The ideological and thematic content of Lindgren's tales. Fairy tales by Astrid Lindgren

Keywords

SWEDISH PROSE / ASTRID LINDGREN / POLITICAL MOTIVES / ETHICAL CONFLICT/ FANTASY / PARABLE / DYSTOPIA / CHRISTIAN SENTIMENTALISM/ SWEDISH PROSE / ASTRID LINDGREN / POLITICAL MOTIFS / ETHICAL CONFLICT / FANTASY / PARABLE / DYSTOPIA / CHRISTIAN SENTIMENTALISM

annotation scientific article on linguistics and literary criticism, author of the scientific work - Koblenkova D. V.

The political and ethical issues of A. Lindgren's late story “The Lionheart Brothers” are considered. The conceptual difference between the works of A. Lindgren from the early 40s and the mid-70s of the twentieth century is analyzed. Motivational analysis of the text allows us to identify the strengthening of traditional humanistic motives, a return to the idea of non-resistance to evil through violence. Lindgren's rejection of the ideas of the early period is associated, like most other writers who advocated the active transformation of society, with disappointment in the methods of social reform. Lindgren comes to the conclusion that any transformation of life, even one conceived for the benefit of man, is associated with violence. The ideal hero in the story is a person who does not cross the moral line. Thus, the semantic center of the story becomes ethical conflict. The sacrificial path of the hero, symbolizing ideal goodness, is presented in the form of a journey to alternative worlds after death. Lindgren uses elements of a fairy tale, fantasy, political parable, and dystopia. The symbolism of the story refers to the biblical image system. The motives, nature of the conflict and poetics allow us to conclude that the traditions of Christian sentimentalism are used in the story.

POLITICAL AND ETHICAL MOTIVES IN A. LINDGREN’S FANTASY NOVEL “THE BROTHERS LIONHEART”

The article discusses political and ethical problems raised in A. Lindgren’s later novel “The Brothers Lionheart”. The conceptual difference between the works of A. Lindgren written from the early 1940s to mid-1970s is analyzed. The analysis of the text reveals the strengthening of traditional humanistic motives and the return to the idea of nonresistance to evil. It is discussed that Lindgren’s abandonment of her ideas of the early period, like in the case of most other writers who advocated active transformation of society, is due to the disappointment in the methods of social reforms. Lindgren concludes that any transformation of life, even if it is conceived for people’s benefit, is accompanied by violence. The ideal hero of the novel is a man who does not cross the moral line. Thus, an ethical conflict becomes the focus of the novel. The self-sacrifice path of the hero who symbolizes the perfect good is presented in the form of a journey to alternative worlds after death. Lindgren uses some elements of a fairy tale, fantasy, political parable, dystopia. The symbolism of the novel refers to the biblical imagery. The novel’s motifs, the nature of the conflict and the poetics suggest the use of Christian sentimentalism traditions in this work.

Text of scientific work on the topic “Political and ethical motives in the fairy tale story by A. Lindgren “The Lionheart Brothers””

Philology

Bulletin of Nizhny Novgorod University named after. N.I. Lobachevsky, 2015, No. 1, p. 270-276

POLITICAL AND ETHICAL MOTIVES IN A. LINDGREN’S FAIRY-TALE STORY “THE LION HEART BROTHERS”

Nizhny Novgorod State University named after. N.I. Lobachevsky

Received by the editor December 24, 2014

The political and ethical issues of A. Lindgren's late story “The Lionheart Brothers” are considered. The conceptual difference between the works of A. Lindgren from the early 40s and the mid-70s of the twentieth century is analyzed. Motivational analysis of the text allows us to identify the strengthening of traditional humanistic motives, a return to the idea of non-resistance to evil through violence. Lindgren's rejection of the ideas of the early period is associated, like most other writers who advocated the active transformation of society, with disappointment in the methods of social reform. Lindgren comes to the conclusion that any transformation of life, even one conceived for the benefit of man, is associated with violence. The ideal hero in the story is a person who does not cross the moral line. Thus, the ethical conflict becomes the semantic center of the story. The sacrificial path of the hero, symbolizing ideal goodness, is presented in the form of a journey to alternative worlds after death. Lindgren uses elements of a fairy tale, fantasy, political parable, and dystopia. The symbolism of the story refers to the biblical image system. The motives, nature of the conflict and poetics allow us to conclude that the traditions of Christian sentimentalism are used in the story.

Key words: Swedish prose, Astrid Lindgren, political motives, ethical conflict, fantasy, parable, dystopia, Christian sentimentalism.

In the sociocultural life of Sweden in the 1970s, the works of Astrid Anna Emilia Lindgren (1907-2002) take on a new meaning due to her active political position. The era itself contributed to this: social democracy was on the eve of a political crisis, discussions on the Swedish “third way” and internal economic reforms were renewed.

K. Lindsten wrote that “in the 70s in Sweden it became customary to raise political and social issues even on the pages of children's books.” Lindgren in these years, as once in the 40s, after the release of Pippi, again found herself at the epicenter of political and social controversy. As a result, in 1973, A. Lindgren’s ethical and political story “The Lionheart Brothers” was published, and in 1976, in the Expressen newspaper, the famous storyteller amazed the public with an unprecedented satirical pamphlet about the extremes of Swedish tax policy. The public outcry of its publication was such that it influenced the results of the next elections to the Riksdag: for the first time in several decades, the Social Democratic Party lost. This “literary” incident showed how great the influence of one particular person was in Sweden. Of course, Lindgren

was a charismatic figure, but in fact remained only a children's writer. Consequently, the reason for her popularity was her ability to express in her original works the main principles of personal self-determination. For the second time in the history of twentieth-century Sweden, a woman writer became the spiritual leader of the nation. At the beginning of the century, this position was occupied by S. Lagerlöf; in the second half of the 20th century, A. Lindgren reached this peak. Although Swedish society rapidly feminized and contributed greatly to changing intellectual life in the country, this case remains apparently unprecedented in world history. It is also important that both Lagerlöf and Lindgren deserve such treatment for their “children’s” works, i.e. for texts that propose a certain model of personality education.

The literary evolution of Lindgren is all the more interesting, since her prose of the early 70s differs significantly, if not radically, from the works of the 40s. The early stories were striking in their destruction of the literary and ethical canon and reflected ethical debates about individual freedom and the image of the superman. The author of “Pippi” and “Carlson” was attracted only by passionate personalities. Second-

The foam heroes were those who were waiting for their appearance and with them - changes in their destiny. The attitude towards strong, out-of-system characters divided Swedish society, but the majority spoke out in support of them, since at that stage Sweden needed a new proactive hero who was not afraid to break stereotypes. At the same time, in the 40s and 50s, it became obvious what place children's and adolescent literature occupied in Sweden, and how serious social and pedagogical functions it performed. Researchers rightly note that Swedish literature, on the one hand, has a certain freedom compared to children's books in many countries, since it is created in a democratic country, on the other hand, it is often forced to follow the social course, to educate in the “right” direction. It is much more difficult for children’s writers than for creators of “adult” literature to be unbiased authors in a state in which public institutions closely monitor compliance with certain pedagogical and ethical standards. In addition, with the change of eras, the moral climate also changes, so the same work can be evaluated differently.

In the 70s, a new era began in literature. Politics came first, and A. Lindgren “was attacked by young radicals for immorality. Her heroes were found to be elitist individualists. She was accused of not analyzing the causes of evil and social injustice."

In response to criticism from her opponents, Lindgren responded with the fairy tale “The Lionheart Brothers” (Bröderna Lejonhjärta, 1973). And this text turned out to be completely different in its ethical orientation from the “anarchist” stories of the forties and, of course, did not suit the “young radicals.”

Long before A. Lindgren wrote the story “The Lionheart Brothers,” a new image of a sick and lonely child appeared in her collection “Little Nils Karlsson” (Nils Karlsson-Pyssling, 1949). The magical Uncle Liljonkvast took such lonely children to another world called the Land of Twilight, or the Land Between Light and Darkness.

In the fairy tale “Mio, my Mio!” (Mio min Mio, 1954) a suffering child heard the sad bird Goryun in the garden, foreshadowing hard times. So heavy that for many these harbingers were reminiscent of C. Boyer’s dystopias “Callocain” and “1984” by J. Orwell. For this reason, Lindgren’s book was found “destructive and pessimistic”, inappropriate

the present “optimistic and idyllic” era of the 50s. In 1959, A. Lindgren released the collection “Sunny Glade” ^ippapap^), which again caused conflicting opinions. In one of her interviews, Lindgren said that she wanted to move “the well-fed children from the municipal parks of the People’s House out of town and allow them to run barefoot in a heavenly sunny meadow,” thereby demonstrating that not everything is in the “People’s House,” that is, in the new social system Sweden seems to her harmonious and thoughtful. The text of the new story - “The Lionheart Brothers” - once again surprised both literary scholars and readers. The increased interest in the story is due to the fact that the theme of “Brothers” is not purely for children. The political discourse of the narrative promoted the fairy tale to the ranks of “adult” works of “social indignation.” It is not surprising that The Lionheart Brothers is seen as Astrid Lindgren's response to the political rhetoric of the 70s.

Unlike many of her works, in this fairy tale Lindgren used among the techniques of secondary convention a fantastic assumption and the creation of alternative worlds. The action takes place first in earthly reality, which depicts a boy slowly dying from a serious illness on a kitchen sofa in a poor apartment. His mother is preoccupied with her inner life and personal unhappiness after his father leaves. The child understands that he is a burden to her. This destroys the idyllic idea of an inextricable connection between parents and children, mother and sick child. Lindgren fearlessly breaks with the tradition of patriarchal ideas about the family hearth as a source of stability and happiness.

As in other works of the author, in which children found loved ones not in their parents, but in someone else, little Karl finds salvation in his older brother, who replaced his father. Moreover - in the subtext - not only the earthly father, but also the Heavenly Father, wise and noble, who became his protector. The older brother Jonathan is distinguished by his amazing beauty and kind heart; he looks like a fairy-tale prince with golden hair, blue eyes and a gentle smile. He alone takes care of the sick boy, tells him stories in the evenings, warms honey water at night to relieve a severe cough and consoles him with the thought of the existence of another country, Nangiyaly, where he will live cheerfully and easily, without suffering from his illnesses. There he will live in Cherry Valley, fish and ride the horse he so dreamed of on earth.

The story about the brothers' spiritual attachment is told from the perspective of a dying boy. This is a rare case in literature when the narrative is entrusted to a child awaiting death. The technique allows us to enhance the existential sound, gives the story an emotional and lyrical intonation and at the same time gives the reader the right to interpret the story in different ways, including as a dream or vision. A weak and sickly boy enthusiastically admires his beautiful brother, worthy to be called Jonathan the Lionheart for his nobility. The little narrator himself does not hide his fears and anxieties, considering himself Karl the Hareheart. But Jonathan loves his weak brother, emaciated from tuberculosis, and affectionately calls him Rusk.

The second part of the story begins after an unexpected tragic incident: Suharik’s house caught fire, and his older brother, saving him, jumped down with him, holding him on his back. Dying, he said: “Don’t cry, Suharik. We'll see you in Nangiyal! . So Lindgren returns to the image of the Land of Twilight, that is, the world of death as another, alternative space where the time of “bonfires and fairy tales” flows.

The image of another world reveals kinship with Christian images of other worlds in the works of G.Kh. Andersen (“The Little Match Girl”), C. Dickens “The Bells”, F.M. Dostoevsky (“The Boy at Christ’s Christmas Tree”). Spiritual ideal spaces were the subject of depictions of the romantic heroes Nova-Fox, E.T.A. Hoffmann, V. Gauf, E. Poe. But Lindgren’s motif of dual worlds shows that the story is written not only about a pragmatic earth and a spiritual sky. And the heroes themselves are not escapists of the romantic era. They are “revolutionaries of the spirit”, who, however, find themselves in each of the realities not free from social hierarchy and difficult ethical choices.

Social themes gradually creep into the story: after the fire, the poor charity society gave Sukharik and his mother “old furniture,” and “mother’s aunties,” who ran to her “with their rags, muslins and other junk,” “also gave something.” . The dying Suharik was still lying on the old sofa in the kitchen, since his mother lived in the only room, who still sewed for wealthy ladies. No one, as before, showed compassion for the child. On the contrary, he knew how everyone regretted that it was not he who died, but his brother: “Poor you, Mrs. Leyon! After all, it was Jonathan who was so wonderful with you!” . The child does not say a word about his mother in his internal monologue. She doesn't care

talked about him, but he did not condemn her. However, the lonely and dysfunctional state weighed so heavily on the boy that he waited to move to Nangiyala, where he eventually ended up.

After a brief idyllic meeting with Jonathan, who showed him their house in the Cherry Valley and gave him a wonderful horse, Fya-ral, and a fishing rod, a new stage begins in the fate of the two dead brothers. The text takes on political content: Jonathan talks about another country - the Valley of Thorns, in which power belongs to the tyrant Tengil, who controls the inhabitants with the help of the dragon Katla (an Old Norse female name meaning “cooking pot”; it is also the name of a volcano in Iceland). Elements of a fairy tale are intertwined with elements of a political parable. The text is completely restructured and becomes a description of the struggle against the dictatorship of Tengil (a variant of the Old Norse name TiengSh - “lord”). The dictator is depicted as a black knight from the country of Carmagnac. Medieval knightly paraphernalia, the presence of a castle surrounded by a stone wall, power over a fire-breathing dragon controlled by a magic horn are elements of fantasy. The principle of depicting two opposing worlds, the confrontation of which forms the adventurous outline of the story’s plot, is also borrowed from fantasy. Lindgren also relies on the medieval epic when depicting positive heroes. Direct association connects Jonathan with Richard the Lionheart.

Noble Jonathan helps the residents of the Valley of Thorns. He single-handedly rescues the prisoner Ur-var, the leader of the liberation struggle, from the Katla cave. At the same time, contradictory characteristics emerge among those leading this movement for a new order. Lindgren's Good and Evil are ambiguous, the boundary between them is blurred. For example, the red-haired hunter Hubert from Cherry Valley is vain and jealous of another leader of the movement - Sophia. Sofia, the mistress of an idyllic garden, commanding the wise white doves, despite her symbolic name, is not far-sighted enough, does not trust the words of Sukharik, and succumbs to the deception of the traitor. The traitor Jussi, nicknamed the Golden Rooster, on the contrary, inspires confidence with his goodwill and cheerful disposition. Urvar, the main figure among the rebels, after his release is ready to lead people, without doubting his right to violence.

As a result, the main ethical conflict in A. Lindgren’s story becomes: Jonathan right-

Urvar asks whether he is ready to kill enemies in order to free the Valley of Thorns, to which he undoubtedly answers in the affirmative. But Jonathan, unlike him, is not ready to kill.

Even if it's about saving your life? - Urvar asked.

Yes, even then,” Jonathan replied.

Urvar could not understand this...

When, after the victory and the death of people, many in the Valley of Thorns cried, Urvar did not cry: “Not Urvar,” Lindgren will write.

“If everyone were like you,” said Urvar, “then evil would reign supreme and forever rule the world!”

But then I said that if everyone were like Jonathan, then there would be no evil in the world.”

This main dialogue of the story is reminiscent of the conversation between Sonya and Raskolnikov in Crime and Punishment and between the Prisoner and the Grand Inquisitor in The Brothers Karamazov by F.M. Dostoevsky. A similar dialogue was introduced into a number of works of literature of the twentieth century. . Astrid Lindgren also addresses the topic of Dostoevsky, whose influence on Swedish literature is very great and is constantly confirmed by Swedish writers and readers. In contrast to her position in the early forties, she comes to think about the ethical boundaries of what is permitted, about the need for internal self-improvement, and not forcibly changing the world. Explaining the concept of the story in 1978 when she was awarded the German Booksellers Peace Prize, Astrid Lindgren entitled her speech “Not Violence.” Consequently, the author's position has changed significantly. She clearly returned to universal values, like most writers who began with revolutionary works and then became disillusioned with the practice of social reform.

The world of death of Nang-gial, depicted in her story, into which little Suharik was so eager to get, ceases to be an ideal space. The story is filled with dystopian content. The outcome of this story is the new death of Jonathan from the fire of Katla, which will be followed again courageously by his younger brother in the next - the third world. Another transition of Sukharik to the new world of Nangilima through the second death is another terrible attempt to become strong, to become happy. The last words of the story: “Oh, Nangili-ma! Yes, Jonathan, yes, I see the light! I see the light! - can be interpreted in different ways: from the pathetic assertion of the thought that faith in

the ideal is eternal, no matter how much one has to die for it, to the point of tragic denial of the possibility of finding Light, since transitions from one world to another multiply, and faith in the existence of ideal space becomes less and less.

In this story, both the Christian picture of the world and the worldview concepts of the romantics are rethought. The other world is filled with the same social and psychological conflicts as the earthly world. Social evil is shown as inescapable, born of the evil of each individual person, which can coexist with noble impulses. In her biographical book about Lindgren, M. Strömstedt wrote that when “the view of Evil is not presented so clearly, the light of Good is seen more clearly, and darkness and black evil shadows become clearer.” Just such shadows fall on Lindgren’s heroes; they “grow out of a world of aggressiveness and violent emotions. Love and Good sleep side by side with destructive Evil, ready to ignite.” It is no coincidence that all the writer’s characters, who had a strong, emotional character, were capable of aggressive actions, justified by the goal, the justice of revenge. Heroes who are unable or unwilling to cross the “line,” as a rule, on the contrary, were portrayed as balanced, devoid of exaltation. Their energy was directed inside themselves; personal harmony and moral integrity were more important to them, unlike those whose energy was directed to transforming the world.

By the time Lindgren created the story, she had clearly changed her emphasis: in her early works, the writer fought evil with the help of active heroes who themselves could easily break the law; her latest works, on the contrary, contain elements of Christian ethics. Jonathan is clearly depicted as Christ-like: forgiving, loving people, ready to sacrifice. Having killed no one in the battle, he himself is mortally wounded and dies, still not wishing harm to anyone. Repeatedly when asked by Suharik why he does this, why he risks his life, helps people, and does not take revenge on his enemies, Jonathan replies that a person should not be “a little pile of crap” (“en liten lort”).

This expression by A. Lindgren conceals not only a psychological meaning concerning the behavior of individual people. She spoke about such responsibility, referring to the state. In the context of Swedish history, this has to do with both foreign policy and domestic social programs. This understanding of responsibility reflected her personal disappointment.

formation in social democracy, which had forgotten about the ideals of the “People’s House” and returned, in its conviction, to the class struggle, behind which lies the eternal desire for power.

As a result, not a single book by Lindgren, not even Pippi Longstocking, was subjected to such harsh criticism as The Brothers Lionheart: “When published in 1973, The Brothers Lionheart was an ill-timed book. The books of the 70s were educational essays on social issues about gender roles and environmental pollution; about director Franta, who has messed up the whole world, about mom, who works as a plumber, about dad, who put on an apron and cooks food.” Marxist literary critics from Gothenburg accused Lindgren of representing evil only on one side and considering death to be the solution to all problems. Ola Larsmu, in the article “If everyone were like Jonathan” (1983), wrote that “Junatan’s pacifism is certainly a noble quality, but it does not stand the test of reality.” The radicals fighting imperialism hoped to live to see victory over it in this life, and not in the next, and therefore were also outraged. Psychologists, for their part, considered it unacceptable to depict a situation in which children are forced to die twice and thereby increase the already shocking experience of death. The last episode of the story, in which Jonathan calls on Sukharik not to be afraid of death and to follow him again, was generally perceived as a call to child suicide.

The story thus attracted criticism for both political and ethical reasons.

The famous writer P.K. Erschild also wondered about Lindgren’s position, but tried to defend it: “Which political party does Astrid Lindgren stand on? Does she understand what she's doing? Does she write with her heart or her mind? If she writes with her mind, then what views does she share: social democratic, centrist, communist or the views of Glistrup... It is difficult to make such distinctions; they must be combined with a respectful attitude towards the work of art, with wisdom and, perhaps, with some sense of humor.”

Lindgren was also defended by children who, judging by surveys, also perceived death as a transformation, a transformation. Doctors thanked Lindgren for the therapeutic effect that such a book provided, calming and reconciling with death. Lindgren herself did not object to such a perception of the text, but denied religious speculation.

tions on this topic. She did not impose ideas about the afterlife and called her understanding of the universe agnosticism.

Previously, A. Lindgren did not turn to the depiction of otherworldly existence and did not use so many symbolic images of Christianity. Critics noted the significance of the white dove, in the form of which Jonathan flies to the dying Sukharik. The white dove is a symbol of the Holy Spirit, which confirms the already open comparison of Jonathan with Christ, and old Matthias, who sheltered Jonathan and saved his life, with God the Father. The traitor Jussi is associated with Judas Iscariot, the Cherry Valley in Nangiyal is associated with paradise. The double transition of the heroes, first to Nangiyala and then to Nangilima, in which there should be no death and evil, is also perceived by critics as the influence of the Catholic idea of purgatory and paradise, inspired by Dante's Divine Comedy.

Bu Lundin, in a 1973 review, even put forward the idea that Jonathan and Karl never got to Nangiyala, that everything that happens is the dreams of Karl, dying of tuberculosis, who dies for the first time precisely at the moment when he sees the light. Lundin's interpretation thus translates the text of the story into a realistic narrative plane. To numerous requests from the children to tell what happened to the brothers in Nangilim, Lindgren replied that the guys settled in the Valley of the Apple Trees on the Matthias farm, that they could now build huts, go around the forests, Karl received his dog named Mekke. Tengil and Yussi missed Nangilima. They ended up in another country called Lokrume. Since this is the name of one of the church parishes on the island of Gotland, one can understand how skeptical Lindgren was about attempts to give the story a religious interpretation and clearly eschewed the institutions of the church. But this did not stop the author from using traditional biblical allusions and recalling humanism. Lindgren's interest in Christian ethics is confirmed by her other later works: she published the collections “Christmas Stories” (Julberattelser, 1985), “Merry Christmas at Home!” (God Jul i stugan!, 1992) and the story “Christmas holidays are a wonderful invention, said Madicken” (Jullov ar ett bra pahitt, sa Madicken, 1993).

Other aspects of the story remained in the shadow of political and ethical-religious discussions. In particular, the psychological and philosophical motive of duality, spiritual kinship between brothers. The reception is so often present

It is known that the story of the creation of this fairy tale about brothers is unusual. First, Lindgren saw a strange metaphysical landscape near Lake Frücken, similar to the “dawn of humanity,” then at the cemetery in Vimmerby she read on one of the tombstones: “Here lie the newborn Phalen brothers, who died in 1860.” “I realized,” Lindgren said, “that I would write a fairy tale about two brothers and death.” Finally, the idea of strong and weak brothers, older and younger, symbolizing a complex unity, came to the author on the set of the film about Emil from Lönneberga, when boys were being selected for the role of Emil: “There was turmoil around little Janne Ohlson, camera flashes flashed. When it was all over, Janne slid out of his chair and perched himself on his older brother's lap. He pressed himself close to him, and his brother also hugged him and kissed him on the cheek. Then I realized that in front of me were the Lionheart brothers.”

A natural question arises: how is Lindgren’s story connected with Dostoevsky’s last novel, with which it is associated due to its title? It seems that it is not only the problems of “The Legend of the Grand Inquisitor” that make “The Lionheart Brothers” similar to “The Karamazov Brothers”. They are united by the idea of a deep psychological connection between opposite natures. Dostoevsky emphasized the complex unity of the images of the Inquisitor and the Prisoner, as well as the unity of the four Karamazov brothers. The disincarnation of the qualities of a single personality in different images shows that each of them contains the features of the others.

A. Lindgren uses the similarity of names: “Broderna Karamazov” and “Broderna bv]opb]ar1a”, but does not create such a complex figurative system. Her brothers have a common bright beginning. They are distinguished only by strength and weakness of spirit. But Sukharik “grows” spiritually during his stay in Nang-gial, imitating his mentor Jonathan. The concept of the image of Jonathan brings him closer to the image of Christ, and the story is perceived as a Christian “pedagogical poem.” It includes elements of an education novel and is reminiscent of S. Lagerlöf’s “The Amazing Journey of Nils Holgersson through Sweden.” But in the idealistic world of S. Lagerlöf, Nils found happiness on earth, but the brothers in A. Lindgren’s story did not find it even in death. If every transformation of the world is associated with violence, then evil is inevitable. The ending of the story is open: on the one hand, good reveals its non-viability, because Jonathan

died, and whether he will find an ideal world in the third space is unknown. On the other hand, if the author no longer believed in ideal systems, then she proposed to believe in an ideal person, and, unlike the heroes of earlier works, no longer crosses the line even in the name of a good goal. The use of biblical symbolism and the pathetic, often melodramatic pathos of the story, aimed at compassion for the weak and suffering, allows us to attribute the work to Christian sentimentalism. This ideological turn characterized the author’s perception of the last decades of the twentieth century. Lindgren actually returned to the ethical ideals that Lagerlöf wrote about. But if at the beginning of the century Christian ethics reflected the priorities of the majority, then in the era of radical changes there were incomparably more oppositionists. Lindgren again found herself outside the mainstream. Today, Lagerlöf, who was awarded the Nobel Prize, is described by Swedish researchers as the creator of the literary canon, and Lindgren's prose is perceived as “unformatted.”

By now, Swedish readers have been divided according to their priorities: for some Lindgren remained the author of Pippi Longstocking, for others she became the author of The Lionheart Brothers. Let us add that at the end of the twentieth century, a large study was published in Sweden, “The Best Books of the Swedish People,” which presented a rating of the best works of Sweden of the twentieth century. It contained the most books by Lindgren, which proves her undeniable influence on the Swedish mentality. As for “Pippi” and “Brothers”, out of 100 nominations in this rating they took second and third places, respectively: “Pippi” surpassed “Brothers” by one position. This means that non-resistance to evil through violence turned out to be less preferable than the dream of a strong Sweden, which, like Pippi, could declare itself, as it once was in the era of great power.

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POLITICAL AND ETHICAL MOTIVES IN A. LINDGREN'S FANTASY NOVEL “THE BROTHERS LIONHEART”

The article discusses political and ethical problems raised in A. Lindgren's later novel “The Brothers Lionheart”. The conceptual difference between the works of A. Lindgren written from the early 1940s to mid-1970s is analyzed. The analysis of the text reveals the strengthening of traditional humanistic motives and the return to the idea of nonresistance to evil. It is discussed that Lindgren's abandonment of her ideas of the early period, like in the case of most other writers who advocated active transformation of society, is due to the disappointment in the methods of social reforms. Lindgren concludes that any transformation of life, even if it is conceived for people's benefit, is accompanied by violence. The ideal hero of the novel is a man who does not cross the moral line. Thus, an ethical conflict becomes the focus of the novel. The self-sacrifice path of the hero who symbolizes the perfect good is presented in the form of a journey to alternative worlds after death. Lindgren uses some elements of a fairy tale, fantasy, political parable, dystopia. The symbolism of the novel refers to the biblical imagery. The novel's motifs, the nature of the conflict and the poetics suggest the use of Christian sentimentalism traditions in this work.

Keywords: Swedish prose, Astrid Lindgren, political motifs, ethical conflict, fantasy, parable, dystopia, Christian sentimentalism.

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3. Lindgren A. Broderna Lejonhjärta. Stockholm: Rabén & Sjögren, 1973. 228 s.

4. Lindgren A. Brat"ya L"vinoe Serdce / Per. so shved. N.K. Belyakovoj, L.Yu. Braude. M.: Astrel", 2009. 253 s.

5. Suhih O.S. Dva filosofskih dialoga (“Legenda o velikom inkvizitore” F.M. Dostoevskogo and “Piramida” L.M. Leonova) // Vestnik Nizhegorodskogo universiteta im. N.I. Lobachevskogo. 2012. No. 6 (1). S. 321-328.

ture XX century. N. Novgorod: Mediagrafik, 2012. 208 s.

7. Stryomstedt M. Velikaya skazochnica. Zhizn" Astrid Lindgren / Per. s shved. E. Ehnerud, E. Er-malinskoj. M.: Agraf, 2002. 274 s.

9. Lundin B. Skorpans slut blir välbelyst // Expressen, October 26, 2009. . Rezhim dostupa: http://www.expressen.se/kultur/skorpans-slut-blir-valbelyst/

10. Edström V. Astrid Lindgren - Vildtoring och lägereld. Stockholm: Raben & Sjögren, 1992. 322 s.

11. Svenska folkets bästa böcker / Red. Y. Nilsson, U. Nyren. Boras: Diagonal Förlags AB, 1997. 130 s.

“_ (reg. No. date) AGREED AGREED Head of the Department Dean of the Faculty U Pozdeeva T.V. Voronetskaya L.N. P _ 20 _ 20 BG Y RI EDUCATIONAL AND METHODOLOGICAL COMPLEX FOR TRAINING...”

-- [Page 5] --

TOPIC: TALES OF A.S. PUSHKIN AND FOLKLORE

Type of lesson - literary game (the student group is divided into two teams participating in 8 competitions, each of which is assessed by a certain number of points, additional points are assigned to active participants in the game) O

Stages of the literary game:

P 1st competition “Heirs of Pushkin”:

Come up with a name and motto for the team, making a connection with the fairy tales of R.E. Pushkin and modern student life.

2nd competition “Experts of Fairy Tales” (testing knowledge of the content of fairy tales).

Questions:

1. What did Dadon offer to the sage instead of the Shamakhan girl?

(“Ask from me at least the treasury, at least the rank of boyar, at least a horse from the royal stable, at least half my kingdom”).

2.What did the seven brothers do in the wilderness?

(“Before the morning dawn, the Brothers in a friendly crowd go out for a walk, to shoot gray ducks, to amuse the right hand, to hurry to the field, or to cut off the head from the broad shoulders of a Tatar, or to drive the Pyatigorsk Circassian out of the forest”).

3. How many days later did King Guidon’s army meet the Shamakhan queen?

(After 8 days).

4. What was the name of the dog who guarded the house of the seven heroes? (Sokolko).

5. How tall was Guidon born? (Arshin).

6. How many meetings did the old man and the fish have? (Six).

7. What did priest Balda feed? (Boiled spelled).

8. In what sport did Balda and the imp compete for the second time? (In throwing into the distance).

9.What kind of shoes did the old woman wear when she became a noblewoman? (Red boots).

10. What kind of furs did the old woman like? (Sable).

11. When is the “dead” princess’s birthday? (Christmas Eve).

– – –

17. Where did the princess lie down to rest on the first day of her stay in the house of the heroes? (On the floors).

18. What object with an element of applied art was in the palace of the heroes? (Stove with tiled stove bench).

19. In one of A.S. Pushkin’s fairy tales and in one of his famous poems there is a hero with the same name. In the fairy tale he is the bearer of good beginnings, in the poem

- evil. What is the name of this hero? (Chernomor).

20. In Pushkin’s fairy tale and in the Russian folk tale there is a plot with imprisonment in a P barrel. Name this Russian folk tale. ("By magic").

3rd competition “Pushkin’s Fairy Tales and Folklore”.

Tasks:

1. Select Russian proverbs and sayings that reflect the ideological content of Pushkin’s fairy tales: “The Tale of the Priest and his Worker Balda” (first team), “The Tale of the Fisherman and the Fish” (rival team).

2. Reveal the closeness of Pushkin and folklore images (the same fairy tales).

4th competition “The Poetic World of A.S. Pushkin’s Fairy Tales”.

Tasks:

1. Give examples of sound recording, intonation and rhythmic diversity of Pushkin’s fairy tales.

2. Select passages that confirm the graphic and dynamic nature of fairy tales.

5th competition "Black Box".

1. Here lies an object that was a symbol of sadness, evil, quarrels, because of which wars began. But this did not push people away from this subject, but on the contrary, it attracted them. This item is present not only in Pushkin’s fairy tales, it was also found in mythology and Christian legend. Name this item.

2. Here lies an item that belongs to Guidon personally. Thanks to her, he earned the favor, friendship, and then the love of the Swan Princess. Name this item. (String: “From the cross I pulled a silk cord onto an oak branch”).

6th competition “Staging-improvisation”.

Exercise:

Stage (the whole team participates) an episode from Pushkin’s fairy tale of their choice, demonstrating an understanding of the author’s idea, showing creativity and originality in the interpretation of images, the use of improvised costumes and scenery.

7th competition "Captains' Competition"

– – –

Introduce parents and teachers to the book so that they want to buy and read it.

LITERATURE

to prepare for the literary game:

1. Children's literature. Expressive reading: Workshop: textbook for the specialty “Preschool education” / O.V. Astafieva [and others]. – M.: Academy, 2007. – 270 p.

2. Oparina, N.P. Literary games in the children's library / N.P. Oparina. – M.:

Liberia, 2007. – 95 p.

3. Russian writers: Biobibliographer. dictionary. At 2 o'clock - Part 2 /Ed. P.A. Nikolaev. – M.:

RE Education, 1990.- 448 p.

4. Tubelskaya, G.N. Children's writers of Russia: one hundred and thirty names:

biobibliographic reference book / G.N. Tubelskaya. - M.: Russian School Library Association, 2007. - 391 p.

5. Pushkin at school: Sat. Art. / Comp. V.Ya. Korovin.- M.: ROST, 1998.- 365 p.

Lesson 9

TOPIC: GENRE AND THEMATIC DIVERSITY OF RUSSIAN

LITERARY TALE OF THE XX CENTURY

ISSUES FOR DISCUSSION:

1. Russian literary fairy tale of the 20th century: main development trends.

2. Moral and aesthetic potential of P.P.’s tales Bazhova.

3. Skill N.N. Nosov - a storyteller.

4. Fairy tale and parable in the works of V.P. Kataeva.

5. Problematics and poetics of fairy tales by E.N. Uspensky.

TASKS

1. Prepare an abstract for the answer to the first question of the lesson.

2. Present a video presentation of the author’s creativity of your choice (the task is completed in subgroups).

3. Compile a personal bibliography (list of monographs, analytical or review journal articles) of the writer’s work.

1. Develop a fragment of the lecture “Russian literary fairy tale of the late XX-early XXI centuries.” (use the textbook by I.N. Arzamastseva “Children’s Literature” - M., 2009.- P.469-500).

2. Write an essay about the work of one of the storytellers of the 20th century:

T.A. Alexandrova, A.M. Volkov, V.V. Medvedev, G.B. Oster, E.A. Permyak, A.P. Platonov, S.L. Prokofieva, V.G. Suteev, E.L. Schwartz et al. The abstract must have a creative part - a holistic analysis of the fairy tale of the author in question (optional).

– – –

Polozova. - M.: Academy, 1998. – 506 p.

4. Russian children's writers of the 20th century: Biobliographical Dictionary / ed. G.A.

For an in-depth study of the topic:

1. Begak, B. The truth of fairy tales: Conversations about fairy tales of Russian Soviet writers / B. Begak. - M.: Det. lit., 1989.- 126 p.

2. Lipovetsky, M.N. Poetics of a literary fairy tale (based on the Russian literary fairy tale of the 1920s) / M.N. Lipovetsky. – Sverdlovsk: Ural Publishing House. un-ta. – 183 p.

3. Petrovsky, M. S. Books of our childhood / M. Petrovsky. - St. Petersburg: I. Limbach, 2006. About – – –

4. Ovchinnikova, L.V. Russian literary fairy tale of the 20th century: History, classification, poetics: textbook. allowance / L.V. Ovchinnikova. - M.: Nauka, 2003. - 311 p.

RE Lesson 10

TOPIC: THE FORMATION OF THE EUROPEAN LITERARY FAIRY TALE

ISSUES FOR DISCUSSION:

1. C. Perrault - the founder of the European literary fairy tale.

2. The works of the Brothers Grimm.

3. The fabulous legacy of H. C. Andersen.

TASKS

2. Conduct a comparative analysis of the “adult” and “children’s” editions of Charles Perrault’s fairy tales (using the example of a specific work).

3. Determine the genre of the read fairy tales by the Brothers Grimm, using the principles of analysis of folklore epics.

4. Prepare an analysis of one of H. C. Andersen’s fairy tales according to the following scheme:

problems, images, components of the plot (exposition, plot, twists and turns, climax, denouement, epilogue), features of the narrative (author, narrator, hero), genre of the work, features of language and style.

For an in-depth study of the topic:

1. Familiarize yourself with the contents of one of the following monographs: Braude L.Yu. Along the Magical Paths of Andersen (St. Petersburg, 2008); Gaidukova A.Yu.

Tales of Charles Perrault: Traditions and Innovation (St. Petersburg, 1997); Skurla G.

The Brothers Grimm: An Essay on Life and Creativity (Moscow, 1989). Provide a detailed summary of the book (a concise description of the ideological orientation, content, purpose of the book).

2. Develop topics for ethical conversations for preschoolers based on the works of foreign storytellers.

3. Write a research paper on the topic “The Traditions of H. C. Andersen in

– – –

Ziman. – M., Russian School Library Association, 2007. – 287 p.

4. World children's literature: a textbook: a textbook for the environment. textbook establishments / I.E. Autukhovich [etc.] - Minsk: Literature and literature, 2010. - 591 p.

5. Sharov, A. Wizards come to people: A book about fairy tales and storytellers / ZI A. Sharov.- M.: Det. lit., 1985.- 320 p.

For an in-depth study of the topic:

1. Boyko, S.P. Charles Perrault / S.P. Boyko.- M.: Young Guard, 2005.- 289 p.

2. Braude, L.Yu. Along the magical paths of Andersen / L.Yu. Braude.- St. Petersburg: Aletheia, 2008.P – – –

3. Skurla, G. The Brothers Grimm: Essay on Life and Creativity / G. Skurla. – M.: Raduga, 1989.p.

4. Gaidukova, A.Yu. Fairy tales of Charles Perrault: Traditions and innovation / A.Yu. Gaidukova.- St. Petersburg: St. Petersburg Publishing House. University, 1997.- 273 p.

5. Gestner, G. Brothers Grimm / G. Gestner. - M.: Young Guard, 1980. - 268 p.

Lesson 11

TOPIC: FAIRY TALES IN THE WORK OF ASTRID LINDGREN

ISSUES FOR DISCUSSION:

1. The life and creative path of the writer.

2. Genre diversity of A. Lindren’s fairy tales, folklore and literary sources of her work.

3. Trilogy “Kid and Carlson”: problematics, system of images, originality of composition, language and style of the tale.

4. The role of A. Lindgren’s works in reading for young children, organization of work with fairy tales in kindergarten.

TASKS

1. Prepare a video presentation of A. Lindren’s work.

2. Develop a literary leisure scenario for preschoolers using the works of A. Lindgren.

3. Write a miniature essay “Childhood is...”, based on A. Lindgren’s depiction of the world of childhood.

For an in-depth study of the topic:

1.Write a review of one of the following books: Braude L.Yu. “I don’t want to write for adults”: A documentary essay about the life and work of Astrid Lindgren (M., 1987); Westin B. Children's literature in Sweden (Moscow, 1999);

Metcalf E.-M. Astrid Lindgren (Stockholm, 2007).

2. Prepare a research paper on one of the following topics:

“The image of Nils in the works of S. Lagerlöf and A. Lindgren”,

– – –

2. Foreign children's writers: a hundred names: biobibliographic reference book / G.N.

Tubelskaya.- M.: School Library, 2005.- 271 p.

3. Ziman, L.Ya. Foreign literature for children and youth: textbook / L.Ya.

TO Ziman. – M.: Russian School Library Association, 2007. – 287 p.

4. World children's literature: textbook. allowance for the environment. pedagogical education establishments / I.E.

Autukhovich [etc.] - Minsk: Literature i mastatstva, 2010. - 326 p.

5. World children's literature: a textbook: a textbook for the environment. textbook establishments / I.E. Autukhovich [etc.] - Minsk: Literature and literature, 2010. - 591 p.

O For in-depth study of the topic

1. Brandis, E.P. From Aesop to Gianni Rodari / E.P. Brandis.- M.: Det. lit., 1980.P – – –

2. Braude, L.Yu. “I don’t want to write for adults!”: A documentary essay about the life and work of Astrid Lindgren / L.Yu. Braude. - L.: Det. lit., 1987.- 111 p.

3. Westin, B. Children's literature in Sweden / B. Westin.. – M.: Magazine “Children. lit.”, 1999. – 71 p.

4. Braude, L.Yu. Scandinavian literary fairy tale / L.Yu. Braude.- M.: Nauka, 1979.- 208 p.

5. Metcalf, E.-M. Astrid Lindgren/E.-M. Metcalf. - Stockholm: Swedish Institute, 2007.- 47 p.

Lesson 12

TOPIC: GIANNI RODARI'S WORK

ISSUES FOR DISCUSSION:

1. Brief information about the life and creative path of J. Rodari, the sources of his creativity.

2. The poetry of G. Rodari in its relationship with the writer’s fairy-tale works.

3. Genre and thematic diversity of fairy tales by J. Rodari.

4. The cycle “Fairy tales with three endings” in the development of a child’s fantasy and imagination.

5. Methods for stimulating children’s verbal creativity in the “Grammar of Fantasy” by J. Rodari.

2. Compose a fairy tale independently (according to the laws of the genre presented in the above-mentioned cycle).

3. Develop a lesson outline for the development of creative storytelling in older preschoolers based on the works of an Italian storyteller.

For an in-depth study of the topic:

1. Present an annotated bibliography of the writer’s work.

– – –

1. Brandis, E.P. From Aesop to Gianni Rodari / E.P. Brandis.- M.: Det. lit., 1980. – 446 p.

2. Foreign children's literature: textbook. allowance for the environment. and higher ped. textbook

TO establishments / N.V. Budur [and others] - M.: Academy, 1998. - 304 p.

3. Foreign children's writers: one hundred names: biobibliogr. reference book / Comp.

G.N. Tubelskaya.- M.: School Library, 2005.- 271 p.

4. Ziman, L.Ya. Foreign literature for children and youth / L.Ya. Ziman. – M.:

Russian School Library Association, 2007. – 287 p.

For an in-depth study of the topic:

1. Gianni Rodari: Bibliography. decree. / Comp. V.G. Danchenko.- M.: BGBIL, 1991.-254 p.

2. Foreign children's writers in Russia / Borovskaya E.R. and [others].- M.: Flinta: Nauka, RE 2005.- 517 p.

Lesson 13

TOPIC: TALE-PARABLE BY ANTOINE DE SAINT-EXUPERY

"A LITTLE PRINCE"

ISSUES FOR DISCUSSION:

1. Brief biographical information about the writer.

2. “The Little Prince” in the context of the work of Antoine de Saint-Exupéry.

3. The problems of the fairy tale, its genre specificity.

4. The system of images in the work.

5. Originality of language and style (place of romantic convention, allegory, satire).

6. The relevance of the sound of the book. Specifics of introducing fairy tales to young children.

2. Prepare a creative retelling of a fairy tale for preschoolers.

3. Write an essay on the topic “We are responsible for those we have tamed.”

For an in-depth study of the topic:

1. Compile a catalog of articles about the writer’s work.

2. Prepare a photo album “Antoine de Saint-Exupéry – military pilot and writer.”

3. Develop a script for a play for preschoolers based on the fairy tale “The Little Prince”.

LITERATURE

Mandatory:

1. Foreign children's literature: textbook. allowance for the environment. and higher ped. textbook

establishments / N.V. Budur [and others] - M.: Academy, 1998. - 304 p.

– – –

2. Mijo, M. Saint-Exupéry / M. Mijo. – M.: Sov. writer, 1963.

3. Sharov, A. Wizards come to people / A. Sharov. - M.: Det. lit., 1985.p.

ZI Lessons 14*, 15, 16

TOPIC: WORKS ABOUT CHILDREN IN RUSSIAN LITERATURE

ABOUT

– – –

ISSUES FOR DISCUSSION:

1. The genre of autobiographical story in Russian literature*.

2. Images of children in the works of L.N. Tolstoy. Traditions of Tolstoy in the stories of V.A. Oseeva.

3. The skill of A.P. Chekhov, a psychologist, in stories about children.

4. Russian social story and story of the late XIX - early XX centuries.

5. Soviet humorous story (N.N. Nosov, V.Yu. Dragunsky, V.V. Golyavkin, etc.).

6. New trends in the development of modern children's prose.

Oseeva, N.N. Nosova, V.Yu. Dragunsky, V.V. Golyavkin, make entries in reading diaries.

2. Conduct a written comparative analysis of L.N.’s stories. Tolstoy and A.P. Chekhov (comparison parameters: age orientation of tests, genre specifics, problems, concept of childhood, nature of the child’s image, specifics of use in the work of a preschool teacher).

3. Develop topics for ethical conversations for preschoolers based on the works of L.N. Tolstoy, V.A. Oseeva.

4. Create topics for individual conversations, consultations, parent meetings using the works of A.P. Chekhov.

5. Compare the stories of N.N. Nosova and V.Yu. Dragunsky from the angle of using various forms of the comic (external and internal humor, satire, irony, grotesque, pun, neologism, word play, paradox, nonsense, etc.).

6. Prepare a mini-essay on the work of a modern children's storyteller (V.V. Golyavkin, V.K. Zheleznikov, Yu.I. Koval, G.B. Oster, R.P. Pogodin, Tim Sobakin, E.N. Uspensky and etc.).

For an in-depth study of the topic:

– – –

4. Prepare an abstract on one of the topics suggested below:

L.N. Tolstoy is a people's teacher.

TO Illustrations by A.F. Pakhomov to the stories of L.N. Tolstoy.

Pedagogical views of A.P. Chekhov.

The theme of childhood in the works of A.I. Kuprina.

– – –

Stories about child workers D.N. Mamin-Sibiryak.

The problem of a positive hero in the works of A.P. Gaidar.

P The image of a child in the works of B.S. Zhitkova.

RE Mastery V.V. Golyavkin the narrator.

Innovation Yu.I. Koval - children's writer.

1. Read one of the following works of an autobiographical nature (optional): L.N. Tolstoy “Childhood”, S.T. Aksakov “Childhood years of Bagrov the grandson”, N.G. Garin-Mikhailovsky “Childhood of the Subject”, A.M. Gorky "Childhood". A.N. Tolstoy "Nikita's Childhood".

2. Compile a bibliographic index of the writer’s work, including critical material about the autobiographical story he read (links to electronic resources are possible).

3. Prepare (in writing) a holistic analysis of the autobiographical story (problems, genre, figurative system, plot and composition, ways of expressing the author’s position, language and style).

For self-control:

QUESTIONNAIRE

1. What is the genre specificity of an autobiographical story?

2. Name the representatives of the autobiographical story in Russian literature.

3. Which foreign writers turned to the development of this genre?

4. What is the open L.N. Tolstoy’s method of depicting the “dialectics of the soul” of a child?

5. What are the problems of the story by L.N. Tolstoy's "Childhood"?

5. How are reflected in the autobiographical trilogy of L.N. Tolstoy's questions of child socialization?

6. What is the innovation of S.T. Aksakov - the creator

– – –

autobiographical trilogy by A.M. Gorky “Childhood”, “In People”, “My Universities”?

10. As revealed in the story by A.M. Gorky’s “Childhood” is the problem of the social and moral definition of a child, his opposition to the “leaden abominations” of life?

11. What positive personal qualities are typified in the image of grandmother Akulina Ivanovna?

12. What are the problems of the story by N.G. Garin-Mikhailovsky "Childhood of the Subject"?

13. What age-related and individual qualities of the child are reflected in the image of RE Tema Kartashev?

14. What is the pedagogical and aesthetic value of A.N.’s story? Tolstoy's "Nikita's Childhood"?

15. Which chapters from the story “Nikita’s Childhood” are used in preschool reading?

LITERATURE:

Mandatory:

1. Arzamastseva, I.N. Children's literature / I.N. Arzamastseva, S.A. Nikolaev. – 6th ed., rev. - M.: Academy, 2009. – 574 p.

3. Nikolina N.A. Poetics of Russian autobiographical prose: Textbook / N.A.

Nikolina. - M.: Flinta: Science, 2002. - 422 p.

5. Russian children's writers of the 20th century: Biobliographical Dictionary / ed. G.A.

Chernoy [and others] - M.: Flinta: Nauka. - 2001. - 512 p.

For an in-depth study of the topic:

1. Begak, B. Children laugh: Essays on humor in children's literature / B. Begak. – M.: Det. lit., 1979. – 223 p.

2. Dragunskaya, A. About Victor Dragunsky: Life, creativity, memories of friends / A.

Dragunskaya.- M.: Chemistry and Life, 1999.- 175 p.

3. Life and work of Nikolai Nosov: Collection / Comp. S. Mirimsky. – M.: Det. lit., 1985. – 256 p.

4. Kashtanova, I.A. Tolstoy about children and for children / I.A. Kashtanova.- Tula: Priok. book Publishing house, 1971.- 129 p.

5. Kovalina book: Remembering Yuri Koval. - M.: Vremya, 2008. - 496 p.

6. Articles about Chekhov / ed. L.P. Gromova. - Rostov-on-Don: Publishing house Rost. /n/a state ped.

in.ta, 1972.- 109 p.

– – –

2. The skill of M. Twain - a psychologist and satirist in stories about children (“The Adventures of Tom Sawyer”, “The Adventures of Huckleberry Finn”).

3. Genre and thematic originality of realistic stories by A. Lindgren TO (“Rasmus the Tramp”, “Emil from Lenneberga”).

4. Works about children in German literature of the 20th century. (E. Kestner “Emil and the ZI detectives”, “The Tricks of the Twins”, D. Crews “My Great-Grandfather, Heroes and Me”).

5. The theme of childhood in the works of A. Marshall.

FORMS OF PARTICIPATION IN THE CONFERENCE:

A) individual presentation (report, abstract, message);

B) group presentation of the work of one of the foreign writers of RE (works studied in the children's literature course are considered);

C) participation in the discussion of the problem (debate).

LITERATURE

(the general direction of searches, literature searches for specific authors are carried out by the speakers themselves):

1. Antipova, I.A. Essays on children's writers / I.A. Antipova. – M.: Ballas, 1999.- 240 p.

2. Begak, B. Paths of mystery: Adventure literature and children / B. Begak. – M.: Det.

lit., 1985.- 95 p.

3. Winterich J. Adventures of famous books / J. Winterich. – M.: Book, 1985. – 254 p.

4. Foreign children's writers in Russia / Borovskaya E.R. and etc.]. – M.: Flinta: Nauka, 2005.- 517 p.

Tubelskaya. – M.: School Library, 2005.- 271 p.

6. Foreign writers: Bibliographical dictionary. In 2 hours / Ed.

N.P. Michalskaya.- M.: Education: JSC “Ucheb lit.”, 1997. Part 1.A-L. – 476 pp.; Part 2. M-Ya.

Electronic resources:

http://bibliogid. Ru http: IIlib. Lseptember. Ru Lessons 18, 19*

TOPIC: SCIENTIFIC AND EDUCATIONAL LITERATURE FOR CHILDREN

ISSUES FOR DISCUSSION:

1. The role of K.D. Ushinsky in the development of domestic scientific and educational literature for children.

2. Soviet scientific and natural history book (comparative analysis of the works of V.V. Bianchi, M.M. Prishvin, E.I. Charushin).

3. Genre and thematic diversity of modern scientific and educational literature.

– – –

Sladkova.

2. Conduct a comparative analysis of works about nature by V.V. Bianchi, M.M. Prishvina, E.I. Charushin: general and individual in the disclosure of the theme of nature, the genre originality of the works, the uniqueness of language and style. When determining the genre specificity of works, use GI information about the features of genre formation in a natural history book:

encyclopedias, atlases; story, article, fairy tale, adventure, journey, fantastic story (story, novel).

4. Prepare a review of modern encyclopedias for preschoolers (3 editions).

For an in-depth study of the topic:

1. Write a review of the book by E.L. Levina, M.B. Shelomentseva “Modern scientific and educational literature for children and youth”

2. Develop a summary of a lesson-excursion for preschoolers using the works of M.M. Prishvin about the forest (collection “Golden Meadow”).

3. Prepare an abstract on one of the topics suggested below:

K.D. Ushinsky and modernity.

Stories about animals B.S. Zhitkova.

Books about technology by M. Ilyin.

The world of nature in the works of K. G. Paustovsky.

Traditions and innovation in the works of G.Ya. Snegireva.

Nature writer G.A. Skrebitsky.

Historical stories by S.M. Golitsyna, A.V. Mityaeva, S.P. Alekseeva:

comparative analysis.

Guided independent work

1. Provide brief information about the life and creative path of D. Darrell, E. Seton-Thompson.

2. Familiarize yourself with the content of the stories of E. Seton-Thompson (“Ragged Ear,” “Chink”), D. Darrell (the collection “The Zoo in My Luggage”), write down passages in the reading diary that are acceptable for reading by preschoolers (with motivation for the choice) .

3. Prepare a comparative analysis of the stories of Seton-Thompson and Darrell, reflecting your own impression of the works you read.

– – –

3. What is E. Seton-Thompson’s innovation in developing the theme of nature?

4. List the works of E. Seton-Thompson that brought world fame to the author of TO.

5. What is the structure of the writer’s books written in the genre of “biography”

ZI of animals?

6. What is the artistic originality of Seton-Thompson’s animalistic stories?

7. What place does the book “The Writer’s Way of a Naturalist” occupy in Thompson’s work?

8. What ensures the value of the works of the Canadian classic in the reading of modern children?

9. What works of Seton-Thompson can be recommended for reading by preschoolers?

10. What do you know about the life and creative path of D. Durrell?

11. Name the writer’s works translated into Russian?

12. Determine the genre of D. Darrell’s stories from the book “The Zoo in My Luggage.”

13. What is unusual about D. Darrell’s fairy tale “The Talking Bundle”?

14. How are the works of foreign natural scientists presented in modern encyclopedias for children?

LITERATURE:

Mandatory:

1. Arzamastseva, I.N. Children's literature / I.N. Arzamastseva, S.A. Nikolaev. – 6th ed., rev. - M.: Academy, 2009. – 574 p.

2. Children's literature: textbook / E.E. Zubareva [and others] - M.: Higher School, 2004. - 550 p.

3. Foreign children's literature: textbook. allowance for the environment. and higher ped. textbook

establishments / N.V. Budur [and others]. – M., 1998. – 304 p.

4. Russian literature for children: textbook. allowance for the environment. ped. textbook establishments / Etc.

Polozova. - M.: Academy, 1998.- 506 p.

5. Foreign children's writers: a hundred names: biobibliographic reference book / G.N.

Tubelskaya.- M.: School Library, 2005.- 271 p.

For an in-depth study of the topic:

1. Foreign children's writers in Russia / Borovskaya E.R. and etc.]. – M.:Flinta: Nauka, 2005. – 517 p.

2. Foreign writers: Bibliographical dictionary. In 2 hours / Ed. N.P. Michalska.

– M.: Education: JSC “Ucheb lit.”, 1997. Part 1. A-L. - 476 pp.; Part 2. M-Ya. – 448 p.

3. Ivich, A. Nature. Children / A. Ivich. - M.: Det.lit., 1980.- 223 p.

4. Levina, E.R. Modern Soviet scientific and educational literature for children and youth / E.L. Levina, M.B. Shelomentseva. – M.: IPCC, 1991. – 88 p.

– – –

2. Main trends in the development of Soviet poetry for children.

3. Genre and thematic diversity of modern children's poetry.

4. Specifics of familiarizing preschoolers with poetic texts.

2. Prepare an analysis of a poem by a modern author (motivation for choosing a work, originality of content and form, recommendations for introducing preschoolers to a poetic text).

3. Provide a presentation of the work of one of the modern children's RE poets: Ya.L. Akim, B.V. Zakhoder, V.D. Berestov, V.A. Levin, Yu.P. Moritz, E.E. Moshkovskaya, G.B. Oster, V.A. Prikhodko, G.V. Sapgir, R.S. Sef, I.P. Tokmakova, A.A. Usachev, E.N. Uspensky, M.D. Yasnov and others (the task is performed in subgroups).

4. Prepare an oral review of a new poetry book for children.

For an in-depth study of the topic:

1. Compile a bibliographic index of articles and studies on the development of modern poetry.

2. Prepare an electronic anthology of texts by poets of the 20th century for use in the work of a preschool teacher.

3. Write an essay on one of the topics suggested below:

Lyrical diary of V. Berestov: genre and thematic diversity.

Lyrics of nature in the works of E. Moshkovskaya and I. Tokmakova.

The world of childhood in the poetry of R. Sefa.

Poems for children by B. Zakhoder: innovations in the field of content and form.

Traditions of OBERIU in the poetry of J. Moritz.

Experimental poetry by G. Oster.

The use of elements of “abstruse” poetry in the works of G. Sapgir.

The nature of humor in the poetry of R. Mucha.

Guided independent work

1. Prepare a report about a Russian poet of the 19th century who entered the circle of children’s reading, reflecting the writer’s creative path (briefly), the main motives of poetry, the ideological and artistic originality of his works.

Preference should be given to poets included in the kindergarten program.

2. Compile a bibliography of the work of the Russian poet of the second half of the 19th century. (A.V. Koltsov, I.S. Nikitin, A.N. Maikov, A.N. Pleshcheev, I.Z. Surikov, A.K. Tolstoy, F.I. Tyutchev, A.A. Fet).

3.Write an essay-reasoning on the topic “My favorite

– – –

(determine who owns the lines) 1. “Whisper, timid breathing, The trill of a nightingale, THEN Silver and the swaying of the Sleepy stream.” (A.A.F.) SI 2. “It’s not for nothing that winter is angry, Its time has passed - O

– – –

And he drives you out of the yard.” (F.I.T.) RE 3. “My bells, steppe flowers!

Why are you looking at me, Dark Blues? (A.K.T.) 4. “When the yellowing field is agitated And the fresh forest rustles at the sound of the breeze, And a raspberry plum hides in the garden Under the shadow of a sweet green leaf...” (M.Yu.L.) 5. “Go away, Winter gray-haired!

The beauties of Spring, the golden chariot, rushes from the mountain heights!” (A.N.M.) 6. “White fluffy snow swirls in the air And quietly falls to the ground and lies down” (I.Z.S.) 7. “Autumn has come, The flowers have dried up, And the bare bushes look sadly” (A .N.P.) 8. “Childhood is cheerful, children's dreams... Just remember you - smile and tears... The nanny bowed her head in a doze, Dropped a stocking on the floor from the couch, Jumps on the note, moves its paw,

– – –

LITERATURE

Mandatory:

1. Arzamastseva, I.N. Children's literature / I.N. Arzamastseva, S.A. Nikolaev. – 6th ed., RE correct. – M.: Academy, 2009. – 574 p.

2. Russian literature for children: textbook. allowance for the environment. ped. textbook establishments / Etc.

Polozova. - M.: Academy, 1998.- 506 p.

3. Russian children's writers of the 20th century: Bio-bibliographic dictionary / ed. G.A.

Chernoy [and others] - M.: Flinta: Nauka. - 2001. - 512 p.

4. Reader on children's literature: textbook. allowance / Comp. I. N. Arzamastseva [and others].

– M.: Academy, 1997. - 538 p.

For an in-depth study of the topic:

1. Geyser, M.M. Marshak / M.M. Geyser. – M.: Young Guard, 2006. – 325 p.

2. Life and work of Agnia Barto: Collection / Comp. I.P. Motyashov. – M.: Det. lit., 1989. – 336 p.

3. Kobrinsky, A.A. Daniil Kharms / A.A. Kobrinsky.-M.: Young Guard, 2008. – 499 p.

4. Russian poetry for children: T. 1–2 / Comp. and entry Art. E.O. Putilova. – St. Petersburg: Humanitarian Agency “Academic Project”, 1997. T.1. – 766 p. T.2. – 750 s.

5. Pavlova, N.I. Lyrics of childhood. Some problems of poetry / N.I. Pavlova. – M.: Det.

lit., 1987.- 140 p.

– – –

“Skilled readers must be created among us. I even think that public readings will eventually replace performances in our country” (N.V. Gogol).

ZI “Unfortunately, the overwhelming majority of language arts teachers and librarians do not know how to read literary works with some degree of artistry. When reading alone, a person is enriched only by the author of the book. And during collective reading and discussion of what he read, his mind is nourished by two sources - books and the thoughts of the participants in the experience. The team is a great teacher” (A.M. Toporov, teacher).

Reader's analysis:

1. Writing the score of the text (highlighting words in it that, according to the laws of the logic of Russian speech, receive logical stress, arranging pauses).

2. Analysis of the emotional side of the work (singling out the emotional compositional parts with defining a reading task for each of them).

3. Determination of the super task for reading the work as a whole.

4. Determination of the role of intonation, gesture, facial expressions, posture, game actions.

Information about the basic rules of the logic of Russian speech

1. The group of subject and predicate is separated by a pause.

Exceptions: a) if the subject is expressed by a pronoun, it does not bear stress and is read in one beat with the predicate: He went out. Will you come back; b) if the predicate does not make much sense: The wind was blowing. It was raining.

2. The definition is stressed if it is expressed:

a) noun in the genitive case: Socrates' forehead.

b) a noun with a preposition: Opera singer.

c) definition-application: Old-time forester.

d) common definition: A shaggy shepherd dog tied to an apple tree.

3. The definition is not emphasized if:

a) expressed by a pronoun (my book) or an adjective: blue sky, northern story.

4. In the phrase “verb and object” the emphasis falls on the object:

They eat sweets and throw orange peels.

5. Contrast: the emphasis falls on both opposed concepts:

The son was killed - the mother took his place

– – –

8. In complex names, the emphasis falls on the last word:

Bolshoi Academic Theater of the Russian Federation.

9. When listing, the emphasis is placed on each word:

Bells, bells, and alarm clocks are ringing.

If definitions are listed, then the last of them, standing before the ZI noun, does not bear stress: One of those hard, dry, embittered faces.

If the definitions are heterogeneous, then there are no pauses or accents:

P Latest street lights.

LITERATURE FOR PREPARATION FOR THE CONCERT CLASS:

Readers

1. A large book of poems for reading in kindergarten / Comp. I.P. Tokmakova, E.I. Ivanova.

– M.: Planet of Childhood, 2000.- 512 p.

2. Literature and fantasy: A book for kindergarten teachers. kindergarten and parents / Comp. L.E.

Streltsova. – M.: Education, 1992.- 255 p.

3. Russian poetry for children: T. 1–2 / Comp. and entry Art. E.O. Putilova. – St. Petersburg: Humanitarian Agency “Academic Project”, 1997. T.1. – 766 p. T.2. – 750 s.

4. Reader on children's literature: textbook. allowance / Comp. I. N. Arzamastseva [and others]. – M.: Academy, 1997. – 538 p.

Methodical manuals

1. Gritsenko, Z.A. Workshop on children's literature and methods of introducing children to reading: textbook / Z.A. Gritsenko.- M.: Academy, 2008.- 222 p.

2. Children's literature. Expressive reading: Workshop: textbook for the specialty “Preschool education” / O.V. Astafieva [and others]. – M.: Academy, 2007. – 270 p.

3. Book name day / Ed.-comp. L.I. Bug. – Mn.: Krasiko-Print, 2003. – 126 p.

4. Oparina, N.P. Literary games in the children's library / N.P. Oparina. – M.:

Liberia, 2007. – 95 p.

5. Sinitsyna, E.I. Clever poems / E.I. Sinitsyn. M.: “List”, 1999. – 168 p.

Lesson 23* (USR)

TOPIC: CHILDREN'S DRAMA

TASKS:

1. Attend a performance based on a dramatic work for children (Belarusian Republican Theater for Young Spectators, Belarusian State Puppet Theater).

2. Write a review about the performance you watched.

3. Write an essay-argument on the topic “An ideal children's performance.”

Your review of the performance should reflect:

– – –

5. Characteristics of the stage design of the performance.

6. Conclusions about the compliance (non-compliance) of the content of the theatrical technical version of the work with the author’s intention.

7. Own assessment of the performance.

– – –

TASKS:

1. Prepare a review of one of the periodicals for children of preschool and primary school age (Russian, Belarusian, RE foreign magazine or newspaper).

3. Write an essay-reasoning on the topic “If I were (was) the editor of a children’s magazine.”

CHILDREN'S MAGAZINE (NEWSPAPER) REVIEW SCHEME

1. Imprint.

2. Addressee.

3. Structure of the publication.

4. Characteristics of permanent sections.

5. Fiction in the magazine.

6. Illustration, printing.

7. Assessment of the advantages (disadvantages) of the publication.

Lesson 25* (USR)

TOPIC: GENRE OF ILLUSTRATION IN CHILDREN'S BOOKS

TASKS:

1. Write an essay about the work of an artist-illustrator (the list is given below): brief information about the life and creative path of the artist, information about illustrated books, characteristics of the creative style.

2. Compile an annotated bibliography of the work of a children's book illustrator (same author).

3. Develop a lesson plan to familiarize children with the illustrations of the selected artist.

4. Provide visual material for working with preschoolers.

LIST OF ARTISTS FOR REFERENCE:

– – –

LITERATURE:

1. Bubnova, L.S. Mai Miturich / L.S. Bubnova.- M.: Sov. artist, 1980. – 128 p.

2. Gankina, E.Z. The artist in modern children's books / E.Z. Gankina. – M.: Sov.

– – –

3. Dmitrieva, N. Tatyana Mavrina / N. Dmitrieva. – M.: Sov. artist, 1981. – 127 p.

4. For preschoolers about children’s book artists: A book for kindergarten teachers / Comp.

T.N. Doronova. – M.: Education, 1991.- 124 p.

5. Kudryavtseva L.S. Children's Book Artists: A Guide for Media. and higher ped. textbook

institutions / L.S. Kudryavtseva.- M.: Academy, 1998.- 204 p.

6. World of Charushin: E.I. Charushin is an artist and writer. – M.: Artist of the RSFSR, 1980. – 232 p.

7. Panov, V.P. Illustrations in the book. Advice for a beginning artist / V.P. Panov. – M.:

Magazine “Young Artist”, 2001. – 30 p.

8. Pakhomov, A. About his work in a children's book / A. Pakhomov. – M.: Det. lit., 1982. – 131 p.

9. Polevina, E.V. Illustration of a children's book in library work with children / E.V.

Polevina. - M.: School Library, 2003. - 199 p.

10. Silivon, V.A. How to look at an illustration: a manual for preschool teachers.

institutions / V.A. Silivon. – Mozyr: White Wind, 2008. – 62 p.

11. Artist Lev Tokmakov / Comp. ON THE. Zavadskaya. – M.: Sov. artist, 1989. – 240 p.

12. Artists of children's books about themselves and their art / Comp. V. Glotser. – M.: Book, 1987.- 305 p.

– – –

U P BG Y RI TO ZI O PRE

KNOWLEDGE CONTROL SECTION

– – –

3. Give the names of folk tales:

about magical animals

– – –

growing by leaps and bounds a long time ago, white and white they began to live and live, to make good

5. Continue the list of children's book illustrators:

I. Bilibin……...

6. Name the publications of Greek and biblical mythology for children of preschool and primary school age:

Greek mythology:___________________________________________________

biblical mythology:_______________________________________________

– – –

The theme of childhood in Russian literature (story genre) is presented by the following authors:

P in their works:_________________________________________________

RE The Tale of Children in foreign literature was developed by the following writers (indicate names and works):__________________________

12. Name the most popular encyclopedias for children:_______________________________________________________________

13. Indicate the works of the following authors known to you:

V. Bianchi E. Charushin M. Prishvin B. Zhitkov D. Darrell E. Seton-Thompson

REPOSITO

RI I BG P U Sample questions for the course exam

1. Children's literature as verbal art.

2. General concept of children's folklore.

3. Pedagogical and artistic value of small folklore genres.

4. Folklore poetry of the peoples of the world in translations for children /characteristics of classical publications/.

5. Genre - stylistic features of folk tales about animals, magic, social and everyday life.

6. General idea of myth (characteristics, typology, information on the history of study).

7. Ancient Greek mythology in publications for children. Specifics of introducing preschoolers to myths.

8. Biblical stories retold for children.

– – –

14. Leading trends in the development of Russian prose fairy tales of the second half of the 19th century.

15. Innovation of K. Chukovsky the storyteller.

16. Tetralogy by S. Mikhalkov “Uncle Styopa” from the perspective of a modern reader.

17. Moral and aesthetic potential of P. Bazhov’s tales.

18. E. Uspensky – storyteller.

19. Fairy tales and parables by V. Kataev for preschoolers.

20. N. Nosov’s trilogy “The Adventures of Dunno and His Friends”: traditions and O

– – –

21. French literary fairy tale (review).

22. The artistic world of fairy tales by C. Perrault.

23. Fairy tale - parable by A. de Saint-Exupéry “The Little Prince”.

24. Fairy tales of the Brothers Grimm and folklore.

25. Almanacs of fairy tales by V. Gauf in reading by adults and children.

26. The world of childhood in E. Hoffmann’s fairy tale “The Nutcracker and the Mouse King.”

27. German literary fairy tale of the 20th century: a review (D. Crews, E. Kästner, O. Preusler).

28. L. Carroll's innovation in the Alice dilogy.

29. Fairy tales of R. Kipling in the development of cognitive activity of preschool children.

30. Psychology and word creation of a child in A. Milne’s book “Winnie the Pooh and others.”

31. The image of a teacher in the fairy tale “Mary Poppins” by P. Travers.

32. The fantasy genre in the works of D. Tolkien.

33. Tales of Harry Potter D. Rolling: the secret of success for the reader.

34. Works of D. Rodari in the development of children’s verbal creativity.

35. Traditions and innovation in the works of H. Andersen.

36. “Nils's Journey” by S. Lagerlöf: innovation of the genre, originality of the issues.

37. The image of a child in the fairy tale “The Kid and Carlson” by A. Lindgren.

38. Fairy tales by T. Jansson in reading by children and adults.

39. Child and nature in the lyrics of Russian poets of the second half of the 19th century.

40. The innovative nature of V. Mayakovsky’s poetry for children.

41. Creativity of S. Marshak in the kindergarten program.

42. Poetry OBERIU.

43. The image of a preschooler in the poetry of A. Barto.

44. Creativity of I. Tokmakova.

45. Main trends in the development of modern poetry for children.

46. Foreign poetry in the kindergarten curriculum.

47. Polish poets for children.

48. My favorite children's poet.

– – –

54. Comparative analysis of the stories of N. Nosov and V. Dragunsky.

55. The theme of “disadvantaged” childhood in foreign literature of the 19th century.

56. The mastery of M. Twain as a satirist and psychologist in the story “The Adventures of Tom TO Sawyer.”

57. Modern foreign story about children.

58. Writers-winners of the H.K. Andersen.

59. The formation of scientific and educational genres in Russian literature of the 18th–19th centuries.

60. Propaganda of scientific knowledge in the works of K. Ushinsky.

61. Soviet natural history book of the 1920-1930s.

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Chapter I. Genre and thematic originality of Jerome Klapka's prose Jerome.

1.1. “Three in a Boat, Not Counting the Dog”: genre specifics of the work, traditions of the travel novel.

1.2. Dominants of the English national character in the characters of Jerome Klapka Jerome.

1.3. Features of the humorous prose of Jerome K. Jerome.

Chapter II. Genre and thematic originality of O'Henry's short prose.

I. 1. America and Americans in the works of O'Henry.

11.2. National and cultural stereotypes in O'Henry's novels.

P.Z. The novel “Kings and Cabbage”: genre and modification of national and cultural stereotypes.

P.4. A humorous interpretation of the American way of life and American character in the works of O'Henry.

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Stories by A.T. Averchenko: Genre. Style. Poetics 2003, Candidate of Philological Sciences Kuzmina, Olga Anatolyevna

Introduction of the dissertation (part of the abstract) on the topic “Genre-thematic originality of the fiction of Jerome Klapka, Jerome and O’Henry”

The unifying processes taking place in the modern world are giving rise to a new type of global thinking and global culture. Globalization trends simultaneously give rise to an intensified desire for national self-identification 1. Of particular importance in this cultural context is the confrontation between European and American culture. Concept [See: 11; 21; 52; 92; 131; 174; 223] the “American Dream” is actively being introduced into the consciousness of European and even some Asian peoples, thereby proving its universality. In this regard, the comparison of European, especially English, and American national identity, expressed in literary texts, seems extremely relevant.

The perception of America in England is ambivalent. On the one hand, America is a product of English culture of the Enlightenment. The two countries are connected by a common language, common ideals (labor, common sense, justice, “fair play”). On the other hand, since the 19th century, the British have not forgiven Americans for either violating the norms of the classical English language or criticizing their own homeland. The definition of the United States as both a “different” nation and a successor culture remained dominant in the 20th century and still persists in the 21st. Americans demonstrate those not the best properties of national character, the designation of which allows English authors to distance themselves from the “new” nation, delegating to it at the same time those qualities that were attributed to the British themselves.

As for US literature, it developed along the expected and logical path: in the 17th and even 18th centuries it retained the dominant features of English literature of the Enlightenment (topics, author’s position, Here and below the publication number is indicated in square brackets according to the list of references; with simultaneous reference for several works they are separated from each other by a semicolon, style, etc.), then American writers managed to create a national literature that has a pronounced originality and is easily recognizable (irrespective of the realities that are reflected in it). The connection with the “proto-culture” has been preserved at many levels, including the linguistic one, but the ever-increasing gap in national cultural priorities as it unfolded over time was reflected, naturally, in the texts of authors born in the USA.

The most productive way to identify national priorities reflected in literary texts is to compare the most characteristic features in the creative heritage of authors occupying similar niches in the history of English-language literature, thesaurus analysis, the principles of which were developed by Val. A. Lukov and Vl. A. Lukov, reliance on the multicultural potential of literature and its educational value. The works of the Englishman Jerome Klapka Jerome and the American O'Henry provide rich material for work in the designated direction. Two humorous writers, who masterfully mastered the genres of short prose, in particular the short story, have a largely similar creative destiny. In their homeland, each of them enjoyed enormously popular among readers, but was not taken seriously by critics and literary historians precisely because of the humorous themes of their works.This situation continues to this day: in 1982, a collection of works by the most widely read humorists in the country was published in England, among which Jerome K. Jerome occupied an honorable place The rating of O'Henry's works in his homeland is still extremely high. The main characters of both short stories are representatives of the “middle class” - not rich, but not poor either, that is, those who form the national and cultural basis of the people. Avoiding extremes, writers achieved maximum breadth of generalization. (It’s a little more complicated for O’Henry: due to the ethnic and geographic heterogeneity of different regions of the United States, identifying a “typical American” was not possible, and the writer developed such a type for each historically established regional culture separately). For more than a century, it has remained popular with readers, especially in era of a worldwide decline in interest in reading in general, can only be those authors whose work expresses national cultural priorities as fully as possible.It is most rational to identify and compare them on the material of artistic literary texts, analyzing the thematic and genre uniqueness of the work of two authors, since this will naturally include the definition and comparison of chronotope, style, figurative system, author’s position and other creative parameters, which will maximize the field of research and draw significant conclusions.

In his classic work “Problems of the comparative historical study of literature” V. M. Zhirmunsky wrote: “...comparison, that is, the establishment of similarities and differences between historical phenomena and their historical explanation, is an essential element of any historical research. Comparison does not destroy the specificity of the phenomenon being studied (individual, national, historical); on the contrary, only through comparison, i.e., establishing similarities and differences, can one accurately determine what this specificity consists of. This is true even in relation to a simple comparison of similar social phenomena. But the path of scientific research leads from a simple comparison, stating similarities and differences, to their historical explanation.” Features of typological similarity between phenomena are found in ideological and psychological content, in motives and plots, in historical images and situations, in the features of genre composition and artistic style, of course - with very significant differences due to differences in socio-historical development.

O'Henry and Jerome K. Jerome are considered masters of the short story of the early 20th century. However, in Russian criticism their works of small form are defined as stories. Attribution to one or another genre in this case is extremely important for us, as it creates a certain angle of view for analysis texts and identifying the author's position. Modern reference publications qualify the story as an epic work of small volume, which is based on the image of one event, one episode from the life of the hero. JI. I. Timofeev, when determining the genre specificity of the story, emphasized the quantitative-event side of the work, defining a story as a short work of fiction about a separate event in a person’s life, without a detailed depiction of what happened to him before and after this event.”

Researcher of prose epic genres N.P. Utekhin takes as a basis the event-qualitative side of the work, believing that the story “can reflect not only one episode from a person’s life, but his whole life. or several episodes of it, but it will be taken only from a certain angle, in a certain ratio.”

Some researchers do not fundamentally distinguish between the genres of short story and short story. Thus, V.P. Skobelev notes a situation, a fact, an incident as the substantive basis of the story. Giving a genre definition of a story, he writes: “A story (short story) is an intensive type of organization of artistic time and space, presupposing a centripetal concentration of action, during which the hero or any socially significant phenomenon is tested, tested, with the help of one or more homogeneous situations, since the reader's attention is reduced to decisive moments in the life of a character or a phenomenon as a whole. Hence the concentration of plot-compositional unity, the one-dimensionality of the speech style and the small volume as a result of this concentration.” As we see, the non-separation of the genres of the story and the short story occurs if the concentration and intensity of the organization of the narrative is taken as the genre-forming basis of the story. It is these features that traditionally distinguish the short story.

The content of a short story, as a rule, is some event that goes beyond the scope of everyday life. It usually combines two plans - random (strange) and typical (ordinary). Thus, the short story connects two pictures of the world - the tragic and the ordinary prosaic, while “exposing” the latter with the entire course of events. But in a short story, a comic plan is equally possible, expressing the main conflict in an anecdotal form. The structure of the novella is determined precisely by the special nature of the conflict, in which reality is revealed at the climax. JI. S. Vygotsky calls this psychological effect catharsis.

The novelistic plot, built on situational antitheses and sharp transitions between them, is common in many folklore genres: fairy tale, fable, medieval anecdote, fabliau, schwanke. In the form of a comic and edifying short story, the formation of Renaissance realism takes place, revealing the spontaneously free self-determination of the individual in a world fraught with surprises. Subsequently, in its evolution, the short story starts from related genres: short story, tale, anecdote, depicting extraordinary, paradoxical and sometimes supernatural events, breaks in the chain of social and psychological determinism. The heyday of the short story genre in the era of romanticism absorbed the cult of the tragic-ironic play of chance, destroying the flow of everyday life (E.-T.-A. Hoffmann, G. von Kleist, E. A. Poe). At a late stage in the development of classical realism, the novel opens up closed life worlds within society; in connection with this, short stories are often painted in fatalistic and even grotesque tones (G. de Maupassant, S. Zweig, I. Bunin). In the modernist novella, chance is fetishized and interpreted as a blind game of fate (F. Kafka).

According to P. Eckerman, J. W. Goethe defined the short story as “an unheard-of incident that happened.” Based on the case, the short story extremely exposes the core of the plot - the central vicissitudes, reduces all life material to one event. The novelistic plot is built on situational antitheses and sharp transitions between them. Later, in the course of its evolution, the novella continues to depict extraordinary, paradoxical and even supernatural events, reflecting breaks in the chain of social and psychological determinism. In this regard, we can fully explain the flourishing of the short story genre in the era of romanticism.

Theorists and literary historians reveal the originality of the short story genre through comparison with other genres. Thus, through the features of the novel, B. M. Eikhenbaum and M. A. Petrovsky characterize the genre specificity of the short story. B. M. Eikhenbaum in the article “O. Henry and the theory of the short story” writes: “The novel and the short story are not only not homogeneous, but internally hostile. The novel is a syncretic form. short story is a basic, elementary form (this does not mean primitive). A novel - from history, from travel; short story - from a fairy tale, from an anecdote. The difference is essentially due to the fundamental difference between the large and small forms." From M.A. Petrovsky we read: “The novel and the short story, taken as concepts, are two types of narrative organization. The relationship between them is the ratio of extensive to intensive. The novel expands in breadth, strives to cover as much as possible and, going beyond the prescribed limit, easily turns into a chronicle. The novella strives for brevity, and beyond its limits there is an anecdote,” “the unity of the event is associated with the totality of the plot.”

American critics also paid a lot of attention to the short story's brevity. B. Matthews argued that “a short story must deal with a single character, a single event, a single action or situation.”

In all national literatures, fable stories dominate, but there are also non-fab stories. Such a short story can be taken apart and rearranged without damaging the overall meaning of the work. The system of connecting motives in a plotless short story can be very diverse. For example, in O'Henry's short story “The Gift of the Magi” a continuous narrative develops, where each new motive is prepared by the previous one. In his “Roads of Fate” the short story is divided into chapters, or parts, where a break in the narrative is possible, corresponding to a change in acts in the drama.

The genre of the short story received the name “national” in the history of American literature, since it most fully corresponded to the national mentality and most accurately reflected the realities of life in the New World. This genre not only gained wide popularity in the United States, it was associated with the formation of national American literature. For many outstanding American writers it was the main one. In the nineteenth century, the history of American literature was often viewed solely as the history of the novella.

The founder of the “short story” school is considered to be Francis Hopkinson, whose “Entertaining Stories” appeared two years before the Declaration of Independence (1774; curiously, he also owned a sketch of the national flag, which at that time had only thirteen stars - the number of former English colonies united into a sovereign state).

It was the novelists in the emerging national literature of the United States that attracted the attention of Europe. W. Irving, E. A. Poe, and N. Hawthorne worked in this genre. Later, F. Bret Harte realized the special significance of the short story for the “coming American literature” and called the short story “its embryo,” believing that the sharp plot, humorous coloring and unexpected ending characteristic of this genre surprisingly correspond to the character and temperament of the American [See. : 155]. Bret Harte saw the main specific property of the American novel in its unique national flavor. In his opinion, the writer should depict “characteristically American life, based on an excellent knowledge of its characteristics and on sympathy for its originality. However, the writer believed that even the best of the romantics, W. Irving and E. Poe, lacked this knowledge and specific national coloring. “American literature huddled on a narrow strip of the Atlantic coast and listened. to the noises of other lands, but not to the voices of our own country.” The romantic novel seemed too literary to Bret Harte. He wrote that it lacks vitality, richness of experience and observations of the average American, that it is indifferent to the contrasts and surprises that distinguish American civilization. Indeed, national color entered US literature only with the beginning of the work of realists working in the short story genre. These writers faced new aesthetic challenges that required radical modernization of the short story genre. The exoticism, philosophy, allegorism, and ambiguity characteristic of the romantics disappeared from the American novel. All this turned out to be alien to the pragmatic American spirit. The basis of the national novel was an everyday sketch, close attention to everyday life, which reflected democracy and some down-to-earthness of the national character (remember “The Canterville Ghost” by O. Wilde). Alogism, reaching the point of grotesque, has also become characteristic of the American novella. Perhaps it was the illogicality that reflected the contrasts inherent in American life. The somewhat naive and simple-minded optimism characteristic of the initial period of formation of the national American mentality was replaced by an understanding of the impossibility of the “American Dream.” The brevity, energy, and accelerated pace of the narrative most fully and accurately corresponded to the national mentality. O'Henry did a lot to shape the national American novel with all its advantages and disadvantages.

B. Eikhenbaum quite accurately determined the place of O'Henry's work in the development of the American national short story, noting that the reception of his short stories in Russia is specific due to the fact that Russians perceive this genre outside of national-historical ties: “Torn out of national traditions, O’s short stories” Henry, like the works of any writer on foreign soil, is felt by us as a ready-made, complete genre.” Meanwhile, “the real O’Henry is in the irony that permeates all his short stories, in the keen sense of form and tradition.” B. Eikhenbaum bases his assessment of the national specifics of the American short story on the judgments of E. A. Poe, who attached special importance to the “central effect, towards which all details should gravitate, towards the finale, which should clarify everything that came before. The awareness of the special importance of the final emphasis runs through the entire culture of the American short story." The researcher points out that in the history of any genre there comes a period when it, previously used as a serious one, even " tall", is reborn, appearing in its parody form. This was the case with the adventure novel, with the epic poem, etc. The American short story, built on the principle of constructive unity, with the centralization of the main effect and a strong final emphasis, always retaining the features of seriousness and even moralizing, in At the end of the 19th century, it acquires the features of self-parody, bringing to the fore the narrator-humorist... “Constructive techniques are deliberately exposed in their purely formal meaning, motivations are simplified, psychological analysis disappears. On this basis, O'Henry's short stories develop, in which the principle of approaching an anecdote seems to be taken to the limit. Eikhenbaum proves that O'Henry is ironic in relation, first of all, to the short story genre itself, playing on and parodying its canons. It is also characteristic of him that he often makes the theme of his works issues directly of the literary craft, theorizes and ironizes about the style itself. His works are a parody of the classical logic of the novel. Eikhenbaum allows himself an interesting comparison: his short stories are reminiscent of the once widespread parody sonnets, which deal with the process of creating a sonnet. From this, the scientist concludes that in the work of O'Henry, the American short story of the 19th century (short story) reached the limit of its development. To prove his position, Eikhenbaum analyzes the short story “Night in New Arabia” (in modern translation - “A New Tale from “One Thousand and One Nights”, see below) and concludes: “On<. .>The entire short story is built on continuous irony and emphasizing techniques - it’s as if O “Henry went through the “formal method” in Russia and often talked with Viktor Shklovsky.” V.B. Shklovsky developed the theory of prose.

However, having completed one line in the development of the American short story, O'Henry was ready to begin another. After his death, the unfinished short story “The Dream” was found on his desk. Eikhenbaum refers to a “commentator” (without naming his name), who said: “He (O" Henry - D.R.) meant to make this story different from the others, to start a new series in a style that he had not tried before. “I want to show the public,” he said, “that I can write something new, new to me, of course, - a story without jargon, a simple dramatic story in its plan, interpreted in a spirit that comes closer to my idea of a real story ( story writing). Before the end of his creative career, O"Henry was faced with the question of the need for evolution. Eikhenbaum notes that the development of the American short story followed exactly the path planned by O"Henry: in American fiction of the early 20th century (T. Dreiser, S. Anderson, etc.) movement towards a morally descriptive and psychological novel. “O’Henry’s novella, parodic at its core, opened the way for this rebirth.” So, B. Eikhenbaum argues that O’Henry’s novella completed a certain stage in the development of this genre on the basis of American literature and, having exhausted itself, outlined the path for its further evolution. He sees the basis for this in the tendency towards self-parody of the genre that emerged towards the end of the writer’s creative career.

Strictly speaking, the terms “story” and “tale,” on the one hand, and “short story,” on the other, can mean the same thing: a prose work smaller in volume than a novel, with an exciting plot and an unexpected ending. Genre criteria, as we see, are different: when determining a story and a story, they are guided by the volume of the text, when determining a short story, by the features of the plot.

If we talk about the specifics of the American short story, then, drawn from European literature, this genre not only organically fit into the literature of another continent, but also showed a tendency towards self-parody, towards playing up stereotypes and varying them.

In O'Henry's work, the tendency towards self-parody did not extend to the entire corpus of his works. He has short stories created in full accordance with the traditions of “gentile” literature, especially in the collection “The Burning Lamp”. There is even a short story that fully corresponds to the canons of the early Italian short story , - “Roads of Destiny.” It is difficult to judge O’Henry’s last short story (“The Dream”), since it was not completed, but one can still notice an unconscious, obviously following of H. L. Borges, his story “The Secret miracle”, where the hero, before his death, experiences an illusory expansion of time, which allows him to live another life.

As for the pointe endings of O'Henry's short stories, which are repeatedly mentioned by critics, in his work they demonstrate the peculiarities of the national mentality with a “double load”. They were the embodiment of American impetuosity, efficiency, part of democratic, optimistic art. But these endings are always plausible and logical . His heroes are not toys of fate, they create their own destiny. Some of them understand this and become virtuosos in manipulating people and circumstances. This is how the images of O'Henry's “noble swindlers” are built. Others, innocent and helpless in life, simply do not perceive the evil from the life around them, and therefore they are lucky. As a result, a combination of simple-minded naivety and sober efficiency, so characteristic of the American mentality, clearly emerges [See: 27; 160; 161; 177].

In the works of Jerome K. Jerome, the genre affiliation of small prose forms is not so unambiguously established. In criticism there is a definition of his works as short stories, but, taking into account everything said above, it can be argued that among the characteristics of this genre in Jerome it is possible to single out only brevity and dynamism of the plot. Sometimes this is enough, but more often, in his works, classified as short stories, there is not one, but several plot lines, and, as a rule, completely independent ones. The narrator is constantly distracted, remembers incidents that happened to himself, his relatives and friends, told to him by someone, and begins to present them, as if forgetting where his original story began. In this case, each of these stories can be considered a short story, but then there is no longer any need to talk about the purity of the genre. In addition, no matter how Jerome’s short stories look, in almost all cases they lack a point ending, which is the “calling card” of O’Henry’s short stories. It would be more correct to classify these works as short stories, however, such a genre definition will not be complete and accurate The humorist Jerome, setting out to amuse his readers, seems to be trying to offer them more funny stories, collects them in one work, and the epic nature inherent in the story disappears from him. However, in fairness, it should be noted that all this applies only to the humorous works of Jerome , the most popular in Russia.

A number of works of short prose form in Jerome’s collections of both the early and late periods of his work are classified as essays. These are “The Idle Thoughts of an Idle Fellow”, 1890), “The Second Thoughts of an Idle Fellow”, 1898), “Sketches in Purple, Blue and Green”. in Lavender, Blue and Green", 1897), "Idle Thoughts in 1905". In terms of genre, these “sketches” are quite relatable to fictionalized essays.

In the dissertation of O. A. Koroleva, Jerome’s short stories are typologized according to the following criteria: humorous short stories include those works whose plot is not a coherent chain of sequentially presented events. These are short stories consisting of a number of separate comic scenes, which are united only by the figure of the hero-narrator. His psychological short stories are built according to the traditional principle: a single storyline, including a beginning, a climax and a denouement. If in psychological short stories few events happen, the plot action is slow, then in humorous short stories the action develops rapidly, with unexpected turns and twists and turns. The heroes of these short stories are faceless, since the author is indifferent to their inner world: he is focused on the external, eventful side of the work. Often the hero serves only as a bearer of one dominant character trait, which, in fact, becomes the object of ridicule and on the basis of which comic situations are built. Often this dominant feature is included by the author in the title of the short story.

As a rule, in comic short stories, Jerome, unlike O'Henry, does not focus on the chronotope. For him and for his reader, it does not matter where and when the events take place. The main task of the author in most humorous short stories is to show the type of character, to focus on the unilinear an image that some researchers call a “mask". The writer often fails to pay attention to the social identity of the character. The language of these short stories is usually close to colloquial, which is facilitated by the introduction of the image of the hero-narrator.

In his psychological short stories, Jerome is closer to the style of Dickens: he pays a lot of attention to describing the appearance of the characters, their clothes, manners, and the setting for the action. O. Koroleva notes that in the course of the development of the writer’s creative individuality, preference is increasingly given to psychological short stories.

Both authors made a significant contribution to the development of prose of small epic genres, each for their own national literature. If Jerome K. Jerome continued the rich traditions of English national prose of small genres, then O'Henry, having completed a certain stage in the development of Russian short stories, at the end of his creative path outlined the line of its further development.

The theme of a work of art is closely and inextricably linked with its genre. Moreover, it is often determined by him. The short story genre is no exception.

The term “theme”, widely used in European literary criticism, comes from the ancient Greek word “thema” - what is the basis. The meaning of the term is quite broad, but it can be reduced to two main ones. V. E. Khalizev defines themes as “the most essential components of artistic structure, aspects of form, supporting techniques.” In literature, this is the meaning of keywords, what is recorded by them. Thus, V. M. Zhirmunsky thought of subject matter as the sphere of semantics of artistic speech: “Every word that has a material meaning is for the artist a poetic theme, a unique method of artistic influence. . In lyric poetry, an entire poetic movement is often determined primarily by its verbal themes; for example, sentimentalist poets are characterized by such words as “languid”, “sad”, “twilight”, “sadness”, “coffin urn”, etc.” . For Russian Symbolist poets, the adjective “lilac” was so characteristic that some ill-wishers suggested that any text where it appears should be considered Symbolist.

The word “theme” is endowed with a similar meaning in musicology, merging with the concept of “motive” - an active, highlighted, accentuated component of the artistic fabric. The possibility of a broad interpretation of literary terminology also allows one to interpret “motif” as “image”: “A motif is an image that is repeated in several works of one or many authors and reveals the creative predilections of a writer or an entire artistic movement; or, in other words, a steadily recurring theme, expressed in various aspects using its most significant elements. Such, for example, are the image-motifs of snowstorm and wind by A. Blok, “village Rus'” by S. Yesenin, rain and garden by B. Pasternak.”

Another meaning of the term “theme” is essential for understanding the cognitive aspect of art: it goes back to the theoretical experiments of the last century and is associated not with structural elements, but directly with the essence of the work as a whole. The theme as the foundation of an artistic creation is everything that has become the subject of the author’s interest, comprehension and evaluation.” B.V. Tomashevsky, speaking about the theme of the work from the substantial, and not from the structural side, defined it as “the unity of meanings of the individual elements of the work. The theme combines the components of artistic construction, is relevant and arouses the interest of readers.” In this meaning, the concept of “theme” is quite broad, since in literary works both existence as a whole and its individual facets are directly or indirectly refracted.

With all the versatility and versatility of the term “theme” (the set of themes that are significant for a given work of art), at the theoretical level it is customary to consider it as a set of three principles:

Ontological and anthropological universals;

Local (sometimes, however, very large-scale) cultural and historical phenomena;

Phenomena of individual life.

The complex of ontological themes in the field of art consists of the fundamental properties of being, its constants. These are natural universals - chaos and space, movement and stillness, life and death, light and darkness, fire and water. The anthropological aspect of artistic themes includes the spiritual principles of human existence in all their antinomy, the sphere of instincts, as well as supra-epochal situations of human life, historically stable forms of human existence (work, leisure, etc.). The named existential principles constitute a circle of so-called “eternal themes”.

The theme of the work, determined by the genre, is at the same time one of the genre-forming factors: a voluminous epic and a humorous short story exploit different aspects of life and do not overlap thematically. However, the short stories of the authors considered in this study are characterized by going beyond the traditional themes reserved for works of this genre in national literatures. By bringing to the surface the comical nature of the situations in which their heroes find themselves, both authors solve the most important deep problem: identifying national cultural priorities.

The relevance of our research lies in the significance for literary science of identifying and comparing the genre and thematic features of the works of Jerome K. Jerome and O'Henry.

The object of the dissertation research is the works of Jerome K. Jerome and O'Henry.

The subject of the study was literary phenomena reflecting national historical and cultural factors, allowing us to identify the genre and thematic features of the fiction of Jerome K. Jerome and O'Henry.

The material for the study was the works of O'Henry and the humorous short stories of Jerome K. Jerome, as well as his stories “Three Men in a Boat and a Dog” and “Three Men on Four Wheels.”

The theoretical and methodological basis of the work was the works of domestic and foreign literary and cultural scholars: M. M. Bakhtin, B. M. Eikhenbaum, I. V. Vershinin, V. V. Vinogradov, Vl. A. Lukov, Yu. M. Lotman, E. M. Meletinsky, V. M. Zhirmunsky, A. F. Kofman, D. Burstina, D. Adcock, E. Current-Garsia, S. Leacock, V. Matthews, F. Pattee and others.

The problems and goal setting determine the methodological principles of this work, which are based on a multidimensional approach that led to the use of several analytical methods:

Textual analysis with elements of comparative typology;

Biographical, connecting the writer’s work and his life path, which allows us to consider the work of Jerome and O’Henry as a reflection and reflection of their personal experience;

Comparative-historical, the purpose of which is to consider the similarities and differences in literary phenomena on the basis of their direct comparison (this method allows you to explore the originality of the functioning of a work in the context of the era);

Historical and literary;

Elements of the thesaurus approach (“thesaurus” is “a structured representation and general image of that part of world culture that a subject can master.” I.V. Vershinin, Vl.A. Lukov).

The purpose of the study is to determine the genre and thematic specificity of the works of Jerome K. Jerome and O'Henry, due to the reflection in it of national cultural mentalities and dominants and other historical and cultural factors.

To achieve this goal, the following tasks were required:

Determine the parameters of typological convergences in the heritage of the named writers and the factors that influenced these convergences;

Identify elements of traditionalism and innovation in the short prose of Jerome K. Jerome and O'Henry, as well as the nature of the evolution of this genre in the process of creative development of each author;

Reveal the thematic and genre specificity of the short stories by Jerome K. Jerome and O'Henry;

To identify which national-cultural dominants of England and the USA, being actualized in the course of historical development, were reflected in the themes and poetics of the works of these writers;

To characterize the uniqueness of the manifestation of the author's position among writers - representatives of two cultures who are in complex relationships of tribal community and confrontation.

Main provisions submitted for defense:

The themes of the fictional prose of Jerome K. Jerome and O'Henry have many similarities due to the common language code of the literatures, the similarity of the cultural and literary situation in Europe and the USA at the turn of the 19th and 20th centuries.

The short prose of Jerome K. Jerome and O'Henry has deep roots not only in the rich traditions of their domestic literatures and folklore, but also in the traditions of the world literary process.

Both Jerome and O'Henry have a brilliant talent for reproducing the features of a special national mentality in the images of typical representatives of their people, nation, and special social stratum of society.

Most often, writers deviate from the canonical scheme, simplifying or complicating its plot, introducing into it elements of other genres: memoir literature, travel or moral essay, pamphlet, comic or pathetic dialogue, sentimental-psychological story, as well as elements of tragedy and paradox.

The short stories of Jerome K. Jerome are more traditional, but this genre is organically inherent in Jerome’s creative individuality: even in his works of large form, it is easy to see inserted short stories, sometimes forming the main fabric of the work.

The range of artistic images and genre modifications of the short story in the work of O'Henry is much wider than in the work of Jerome. He creates individual characterological characters with the mentality of residents of different regions of the United States, images of people different in social status, profession, age and gender, who in together represent a collective image of the American people and in which the features of the future multicultural American society are discerned.

The humor of Jerome K. Jerome and O'Henry, despite its outwardly entertaining nature, is thematically connected with the most important social and moral problems of our time.

Despite the fact that the short prose of Jerome and O'Henry is not recognized as the pinnacle achievements of national literature, it was the embodiment of the deep traditions of world literature, folklore and a manifestation of the unique bright talent of humorous writers. Their original artistic achievements give them the right to the love and respect of readers of all times and peoples, and for a worthy, adequate assessment from serious literary criticism.

The scientific novelty of the work lies in identifying the relationship between the problematics and poetics of the fictional prose of Jerome K. Jerome and

O "Henry with the traditions of world and national literature (in the context

22 genesis and transformation of small genres of European and American prose), as well as the degree to which they are conditioned by the national historical mentality of the habitat of the author, his readers and the characters of his works. The novelty is also determined by the insufficient research of the works of Jerome K. Jerome and O'Henry in our country, as well as the complete absence of attempts to compare their works.

The theoretical significance of this dissertation is determined by the possibility of using its materials and conclusions in further work on the study of both the creativity of the authors in question and the national picture of the world expressed in the artistic text.

The practical significance of the work lies in the possibility of using its results in the development of a university course on foreign literature, as well as special courses, seminars, and practical classes on the history of American and English literature.

The dissertation was tested at meetings of the department of Russian and foreign literature and methods of teaching them at the Volga Region State Social and Humanitarian Academy. Reports on the topic of the dissertation were read: at the annual scientific and practical conference of the Balashov Institute of Saratov State University (2010, 2011, 2012); at international conferences: “XXII Purishevsky readings. History of ideas in genre history" (Moscow, Mill U, 2010), "XXIII Purishevsky readings. Foreign literature of the 19th century. Current problems of study" (Moscow, Mill U, 2011). The main provisions of the work are reflected in 8 publications, including 3 articles in scientific periodicals recommended by the Higher Attestation Commission of the Russian Federation.

The structure of the study is determined by its content. The work consists of an introduction, two chapters, a conclusion, and a bibliography containing 287 titles.

Similar dissertations in the specialty “Literature of the peoples of foreign countries (indicating specific literature)”, 01/10/03 HAC code

Prose of Ch. Tsydendambaev: the specifics of creating a national picture of the world 2007, Candidate of Philological Sciences Khalharova, Larisa Tsimzhitovna
Specifics of the short story genre in the works of Isaac Bashevis Singer 2005, candidate of philological sciences Slepova, Alexandra Valerievna
Satire and humor in the oral folk art of the Circassians 2010, Doctor of Philological Sciences Chuyakova, Nafset Muratovna
Novels by N. Neustroyev: Development of small prose genres in Yakut literature of the 20-30s 2000, Candidate of Philological Sciences Efimova, Tatyana Moiseevna
Stories by D.K. Jerome's "Three in a Boat, Not Counting a Dog" and "Three on a Walk" and neo-romantic trends in English literature of the late 19th - early 20th centuries. 2012, Candidate of Philological Sciences Karaseva, Tatyana Borisovna

Conclusion of the dissertation on the topic “Literature of the peoples of foreign countries (indicating specific literature)”, Rozevatov, Denis Aleksandrovich

CONCLUSION

A comparative analysis of the artistic prose of two English-language contemporary writers, Jerome K. Jerome and O'Henry, allows us to draw conclusions about significant typological similarities in the content and artistic form of their works and, at the same time, about the striking originality of their talent and creative manner.

Genre-typological convergences, in our opinion, are due to both the related literary and linguistic tradition and the similarity of the socio-cultural situation in England and the USA at the turn of the 19th - 20th centuries. This “transitional” time (Vl. A. Lukov) is characterized by complex historical and civilizational processes that influenced the worldview, value orientations of people, and the state of their spiritual life. The distinctive features of the time are the strengthening of intercultural and literary connections, mutual influences of national literatures, the internationalization of the largest peak achievements of mankind in the field of science, culture, literature, the coexistence of new artistic methods, movements, schools, and stylistic trends. This mosaic picture highlights the general trends in the development of Western European and American literature: the actualization of individual authorial consciousness; the predominance of romanticism and realism with the influence of poetics of other movements, the democratization of literature and the readership, the demarcation between “elite” and “mass” literature.

The turn of the century turned out to be a true “golden age” for small prose genres. Many European and American writers were fond of short prose. The artistic level of their works and the degree of talent of the authors were very different. Everyone had their own favorite characters, plots, and genre preferences. In the genres of short prose, a brilliant galaxy of such compatriots of Jerome performed as Stevenson (1850 - 1894), Conan Doyle (1859 - 1930), Kipling (1865 - 1936),

Galsworthy (1867 - 1933), Maugham (1874 - 1965), Chesterton (1874 - 1936), Wells (1866 - 1946), Mansfield (1888 - 1923). It is not surprising that such a temporary “neighborhood” left Jerome’s work in the shadows and outside the attention of critics. O'Henry's work also developed under similar conditions: the American romantics, led by E. Poe, developed the genre of action-packed short stories and set that high bar for the “technology” of the genre and the variety of genre modifications, which was quite difficult to meet. However, both Jerome and O'Henry were the most popular writers among a wide democratic readership, with an underestimated assessment of the “highbrow” elitist criticism.

The similarity of writers' destinies can be explained by typological similarities in themes, genre preferences of writers, the author's position, and the common traditions of Anglo-American short prose.

Thematically, the work of the two writers is connected primarily by the figurative structure of their works: the main character of the short prose of Jerome and O'Henry is the "little man" with his everyday worries, personal sorrows and joys, goals and desires. Neither Jerome nor O'Henry introduce their heroes into big politics, do not force them to solve world problems. The properties of their characters, the greatness or baseness of their spirit are revealed through everyday life, detail, expressive features characteristic of their social status and national mentality.

As universal components of national mentalities, presented in the images of the heroes of the short prose of both writers, we highlight democracy, tolerance for dissent, respect for other people's personal freedom, pragmatism, and social optimism. Respect for other people's personal freedom as a principle of coexistence is reflected in the works of both writers and is manifested in the demonstrative refusal of their characters to meet any standard, refusal to condemn people who have placed themselves outside of society. The interests of the heroes of Jerome and O'Henry rarely rise above everyday life, which does not prevent them from showing kindness and nobility, human dignity, empathy and compassion towards their own and strangers (as, indeed, sometimes intellectual limitations, individualism and selfishness, snobbery and other vices and shortcomings).

Both Jerome and O'Henry have a bright talent for reproducing the features of a special national mentality in the images of typical representatives of their people, nation, a special social stratum of society. Such an important component of the national mentality as perception of nature and feeling oneself in it. The British are great lovers of nature in its unaffected form by civilization. The famous English parks are organized as corners of a real forest, in contrast to the French ones, which demonstrate the primacy of the rational principle - trimmed trees, flower beds and straight, level paths. Conservatism and reluctance to change anything are manifested here on an aesthetic level. The same can be said about the attitude of the British towards pets - they recognize their social rights on an equal basis with their own. In America, the utilitarian, pragmatic, and not poetic attitude towards nature is determined by the historical development of the country. For an American, land, forest, and subsoil are not an object of admiration, not a place where the spirits of ancestors reside, but an object of exertion of effort, a source of income, a field for business, and sometimes a sign of savagery and uncivilization that must be overcome. This determines the presence of landscape in O’Henry’s works solely as a background, a decoration for ongoing events, and the fundamental aesthetic deafness of many of his heroes in relation to the beauties of nature. It is in the bosom of nature that Jerome’s heroes most acutely feel the presence of their country’s past in all its immutability.

In the works of Jerome K. Jerome, the characters, moving around the country, feel at home everywhere; nowhere in his own country will an Englishman be a stranger. O'Henry's short stories reflect the specifics of the formation of one of the main components of the national picture of the world - the opposition "friend - foe", which has its own characteristics in America. US culture is declared as a synthesis of many national cultures (the famous "melting pot"). Therefore, "its own "and "foreign" were positioned in relation to other domestic areas. O'Henry's short stories reflected the personal experience of the writer himself, who, due to life circumstances, was directly familiar with the culture of many American states, as well as Latin America. In short stories dedicated to certain regions, he finds and reflects specific cultural dominants with maximum completeness and expressiveness. Thus, in short stories about New York (North-East USA), he draws a Yankee hero: businesslike, pragmatic, striving for success, to move up the hierarchical ladder. O'Henry's characters here are typical "little people", but they have self-esteem and are able to show true heights of spirit.

The Western states are also widely reflected in O'Henry's short stories. A different national type is presented here - the cowboy, and we can say that it is in the "Western short stories" that the positive hero O'Henry is formed - a "natural man" in his local version - a simple honest hard worker, having a difficult relationship with the law. Breadth of soul, strength of character, loyalty to the word, rejection of constraining conventions - all this is richly represented by the colorful characters of O'Henry.

The South of the United States is represented in O'Henry's works to a significantly lesser extent. In his short stories, rather, a kind of “southern myth” is formed. The writer emphasizes the absolute dominance of the local mentality - conservatism, the desire to return to the past as a mythological “golden age”. This feature compatriots cause the southerner O'Henry constant irritation and irony. However, in a number of short stories he still remains true to his fundamental attitude: the most important thing is general humanistic values, and not local ambitions. The works of Jerome K. Jerome and O'Henry successfully combined the literary experience of both European (especially English) and American writers specializing in prose genres, and the deep traditions of Anglo-American short prose.

The ideological and thematic connection of Jerome's works with the memoir literature of the Enlightenment, with the pantheon of images of jesters, eccentrics, and eccentric personalities, richly represented in the history of English folklore and literature from Shakespeare and Sterne to Dickens, Lewis Carroll and Edward Lear, is visible. Jerome's concept of the relationship between nature and man has an undoubted connection with the traditions of English pre-romanticism, his theory of “picturesqueness” (I.V. Vershinin), and the romantic short story in Western European and American literature.

Despite O'Henry's difficult youth, associated with poverty and insufficient formal education, by some elements of intertextuality inherent in his works (comic interpretation of ancient, biblical motifs and images of world literature), one can judge the writer's erudition, his erudition, artistic taste and creative the implementation of the Anglo-American and world folklore and literary traditions in his short stories. The main sources of O'Henry's short stories - the oral folk art of the frontier with its local humor, "long tales" (fable genre), the experience of American journalism, Twain's pamphlet humor - determined the genre diversity small prose forms in his work, such as anecdote, sketch, legend, history, pamphlet, which in the process of developing the writer's skill were transformed into the genre of humorous and then psychological short stories.

O'Henry's predecessors D. F. Cooper, N. Hawthorne, G. Melville, F. Bret Harte and other romantic writers, as well as his contemporary J. London, used “local color” as a method of artistic recreation of a recognizable, characteristic, special natural-national environment that shapes the properties of the human personality.

In both Jerome and O'Henry, local color becomes a way of understanding and artistic recreation of national images of the world and man, the interpretation of which is due to connection with pan-European and American romantic and realistic traditions.

The English and American writers are related by the peculiarities of their author's position: orientation towards a humorous reflection of life phenomena, a penchant for self-irony, social optimism, commitment to social justice, a combination of patriotic and international interests, feelings, humane attitudes towards man and humanity.

At the same time, the artistic worlds recreated in the works of English and American writers have undoubted differences and specific features, due both to differences in the national mentalities of the authors and their heroes, and to the specifics of each individual artistic talent.

The national identity of Jerome's artistic world is associated with the general English tradition of recreating the image of a typical Englishman. Jerome's hero is a gentleman from the middle class, not constrained by means, reasonable, moderate in views, a loyal citizen. As a rule, he is a “leisure” person (loving leisure and inclined to amateurishly reason and evaluate everything and everyone). He is akin to the classic character of the humorous journey, going back to Sterne, Smollett and Dickens, especially his Pickwickians. This is, as a rule, a failed hero, a victim of circumstances. Again and again he enters into a hopeless struggle with circumstances hostile to him, which he is completely unprepared to confront. In this regard, the hero-losers of Mark Twain's pamphlets are also close to Jerome's hero. Jerome's characters are characterized by some uniformity. Thus, the heroes of two cycles of Jerome’s short stories, combined into two separate works (Jay, George and Harris), act as a kind of collective hero of humorous chronicles. Under the pen of Jerome, this seemingly not new hero, familiar to the reader, acquires a special conceptuality and subsequently receives a wonderful stage embodiment in the famous comic heroes of Charlie Chaplin, popular all over the world.

The national specificity of the artistic world of O'Henry's works is largely due to the influence of such a specific American phenomenon as the "school of local color", formed in large regions of the USA: in New England, the southern states, the Middle and Far West. This influence was reflected in the predominance of special topoi images in O'Henry's prose, reflecting the characteristic features of a certain geographical, historical and cultural environment.

The range of artistic images in O'Henry's work is much wider than in the work of Jerome. He creates individual characterological characters with the mentality of residents of different regions of the United States, images of people different in social status, profession, age and gender. Only together do they represent a collective the image of the American people, in which the features of the future multicultural American society are discerned. The prevailing position among the characters in O'Henry's prose is occupied by the following groups of heroes: inhabitants of the urban environment of the metropolis; rancheros, cowboys, rural Midwesterners and Far Westerners; representatives of the industrial and commercial East; people who find themselves outside of society are vagabonds, noble robbers and swindlers. In these images one can see both the tradition of romanticizing the renegade and rebel hero, characteristic of legends, traditions, folk and literary fairy tales and ballads, and O'Henry's special penchant for irony and parody of the traditional romantic hero. This diverse human world of O'Henry's short stories is comparable to Falstaffian background in Shakespeare's tragedies and, in our opinion, needs detailed study and description in a separate study.

The genre specificity of the short prose of Jerome and O'Henry lies in the coexistence within one work of its various modifications, such as an essay, a sketch, an essay, an anecdote, a fairy tale, a short story. The features of these genre varieties often penetrate each other, genre boundaries are erased. However, during the genre transformation, the most stable features of the short story are preserved: a series of comic episodes in Jerome takes on a novelistic form of plot structure; for O'Henry, it is typical to introduce an event-impulse into the narrative, giving a new direction to the development of the plot. Sometimes writers follow the three-part scheme of a classic short story (exposition, climax, denouement with an unexpected turn of events traditional for European short stories), but most often they deviate from the canonical scheme, simplifying or complicating its plot, introducing into it elements of other genres: memoir literature, travel or a morally descriptive essay, a pamphlet, a comic or pathetic dialogue, a sentimental-psychological story, as well as elements of tragedy and paradox.

Our study does not pretend to be an exhaustive analysis of the themes and genre uniqueness of the works of the two most famous humorous writers, whose works are still popular among a wide multinational readership. In our opinion, the works of both Jerome K. Jerome and O'Henry are large and so original phenomena of culture and literature, the full and adequate disclosure of which is possible only by combining the efforts of specialists in the field of literary studies, cultural studies, linguopoetics, psychology and ethnology.

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Please note that the scientific texts presented above are posted for informational purposes only and were obtained through original dissertation text recognition (OCR). Therefore, they may contain errors associated with imperfect recognition algorithms. There are no such errors in the PDF files of dissertations and abstracts that we deliver.

Literature today has a huge number of both lyrical and prose genres. They all have their own characteristics and distinctive features. But this article is devoted to only one prose genre - the story. And we will try to answer the question of what a story is in it.

Definition

The story is a genre of short prose, characterized by a small volume and unity of artistic events. A story usually has one plot line with a conflict situation and few characters. So, the answer to the question of what a story is is quite simple: it is a work of prose that is smaller in volume than a story or a novel.

Short story and novella

The question often arises: how does a short story differ from a short story? Both have the same characteristic. There is another name for the short story - a short story. But how correct is it?

Most Russian literary scholars are of the opinion that short stories and short stories are different names for the same genre. So, once in Russia, the short story began to be called a short story. A similar opinion is shared by researchers of small European genres B. Tomashevsky and E. Meletinsky. Therefore, in the future in the article, the concepts of novella and story will be used as equivalent.

The emergence of the story

When answering the question of what a story is, it is necessary to turn to the history of the emergence of this genre. The story finds its origins in fable, fairy tale and anecdote. Although it is significantly different from them. The genre differs from the anecdote in the possibility of not only a comic plot, but also a sentimental one and a tragic one. In a fable, unlike a story, there are always allegorical images and edifying elements. And a fairy tale is impossible without an element of magic, which is not typical for a short story.

Development of the genre

The novella originated in Europe during the Renaissance. And even then its main features were determined: a dramatic conflict, unusual incidents, an incident that changes the hero’s life. These are precisely the works of Boccaccio and Hoffmann. Stories about animals were still unusual for this period; the main characters were people.

Each cultural era was reflected in literature and, consequently, in the short story genre. Therefore, during the romantic period, the story acquired mystical features. At the same time, the narrative does not have a philosophical orientation, psychologism or appeal to the hero’s inner world. The author remained aloof from what was happening, without giving assessments or expressing his opinion.

After realism strengthened its position and invaded all literary genres, the short story, as it was originally, ceased to exist. The basic principles of realism - descriptiveness and psychologism - were completely alien to the novella. This is why the genre is beginning to transform. So, in the 19th century it becomes a story. From this moment on, the question of what a story is becomes correct, since it was during this period that the literary term itself appeared.

Essays and notes about the new genre appear in Russia. Thus, N.V. Gogol in one of his works on literature calls a story a type of story that describes an ordinary incident in life that can happen to any person.

Only in 1940 was the story singled out as a special literary genre, different from a short story, which has several plot lines, and a physiological essay, which is always journalistic and aimed at description.

Genre features

As a rule, a story tells about some moment or event in a person’s life. But the main thing in determining the genre is not the volume of the work or the number of plot lines, but the author’s focus on brevity.

For example, the story “Ionych” (A.P. Chekhov) is close in content (description of the hero’s entire life) to a novel. However, the brevity with which the author presents the events allows us to call the work a story. In addition, Chekhov has one goal - to depict the spiritual degradation of man. In this regard, the phrase “short story” is redundant, since the genre specificity of the story requires it to be extremely brevity.

A characteristic feature of the story is attention to detail. Due to the brevity of the narrative, any subject to which the author paid special attention becomes key to understanding the meaning of the work. Sometimes even the hero of a story can be less important than a seemingly insignificant detail. Thus, in the story “Khor and Kalinich” by I. S. Turgenev, the gifts that friends gave each other reveal the characters’ personalities: the thrifty Kalinich gives good boots, and the poetic Khor - a bunch of strawberries.

Due to its small volume, the story is always stylistically unified. Therefore, its main feature is the narration from one person (or the author, or the hero, or the narrator).

Conclusion

Thus, the genre of the story absorbs the features of all past cultural eras. Today it continues to evolve and acquires more and more new features. Varieties of the story are also developing: psychological, everyday, fantastic, satirical.

^ TOPIC: FAIRY TALES IN THE WORK OF ASTRID LINDGREN
ISSUES FOR DISCUSSION:

The life and creative path of the writer.
Genre diversity of A. Lindren's fairy tales, folklore and literary sources of her work.
The trilogy “Kid and Carlson”: problems, system of images, originality of composition, language and style of the tale.
The role of A. Lindgren’s works in reading for young children, organization of work with fairy tales in a preschool education institution.

TASKS
1. Prepare a video presentation of A. Lindren’s work.

2. Develop a literary leisure scenario for preschool children using the works of A. Lindgren.

3. Write a miniature essay “Childhood is...”, based on A. Lindgren’s depiction of the world of childhood.

1. Write a review of one of the following books: Braude L.Yu. “I don’t want to write for adults”: A documentary essay about the life and work of Astrid Lindgren (M., 1987); Westin B. Children's literature in Sweden (Moscow, 1999); Metcalf E.-M. Astrid Lindgren (Stockholm, 2007).

2. Prepare a research paper on one of the following topics: “The image of Nils in the works of S. Lagerlöf and A. Lindgren”, “Comparative analysis of fairy tales by A. Lindgren and T. Jansson”, “Traditions of A. Lindgren in modern Scandinavian literary fairy tales”.
LITERATURE:
Mandatory:
1. Foreign children's literature: textbook. allowance for the environment. and higher ped. textbook establishments / N.V. Budur [and others]. – M., 1998. – 304 p.

5. World children's literature: a textbook: a textbook for the environment. textbook establishments / I.E. Autukhovich [and others]. – Minsk: Literature i mastatstva, 2010. – 591 p.
For an in-depth study of the topic
1. Brandis, E.P. From Aesop to Gianni Rodari / E.P. Brandis. – M.: Det. lit., 1980. –

2. Braude, L.Yu. “I don’t want to write for adults!”: A documentary essay about the life and work of Astrid Lindgren / L.Yu. Braude. – L.: Det. lit., 1987. – 111 p.

3. Westin, B. Children's literature in Sweden / B. Westin. – M.: Magazine “Det. lit.”, 1999. – 71 p.

4. Braude, L.Yu. Scandinavian literary fairy tale / L.Yu. Braude. – M.: Nauka, 1979. –208 p.

5. Metcalf, E.–M. Astrid Lindgren / E.–M. Metcalf. – Stockholm: Swedish Institute, 2007. – 47 p.

Lesson 7
^ TOPIC: GIANNI RODARI'S WORK
ISSUES FOR DISCUSSION:
1. Brief information about the life and creative path of J. Rodari, the sources of his creativity.

2. The poetry of G. Rodari in its relationship with the writer’s fairy-tale works.

3. Genre and thematic diversity of fairy tales by J. Rodari.

4. The cycle “Fairy tales with three endings” in the development of a child’s fantasy and imagination.

5. Methods for stimulating children's verbal creativity in the “Grammar of Fantasy” by J. Rodari.
TASKS:
1. Read 3-5 fairy tales from G. Rodari’s series “Tales with Three Endings”, prepare an answer to the question about traditions and innovation in the writer’s work.

2. Compose a fairy tale independently (according to the laws of the genre presented in the above-mentioned cycle).

3. Develop a lesson outline for the development of creative storytelling in older preschoolers based on the works of an Italian storyteller.
For an in-depth study of the topic:
1. Present an annotated bibliography of the writer’s work.

2. Prepare a detailed summary of the book by J. Rodari “The Grammar of Fantasy”.

3. Develop a consultation for parents “Techniques and methods for developing a child’s imagination and fantasy” based on the works of J. Rodari.
LITERATURE
Mandatory:
1. Brandis, E.P. From Aesop to Gianni Rodari / E.P. Brandis. – M.: Det. lit., 1980. – 446 p.

2. Foreign children's literature: textbook. allowance for the environment. and higher ped. textbook establishments / N.V. Budur [and others]. – M.: Academy, 1998. – 304 p.

3. Foreign children's writers: one hundred names: biobibliogr. reference book / Comp. G.N. Tubelskaya. – M.: School Library, 2005. – 271 p.

4. Ziman, L.Ya. Foreign literature for children and youth / L.Ya. Ziman. – M.: Russian School Library Association, 2007. – 287 p.
For an in-depth study of the topic:
1. Gianni Rodari: Bibliography. decree. / Comp. V.G. Danchenko. – M.: BGBIL, 1991. – 254 p.

2. Foreign children's writers in Russia / Borovskaya E.R. and etc.]. – M.: Flinta: Nauka, 2005. – 517 p.

Lesson 8
^ TOPIC: TALE-PARABLE BY ANTOINE DE SAINT-EXUPERY “THE LITTLE PRINCE”
ISSUES FOR DISCUSSION:

Brief biographical information about the writer.
"The Little Prince" in the context of the work of Antoine de Saint-Exupéry.
The problems of the fairy tale, its genre specificity.
The system of images in the work.
The originality of language and style (the place of romantic convention, allegory, satire).
The relevance of the sound of the book. Specifics of introducing fairy tales to young children.

TASKS:

Read the fairy tale “The Little Prince” translated by N. Gal, write aphoristic expressions in your reading diary.
Prepare a creative retelling of a fairy tale for preschool children.

3. Write an essay on the topic “We are responsible for those we have tamed.”
For an in-depth study of the topic:

Compile a catalog of articles about the writer’s work.
Prepare a photo album “Antoine de Saint-Exupéry – military pilot and writer.”
Develop a script for a play for preschool children based on the fairy tale “The Little Prince.”

LITERATURE
Mandatory:
1. Foreign children's literature: textbook. allowance for the environment. and higher ped. textbook establishments / N.V. Budur [and others]. – M.: Academy, 1998. – 304 p.

2. Foreign children's writers: a hundred names: biobibliographic reference book / G.N. Tubelskaya. – M.: School Library, 2005. – 271 p.

3. Ziman, L.Ya. Foreign literature for children and youth: textbook / L.Ya. Ziman. – M.: Russian School Library Association, 2007. – 287 p.

4. World children's literature: textbook. allowance for the environment. ped. textbook establishments / I.E. Autukhovich [and others]. – Minsk: Literature and Mastatstva, 2010. – 326 p.
For an in-depth study of the topic:

2. Mijo, M. Saint-Exupery / M. Mijo. – M.: Sov. writer, 1963.

3. Sharov, A. Wizards come to people / A. Sharov. – M.: Det. lit., 1985. –

Lesson 9
^ TOPIC: WORKS ABOUT CHILDREN IN RUSSIAN LITERATURE

XIX-XX CENTURIES

ISSUES FOR DISCUSSION:
1. The genre of autobiographical story in Russian literature.

2. Images of children in the works of L.N. Tolstoy. Tolstoy's traditions in stories

V.A. Oseeva.

3. The skill of A.P. Chekhov, a psychologist, in stories about children.

4. Russian social story and story of the late XIX – early XX centuries.

5. Soviet humorous story (N.N. Nosov, V.Yu. Dragunsky, V.V. Golyavkin, etc.).

6. New trends in the development of modern children's prose.
TASKS:
1. Read three to five stories by L.N. Tolstoy, A.P. Chekhova, V.A. Oseeva, N.N. Nosova, V.Yu. Dragunsky, V.V. Golyavkin, make entries in reading diaries.

3. Develop topics for ethical conversations for children based on the works of L.N. Tolstoy, V.A. Oseeva.

4. Create topics for individual conversations, consultations, parent meetings using the works of A.P. Chekhov.

6. Prepare a mini-essay on the work of a modern children's storyteller

(V.V. Golyavkin, V.K. Zheleznikov, Yu.I. Koval, G.B. Oster, R.P. Pogodin, Tim Sobakin, E.N. Uspensky and others).

For an in-depth study of the topic:
1. Present a detailed plan for the holiday in a preschool educational institution “We love the books of Leo Nikolaevich Tolstoy.”

2. Develop a consultation for educators “Ethical conversation on a literary work: methodology.”

3. Write a review of B. Begak’s book “Children Laugh: Essays on Humor in Children’s Literature” (Moscow, 1979).

4. Prepare an abstract on one of the topics suggested below:

L.N. Tolstoy is a people's teacher.

Illustrations by A.F. Pakhomov to the stories of L.N. Tolstoy.

Pedagogical views of A.P. Chekhov.

The theme of childhood in the works of A.I. Kuprina.

Stories by A.M. Gorky about children.

Images of children in the works of I.A. Bunina.

Stories about child workers D.N. Mamin-Sibiryak.

The problem of a positive hero in the works of A.P. Gaidar.

The image of a child in the works of B.S. Zhitkova.

Mastery of V.V. Golyavkin the narrator.

Innovation Yu.I. Koval - children's writer.
LITERATURE:
Mandatory:
1. Arzamastseva, I.N. Children's literature / I.N. Arzamastseva, S.A. Nikolaev. – 6th ed., rev. – M.: Academy, 2009. – 574 p.

2. Children's literature: textbook / E.E. Zubareva [and others] - M.: Higher School, 2004. - 550 p.

3. Nikolina N.A. Poetics of Russian autobiographical prose: Textbook / N.A. Nikolina. – M.: Flinta: Nauka, 2002. – 422 p.

5. Russian children's writers of the 20th century: Biobliographical Dictionary / ed. G.A. Chernoy [and others] - M.: Flint: Science. – 2001.– 512 p.
For an in-depth study of the topic:
1. Begak, B. Children laugh: Essays on humor in children's literature / B. Begak. – M.: Det. lit., 1979. – 223 p.

2. Dragunskaya, A. About Victor Dragunsky: Life, creativity, memories of friends / A. Dragunskaya. – M.: Chemistry and Life, 1999. – 175 p.

3. Life and work of Nikolai Nosov: Collection / Comp. S. Mirimsky. – M.: Det. lit., 1985. – 256 p.

4. Kashtanova, I.A. Tolstoy about children and for children / I.A. Kashtanova. – Tula: Priok. book publishing house, 1971. – 129 p.

5. Koval’s book: Remembering Yuri Koval. – M.: Vremya, 2008. – 496 p.

6. Articles about Chekhov / ed. L.P. Gromova. – Rostov-on-Don: Publishing house Rost. /n/D. state ped. Institute, 1972. – 109 p.
Lesson 10
^ TOPIC: FOREIGN STORY ABOUT CHILDREN

(Type of lesson – educational conference)
SUBJECTS OF SPEECHES

(the general direction of the presentations is indicated; each of the conference participants can present their specific vision of the problem):
1. The theme of disadvantaged childhood in French literature (G. Malo “Without a Family”, A. Daudet “The Kid”, V. Hugo “Gavroche”, “Cosette”).

2. The skill of M. Twain - a psychologist and satirist in stories about children (“The Adventures of Tom Sawyer”, “The Adventures of Huckleberry Finn”).

3. Genre and thematic originality of realistic stories by A. Lindgren (“Rasmus the Tramp”, “Emil from Lenneberga”).

4. Works about children in German literature of the 20th century. (E. Kestner “Emil and the Detectives”, “The Tricks of the Twins”, D. Crews “My Great-Grandfather, Heroes and Me”).

5. The theme of childhood in the works of A. Marshall.
^ FORMS OF PARTICIPATION IN THE CONFERENCE:
A) individual presentation (report, abstract, message);

B) group presentation of the work of one of the foreign writers (works studied in the children's literature course are considered);

C) participation in the discussion of the problem (debate).
LITERATURE

(the general direction of searches, literature searches for specific authors are carried out by the speakers themselves):
1. Antipova, I.A. Essays on children's writers / I.A. Antipova. – M.: Ballas, 1999. – 240 p.

2. Begak, B. Paths of mystery: Adventure literature and children / B. Begak. – M.: Det. lit., 1985. – 95 p.

3. Winterich J. Adventures of famous books / J. Winterich. – M.: Book, 1985. – 254 p.

4. Foreign children's writers in Russia / Borovskaya E.R. and etc.]. – M.: Flinta: Nauka, 2005. – 517 p.

6. Foreign writers: Bibliographical dictionary. In 2 hours / Ed. N.P. Michalska. – M.: Education: JSC “Ucheb lit.”, 1997. Part 1. A–L. – 476 pp.; Part 2. M–Ya. – 448 p.

Electronic resources:
http://bibliogid.ru

Lessons 11, 12
^ TOPIC: SCIENTIFIC AND EDUCATIONAL LITERATURE FOR CHILDREN
ISSUES FOR DISCUSSION:
1. The role of K.D. Ushinsky in the development of domestic scientific and educational literature for children.

2. Soviet scientific and natural history book (comparative analysis of the works of V.V. Bianchi, M.M. Prishvin, E.I. Charushin).

3. Genre and thematic diversity of modern scientific and educational literature.

4. Foreign nature writers.

5. Specifics of familiarizing preschool children with scientific and educational genres.
TASKS:
1. Read 3-5 stories (according to the recommended reading list) by K.D. Ushinsky, V.V. Bianchi, M.M. Prishvina, E.I. Charushina, N.I. Sladkova.

2. Conduct a comparative analysis of works about nature by V.V. Bianchi,

MM. Prishvina, E.I. Charushin: general and individual in revealing the theme of nature, genre originality of works, uniqueness of language and style. When determining the genre specificity of works, use information about the features of genre formation in a natural history book: encyclopedia, atlas, story, article, fairy tale, adventure, travel, fantasy story (story, novel).

4. Prepare a review of modern encyclopedias for preschoolers (3-5 editions).
For an in-depth study of the topic:
1. Write a review of the book by E.L. Levina, M.B. Shelomentseva “Modern scientific and educational literature for children and youth” (Moscow, 1991).

2. Develop a summary of a lesson-excursion for preschoolers using the works of M.M. Prishvin about the forest (collection “Golden Meadow”).

3. Prepare an abstract on one of the topics suggested below:

K.D. Ushinsky and modernity.

Stories about animals B.S. Zhitkova.

Books about technology by M. Ilyin.

The world of nature in the works of K. G. Paustovsky.

Traditions and innovation in the works of G.Ya. Snegireva.

Nature writer G.A. Skrebitsky.

Historical stories by S.M. Golitsyna, A.V. Mityaeva, S.P. Alekseeva: comparative analysis.
LITERATURE:
Mandatory:
1. Arzamastseva, I.N. Children's literature / I.N. Arzamastseva, S.A. Nikolaev. – 6th ed., rev. - M.: Academy, 2009. – 574 p.

2. Children's literature: textbook / E.E. Zubareva [and others]. – M.: Higher School, 2004. – 550 p.

3. Foreign children's literature: textbook. allowance for the environment. and higher ped. textbook establishments / N.V. Budur [and others]. – M., 1998. – 304 p.

4. Russian literature for children: textbook. allowance for the environment. ped. textbook establishments / Etc. Polozova. – M.: Academy, 1998. – 506 p.

5. Foreign children's writers: a hundred names: biobibliographic reference book / G.N. Tubelskaya. – M.: School Library, 2005. – 271 p.
For an in-depth study of the topic:
1. Foreign children's writers in Russia / Borovskaya E.R. and etc.]. – M.:Flinta: Nauka, 2005. – 517 p.

2. Foreign writers: Bibliographical dictionary. In 2 hours / Ed. N.P. Michalska. – M.: Education: JSC “Ucheb lit.”, 1997. Part 1. A–L. – 476 pp.; Part 2. M–Ya. – 448 p.

3. Ivich, A. Nature. Children / A. Ivich. – M.: Det. lit., 1980. – 223 p.

4. Levina, E.R. Modern Soviet scientific and educational literature for children and youth / E.L. Levina, M.B. Shelomentseva. – M.: IPCC, 1991. – 88 p.

5. Razumnevich, V.L. With a book through life: On the work of Soviet children's writers / V.L. Razumnevich. – M.: Education, 1986. – 238 p.
Lesson 13

The ideological and thematic content of Lindgren's tales. Fairy tales by Astrid Lindgren

annotation scientific article on linguistics and literary criticism, author of the scientific work - Koblenkova D. V.

Related topics scientific works on linguistics and literary criticism, the author of the scientific work is Koblenkova D. V.

POLITICAL AND ETHICAL MOTIVES IN A. LINDGREN’S FANTASY NOVEL “THE BROTHERS LIONHEART”

Text of scientific work on the topic “Political and ethical motives in the fairy tale story by A. Lindgren “The Lionheart Brothers””

“_ (reg. No. date) AGREED AGREED Head of the Department Dean of the Faculty U Pozdeeva T.V. Voronetskaya L.N. P _ 20 _ 20 BG Y RI EDUCATIONAL AND METHODOLOGICAL COMPLEX FOR TRAINING...”

TOPIC: TALES OF A.S. PUSHKIN AND FOLKLORE

LITERATURE

TOPIC: GENRE AND THEMATIC DIVERSITY OF RUSSIAN

LITERARY TALE OF THE XX CENTURY

ISSUES FOR DISCUSSION:

TASKS

TOPIC: THE FORMATION OF THE EUROPEAN LITERARY FAIRY TALE

ISSUES FOR DISCUSSION:

TASKS

TOPIC: FAIRY TALES IN THE WORK OF ASTRID LINDGREN

ISSUES FOR DISCUSSION:

TASKS

TOPIC: GIANNI RODARI'S WORK

ISSUES FOR DISCUSSION:

TOPIC: TALE-PARABLE BY ANTOINE DE SAINT-EXUPERY

ISSUES FOR DISCUSSION:

LITERATURE

TOPIC: WORKS ABOUT CHILDREN IN RUSSIAN LITERATURE

ISSUES FOR DISCUSSION:

QUESTIONNAIRE

FORMS OF PARTICIPATION IN THE CONFERENCE:

LITERATURE

TOPIC: SCIENTIFIC AND EDUCATIONAL LITERATURE FOR CHILDREN

ISSUES FOR DISCUSSION:

LITERATURE

LITERATURE FOR PREPARATION FOR THE CONCERT CLASS:

TOPIC: CHILDREN'S DRAMA

CHILDREN'S MAGAZINE (NEWSPAPER) REVIEW SCHEME

TOPIC: GENRE OF ILLUSTRATION IN CHILDREN'S BOOKS

LIST OF ARTISTS FOR REFERENCE:

KNOWLEDGE CONTROL SECTION

Recommended list of dissertations

Irony in the "small" prose of Jerome K. Jerome and the English literary tradition 2006, Candidate of Philological Sciences Koroleva, Olga Andreevna

Typology of minor genres in the prose of Jerome K. Jerome (1885-1916) 1984, Candidate of Philological Sciences Sadomskaya, Natalia Dmitrievna

The formation and development of the short story genre in English literature of the Victorian period: based on the work of C. Dickens, W.M. Thackeray, T. Hardy 2009, Candidate of Philological Sciences Eremkina, Natalya Ivanovna

The evolution of the short story genre in Dagestan literature 2006, candidate of philological sciences Yusufova, Luara Omarovna

Stories by A.T. Averchenko: Genre. Style. Poetics 2003, Candidate of Philological Sciences Kuzmina, Olga Anatolyevna

Introduction of the dissertation (part of the abstract) on the topic “Genre-thematic originality of the fiction of Jerome Klapka, Jerome and O’Henry”

Similar dissertations in the specialty “Literature of the peoples of foreign countries (indicating specific literature)”, 01/10/03 HAC code

Prose of Ch. Tsydendambaev: the specifics of creating a national picture of the world 2007, Candidate of Philological Sciences Khalharova, Larisa Tsimzhitovna

Specifics of the short story genre in the works of Isaac Bashevis Singer 2005, candidate of philological sciences Slepova, Alexandra Valerievna

Satire and humor in the oral folk art of the Circassians 2010, Doctor of Philological Sciences Chuyakova, Nafset Muratovna

Novels by N. Neustroyev: Development of small prose genres in Yakut literature of the 20-30s 2000, Candidate of Philological Sciences Efimova, Tatyana Moiseevna

Stories by D.K. Jerome's "Three in a Boat, Not Counting a Dog" and "Three on a Walk" and neo-romantic trends in English literature of the late 19th - early 20th centuries. 2012, Candidate of Philological Sciences Karaseva, Tatyana Borisovna

Conclusion of the dissertation on the topic “Literature of the peoples of foreign countries (indicating specific literature)”, Rozevatov, Denis Aleksandrovich

List of references for dissertation research Candidate of Philological Sciences Rozevatov, Denis Aleksandrovich, 2012

Definition

Short story and novella

The emergence of the story

Development of the genre

Genre features

Conclusion