Presentation "Good and Evil in Russian Folk Tales". Good and evil in the Russian folk tale “The Frog Princess” Good and evil on the example of fairy-tale heroes

"Good and evil in Russian folk tales"
For centuries, the people have been creating works of oral folk art, laying in them folk wisdom, their hopes and aspirations. Folk tales are also entertainment that brightened up long evenings; these are also lessons about what a person should be; this is also the desire for justice. A.S. Pushkin wrote: “A fairy tale is a lie, but there is a hint in it, a lesson for good fellows!”
Listening to fairy tales, everyone immediately decides for themselves what is good and what is bad, and strives to imitate good heroes.
This is how the concepts of good and evil are formed. Each person understands in his own way what good is and what evil is.
Therefore, the author in one fairy tale made the stepmother the evil hero, in another - the king or neighbor, in the third - Baba Yaga, the Snake or Koshchei, focusing either on his own opinion or on the listeners. Justice did not always triumph in life, so people invented fairy tales where good defeated evil, as if making their dreams come true.

People have composed many proverbs and sayings about good and evil. Here are some of them:
Good is not repaid with evil.
From good to bad, there is no such thing.
Good fame flies, but bad fame flies.
When the sun is warm, and when mother is good.
A kind person takes someone else's illness to heart.
They pay for good with good.
Don't look for beauty, look for kindness.
Kindness is a good human quality
Anger is a bad human quality

How did the people depict these two concepts: good and evil? All fairy tale heroes are strictly divided into positive and negative. Positive heroes: Ivan the Fool, Ivan the Tsarevich, Ivan the Peasant Son, Vasilisa the Wise, Elena the Beautiful, Marya Morevna and others are always endowed primarily with external beauty, which is sometimes hidden at the beginning of the fairy tale. This is Ivanushka the Fool. Everyone laughs at this hero, his older brothers openly mock him. But Ivanushka the Fool copes with his father’s instructions better than his brothers, because he has responsibility for the assigned work. He is observant, endowed with ingenuity and courage. And therefore, as a reward, he receives a beautiful princess and half a kingdom in addition.

Ivan Tsarevich was also portrayed as an intelligent and brave people, kind and sympathetic. That is why the forces of nature come to his aid, allowing him to cope with difficult tasks that arise along his path.

Female images in fairy tales are endowed with incredible beauty, which “cannot be said in a fairy tale, nor described with a pen.” They are wise and hardworking, caring and kind. Therefore, smart, brave and beautiful heroes always come to their rescue.

Sometimes Baba Yaga turns out to be an assistant to the main character:

Baba Yaga does not always represent evil; sometimes she is the giver of an object, or gives wise advice: this is how the hero receives from her a ball that leads him to his goal, or a wonderful horse that quickly takes him to his place. Baba Yaga knows many miracles. In the fairy tale “Go there - I don’t know where, bring that - I don’t know what” Baba Yaga, the mother of Princess Marya, helps Andrei the Strelok, his son-in-law, to complete the king’s task. In this fairy tale she is a kind heroine.

The Serpent Gorynych and Koschey represent evil in Russian folk tales. The snake kills people, destroys beautiful girls. Koschey is cunning, treacherous and very selfish.

Since ancient times, fairy tales have been close and understandable to ordinary people.
Fiction intertwined with reality in them. Justice has always triumphed in Russian fairy tales, and good has triumphed over evil.

REMINDER
HOW TO BECOME A GOOD AND KIND PERSON.
Try to see the good and kind in people first of all! This makes everyone around you become prettier and kinder!
Be kind to people!
Learn good from the good!
Don’t be afraid to offer help to those who need it, help first of all those who are in trouble, the weak, the sick.
Without causing harm, you become kinder!
THANK YOU FOR YOUR ATTENTION!

Indeed, does a modern child, who was born in the 21st century, need to read folk tales where the heroes fly not in a rocket, but on a carpet - an airplane, drive not in cars, but on stoves, ride on gray wolves and much, much more.

And it turns out that modern scientists and psychologists say that reading Russian folk tales has a beneficial effect on the psychological state of the baby. Therefore, a folk tale must be read to a child.

1. In a fairy tale good always triumphs over evil.

The child learns to empathize with the hero of the fairy tale, the baby draws independent conclusions about good and evil. An evil character in a fairy tale, as a rule, dies, but a good one not only wins, but is also rewarded with something.

2. A fairy tale awakens complex mechanisms in a child that help the baby withstand stressful situations.

In a folk tale there is always a deep meaning that affects the child on a subconscious level.

In fairy tales, the main character must overcome some obstacles in order to reach his goal. Very often a fairy-tale hero, like any person, does not believe in his own strength or is afraid of something or someone. But in the end, our hero overcomes all the obstacles along the way and achieves his goal.

A fairy tale, as it were, prepares a child who does not yet have his own life experience for his future adult life, where there will be obstacles on the way to the goal, where there may be fear of overcoming the goal or fear of the unknown.

3. Scary episodes in fairy tales.

Indeed, there are a lot of quite scary episodes in fairy tales, for example, Baba Yaga wants to roast and eat a boy.

And in real life such behavior is unacceptable, but in a fairy tale it is normal. Children, hearing about such strange “cruelties” on a subconscious level, seem to “discharge” their fears.

Here's an episode from real life.

One mother decided to protect her child from cruelty in fairy tales, so all the fairy tales for her girl were remade. For example, in the fairy tale about Little Red Riding Hood, the wolf did not eat the girl, and Little Red Riding Hood ran away. This was the case with all the heroes who found themselves in difficult situations in fairy tales.

At the age of five, the girl was extremely timid, it was difficult for her to communicate with both children and adults, and she was referred to a psychologist for consultation.

By removing “scary” episodes from fairy tales, the caring mother removed the most important thing: conflict and the ability to resist it, fear for the hero, the experience of death and rebirth. And after such changes, the fairy tale could no longer fulfill its psychotherapeutic function.

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"Good and evil in Russian folk tales"
Pupils of 3 "B" class
Secondary school No. 920
Zlobina Tatiana
Moscow cities.

Both children and adults love fairy tales. Based on fairy tales, plays and films are staged, operas and ballets are created.
Fairy tales came to us from ancient times. They were told by poor wanderers, tailors, and retired soldiers.
Fairy tales help to understand what is bad and what is good in life.
The heroes who personify the good forces of fairy tales live in a family, in a fairy-tale forest, on green meadows, in a beautiful country, in a special fairy-tale world. "In some kingdom, in some state."
In a fairy tale, there is always a struggle between good and evil.
Good fabulous
heroes are sure to emerge victorious, no matter what obstacles they have to overcome.
The fairy tale “The Frog Princess” told about how the hero achieved victory, goodness and justice.
Ivan Tsarevich found his Vasilisa the Wise. Good and justice triumph, but for this the hero had to go through difficulties and trials.
Ivan the Tsarevich appears before us as courageous and fearless; he was not afraid to go alone to look for his wife.

This fairy tale convinces us that in life a person can achieve a lot thanks to intelligence, kindness, work and courage.
Baba Yaga, together with Kashchei the Immortal, the Serpent Gorynych, represents in fairy tales terrible monsters, dark forces, which are often very cruel and insidious.

This is how Russian people in the distant past expressed their idea of evil.
In all fairy tales, Baba Yaga is always an old woman with a bone leg.

In some fairy tales she looks scary:
for example, in the fairy tale “The Frog Princess” we read:
“On the stove, on the ninth brick, lies Baba Yaga’s bone leg, her teeth are on the shelf, and her nose is embedded in the ceiling.”

Baba Yaga knows how to scare, cast spells, and prevents good characters from doing good deeds.
In the fairy tale “Geese and Swans,” Baba Yaga is a child abductor, tries to fry them, she is a negative character.

By nature, Baba Yaga is very evil, cunning, cruel, and commands evil spirits. She harms everyone, creates difficulties along the way, kidnaps children, and can put a hero on a shovel and send him to the oven to eat later.

Good and evil in fairy tales plays a very important role, because it helps us from an early age to understand that good is good and evil is bad.
Fairy tales teach kindness, distinguishing good from bad, patience, hard work, courage, believing in one’s strength, overcoming difficulties, fighting evil, protecting the weak.
A fairy tale always has a good ending: the one who loves his people and respects his elders and parents wins.
“Even though evil is strong and harms everything, good in the world will win!”

Li Yixin

THE CONCEPTS OF "GOOD" AND "EVIL" IN THE RUSSIAN LANGUAGE CONSCIOUSNESS (BASED ON THE MATERIAL OF RUSSIAN FOLK FAIRY TALES AND FAIRY TALES BY A. S. PUSHKIN)

The article is devoted to the analysis of the concepts of “good” and “evil” in Russian folk fairy tales and in the fairy tales of A. S. Pushkin. The verbal representation of these concepts is presented in terms of multi-level means: lexical, morphological, stylistic and textual. Comparison of these means allows us to identify similarities and differences in the consciousness of the collective and the individual. Article address: www.gramota.net/materials/272017/2-2/40.html

Source

Philological sciences. Questions of theory and practice

Tambov: Gramota, 2017. No. 2(68): in 2 parts. Part 2. P. 146-151. ISSN 1997-2911.

Journal address: www.gramota.net/editions/2.html

Information about the possibility of publishing articles in the journal is posted on the publisher’s website: www.gramota.net The editors ask questions related to the publication of scientific materials to be sent to: [email protected]

explain some procedural features of the processing of scientific information that do not have a reasoned explanation within the framework of other theories of speech understanding. These include strategies and tactics for condensing and separating scientific information, a differentiated approach of listeners to processing familiar and unfamiliar information, features and ways of understanding new information, strategies for identifying terms, including in incomplete contexts, strategies for formulating meaning.

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6. Lebedinsky S.I. Strategies of semantic perception and interpretation of oral foreign language scientific speech. Minsk: BSU, 2014. 296 p.

7. Lebedinsky S.I. Strategies for formulating meaning and constructing mental representations // Bulletin of the Minsk State Linguistic University. Series 1. Philology. Minsk, 2015. No. 5. P. 22-29.

8. Richard J. F. Mental activity. Understanding, reasoning, finding solutions. M.: Institute of Psychology RAS, 1998. 232 p.

9. Johnson-Laird P. N. Mental Models: Towards a Cognitive Science of Language, Inference, and Consciousness. Cambridge, MA: Harvard University Press, 1983. 513 p.

10. Kintch W. The Use of Knowledge in Discourse Processing: A Construction-Integration Model // Psychological Review. 1988. Vol. 95. P. 163-182.

11. Kintsch W., Dijk van. Towards a Model of Text Comprehension and Production // Psychological Review. 1978. Vol. 85. P. 363-394.

12. Whitney P., Budd D., Bramucci R. S., Crane R. On Babies Bath Water and Schemata: A Reconstruction of Top-Down Processes in Comprehension // Discourse Processes. 1995. Vol. 20. No. 2. P. 135-166.

CONTEXTUAL THESAURUS-BASED MODEL TO UNDERSTAND ORAL SCIENTIFIC SPEECH

Lebedinskii Sergei Ivanovich, Ph. D. in Philology, Associate Professor Belarusian State University, Minsk [email protected]

The article provides a theoretical justification of the author's contextual thesaurus-based model to understand oral scientific speech. The study focuses on the strategies to process scientific information, in particular, the author mentions the following ones: strategies to compress and separate information streams, key words search, advanced context activation, acquiring deeper and more detailed context, categorization, classification and systematization of the perceived information, constructing mental representations and understanding new information. These strategies along with the individual data processing strategies form the operational basis of general macro- strategy by which the denotative structure of the perceived scientific text is reproduced.

Key words and phrases: models to understand speech; understanding of oral scientific speech; strategies to understand oral scientific speech; prognostic models; context; broadening and detailing the context; strategies of advanced context activation; constructing representations; formation of conceptual structure; cognitive styles.

UDC 81"42; 801.81:398

Key words and phrases: linguistic consciousness; fairy tale; folk tale; author's fairy tale; the concept of “good”; the concept of "evil"; linguistic representation.

Tambov State University named after G. R. Derzhavin [email protected]

THE CONCEPTS OF “GOOD” AND “EVIL” IN THE RUSSIAN LANGUAGE CONSCIOUSNESS (BASED ON THE MATERIAL OF RUSSIAN FOLK TALES AND FAIRY TALES BY A. S. PUSHKIN)

In recent decades, the term “concept” has become widespread in modern linguistics, although its definition is still ambiguous. This is largely due to the fact that the concept

considered from the perspective of different approaches. Thus, in particular, from the point of view of the linguocultural approach, the understanding of a concept is determined by the fact that it is recognized as a basic unit of culture and concentrates cultural knowledge. According to Yu. S. Stepanov, “a concept is a concept behind which a long-familiar content appears in our consciousness, it is a description of a cultural situation.”

Representatives of the linguocognitive approach (E. S. Kubryakova, N. N. Boldyrev, Z. D. Popova, I. A. Sternin, etc.) consider the concept as a unit of the conceptual picture of the world. Thus, in the “Concise Dictionary of Cognitive Terms”, a concept is “a term that serves to explain the units of mental or psychic resources of our consciousness and the information structure that reflects human knowledge and experience; an operational content unit of memory, mental lexicon, conceptual system and language of the brain (lingua mentalis) of the entire picture of the world, reflected in the human psyche.” From the point of view of N. N. Boldyrev, concepts are understood as “ideal, abstract units, the meanings of which a person operates in the process of thinking. They reflect the content of acquired knowledge, experience, the results of all human activities and the results of his knowledge of the surrounding world in the form of certain units, “quanta” of knowledge. Man thinks in concepts." At the same time, researchers note that concepts “are not only thought, they are experienced.”

These approaches, in our opinion, do not exclude, but complement each other. In many ways, they are united by the fact that these types of concepts have, first of all, a plane of expression represented by linguistic representatives, which are multi-level units of language and speech. In their unity, these units make it possible to see and describe the representative basis of a particular concept in the structure of the text.

The most interesting linguistic material for studying the concept, in our opinion, is a fairy tale. The fairy tale, as one of the main genres of oral folk art, reflects, reveals and allows one to experience the meaning of the most important universal human values and life experience in general. The central place in the consciousness of the Russian people is occupied by concepts associated with moral assessments of a person: “truth”, “lie”, “good”, “evil”, “God”, “fate”, etc. The subject of this article is the concepts of GOOD and EVIL, which are widely represented in fairy tales and are always found in pairs, representing a binary opposition. They are opposed to each other in meaning and together form the basis of the universe, defining its moral essence.

The purpose of this article is to describe the composition of linguistic representatives of the concepts of GOOD and EVIL in folk and original fairy tales. The similarities and differences in linguistic representation allow us to compare the linguistic consciousness of the people and a specific author - A. S. Pushkin, who represent, respectively, collective and individual linguistic consciousness. To achieve this goal, the texts of fairy tales by A. S. Pushkin and folk tales from the collection “Russian Folk Tales” edited by A. N. Afanasyev, the plots of which are similar to the author’s fairy tales, were used. The choice of fairy tales is due to the fact that, unlike everyday fairy tales and fairy tales about animals, in fairy tales the struggle between good and evil is most clearly presented.

Among the fairy tales of A. S. Pushkin, the following were chosen: “The Tale of Tsar Saltan, his son, the glorious and mighty hero Prince Guidon Saltanovich, and the beautiful Swan Princess,” “The Tale of the Dead Princess and the Seven Bogatyrs” [Ibid., p. 52-65] and “The Tale of the Fisherman and the Fish” [Ibid., p. 71-76]. Accordingly, a folk tale that has similar motifs to “The Tale of Tsar Saltan” is “Knee-deep in gold, elbow-deep in silver,” recorded by A. N. Afanasyev in 5 versions. But the fifth option was written in Belarusian, so we did not include this option in the analysis. The “Magic Mirror” from the collection of A. N. Afanasyev has a similar plot to “Tales of the Dead Princess and the Seven Knights” [Ibid., p. 123-133]. The plot of “The Tale of the Fisherman and the Fish” is similar to the fairy tale “The Greedy Old Woman” [Ibid., vol. 1, p. 126-127]. It is worth noting that although “The Tale of the Golden Cockerel” by A. S. Pushkin is also a fairy tale, but, according to Pushkinists (A. A. Akhmatova, K. A. Boyko, etc.), the plot of this tale was borrowed from Arabic source. There is not a single tale in Russian folk tales that has a similar plot, so we did not include this tale in the study.

The most important component in the description of concepts is, in our opinion, the use of vocabulary material, which allows us to comprehend the established conceptual content of concepts as a whole. In different types of dictionaries, the lexeme “good” means the following:

“good - in the broad sense of the word as good means a value concept that expresses the positive value of something in its relation to a certain standard or this standard itself”;

1. “wed. material, all good cf. property or wealth, acquisition, goodness, esp. movable"; 2. “in the spiritual sense.” good, what is honest and useful, everything that the duty of a person, a citizen, a family man requires of us; opposite to bad and evil";

“something positive, good, useful, opposite to evil; good deed" ;

“(good, useful) deed, benefit, benefit, charity, donation, service, favor; property, wealth, property, wealth, condition, belongings, belongings."

“Evil” is interpreted in dictionaries as follows:

“a value concept opposite to good (good), a universal of culture, fundamental to morality and ethics. It covers the negative states of a person and the forces that cause these states”;

“thin, dashing, thin, dashing; opposite sex good. The spiritual principle is twofold: mental and moral; the first refers to truth, and the opposite to falsehood; the second is for good (good) and for worse, for evil. All evil is contrary to the divine order. In an abstract form, evil is personified by the spirit of darkness";

1. “something bad, harmful, the opposite of good; evil deed"; 2. “trouble, misfortune, trouble”; 3. “annoyance, anger”;

“badly, dashingly; with the heart, menacingly, viciously, irritably, angrily, angrily, evil, evil beginning, untruth, fiercely, anger, poisonous, misfortune, ulcer, trouble, brutalized, vexation, angry, furiously, trouble, bile, malice.”

Analysis of these dictionary entries allows us to come to the conclusion that “good” means what is due and morally positive, what is good, useful, what a person needs, what people’s hopes, ideas about freedom and happiness are connected with. “Evil” is morally negative and reprehensible; it means something bad that entails troubles, suffering, grief, misfortune. Evil is the opposite of good.

The linguistic representation of these concepts in a fairy tale text has a multi-level system of linguistic means, which includes lexical, morphological, stylistic and textual means. The results of the work carried out are summarized below and reflect the consideration of the linguistic representations we have identified, taking into account the field structure of the concept.

The core of the concept of GOOD is formed by the lexeme good. But this method of representation is very rare: 3 times in folk tales (1 time in the fairy tale “Knee-deep in gold, elbow-deep in silver”, 2 times in the fairy tale “The Magic Mirror”); 2 times in the fairy tales of A. S. Pushkin (1 time in “The Tale of Tsar Saltan”, 1 time in “The Tale of the Fisherman and the Fish”).

In the near-nuclear zone of the concept of GOOD at the lexical level, the units of representation are synonyms of the word good and their derivatives: kind, kindness, good-natured, good, blessing, bless. In folk tales such units are found more often (14 times) than in author's tales (7 times). But the word good-natured appeared only in the author’s fairy tale “About the Dead Princess and the Seven Knights.”

At the morphological level, different types of names (noun: good, kindness; adjective: kind, good-natured) and verbs (bless) are used to describe the nuclear zone. In folk tales, names are used more often (11 times) than verbs (3 times), but in original fairy tales it is the other way around: verbs are used more often (4 times) than names (3 times).

Due to the peculiarity of the periphery, the linguistic representation of the concept of GOOD is presented in different linguistic ways.

At the lexical level, words were identified that have associations with “good”: good, beautiful, smart, glorious, faithful, cheerful, joy, mercy, rejoice, love, admire, god. In folk tales there are 54 such associates, and in the author's fairy tales - 104. At the same time, in the author's fairy tales new lexemes have been identified that were not found in folk tales: reliable, brave, diligent, powerful, friendly, sage.

At the morphological level, the associates are the noun (joy, mercy, fun), which was used 13 times in folk tales, while in author’s fairy tales it is used more often (35 times). At the same time, such representatives as the savior, the daredevil, the sage, the wish, have only just appeared in the author's fairy tales. The number of adjectives (beautiful, smart, nice, faithful, cheerful) is presented more than nouns: 26 times in folk tales, 48 times in author’s fairy tales (reliable, brave, diligent, powerful, friendly were found only in author’s fairy tales), i.e. e. only 74 times.

The verbs to have fun and love appeared only 29 times, including 12 times in folk ones and 17 times in author’s ones. The verbs to rejoice and admire were found only in folk tales, and the verbs to fall in love, magnify, glorify, have mercy - only in author’s tales.

The adverb is presented 18 times, including 4 times in folk tales and 14 times in original fairy tales. Moreover, we found the adverbs pleasantly, cordially, diligently only in the author’s fairy tales.

At the syntactic level, free phrases, phraseological units or whole sentences are used to describe the periphery of the concept of GOOD. For example, Live and live in perfect harmony; To live and live and make good money (“Knee-deep in gold, elbow-deep in silver”); Not bad (“The Tale of Tsar Saltan”); an affectionate word (“The Tale of the Fisherman and the Fish” [Ibid., pp. 71-76]). In folk tales, 8 such units were identified, in original fairy tales - 14.

At the textual level, in folk and author's fairy tales, the personification of goodness is the heroes of fairy tales. For example, Prince Guidon and the Swan Princess in “The Tale of Tsar Saltan” [Ibid., p. 25-48]; Marya the Princess in the folk tale “Knee-deep in gold, elbow-deep in silver.”

Based on the analysis of linguistic representations of the concept GOOD, we come to the following conclusion: in comparison with folk tales, in the author's fairy tales, the means of expressing concepts have more expressive and diverse characteristics, which is reflected in the number of different multi-level means for describing the structure of the concept in question.

The core of the concept of EVIL is formed by the lexeme evil, but it occurs only once in folk tales and once in author’s tales.

To describe the near-nuclear zone of the EVIL concept, synonyms and derivatives of “evil” are used: evil, villain, angry, bad, dashing, evil. In folk tales such units are found less frequently (12 times) than in author's tales (20 times). But the words angry and dashing were found only in the author’s “The Tale of Tsar Saltan.”

The ways of linguistic representation of the periphery of the EVIL concept are varied.

At the lexical level, we have identified the following words that have associations with the word evil. These are: grief, disfavor, be angry, envy, deceive, be upset, die, cry, be angry, execute, dead, etc. In folk tales there are 57 such units, in author's fairy tales - 70. In author's fairy tales there are new lexemes that There were no words in folk tales: to grieve, to lie, to misrepresent, to get sick, wayward, fool, simpleton, to scold, to scold, to scold, to rebel, to be foolish.

At the morphological level, we have 67 units of various nominal parts of speech: including the noun (misfortune, disfavor) appeared only 8 times in folk tales, 23 times in author's fairy tales (fool, simpleton, death, sorcerer appeared only in author's fairy tales). The adjective appeared 15 times in folk tales (filthy), 21 times in author's fairy tales (inclement, capricious, angry were found only in author's fairy tales); only 36 times.

The verbs die and deceive are realized 61 times, including 30 times in folk ones and 31 times in author’s ones. The verbs to threaten, disgrace were found only in folk tales, and the verbs to grieve, lie, misrepresent, get sick, wayward, scold, scold, scold, rebel, fool were found only in author's tales.

The adverb bitterly (to cry) appeared 2 times, including once in folk tales and once in original fairy tales. In “The Tale of Tsar Saltan” the adverbial word sad also appeared.

At the syntactic level, to describe the periphery of the concept EVIL, as in the case of the concept GOOD, free phrases, phraseological units or whole sentences are used. For example, an unclean thought, terrible hatred, is engaged in evil deeds (“The Magic Mirror”); black envy, scared to death (“The Tale of the Dead Princess”); If you don’t go, they will lead you willy-nilly (“The Tale of the Fisherman and the Fish”). 6 such units appeared in folk tales, and 4 in original fairy tales.

At the textual level, in folk and original fairy tales there are heroes who personify evil. For example, the queen’s sisters are the weaver and the cook in “The Tale of Tsar Saltan”; the stepmother in the folk tale “Knee-deep in gold, elbow-deep in silver”, the greedy old woman in “The Tale of the Fisherman and the Fish”.

Of particular interest in fairy tales are the relationships between good and evil, which are also reflected in linguistic representation.

Table 1.

Type of fairy tales Total number Victory of good Victory of evil Others

In almost all fairy tales, good defeats evil, and at the end of the fairy tales there was a merry feast, I was there; he drank honey, drank beer, and just wet his mustache. The victory of good over evil in all folk tales shows that such a folk text as a fairy tale reflects the stable collective moral and aesthetic value ideals of the people.

Only in one author’s fairy tale did we not observe this victory - in “The Tale of the Fisherman and the Fish” by A. S. Pushkin: Again there is a dugout in front of him; His old woman is sitting on the threshold, and in front of her is a broken trough [Ibid., p. 76]. The old man and the old woman returned to their former lives. The old woman is certainly a prominent representative of evil. But the old man is not a representative of good, since he has a weak character, he did not resist the old woman, evil. There is no winner in this fairy tale. But in a similar folk tale, “The Greedy Old Woman,” it’s a different matter: At that very moment the old man turned into a bear, and the old woman into a bear, and they ran into the forest. We see the old man and old woman being punished for their greed. This can be seen as the victory of good over evil.

It is worth noting the meaning in V. Dahl’s dictionary that represents the concept of GOOD - “property or wealth.” In the dictionary of synonyms, the word “good” also has a synonym “property”. But in the description of the concept of GOOD, this meaning does not always represent its moral essence. For example, in the folk tale “The Greedy Old Woman” and in “The Tale of the Fisherman and the Fish” by A. S. Pushkin, the old woman became richer and richer, but did not become kind. This wealth is also connected with greed: “Well, make me rich”; “The new hut is like a full cup, the chickens don’t peck at the money, there’s enough bread for decades, but you can’t count the cows, horses, sheep in three days!”; “We lived for about a month; The old woman was tired of her rich life” (“The Greedy Old Woman” [Ibid., pp. 126-127]).

A similar situation is observed in the linguistic representation associated with the word beauty. The good heroine is usually beautiful: “and the beautiful princess mother lives with them and admires them” (“Knee-deep in gold, elbow-deep in silver” [Ibid., vol. 2, p. 376]); “The moon shines under the scythe, And the star burns in the forehead. But she herself is majestic, She performs like a peahen” (“The Tale of Tsar Saltan”). But sometimes the evil stepmother is beautiful. For example, in the folk tale “The Magic Mirror” and in “The Tale of the Dead Princess” by A. S. Pushkin: “a merchant’s wife looked into the mirror and admired her beauty...” (“The Magic Mirror”); “Of course you are, no doubt about it; You are the queen, cuter than everyone else, blushing and whiter than everyone else” (“The Tale of the Dead Princess”).

Thus, beauty and property belong to the common components of the concepts of “good” and “evil.” This can be represented as follows:

Rice. 1. Common components of the concepts “good” and “evil” We present the total number of linguistic representatives of the concepts GOOD and EVIL in Table 2. Table 2.

Number of units of representation of the concept of “good” and “evil”

The names of fairy tales are “good” and “evil”

Folk tales “Knee-deep in gold, elbow-deep in silver” Option 1 18 10

Option 2 9 6

Option 3 7 5

Option 4 7 6

"Magic Mirror" 32 36

“The Greedy Old Woman” 6 12

Fairy tales by A. S. Pushkin Total number “The Tale of Tsar Saltan” 81 38

“The Tale of the Dead Princess and the Seven Knights” 32 30

“The Tale of the Fisherman and the Fish” 14 206 24 167

Based on these data, we draw the following conclusions.

The linguistic representation of the concept GOOD is richer than that of the concept EVIL by 39 units. This is due, in our opinion, to the fact that the concept of GOOD is presented in a more diverse and expressive way. The people and the author in fairy tales strived for a positive, positive perception of good in relation to evil.

Comparing the results of the presentation of this conceptual opposition in folk and author's fairy tales, we observed that the concepts of GOOD and EVIL are much more clearly represented in the author's fairy tales, which are processed folk texts. Unlike folk tales, which were passed down from generation to generation, author's tales reflect, in addition to collective knowledge, also the individual style of the writers.

The analysis of these representatives not only allows us to get a more complete picture of this conceptual opposition in the Russian consciousness as a whole, but also determines the features of the author’s individual vision of the world. But at the same time, the conceptual approach to the assessment and perception of folk moral values inherent in the collective linguistic consciousness is preserved, since the purpose of the author’s fairy tales, in our opinion, is not to introduce new author’s knowledge into the content of these concepts, but to preserve the national culture and draw attention to it through the rich linguistic means that we find already in the idiostyle of this or that writer.

Bibliography

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CONCEPTS "GOOD" AND "EVIL" IN THE RUSSIAN LINGUISTIC CONSCIOUSNESS (BY THE MATERIAL OF RUSSIAN FOLK TALES AND A. S. PUSHKIN'S TALES)

Tambov State University named after G. R. Derzhavin [email protected]

The article analyzes the concepts "good" and "evil" in the Russian fairy tales and in A. S. Pushkin's fairy tales. The verbal representation of these concepts is carried out by multi-level means: lexical, morphological, stylistic and textual. The analysis of the mentioned linguistic means allows the author to identify the similarities and differences comparative between the individual and collective consciousness.

Key words and phrases: linguistic consciousness; fairy tale folk tale; author's tale; concept "good"; concept "evil"; linguistic representation.

This study is devoted to the study of the peculiarities of creating the image of the enemy in Russian and Western media using linguistic means aimed at forming the necessary opinion in the reader. The message function in news articles is implemented through lexical content. The article presents the most common linguistic techniques used to create the image of the enemy in Russian and Western media: epithets, metaphor, various types of repetition, enumeration.

Key words and phrases: enemy; image of the enemy; Russian media; Western media; epithet; metaphor; repeat; enumeration; interrogative sentences.

Lugueva Raiganat Gadzhinasrullaevna

Dagestan State University, Makhachkala lugueva-dgu@mail. gi

LANGUAGE FEATURES OF CREATION OF AN ENEMY IMAGE IN RUSSIAN AND WESTERN MEDIA

It is known that in the modern world the media perform the function of not only transmitting everyday information, but are also a means of forming a certain public opinion. In connection with recent events, the media have become the main weapon in shaping the reader’s attitude to reality. This article is devoted to the study of lexical features of creating the image of an enemy in Russian and Western media. The analysis examined 50 articles from electronic versions of Russian and Western media. First, let's define who the enemy is.

In the Political Science dictionary we find the following definition: the image of an enemy is “an ideological and psychological stereotype that allows one to build political behavior in conditions of a lack of reliable information about a political opponent and about the environment as a whole.” Considering the reliability and credibility of the source, this definition can be considered as quite accurate and comprehensive. However, I would like to note some inaccuracies; for example, the image of the enemy is not always created in the minds of society in the absence of reliable information. Let's give a few more definitions.

The image of the enemy is “a socio-political myth that is based on selfish interest and is based on the desire of individual political groups to expand influence, maintain or seize power.”

The image of the enemy is “an ideological expression of public antagonism, a dynamic symbol of forces hostile to the state and citizen, a policy instrument of the ruling group of society.”

The image of the enemy is “a qualitative (evaluative) characteristic (image) of the “enemy” formed in the public consciousness.” This definition can be considered as the most objective of the existing ones and at the same time one of the most laconic.

Both children and adults love fairy tales. They inspire writers and poets, composers and artists. Based on fairy tales, plays and films are staged, operas and ballets are created. Fairy tales came to us from ancient times. They were told by poor wanderers, tailors, and retired soldiers.

A fairy tale is one of the main types of oral folk art. A fictional narrative of a fantastic, adventure or everyday nature.

Sometimes fairy tales help to understand what is bad and what is good in life. A fairy tale, as the creation of an entire people, does not tolerate the slightest deviation from goodness and truth, it demands the punishment of any untruth, in it good triumphs over evil. The fairy tale also contains good and evil heroes.

Slide “Positive heroes and where they live”

Ivan Tsarevich

Ivan the Fool

Vasilisa the Beautiful

Wolf, Fox, Hare, Bear and others.

The heroes who personify the good forces of fairy tales live in a family, in a fairy-tale forest, on green meadows, in a beautiful country, in a special fairy-tale world. "In some kingdom, in some state."

Slide “Evil forces and their habitats”

Koschei the Deathless

Dragon

Creatures personifying evil, diverse evil spirits, live in dense forests, dungeons, burrows and caves. After all, there is the kingdom of evil. Here mother warns Dobrynya: “And you don’t need to go to the distant Sorochinskaya Mountain and go into snake holes and caves there...”

Slide "Ivan"

The positive hero of fairy tales, Ivan the Fool, is not a fool at all. Ivan, the youngest son, is called stupid because he lacks practical wisdom. He is simple-minded, kind-hearted, compassionate towards the misfortunes of others to the point of forgetting his own safety and all benefits. He fights evil, helps the offended or weak. Ivan is a fearless, kind and noble hero. Very often at the beginning of a fairy tale, Ivan is poor and persecuted by his enemies. Ivan successfully passes all tests. Defeats all enemies, wins happiness. Sometimes, as a reward for his heroic behavior and good deeds, he receives a kingdom or half a kingdom and the royal daughter, an expensive horse and some magical skills...

Slide "Vasilisa"

The positive heroine of fairy tales, Vasilisa, is endowed with wisdom and the ability to transform. She is strong by nature, so she copes with any task and difficulties. She is very kind and hardworking. Vasilisa means royal. Beautiful spiritually and externally - highly moral, she has developed feelings of justice and nobility. For all the trials that Vasilisa encounters along the way, a wedding and a happy fate await her.

Slide "Wolf"

A wolf is often stupid, simple-minded, and trusting.

Sometimes evil, can be a person's assistant.

The fox is cunning, insidious, greedy. She is also a fashionista and a thief.

"Bear"

The bear is good-natured, rustic, trusting, and a bumpkin.

Slide “Hare and other animals”

The hare is cunning and cowardly. Hedgehog is smart, careful, resourceful. The firebird is wise. The mouse is hardworking and kind. The cat is cunning and enterprising.

Slide “Koschei the Immortal”

Koschey is a character in fairy tales, a demonic creature hostile to people, his strength is in werewolf and sorcery, he is invulnerable to others. Koshchei's death is hidden in an egg. The secret of Koshchei's death is discovered by his niece. On her instructions, with the help of animal helpers, the egg is broken, after which Koschey dies. The name Koshchei is traced back to the Old Russian “koschey” meaning “prisoner”, “slave” - to disgrace, to put to shame; to the word “bone” with the meaning of an emaciated old miser or a skeleton: Koschey is a dead man, a skeleton, and therefore immortal.

Slide “Snake Gorynych”

The snake is a popular character in fairy tales and epics, most often an adversary with whom the hero must enter into an irreconcilable struggle. The snake is an image of world folklore. In Russian fairy tales, the Serpent Gorynych is a multi-headed creature capable of flying and spitting fire. His element is water or mountains (Snake-Gorynych). In a number of stories, the Serpent is a kidnapper, he carries away the king's daughters, besieges the city, demanding tribute in the form of a woman - for consumption or for marriage. The serpent guards the border to the “other” world, most often a bridge over a river; it devours everyone trying to cross. The fight with the Serpent and victory over it is one of the main feats of the hero.

Slide "Baba Yaga"

Baba Yaga is a popular character in East Slavic fairy tales. Portrayed as a fantastically ugly old woman who wields magical objects. (“Baba Yaga sits, a bone leg, legs from corner to corner, lips on the garden bed, and her nose is rooted to the ceiling,” “she rides on an iron mortar, pushes with an iron pusher”); The usual habitat is a hut on chicken legs in the forest, in the distant kingdom.” Baba Yaga belongs to the mythological world; she is the mistress of the forest, the mistress of animals and birds, the almighty prophetic old woman, the guardian of the borders of the “other kingdom,” the kingdom of Death.

Slide “The Color of Good and Evil”

White color is the color of purity, light.

Blue, blue color is the color of the sky, water, an integral part of life.

Red is the color of truth, the fight against evil.

Green and yellow are the colors of hope and joy.

Slide “The Color of Evil”

Black is the color of evil forces. It is no coincidence that evil witches dress in black and have black hair.

The dark green color is no less ominous. This is the color of all kinds of wickedness.

All these colors are present not only in fairy tales, but also in our lives. These are the colors of the nature around us: the rainbow and the fertile earth. From here we draw vitality that helps us resist evil creatures that may live next to us.

I have read a lot of fairy tales and I can say that for me the fairy tale opened up an amazing world of magic, where good defeats evil, where everyone gets what they deserve, where dreams come true. This is an incredible land of fantasy and wonder that teaches a person to be kind, sympathetic, honest and decent. A fairy tale helps us believe in ourselves and our strengths, helps us overcome difficulties, cultivate fortitude and courage. Gives hope, and sometimes even helps to make the right decision in a difficult life situation.

My mother, just like me, loves fairy tales. She says that fairy tales teach a lot not only to children, but also help adults to look at themselves from the outside.

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""Good and evil in Russian folk tales""

Good and evil in Russian fairy tales

Performed:

Protsenko Nastya

student of 5 "A" class.

Municipal educational institution secondary school No. 6

Teacher:

Anisimova O.M. .

How good it is that there is on Earth
These tales are wonderful!
Let's take a fairy tale and read it together
And let's sing about her!
May fairy tales live forever
Let them give to people
Magic, justice,
Beauty and goodness!

Find out which heroes represent the good and evil forces of Russian folk tales.

Find out the nature of “good” and “evil” forces.

The role of good and evil in Russian folk tales.

Understand what fairy tales teach.

Ivan is simple-minded, kind-hearted, and compassionate. He fights evil, helps the weak, is a fearless and kind hero. At the beginning of the fairy tale, he is usually poor; after passing the tests, he receives a reward.

Vasilisa

Vasilisa is endowed with wisdom, kind and hardworking, fair and noble.

The wolf is often stupid, simple-minded and gullible. Sometimes evil, can be a person's assistant.

The fox is cunning, insidious, greedy. She is also a fashionista and a thief.

The bear is good-natured, rustic, trusting, and a bumpkin.

The hare is cunning and cowardly.

The hedgehog is smart, careful and resourceful.

Firebird

The firebird is wise.

The mouse is a hard worker.

The cat is cunning and enterprising

Koschei the Deathless

Koschey is a demonic creature, hostile to people, he is invulnerable to those around him. Koshchei's death is hidden in an egg. At the end of the tale he dies.

Dragon

Serpent Gorynych is a multi-headed creature capable of flying and spewing fire. Kidnaps people, besieges cities.

Baba Yaga

Baba Yaga is an ugly old woman who owns magical objects. She is the mistress of the forest, animals and birds.

The color of purity, light

The color of the sky, water, life

The color of joy

The color of truth, the fight against evil

The color of hope

The color of evil forces

The color of wickedness

Presentation "Good and Evil in Russian Folk Tales". Good and evil in the Russian folk tale “The Frog Princess” Good and evil on the example of fairy-tale heroes

View document contents ""Good and evil in Russian folk tales""

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""Good and evil in Russian folk tales""