwind were most often depicted.

I.Ya.Bilibin. Illustration for the fairy tale "Marya Morevna"

Horse in Russian folk tales, riddles and songs, it was often compared with a bird. He also personified all natural phenomena associated with rapid movement - wind, storm, clouds. He was often depicted as a fire-breather, with a clear sun or a moon in his forehead, and a golden mane.

AND I. Bilibin. Illustration for the fairy tale "Vasilisa the Beautiful"

Cult wolf very ancient. The wolf is the enemy of livestock. The image of a wolf served as a symbol of a dark cloud. A complex and contradictory attitude towards these predators is preserved in folk tales: “... a big gray wolf rushed to the horse of Ivan Tsarevich ... tore the horse in two ... and says:“ I have bitten your good horse, now I will serve you faithfully “. How the wolf will rush that there is a spirit. He skips valleys and mountains between his legs, sweeps the trail with his tail.

AND I. Bilibin. Illustration for "The Tale of Ivan Tsarevich, the Firebird and the Gray Wolf"

Khanty and Mansi have the richest oral folk art. For the first time, works of folklore were recorded by Hungarian and Finnish scientists, starting from the middle of the last century.

Among them are:

Mythic tales. This is a popular worldview about the origin of the earth and life on earth (about people, about the animal and plant world). The myths are written in prose, in a very foldable language.

Heroic songs, legends. These are historical rituals. They are written in verse and prose.

Calling songs dedicated to the spirits - ancestors. These ritual works are written in verse. This rite is performed when necessary; in the presence of people in need of help from the spirit of the ancestor.

Songs dedicated to the chanting of a bear, a strong beast, the owner of the forest. They are written in verse. They are performed before the start of the performance at the bear festival.

If this is a she-bear, then four people stand in front of her, holding their little fingers, dressed in silk robes and putting caps with sharp ends on their heads. Cups with treats and a saucer with steaming chaga are placed in front of the bear. If the bear is male, then five songs are performed, all songs are long. The stories are written in prose.

Satirical, humorous songs that are performed only at the bear festival.

Lyrical songs or "songs of fate". They are sung throughout the year in good and bad mood, during rest and work. They are in verse.

Fairy tales. They are written in prose and are devoted to the most diverse topics of life. These can be retellings about the heroic deeds of ancestors, about the customs of people, about the animal world.

Children's fairy tales. They are usually told by women - mothers or old grandmothers. The language of fairy tales is short, clear, clear, the sentences are simple. In them, unlike fairy tales for adults, dialogue is used. The strength of the little creature is its intelligence, its cunning. Children's fairy tales are almost all moralizing.

A lot of riddles that reflect the whole world around, riddles about animals, fish, earth, man.

Proverbs and sayings

Moral teachings and prohibitions, ultimately reduced to the preservation of human health, environmental protection.

From all of the above, we can conclude that each genre of oral folk art has its own artistic style of presentation and is performed under certain, limited conditions, dictated by the customs of the people, their vital needs.

Extremely interesting in the traditional culture of the Khanty and Mansi is the interaction of the animal world and people.

An original tradition in the context of the principle of conformity to nature is, for example, the humanized cult of the frog, which enjoyed great reverence and was called "a living woman between the bumps." She was credited with the ability to give family happiness, determine the number of children, facilitate childbirth, and even play a role in choosing a marriage partner. According to the Khanty, a young man could "dry" the woman he liked. The image of a frog, embroidered with beads on a scarf, was held in front of a woman giving birth in order to ensure good health and long life for the newborn. The Khanty have a ban on catching frogs and using them as baits.

Of the animals, the Khanty and Mansi enjoyed the greatest respect for the bear.

In the possessions of each Ugric community there is no man's land - the land of spirits.

These are not seedy places, but, on the contrary, the most abundant bird and animal areas of the taiga. Access to the sacred land is closed to strangers and women, you can’t fish here, pick berries, if the beast pursued by the hunter runs there, then the chase stops.

According to legend, a hunter wandered into one of these lands in the upper reaches of the B. Yugan and killed two elks. At night, a bear - a dead man and a dead man - a man, appeared alternately at his fire. The hunter, escaping from the "guests", sat all night in the swamp, holding a burning brand in his hand. In the morning, the dead moose got up and went into the forest.

As in this instructive story, in many other cases, along with the spirits, the bear also acts as natural avengers.

The so-called bear cult (especially in the form of a bear holiday) is one of the brightest signs of Ugric culture. The bear is considered to be the likeness of a man (another man), the co-owner of the earth. He is called the younger brother of man and all animals. The bear is the opposite of man. It is not for nothing that bear skins, according to the Mansi, serve as beds for menkvams in their larch houses, built in the most remote places, surrounded by impenetrable swamps.

The image of the bear among the Khanty and Mansi has taken a significant place in their mythological representations, beliefs, rituals and fine arts. The most striking manifestation of his cult was the rites called the bear festival. In the mythological plots of sacred songs performed at the games, the traditional picture of the world is most fully represented.

So in the legend “They are a bear” it is said that the god Torum was sent to the earth “they are a bear”. He differed from all animals in disobedience and pride. Falling from the sky, the bear fell into an impenetrable urman, caught on a huge, old, moss-covered cedar. He saw it there for a long time until it was overgrown with moss. Pride did not allow him to ask Torum for forgiveness and help. Finally couldn't resist. Torum listened to him and said:

“As long as people live on earth, you will be a bear. Everyone will be afraid of you. A bad person won't leave you. You will be worshiped, even if you are killed. Go to the ground. So live."

All peoples have a concern for the upbringing of Man. This is very instructive and proves the incorrectness of the division of peoples into historical and non-historical. The ideal of a real Nivkh involves the education of courage and courage, respect for folk customs, hard work, etc. Thus, the Nivkh ideal, according to V. Sangi, is presented as follows:

“The heart of a bear was given to me so that the spirit of the mighty owner of the mountains and taiga would scare away the feeling of fear from me, so that I would grow into a courageous man, a successful earner.”

P. E. Prokopyeva notes that “the famous bear ceremonies of the northern peoples, which have been preserved until recently, were accompanied by incantations, well-wishes, songs, dramatic performances, and dances. From the point of view of K. F. Karyalainen, “the basis of the bear ceremonies is the task of appeasing the soul of the killed bear and convincing him and the kind of bears he represents of respect and reverence on the part of the organizers and participants of the feast. It should be noted that complex and therefore extremely interesting images of a bear and an elk are characteristic of the cosmogonic, shamanic and ritual mythology of the peoples of the North.

The bear in the mythology of the peoples of the North, in particular among the Yakuts, is a rather revered creature, as written, for example, by V. L. Seroshevsky and A. I. Kulakovsky.

“Sometimes Ulu-toyon, taking on the form of a big black bull or a black stallion, a huge bear or an elk, runs through the ground with a roar and noise.

Of all these animals, the big black bear, very ferocious and bloodthirsty, made the strongest impression on the Yakuts. They consider him "the king of groves and forests" (oyuur toyon, tya toyon, tyataa5y toyon)"

In the north, they are wary of speaking badly about a bear, one should not even mention his name out loud; his name is “grandfather”, uh, but the name is not good, and the beast is angry with him, because of this he is called cook, or simply “black”, often quietly called him “evil forest spirit”, or even Uluu-toyon.

There are many legends, legends, stories that prove the extraordinary, magical qualities of a bear. "The bear is the same devil, but the most dangerous of them is the tailed one!" “Don’t talk badly about a bear, don’t brag: he hears everything, although he’s not close, he remembers everything and does not forgive.” However, it must be admitted that the figure of this forest robber is surrounded by a certain aura of generosity and chivalry: he does not attack the weak, women, the submissive.

“The bear is a highly revered animal, as supernatural qualities are prescribed for it. For example, if you kill a bear without first waking up from hibernation, then other bears avenge him by attacking a sleeping hunter who also killed a sleeping bear earlier.

Being wary of such revenge, the hunters will certainly wake up the bear lying in the den, and then enter into battle with it. This custom continues to this day.

Sometimes a bear gets in the way of a traveler who is not armed with anything. Then the traveler begins to bow to him and beg (out loud) not to touch him unarmed, reminding him that he (the traveler) had no sin before to harm the bear. If the speech pleases the bear in terms of its content, which happens in most cases, then he graciously gives the traveler a pass. In winter, one cannot speak ill of a bear even at home, in the circle of his family, since he learns through dreams everything that is said about him, and then takes revenge on the offender. Between the bears there is a bear "shaman", which differs from its counterparts in intelligence, invulnerability, piebald skin, mane and tail. There was no chance of him being killed. He usually meets with a famous hunter who has exterminated hundreds of bears in his lifetime, therefore, with a ripe "set". This meeting is fatal for the hunter.

There is a legend that a pregnant woman who gave birth to two cubs turned into the first bear. This legend is supported by the belief that the bear still does not touch the woman who shows her breasts and begs him. According to the Yakuts, the she-bear, from which the skin was torn off, is strikingly similar to a naked woman. Probably, this opinion served as the basis for the emergence of the said legend.

The Evenks had amulets with the image of a female figurine. The human body, according to the Evenks, is like a skinned bear carcass, which emphasizes the relationship between man and bear. And the bear or Duenta (the spirit of the owner of the taiga) is the protector of all Evenks.

It is believed that the relationship between a bear and a man is from the marriage of the first bear with a woman. According to the myths, the brother of a woman who married Duente, torn by jealousy, killed Duente, and then his sister, who, dying, bequeathed to her brother the upbringing of cubs, the rules for holding a bear festival, including growing a bear in a cage, its subsequent ritual killing, ceremonial food exchanges with representatives of other clans and seeing off the bear's soul to the owner of the taiga, which ensures the rebirth of the dead bear.

The image of a female figurine among the Yukaghirs is always accompanied by the image of a bear figurine: both in drawings, and in ornamental decorations, and in legends, the bear and the woman occupy the main positions. Researcher V. Yokhelson explained this by the fact that in the mythological ideas of the Yukaghirs, a woman and a bear are either relatives, or husband and wife, or lovers, i.e. they are initially connected with each other.

VD Lebedev also writes about the cult of the bear that existed among the Evens and ritual songs dedicated to it.

However, in fairy tales, the bear is the personification of strength, but is often stupid. In the Tofalar tale “How the Bear Was Punished”, the bear was punished for being angry. Previously, the bear did not give life to anyone. Big and strong, he either barked loudly and frightened someone, then accidentally, clumsily, crushed small animals and birds to death, then broke trees and ruined nests made with such difficulty. As punishment, the bear had to sleep all winter. In the Sami fairy tale "Tala the bear and the great sorcerer" the stupidity of the bear is ridiculed. In the Yakut fairy tales "The Dog and the Bear", "The Fox and the Bear", the bear also personifies stupidity.

An important role in the life of the Khanty and Mansi, as well as in their folk art, is assigned to the dog. She is simply an assistant for the hunter, but rather, figuratively speaking, "having found herself with adults, the dog takes part in the upbringing of children." They are ashamed of her, not allowing in her presence, not approved actions. All household activities of a person in the North are based on a deer or a dog. In settlements where dogs have been preserved as “permanent citizens”, in numbers significantly exceeding the population, the way of life, the very “spirit of human habitation” is much higher than in those where dogs were utilitarianly “distilled” into hats and fur boots. And it's not that dogs destroy almost all waste, but also the opportunity to communicate with animals. Especially for the younger generation. Dogs and deer, therefore, are not only a mode of transport, but an element of the cultural and ecological system.

Among the people, older dogs are not abandoned or killed, but are kept on an equal basis with everyone else. After death - they bury, tying red and black ribbons to the leg. There is a belief among the Khanty that the dog takes on misfortunes and even the death of the owner.

They dedicated many good tales, songs, riddles to these animals. Here are some examples:

Folk song.

Oh, dogs, don't bark, what are you driving through the forest! You can't catch a cunning squirrel and you can't catch a marten! On the tops of a slender spruce, nimble squirrels live, Only they will show you the tail and instantly slip away!

Puzzles:

• 1. It’s not a bird, it doesn’t sing, if someone goes to the owner, she lets you know.
• 2. Sensitive ears stick out, the tail is disheveled with a hook, she lies at the door, the bunny guards the house.
• 3. On four paws, with a tail, he walks around the yard, his ears are sensitive and his nose is our friend, faithful (dog).

Here's what people say:

• -A dog is a man's best friend.
• -Dogs ride: in winter - to snow, in summer - to rain.
• -The dog lies curled up - it will get colder.

In the oral folk art of the small peoples of the North, many traits are attributed to animals that reveal the riches of human nature. Understanding of the nature of the surrounding world by the Khanty allows us to imagine how the humanization of nature took place. The system of folk philosophy fully contributes to the mode of existence of small collectives in a row without a mortal sea of ​​taiga, society, people, among many animals.

The mythologized culture of the Khanty people, who maintain unity with the world, is a healing spring, touching which, a person gets the opportunity to feel himself a part of the Universe. The whole life of the northerners is connected with the tundra. For them, it was the center of the universe. Salvation for people is deer, about which the best fairy tales and songs, the best beliefs and legends. The deer is sung as something the best in the world, the first prayers and supplications are to him. Already small children know a lot about a deer, almost everything - up to the point that they distinguish up to 18 age periods in a growing deer. “The pedagogy of the tundra and the deer” is transformed in a special way into the “pedagogy of the northern peoples”, there is even a transfer of age characteristics, a search for parallels, analogies: “A child, it is always a child: is it a deer, is it a small person,” say the Mansi. In such comparisons, the nationally specific is manifested.

Almost all works of oral folk art of the Khanty and Mansi perform pedagogical functions. Young hunters and reindeer herders listened and tried to imitate the heroes who were glorified in fairy tales. Their tales draw vivid pictures of the life and life of hunters, fishermen, reindeer herders, introduce them to their customs, ideas about the surrounding reality, about life.

So in the Mansi tale "The Proud Deer" the story is told as about real events: "Mansi in the Northern Urals have a favorite lake - Vatka-Tur. Not far from him lived the hunter Zakhar with his family. He was hardworking, he walked all day long in the taiga, hunting. He knew the habits of each animal, knew how to track down a cunning fox, find bear dens in winter, and catch a elk.” Love for the native lake, diligence, intelligence and wisdom - everything is in this passage. However, in the tale itself, through the relationship between the hero and the deer, the main themes are revealed - kindness and gratitude, which determine the moral character of a real person.

The moral code of hunters and reindeer herders was also reflected in proverbs. And here it does not do without images of animals.

For example: “For a strong deer, the big road is not terrible, but for a weak one, even a small one is difficult.”

The Khanty-Mansi have a special relationship with fur-bearing animals: fox, marten, wolverine, otter, beaver, sable, hare, etc.

And they are given a place in oral folk art.

So in the Khanty fairy tale "Why does a hare have long ears" there is a condemnation of such a human quality as cowardice.

“No, brother,” the elk says to the hare, “Your heart is cowardly, and even the biggest horns will not help a coward. Get long ears. Let everyone know that you like to eavesdrop."

And here is how human qualities are revealed through the image of a squirrel in the Khanty fairy tale “Neln ai lanki” (“Greedy squirrel”). It tells about how the squirrel decided to profit at someone else's expense. But her stomach could not stand it and burst. Relatives had to urgently sew it up. Greed is a sin of the Khanty, a sin is punishable.

But through the image of a hare, not only a negative character trait is revealed. In the fairy tale "The Greedy Crow" the image of a hare carries kindness.

“In the deep forest lived “urn-ike” (crow) with crows, and under the bush “tegor” (hare). There was a misfortune, with the mother of the crow and the hare fed the crows. And when the crow recovered, ate, began to take care of herself, she always remembered the hare with a kind word.

I would like to mention the games of children associated with knowledge about the animal and plant world.

“The animals came to the Yugorsky meadow. They began to pick grass for themselves: - foxtail, mouse - mouse peas, sheep - sheep fescue. Everyone had enough. Even a bison who arrived from afar found a bison. Only the cat keeps walking around the meadow and crying: “Meow - meow! Didn't find anything for my cat!

A hare came running with a whole heap of rabbit cabbage: “Here, kitty, take it. Tasty!" The cat cried even harder: “This is your weed, not mine. My grass leaves are soft, pubescent.

Help the cat find grass with a "cat's" name in the meadow (cat's paws)

Recently a collection of fairy tales by Anna Mutrofanovna Konkova was published. Two dozen fairy tales in Grandma Anna's book. Some sound like a measured narrative on long winter nights, others are very short stories about forest animals and plants - friends of man. Animals often act as characters in fairy tales. So in the "Tale of Clever Soytyn" it is told about a fox and a mouse. While playing hide-and-seek, the fox wanted to outwit Soytyn (mouse), but everything turned out the other way around. The meaning of this tale can be defined in a few phrases: for any trick, you can find a worthy answer (or your own trick).

The most frequent character in the tales of the peoples of the north - the Fox - acts as the personification of cunning.

In the Kerek tale "The Fox and the Raven", a fox tricked him into stealing food from a raven.

In the Eskimo fairy tale “How the bear and the chipmunk stopped being friends,” the fox “befriended no one, because she was always cunning and strove to deceive everyone.”

In the Koryak fairy tale "Raven", the old and greedy Raven was deceived by a fox, which led to his death.

In the non-Gildai tale “Hunter Khuregeldyn and the fox Solakichan”, the fox deceives the hunter by stealing all the food.

In the Aleut tale "The Fox Woman", a woman turned into a fox for leaving her husband.

In the Yakut fairy tale "The Fox and the Wolf", the fox ate the supply of hayak left for the winter. In the fairy tale “The Fox and the Bear”, the opposition of the images of the fox and the bear is built as a contrast between stupidity and cunning, and in the fairy tale “The Deceiver Fox and the Bird Tekey”, the Fox stole three eggs from the bird Tekey and only with the help of a wise chipmunk she managed to get rid of the fox.

However, Lisa can be deceived. So, in the Yakut fairy tale "The Fox and the Burbot", the fox was outwitted by the burbot, arranging a false competition. In the Eskimo fairy tale "Mouse Vyvultu", the mouse deceived the fox, although "they say that there is no animal more cunning in the tundra".

However, in the fairy tale "The Giantess Mayyrakhpan" it was the fox that saved the little girls from the giantess, and not the bear, nor the raven.

According to Yakut mythology, domestic animals are created by good deities (aiy). In one myth it is said that Yuryung ayy toyon created a horse at the same time as a man, in another - the creator first made a horse, from him came a half-horse-half-man, from the latter - a man.

According to the ideas of the ancient Yakuts, a horse, a stallion is an animal of divine origin, he was generally revered by the Yakuts everywhere. The cult of the horse was identified among the ancient Turks with the cult of the sky (Ksenofontov G.V., Gogolev A.I.). The highest deity was called Dzhesegey Aiyy, and his wife, Dzhesegeljun Aiyy Khotun, they were addressed in Ysyakh (Alekseev N.A.). Dzhesegey Toyon “in the myths of the Yakuts, a deity that promotes the reproduction of horses, their patron. Dzhesegey Toyon was represented as a man or a neighing stallion. In some myths, he is the younger brother of the creator of the universe Yuryung Aiyy Toyon. Dzhesegey Toyon and his wife live in the fourth heaven in the northeast in an old hexagonal log house, sheathed on the outside with white horseskin.

According to the materials of the olonkho, the deity was called Kun Dzhesegey Toion, where the word kun means the sun, Gogolev A.I. connects it with the cult of the sun and at the same time deduces “the presence in the Yakut mythology of the Central Asian myth about the solar origin of the divine horse.”

In the fairy tales of the peoples of the North about the horse, of course, there are no fairy tales. There are Yakut fairy tales "Horse and Deer" and "Stallion and Poroz"

The horse/horned cattle opposition has long been recognized as one of the key for the Yakut culture. I. A. Khudyakov, V. Seroshevsky, V. M. Ionov and many other Yakut researchers wrote about how important this opposition is.

For the emergence of this dichotomy in the Yakut culture, of course, there were both economic and social prerequisites. Of the five types of livestock characteristic of the economy of the nomads of Central Asia, where the ancestors of modern Yakuts come from, the Yakuts were able to save only horses and cattle.

Although most of the population of Yakutia has always been fed by cattle, horses among the Yakuts were considered the most prestigious type of property, while the possession of only cattle was considered a sign of poverty and low status.

Seroshevsky V. L. wrote that “in relation to cattle, there is no special worship, good heroes and deities of the Yakut epics never ride bulls, a story about which is so often found in Buryat and Mongolian legends. On the contrary, oddly enough, bulls are mostly ridden by evil characters of fairy tales, hostile to the Yakuts.

One of the reasons for such an attitude towards horse cattle should be considered the distant nomadic past of the Yakuts and the importance that the horse had in military affairs.

One of the most important manifestations of the opposition between the horse and the bull in Yakut culture is the myth of the origin of the long winter, where the horse represents summer and the bull represents winter. Quite often, the bull acts as the personification of winter and in songs about the change of seasons.

Finally, in the Yakut epic olonkho, horses are a mount of the epic Aiyy tribe (ancestors of people and the first people), and bulls are of the Abaasy (demons) tribe.

Thus, in calendar mythology and epic, the main correlates of this opposition are the oppositions of heat and cold, winter and summer, life and death.

Here is this tale in the retelling of Kulakovsky:

Stallion (atyyr) and poroz (atyyr ous) (or winter and summer)

When Uryn Aiyy Toyon created the world, he asked a man: “how would he like it - that winter be longer or summer?” The man replied: "Let my comrades choose - a stallion and a poroz, thanks to which I should exist." God turned with a question to the stallion, and the noble stallion gave the decisive vote to his comrade - poroz. Poroz mumbled, “My!. If the summer is long, then my constantly wet nose will rot, so I ask God to create a longer winter! As the stallion heard such an absurdly stupid request of his comrade, he became very indignant at him and kicked him right in the nose (after all, the nose is to blame!) And knocked out all the front upper teeth; the bull, in turn, was offended by the stallion for this - and hit him with a horn in the stomach, he pierced him with bile, which flowed out. For these reasons, cattle now have no front upper teeth, and horses have bile; therefore winter was created by God longer than summer.

It seems to us that rather clear traces of primitive thinking can be traced in the fairy tale, it is possible that ancient mythological ideas are displayed in the image of a stallion and a porosa bull. According to the researchers, the fairy tale grew out of myths, the dynamics of the mythological beginning is manifested in the genres of folklore (Propp, Meletinskaya). They believe that the evolution of mythology as sacred knowledge is manifested in fairy tales.

In the fairy tale "Atyyr wanna atyyr ous", the system of calendar representations of the ancient Yakuts is still revealed, we associate the actions of the stallion, acting for the summer, with the division of the year into two halves, associated with the climatic conditions of the north. The economic year of the Yakuts was divided into two parts: winter and summer, where the summer period was the most responsible and difficult. Such a division was typical "among the ancient Greeks, Romans, peoples of medieval Europe, Central Asia, the Caucasus and Siberia, for example, the economic year of the Mongolian nomads also consisted of two main seasons: spring-summer and autumn-winter."

The Yakuts are considered the northernmost pastoralists. Only thanks to their industriousness and the presence of horned and equestrian livestock, they survived in the harsh conditions of the north. Winter - the most severe and difficult time of the year - was personified in the form of a white, formidable, blue-spotted Ox of winter. He, according to the ideas of the ancient Yakuts, had huge horns, frosty breath. By the apogee of winter, he began to rage when he went around the expanses of the Yakut land, everything in nature froze, people and animals suffered from the cold. The Yakuts, in addition to the Bull of winter, have mythological images of the Bull of water, the Bull of the Universe.

It should be emphasized the presence of rites of worship of poroz: when moving to letniki, an algys was performed to the deity - Ynakhsyt Khotun, when the poroz was slaughtered, the rite of thanksgiving was obligatory observed (Ergis G. U., Sleptsov P. A.). There was also a shamanic rite “Ynakhsyt tardyyta-doydu ichchitiger kiirii”, which was in effect until the twenties and thirties of the 20th century, according to Ergis, “these deities give cattle, they live on the border of the middle and lower worlds.”

Thus, it is possible to admit the fact that the ancestors of the Yakuts worshiped cattle - the cult of the bull, which was supplanted in later history by the cult of the horse. In the fairy tale "Atyyr vonna atyyr ous", such mythological representations of the ancient Yakuts are probably presented.

The cult of elk and deer existed among many tribes already in the Neolithic and Bronze Age, as evidenced by petroglyphs, petroglyphs, deer stones of Siberia, the Caucasus and Europe. Some researchers believe that in the folklore of different peoples, these inhabitants of the forest are quite interchangeable. Apparently, the ancient man was struck by the similarity of deer antlers with the branches of a tree, which served as the transfer of the image of the world tree to the divine deer.

The elk in the night sky among the Yakuts was associated with the constellation Orion (“Tayahtaah Sulus”), among the Evens with the Polar Star.

In the olonkho, Nurgun Bootur, going on a campaign for heroic deeds, asks the deity of the rich forest Baai Bayanay for good luck in hunting. Baai Bayana responds to his request in her own way; an elk appears, which challenges the hero to a fight. The warriors themselves in the Yakut olonkho are often compared with deer, and the khosun warriors often take on the appearance of this beast.

The deer-elk cult was significant, it personified the taiga, and therefore, in religious ideas, a specially dedicated deer, like a world tree, communicated with heavenly deities.

Thus, in mythology, deer and elk were revered animals. The same attitude is found in fairy tales. In the Mansi fairy tale “The Proud Deer”, the main character-hunter “knew the habits of the beast, knew how to track down the cunning fox, find bear dens in winter, and catch the elk. Only he never caught deer, he felt sorry for them. Deer are mentioned. As friends of the heroes, in the Nganasan fairy tale “The Girl and the Moon”, in the Tofalar fairy tale “Aigul”, the girl, the main character, runs like a musk deer.

In the Yakut fairy tale “The Horse and the Deer”, the horse, having asked the man to drive the deer out of the clearing, itself fell into slavery to the man.

Individually in the tales of the peoples of the north there are images of other animals associated with the neighborhood of these peoples with certain animals, for example, the image of a tiger is the Nivkh fairy tale "The Hunter and the Tiger", the image of the seal is the Nivkh fairy tale "White seal".

As for the Yakut fairy tales, the use of the image of a lion in the Yakut olonkho and in some Yakut fairy tales is a mystery. On this occasion, V. L. Seroshevsky writes: we will present those indications to the south that stand separately in our materials and are more striking.

These, in our opinion, include representations and names: a lion, a snake, a camel - animals that are not found at all in the present homeland of the Yakuts. The Yakuts name the snake the same as the Mongols moha; it is not found north of 60 °, and to the south it is so rare that it is unlikely that there will be a dozen people among the local Yakuts who saw it, Camel is also familiar to them; True, they consider it a fabulous creature and often call it the Russian name merblud-kyl, merblud-sar), but they also have another name for it, namely: tyaben, which is very close to the South Turkic name for a camel te in e, or rather: you, Kachin Tatars. The heroic horse taben is usually called a horo-taben, and “southern”, “horolorsky” can also be translated well; some tales speak of two of his withers. Bogatyrs, hostile to the Yakuts, always go to the tyab. Then, in the legend about the stay of camels in the Yakut region, these animals are directly called tyaben-kyl. Camels at the beginning of the last century, by the administration of Eastern Siberia, were sent to the Okhotsk tract for the transport of heavy loads). The Yakut legend says that the Chinese (ky-ayder) carried goods to them from Okhotsk and tied them to some sacred tree along the way, not far from the upper reaches of the Kolyma. The spirit of the place, offended by this, flew away, the tree withered, and the animals died. (Western Kangalsky ulus, 1891).

Leo in Yakut hahai. In fairy tales, the Yakuts depict hahaya rem as strong, dexterous, with a lush mane on his neck and chest, with a long elastic tail, equipped with a bump at the end). In a word, their presentation is quite clear and close to the truth. Some doubt is caused only by the fact that the word hahay among the Mongols and Buryats means a pig. The pig has also never been found in the wild in the Yakutsk region, however, it would be interesting to know which of these two animals was called hahai in the old days. Wild boars are found both in the reeds of the Syr-Darya region and in Mongolia, but there are especially many of them on the Amur, where since ancient times the pig has been considered a pet among the local settled Tungus. Chinese sources speak of a people of hoary antiquity, "who lived somewhere in the northeast in dugouts and had herds of domestic pigs." in the Yakutsk region. the pigs were introduced very recently; they were brought there by the Russians; the Yakuts give them a Russian name and with pinya; they, like the Mongols, disdain pigs and do not eat their meat.

In those places where pigs have not been seen, the idea of ​​​​them is more fantastic than the image of a lion. In the tales of the far north, under the name of the iron pig (timir-ispinya), a monster is depicted, either a snake or a dragon. Everywhere she is considered by the Yakuts to be a stupid, nasty and cruel animal, while the lion is a proud, courageous and noble king of four-legged animals. It is also characteristic that in the title of the highly revered Yakut deity of fire, among other things, hahai sangyakh (lion's cloak) is found, and that one of the most famous Yakut shamans, whose grave is on the river. Bayage is still sacredly revered by the Yakuts, he was called Khakhayar, which means "roaring like a lion."

In the tale of Tuluyakh, the first hitching post in the hero's house, which is considered especially sacred, "roars like a lion" (khakhayar); the second "screams like an eagle" (barylyr); the third "cuckoos like a cuckoo" (kogoor). It is remarkable that in the same tale "the supreme ruler of the country of 26 clans" is called Arsan-Dolai, obviously, arslan - dalai - the holy lion). The same name, Arsyn-Dalai, is found in Khudyakov; in olongo he is called the head of the hostile to the Yakuts "devilish eight-clan, dormant tribe, with a mouth on the crown of the head, with eyes on the temples." The word arslan, arslyn, arystan, used by the southern Turks to designate a lion, is not familiar to the Yakuts.

The special attention to the lion of the Yakut legends is all the more remarkable because the Yakuts know very little about the tiger, which is no less terrible and well known to the southern Turks). There were even cases when a tiger ran into the territory inhabited by the Yakuts, stories about him are constantly brought by merchants who travel annually to Zeya, Bureya and Niman, where the natives are well acquainted with the tiger; meanwhile, the Yakuts constantly confuse it with a serpent and a dragon, indiscriminately calling all their elemes-kyllars - striped animals. In the remote corners, where they knew the name of the lion (hahai) and described it tolerably, where they heard about the "pig", they could not tell me anything about the tiger. The researcher explains all this by the southern origin of the Yakuts.

Introducing children to the culture of the peoples of the Khanty and Mansi????? ?????? ??????? ??????????. At present, in the conditions of modern socio-economic and cultural life in Russia, one of the priority areas for improving society is the spiritual revival of national traditions. The goals of education modernization can be achieved only in the process of interaction between the educational system and representatives of national science, economy and culture.

The North is an amazing land with amazing peoples. The northern man is essentially spiritual. His views were formed on the basis of the cult of nature and harmonious interaction with the environment, directly communicating with which he learned to understand it, adapted to life in it and worked, supporting nature in the interests of self-preservation.

The peoples of the North and Siberia created a unique culture, including rich oral folk art - folklore. Fairy tales are the most common genre of folklore. A fairy tale brightened up the difficult existence of people, served as a favorite entertainment and recreation: they usually told fairy tales at their leisure, after a hard day. But the fairy tale also played an important educational role. In the recent past, fairy tales among the peoples of the North and Siberia were not only entertainment, but also a kind of school of life. Young hunters and reindeer herders listened and tried to imitate the heroes who were glorified in fairy tales.

Fairy tales paint vivid pictures of the life and life of hunters, fishermen and reindeer herders, introduce them to their ideas and customs. The heroes of many fairy tales are the poor. They are fearless, agile, quick-witted and resourceful.

Fairy tales feature various elements of magic, prophetic forces, spirits - the masters of the elements (underwater kingdom, underworld and heavenly worlds, spirits of water, earth, forest, fire, etc.), death and resurrection.

A large place in the folklore of the peoples of the North and Siberia is occupied by fairy tales about animals. They explain the habits and appearance of animals in their own way, talk about the mutual assistance of man and beast.

The main idea of ​​the tale is simple: there should be no place on earth for suffering and poverty, evil and deceit must be punished.

The culture of the peoples of the North is the property of all mankind, it is the creative self-expression of each people, its contribution to world culture. Each nation contributes its own culture, and each achievement of the people is common to all mankind.

Our task is to revive the national traditions and customs of the peoples of the North, because traditions and customs are more necessary for a small people than for a large people; only thanks to them, he can save himself as a people. And today it is very important not to miss a grain of folk wisdom, folk traditions and customs; preserve, multiply and pass them on to future generations.

Now, more than ever, the task of instilling in children a sense of love for the Motherland is urgent. To do this, it is necessary to educate them in an emotionally positive attitude towards the places where they were born and live, to develop the ability to see and understand the beauty of the surrounding life, the desire to learn more about the features of the region, about the people who inhabit it. The attention of society to the original culture of the small peoples of the North, which carries the wealth and beauty of their spiritual world, has increased.

Acquaintance of children with the folklore and life of the peoples of the North is currently of particular relevance, because it instills in the younger generation an interest and respect for the culture and life of the peoples of the North, and also contributes to the expansion of their horizons, the development of artistic taste, the education of respect and preservation of ethnic and national and cultural identity of the peoples of the North - Khanty, Mansi, humanistic traditions of their cultures, love for the "small" Motherland - the land in which they live.

Much has been written about the importance of introducing a child to the culture of his people, since turning to the heritage of his native land brings up respect, pride in the land on which you live. Therefore, children need to know and study the culture of the peoples of their native land. Moral and patriotic education of children is one of the main tasks of a preschool educational institution, it includes the education of patriotic feelings, the formation of a sense of national pride, the study of the origins of national culture and much more.

We must know the culture of the people living next to us and instill this knowledge in children. From early childhood, it is necessary to develop in them a desire for beauty, to cultivate respect for folk traditions, customs, and cultural values ​​of the indigenous peoples of the North. To acquaint with oral folk art. To form knowledge about friendship, good and bad qualities of the character of people through the national ethnos.

Problem: after talking with children and analyzing long-term planning, it turned out that children know little of the works of oral folk

Target: To introduce children to the culture of the Khanty and Mansi peoples through oral folk art (tales, legends).

To increase the activity of parents in educating the child's love for his native land.

Tasks:

• -Introduce children to the oral folk art of the indigenous peoples of the North - Khanty and Mansi.
• - to teach to feel and understand the figurative language of the indigenous peoples of the north;
• - to form in children an emotional and figurative perception of the works of oral folk art of the Khanty and Mansi;
• - to expand the knowledge and ideas of the parents of pupils about the traditions of the indigenous peoples of the north;
• - to expand and deepen children's ideas about their native land, life, life of the peoples of the Khanty and Mansi.
• - develop observation, speech, memory, creativity.
• - unleash creativity in the family.
• - to cultivate the ability to appreciate the beauty and richness of native nature, love for the native land.

Project implementation principles:

• 1. The principle of encyclopedia.
• 2. Local history (regional) principle.
• 3. Culturological principle - introducing children to the origins of culture.
• 4. The principle of visibility.

Methods and techniques for project implementation: Conversations, reading works about the native land, fairy tales of the Khanty and Mansi peoples, multimedia presentations, didactic games, role-playing games, observations, outdoor games of the Khanty and Mansi peoples, listening to music, watching cartoons, an excursion to the library.

Main areas of work with children:

• * joint activity of an adult and a child;
• * independent activity of the child.

Images of animals in folk art

For a long time, animals have occupied an important place in the culture of all peoples of the world. Over the centuries of their economic activity, people have tamed many animals. Pets are faithful helpers and friends of man. And wild animals and birds since ancient times invariably evoke his respect for their power and love for freedom. Therefore, in any kind of folk art, we meet with images of animals.

Draw or glue images of animals characteristic of the creativity of the peoples of your region.

Briefly write down the plot of the fairy tale of the peoples of your land, where magical animals help people. Draw an illustration for the story.

"Ivan Tsarevich and the Grey Wolf"


The talking wolf is one of the central characters. The fairy tale tells about the royal family, the king had three sons. The heirs constantly compete not only for the love of their father, but also for the right to receive the throne and wealth after his death. To this end, fulfilling the instructions of the parent, they are trying to catch the Firebird, which got used to their garden. Unable to catch the feathered beauty on the spot, they went in search of her. The younger, Ivan, meets the Gray Wolf, who eats his horse. At the same time, the animal begins to serve the prince, fulfilling his instructions: first, he turns into the Firebird, then into the golden-maned horse and Elena the Beautiful. By the way, the restless priest also ordered to present the latter. Unfortunately, the envious brothers betray Ivan, taking away the princess and the Firebird from him. But the wolf comes to the rescue without the slightest delay - everything falls into place.

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• Introduction
• Conclusion

Introduction

The animal epic is characteristic of the work of many peoples of the world; especially vividly he expressed himself in fables. Here the animal epic is moralistic. In this case, animals are usually endowed with features of a human character; images of animals are allegorical (a fox identifies cunning, a wolf - greed, an owl - wisdom, a hare - cowardice, and others). Animal epic also appeared in fairy tales, but fairy-tale animals only occasionally have an allegorical character; this kind of animal epic - usually with a satirical focus - is widely represented in Russian folk art.

The origins of the animal epic lie in early folk tales. The ancient animal epic is known (the comic epic "The War of Mice and Frogs", V century BC; Greek fables, including the works of Aesop), then the Indian epic "Panchatantra".

The heyday of the animal epic is the Middle Ages (German, Dutch, French epic, the central character of which is the fox Renard; most of the works are variants of the epic "Romance of the Fox", XII - XIV centuries, revisions of which also appeared in modern times). One of the most famous medieval epic works, Isengrim by Nirvard of Ghent, dates back to the ancient animal epic and was written in Latin (the animal epic in Western European languages ​​became widespread only in the middle of the 12th century).

In the 17th century, the story of Latrobio (J.P. Giussani) "Brancaleone" (1610) was published; in this story of entertaining adventures of a smart donkey (with a sad end), plots of ancient and medieval origin are combined. Many works by I.A. Krylov, J. La Fontaine, Goethe's poem "Reineke-Foxes".

In this course work, one should consider fairy tales about animals in general, and the use of these fairy tales in teaching programs on literature in elementary school.

Purpose: to determine the role of fairy tales about animals in the teaching process of elementary grades.

Object of research: Tales about animals.

Tasks:

definition of types and forms of the animal epic;

consideration of the main types of plots in fairy tales about animals;

consider the principle of constructing deception in the context of the animal epic;

give a description of the main methods of using fairy tales about animals in the process of teaching elementary grades;

Consider the process of children's perception of fairy tales about animals.

1. Types and forms of the animal epic

Animal tales are a very ancient type of folk epic. But they have come down to us mainly not in their original form, but in the form of folk satire, deducing people under the guise of various animals, and special fairy tales for children. The use of images of the animal epic for allegory about the vices of people, about abuse in public affairs, about the shortcomings of reality, as old Russian literature shows (see the stories about Ruff Shchetinnikov, about Kura), took place as early as medieval Rus'. The possibilities of such use were given by the stability of the image of individual animals, endowing them with the qualities characteristic of people, likening animals to humans. Beast, fish and bird were presented as generalized carriers of positive or negative properties, they were perceived as symbols - types of human society. For example, the fox seemed to be the embodiment of cunning and deceit, the hare - cowardice, the wolf - rude ferocity, combined with stupidity, the kite and hawk - predatory and violence, the eagle and falcon - nobility and courage, the ruff - evasiveness and cunning dexterity, the pike - anger and predatory etc. The images of the animal epic are identical to the symbolism of the animal world in song poetry, epics; historical songs. The well-known epic about birds and animals, which characterizes the social structure and position of different strata of society in ancient Rus', in the interpretation of the images of the animal world, completely coincides with the satirical tales about animals that exposed reality. The significance of the images of individual animals, birds, and fish is in most cases preserved in other fairy tale genres (see, for example, in the tale of cunning science); the exception is fairy tales that include images of grateful animals - among them there are a wolf, and a fox, and a pike, and many others, and all of them faithfully serve the fairy-tale hero: they not only save him from impending disaster, but even resurrect him, sprinkling dead and alive water when he lies in a dark forest - an open field, killed by his brothers.

The Animal Epic is a cycle of related stories, often in the form of long epic poems featuring animals as characters. Although animals in both animal epic and fable think and act like human beings, there are important differences between the two genres. The fable uses animal imagery to teach the reader moral lessons. The purpose of the animal epic is to present society and human recklessness in a satirical form. The origin of the animal epic has not been exactly clarified, but all researchers agree that in the 12-13 centuries. this genre flourished. The main character of the central epic cycle was Renard the Fox, a sly man who became a symbol of victorious evil. Almost all versions of Renard's story originated in the Netherlands, northern France, and western Germany. Apparently, the plot is based on fairy tales about animals. In Western European literature, this plot was first used by Paul the Deacon in a short Latin poem around 820. Obviously, over the next two centuries, the plot was intensively developed, which allowed the Master Nirvard of Ghent to compose his Ysengrim (Ysengrimus) around 1150 - perhaps the best example of an animal epic in general. This book, distinguished by thoughtful composition and written in Latin hexameters, includes a large number of episodes in the spirit of the classical epic. The beginning is a story about the meeting of the Fox and the Wolf, when the Wolf outwitted his opponent for the first and only time. The first versions of the animal epic in Western European languages ​​date back to the 1170s-1180s. Bibko N.S. Teaching first-graders the ability to read fairy tales, Elementary School, - M .: Enlightenment, 1986, No. 4 a revised version has survived, dating from about 1320. Its plot clearly goes back to the early versions of the most famous version of the French version - Roman de Renart, which is a poem of 30,000 lines, the original edition of which dates from about 1175. There are many different "branches "of this poem, together giving a complete picture of Renard's life from birth to death. In the Netherlands, a certain author, known only by the name Willem, wrote a whole series of books about the Fox, which have a common core and go back to the work of the 13th century. in Middle Dutch. The main pathos of these books is that Renard, despite his complete immorality, wins victories by playing on other people's weaknesses and vices. When in 1479 in the city of Gouda (Netherlands) another reprint of the Romance of the Fox was published, the English printer William Caxton translated it into English and in 1481 published it under the title History of Reynard the Fox, after which the epic became known in England. Thus, the Chaplain's Tale from the Canterbury Tales by J. Chaucer is a brilliant reworking of the episode with Renard and Chauntecleer the rooster. In modern times, modernized versions of the Renard cycle appeared in almost all Western European countries. Satirical tales of the animal epic are characteristic, denouncing an unjust court: about a ruff, about a bird's court. The tale of the ruff tells how the ruff-rogue deceived everyone and left the righteous court clean. The tale of the bird's court speaks of a cuckoo, a bitter widow who fed children; the crow destroyed the cuckoo's nest and beat the children; the cuckoo complained to the court; the crow was punished, and the kukushida was not pardoned - at the same time they were flogged because she had no money.

The meaning of social satire is the fairy tale "The Cat in the Voivodeship" ("Burgeon of the Siberian Forests"), which tells how the cat frightened strong but stupid forest animals with a loud grunt, snort, and meow, ruled over them, and they brought him any animal as a gift.

Negative phenomena in everyday life were also subjected to satirical ridicule: stupidity, talkativeness, absurdity, etc. (see the tale of the "Rocked Hen", etc.).

fairy tale animal elementary school

The satirical tales of the animal epic were told to an adult audience and to children. But there were also special children's fairy tales about animals. The plots of these children's fairy tales are extremely simple, the composition is distinct, uncomplicated. These tales, in fact, are the main cycle of the animal epic. They tell about the tricks of animals, about their relationships and how a person often defeats even a strong beast. Of particular popularity among the tales of the Russian animal epic are the tales of the fox, which teaches the wolf how to fish with its tail, lies down on the road and pretends to be dead and thereby misleads the old peasant, drives the hare out of the bast hut, eats honey herself, and assures the wolf that he ate honey, manages to save himself from the flood and from the fire (she got burned in the fire, became red, one tip of the tail remained white), etc. The simple tales "Terem-Teremok" are also widely known (animals come to the "Teremok", ask who lives in it, stay in it, etc.), "The goat is peeled", complaining that they do not feed it, although they are full to hell, and others like them.

Russian fairy tales about animals, as you can see, are diverse in plots and images. But a comparison of the animal epic repertoire among Russians and other peoples shows that in the Russian fairy tale epic, animal tales are less richly represented than in the epic of many foreign and Soviet peoples (in particular, in the Ukrainian and Belarusian epic). Ternovsky A.V. Children's literature, - M .: Education, 1977

As a rule, fairy tales about animals are small in size. Their compositional structure is very simple. Often there is a technique of repeated repetition of the same action. For example, a meeting of animals is described: first, one animal meets another, then these two meet a third, then three animals meet a fourth, and so on. Sometimes one animal meets in turn with different animals, superior to each other in strength. Sometimes the repetition of the action is given with a constant increase (according to the formula: 1.1 + 1.1 + 1 + 1, etc.).

Such a compositional technique underlies the construction of the fairy tale "Terem-Teremok". Close to it is the reception of the fairy tale about the goat, in which we find the repetition of the image of the same repetitive action (every day the goat returns home).

The repetition of action is often associated with the repetition of verbal formulas (in the form of a dialogue or some kind of remark). The verbal formula is repeated as many times as the action itself is repeated. This is how the fairy tale about the hare, from which the fox took away the bast hut, is built: the hare meets different animals, they ask who offended the hare, the hare answers, the animals try to drive the fox out, the fox scares them; the rooster chases the fox away.

Some fairy tales about animals are built in a cumulative way (cumulative construction) with an increase in action, like the famous fairy tale about the turnip.

Very often among fairy tales about animals there are forms of dialogic narration (prose or song-poetry), when the action itself essentially occupies a very small place, and the main attention is paid to the dialogue of individual animals.

The simplicity and at the same time the diversity of the construction of fairy tales about animals is one of the reasons that children love these fairy tales, they are entertaining and easily reach the children's consciousness.

The origin of the animal epic is usually interpreted along the lines of the hunting theory of the origin of fine arts. By placing conjectural narratives about animals next to ancient pictorial activity, ethnographers provide us with an opportunity to judge the Paleolithic fairy tale. Depending on cultural traditions, territory of residence, ethnic and religious differences of peoples, the main types of animal epos are distinguished. These types also depend on time and space. It is wrong, for example, to consider the tale of the cowardice of a hare, for example, in the desert. Specifically, it is impossible to divide the animal epic into types unambiguously; they have fuzzy frames and images that pass from the context and situation.

However, E. Kostyukhin, in his works, nevertheless managed to bring out the main, in his opinion, types of animal epics: a fable, a fairy tale, a myth, a legend, a story, a legend, a true story. Kostyukhin K A. Types and forms of the animal epic. 1987 Moscow

They are divided on the basis of the activity of influencing the listener. For example, a myth has a general developmental effect, presenting some historical information on the basis of heroes. Fairy tales and legends serve as instructive examples. In them, a person, based on the behavior of the characters, sees what needs to be done, what cannot be done on the contrary, and what consequences this will lead to. Initially, according to E. Kostyukhin, the animal epic originated along with the primitive art of painting, that is, in his works he actually accepts the hunting theory, in which people for the first time realized the value of animals in their lives, for the first time began to study their habits and compare behavior with human.

1.1 Types of plots, construction of the motif of deception in fairy tales about animals

Following the chronology, then comes the period of totemism, i.e. actual worship of animal images. It was from this time that the motif of deception began to appear in fairy tales, stories and other literature related to the actions of animals.

The set of characters in fairy tales is also somewhat consistent with totemism. In Russian fairy tales, there is a predominance of wild animals over domestic ones. The main characters of fairy tales are a fox, a wolf, a bear, a hare. Of the birds - crane, heron, thrush, woodpecker, crow. Pets are much rarer. This is a dog, cat, goat, ram, pig, bull, horse. Of the birds, the rooster appears most often in fairy tales. Moreover, pets in fairy tales are not independent characters, they interact with wild, forest animals, which play a major role in the story. There are no fairy tales in which only domestic animals would act in Russian folklore at all. From this we can conclude that the Russian animal epic is the epic of wild animals, a derivative of the consciousness of those times when there were no domestic animals yet, or their role in the life of mankind was not yet so great as to be noted in folklore. And if so, it can be assumed that the epic about animals was created at the pre-class stage of the development of society, is the most ancient epic layer. This also correlates with the features of the use of the motif of deception in animal tales. Note that deceit in these tales is presented not as a negative element, but as a property of dexterity, resourcefulness, and the subtle, sophisticated mind of the character. The deception is not condemned by the narrator and listeners, but the deceived character is laughed at. This happens because in the era of the creation of fairy tales, deception was perceived as a means of fighting for existence. Thus, it is possible that fairy tale epic as such began with fairy tales about animals, and other plots - everyday, magical, and certainly satirical - appeared much later. Of course, this does not mean in any way that individual plots of fairy tales about animals cannot also be of later origin.

There is no unity in the composition and motifs of fairy tales about animals. We can single out only a few fragmentary characteristic features of such fairy tales, in which there is a motive of deceit:

1. The plot is a set of elementary actions leading to the expected (or unexpected) end. Many fairy tales are built on the insidious advice of one character to another, while the end for the character turns out to be completely unexpected, and for the listener it is quite expected, which enhances its comicality. Hence the comic nature of many fairy tales and the plot need for an insidious character (most often a fox), and a stupid, fooled one (a wolf or a bear).

2. The motive of unexpected fright also turns out to be significant for the narrative. Frightening in fairy tales is a special case of deception. Usually a weaker character frightens a stronger, formidable one. The latter in this case remains fooled.

3. Also a frequent case in fairy tales is the presence of good advice that is given to the main character, and he neglects it, while getting into difficult, dangerous, and sometimes ridiculous situations. In the end, the hero realizes that good advice must be followed.

4. You can also separately indicate the plot move when the animal drops something. It is also a widely used element of the plot, serving both as a stage in its development or refraction, and as a moralizing moment, a denouement. Propp V.Ya. Russian fairy tale (Collected works of V.Ya. Propp) Scientific edition, comments by Yu.S. Rasskazova - Publishing House "Labyrinth", Moscow; 2000.

In fairy tales about animals, traces of that period of primitive housekeeping have been preserved, when man could only appropriate the products of nature, but had not yet learned to reproduce them. The main source of life for people at that time was hunting, and cunning, the ability to deceive the beast played an important role in the struggle for survival. Therefore, a noticeable compositional device of the animal epic is deception in its various forms: insidious advice, unexpected fright, voice change and other pretense. The experience of the ancient hunters is connected with the constantly mentioned pen pit. He who knows how to outwit, deceive - wins and receives benefits for himself. The Russian fairy tale assigned this quality to one of its central characters - the fox.

Fairy tales often feature representatives of the wild fauna. These are the inhabitants of forests, fields, steppes: a fox, a bear, a wolf, a wild boar, a hare, a hedgehog, a frog, a mouse. Birds are represented in various ways: raven, sparrow, heron, crane, woodpecker, black grouse, owl. There are insects: a fly, a mosquito, a bee, an ant, a spider; less often - fish: pike, perch.

The most archaic plot layer of the animal epic belongs to the pre-agricultural period. These tales mainly reflect the real ancient life, and not the worldview of people, which was then in its infancy. Direct echoes of beliefs, the deification of the beast, are found in a single fairy tale - "The Bear on a Linden Leg". The beliefs of the Eastern Slavs about the bear, a variety of folklore, ethnography and archeology evidence indicate that here, like many other peoples, the bear was indeed deified. The tale "The Bear on a Linden Leg" recalls the once-existing ban on harming him. In all other tales, the bear is fooled and ridiculed.

Russian fairy tales about animals are associated with laughter and even with naturalistic details, which, according to V.A. Bakhtina, "are perceived as fantastic and have a deep meaningful character. This comic folk fantasy, which plays on the bodily bottom, the physiological act of hunger, food and sewage, serves as one of the means of characterizing the character.". In the animal epic, traces of the professional art of buffoons, wandering entertainers, who usually played "bear fun" were preserved. It is no coincidence that part of the repertoire of fairy tales about animals turned out to be directly opposite to the tasks of folk pedagogy. In terms of their crude, albeit witty, erotic content, such tales began to be intended exclusively for a male audience, joining a certain group of anecdotal tales.

Later, under the influence of literature (in particular, with the penetration of translations of Aesop's fables into Russia in the 18th century), the satirical stream noticeably intensified in the Russian animal epic, the theme of social denunciation appeared, prompted by life itself.

For example, the tale about the fox, who intended to "confess" the rooster, has undergone a number of literary alterations in manuscripts, printed collections and in popular prints. As a result, elements of the bookish style, satirically imitating the speech of the clergy, penetrated into the folk rendition of this tale.

Satire found its further development in an oral anecdote with animal characters. In general, animal tales broadly reflect human life. They capture the peasant life, a rich range of human qualities, human ideals. Fairy tales figuratively summarized the labor and life experience of people. Performing an important didactic and cognitive task, they passed on knowledge from adults to children. Reflection of interethnic processes in oral prose. M., 1979.

Animal tales differ significantly from the literary fable. In fables, allegory is born speculatively, in a deductive way, therefore it is always unidirectional and abstract. Fairy tales, on the other hand, come from life's concreteness, retaining, for all the conventionality of their characters, their lively charm, naive plausibility. Fairy tales combine human and animal in the images of animals with the help of humor and fun. As if playing with words, having fun, the storytellers observantly and accurately recreated the features of the real inhabitants of their native fauna. The child-listener was also involved in the process of word creation, for whom acquaintance with the outside world and learning speech turned into an exciting game.

A.M. Smirnov compared the variants of the fairy tale "Terem flies". “The whole artistic meaning of it,” the researcher wrote, “is to give as accurate a designation as possible, to vividly depict the subject, to emphasize its characteristic essence in one or two words.” In the poetic speech of the storyteller, new words often arose under the influence of alliteration, rhyme, rhythm - for the sake of verbal play. At the same time, the fairy tale "Terem of the fly" contains numerous examples of the semantic origin of new words: each animal evoked its own series of impressions, and this was developed in versions of the tale by its different performers.

The pedagogical orientation of fairy tales about animals also corresponds to their other features. Game performance was combined with a clear, didactically naked idea of ​​the plot, artistic simplicity of form. Fairy tales have a small volume and a distinct composition, the universal device of which is the meeting of characters and dramatized dialogue. Writer and folklorist D.M. Balashov noted that in children's fairy tales "the bear speaks in a low, rough voice, the grandmother speaks in a thin voice, etc. Such a manner is not typical when telling "adult" fairy tales."

Songs are often included in the narrative. For example, the song of a kolobok concretely and figuratively depicts the process of its preparation. In another tale, the song reveals the rough voice of a wolf pretending to be the mother of goats. The wolf makes the blacksmith "reforge" his throat and again repeats the goat's song, but in a thin voice. And the fairy tale "The Cat, the Rooster and the Fox" turns into a kind of creative competition between the insidious fox and the devoted friend - the cat. In nature, the cockerel is the most "melodious" among these animals, but the fairy tale assigns him only the role of a gullible listener of fox songs seduced by flattery, whom the fox carries away. However, in the end, she herself becomes a victim of such a deception, as she is fascinated by the artistry of the cat:

". Not finding his comrade, carried away by the villainous fox, the cat grieved, grieved and went to help him out of trouble. He bought himself a caftan, red boots, a hat, a bag, a saber and a harp; dressed up as a harpman, came to the fox hut and sings:

· Tribulation, guselki,

· Golden strings!

Is Lisafya at home

· With their children. "

Thanks to dialogues and songs, the performance of each fairy tale turned into a small performance.

Structurally, the works of the animal epic are diverse. There are single-motif tales ("The Wolf and the Pig", "The Fox drowns the jug"), but they are rare, since the principle of repetition is very developed. First of all, it manifests itself in various types of cumulative plots. Among them - a three-time repetition of the meeting ("Bast and ice hut"). Plots are known with a multiple line of recurrence ("Foolish Wolf"), which can sometimes claim to develop into a bad infinity ("The Crane and the Heron"). But most often cumulative plots are presented as multiply (up to 7 times) increasing or decreasing frequency. The last link has a resolving possibility. So, only the last of all and the smallest - a mouse - helps to pull out a big, big turnip, and the "terem of a fly" exists until the last and largest of the animals comes - a bear. For the composition of fairy tales about animals, contamination is of great importance. Only in a small part of these tales are stable plots, but in the main, the index does not reflect plots, but only motives. The motifs connect with each other in the process of storytelling, but are almost never performed separately. Contamination of these motifs can be both free and fixed by tradition, stable. For example, the motifs "The fox steals fish from the cart" and "The wolf at the hole" are always told together.

2. Methodology for reading fairy tales about animals in elementary school

A fairy tale has a great educational and cognitive value for a child. This is the favorite genre of many children. And it is no coincidence that various fairy tales are included in the elementary school curriculum.

So in the first grade, students get acquainted with fairy tales about animals, read household and fairy tales ("The Fox and the Black Grouse"; "Two Frosts"; "Porridge from an Axe").

In the second grade, children read folk tales ("Sivka-Burka", "Sister Alyonushka and Brother Ivanushka", "Ivan Tsarevich and the Gray Wolf"; epics "Dobrynya Nikitich", "Dobrynya and the Serpent", "Healing of Ilya Muromets", " Ilya Muromets and the Nightingale the Robber"), as well as literary tales by V.F. Odoevsky ("Moroz Ivanovich"), S.T. Aksakov ("The Scarlet Flower") and others.

In the third grade, children read the author's fairy tales by V.M. Garshina ("The Tale of the Toad and the Rose"), V.A. Zhukovsky ("The Tale of Tsar Berendey"), Pushkin ("The Tale of the Dead Princess") and others.

It can be seen from the program that the fairy tale occupies a large place in the reading of younger students. Their educational value is enormous. They teach modesty, disinterestedness, politeness, ridicule vices, which led to their satirical orientation.

Work on a fairy tale is carried out in the same way as on stories, but fairy tales have their own characteristics: there are magical, everyday, about animals and fantastic tales.

1. Usually, before reading a fairy tale, a small preparatory conversation is held (you can ask what fairy tales are, which ones you read; organize an exhibition of fairy tales). Before reading fairy tales about animals, you can recall the habits of animals, show an illustration of these animals.

2. A fairy tale is usually read by a teacher, but it is desirable to tell it.

3. Work on a fairy tale as if it were a realistic story, without explaining that "this does not happen in life", that this is fiction.

4. A fairy tale can be used to compile characteristics and assessments, since the characters of fairy tales are usually the spokesmen for one or two characteristic features that are clearly revealed in their actions.

5. Do not translate the moral of the tale into the realm of human characters and relationships. The didacticism of the tale is so strong and bright that the children themselves draw conclusions: "See right for the frog - no need to show off" (the tale "The Frog is a Traveler"). If children come to such conclusions, then we can assume that reading the fairy tale has reached its goal.

6. The specificity of a folk tale is that it was created for storytelling. Therefore, prose tales are retold as close to the text as possible. The story must be expressive. A good way to prepare for it is to read a fairy tale in faces. The staging of fairy tales outside of class helps to express the fairy-tale character, develops speech and creativity in children.

7. The fairy tale is also used for educational work on drawing up plans, since it is clearly divided into scenes - parts of the plan, headings are easily found in the text of the fairy tale.

Pupils of I - II classes willingly draw a picture plan.

8. Usually reading a fairy tale about animals does not require any preparation, but sometimes it should be recalled in a conversation about the customs and habits of animals.

If a fairy tale is read about nature close to children, then the material of the excursion is used, entries in the calendars of nature, that is, observations and experience.

9. In connection with the reading of a fairy tale, it is possible to make puppets, scenery for a puppet theater, figurines of animals and people for a shadow theater.

10. Elementary observations should be made on the features of the composition of a fairy tale, since these observations increase the consciousness of children's perception of the fairy tale. Already in grades I-II, children encounter fairy-tale tricks of triple repetition and notice that this helps to remember the fairy tale. Likhacheva O.P. Some remarks about the images of animals in ancient Russian literature. - Cultural heritage of Ancient Rus'. Origins Formation. Traditions. M., 1976.

When reading fairy tales, the following types of work are used:

Preparation for the perception of a fairy tale;

reading a fairy tale;

exchange of opinions about what has been read;

reading a fairy tale in parts and analyzing them;

preparation for storytelling;

summarizing conversation;

summarizing;

assignment for children at home.

1. Fairy tales are magical, everyday, social, fantastic, about animals.

2. In everyday fairy tales, they talk about the characters of people, the habits of animals. Comparing the characters of people with the characters of people is not worth it.

3. Social fairy tales show the life of the people, their grief, deprivation, poverty, lack of rights.

It is necessary to compare how people lived before the revolution, how they live now, which ones received rights.

4. Fairy tales show the dream of the people, ingenuity, talent, skill, diligence.

We need a comparison with modern life (cars, cranes, airplanes, etc.).

1. In fairy tales about animals, observations, excursions, illustrations, and cinema are important. You need to learn how to write a characterization. (Remember in which fairy tales and how animals are shown).

2. Do not say that this does not happen in life.

3. Ask the question: Why? What does it say?

4. The moral of the tale should not be translated into human relations.

5. The speech of the fairy tale is simple, the retelling should be close to the text (with laughter, play or sadness).

6. Retelling according to illustrations, according to a picture plan, according to a verbal plan, but using the speech features of a fairy tale (beginning, repetitions, ending).

7. Reading in faces, showing cardboard puppets, puppet performance, shadow theater, recordings is important.

8. On the board, write out vivid definitions, characteristic expressions necessary for introduction when retelling.

9. Set a problem - what is the character, prove with your reasoning and the words of the text.

10. Important in a fairy tale intonation, brightness of expression.

4. The fairy tale genre is many-sided and varied. There are such types of fairy tales as literary and folk, such intra-genre varieties as fairy tales about animals, fairy tales and household ones.

The technique gives a general direction for working with fairy tales, depending on their belonging to one or another intra-genre variety, however, it does not fully take into account the qualitative heterogeneity of the fairy tale genre, does not determine the optimal amount of skills that need to be formed in younger students when reading different types of fairy tales. But it is the knowledge of literary foundations that helps the teacher to better understand the role of a fairy tale, to choose methods and techniques that correspond to this type of fairy tale and contribute to the formation of the necessary skills in the analysis of fairy tales.

Skills provide an opportunity for standards in work, to diversify it in order to create the necessary emotional tone in children's perception, to set them up for the fact that there are no identical fairy tales, that each fairy tale is interesting in its own way.

In the practice of teaching the reading of fairy tales, it is not uncommon that they go one-dimensionally, without taking into account the literary specifics of this genre, as a result of which children learn not the depth of the content of the "fairy tale world", not its metaphorical nature and not the moral and social meaning hidden in it, but only the plot, which they often literally correlate with reality.

The main thing in any fairy tale can be comprehended by younger students if the teacher, when guiding the reading of fairy tales, will rely on their literary specifics and consistently form the necessary skills that are important in terms of the literary development of students.

What is included in the concept of "literary foundations" of a fairy tale? A folk tale, literary tale creates its own special "fairy tale world". It is voluminous, informative and specifically designed. The concept of "volume" includes the number of signs and parts, the concept of "form" - complicated and uncomplicated, related and unrelated to folklore tradition composition, narrative, poetic, dramatic.

The concept of "content" includes the following features: the specifics of science fiction; characteristics of the characters; characteristic of the living space and time of this world, the subject of the plot.

These features are important not only in terms of artistic features, but also in psychological and pedagogical terms. They help to understand and describe the "fabulous world" more deeply.

The "wonderful world" is an objective, virtually unlimited, meaningful world created by the wonderful principle of material organization.

When reading a fairy tale with a "wonderful world", you can organize an independent search for students, conducted under the guidance of a teacher.

In the process of reading - searching, students should generalize and deepen practical ideas about the fairy tale as a genre, about the "wonderful world", that is, they need to lay down the optimal amount of skills, such as:

1. The ability to see the specific beginning of a fairy tale - the beginning and a happy ending for good heroes;

2. The ability to determine the fabulous place and time of action;

3. The ability, when working with a text, to find a turning point in the development of the action, which makes it possible to trace the changes in the characters;

4. The ability to give an elementary evaluation of the behavior of the characters;

5. The ability to find and name magical objects and magical creatures, determine their place and role in the development of the plot, the function of good or evil in relation to the characters. Eleonskaya E.N. About survivals of primitive culture in fairy tales. // Eleonskaya E.N. Tales, conspiracies and witchcraft in Russia. Collection of works. - M.; Publishing house "Indrik", 1994

To form these skills, reading a fairy tale with a "wonderful world" should be organized in such a way that children from the beginning to the end of the work are in a state of search situation, read the fairy tale in paragraphs, comprehend the fairy-tale action and the actions of the characters according to "plot milestones".

2.1 The process of children's perception of fairy tales about animals

Fairy tales teach a person to live, inspire optimism in him, affirm faith in the triumph of goodness and justice. Real human relations are hidden behind the fantastic nature of the fairy tale and fiction, which was noted by A.M. Gorky: "Already in ancient times, people dreamed of the possibility of flying through the air, - the legends about Phaeton, Daedalus and his son Icarus tell us about this, as well as the fairy tale about the" flying carpet ".

Fantastic ideals lend artistic persuasiveness to fairy tales and enhance their emotional impact on listeners.

In the tales of every nation, universal themes and ideas receive a peculiar embodiment.

In Russian folk tales, certain social relations are revealed, the life of the people, their domestic life, their moral concepts, the Russian view of things, the Russian mind are shown, the specifics of the Russian language are conveyed - everything that makes the fairy tale nationally original and unique.

The ideological orientation of Russian classical fairy tales is manifested in the reflection of the struggle of the people for a better future. Passing from generation to generation the dream of a free life and free creative work, the fairy tale lived by it. That is why it was perceived until recently as a living art of the people. While retaining elements of the past, the fairy tale has not lost touch with social reality.

Fairy tale is a general concept. The presence of certain genre features makes it possible to attribute this or that oral prose work to fairy tales.

Belonging to the epic genus puts forward such a sign of it as the narrative of the plot.

The tale is necessarily entertaining, unusual, with a clearly expressed idea of ​​the triumph of good over evil, falsehood over truth, life over death; All events in it are brought to an end, incompleteness and incompleteness are not characteristic of a fairy tale plot.

The main genre feature of a fairy tale is its purpose, that which connects the fairy tale "with the needs of the collective." In Russian fairy tales that exist now, the aesthetic function dominates. It is due to the special nature of fairy-tale fiction.

In determining the nature of "fabulous fiction", the question of the specifics of the reflection of fairy tale reality acquires a fundamental character.

The fairy tale goes back to the reality of the era that gave birth to it, reflects the events of the era in which it exists, but this is not a direct transfer of real facts into the fairy tale plot.

In the fabulous image of reality, mutually exclusive concepts, correspondences and inconsistencies with reality are intertwined, which constitutes a special fairy-tale reality.

The educational function of a fairy tale is one of its genre features.

Fairy-tale didacticism permeates the entire fairy-tale structure, achieving a special effect by sharply contrasting the positive and the negative.

Moral and social truth always triumphs - this is the didactic conclusion that the tale clearly illustrates.

As a phenomenon of folklore, a fairy tale retains all folklore features: collectivity, oral existence and the collective nature of fairy-tale creativity, is a variation of a fairy-tale text. Each narrator reports, as a rule, a new version of the plot.

The ideas, the general scheme of the plot, the recurring general motifs coincide in the variants, but in particular they do not combine.

The ideological and artistic value of a variant depends on many reasons: on the knowledge of fairy-tale traditions, on the personal experience and characteristics of the psychological make-up of the narrator, on the degree of his giftedness.

The life of a fairy tale is a continuous creative process. In each new era, a partial or complete renewal of the fairy tale plot takes place. When it concerns the rearrangement of ideological accents, a new fairy-tale version arises. This feature of the tale requires careful study of each fairy tale text.

In a fairy tale, there are constant values ​​that have developed as a result of its traditional character, and variables that have arisen as a result of endless retellings.

Judging by the records of Russian fairy tales of the 18th - 20th centuries, the constant values ​​are the ideological orientation of the tale, its composition, the function of the characters, common places, the variables are the values ​​associated with the personality of the performer. The same story heard from different storytellers will be perceived as a new fairy tale.

The most important feature of a fairy tale is a special form of its construction, a special poetics. Narrative and plot, setting for fiction and edification, a special form of narration - these features are found in various genres of the epic cycle. Vavilova M.A. Tales / / Russian folk poetic creativity / M A. Vavilova V A., Vasilenko B A., Rybakov and others - 2nd ed. - M.; Higher school, 1978.

A fairy tale as an artistic whole exists only as a combination of these features.

Fairy tales as a whole were one of the most important areas of folk poetic art, which had not only ideological and artistic, but also great pedagogical and educational significance.

They formed stable folk ideas about the moral principles of life, were a visual school of the amazing art of the word. And fairy tale fantasy developed the mental abilities of the people, elevating it above the world of nature since ancient times.

It is known that fairy tales are author's and folk.

According to the tradition that has developed in literary criticism, the latter are divided into three groups: fairy tales about animals, fairy tales and everyday ones.

a) Stories about animals.

The Russian repertoire contains about 50 stories about animals.

There are several thematic groups: fairy tales about wild animals, about wild and domestic animals, about domestic animals, about man and wild animals.

This type of fairy tale differs from others in that animals act in fairy tales.

Their features are shown, but the features of a person are conditionally implied.

Animals usually do what people do, but in these fairy tales, animals are somewhat like a person, but not in some ways.

Here the animals speak human language.

The main task of these fairy tales is to ridicule bad character traits, actions and evoke compassion for the weak, offended.

Animal tales are included in the reading books. Most of all children are interested in the story itself.

The most elementary and at the same time the most important ideas - about intelligence and stupidity, about cunning and straightforwardness, about good and evil, about heroism and cowardice - fall into the mind and determine the norms of behavior for the child.

Children's fairy tales about animals touch upon social and ethical issues in an interpretation accessible to children's perception.

B) Fairy tales.

A fairy tale is a work of art with a clearly expressed idea of ​​man's victory over the dark forces of evil.

Children of primary school age like a fairy tale.

They are attracted by the development of action, coupled with the struggle of light and dark forces, and wonderful fiction.

In these fairy tales, there are two groups of heroes: good and evil. Good usually triumphs over evil. Fairy tales should cause admiration for good heroes and condemnation of villains. They express confidence in the triumph of good.

In books for reading in grades II - IV, such fairy tales are presented: "The Snow Maiden", "Geese Swans", "Three Sisters", "The Tale of the Goldfish", "Hot Stone", "Ayoga".

In each of these tales, the heroes resort to the help of objects or living beings that have magical powers.

Fairy tales are united by magic: transformations.

C) Household stories.

Everyday tales talk about the attitude of social classes. Exposing the hypocrisy of the ruling classes is the main feature of everyday fairy tales. These fairy tales differ from fairy tales in that the fiction in them does not have a pronounced supernatural character.

The action of the positive hero and his enemy in the everyday fairy tale takes place in the same time and space, is perceived by the listener as an everyday reality.

The heroes of everyday fairy tales: the landowner, the king-prince, the khan are greedy and indifferent people, loafers and egoists. They are opposed by experienced soldiers, poor laborers - dexterous, courageous and intelligent people. They win, and sometimes magical items help them in victory.

Everyday fairy tales are of great educational and cognitive value. The children learn about the history of the people, their way of life. These tales help the moral education of students, as they convey folk wisdom.

Conclusion

Summarizing the conclusions from the material discussed above, we can distinguish the following:

1. The archaic character of fairy tales about animals. Many representations and images found in fairy tales about animals refer them to one of the most archaic layers of the folklore heritage. This is where the second point comes from.

2. The target audience of fairy tales about animals is children. There are, of course, fairy tales about animals aimed at an adult listener, but there are very few of them. This is consistent with the previous point, since we know from research experience that all folklore phenomena that have lost their original orientation over time are borrowed by the children's cultural environment. This happened with the pagan conspiracies of the weather, which turned into children's chants (rain - rain, more, the grass will be thicker); with riddles, from magical allegorical turns that have turned into a game; in the same way, though not so obviously, fairy tales about animals also evolved. Hence the third and fourth points.

3. The upbringing and moralizing of fairy tales about animals is rather primitive. They do not consider nobility, patriotism, civic duty and other virtues that are complex or inaccessible to children's worldview. Here we see friendship, comradely mutual assistance, compassion, care - everything that is simple and understandable for little listeners, that helps them become better, that they can show and feel in everyday life - games, walks with friends, etc. d.

4. The culture of the comic in fairy tales about animals is at the same level. It's just children's laughter. Children laugh at a wolf whose tail has been torn off, not realizing how the poor animal feels, laughing at the clash of personalities of different animals, not realizing that in the wild representatives of these species do not behave like that, and even more so they would not at least communicate somehow. This is direct laughter, the situations are funny, the characters are funny, the whole world of the work is funny. Ridiculous as much as conditional. A world that is still too simple. A world that is not yet worthy of being taken seriously.

List of sources used

1. Bibko N.S. Teaching first-graders the ability to read fairy tales, Primary School, - M .: Education, 1986, No. 4, 98 p.

2. Bibko N.S. A fairy tale comes to the lesson, Primary school, - M .: Education, 1996, No. 9, 111 p.

3. Vavilova M.A. Fairy tales // Russian folk poetry / M A. Vavilova V A., Vasilenko B A., Rybakov and others - 2nd ed. - M.; Higher school, 1978.440s.

4. Eleonskaya E.N. About survivals of primitive culture in fairy tales. // Eleonskaya E.N. Tales, conspiracies and witchcraft in Russia. Collection of works. - M.; Publishing house "Indrik", 1994.272 p.

5. Zamyatin S.N. Essays on the Paleolithic.M. - L., 1961.314 p.

6. Zinoviev V.P. Russian fairy tales of Transbaikalia. Prep. texts, comp., foreword. and note by V.P. Zinoviev. Irkutsk. 1983.416 p.

7. Zolotarev A.M. Tribal system and primitive mythology. M., 1964.277 p.

8. Kostyukhin K A. Types and forms of the animal epic. 1987 Moscow. 379 p.

9. Kurdyumova T.F. Methodological guide to the textbook of the reader "Native Literature" for grade 5, - M .: Education, 1990, 672 p.

10. Lebedeva E.P. Archaic plots of the Evenk fairy tale about animals. Languages ​​and folklore of the peoples of the Siberian North.M. - L., 1966.309 p.

11. Likhacheva O.P. Some remarks about the images of animals in ancient Russian literature. - Cultural heritage of Ancient Rus'. Origins Formation. Traditions. M., 1976., 472 p.

12. Lurie I.M. Elements of the animal epic in ancient Egyptian images. Hermitage Museum. Proceedings of the Department of the East. L., 1938, 1.215 p.

13. Marshall A. People from time immemorial. M., 1958.378 p.

14. Morokhin V.N. Russian folk tale in modern life. Gorky, 1975.514 p.

15. Songs and fairy tales of the Voronezh region. Sat. composed by A.M. Novikova, I.A. Ossovetsky, F.I. Mukhin, V.A. Tonkov. Voronezh, 1940.717 p.

16. Okladnikov A.P. Morning of Art. L., 1967.392 p.

17. Reflection of interethnic processes in oral prose. M., 1979., 500 p.

18. Piskunova L.K. "The Tale of the Military Secret ..." And Gaidar at the lessons of reading, Primary School, - M .: Education, 1977, No. 2, 68 p.

19. Propp V.Ya. Problems of comedy and laughter. Ritual laughter in folklore Scientific editorial board, comments by Yu.S. Rasskazova - Publishing House "Labyrinth", Moscow; 1999.288 p.

20. Propp V.Ya. Russian fairy tale (Collected works of V.Ya. Propp) Scientific edition, comments by Yu.S. Rasskazova - Publishing House "Labyrinth", Moscow; 2000.416 p.

21. Ternovsky A.V. Children's literature, - M .: Education, 1977, 217 p.

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