Federal State Budgetary Educational Institution of Higher Professional Education “Tomsk State Pedagogical University. Types (genres) of children's literature Historical genres in children's and youth reading
MINISTRY OF EDUCATION AND SCIENCE OF THE RUSSIAN FEDERATION
FEDERAL STATE BUDGET EDUCATIONAL INSTITUTION OF HIGHER PROFESSIONAL EDUCATION
"TOMSK STATE PEDAGOGICAL UNIVERSITY"
(TSPU)
I APPROVED
Dean of the Faculty of Philosophy
G.Yu. Titova
"___" __________ 2011
WORKING PROGRAM OF THE ACADEMIC DISCIPLINE
DPP.F.04 - Children's literature
Tomsk - 2011
1.Goals and objectives of the discipline
Children's literature plays an important role in the training of future primary school teachers. The course "Children's Literature" involves a consistent examination of the evolution of genre forms in literature for children and youth, as well as the study of the development of children's and youth literature, various forms of interaction between Russian children's literature and foreign
Target: to form a holistic idea of children's literature as an independent historical and literary phenomenon, reflecting the general trends in the development of domestic and world culture, literature, as well as pedagogical thought.
Tasks:
To study monographically the work of outstanding children's writers, both Russian and those belonging to world culture, but who “found a second cultural homeland” in Russia;
Develop the skills of an analytical approach to a literary text that has a child or teenager as its addressee;
To ensure interdisciplinary connections of the course “Children's Literature” with the disciplines of the psychological and pedagogical cycle, considering a work of children's literature as a source of information about the psychological characteristics of children.
^ 2. Requirements for the level of mastery of the discipline content
Studying a course in children's literature should help future teachers master the skills of organizing children's and youth's reading, when the focus is not on problem-thematic analysis, but on natural and logical attention to the literary word.
Students must acquire the following knowledge, skills and abilities:
Master the specifics of children's literature: artistic and pedagogical components;
Master the methodology of analyzing works of children's literature;
Master key literary critical written genres: abstract, review, review of a children's literary publication; artistic genres: literary fairy tale (stylization, parody, etc.), mystery, story (based on a dynamic, exciting plot);
Learn by heart a number of poetic and (partly) prose texts that are mandatory when working with children and adolescents;
Learn to understand the age and psychological characteristics of children through the analysis of works of children's literature,
Learn to take into account the interests of the young reader when compiling lists of literature for extracurricular reading.
^ 3.Scope of discipline and types of academic work
| Type of educational work | Total hours | Semester |
| 4 |
||
| Total labor intensity of the discipline | 160 | 160 |
| Auditory lessons | 90 | 90 |
| Lectures | 54 | 54 |
| Practical lessons | 36 | 36 |
| Seminars | - | - |
| Laboratory works | - | - |
| And/or other types of classroom activities | - | - |
| Independent work | 70 | 70 |
| Course project (work) | - | - |
| Calculation and graphic works | - | - |
| Essay | - | - |
| And (or) other types of independent work | - | - |
| Type of final control (test, exam) | Exam - 4th semester | Exam |
^ 4. Contents of the discipline
4.1. Discipline sections and types of classes
| No. | Discipline section | Lectures | Practical classes | Self Job |
| 1. | Specifics of children's literature: artistic and pedagogical components. Children's reading circle. | 2 | 2 | 8 |
| 2. | The main stages in the history of domestic and foreign children's literature. Trends in the development of modern children's literature. Scientific foundations for analyzing works of children's literature when working with primary schoolchildren. | 4 | - | 6 |
| 3. | Folklore in children's reading. Folk and literary tales. | 8 | 4 | 10 |
| 4. | Gospel circle of calendar holidays. Old Testament and New Testament themes, motifs and images in children's literature. Christmas story. Easter story. | 8 | 6 | 10 |
| 5. | Historiography of the soul. The child and his world in autobiographical works from S. Aksakov to I. Shmelev. | 10 | 6 | 16 |
| 6. | | 4 | 4 | 4 |
| 7. | Genres of adventure literature for children. Adventure literature and fantasy. Fantasy. | 6 | 6 | 4 |
| 8. | Natural history theme in literature for children. Scientific and artistic knowledge. | 4 | 4 | 4 |
| 9. | Humor. Children's literature from Russian abroad. | 4 | 2 | 2 |
| 10. | | 4 | 2 | 4 |
| TOTAL | 54 | 36 | 70 |
^ 4.2. Contents of discipline sections
Section 1. Specifics of children's literature: artistic and pedagogical components. Children's reading circle.
Lectures: Children's literature and youth reading, artistic pedagogical book. Classifications of children's literature: genre-thematic, reader-age, artistic-functional. Functions of children's literature as the art of words: communicative, hedonistic, aesthetic, educational, cognitive (educational).
Specifics of children's literature: artistic and pedagogical components. Children's and youth reading circle. Variety of topics, types and genres of children's literature. The concept of "children's literature", "children's reading", "children's book". Basic publications for children.
The specifics of children's literature: accessibility of content, simplicity and rapidity of development of action, brightness and emotionality of images, richness of language.
^ Practical lessons: Literature as the basis for the spiritual and moral development of the individual. Classifications of children's literature. The importance of children's literature in the educational, educational, pedagogical and psychological work of a teacher.
Section 2. Main stages in the history of domestic and foreign children's literature. Trends in the development of modern children's literature. Scientific foundations for analyzing works of children's literature when working with primary schoolchildren.
The place of children's literature in the culture of childhood and its role in world and domestic literature. Educational and educational literature. Educational literature for children in the 19th century. Work by K.D. Ushinsky, L.N. Tolstoy, D.I. and E.N. Tikhomirov on the creation of educational literature. Activities of L.N. Tolstoy in the Yasnaya Polyana school. The idea and history of the creation of Tolstoy's ABC. A variety of modern alphabets (their analysis). Ancient alphabets, alphabet books, primers, encyclopedias. Publication of the first children's magazine “Children's Reading for the Heart and Mind” N.I. Novikova. Development of theory and criticism of children's literature. Main directions of development of children's literature. Works of Russian writers of the 19th century, included in the circle of children's reading. Children's literature of the 20th century, the main trends in the development of children's literature. The history of the emergence and development of children's literature from the 18th to the 21st centuries. Basic criteria for children's literature, requirements for it. Genre composition of folklore and features of the analysis of folklore texts. Features of school analysis of works of art of different genres. Analysis of prose works: life circumstances that influenced the writing of the work, analysis of the title, motivation of certain key plot elements, composition, images and methods of creating a type of hero, features of the narrative, specifics of the genre. Analysis of a poetic work: time of writing, genre, composition, verse organization of the work. the image of the lyrical hero, the “marking” of the text - compiling the score (logical and emotional imagery), determining the ultimate task of reading. Specifics of analysis of a dramatic work. The need for lexical and phraseological work in literary reading lessons. Working with lexical and artistic means of expression.
^ Section 3. Folklore in children's reading. Folk and literary tales.
Lectures: Genre-functional classification. Contemporary children's folklore. Classification of children's folklore, folklore in children's reading. Folklore of adults for children. Actually children's folklore. Folk prose: fairy tale and non-fairy tale prose. Heroic and novelistic epics. Small folklore genres in works for children. Folk tale and myth. Transformation of pagan myth from a fairy tale about animals to a fairy tale of magic and everyday life. A cumulative tale. The main motives of the fairy tale. Features of children's folklore at the present stage.
Literary (author's) fairy tale: prosaic and poetic. A literary fairy tale from the era of classicism, Enlightenment and sentimentalism (fairy tales by C. Perrault, Catherine II, N. Karamzin). The flourishing of the author's fairy tale in the era of romanticism (poetic tales by A. Pushkin, V. Zhukovsky, P. Ershov and others; prose tales by V. Dahl, V. Odoevsky,
A. Pogorelsky, S. Aksakov, L. Tolstoy and others). Fairy tales of the Brothers Grimm. Development of the author's fairy tale in the 20th century. Using the poetics of a folk tale. Russian literary fairy tale of the 20-30s of the XX century. Development of the author's fairy tale in the 60-90s of the XX century.
^
Practical lessons:
Children's folklore: genre-functional classification. Activities of V.I. Dalia. Small folklore genres in pedagogical creativity
K.D. Ushinsky and L.N. Tolstoy.
Folk tale. The relationship between fiction and reality in a fairy tale. Reflection of agricultural cults in a fairy tale (cult of water, cult of earth, cult of the sun). "Rooster and Fox." Mythological in Russian folk tales. Folk tale and myth. Transformation of pagan myth from a fairy tale about animals to a fairy tale of magic and everyday life. Myth and conflict in fairy tales about animals. Cumulative tales. "Kolobok" Myth and morality. Fairy tale. Wonderful opponents and helpers.
Analysis of a literary fairy tale (one fairy tale from Russian and foreign literature). Folk tale and fairy tale by A.S. Pushkin. The Tale of Bova Korolevich. Borrowing methods. Interpretation of folklore plots and images in poetic tales. Features of poetic speech. The image of a storyteller (and a mockingbird) in fairy tales and the poem “Ruslan and Lyudmila.” V. Zhukovsky and A. Pushkin. Fairy tales by A. Pushkin and fairy tale by P. Ershov “The Little Humpbacked Horse”. The main conflict. A magical assistant in conflict resolution. Shaming of “sinners”: tempters, proud people, etc. Fools and smart people. Traditions of “The Little Humpbacked Horse” in a literary fairy tale. Literary fairy tale style. Development of the author's fairy tale in the 20th century.
Section 4. Gospel circle of calendar holidays. Old Testament and New Testament themes, motifs and images in children's literature. Christmas story. Easter story.
Lectures: Christian myth in literary genres. Reflection of the calendar gospel circle in children's literature. Christian myth in Russian poetry for children in youth reading from G. Derzhavin to B. Pasternak. (Circle of children's and youth reading). Lyrics by Russian poets about the holidays of the Gospel calendar and the events contained in them. Mother of God motifs in children's poetry. Christmas story. Easter story. Their genre specificity. The Bible for children retold by Archpriest A. Sokolov.
^ Practical lessons: Christian myth in literary genres. Myth in children's reading. Myth and literary plot. Pagan (Slavic), ancient myth. The most ancient epics in the reading circle of modern children. The role of archaic plots in the history of children's literature. The Bible and hagiographic genres in children's reading. The myth of the divine child. Reflection of the calendar gospel circle in children's literature. Analysis of the Christmas story (N. Leskov. They were offended at Christmas; G.-H. Andersen. The Little Match Girl; F. M. Dostoevsky. The Christmas tree and the wedding. The boy at Christ’s Christmas tree; B. Pasternak. The Christmas tree and others). Analysis of the Easter story (A.S. Khomyakov. Bright Resurrection; E. Opochinina. Tsar's Easter eggs and others). Analysis of stories by L.N. Tolstoy (“How People Live,” “Divine and Human”).
^ Section 5. Historiography of the soul. The child and his world in autobiographical works from S. Aksakov to I. Shmelev.
Lectures: Autobiography as a genre. Autobiographical prose about childhood as a source for studying child psychology. Hero and narrator: the relationship between the point of view of a child and an adult. Paradoxes of a child's soul. Inner monologue. Artistic detail. Life Way of life The world. The role of parents in the formation of heroes of autobiographical prose. Religious education in the family. Attitude to religion. Memories of books read. Friendship and love of an autobiographical hero.
^ Practical lessons: Analysis of works of art: Aksakov S.T. The childhood years of Bagrov the grandson. Tolstoy L.N. Childhood. Adolescence. Garin-Mikhailovsky N.G. Childhood Topics. Gymnasium students. Gorky M.. Childhood. Green A.S. Autobiographical story by A.N. Tolstoy Nikita's childhood. Chukovsky K.I. Silver coat of arms. Shmelev I. Summer of the Lord. G.H. Andersen. The tale of my life.
^ Section 6. Historical genres in children's and youth reading: origins, evolution, modernity.
Lectures: Historical truth and fiction . Folk legends. Epic. Epic and song. Chronicle tales, hagiographic genre. Domestic history in the stories of Ishimova, Platonov, Sipovsky, Konchalovskaya and others. The style of historical prose by S. Alekseev, V. Mityaev, V. Nesterov, I. Mozheiko and others. The plot. Detail. “Retellings” of world history for children and youth. Patriotic education.
^ Practical lessons: Analysis of works on a historical topic (students' choice). Works about war. Images of children in works with military themes.
^ Section 7. Genres of adventure literature for children. Adventure literature and fantasy. Fantasy.
Lectures: Genre synthesis. Adventure travel. Features of plot construction. Intrigue. Types of conflict. Conflict and moral dominance. Nature of obstacles. Formation of the hero type. Hero and peace. Ideal and hero in adventure literature of the Soviet period for children and youth. Conflict and moral dominance. Russian fantasy tradition. Jules Verne and his “textbooks” in Russian children's and youth literature. Science fiction and fantasy . Grotesque. Litotes. Dual world. Otherness. Time and achronism in fantasy genres.
^ Practical lessons: Analysis of Russian and foreign adventure literature and works of Russian marine painting (at the choice of students). K. Stanyukovich, B. Zhitkov, A. Green. Peculiarities of individual style in the “sea stories” of writers. “Children of Captain Grant” by J. Verne and “Two Captains” by V. Kaverin. Traditions and “your own voice”. A. Belyaev. J. Rowling, W. Tolkien, C. Lewis and others.
^ Section 8. Natural history theme in literature for children. Scientific and artistic knowledge.
Lectures: Scientific knowledge and artistic form in the works of children's writers about nature. Science in entertaining forms. Russian textbooks: history and modernity. Natural history in artistic genres. The genre of adventure and travel in the presentation of scientific knowledge. Local history and geography in artistic and popular science genres. Encyclopedic book for children. Genre diversity of children's literature about nature.
^ Practical lessons: Scientific and artistic knowledge. Analysis of the works of V. Bianchi, M. Prishvin, K. Paustovsky, E. Charushin, I. Akimushkin, B. Zhitkov and others.
^ Section 9. Humor. Children's literature from Russian abroad.
Lectures: Humor in literature for children.
“Returned” names of children's literature: S. Cherny, N. Teffi and others.
Reinterpretation of poetic classics for children. Scientific, artistic and educational children's book of the late 20th - early 21st centuries.
^ Practical lessons : Analysis of the works of N. Nosov, B. Zakhoder, G. Oster and others. Analysis of works for children of Russian diaspora.
Section 10. Foreign children's literature. Transformation of foreign classics in Russian literature. 4+2
Lectures:
Transformation of foreign classics in Russian literature. “The Adventures of Pinocchio” by C. Collodi and “The Golden Key” by A. Tolstoy. National folklore dominants. Discoveries of the Silver Age in A. Tolstoy's fairy tale. G.H. Andersen and his traditions in “Tales of Myrly the Cat” by N.P. Wagner. Retelling. Stylization. Caricature. Parody in the portrait of a “prototype”. “Doctor Dolittle” by H. Lofting and “Aibolit” by K. Chukovsky (prose). “The Wizard of Oz” by F. Baum and “The Wizard of the Emerald City” by A. Volkov. Ways of “growing” “alien words” into the national tradition from
A. Pushkin to A. Volkov and others. “Alice in Wonderland” by L. Carroll. From translation to varied content development. Traditions of the nonsense genre in poetry and prose. Translations by A. Demurova, B. Zakhoder, V. Nabokov. Proteism of K. Chukovsky's fairy tales.
Practical lessons:
Analysis of works.
^ 5. Laboratory workshop
Not provided.
6. Educational and methodological support of the discipline
a) basic literature:
Arzamastseva, I. N. Children's literature / I. N. Arzamastseva. - M., 2007. - 470 p.
Mineralova, I. G. Children's literature / I. G. Mineralova. - M., 2008. - 174 p.
Psychology of childhood in fiction of the 19th-20th centuries: a workbook / comp. G. A. Uruntaeva, biog. essays by M. V. Naumlyuk. - M., 2008. - 349 p.
b) additional literature:
Library of world literature for children. - M., 1981.
Svetlovskaya, N. N. Meetings with writers: a manual for teachers / comp. N. N. Svetlovskaya, O. V. Dzhezheley, N. M. Druzhinina. - M., 1978.
Children's literature / ed. E. E. Zubareva. - M., 1989.
Children's collection: articles on children's literature and the anthropology of childhood / comp. E. Kuleshov, I. Antipova. - M., 2003.
World literature for children and about children: a collection of scientific articles. - M., 2002.
c) literary texts that are required reading:
Aksakov, S. T. Childhood years of Bagrov’s grandson. The Scarlet Flower (any edition).
Astafiev, V. Last bow (any edition).
Bible for children (any edition).
Bradbury. Dandelion wine; Wolfe. Look at your home, angel (any edition) (student's choice).
Bunin, I. A. The life of Arsenyev. Book of my life (any edition).
Star of Bethlehem. Christmas and Easter in poetry and prose / comp. M. Written, (any edition).
Volkov, A. A Tale of Life. Listen out loud to yourself. The Wizard of the Emerald City (any edition).
Garin-Mikhailovsky, N. G. Childhood Topics. Gymnasium students. Students. Fairy tales (any edition).
Garshin, V. M. Attalea princeps. The Tale of the Toad and the Rose. Frog traveler. The Tale of Proud Ageya (any edition).
Gorky, M. Childhood. In People (any edition).
Grigorovich, D.V. Gutta-percha boy (any edition).
Green, A. S. Autobiographical story (any edition). Running on the Waves, Scarlet Sails and others.
Children's poetic folklore: anthology / comp. A. N. Martynova. - St. Petersburg, 1997.
Ershov, P. P. The Little Humpbacked Horse (any edition).
Zhitkov B., Bianki V., Prishvin M., Paustovsky K. – stories about nature (at the student’s choice (any publication).
Zhukovsky, V. A. The Sleeping Princess. The Tale of Tsar Berendey. The Tale of Ivan Tsarevich and the Gray Wolf. Tulip tree. Poems (any edition).
Karamzin, N. M. The beautiful princess and the happy dwarf. Ilya Muromets. Dense forest. Evgeniy and Yulia (any edition).
Korolenko, V. G. Children of the Dungeon. The Blind Musician (any edition).
Krapivin, V. (2 works of choice).
Mamin-Sibiryak, D. N. Zimovye on Studenoy. Adopted Emelya the hunter. Gray neck. Bogach and Eremka. Rotisserie. Alyonushka's fairy tales (any edition).
Myths of the peoples of the world (any edition).
Nekrasov, N. A. Grandfather Mazai and the hares. General Toptygin. Peasant children. Poems (any edition).
Odoevsky, V.F. Town in a snuffbox. Moroz Ivanovich. Indian fairy tale about four deaf people. Tsar Maiden. Carpenter. Igosha (any edition).
Easter prose. - In the book: Ivan Pankeev. Easter. Resurrection of Christ. - M., 2003.
Easter stories. - M., 2007.
Pogorelsky, A. Black chicken, or Underground inhabitants (any edition).
Adventure literature (optional).
Pushkin, A. S. Fairy tales. Poem “Ruslan and Lyudmila” (any edition).
Remizov, A. Limonar, that is, a spiritual meadow (any edition).
God is with us! The Nativity of Christ in Russian poetry of the 18th-20th centuries. - M., 2000.
Tales of the peoples of the world (7-10). Russian folk tales (3-4 of each genre).
Stanyukovich, K. M. Man overboard. Sevastopol boy. Maksimka. Nanny and others (any edition).
The work of one of the marine painters.
The work of one of the science fiction writers.
Tolstoy, A. N. Nikita’s childhood. The Adventures of Pinocchio (any edition).
Tolstoy, L. N. Childhood. Adolescence. How people live. Divine and human.
Turgenev, I. S. Bezhin meadow. Singers. Mu Mu. Sparrow (any edition).
Ushinsky, K. D. Two plows. Hunter of fairy tales. Not well cut, but tightly sewn. Fox and goat. Rogue cat (any edition).
Fantasy (optional).
Khomyakov, A. S. Bright Resurrection / A. S. Khomyakov. - M., 2007.
Chekhov, A.P. Vanka. Boys. Kids. I want to sleep. Kashtanka. White-fronted. Volodya. Fugitive. Event, etc. (any publication).
The miracle of Christmas night: Christmas stories. - St. Petersburg, 1993.
Chukovsky, K. I. Silver coat of arms (any edition).
Shmelev, I. Summer of the Lord (any edition).
Language of folklore: anthology / comp. A. T. Khrolenko. - M., 2005.
^ 6.3.Means for ensuring mastery of the discipline
Book fund of the department, TSPU library, regional library named after. A.S. Pushkin.
6.4.Material and technical support of the discipline
DVD player, discs with recordings of children's and youth films.
Main forms of training organization: conducting lectures (in the form of traditional and problem lectures); practical/seminar classes (in the form of discussion of texts read, literary analysis, reading conferences and seminars), various forms of independent work of students, intermediate certification of students (in the form of tests and testing), consultations, exam.
^ 7.2.Guidelines for students
Independent work of a student involves various forms of individual educational activity: reading and analytical activity, taking notes of scientific literature, maintaining an annotated list of books read, designing, performing thematic creative tasks, etc. The choice of forms and types of independent work is determined by an individual and personal approach to learning jointly by the teacher and student.
^ 8.Forms for ongoing monitoring of progress and intermediate certification of students
8.1. Subjects of abstracts
Not provided.
8.2.List of sample test questions and tasks
for independent work
Specifics of children's literature: artistic and pedagogical components. Children's reading circle. 8
The main stages in the history of domestic and foreign children's literature. Trends in the development of modern children's literature. Scientific foundations for analyzing works of children's literature when working with primary schoolchildren. 6
^ Folklore in children's reading. Folk and literary tales. 10
Gospel circle of calendar holidays. Old Testament and New Testament themes, motifs and images in children's literature. Christmas story. Easter story. 10
In addition to the required reading texts for all, it is recommended to read 2 more Christmas and 2 Easter stories by different authors. In addition, be sure to memorize 2 poems from the Christmas and Easter cycles, respectively.
^ Historiography of the soul. The child and his world in autobiographical works from S. Aksakov to I. Shmelev. 16
It is recommended to prepare messages or electronic presentations on works of autobiographical prose that are not analyzed in practical classes (L. Tolstoy. Childhood. M. Gorky. Childhood. A. Tolstoy. Nikita's childhood. A. Green. Autobiographical story).
^ Historical genres in children's and youth reading: origins, evolution, modernity. 4
Prepare messages or electronic presentations on the works of writers (on a historical topic).
^ Genres of adventure literature for children. Adventure literature and fantasy. Fantasy. 4
Prepare messages or electronic presentations on the works of writers (on an adventure theme).
^ Natural history theme in literature for children. Scientific and artistic knowledge. 4
Prepare messages or electronic presentations on the works of writers (on a natural history topic).
Humor. Children's literature from Russian abroad. 2
Foreign children's literature. Transformation of foreign classics in Russian literature.
^ 1. Literary fairy tale: prosaic and poetic.
Various ways of portraying previous folklore and literary material. A tale in a literary fairy tale. Evolution of the type of storyteller. The evolution of a romantic fairy tale. N. Karamzin and V. Zhukovsky. O. Somov, A. Novopoltsev, N. Leskov, P. Bazhov, B. Shergin, I. Pankin. Analysis of P. Bazhov's tales. The image of a storyteller. Imagery. Syntax. A picturesque start. Parable in the tales of P. Bazhov. Tales of N. Wagner. Traditions of G.H. Andersen. N. Wagner and V. Garshin. N. Wagner and M. Gorky. N. Wagner (“The Great”) and A. Gaidar. Ballad, poem, epic, song in the style of poetic fairy tales. Parody and stylization.
^ 2. Myth in children's reading. Pagan myth (Slavic), ancient. Christian myth. The purpose of the retelling. The Bible for children retold by Archpriest A. Sokolov. "Legends of Christ" by Selma Lagerlöf. Two types of approaches. Symbol and myth. Myth and metaphor, allegory. Myth and phraseology. Myth and literary plot.
Christian myth in literary genres. Christian myth in Russian poetry for children in youth reading from G. Derzhavin to B. Pasternak. (Circle of children's and youth reading). Allusions and reminiscences of the Christian myth in the “Yuletide story”, in a fantasy story and novel. “Lemon garden, that is, a spiritual meadow” by A.M. Remizova. Allusions and reminiscences of the Christian myth in the “Yuletide story”, in a fantasy story and novel.
3. Learn poems by Russian poets by heart about the events of the gospel calendar(2 poems each) .
^ 4. Historiography of the soul. The child and his world in the autobiographical genre from S. Aksakov to I. Shmelev and V. Astafiev. Artistic detail. Life Way of life Inner monologue. Moral and psychological dominant in Russian prose. Bunin I.A. Life of Arsenyev. The book of my life. The world through the eyes of a child in the stories of modern writers: Yu. Nagibin, V. Belov, V. Astafiev, A. Aleksin, V. Rasputin and others. Bradbury. Dandelion wine; Wolfe. Look at your home, angel.
5. Learn by heart a poem by Russian poets about childhood.
^ 6. Scientific and artistic knowledge. Russian textbooks: history and modernity. Natural history in artistic genres. Adventure genre and travel in the presentation of scientific knowledge. Local history and geography in artistic and popular science genres. Scientific knowledge and artistic form in the works of V. Bianchi - I. Akimushkin. Encyclopedic book for children. Science in entertaining forms. V. Bragin. "In the land of dense grasses."
^ 7. Parody and caricature in humor for children. From folklore to literature. Humorous story. Traditions of Russian laughter culture. Antithesis. The function of laughter in the formation of an artistic whole. Comic and dramatic. Comedy of characters and sitcom. Mockingbird image. I. Krylov – A. Tolstoy – Sasha Cherny. Poetic and prose genres. Lyrics and pathos in humor. “Under Sand” by Yu. Koval: caricature of genres in the consciousness of internal form.
^ 8. Artistic synthesis in literature for children. The picturesque in literature. Music in literature. Image methods. Intraliterary synthesis: the interaction of poetry and prose as autonomous meaningful artistic worlds. The super task of “synthesis”. Genre synthesis. “Three Fat Men” by Y. Olesha – “The Golden Key” by A. Tolstoy. Artistic synthesis in “The Chronicles of Narnia” by C. Lewis. Function of the poetic. Mythological and symbolic.
^ 9. Poetry in children's and youth reading. “Plot” poetry: tasks, function of the plot, features of the formation of artistic content. Poetic classics for children's and youth reading. Word and work. Word and text. Ways to concentrate artistic content in poetry. Poems by S. Marshak and B. Zakhoder in children's reading. Marshak's poetry school. A variety of genres, plot collisions, ways to update the “stamped” pedagogical task. E. Uspensky, G. Oster and others. Analysis of specific poetic samples based on the recommendation of the teacher and the choice of students. The Golden Age of Russian Poetry. Silver age of Russian poetry. Contemporary poetry. Imagery. Spiritual dominant.
10. Learn two poems by heart about nature.
^ 11. Synthetic genres and syncretic artistic genres for children. Theater. Puppet Theatre. Musical Theatre. Staging. Film version of a literary work. Animation.
"Alice in Wonderland" by L. Carroll. Traditions of the nonsense genre in poetry and prose. Translations by A. Demurova, B. Zakhoder, V. Nabokov.
^ 12. Periodicals and criticism. The first magazines for children. Periodicals for children at the turn of the 20th and 20th centuries. The evolution of children's systematic publications in Soviet times. “Ideal” periodical for children. Requirements for printed materials for children. Main results of the course. Promising directions for scientific research in the history of children's literature.
^ 13. Children's literature from Russian abroad.
14.Children's foreign literature.
8.3. Questions for self-examination, dialogues, discussions, debates, examinations
Test examples
^ 8.5. Sample list of questions for the exam
Children's literature as an academic discipline. Goals and objectives of the course. Children's literature and children's reading circle.
Functions of children's literature as the art of words.
Folklore in children's reading and children's literature. Small genres of folklore.
Actually children's folklore.
Folk tale. Evolution of the mythological content of fairy tales (tales about animals, everyday tales, fairy tales).
Genre of literary fairy tale. Analysis of a literary fairy tale (at the student's choice: V. Zhukovsky, A. Pushkin, A. Pogorelsky, V. Dal, V. Odoevsky, P. Ershov, S. Aksakov, A. Tolstoy, etc.). The choice should not be limited to Pushkin's fairy tales.
Yuletide and Christmas story (analysis of students' choice).
Easter story (analysis of students' choice).
Pagan, ancient, Christian myth in children's reading and in the history of children's literature.
Lyric poetry of the 19th century in children's reading. Genres. Imagery. Rhythmic organization. The word as a work.
Poetry N.A. Nekrasova for children. Genres. Plot. Hero. Features of the verse.
D. Mamin-Sibiryak is a children’s writer. Fairy tale. A cycle of fairy tales. Story. Features of the narrative style.
Adventure genres in children's literature and children's and youth reading. Issues. Heroes. Style.
The genre of autobiographical story in children's reading. Hero type. Features of the plot. Analysis of one work from the recommended list as directed by the teacher.
Small genre forms for children and about children in the works of writers of the late nineteenth and early twentieth centuries (A. Chekhov, L. Andreev, A. Kuprin).
L. Carroll. "Alice in Wonderland" and the school of "nonsense" in children's literature of the twentieth century.
K.I. Chukovsky in the history of children's literature.
Comic and lyrical in the prose and poetry of Sasha Cherny. Fox Mickey's Diary style.
Poetry of the Silver Age for children and in children's reading. Artistic synthesis and intraliterary synthesis in the style of poets.
The problem of portraiture in translation: “The Adventures of Pinocchio” by C. Collodi” and “The Golden Key” by A. Tolstoy, “Doctor Dolittle” by H. Lofting and “Doctor Aibolit” by K. Chukovsky; “The Sage of Oz” by F. Baum and “The Wizard of Oz.” A. Volkova and others.
Children's poetry in the twentieth century: main development trends. Plot. Rhythm. Features of figurative speech.
The history of the development of scientific and artistic books for children in the twentieth century.
Natural history book in the twentieth century. Genre. Narrator. Plot.
V. Bianchi is a lyricist and encyclopedist.
The lyrical and philosophical beginning in the books of M. Prishvin and K. Paustovsky.
Historical genres in children's and youth reading: origins, evolution, modernity.
The originality of the artistic narration of history Problematics. Features of the conflict. Hero. Plot. Composition.
Science fiction: science fiction and fantasy genres. Features of the plot. Past, present and future in science fiction and fantasy genres.
The Christian world in the Chronicles of Narnia by C. Lewis. The accuracy of translation is in creating the internal form of the work. Heroes. Style. Dialogue with the past and modernity.
My favorite children's poet.
My favorite science fiction writer.
My favorite adventure book.
An ideal book for a child 10-13 years old.
The problem of popularizing world classics for children. Translations and retellings.
World children's classics interpreted by Russian artists, composers, playwrights and film directors.
Children's periodicals and criticism in the history of children's literature.
^ 8.6.Topics for writing coursework
Not provided.
8.7. Forms of current control
Colloquium on prose,
Colloquium on poetry (recitation by heart).
Written:
creative works: an essay on the work of a favorite children's writer;
answers to the proposed questions based on the results of the topic, to identify knowledge of the literary text;
scientific-critical: annotation of a book or a separate work in compliance with the annotation structure - 1 page; review of one work for children – 5 pages; a review of critical materials about the problems of children's literature or a review of children's periodicals themselves - 3 pages.
The work program of the academic discipline is compiled in accordance with the federal state educational standard of higher professional education in the specialty 031200 (050708.65) – Pedagogy and methods of primary education.
The work program of the academic discipline was:
PhD in Philology, Associate Professor of the Department
pedagogy and methodology
primary education N.I. Milevskaya
The work program of the academic discipline was approved at a meeting of the Department of Pedagogy and Methods of Primary Education,
Protocol No. ____ dated “___” __________2011
Head department
pedagogy and methodology
primary education S.I. Pozdeeva
The work program of the academic discipline was approved by the methodological commission of the pedagogical faculty of TSPU
Chairman of the methodological
commission PF T.N. Yarkina
Agreed:
Dean of pedagogical
Faculty G.Yu. Titova
(Document)
n1.docx
1. Children's literature as an academic discipline. Goals and objectives of the course. Children's literature and children's circle. reading. Connection with other disciplines.2. Folklore in children's reading and children's literature. Small folklore genres
3. Large folklore genres, their features
4. Folk tale and myth
5. Children's literature in Russia XV-XVIII centuries
6. The Bible in children's reading
7. Genre of literary fairy tale. Traditional and innovative in Pushkin's fairy tales
8. Main trends in the development of children's literature in the 19th century
9. Aksakov’s life and creative path. Tale in "The Scarlet Flower"
10. Autobiography. Aksakov’s story “The Childhood Years of the Crimson Grandson.” Bashkiria in the life and work of the writer.
11. Lyric poetry of the 19th century in children's reading. Genres. Imagery
12. Russian textbooks. History and modernity
13. Nekrasov’s poetry for children. Genres, plot, hero, features of the verse.
14. The role of L.N. Tolstoy in the development of children. literature (“ABC”, “New ABC”, “Russian books for reading”, “Childhood”)
15. Adventure genres in children. literature and children and youth reading. Issues. Heroes. Style
16. The genre of autobiographical story in children's reading. Hero type. Peculiarities of versification (Gorky “Childhood”, Tolstoy “Nikita’s Childhood”, Shmelev “The Summer of the Lord”)
17. K.I. Chukovsky in the history of children's literature
18. Poetry of the Silver Age for children and in children's reading
19. The work of Lydia Charskaya, the fate of her works in children's reading and criticism
20. The role of Gorky, Chukovsky, Marshak in the formation and development of Soviet children's literature, periodicals and criticism
21. Marshak – poet, storyteller, playwright, translator. Poetic speech, hero.
22. “Nonsense”, stylization and parody in the works of the Oberiuts (D. Kharms)
23. History of the development of science and fiction books for children in the 20th century
24. Natural history book in the 20th century. Genre. Narrator. Plot.
25. The work of Gaidar. Mastery of language in stories (School, RVS, Military secret)
The story “Timur and the team” and its role in education
26. Mikhalkov’s work and his role in the development of children’s literature of the 20th century
27. Historical genres in children's and youth reading: origins, evolution, modernity.
28. “The World Through the Eyes of a Hero” in short prose genres about children and for children (Aleksin, Rasputin, Nagibin, Dubov)
29. Science fiction: science fiction and fantasy genres. Features of the plot.
30. The originality of the humorous works of one of the writers (Dragunsky, Nosov)
31. The problem of popularizing world classics for children. Translations and retellings by Baum - Volkov, Collodi - A. Tolstoy.
32. The emergence and development of the literary genre. fairy tales in foreign languages det. lit. (Perrault, Hoffmann, Grimm, Andersen, Collodi)
33. Children's literature of the absurd in England (L.Carroll)
34. Fairy tales and stories for children in German literature of the 20th century (Kästner, Preussler, Crews)
35. Fairy tales and fairy tales for children in English literature of the 20-21st centuries (Milne, Tolkien, Travers, Rolling)
36. Scandinavian children's literature of the 20th century (Lagerlöf, Lindgren, Jansson)
37. Children's periodicals and criticism in the history of Russian children's literature of the 20th century
38. Current problems of modern prose for children
39. The current state of poetry for children
40. The current state of Bashkir children's literature
1. Children's literature as an academic discipline. Goals and objectives of the course. Children's literature and children's circle. reading. Connection with other disciplines.
Det. Litra - literary works created specifically for young readers, as well as those included in their reading circle from oral poetic folk art and literature for adults. For children from 3 to 4 years old.
Children's literature has the same qualities as artistic literature. But still this is art with a specific focus. D.l. connected with pedagogy, designed to take into account the age characteristics, capabilities and needs of young readers. The organic fusion of the laws of art and pedagogical needs is the main feature of d.l.
D. l. as a tool for learning about life, it expands the boundaries of the world for young readers, helps them master it, i.e. Literature enriches you spiritually, promotes self-knowledge, self-improvement, and helps you understand your purpose in the world.
Task de lit: Each historical era poses its own tasks. Old Russian literature: “for the sake of learning”, to quickly educate people in a religious spirit, obedient to the princely authority. Beginning of the 18th century: to educate young people who support the reforms of Peter 1. 19th century: to educate active fighters against the serfdom system (according to Chernyshevsky and Dobrolyubov).
The plot is intense and dynamic, with many interesting events, adventures, and a lot of mysterious things. The younger the reader is, the less interest he has in describing the nature and psychology of the hero. The hero is the engine of the plot. The main character is the reader’s peer; this hero paints this world as the child imagines it. The hero-peer deserves more empathy from the child.
The language is grammatically correct, without archaisms, provincialisms, simple sentences. Sentimental style is excluded. The example is a Russian folk tale that speaks to the reader on an equal basis. Barbarian style is unacceptable.
One of the features of d.l. is its intermediate position between narrowly local literatures and classical, “high” literature. Another feature is the specificity of the dialogue; the writer builds a dialogue with an imaginary reader, taking into account the difference in levels of ethical and aesthetic perception. D.l. conservative, the discipline of the creative process determines the canonical way of artistic thinking.
The main functions of children's literature as the art of words: 1) educational; 2) educational; 3) education of aesthetic taste; 4) hedenestic (pleasure); 5) rhetorical, the child begins to create, becomes a co-author.
Old Russian literature. “For the sake of learning,” to raise a religious person, obedient to the princely authority, as quickly as possible. Beginning of the 18th century: to educate young people who support the reforms of Peter 1. 19th century: to educate active fighters against the serfdom system (according to Chernyshevsky and Dobrolyubov). In the 18th century, Tatishchev identified 4 age groups: 1) the stage of infancy (birth-12 years); 2) youth camp (12-25 years); 3) courage (25-50 years); 4) old age (after 50 years). Dal: 1) childhood (up to 14 years old) 2) youth (14-15 years old) 3) adolescence. Modern pedagogy: 1) preschool age (3-7 years); 2) junior school age (7-12 years); 3) adolescence (12-16 years); 4) adolescence (15-18 years).
Genre system: almost all genres of fiction. 17th century - adaptation of ancient literature, Aesop's fables, myths, historical stories about the capture of Azov were revised. 18th century - fairy tales, sentimental stories.
Thematic focus. The topic was determined by the state. One of the main themes of children's books is religion. 16-17th century - the emergence of secular motifs. Topics: glorification of literacy, nurturing interest in knowledge, heroic traits of the Russian people. 18th century - thematic barriers arise between adult and children's literature. The beginning of the 19th century - the romantics brought into the d.l. literature for children, focused on folklore children's fairy tales. The end of the 19th century - Dobrolyubov approved of introducing children to the problems that concern society (serfdom). 20th century - an abundance of various irregularities, neologisms, etc. Another component of d.l. is children’s creativity. "Old" d.l. developed on the basis of the pen of classical culture, the “new” one began to relate to the pre-October period. D.l. goes through its own path of development, consistent with the general literary process. In the history of literature for children, the medieval Renaissance, Baroque, etc. also stand out. At the same time, this is a special path of development, the goal of which is to create literature that meets the needs of readers.
For d.l. there is a selection of topics. The following is taken into account: 1) how relevant the topic is for a given time; 2) whether the topic is accessible to a child at this age; 3) whether the topic corresponds to the solution of educational problems.
2. Folklore in children's reading and children's literature. Small folklore genres
Children's folklore
Lullabies. At the center of all “mother’s poetry” is the child. They admire him, pamper him and cherish him, decorate him and amuse him. Gentle, monotonous songs are necessary for the child's transition from wakefulness to sleep. From this experience the lullaby was born. Often a lullaby was a kind of spell, a conspiracy against evil forces. Echoes of both ancient myths and the Christian faith in the Guardian Angel are heard in this lullaby. A lullaby has its own system of expressive means, its own vocabulary, and its own compositional structure. Short adjectives are frequent, complex epithets are rare, and there are many shifts of stress from one syllable to another. Prepositions, pronouns, comparisons, and entire phrases are repeated. The most common type of repetition in a lullaby is alliteration, i.e. repetition of identical or consonant consonants.
Pestushki, nursery rhymes, jokes. Like lullabies, these works contain elements of original folk pedagogy, the simplest lessons of behavior and relationships with the outside world. Pestushki (from the word “nurture” - educate) are associated with the earliest period of child development. Pestlets accompany the physical procedures necessary for the child. Their content is associated with specific physical actions. The set of poetic devices in pestushki is also determined by their functionality. Pestushki are laconic. “The owl is flying, the owl is flying,” they say, for example, when waving a child’s hands. “The birds flew and landed on his head,” - the child’s hands fly up to his head. There is not always a rhyme in pestushki, and if there is, then most often it is a pair. The organization of the text of the pestles as a poetic work is also achieved by repeated repetition of the same word. Nursery rhymes - a more developed game form than pestles. Nursery rhymes entertain the baby and create a cheerful mood. Like pestles, they are characterized by rhythm: Tra-ta-ta, tra-ta-ta. A cat married a cat! Kra-ka-ka, kra-ka-ka, He asked for milk! Dla-la-la. dla-la-la, the cat didn’t give it! Sometimes nursery rhymes only entertain, and sometimes they instruct, giving the simplest knowledge about the world. joke called a small funny work, statement or simply a separate expression, most often rhymed. Entertaining rhymes and joke songs also exist outside the game, unlike nursery rhymes. The joke is always dynamic, filled with energetic actions of the characters. In a joke, the basis of the figurative system is precisely movement: “He knocks and strums along the street, Foma rides on a chicken, Timoshka on a cat - along the path there.” Often jokes are built in the form of questions and answers - in the form of a dialogue. This makes it easier for the child to perceive the switching of action from one scene to another, and to follow the rapid changes in the relationships of the characters. Fables, inversions, nonsense. These are varieties of the joke genre. Chukovsky dedicated a special work to this type of folklore, calling it “Silent absurdities.” He considered this genre extremely important for stimulating a child’s cognitive attitude towards the world and very well substantiated why children like absurdity so much. Changeling in a playful way helps the child to establish himself in the knowledge he has already acquired, when familiar images are combined, familiar pictures are presented in funny confusion.
Counting books. This is another small genre of children's folklore. Counting rhymes are funny and rhythmic rhymes, to which a leader is chosen and the game or some stage of it begins. Counting tables were born in the game and are inextricably linked with it. Works of this genre often use nursery rhymes, nursery rhymes, and sometimes elements of adult folklore. The counting book is often a chain of rhyming couplets.
Tongue Twisters. They belong to the funny, entertaining genre. The roots of these oral works also lie in ancient times. This is a verbal game that was part of the cheerful holiday entertainment of the people. Tongue twisters always include a deliberate accumulation of difficult-to-pronounce words and an abundance of alliteration (“There was a white-faced ram, he turned all the sheep white-faced"). This genre is indispensable as a means of developing articulation and is widely used by educators and doctors.
Tricks, teases, sentences, refrains, chants. All these are works of small genres, organic to children's folklore. They serve the development of speech, intelligence, attention: « Say two hundred. Two hundred. Head in dough!” (Underdress.), “Rainbow-arc, Don't give us rain Give me red sunshine Bells! (Zaklichka), Teddy Bear, There is a lump near the ear." (Tease.) Zaklichki in their origin are associated with the folk calendar.
3. Large folklore genres, their features
The word "folklore", which often denotes the concept of "oral folk art", comes from the combination of two English words: folk - "people" and lore - "wisdom". Like literature, folklore works are divided into epic, lyrical and dramatic. Epic genres include epics, legends, fairy tales, and historical songs. Lyrical genres include love songs, wedding songs, lullabies, and funeral laments. Dramatic ones include folk dramas (with Petrushka, for example). The original dramatic performances in Rus' were ritual games: seeing off Winter and welcoming Spring, elaborate wedding rituals, etc. One should also remember about small genres of folklore - ditties, sayings, etc.
Children's folklore . This concept fully applies to those works that are created by adults for children. In addition, this includes works composed by children themselves, as well as those passed on to children from the oral creativity of adults. That is, the structure of children's folklore is no different from the structure of children's literature. Many genres are associated with games in which the life and work of elders are reproduced, so the moral attitudes of the people, their national traits, and the peculiarities of economic activity are reflected here. In the system of genres of children's folklore, “nurturing poetry” or “maternal poetry” occupies a special place. This includes lullabies, nurseries, nursery rhymes, jokes, fairy tales and songs created for the little ones.
Larger works of children's folklore - songs, epics, fairy tales.
Russian folk songs play a big role in shaping children’s ear for music, taste for poetry, love for nature, for their native land. The song has been around among children since time immemorial. Children's folklore also included songs from adult folk art - usually children adapted them to their games. There are ritual songs (“And we sowed millet, sowed...”), historical (for example, about Stepan Razin and Pugachev), and lyrical. Nowadays, children often sing not so much folklore songs as original ones. There are also songs in the modern repertoire that have long lost their authorship and are naturally drawn into the element of oral folk art.
Epics. This is the heroic epic of the people. It is of great importance in nurturing love for native history. Epic stories always tell about the struggle between two principles - good and evil - and about the natural victory of good. The most famous epic heroes are Ilya Muromets. Dobrynya Nikitich and Alyosha Popovich are collective images that capture the features of real people, whose lives and exploits became the basis of heroic stories - epics (from the word “byl”) or old Epics are a grandiose creation of folk art. The artistic convention inherent in them is often expressed in fantastic fiction. The realities of antiquity are intertwined in them with mythological images and motifs. Hyperbole is one of the leading techniques in epic storytelling. It gives the characters monumentality, and their fantastic exploits - artistic credibility.
Fairy tales. They arose in time immemorial. Telling fairy tales was a common hobby in Rus'; both children and adults loved them. In a fairy tale, truth and goodness certainly triumph. A fairy tale is always on the side of the offended and oppressed, no matter what it tells. It clearly shows where a person’s correct life paths are, what his happiness and unhappiness are, what his retribution for mistakes is, and how a person differs from animals and birds.
A fairy tale for children contains a special charm; some secrets of the ancient worldview are revealed. They find in the fairy tale story independently, without explanation, something very valuable for themselves, necessary for the growth of their consciousness. The imaginary, fantastic world turns out to be a reflection of the real world in its main fundamentals. A fabulous, unusual picture of life gives the child the opportunity to compare it with reality, with the environment in which he, his family, and people close to him exist. The fairy tale accustoms him to the idea that evil must be punished in any case.
For children, it doesn’t matter at all who the hero of the fairy tale is: a person, an animal or a tree. Another thing is important: how he behaves, what he is like - handsome and kind or ugly and angry. The fairy tale tries to teach the child to evaluate the main qualities of the hero and never resorts to psychological complication. Most often, a character embodies one quality: the fox is cunning, the bear is strong, Ivan is successful in the role of a fool, and fearless in the role of a prince. The characters in the fairy tale are contrasting, which determines the plot: brother Ivanushka did not listen to his diligent, sensible sister Alyonushka, drank water from a goat’s hoof and became a goat - he had to be rescued; the evil stepmother plots against the good stepdaughter... This is how a chain of actions and amazing fairy-tale events arises. A fairy tale is built on the principle of a chain composition, which usually includes three repetitions. Sometimes repetition takes the form of dialogue; then, if children play in a fairy tale, it is easier for them to transform into its heroes. Often a fairy tale contains songs and jokes, and children remember them first.
A fairy tale has its own language - laconic, expressive, rhythmic. Thanks to language, a special fantasy world is created. Based on theme and style, fairy tales can be divided into several groups, but usually researchers distinguish three large groups: tales about animals, fairy tales and everyday (satirical) tales.
4. Folk tale and myth
World origins of children's literature: archaic civilizations, the era of antiquity, the early stages of the development of world religions, world folklore. Mesopotamian civilization - the birth of writing in 3 thousand BC. “school” tablets, teaching aids, and tablets with exercises in various fields of knowledge (mathematics, language, law) were found.
The reading circle of children and teenagers included the Sumerian-Akkadian “Epic of Gilgamesh”, 2-3 thousand BC. Its first Russian translator was Gumilyov. In 1997, Voskoboynikov wrote the children's story "The Brilliant Gilgamesh." This work consists of 12 “songs”, their sequence corresponds to the 12 signs of the zodiac. Plot motives: Gilgamesh, dressed in the skin of a lion he killed, defeats the heavenly bull, finds the flower of eternal youth, kills a snake that settled on a tree in a mysterious garden, receives sacred objects from the underworld. Looks like Hercules.
The myth of the Divine Child was formed in ancient cultures along with the myths about the Mother, the Father, the World Tree, and the creation of the world. It is included in the system of mythological ideas of different peoples. The plots and motifs of children's folklore and children's literature are closely connected with the mythologeme of the Divine Child. The image of a child is inseparable from a miracle; the main function of the central character is to perform extraordinary things, miracles. The mythologem of the child’s Deities has a number of structure-forming motifs, each of which is reflected in the children’s literature known to us. The birth of a Child is often preceded by misfortune - a married couple experiences childlessness, like Samson’s parents in the Old Testament. The Divine Child is usually raised above the other heroes, the scale of his image is increased (in the story of Moses, for example). Often the Divine Child has some physical difference that makes him both beautiful and terrible. For example, the story of the miraculous birth of Samson, who grew up to be a strong man, all of whose strength lay in his hair. There were also child prophets, future saviors of the world, for example the prophet Muhammad. A child testifying to a miracle, seeing a divine teacher in his friend, is another structuring element of the poetics of children's literature. The childhood of Hercules, Alex of Macedon, the Virgin Mary, and Jesus Christ is depicted as the era of the first miraculous acts. There are many miracles of healing: with one touch Jesus heals the foot of a young woodcutter. So, the basic idea is the image of a child performing a miracle. The plot of children's literature largely consists of “good deeds.” In ancient texts, the child is depicted in a system of oppositions, conflicts: child-parents, child-other children, child-teachers.
Along with child characters, there are also “undivine” children. For example, the Old Testament story about the twins Esau and Jacob, one will become a skilled trapper, the other a meek “man of the tents,” i.e. practitioner and lyricist. Comic and dramatic duets: Chuk and Huck in Gaidar, Tom Sawyer and Huck Finn and Twain.
Ancient Greek and Roman schools. Phlegon of Tralles, Rome author, 2nd century AD. collection “Amazing Stories”, in these stories there are fantastic creatures and ghosts; Eastern fairy tales are combined with elements of mysticism and fantasy.
Ancient civilization left the countries of the collapsing Roman Empire a rich cultural heritage; it lasted for many centuries until independent national cultures were formed. With the establishment of Christianity, relations in society began to change, the authority of the ancient classics ceased to be indisputable, and folklore no longer provided answers to new questions.
(from lectures). A child's first acquaintance with myth is through a church service. Myth is a story about the gods and heroes of ancient times. The cult of nature and ancestors is the starting point for the formation of a myth. The grain of myth is an archetype, a certain knowledge embedded in us. Myths are: astral (about the stars), calendar, anthropogonic (about the creation and origin of man), totemic (myth about the kinship of people with objects of living nature), eschatological (myth about the end of the world). The Christ myth reveals itself in prose: a re-imagining of sacred scripture for children, in a literary fairy tale, where the overlap of language and Christ myths occurs; in the genre of a Christmas story. Easter story, in fantasy plots.
5. Children's literature in RussiaXV-
XVIIIcenturies
The entire history of ancient Russian children's literature can be divided into four periods:
1) the second half of the 15th - the first half of the 16th century, when the first educational works appeared;
2) the second half of the 16th - beginning of the 17th century, when 15 printed books for children were published;
3) 20-40s. XVII century, when regular poetry begins;
4) the second half of the 17th century - the period of the development of different genres and types of children's literature.
Great development in the 17th century. receives poetry. Poems of that time, addressed to children, were, from a modern point of view, still quite primitive. But it was with them that children's poetry began.
It was a rare children's handwritten or printed book without poems. There were especially many of them in the second half of the 17th century, when large works were written, which we now call poems. Poems set out rules of behavior and conveyed various information about the world. Most of the poems are anonymous. However, some authors were already known then, others have been identified now. The very first children's poet in Rus' should be considered the director of the Moscow Printing House, Savvaty. The reference book was responsible for the content and literacy of the book. Therefore, the most educated people were appointed to this position. Currently, more than ten poems by Savvaty are known, written by him specifically for children. Among them is the first poem in the book of the Moscow press, placed in the ABC edition of 1637. It consists of 34 lines. The poem simply, warmly and clearly tells the reader about the book he is holding in his hands, praises literacy and book wisdom, and gives various advice on how to study and how to read. According to the composition, this is an intimate conversation with a child on a topic that is interesting and important to him. The author convinces the child not to be lazy in learning, to be diligent, and to obey the teacher in everything. Only in this case can he learn the “wisdom scripture » (letter), become one of the “wise men” and become a “true son of light.” Later in the second half XVII c., this poem was widely distributed through handwritten books.
Another poem by Savvaty was also very famous - “A brief statement about laziness and negligence”, consisting of 124 lines. It creates a negative image of a student, capable, but lazy and careless. Savvaty tries to instill in children respect for literacy, an enthusiastic attitude towards education and contempt for ignorance. The author leads the reader to the conclusion that teaching is light, and ignorance is darkness. Savvaty uses persuasion as the main educational means, and comparison and likening as a literary device. For example, he says that a diamond is precious because of the play of light, color, and paints, and a person is precious because of his education and “his understanding.”
In another long poem of 106 lines called "The ABC of Vacation", an image of a positive student was created who heeded the advice of his teacher, studied diligently, and therefore the teacher taught him everything that he himself knew and could. This is like a parting word to a child on graduation day.
The most important poet of the 17th century. was Simeon of Polotsk. His real name is Petrovsky. In 1664, at the invitation of the Russian Tsar Alexei Mikhailovich, Simeon moved to Moscow, where he opened a school and began to take an active part in literary and social life. Simeon of Polotsk took part in the creation of the primer of 1664. He also compiled the entire primer of the 1667 edition, which was republished in 1669. The preface written by Simeon for this primer is an outstanding pedagogical treatise of the 17th century.
But the primer of 1679 is of greatest interest. It contains two poems for children: “Preface to young men who want to learn” And "Admonition". The first of them talks about the book, praises literacy, and calls on children to study well, for those who work in youth will be at peace in old age. Of all labors, reading and learning bring the greatest pleasure and benefit. The second poem is placed at the end of the book. He wrote poetic prefaces to the books he published for children, “Testament” and “The Tale of Baarlam and Joasaph.” In them he talks about the content of the books, draws attention to the most important thing, trying to interest children and prepare them for perception. The most important books of Simeon of Polotsk are “Reef. Mologion”, which has 1308 large format pages, and “Vertograd multicolor”, consisting of 1316 pages. The books were intended, according to the author, “for the benefit of young and old,” who could “look for words in them” and read “to teach their age.” The books contain many poems that are accessible to children, including greeting poems from children to parents, relatives and patrons.
Poems about nature, minerals, animals, plants, entertaining legends, etc., were also available to children. For example, the poem “Arc” (“Rainbow”) or poems about earth and water. Being a teacher by profession and an outstanding The poet of his time, Simeon of Polotsk, made a significant contribution to the creation of literature for children.
The first Russian writer and poet whose work was entirely dedicated to children was Karion Istomin. In all his works, Karion Istomin glorified science, “enlightenment,” yagi. He believed that everyone should study: children of all classes, boys and girls, people of all nationalities. Science, according to Karion Istomin, should save people from want and grief. Although in most of his poems Istomin directly addressed the princes, he intended them for the entire Russian people.
During Karion Istomin’s lifetime, three of his books for children and a complete set of textbooks were published. In another children's book by Karion Istomin - The Big Primer there were 11 poems. In addition, he wrote more than ten books of poetry. Yes, in the book "Policy" it tells about everyone, seasons, parts of the world, different countries. In a book of poetry "Domostroy", consisting of 176 lines, the rules of behavior are figuratively set out using vivid examples. The main content of the rules boils down to the requirement to study the “free sciences”, etc.
6. The Bible in children's reading
7. Genre of literary fairy tale. Traditional and innovative in Pushkin's fairy tales
Tales of A.S. Pushkin appeared during the peak period of his creativity. They were not intended for children, but almost immediately entered children's reading.
In 1830, Pushkin began work on a fairy tale about a bear, “Like Warm Spring Time,” which remained unfinished. In 1831, “The Tale of Tsar Saltan” and “The Tale of the Priest and His Worker Balda” were completed. In 1833, two fairy tales were written: “The Tale of the Fisherman and the Fish” and “The Tale of the Dead Princess and the Seven Knights.” In 1834, “The Tale of the Golden Cockerel” appeared.
A.S. Pushkin creates his fairy tales based on folklore material. “The Tale of the Priest and His Worker Balda” is close in plot to the folk tale “The Farmhand Shabarsha.” The plot of “The Tale of the Fisherman and the Fish” is connected in origin with the fairy tale “The Greedy Old Woman” and was presented to Pushkin by the folklore collector writer V.I. Dahlem. “The Tale of Tsar Saltan” echoes the folk tale “About Wonderful Children.” “The Tale of the Dead Princess and the Seven Knights” is close to the plot of the folk tale “The Magic Mirror”. Turning to oral folk art, A.S. Pushkin sees in it inexhaustible possibilities for updating literature.
Tales of A.S. Pushkin - plot works that show a sharp conflict between the light and dark worlds. An example is “The Tale of Tsar Saltan, his glorious and mighty hero Prince Gvidon Saltanovich and the beautiful Swan Princess.” It was written in 1831 and first published in 1832 in the third part of “Poems by A. Pushkin.” This was Pushkin's first fairy tale to appear in print. She received mixed responses. Not all contemporaries understood Pushkin’s innovation and saw the birth of a new poetic genre. From the very beginning, it provides a subtle satirical reduction in the image of the king: “During the entire conversation, he stood behind the fence...” According to the censorship conditions of A.S. Pushkin could not have ridiculed the high-born eavesdropper more openly. The fairy tale reflects the diverse shades of human feelings: “The cook is angry in the kitchen, the weaver is crying at the loom, and they envy the Sovereign’s wife,” and complex relationships between people are revealed.
Pushkin the storyteller spoke out against the monotony of poetry, against erased rhythmic and syntactic phrases. His verse is moving, conveying the rhythm of movement and the tension of events. Dynamism and speed of change of events freely and easily coexist with landscape paintings, laconic and visually colorful: The wind is rustling merrily, the ship is running merrily. The stars shine in the blue sky, the waves lash in the blue sea...
The sound organization of verse in Pushkin the storyteller is energetic and effective. Every sound has significance for him, sometimes conveying the splash of a sea wave, sometimes reproducing the flight of a mosquito or bumblebee.
Pushkin appears in “The Tale of Tsar Saltan” as a fighter for the nationality of the language, or “vernacular.” “The Tale of Tsar Saltan” ends not with a moralistic conclusion, as was the case with many other fairy tale writers, but with a cheerful feast glorifying the triumph of good.
Positive characters win in a long struggle: Prince Guidon meets with his father; the weaver, the cook and the matchmaker, Baba Babarikha, are put to shame. Readers wholeheartedly side with the “bright world” of the fairy tale, personified in the images of the Queen Mother, Prince Guidon, and the Swan Princess. Only the image of Tsar Saltan raises doubts and thoughts.
“The Tale of the Priest and His Worker Balda” is a satire on unscrupulous servants of the Orthodox Church deceiving the people. It ridicules human greed, stupidity and hypocrisy. The priest is going to hire a servant who will perform the duties of a cook, groom and carpenter for a pittance. Stupidity and greed force him to agree to receive clicks from Balda, whom he hired as an employee. But the priest is not only greedy, but insidious and evil, he is trying to destroy Balda by giving him impossible tasks, for example, collecting rent from the devils.
“The Tale of the Priest and His Worker Balda” was not published during the poet’s lifetime. It was first published by V.A. Zhukovsky in 1840 in the magazine “Son of the Fatherland” with major alterations caused by the strictness of censorship. “Pop” was turned into “merchant Kuzma Ostolop.” It started like this:
Once upon a time there lived a merchant Kuzma the Stupid, nicknamed Aspen Forehead, and the whole tale was entitled: “The Tale of the Merchant Kuzma Ostolop and his Worker Balda.” The changes made by Zhukovsky distorted the social orientation of the fairy tale, violated the system of its images and poetic integrity.
Pushkin's fairy-tale characters are psychologically and artistically perfect; In the process of working on the fairy tale, he constantly honed its verse, bringing it closer to the folk tale, sharpening the satire.
The artistic means of Pushkin's fairy tales are inextricably linked with his poetic worldview. The poet spoke out against the pretentiousness and abstruseness of the verse; he sought to get closer to the folk saying with its aphorism.
Pushkin's verse in the fairy tale is full of movement. The poet sometimes constructs entire stanzas primarily from nouns and verbs in order to convey the severity of the struggle:
The poor demon crawled under the mare, strained, strained,
He lifted the mare, took two steps, fell on the third, and stretched out his legs.
At the end of the tale, a mocking attitude towards the priest is clearly expressed. In 1835, “The Tale of the Fisherman and the Fish,” written two years earlier, appeared in the magazine “Library for Reading.”
“The Tale of the Fisherman and the Fish” reflects motifs that exist not only in Russian, but also in foreign folklore. So, in the collection of the Brothers Grimm there is a similar fairy tale. Pushkin's fairy tale is a philosophical reflection on the confrontation between patient good and aggressive evil. The poet is no stranger to social motives. This is emphasized by the sharp contrast between the old man and the old woman: he remains a peasant, and she rises higher and higher on the social ladder.
The image of an old man personifies the folk beginning of a fairy tale. He is forced to submit to the will of the greedy old woman, but has no respect for her, no matter how high she rises. This is evidenced by his address to her when she wanted to become a queen:
“Why, woman, have you eaten too much henbane?”
The image of the old woman gradually goes beyond the image of greed and becomes a symbol of social oppression. The Tale of the Fisherman and the Fish reflected the people's attitude towards tyrants. Good does not so much defeat evil in open confrontation as survive it. The tale ends with an instructive picture of tyranny punished according to the laws of supreme justice (their exponent is a goldfish):
Lo and behold, there was a dugout in front of him again; His old woman sits on the threshold, and in front of her is a broken trough.
“The Tale of the Dead Princess and the Seven Knights” was written in 1833. Published for the first time in 1834 in the magazine “Library for Reading”. It particularly clearly reflected the humanistic orientation of Pushkin’s fairy tales. In “The Tale of the Dead Princess,” positive characters are endowed with such character traits that are valued by working people: kindness, generosity, courage, devotion in friendship.
The Queen Mother is faithfully waiting for her husband, who has set off on a long journey. Pushkin talks about this in vivid scenes, close in style to oral folk art.
Romantic motifs predominate in the image of the princess-daughter. She arouses the love of the girl Chernavka and the seven heroes by the fact that she is “cuter than everyone else, blushing and whiter than everyone else,” and, most importantly, with her kindness, responsiveness, and readiness to help.
The image of Prince Elisha is given in epic tones. The hero “sets out on the road for a beautiful soul, for a young bride.” He is close to nature. Elisha's lyrical appeals to the sun and the month, and finally to the wind, poetically color his image and give him a special charm. “The Tale of the Dead Princess” was written by the poet in a creative competition with Zhukovsky. But unlike him, Pushkin does not limit himself to a romantic depiction of heroes; he introduces realistic pictures of the life of the royal court, and creates satirical characters in his fairy tale. This is, to some extent, the king-father, who hastened to get married as soon as the prescribed period of widowhood had expired.
The main force of Pushkin’s satire is directed against the queen-stepmother, who personifies the “dark world” in the fairy tale. Envy and anger towards everything bright and good ultimately lead her to death: “Then she was overcome by melancholy, and the queen died.” So in a fairy tale, the victory of good symbolizes the death of evil.
In “The Tale of the Golden Cockerel,” which was written in 1834 and first published in 1835 (magazine “Library for Reading”), a satirical image of King Dadon was created, who prefers to reign without worries, “lying on his side.” That is why the king thoughtlessly agrees to fulfill the first request of the astrologer, who gave him a golden cockerel. King Dadon is depicted as a man incapable of loving not only the country he rules, but also his own sons. Tears caused by their death easily give way to voluptuous delight in front of the Shamakhan queen. At the same time, the tsar is shown to be far from harmless: he is a tyrant, capable of, on a whim, destroying an old man who at one time came to his aid: “The tsar grabbed him on the forehead with his staff; he fell on his face and lost his breath.”
It should be noted that the positive heroes of all fairy tales by A.S. Pushkin - people from the people: the hardworking, resourceful and cheerful worker Balda (“The Tale of the Priest and His Worker Balda”); a selfless, kind, undemanding hard worker-old man (“The Tale of the Fisherman and the Fish”).
Pushkin's fairy tales, as well as folk tales, are characterized by faith in bright forces and feelings. Pushkin's fairy tales are optimistic; in them, good always triumphs over darkness and evil. Balda's resourcefulness and hard work help him defeat the priest; Elisha's love and faithfulness resurrect his bride; Guidon's filial devotion, his fight against envy and slander contribute to the triumph of truth.
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Historical genres in children's and youth reading Performer: Tikhonova M.Yu. Student 12 district groupSlide 3
Genres Folk legends. Epic and song. Chronicle tales. Hagiographic genre. Historical prose.
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Legends Types: Historical (about Jean d'Arc, Ivan the Terrible). Toponymic - about the origin of names (city names: Paris from Paris, Kyiv from Kiy). Church traditions. Emerges from eyewitness accounts. When transferred from one person to another, it undergoes metaphorical changes, sometimes distorting the meaning of the event.
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Epics and songs The term “epics” was first introduced by Ivan Sakharov in the collection “Songs of the Russian People” in 1839. Each epic is divided into two parts: conformable and typical.
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Chronicle tales In Byzantium they were called chronicles; in Western Europe in the Middle Ages by annals and chronicles. The first Kiev Chronicle is “The Tale of Bygone Years.” The Novgorod ones were distinguished by their concise style, the Pskov ones vividly depict social life, the South Russian ones were literary, sometimes poetic.
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Hagiographic genre The life of a saint is not so much a biography as a description of his path to salvation, such as his holiness. Examples: “The Life of Prince Andrei Nevsky”
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Historical prose by L.N. Gumilyov “From Rus' to Russia” G. Naryshkin “Stone Chronicle – Our Anxiety” A.P. Gaidar “Military Secret”, “Rockets and Grenades” L.A. Kassel “Street of the Youngest Son” V. Nikitin “Song of the Old Russian Partisans” I. Savinova “Forgive me for talking about the war again” G. Baklanov “Forever nineteen years old” Stories for children by Ishimova, Platonov, Sipovsky
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About the author... Boris Vasiliev was born on May 21, 1924. After finishing 9th grade, at the age of seventeen, he volunteered to go to the front. In 1954 he left the army and took up professional literary activity. Works: They were and were not. (1977-1980) The novel was not included in the lists. (1974) A story of greetings to you from Baba Lera... (1988) The Magnificent Six. (1980) Story Veteran. (1976) Story Prophetic Oleg. (1996) East. novel Counter Battle. (1979)
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The tragic actions of the story take place in the spring of 1942 in Karelia at the little-known 171st junction off the Murmansk road.
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Heroes of the story Sergeant Major Vaskov F.E. – 32 years old, patrol commandant, “mossy stump”, gloomy, military man. Personal tragedy - his wife left him after the Finnish war, his son Igor died. Junior Sergeant Osyanina M.S. - Strict, laughs little, calm and reasonable, proud, lived with a belt, kept herself apart from everyone. Personal tragedy - I lost my beloved husband at the beginning of the war.
Slide 13
Komelkova E. – Tall, red-haired, white-skinned, with childish green eyes as big as saucers, sharp-tongued, artistic, sociable and mischievous. Personal tragedy - before her eyes, her mother, brother and sister were shot by the Germans. Brichkina E. – Stocky, dense, the daughter of a forester. I always believed that tomorrow would come and be better than today. Personal tragedy - the entire household was on her because... her mother was seriously ill, unrequited love.
Slide 14
Chetvertak G. - Zamuhryshka, skinny, pointed-nosed city girl, braids made of tow, chest flat like a boy's. Personal tragedy - I didn’t know my parents, I was thrown into an orphanage. Gurvich S. – She was a translator in the detachment, timid, a city girl, an ugly face, skinny shoulders. Personal tragedy - an orphan, her parents may have died in Minsk.
Slide 15
Moral problem: the formation and transformation of the character and psyche of the individual in war conditions. The theme of war, unjust and cruel, the behavior of different people in its conditions is shown using the example of the heroes of the story. The theme of war is relevant at any time.
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Features The author took the appearance and character of the characters partly from classmates, partly from girls serving as radio operators, nurses, and intelligence officers. The title uses a figure of silence; it does not include the essence of what is happening, but the state of mind and emotional tension conveyed by the characters.
Questions about children's literature
1. The concepts of “children’s literature” and “children’s reading”: their relationship and difference. Specifics of children's literature. Author's position in works of children's literature. Functions of children's literature. Systematic criteria and classification options for children's literature. The concept of literary genre. Leading types and genres of children's literature.
2. Oral folk art for children and in children's reading. Children's folklore in terms of genre. Poetic originality of small folklore genres.
3. Folk tale and its genre specificity. Varieties of folk tales and their specific features. Moral and ethical motives of fairy tales. Typological community and national originality of fairy tales of the peoples of the world. The role of fairy-tale fiction in the development of children's creative imagination.
4. The concept of “literary fairy tale”, its genesis and genre originality. Poetics of a literary fairy tale. The place of the folk tale in the process of evolution of the literary fairy tale genre. Varieties of literary fairy tales.
5. The place of fairy tales in the aesthetics of romanticism. The genre of literary fairy tales in the works of foreign and domestic romantics. The role of Western romantics (H.-H. Andersen, E.T.A. Hoffmann, the Brothers Grimm, etc.) in the formation of the Russian literary fairy tale genre. Artistic features of fairy tales by A. Pogorelsky, V.F. Odoevsky.
6. Artistic originality of A.S. Pushkin’s fairy tales. The place of folklore themes and motifs in Pushkin’s fairy tales. The significance of the poet’s creativity in the formation of Russian children’s literature.
7. The concept of “literary fairy tale”, its genesis and genre originality. Poetics of a literary fairy tale. The artistic originality of the fairy tale novella and its representatives.
8. The concept of “literary fairy tale”, its genesis and genre originality. Poetics of a literary fairy tale. The artistic originality of the fairy tale story and its representatives.
9. The concept of “literary fairy tale”, its genesis and genre originality. Poetics of a literary fairy tale. The genre of fairy tales in foreign literature.
10. The concept of “literary fairy tale”, its genesis and genre originality. Poetics of a literary fairy tale. The artistic originality of the poetic tale and its representatives. Development of a genre variety in Russia (on the example of fairy tales by V.A. Zhukovsky, A.S. Pushkin, P.P. Ershov, K.I. Chukovsky, S.Ya. Marshak).
11. The concept of the “fairy tale cycle”. Methods and factors of the cycle formation of a literary fairy tale.
12. The concept of “literary fairy tale”, its genesis and genre originality. Poetics of a literary fairy tale. Artistic features of the fairy tale play: composition, nature of the conflict, system of characters. Development of genre varieties in domestic and foreign literature.
13.Creativity of K.I. Chukovsky as a translator, researcher of child psychology, children's poet. “Commandments for children's poets” and their reflection in Chukovsky’s “comic epic”.
14. Tale as a genre. Skaz and fairy tale: similarities and differences. The place of the tale in children's literature.
15. Genres of scientific prose for children. Functional and stylistic specificity and compositional and semantic structure of an educational book for children. Didactic genres in Russia, their ethical and aesthetic significance. The contribution of L.N. Tolstoy and K.D. Ushinsky to the development of pedagogy, children's literature and children's reading.
16.Genres of historical prose and poetry for children. Functions of historical literature in children's reading.
17. Scientific, artistic and educational literature for children. Thematic composition, functions, representatives.
18. Natural history and animal literature in children's reading. Its ideological and artistic originality, domestic and foreign representatives.
19. Autobiographical literature for children. Goals and objectives of a fictional autobiography about childhood. The specifics of the hero, the degree of the documentary component, the role and functions of the reader in autobiographical literature, the characteristics of children's perception.
20. The place and functions of literature about socially disadvantaged children in children's reading. Features of the disclosure of the topic in the works of Russian and foreign authors.
21. The concept of psychologism in literature. Psychological prose for children. Discovery of character and deepening of psychological observations in the genre of a school story of the twentieth century.
22. Artistic originality of adventure literature for children. Adventure genres in the artistic system of romanticism and neo-romanticism and their transformation in children's literature. Plots, conflicts and heroes of adventure literature.
23. Fantasy in children's reading. Artistic specificity of fantastic literature for children.
24. The concept of humor, irony and satire. The place of humor in children's literature. Satirical and humorous literature for children, its genres, goals and objectives, representatives.
25. The role of illustration in a children's book. Classic book illustration for children.
Slide 3
Genres
Folk legends. Epic and song. Chronicle tales. Hagiographic genre. Historical prose.
Slide 4
Legends
Types: Historical (about Jean d'Arc, Ivan the Terrible). Toponymic - about the origin of names (city names: Paris from Paris, Kyiv from Kiy). Church traditions. Emerges from eyewitness accounts. When transferred from one person to another, it undergoes metaphorical changes, sometimes distorting the meaning of the event.
Slide 5
Epics and songs
The term “epics” was first introduced by Ivan Sakharov in the collection “Songs of the Russian People” in 1839. Each epic is divided into two parts: conformable and typical.
Slide 6
Chronicle tales
In Byzantium they were called chronicles; in Western Europe in the Middle Ages by annals and chronicles. The first Kiev Chronicle is “The Tale of Bygone Years.” The Novgorod ones were distinguished by their concise style, the Pskov ones vividly depict social life, the South Russian ones were literary, sometimes poetic.
Slide 7
Hagiographic genre
The life of a saint is not so much a biography as a description of his path to salvation, such as his holiness. Examples: “The Life of Prince Andrei Nevsky”
Slide 8
Historical prose
L.N. Gumilyov “From Rus' to Russia” G. Naryshkin “Stone Chronicle – Our Anxiety” A.P. Gaidar “Military Secret”, “Rockets and Grenades” L.A. Kassel “Street of the Youngest Son” V. Nikitin “Song of the Old Russian Partisans” I. Savinova “Forgive me for talking about the war again” G. Baklanov “Forever nineteen years old” Stories for children by Ishimova, Platonov, Sipovsky
Slide 9
About the author…
Boris Vasiliev was born on May 21, 1924. After finishing 9th grade, at the age of seventeen, he volunteered to go to the front. In 1954 he left the army and took up professional literary activity. Works: They were and were not. (1977-1980) The novel was not included in the lists. (1974) A story of greetings to you from Baba Lera... (1988) The Magnificent Six. (1980) Story Veteran. (1976) Story Prophetic Oleg. (1996) East. novel Counter Battle. (1979)
Slide 11
The tragic actions of the story take place in the spring of 1942 in Karelia at the little-known 171st junction off the Murmansk road.
Slide 12
Heroes of the story
Sergeant Major Vaskov F.E. – 32 years old, patrol commandant, “mossy stump”, gloomy, military man. Personal tragedy - his wife left him after the Finnish war, his son Igor died. Junior Sergeant Osyanina M.S. - Strict, laughs little, calm and reasonable, proud, lived with a belt, kept herself apart from everyone. Personal tragedy - I lost my beloved husband at the beginning of the war.
Slide 13
Komelkova E. – Tall, red-haired, white-skinned, with childish green eyes as big as saucers, sharp-tongued, artistic, sociable and mischievous. Personal tragedy - before her eyes, her mother, brother and sister were shot by the Germans. Brichkina E. – Stocky, dense, the daughter of a forester. I always believed that tomorrow would come and be better than today. Personal tragedy - the entire household was on her because... her mother was seriously ill, unrequited love.
Slide 14
Chetvertak G. - Zamuhryshka, skinny, pointed-nosed city girl, braids made of tow, chest flat like a boy's. Personal tragedy - I didn’t know my parents, I was thrown into an orphanage. Gurvich S. – She was a translator in the detachment, timid, a city girl, an ugly face, skinny shoulders. Personal tragedy - an orphan, her parents may have died in Minsk.
Slide 15
Moral problem: the formation and transformation of the character and psyche of the individual in war conditions. The theme of war, unjust and cruel, the behavior of different people in its conditions is shown using the example of the heroes of the story. The theme of war is relevant at any time.
Slide 16
Peculiarities
The author partly took the appearance and character of the characters from classmates, partly from girls serving as radio operators, nurses, and intelligence officers. The title uses a figure of silence; it does not include the essence of what is happening, but the state of mind and emotional tension conveyed by the characters.