What is a children's reading circle definition. Children's reading circle

Exam questions

Exam questions

by discipline: "Children's literature"

1.The concept of children's literature. The specifics of children's literature. The main functions of a children's book. Preschool child reading circle.

"Children's Literature" - a complex of works, created taking into account the psychophysiological characteristics of age.

"Children's reading circle" - designed to replenish the literary horizons of children, increase their reading.

There are different ideas about the concept of "children's literature". The most common is as follows: Children's literature is a complex of works created specifically for children, taking into account the psychophysiological characteristics of their development. There is an opinion among readers that children's literature is those works that a person reads three times: as a child, becoming a parent and then acquiring the status of a grandmother or grandfather. Children's literature that has passed this test of time is called real, classic. In everyday life, all the books that children read are considered children's literature. However, in scientific research, the concepts of "children's literature" and "children's reading" are differentiated. Children's literature is a peculiar area of ​​general literature. It is created according to the same laws of artistic creation, according to which all literature is created, while having essential features. Functions of children's literature: entertaining. Without it, all the rest are inconceivable: if the child is not interested, it is impossible to develop or educate him; aesthetic - must instill a true artistic taste, the child must be introduced to the best examples of the art of words; cognitive - firstly, there is a special genre of scientific and artistic prose, where in a literary form children are presented with certain knowledge (for example, V. Bianchi's natural history tale). Secondly, works, even without a cognitive orientation, contribute to expanding the child's circle of knowledge about the world, nature and man; illustration; the psychological peculiarity of the perception of children's literature; identification - identifying oneself with a literary hero. Outstanding writers of different eras took part in the construction of the building of children's literature, in the formation of a circle of children's reading.

They were Pushkin and Krylov, Chukovsky and Odoevsky, Pogorelsky and Ershov, L. Tolstoy and Nekrasov, Chekhov and Mamin-Sibiryak, Bianki and Prishvin, and many, many masters of artistic expression. Children's reading includes such works by Gogol, Lermontov, Koltsov, Turgenev, Dostoevsky, Garshin, Korolenko and many modern poets and writers, whose work is considered in the corresponding review chapters.

2.Small genres of folklore. Variety of genres. Subject. Artistic features. The role of small genres in the upbringing of a physically healthy, cheerful, inquisitive child.

"Folklore" - oral folk art, reflecting the life of the people, views, ideals created by the people.

"Fiction" is the art of the written word.
"Wandering plot" - stable complexes of motives that form the basis of an oral or written work, passing from one country to another and changing their artistic appearance depending on the new environment of their existence.

Folklore is a folk art, not only because it was created and preserved to a greater extent by the broad masses, but also primarily because it reflects folk cultural and moral traditions, the way of thinking and ideas about the world, folk way of life, warehouse mind and character, which is now called mentality.
The collective played an important role in the creation, storage, and sometimes the performance of folklore. In the perception of the collective, the folklore work existed as anonymous. The problem of authorship, and even more so the problem of attribution, i.e. establishing the name of the creator, has never been posed.

A folklore text differs from a literary text in the way of creation, existence, poetics. But here, as in literature, there is a specific division: epos, lyrics, drama.

Researchers believe that children begin to actively use folklore at the age of six. But for this to happen, they must be prepared from early childhood for the perception and mastery of folklore forms. Children's folklore and fairy tales are of great importance in the life of preschool age.

Folklore - oral folklore, folk wisdom, knowledge of the world, expressed in specific forms of art.

Verbal folklore is a specific art.

The collective played an important role in the creation, storage and performance of folklore. The folklore work existed as anonymous.
Folklore exists in both adults and children. Children's folklore and fairy tales are of great importance in the life of preschool children. Each nation has its own fairy tales. But plots common to different peoples were noticed long ago. Such plots are called a wandering plot, i.e. plots passing from one people to another.

3.Fairy tale as a genre of folklore. Types of Russian folk tales. A fairy tale is an active and aesthetic creativity that captures all spheres of a child's spiritual life, his mind, feelings, imagination, and will.

A folk tale is an oral narrative work of fiction of a magical, adventurous or everyday character with a focus on fiction, told for educational or entertainment purposes. "A fairy tale is a lie, but there is a hint in it, a lesson to the good fellow."

The fairy tale has always been attributed to an audience of different ages, but only in the twentieth century it began to mainly belong to children. The name itself did not appear immediately, N.V. Novikov suggests that in Ancient Russia, various oral stories were called "tales" ("bayat" - to speak). Fairy tale-document based on facts ("revision tale" was used by Pushkin and Gogol in this sense). Most likely, by the middle of the 19th century, the bike was called a fairy tale.

The tale has replaced the myth. E.V. Pomerantseva (folklorist of the 20th century) testifies: the first mention refers to Kievan Rus. The history of the Russian fairy tale is rich in events.

At the end of the 18th century, they began to write down the fairy tale, on the basis of folk they began to create literary plots.

Classification: VG, Belinsky divided into two kinds of fairy tales: 1. heroic 2. satirical (the life of the people, their home life, moral concepts, and this crafty Russian mind).

Afanasyeva classified by time of creation and plot.

Highlights:

Animal tales (the oldest)

Fairy tales

Household tales

Adventure tales

Boring tales.

A folk tale is an oral narrative work of fiction of a magical, adventurous or everyday character with a focus on fiction, told for educational or entertainment purposes. (Chicherov V.I.)

A. Sinyavsky says that a fairy tale pursues, first of all, entertaining and aesthetic tasks, and not utilitarian or educational tasks. A fairy tale does not teach how to live, and if it does, it does it along the way and without pressure.

The tale has a specific poetics. A fairy tale is an epic, prosaic genre. The fairy tale has always existed in the audience of different ages and only in the 20th century began to mainly belong to children. NV Novikov suggests that in Ancient Russia, various oral stories were called tales (bayat - to speak).

4.Fairy tales about animals. Allegorical depiction of human characters. A sharp distinction between positive and negative. Ideas about intelligence and stupidity, cunning and straightforwardness, about good and evil, courage and cowardice, etc.

Animal tales are the most ancient work of a fairy tale epic.

Ancient man animated nature, transferred his properties to animals, did not see the differences between them and himself. Animals are able to think, speak, act rationally. A fairy tale is inherent in: animism-animating animals, etc .; totemism-deification of animals.

Divided into 2 groups: comic ("tops and roots").

Moralistic ("Cat, Rooster and Fox").

Cumulative Fairy Tales (Picking Up). The principle of their construction is the principle of stringing one microplot onto another with some expansion in some cases and almost satisfied repetition in others (for example: 1. "Animals in the pit"; 2. "Turnip", "kolobok", "teremok").

In the tale of animals, animals are carriers of one trait, one special characteristic (the fox is cunning)

These tales are allegorical.

Artistic structure: simple, unpretentious, understandable language, the presence of dialogues, short but expressive songs.

Kostyukhin points to 2 species-forming characters:

The primary object of the narrative in such a fairy tale is the entire organic and inorganic world, endowed with human characteristics.

Depends on the installation of the performer, on what problem will be in 1st place.

Animal tales are considered the most ancient works of the fairy tale epic. Even J. Grimm (in the 19th century) drew attention to animism as a form of fiction in animal tales. Animals are able to think, speak, act rationally. The tale of animals is also characterized by such a form of fiction as totemism. It is interpreted in different ways in science - both as the oldest form of religion of the early clan system and as the ideology of the same society. With the accumulation of knowledge and the loss of mythological ideas about the world, man ceased to perceive the animal as being similar and god-bearing. There were works where the animal was an antihero, at which a person laughs. Researchers divide animal tales into comic and moralistic ones. The cumulative principle of constructing some fairy tales is the principle of stringing one microplot onto another with some expansion or with verbatim repetition. In animal tales, animals are the bearer of one trait, one character trait. And yet they are multifaceted.

The primary object of the narrative is an animal, a plant, an object endowed with human characteristics.

5.Fairy tales. Fight for the victory of justice. An idealized hero. Conflict with magical and social forces. Complex dramatic plot. Wonderful helpers. Special poetic formulas.

Fairy tales - the presence of a miraculous action (V.P. Anikin)

In the poetics of V.Ya. Propp believes that "fairy tales are characterized by the uniformity of their composition." Function of temporary absence of the hero, ban, violation of the ban, test. They play an important role in the development of the action of the fairy tale.

Fairy-tale fiction based on magic is always associated with reality in its own way.

Significance in. Fairy tales:

1. Visibility of the description (fascinates the listener).

2. Energy of action,

3. Play on words,

4. Careful and unusual choice of words,

5. Dynamics.

C. A fairy tale is above all the magic of words.

The main features of fairy tales consist in a much more developed plot action than in fairy tales about animals. In the adventurous nature of the plots, which is expressed in the hero overcoming a number of obstacles in achieving the goal; in the extraordinary events, miraculous incidents that occur due to the fact that certain characters are able to cause miraculous phenomena that can also arise as a result of the use of special (miraculous) objects; in special techniques and methods of composition, storytelling and style.

But at the same time, in fairy tales more often than in other varieties of fairy tales, so-called contamination is observed — the combination of different plots or the inclusion of motives of another plot in the plot.

The structure of fairy tales. Fairy tales have a structure that is different from the structure of animal and social fairy tales. First of all, they are characterized by the presence of special elements, which are called sayings, beginnings and endings.

They serve as the external design of the work and indicate its beginning and end. Some fairy tales begin with sayings - playful jokes that are not related to the plot.

6.Social and everyday tales. Pictures of the work and life of the Russian people. Compressed plot. The humorous and satirical nature of fairy tales.

Everyday fairy tales are social satire. brief. There is usually one episode in the center of the plot, the action develops quickly, there is no repetition of episodes, the events in them can be defined as ridiculous, funny, strange. Comic is widely developed in these tales, which is determined by their satirical, humorous, ironic character. There are no horrors in them, they are funny, witty, everything is focused on the action and the features of the narrative that reveal the images of the heroes. Belinsky wrote, “They reflect the life of the people, their domestic life, their moral concepts and this crafty Russian mind, so inclined towards irony, so simple-minded in its craftiness.

These types of fairy tales do not have a clear terminological definition.

Some folklorists call them everyday and separate them from other types of fairy tales, others do not make such distinctions and, combining everyday and adventurous fairy tales into one group, call them differently: everyday, novelistic, realistic.

The heroes of everyday fairy tales are the bar, officials, clergymen, judges, endowed with all sorts of vices: stupidity, greed, irresponsibility, etc. They are opposed by smart, cunning, sharp-witted, resourceful peasants, soldiers, people from the lower classes.

The heroes of everyday fairy tales are heroes-antagonists. The winner here, as a rule, is the one who is on the lower rung of the social ladder.

Everyday fairy tales, in fact, are a social satire on unjust legal proceedings, bribery and chicanery of officials, stupidity and unsuitability for life of bar and landowners, falsehood of clergy.

The form of fiction is based on the illogism of the real.

The heroes of everyday fairy tales are officials, clergymen, judges endowed with all sorts of vices: stupidity, greed, irresponsibility. They are opposed by smart, cunning, resourceful peasants, soldiers, people from the lower classes. The heroes of everyday fairy tales are antagonistic heroes.

Household tales are social satire. The difference from other types of fairy tales is determined by Propp. He points to the absence of magical helpers and magical objects in fairy tales, as well as a different nature of the supernatural. Everyday tales are tales of late origin, since they are devoid of a mythological basis, they capture the worldview of a sufficiently civilized person (does not believe in the devil, laughs at him and faith in him).

The nature of fiction in everyday fairy tales is based on the illogism of the real. Everyday tale - extraordinary, unheard-of stories about the absolutely impossible.

7.The tales of A.S. Pushkin, their connection with folk tales.

The work of the greatest Russian national poet A.S. Pushkin has enormously expanded the range of children's reading and had a tremendous impact on the development of literature. Pushkin's works that have entered the reading circle have a deep and fruitful educational impact, reveal before us the great phenomena of human life and important social and moral problems in a simple, vivid and emotional form.

The first in the circle of children's reading, as a rule, are Pushkin's tales, and often acquaintance with the fairy-tale world of the poet begins with the prologue to the poem "Ruslan and Lyudmila" - "A green oak near the seashore ...". The small artistic space of this prologue contains many motives and images of folk tales, recreating the atmosphere of their magical world. Pushkin's tales also have a folklore basis, but are already perceived as completely original works of authorship.
Social and psychological collisions are hidden behind traditional fairy tale poetics, it is obvious that Pushkin refers to the fairy tale primarily as a genre that preserves certain ethical values ​​and moral ideals. Creating images of fairy-tale heroes, the poet explores the nature of man, looking for in it that which remains eternal and unchanged at all times, that on which the world and man rests.

A little later, children get acquainted with samples of Pushkin's lyrics. These are poems of the most diverse topics: about nature, about friendship and love, about the history of the Motherland, etc. Just like fairy tales, the poems of the great poet imperceptibly become part of the linguistic environment in which the speech and consciousness of a growing person is formed. These poems are easy to remember and remain in memory almost for a lifetime, invisibly defining the entire spiritual structure of the individual, because it is Pushkin who is considered the creator of the modern Russian literary language, the language spoken by a modern educated person.

In Pushkin's fairy tales, magical transformations and unusual pictures are logically motivated, justified and realistically accurate in details. So, each time returning from the sea, the old man sees a real picture and a situation in which, at the behest of the fish, his old woman finds herself: now this is a new trough, now a "hut with a light", now a tall noble mansion with a richly dressed old woman on the porch, now a luxurious royal chambers. And they do not look fabulous, but real, only their appearance is fabulous.

Pushkin takes from the source only one, the most significant episode, develops it in more detail and deeper in order to highlight the character more vividly.

Relying on the folk story, Pushkin not only elevates, but elevates in his fairy tales the image of a simple worker. An ordinary Russian man named Balda resembles Ivanushka the Fool.

8.Literary tale in the works of P. P. Ershov.

The Little Humpbacked Horse is a wonderful fairy tale that has been one of the best children's works for more than a century and a half. The first of its undoubted merits is an entertaining plot, fascinating and instructive at the same time. It is not often that a children's fairy tale is read by an adult with such interest. The second advantage of a fairy tale is its beautiful syllable. The poetic text, simply, flows like a river, children read the work in one breath. Figurative, vivid speech of characters, colorful descriptions make a strong impression. In addition, the text is replete with various everyday details of the old Russian life, which have already been completely forgotten, and in the nineteenth century were still quite understandable and familiar. I cannot but mention the bright characters of the fairy tale. And not only the main characters, but also quite episodic characters. Of course, the Little Humpbacked Horse is the most charming among them. The idea of ​​the fairy tale lies in true friendship and that appearance does not mean anything yet and that, at times, only simplicity and decisiveness lead to boundless heights.

In addition, like any good fairy tale, The Little Humpbacked Horse teaches children courage, ingenuity, truthfulness and many other necessary qualities.

Ershov did not just put together pieces from separate fairy tales, but created a completely new, integral and complete work. It captivates readers with bright events, wonderful adventures of the protagonist, his optimism and resourcefulness. Everything here is bright, lively and entertaining. As the creation of art, a fairy tale is distinguished by its amazing severity, logical consistency in the development of events, the cohesion of individual parts into one whole. Everything that the heroes do is fully justified by the laws of a fairy tale.
The fairy-tale world of Ershov is organically merged with peasant everyday life, and even magical, fairy-tale images have earthly beauty, earthly features. For example, the Firebird is wind, cloud, lightning plus heat in a peasant oven, a red rooster outside the outskirts. The image of lightning is also associated with it (when lights flash over the grain field). The Tsar Maiden lives in a fabulous golden palace, this motif is also taken from folklore, more precisely from the period of pagan beliefs about the palace of God - Yarila.
Ershovsky Ivanushka is a typical character of Russian folklore. He is fooling others, playing a fool. He is not greedy, he does not need money, honor and fame. Ershov preserves traditional repetitions in a fairy tale (brothers go to guard the bread), combines folk and literary traditions of that time. Ershov caught and embodied in his "fairy tale" the very essence of folk culture, which is associated with early pagan and later Christian ideas.

9.KD Ushinsky's works for children. Moral education and development of the emotional sphere of the child.

Konstantin Dmitrievich Ushinsky (1824 - 1870) - Russian teacher, founder of scientific pedagogy in Russia. He is a literary figure, a talented writer, the author of many pedagogical and literary and artistic works: poems, stories, fables, essays, reviews, critical and bibliographic publications.

Ushinsky collaborated in many magazines, including Sovremennik, the most progressive magazine of that time.

Excellent knowledge of the state of the theory of education and the practical work of the school, a deep analysis of the history of the development of views on the goals and objectives of education, a broad orientation in the achievements of contemporary scientific thought (in various fields of knowledge) allowed him to create numerous works that meet the most urgent needs of the Russian school, and put forward a number of scientific provisions of lasting value.

His works, especially his educational books "Children's World" and "Rodnoye Slovo", were very popular.

The genre and theme of the literary works of K.D. Ushinsky are diverse and diverse. Of these, works of art for children, interesting and meaningful for novice readers, stand out. Articles are written in clear, simple language, introducing children to natural science, nature, with everyday, life issues.

GEOSES AND CRANES

Geese and cranes grazed together in the meadow. Hunters appeared in the distance. The light cranes took off and flew away, while the heavy geese remained and were killed.

NOT WELL FITTED, YES TIGHTLY STITCHED

The little white, sleek bunny said to the hedgehog:

- What is your ugly, prickly dress, brother!

- True, - answered the hedgehog, - but my thorns save me from the teeth of a dog and a wolf; Does your pretty skin serve you the same way?
The bunny only sighed instead of answering.

10.Stories about animals in the works of L.N. Tolstoy.

The stories of L. Tolstoy about animals ("The Lion and the Dog", "Milton and Bulka", "Bulka", etc.) are especially poetic. They have the greatest educational impact on young children. The writer teaches children friendship and devotion through examples from animal life. The action in the stories is full of drama, emotionality, imagery.

The story "The Lion and the Dog" makes an unforgettable impression on children. The realism of the picture of the death of the dog and the deep drama of the lion's behavior were reflected in the psychologically accurate and laconic narration: “He hugged the dead dog with his paws and lay there for five days. On the sixth day the lion died. " In animal belles-lettres, Tolstoy introduces children to the habits of animals and birds, humanizes them, endows them with individual character traits:

“The jackdaw wanted to drink. There was a jug of water in the yard, and the jug had water only at the bottom. The jackdaw was out of reach. She began to throw stones into the jug and threw so much that the water became higher and it was possible to drink. "

The quick wit and resourcefulness of the jackdaw is easily remembered by young children. With the habits of a bird, the writer introduced the readers in concrete, visible pictures, the cohesion of which the story consists of. Leo Tolstoy was the founder of a zoo-belleletristic story in Russian children's literature. His traditions were later developed by Mamin-Sibiryak, Garshin, Chekhov. Leo Tolstoy's works for children develop important moral problems, provide a heartfelt analysis of the inner world of the heroes, are distinguished by artistic perfection of form, poetic clarity and laconicism of language.

11.Works about children and for children depicted by L.N. Tolstoy.

In one of his articles, L. Tolstoy wrote that children love morality, but only smart, not "stupid." This idea permeates even a hundred stories for children. He seeks to evoke deep feelings of the child, to cultivate in him love and respect for people. Considering childhood an important period in life, L. Tolstoy pays much attention to the images of children, especially peasants. He notes their impressionability, inquisitiveness, curiosity,; responsiveness, hard work.

“The grandmother had a granddaughter: before the granddaughter was small and slept, and the grandmother herself baked bread, chalked the hut, washed, sewed,
sleeping. And the granddaughter baked, washed, sewed, weaved and spun on the grandmother. "

This short story reveals the very essence of the relationship between children and adults in a peasant family. The flow of life, the unity of generations is conveyed with folklore expressiveness and laconicism. The moral in this story is not an abstract teaching, but the core that unites its theme and idea. Peasant children are shown in their native environment, against the background of village life, peasant life. Moreover, the village, its life is often conveyed in such a way that we see them through the eyes of children:

“When Filipok walked through his settlement, the dogs did not touch him - they knew him. But when he went out to other people's yards, Zhuchka jumped out, barked, and behind Zhuchka, the big dog Volchok. The main artistic device in the depiction of peasant children by L. N. Tolstoy is often the method of contrast. Sometimes these are contrasting details associated with the description of appearance. To emphasize how small Filipok is, the writer shows him in a huge father's hat and long coat (the story "Filipok").

Sometimes it is the contrast of mental movements and their external manifestations, helping to reveal the inner world of the child, psychologically substantiate each of his actions.

Misha understands: he must admit to the adults that he threw fragments of a broken glass into the slop for the cow; but fear fetters him, and he is silent (story "The Cow").

The story "The Stone" psychologically convincingly shows the agonizing hesitations of little Vanya, who saw plums for the first time: he "never ate plums and smelled them all. And he liked them very much. I really wanted to eat. He kept walking past them. " The temptation was so strong that the boy ate the plum. Father learned the truth in a simple way: "Vanya turned pale and said:" No, I threw the bone out the window. " And everyone laughed, and Vanya began to cry. " Leo Tolstoy's stories, dedicated to children, aptly expose the evil and vividly show every kind movement of a child's soul.

12.A prosaic tale about animals in the works of D.N. Mamina-Sibiryak.

Dmitry Narkisovich Mamin-Sibiryak has said more than once that "a child is the best reader." For children he wrote stories and fairy tales: "Emelya the Hunter", "Winter on Studenaya", "Gray Neck", "Skewer", "Rich and Eremka". Mamin-Sibiryak had her own thoughtful attitude to children's literature. He believed that books for children form the mind and educate the feelings of a child. Seeing the future of humanity in children, the writer put forward deep social problems in the works addressed to them, and revealed the truth of life in artistic images. About "Alenushka's Tales", which the writer invented for his little daughter, he said: "This is my favorite book - it was written by love itself, and therefore it will outlive everything else." There are no words, "Alenushka's Tales" are good, but most of Mamin-Sibiryak's other works have a long and glorious life.

The artistic heritage of Mamin-Sibiryak for children is more than one and a half hundred works: stories and essays, stories and fairy tales. Unfortunately, only a small part of them are known to our children. Only a few stories were included in the elementary school curriculum.

"Alenushka's Tales".

Children of preschool age are addressed to "Alenushkin's Tales", on which Mamin-Sibiryak worked from 1894 to 1897. They are works of genuine children's literature. This is a humanistic book in which moral and social ideas are organically combined. The allegory of fairy tales is associated with the transfer of social phenomena to the world of birds, animals, fish. For example, "The Tale of the Brave Hare - long ears, slanting eyes, short tail" begins as if traditionally, with the Hare boasting: "I'm not afraid of anyone! - he shouted to the whole forest - I'm not afraid at all, and that's it!" But the coward turned out to be not so much the braggart as the terrible Wolf himself. "When the Hare fell on him, it seemed to him that someone had shot him. And the Wolf ran away. You never know other hares in the forest, but this one was some kind of rabid ..." motive - "tired of being afraid", "tired of hiding." The conditional world of hares and wolves allegorically reflects the relationship between the weak and the strong in the world and the vulnerability of those who keep the weak at bay.

The main thing is to believe in yourself: "From that day on, the brave Hare began to believe himself that he really was not afraid of anyone." This idea is clearly embodied in the conflict and in the system of artistic images of the characters of the fairy tale.

Thus, "Alenushkin's Tales" is an excellent example of creativity for little ones, they have firmly entered the reading of more than one generation of children.

The truthful word of the democrat writer taught us to love our country, respect the working people, and protect our native nature.

13.A.N. Tolstoy for children.

Tolstoy Alexey Nikolaevich (1882 - 1945) - Russian Soviet writer, publicist, count, academician of the USSR Academy of Sciences. Author of socio-psychological, historical and science fiction novels, novellas and short stories, journalistic works. It is he who is the author of the well-known and beloved fairy tale Golden Key, or the adventures of Buratino. Tolstoy Alexey Nikolaevich wrote two collections of author's fairy tales Magpie tales (Magpie, Fox, Cat Vaska, Petushki) and Mermaid tales (Mermaid, Vodyanoy, Straw groom, Animal Tsar) and made a large selection of Russian folk tales for young children in the author's processing (Gus- swans, Turnip, Ivan the cow's son, Teremok, Kolobok).

A rare talent of Alexei Nikolaevich was the ability to remake folk tales in such a way as to arouse the interest of a small listener and not lose the ideological wealth of Russian folk art. Such a collection of Tolstoy was named Sorochy Tales and in addition to it, in order to fully acquaint you with the author's work, we place the best in our opinion his creation - the Golden Key or the adventures of Buratino. Tolstoy's fairy tales can be read starting from this wonderful work.

Tolstoy's tales occupy a special place among all the tales of Russian authors. Each of Tolstoy's heroes is a separate characteristic character, there are eccentricities and non-standard visions, which are always delightfully described! Tolstoy's Magpie Tales, although in essence, are a reworking of other fairy tales, and not his own invention, but the writer's talent, language turnover and the use of old words put Tolstoy's Magpie Tales in a row of cultural heritage.

14.Scientific fairy tale V.V. Bianki for children.

A special place in the literature for children belongs to Vitaly ValentinoVicu Bianchi. His stories, skazKi, an amazing encyclopedia of naturedy - "Lesnaya Gazeta" - disclose many mysteries and secrets of nature. ProdV. Bianchi's guidelines help to answermany questions from the life of nature dy. The names themselves cause the need to search for an answer: "Wherecrayfish hibernate? "," Whose nose is better? "," Who,what sings? "," Whose legs? "...

All the works of V. Bianchi are based on his own observations of the life of the forest and its inhabitants. Creating books, the writer set himself the task of teaching children to independently observe natural phenomena.

Bianchi is one of the pioneers of a new genre for the little ones - scientific fairy tales.

V. Bianchi's tales are very accuratematch the needs of the child. Theyinvolve little readers in the oxthe world, make it possible to relive the events and adventures of heroes - insects, birds, animals - and do not notice but for yourself to learn biologicalinformation and patterns.

V.V. Bianchi was very fond of children, he loved to tell them about the secrets of nature. He dreamed that children would live in friendship with animals, plants, amulets, and protect them.

For 35 years of creative work V.V. Bianchi has written over 300 short stories, novellas, fairy tales, articles and essays on nature. Throughout his life, he kept diaries and notes of a naturalist, answered many letters from readers. The total circulation of Vitaly Bianchi's works exceeds 40 million copies, they have been translated into many languages ​​of the world. Shortly before his death V.V. Bianchi wrote in the preface to one of his works: "I have always tried to write my fairy tales and stories so that they are available to adults. And now I realized that all my life I wrote for adults who have kept a child in their souls." His life can hardly be called easy and cloudless - war, exile, arrests, a sick heart; however, some problems were replaced by others, and he remained an "eccentric" for whom the look at a blossoming flower or a bird fluttering from branch to branch compensated for all the failures taken together. The last book of the writer "Identifier of birds in the wild" remained unfinished.

15.Features of artistic and educational stories about the nature of E.I. Charushin.

Evgeny Ivanovich Charushin occupies a special place - both as a writer and an artist. His stories about animals are amazingly expressive. Most often, the description takes only a few lines, but in them truly "words are cramped, but thoughts are spacious." Let's turn to some. Story "Cat": "This is the cat Maruska. She caught a mouse in the closet, for which her mistress fed him milk. Maruska sits on the rug, well-fed, contented. Songs sings, purrs, and her kitten is small - he is not interested in purring. He plays with himself - he catches himself by the tail, snorts at everyone, puffs, puffs up. " That's all. And how many useful and interesting information for the child is contained in these five sentences! Here is about what the hostess values ​​the cat for, what benefits it brings. Vivid, expressive, figurative characteristics are illustrated with a picture on most of the page.

Another story is The Hen. “A hen with chickens walked around the yard. Suddenly it started to rain. The hen quickly sat down on the ground, spread all the feathers and began to gurgle: "Quoh-quoh-quoh-quoh!" This means: hide quickly. And all the chickens crawled under her wings, buried themselves in her warm feathers. " Attention and observation, warm admiration ... One might say, a person's admiration for an ordinary hen, so caring for its chicks. Again, most of the page is illustrated.

The origins of Yevgeny Ivanovich Charushin's art are in his childhood impressions, in the beauty of his native nature that surrounded him since childhood, in the kind and caring attitude towards animals that he observed as a child. Let's take a closer look at any of his books. The object and the image exist for him in indissoluble fusion. He starts from nature, transforms it in an artistic way, and already through the image again, as it were, returns to nature. His creative intuition is always on guard for such a transformation of nature, which does not violate, but, on the contrary, emphasizes its living authenticity with the texture of plumage and skin, the plasticity of an animal or bird. These are the words of the researcher of the work of the writer V. Mechanikov. Charushin himself wrote this about himself: “I want to understand the animal, convey its habits, the nature of movement. I am interested in his fur. When a child wants to touch my little animal, I'm glad. I want to convey the mood of the animal, fear, joy, sleep, etc. All this must be observed and felt. "

16.Prose for children V.P. Kataeva

Kataev Valentin Petrovich (1897/1986) - Soviet writer. K. is distinguished by a wide creative range, the themes of his works: the struggle against the bourgeoisie (the play "The Square of the Circle", 1928), the construction of socialism (the novel "Time, Forward!" Waves of the Black Sea ", 1936/1961), the fate of the boy during the Great Patriotic War (the story" Son of the Regiment ", 1945), the story about V.I. Lenin ("Small iron door in the wall", 1964). Kataev is the author of the lyrical and philosophical memoir stories "The Holy Well" and "The Grass of Oblivion" (1967). In 1946 he was awarded the USSR State Prize, and in 1974 - the title of Hero of Socialist Labor.

The first publication - the poem "Autumn" - in the newspaper "Odessa Bulletin" (1910. Dec 18). He wrote poetry all his life and, according to some confessions, considered himself primarily a poet. His prose contains a strong lyrical beginning, which is reflected not only in the narrative manner, but also in the very structure of the image that integrates reality according to the laws of poetry. The life path of Kataev covers almost the entire XX century. Creative longevity, which had no decline, is also rare in terms of duration - 75 years. Endowed with exceptional observation, emotional sensitivity and sharpness of thought, Kataev - in the totality of his works, which included poems, topical essays, feuilletons, and newspaper humorous scattering, as well as plays, scripts, melodramas, vaudeville, and along with them large novels and novel cycles, - created a multifaceted, polyphonic and stereoscopic portrait of his time, with its two world wars, three revolutions and internal restructuring of the artist. thinking, in part already touched by apocalyptic shadows by the end of the century. Apparently, the intensity of Kataev's color and sound world was greatly facilitated by the speech of his hometown, in which Ukrainian Mova, almost everyday in the Kataev family, was mixed with Yiddish and urban philistine jargon, which captured scraps of Greek and Romanian-Gypsy; such an alchemical alloy created a kind of "language of Odessa", easily slipping into enchanting and carnival. Goethe's aphorism that a poet can be recognized and understood only after visiting his homeland, refers to Kataev in full and even exhaustive measure, since his homeland - Odessa, the Black Sea region, the South-West - has never moved away from him at any noticeable distance. Even the pronunciation of Kataev, who lived most of his life in Moscow, remained the same in old age, as if he had just stepped onto the Moscow platform yesterday.

17.Works about nature by K.G. Paustovsky.

In his stories about nature, Paustovsky Konstantin Georgievich uses all the wealth and power of the Russian language in order to convey in vivid sensations and colors all the beauty and nobility of Russian nature, evoking touching feelings of love and patriotism for the places of his native land.

Nature in small notes of the writer passes through all seasons in colors and sounds, sometimes transforming and embellishing in spring and summer, then calming down and falling asleep in autumn and winter. Paustovsky's stories in short miniatures reveal all the quivering patriotic feelings that the native nature produces on the reader, described with boundless love in the words of the author.

Stories about nature

A collection of miracles

· The story "Voronezh summer"

· Story "Watercolors"

· The story "Rubber boat"

· The story "Yellow Light"

· "Gift" story

· The story "Buddy Tobik"

Paustovsky is a writer, without whose works it is impossible to fully educate love for his native land, nature. Each of his stories makes you pay attention to the little things, without which the overall picture would not have turned out. The world of Paustovsky's heroes is the world of simple unknown workers and craftsmen who lovingly decorate their native land. These people are benevolent, deeply peaceful, very “domestic”, understandable and close, people of labor, with their settled way of life and its familiar details.

18.The creativity of V.A. Oseeva for children. The moral orientation of the subject matter of the works.

Valentina Oseeva is on a par with such wonderful, talented children's writers as Lev Kassil, Nikolai Nosov, Alexey Musatov, Lyubov Voronkova. They appealed to the minds and hearts of teenagers, our pioneers and Komsomol members.

The first story that brought her fame was the story "Grandma". It would seem that an unremarkable everyday story about the boy's spiritual callousness towards his own grandmother excites, awakens the heart of a reading teenager. The heartfelt insight of the hero of the story, caused by the death of the "grandmother," allows him (and at the same time the reader) to draw an inevitable moral conclusion: one should treat relatives and friends or just acquaintances with care and caution so as not to injure them with a rude word or inattention.

In 1943 two short stories-parables by VA Oseeva “Blue Leaves” and “Time” were published, where children's characters appear in the simple, “ordinary” games of children, their conversations and actions, pictures of a serious “adult” life appear ... Sparingly, sometimes in a few phrases, the writer creates a scene, where she vividly shows the children themselves in relations with their parents, with each other, with strangers, allows them to see themselves from the outside, to draw the necessary moral lessons.

V.A. Oseeeva's works from the life of adolescents of the military and post-war times, where their amazing spiritual beauty is revealed, are warmed with special kindness and cordiality. This is a twelve-year-old boy dressed as an artisan, dreaming of replacing his elder brother who has gone to the front ("Andreyka"), and the orphan Koceryzhka who has found a second family, found by the soldier Vasily Voronov on the battlefield ("Koceryzhka"), and second-grader Tanya, respectfully referred to by those around him as Tatyana Petrovna ("Tatiana Petrovna").

VA Oseeva was distinguished by a rare ability to see in the ordinary, the ordinary - the extraordinary. Hence her unfading attraction to the magical, the fabulous, elements of which can be found both in her prose and in her poems.

But the writer has created not so many fairy tales. One of them - "What a Day" - was first published in 1944. The other two - "Hare's Hat" and "The Kind Hostess" appeared in 1947. Fairy tale "Who is Stronger?" first saw the light of day in 1952, The Magic Needle was published in 1965.

In each of them, the people, animals, forces of nature depicted by the writer exist and act according to the same laws of good, mutual assistance, joint opposition to evil, deception, treachery, as in all the work of V.A. Oseeva.

19.The works of V.V. Mayakovsky for children.

When V.V. Mayakovsky (1893-1930) organized his literary exhibition "Twenty Years of Work", a significant place in it, along with works for adults, was occupied by books addressed to children. Thus, the poet emphasized the equal position of that part of the poetic work, which was carried out, as he put it, "for children." The first collection, conceived in 1918, but failed, would have been called “For Children”. The materials prepared for him convince that Mayakovsky also strove to create a new revolutionary art for children, that the thought of chamber "children's" themes was alien to him.

The first work of Mayakovsky for children was "The Tale of Peter, the Fat Child, and About Sim, Who Is Thin," written in 1925. With this literary tale, Mayakovsky reveals to the little reader the world of class relations that is difficult for him. On the one hand, there are new, humanistic ideals, the assertion of which is associated with the victory of the proletariat. On the other hand, there is selfishness and inhumanity, characteristic of the Nepman world, which is living out its last days. This is how a children's literary tale, under the pen of Mayakovsky, acquires political features. The epic part consists of six chapters - this is also unusual for a fairy tale, but they are built on the principle of opposing the hero - Sima - to the antagonist - Petya. This principle of contrast between two characters is maintained consistently: in a fairy tale, each of them has its own world. The images of Sima and his father, above all, emphasize the love of work. While the image of Petit is satirical. In him and his father, the features of greed, gluttony, and slovenliness are emphasized.

Thus, consistently relying on his experience of agitation and poetic work for adults and creatively using folk traditions, Mayakovsky in children's poetry asserts a new socialist morality, rooted in the soil of the people.

To achieve true artistry, a poetic signature must perform at least two functions: first, be laconic; secondly, to be, as K.I. Chukovsky, graphic, i.e. provide material for the artist's creative imagination. Indeed, in this genre, the unity of text and drawing is extremely sharp.

V. Mayakovsky managed not only to master this genre of children's books, but also to update it, improve it not only in the field of content, but also in form.

Often Mayakovsky brings a sketch to an aphorism: “There are no funnier monkeys. What to sit like a statue? A human portrait, even if it is a tailed one ”- an aphorism calculated not only for children's perception, so to speak, two-address. Mayakovsky's poems for children and for adults are genuine poetry.

20.The world of childhood in the verses of A.L. Barto, lyrical and humorous beginning; mastery of transferring the intonation of children's speech.

Agniya Lvovna Barto (1906-1981) - Russian poet, famous children's poet and translator. Her poems are the pages of her childhood. Perhaps that is why they are so well remembered by those who have grown up long since she began to write for children.

She asks herself in her “Notes of a Children's Poet”: “Why do many adults love the poetry of children's poets? - For a smile? For skill? Or maybe because poems for children are able to return the reader to his childhood years and in himself revive the freshness of perception of the world around him, the openness of the soul, the purity of feelings? "

The Big Literary Encyclopedia gives a biography of A.L. Barto, which says that she was born into the family of a veterinarian. While studying at school, A.L. Barto attended drama school, wanted to become an actress. She began to write poetry early: they were mischievous epigrams to teachers and girlfriends.

The main characters of her poems are children. The main task is the education of morality. She cares what kind of people her readers will grow up to be. Therefore, the poetess with each poem seeks to instill in the child an idea of ​​true values.

Her poems are easy to remember - the dictionary is clear and close to children, the perky rhythm of poems is peculiar, successful finds and rhymes delight; children's intonations are natural and relaxed.

Children love her poems because in front of them, as in a magic mirror, their childhood is reflected, they themselves, their perception of the world, their experiences, feelings and thoughts. This is the secret of the vitality of A.L. Barto.

The modern child lives and grows up in a different world than his grandfathers and even fathers grew up in. The world of the modern child has become different. But there is something in the past and in the present that unites adults and their children - these are the timeless, always alive and necessary for people poems by A.L. Barto.

Her first book for children, Brothers, was published in 1925, when Agnia herself was only 19. It is dedicated to children of different nations. In 1949, the collection "Poems for Children" was published, and in 1970 - "For Flowers in the Winter Forest".

The lyric poem "From the morning on the lawn" was written in 1981 and, along with the poems "First grader", "Who screams like", "Mashenka grows", "Kitten", "Game" and many others, was included in the collection "Various poems ”, But this collection did not become part of the book“ Agnia Barto. Poems for Children "(1981) The work is studied in the first grade and is placed in the section" Let's jump, let's play ... "of the textbook" Droplets of the Sun ", compiled by RN Buneev, EV Buneeva.

21.The versatility of S.V. Mikhalkov. The positive hero is Uncle Styopa. Socio-ethical content of Mikhalkov's poems.

Sergei Vladimirovich Mikhalkov was born in 1913 in Moscow in the family of a poultry scientist V.A.Mikhalkov.

“Every literary hero who has captivated the hearts of readers has his own secret of charm. Kind and cheerful children's favorite Uncle Styopa from the trilogy "Uncle Styopa" (1935), "Uncle Styopa is a policeman" (1954), "Uncle Styopa and Yegor" (1968). The main secret of the hero's charm is in spontaneity and good nature. Uncle Styopa's attitude to people is determined by a childishly selfless faith in the triumph of good.

What is the peculiarity of Mikhalkov's humor?

Paradoxical as it may sound, the fact that the poet never makes children laugh on purpose. On the contrary, he talks seriously, worries, is perplexed, asks, speaks with fervor, seeking sympathy. And the children laugh.

Sergei Mikhalkov is not an actor, but when asked to read Uncle Styopa, he reads in a way that no one else can do, as if with all his heart he sympathizes with a person who is so uncomfortable with his height. Uncle Styopa is worried before a parachute jump, and they laugh at him:

The tower wants to jump from the tower!

In the movies, they say to him: "Sit on the floor." Everyone comes to the shooting range. It’s hard for poor Uncle Stepa to squeeze under the “low canopy”. He "barely got in" there. So the author reads, as if wondering: why is everyone laughing? What's so funny?"

The children are very much amused by the fact that it costs Uncle Stepa to raise his hand, and he will seem like a semaphore. What would have happened if he had not raised his hands? Crash. And imperceptibly in the minds of readers enters the understanding of the unity of the everyday and the heroic, simplicity and greatness. “He stands and says (isn't it easier, it’s impossible?):“ Here the path is blurred by the rains ”. The possibility of catastrophe arises in the mind of a child only fleetingly. The main thing is different: "I raised my hand on purpose - to show that the way is closed."

In this comic situation, the nobility of character is fully and at the same time non-intrusive. It's funny that a person can become a semaphore, reach the roof. But at the same time he saves people.

Inimitable intonations of innocence, childish charm resound in Mikhalkov's poems. Children see life simply and joyfully. Maybe poetry for children is a simple art? Words are used in their original meaning, images are simple, like a reflection in a mirror. It would seem nothing mysterious, nothing magical. But isn't this magic - poems that speak about the most difficult things with boyish fervor and amazement? Isn't it magic, masterfully wielding a pen, to see and feel as in childhood ?!

22.Fairy tales of K.I. Chukovsky for the little ones and their features.

Poetics of verse tales by K. Chukovsky determines first of all that they are addressed to the smallest. The author is faced with a super task - in an accessible language to tell a person who is just entering the world about the unshakable foundations of being, categories so complex that adults are still engaged in their interpretation. Within the framework of the artistic world of K. Chukovsky, this task is brilliantly solved with the help of poetic means: the language of children's poetry turns out to be infinitely capacious and expressive and at the same time well known and understandable to every child.

Literary critics note a unique feature of the fairy-tale world created by K. Chukovsky - cinematic principle , used to organize the artistic space and as close as possible to the text of the child's perception. This principle is manifested in the fact that fragments of text follow each other in such a sequence as it could be during editing:

Suddenly from the gateway

Scary giant

Red and mustachioed

Cockroach!

Cockroach,

Cockroach,

Cockroach!

This construction of the text corresponds to the gradual approach of the camera to the object: the general plan is replaced by a medium one, the medium one is replaced by a large one, and now an ordinary insect turns into a formidable fantastic monster before our eyes. In the finale, the opposite transformation takes place: the terrible monster turns out to be just a "liquid-legged goat-bug".

The variability of the hero and the entire fairy-tale world - one more characteristic property of the poetics of K. Chukovsky's fairy tales. Researchers note that during the development of the plot, the fairy-tale universe "explodes" several times, the action takes an unexpected turn, the picture of the world changes. This variability is also manifested at the rhythmic level: the rhythm slows down, then accelerates, long unhurried lines are replaced by short abrupt ones. In this regard, it is customary to talk about "vortex composition" tales of K. Chukovsky. The little reader is easily drawn into this cycle of events, and thus the author gives him an idea of ​​the dynamics of being, of a mobile, ever-changing world. Only ethical categories, ideas about good and evil, are stable: evil heroes invariably perish, good ones win, saving not only an individual character, but the whole world.

23.The creativity of S.Ya. Marshak for children.

Children's poems are the younger children in Marshak's work. The poet began to write for children after he tried his hand at other areas of literary creativity. The writer went to children from knowledge of the general laws of art. The first children's book appeared in 1922, but the poet developed an interest in children long before he became a children's writer. An important role in this was played by the outstanding memory of childhood, which the poet possessed. The writer has always acted as a protector of childhood. In early correspondence from London, Marshak writes about new children's exhibitions, about the tragic situation of children in England, about children who visited the first cinema. But direct participation in the fate of children began after Marshak's return to his homeland in the summer of 1914. Working with children in Voronezh and then in Krasnodar laid the pedagogical and artistic foundations of the poet's creativity for children. Communicating with children, the young writer, without realizing it, learned to understand the peculiarities of the child's psyche, listened to the child's speech, saw what makes the child happy or sad. Observations of children's groups in England and mainly at home enriched Marshak the teacher. He got a sense of the audience that does not come immediately and not to everyone.

So, the rich school of literary experience and the knowledge of children, united, made possible the appearance of Marshak - a poet for children.

According to the figurative expression of V.G. Belinsky, a real writer for children is a "children's holiday". Samuil Yakovlevich Marshak became such a holiday.

The main characteristic feature of the creative image of the founder of Soviet children's poetry is the desire to introduce children to the treasury of world literature and folk art as early as possible, to instill in them respect for spiritual values, and to develop artistic taste. For this he uses Russian, Czech, English, Latvian, Eastern folklore. The creativity of Marshak therefore brings joy to both big and small, because it combines deep content, a humane idea and a fascinating form.

Marshak's creativity for children is extremely diverse. Among his books, children find an intricate joke ("Children in a Cage"), and a serious ballad ("Ice Island"), and a satirical poem ("Mister Twister"), and a lyrical cycle ("All year round"), and many fairy tales ( "The Tale of the Stupid Mouse", "Calm down" and others), and a historical story in verse ("Byl-fable"), and fantastic poems ("Fire"), and poetic essays ("Mail", "Yesterday and Today", "How Your Book Was Printed", etc.), and an autobiographical story about childhood ("In the Beginning of Life"), and riddles, and songs, and fables.

24.The role of M. Gorky in the organization of new children's literature. Gorky's Tales for Children.

The writer Maxim Gorky considered one of the founders of modern children's literature - although he does not have many works written for children. These are fairy tales "Sparrow", "Samovar", "The Tale of Ivanushka the Fool", "The Case of Yevseyka", "Grandfather Arkhip and Lyonka", "Tales of Italy" and some others.

The main distinguishing features of these works are the ability of the writer to speak entertainingly and simply with children about important things, knowledge of their interests and language. And this is not accidental, because “we all come from childhood,” as another good writer once remarked - Antoine de Saint-Exupery.

Maksim Gorkygrew up in the folk environment, on Russian folk art, of which his grandmother was a great connoisseur, Akulina Ivanovna Kashirina , Balakhna lacemaker. He inherited from his parents lively humor, vitality and truthfulness. A truly Russian folk trait of the writer was also a love for children, whom he - all! - I wanted to protect, feed, learn, put on my feet, help to take place as a person, as a Human.

bitterI sincerely loved children, felt sorry for them, remembering my difficult and sometimes tragic childhood. He himself organized New Years and a free skating rink for Nizhny Novgorod children from the poorest families. Organizer and editor of the first Soviet magazine for children "Northern Lights", the first children's publishing house Detgiz... He corresponded with children, and these letters brought joy to the writer, nourished his work. The theme of childhood has always found a lively response in his heart.

Gorky's children's works are the golden fund of literature for children. One of the brightest is a fairy tale "Sparrow". In the image of the sparrow Pudik, the character of the child is clearly visible - direct, disobedient, playful. Soft humor, discreet colors create a warm and kind world of this fairy tale. The language is clear, simple, and the essence is instructive.

Little Pudik did not want to obey his parents and almost disappeared. What comes out: obey mom and dad, and everything will be all right? Well, not really. Gorky does not at all scold Pudik, but sympathizes with him. Thanks to his audacity, the chick learned to fly. And to the condemning mother's "what, what?" the chick answers convincingly and wisely: "You cannot learn everything at once!"

In a fairy tale "Sparrow" There is one more important point - this is the education of kindness to the world, to all its diversity - to birds, people, and even an insidious cat ... Those who today read Gorky's stories and tales, written for children, should ponder again his words: "Live in harmony, like the fingers of the wonderfully working hands of a musician."

25.Features of E.A. Blaginina for children.

EA Blaginina (1903-1989) entered children's literature in the early 30s. Her poems were published in the Murzilka magazine. In 1936 her first collection of poems "Autumn" and the poem "Sadko" were published, and in 1939 - the collection "What a Mother!" Since then, the fund of Russian lyrics for kids has been constantly replenished with her poems.

Blaginina's style differs significantly from the style of Chukovsky, Marshak and even Barto - in a special, feminine sound. In Blaginina's poems there is no loud, declarative pathos, their intonation is naturally soft. Femininity shines through in the images of little girls and blossoms in the image of a mother. Business-like and cordiality, love for everything beautiful, elegant unites mother and daughter - two permanent heroines of Blaginina. Her little poem "Alyonushka" can be called a poem of femininity. One of the best poems of the poetess - "What a mother!"(according to her own assessment, it is "if not perfect, then it is still truly childish"). It is built in such a way that the voices of the mother, the girl (perhaps playing "mother-daughter") and the author are merged in it:

Mom sang a song, Dressing her daughter, Dressing - putting on a White shirt. White shirt - Thin stitching. That's what kind of mom - Golden straight!

Her lyrical heroine speaks in a clear, clear voice about love - to her mother, to trees and flowers, to the sun and wind ... The girl knows how not only to admire, but in the name of love and work, and even compromise her own interests. Her love manifests itself in business, in chores, which are the joy of her life ("Do not bother me to work"). Children, especially girls, from an early age know Blaginina's poem "Let's sit in silence."

Even the motives of Soviet life were woven into family life by the poetess (poems "The Overcoat", "The World is Peace", etc.). Contrary to the spirit of ideology and production, Blaginina returned readers to the world of personal, intimate values. In confirmation, one can name her numerous collections: "What a mother!" (1939), Let's Sit in Silence (1940), Rainbow (1948), Ogonyok (1950), Burn, Burn It Is Clear! (1955), the final collection "Alyonushka" (1959), as well as new, later ones - "Grass-ant", "Fly away - flew away."

Elena Blaginina relied in her work on the traditions of folk lullabies for children's songs, on the high simplicity of Pushkin's "verb" verse, on the color and sound writing of Tyut-cheva and Fet, the sonority of songwriters - Koltsov, Nikitin, Nekrasov, Yesenin. The rich heritage of folk poetry and classical Russian lyrics helped her to create her own world of pure colors, clear ideas, good feelings.

26.The works of M.M. Prishvin. Raising love and respect for nature.

Mikhail Prishvin (1873 - 1954) was in love with nature. He admired her greatness and beauty, studied the habits of forest animals and was able to write about it in a captivating and very kind way. Prishvin's short stories for children are written in simple language, understandable even for kindergarteners. Parents who want to awaken in their children a kind attitude towards all living things and teach them to notice the beauty of the world around them should more often read Prishvin's stories to both kids and older children. Children like this reading, after which they return to it several times.

Prishvin's stories about nature

The writer loved to observe the life of the forest. “It was necessary to find in nature something that I had not yet seen, and maybe no one had ever met this in their life,” he wrote. In Prishvin's children's stories about nature, the rustle of leaves, the murmur of a brook, the breeze, and forest smells are so accurately and reliably described that any little reader is involuntarily transported in his imagination to the place where the author has visited, begins to acutely and vividly feel all the beauty of the forest world.

Prishvin's stories about animals

Since childhood, Misha Prishvin treated birds and animals with warmth and love. He was friends with them, tried to learn to understand their language, studied their life, trying not to disturb them. In Prishvin's stories about animals, entertaining stories about the author's meetings with various animals are conveyed. There are funny episodes that make the children's audience laugh and marvel at the intelligence and ingenuity of our younger brothers. And there are sad stories about little animals in trouble, causing a feeling of empathy and a desire to help the children.

In any case, all of these stories are permeated with kindness and usually have a happy ending. It is especially useful for our kids growing up in dusty and noisy cities to read Prishvin's stories more often. So let's get started as soon as possible and plunge with them into the magical world of nature!

27.Humor in literature for children. Heroes N.N. Nosov.

Nikolai Nikolaevich Nosov (November 10 (23), 1908 - July 26, 1976) - November 10 (23), 1908 in the city of Kiev, in the family of a pop artist, who, depending on the circumstances, worked as a railway worker. He spent his childhood in the small town of Irpen, not far from Kiev.

According to Nosov himself, he came to literature by accident: "A son was born, and it was necessary to tell him more and more new tales, funny stories for him and his preschool friends ..."

Nikolai Nikolaevich began writing children's stories in 1938: At first he just told stories to his little son and his friends. "Gradually I realized that composing for children is the best job, it requires a lot of knowledge, and not only literary ..."

NN Nosov's works are intended for children of preschool and primary school age, they teach goodness, responsibility, courage and many other positive qualities.

The most famous and beloved by readers are the fabulous works of Nikolai Nosov about Dunno. The first of them is the fairy tale "Cog, Shpuntik and Vacuum Cleaner". Then the famous trilogy was written, "The Adventures of Dunno and His Friends" (1953 - 1954), "Dunno in a Sunny City" (1958) and "Dunno on the Moon" (1964 - 1965)

The curious cases described in the author's works help to show the logic of thinking and behavior of the hero. "The effective reason for the funny lies not in external circumstances, but is rooted in people themselves, in human characters", - wrote Nosov.

Reading the stories of Nikolai Nikolayevich Nosov, the reader sees before him real guys, the kind we meet in real life - cheerful, cocky, kind and sincere. There is always something hidden in Nosov's humorous stories that makes the reader think about how to behave in a difficult situation. The works of Nikolai Nikolaevich help get rid of bad character traits such as curiosity, rudeness, laziness and indifference. The author teaches young readers not only to think about themselves, but also about their comrades.

Nikolai Nikolaevich is opposed to flaunting the moralizing thought of his work, and sought to write in such a way that the little reader himself draws a conclusion.

Nikolai Nikolayevich Nosov wrote many stories and fairy tales for children, but still not everyone knows that he also has several works designed for an older audience: "The Story of My Friend Igor", "The Mystery at the Bottom of the Well", "Ironic humoresques ". Time passes, and the characters invented by Nikolai Nikolaevich do not age. Nikolai Nikolaevich's stories will remain relevant regardless of time.

28.Thematic diversity and artistic features of the Brothers Grimm fairy tales.

The Brothers Grimm pay almost no attention to everyday details, descriptions of the characters' appearance, thus they preserve the peculiarities of a folk tale, with little interest in the landscape and setting of the action, in a word, in everything that is used in literature to describe the environment. The Brothers Grimm's portraits of sisters are not individualized, there are no speech characteristics: "They were beautiful and white faces, but evil and cruel in their hearts." invisible, works 24 hours a day and does not complain about anything, while she also patiently endures the ridicule of her sisters.

The development of the plot of the two fairy tales diverges over several functions in order to coincide again at a certain point. The heroine receives a magical means to achieve a global goal with the help of a magical assistant. But the brothers Grimm introduce into the plot a motive well known from another very popular fairy tale, it is known by different peoples under different names, in Romano-Germanic folklore it is "Beauty and the Beast", In Russian "The Scarlet Flower".

According to V.Ya. Propp, these tales owe their appearance to the ancient myth of Cupid and Psyche. Thus, Cinderella from Grimm's fairy tale receives a magical assistant after a series of preliminary actions: she asks her father to bring her a branch as a gift, which will be the first to touch his hat, plants a branch on her mother's grave, a tree grows, and a white bird living in its branches fulfills Cinderella's requests ...

Thus, the brothers Grimm want to emphasize that in fact the deceased mother of the girl becomes a magic assistant, she, as promised, is constantly present next to her daughter. In "Cinderella" by Charles Perrault, the fairy godmother appears without preliminary manipulation, the image of the fairy can be considered identical to the image of the mother in the Grimm fairy tale, she, like a mother, is somewhere nearby, otherwise how would she feel that Cinderella is upset and needs support.

The above motives clearly echo the wedding rituals, with the crying of the mother for her daughter being taken away to another family and the promises of support and help at a difficult moment.

29.Tales of Ch. Perrault, their connection with folk tales.

Charles Perrault is known to us as a storyteller, but during his life he was better known as a poet, academician of the French Academy (at that time it was very honorable). Even the scientific works of Charles were published.

Tales by Charles Perrault list:

1 suck

2.Cinderella or crystal slipper

3 puss in boots

4 red riding hood

5.Finger Boy

6 donkey skin

7 Fairy Gifts 8 Gingerbread House

9 tufted Rike

10 blue beard

11 sleeping beauty

In part, Charles Perrault was lucky to start writing at a time when fairy tales were becoming a popular genre. Many sought to record folk art in order to preserve it, transport it into written form and thereby make it accessible to many. Please note that in those days such a concept in literature as a fairy tale for children did not exist at all. Basically, these were stories of grandmothers, nannies, and someone understood a fairy tale as philosophical reflections.

It was Charles Perrault who wrote down several fairy tales so that they were eventually transferred to the genres of high literature. Only this author was able to write serious reflections in simple language, give humorous notes and put into the work all the talent of a true master-writer. As mentioned earlier, Charles Perrault published the collection of fairy tales under the name of his son. The explanation for this is simple: if the academician of the French Academy Perrot published a collection of fairy tales, he could be considered frivolous and frivolous and he could lose a lot.

Charles's amazing life brought him fame as a lawyer and as a writer-poet and storyteller. This man was talented in everything. In addition to the fairy tales known to all of us, Charles Perrault composed several poems and published books.

30.Tales of H.K. Andersen in the reading of preschoolers: a variety of heroes and plots, the image of the narration, the peculiarities of speech.

Some of the brightest in their content, action, magical characters, kindness and philanthropy are the fairy tales of G.H. Andersen, since he wrote for both children and adults. It was creativity on two floors, to put it in Andersen's way: he preserved the language and the fabulous environment, but the ideas behind them were intended for the father and mother, who listened with the children. However, this poetic achievement was not entirely new. Already "The Little Mermaid" and "Galoshes of Happiness" are not designed only for children, and in children's fairy tales here and there there is "food for thought", hardly perceived by children. What was new was that after 1843 the writer deliberately turned to the adult reader. Children can be amused by The Snow Queen, The Nightingale, and many other tales, but they are unlikely to understand their depth, and such tales as The Bell, The Story of a Mother, or The Shadow are generally inaccessible to children. The simple, pseudo-childish style of storytelling is just a piquant mask, sophisticated naivety that emphasizes irony or seriousness.

This original form of fairytale storytelling developed gradually in Andersen, reaching perfection after 1843. All his masterpieces: "The Bride and Groom", "The Ugly Duckling", "Spruce", "Girl with Matches", "Collar" and others - were created during this period. In 1849, all of his fairy tales written by that time were published in a separate large edition, which became a monument to the artistic talent of the writer, who was not even forty-five years old.

The fairy tale genre became for Andersen a universal form of aesthetic comprehension of reality. It was he who introduced the fairy tale into the system of "high" genres.

"Tales Told to Children" (1835-1842) is based on the rethinking of folk motives ("Flame", "Wild Swans", "Swineherd", etc.), and "Stories Told to Children" (1852) - on the rethinking of history and modern reality. At the same time, even Arab, Greek, Spanish and other subjects acquired the flavor of Danish folk life from Andersen. The fantasy of the storyteller, in its wealth, argues with the fantasy of the people. Relying on folk plots and images, Andersen did not often resort to fantastic fiction. In his view, life is full of miracles that only need to be seen and heard. Any thing, even a very insignificant one - a darning needle, a barrel - can have its own amazing story.

Literature for reading

Fairy tales

"The Frog Princess" arr. M. Bulatova

"Khavroshechka" mod. A.N. Tolstoy

"The Wolf and the Fox" arr. Sokolova-Mikitova

"Kolobok" arr. K. D. Ushinsky

"Geese-Swans" arr. M. Bulatova

"Porridge from an ax"

"Cockerel and a bean seed"

A.S. Pushkin

"The Tale of the Dead Princess and the Seven Heroes"

"The Tale of the Fisherman and the Fish"

P.P. Ershov

"The Little Humpbacked Horse"

K. D. Ushinsky

"Cockerel with family"

"Ducks"

"Lisa Patrikeevna"

"Four wishes"

L.N. Tolstoy

"Bone"

"The Lion and the Dog"

"Three Bears"

D. N. Mamin-Sibiryak

"The Tale of the Brave Hare - long ears, slanting eyes, short tail";

"The tale of Komar Komarovich - Long Nose and about Shaggy Misha - short tail"

V. V. Bianchi

"Bathing Bears"; "The First Hunt"; "Owl"; "Fox and Mouse"

"How Ant was in a hurry home"

A.N. Tolstoy

"Hedgehog"

"Fox"

"Petushki"

M. Gorky -

"Sparrow"

"Samovar"

V.A. Oseeva

"The Magic Needle"

"Magic word"

"On the rink"

N.N. Nosov

"Living Hat"

"Mishkina porridge"

K.G. Paustovsky

"Cat thief"

"Disheveled Sparrow"

E.I. Charushin

"Bear cubs"

"Volchishko"

MM. Prishvin

"Golden Meadow"

"Guys and Ducklings"

V.P. Kataev

"Seven-flower flower"

"A pipe and a jug"

V.V. Mayakovsky

"What is good and what is bad?"

"Every page is an elephant, then a lioness"

K.I. Chukovsky

"Fly Tsokotukha"

"Fedorino grief"

S.Ya. Marshak

"Mustachioed - Striped"

"The Tale of the Stupid Mouse"

S.V. Mikhalkov

"About mimosa"

"Uncle Stepa"

E.A. Blaginina

"That's the kind of mom"

"Do not bother me to work" (Collection of poems)

C. Perrault

"Little Red Riding Hood"

"Puss in Boots"

The Brothers Grimm

"Straw, ember and bean"

"Hare and hedgehog"

H.K. Andersen

"Ugly duck"

"Thumbelina"

Children's literature is an art. As art, it is characterized by the expression of generalized ideas in a vivid form - in concrete images.

Fairy tales, stories, poems form the artistic taste, raise the cultural level of the child. K.I. Chukovsky noted: "A child understands in his own way, and even if he is mistaken in doing so, his impressions are so vivid and figurative that there is no need to ground them."

K. D. Ushinsky emphasized that literature should introduce the child "into the world of folk thought, folk sentiment, folk life, into the realm of the national spirit." These are works of oral folk art: riddles, counting rhymes, proverbs, sayings. When we get acquainted with the works of oral folk art, we improve the higher mental functions: auditory speech, visual memory, voluntary attention, creative thinking, enrich vocabulary, develop a phraseological dictionary, and form the skills of grammatically correct speech. Even before one year old, the baby begins to listen to the first nursery rhymes, songs, to consider them in book illustrations. At this age, he is interested in rhythms, intonation.

It is necessary to note the colossal influence of works of oral folk art for the mental development of preschoolers.

The main task of parents is to know about the literary inclinations of their baby in order to improve them.

It is important to note that reading together contributes to the development of a warm emotional relationship between mother and child.

When reading fiction, pay attention to the following guidelines:

• - Read with expression, changing intonation depending on the character.
• - Show illustrations to the text as often as possible. This increases the child's interest.
• - Move toys and objects out of sight that distract your child. Try to read in a quiet, relaxed environment.
• - Read aloud all your life! This need builds your child's interest in reading.
• - Children's books should be in a place accessible to the baby.
• - Sign up for the children's library, let the child participate in the selection of books.

Remember: PRESCHOOL AGE IS A FAVORABLE TIME FOR A CHILD'S ACCOMMODATION TO ARTISTIC LITERATURE!

We teach nursery rhymes, poems, riddles with children, we transfer them to children's creativity, to the origami technique. The circle of children's reading should include books that are diverse in topics and genres.

The child needs to discover the richness of the genres of literature. This will allow, on the one hand, to form the breadth of readers' interests in the preschooler, and on the other, selectivity, individuality of literary preferences.

Parents need to pay attention not only to the content of the work, but also to the expressive means of the language - fairy tales, stories and other works of fiction.

Educational books about labor, about technology, about things, about nature were included in children's literature. They allow children to reveal the versatility of the world in which they live, in a figurative form to show the essence of phenomena, prepare a scientific understanding of the world.

Lyrics by S. Ya. Marshak on the creation of things "Where did the table come from", "A book about a book."

K. D. Ushinsky "How the shirt grew in the field." Zhitkov's encyclopedic book "What I Saw".

Children's book has created a special type of book - a fun book for children.

She reveals the funny things in life to children, brings up valuable qualities - the ability to joke and laugh.

The works of K.I. Chukovsky, N.N. Nosov, V.G. Suteeva, S. Ya. Marshak, E.N. Uspensky and others.

The genre and thematic variety of children's literature makes it possible to form individual reading interests and inclinations in children.

Children's reading circle is designed to replenish the literary outlook of children, increase their reading.

Ambiguous in design, multi-flowered and multi-layered, imbued with subtle humor and irony, they attract the attention of the child not only with the amusing plot, but also with a deep thought that must be felt and understood and upon opening which the small reader feels satisfaction.

In the center of attention of modern writers is the inner world of an adult and a child, the world of experiences, a variety of relationships and feelings.

This is typical of the books of R. Pogodin, I. Tokmakova, E. Uspensky and other authors.

Children's writers put children in front of the need to realize moral truths, choose a line of behavior, take the right position in relation to other people, things, nature.

Older preschoolers show a steady interest in the "thick" book.

This is a reader, works of domestic and foreign writers.

Remember that the book is your good companion and best friend!

The circle of children's reading, the principles of its formation.

Children's reading circle it is literature that must be read at the appropriate age.

The circle of children's reading includes:

- works directly addressed to children (poems by Barto);

- works written for adults, but found a response in children; (Pushkin's tales, Yesenin's poems)

- children's literary creativity.

As you know, certain works correspond to each year of a child's life: four-line nursery rhymes and little puppets in early preschool age, to fairy tales-novels in older preschool age.

Works for the circle of children's reading:

Prose (epic), poetry (lyrics), drama, fiction;

Folklore genres - folk tales, lullabies, little dogs, nursery rhymes, chants, verdicts, fables-shape-shifters, children's folk songs, horror stories;

Popular science genres (encyclopedias);

Literature works of the peoples of the world.

Themes of the works :

Childhood;

Children's play, toys;

Nature, fauna;

Relationship between children and adults; family, duty to parents and relatives; internationalism; honor and duty to the Motherland;

War and heroism;

Historical periods;

Man and technology.

What determines the circle of children's reading:

- from the age of the child , on his preferences. So, the youngest listeners prefer fairy tales, nursery rhymes, poems written by a certain author to a certain book.

- from the development of literature itself ... The state of the level of development of children's literature at the end of the 20th century remained at a low level, poems for children were practically not published, there are very few historical and realistic works, which did not contribute to the education of a versatile reader.

- from the selection of literature for children's reading ... In the funds of urban and rural libraries, from the books in families, the very time in which the child lives has a great influence.

The circle of children's reading is individual.

Educational program , which is performed in a preschool institution,contains a certain list of recommended reading materials for children, according to the age category.

Along with this, there isfamily, home reading. This is a variable part of reading, which depends on the knowledge of children's literature, taste, preferences, and parental education.

VG Belinsky, argued that children have a special perception of what they hear, about the importance of the role of books in raising a child. After all, a "wrong" book can lead to a distortion of moral ideas, destroy aesthetic feelings, and about your place in the world around you.

Literature, as an art form, helps in educating a literate listener and reader, but it should be remembered that it will be better perceived in the event that a special emotional atmosphere is created, a child's mood for reading a book.

Principles of forming a children's reading circle:

1. Pedagogical

2. Psychological

3. Literary criticism

4. Historical - literary

1. Pedagogical principles:

Availability,

Clarity,

Amusement,

The dynamism of the plot,

Educational value of the work.

1.1. Concept availability is often interpreted one-sidedly: accessible means clear, understandable. But in the modern method of children's readingaccessible such a work is considered,

"Which creates the conditions for the emergence of an active work of thought of the listener-child, intense feelings, emotions, imagination, which leads to the solution of a literary problem - penetration into the writer's plan."

Books must be illustrated,

The illustration helps to understand what is happening, explains what is not in the life experience of kids, or what the author did not focus his attention on.

1.2. Visibility - clarity, simplicity, expressiveness, lack of details and details that impede perception.

Illustration should be colored, and the color scale should correspond to reality .

But I.N. Timofeeva observed and described the child's interest in black-and-white illustrations, after which she concluded: “... the color itself, regardless of what is depicted with its help, has a tremendous power of emotional unconscious impact.The color image refers mainly to feeling, and black and white - to reason "

Another kind of clarity in a children's book -portrait of a writer or poet.

1.3. Amusing plot - one of the essential principles of the selection of books for children's reading, closely related to such a principle as:

1.4. Dynamism The plot is sluggish, protracted, with many side lines, the connection of which the child cannot establish, is not interesting to children.

1.5. Educational value of works - their ideological orientation, a positive impact on the child in the formation of the moral qualities of the individual, the presence of didactics in the literary text.

2. Psychological principles:

2.1. Age characteristics of children.

When reading, you should pay attention torapid fatigability of the child with a long, monotonous lesson, poor concentration of attention and its switching, toinsufficient memory , lack of personal experience , will not contribute to the comprehension of the text. We should not forget about such a psychophysical feature asinsufficient development of phonemic hearing.

3. Literary principles: inclusion in the circle of children's reading:

all types of literature: epic (prose), lyrics (poetry), drama;

different types of art: folklore (oral art of the word), fiction (written, fixed on paper, in the book, the art of word);

A variety of genres, both folklore (folk tales, lullabies, pestushki, nursery rhymes, chants, sentences, upside-down fables, folk songs for children, scary stories), and literary (author's tales, poems and poetic cycles, miniatures, stories, stories, novel-fairy tale, encyclopedia and other popular science genres).

4. Historical and literary principles:

1) the presence in the circle of children's reading of works of native and world literature,

2) thematic variety of works,

This will allow the preschooler to get acquainted with the variety of approaches to depicting events occurring in nature and the world, or, conversely, the same approach, which will be perceived as the only correct one in relation to the depicted

A well-formed children's reading circle suggeststaking into account the gender differences of children. This means that an adult who selects literature for reading to children should take into account that girls should not forget to read those books that talk about women's virtues, about housekeeping, about women's destiny (V. Odoevsky "Handmade Song"; B. Potter " Uhti-tukhti "; E. Blaginina" That's what kind of mother "and others). Boys, on the other hand, will be more interested in literature about strong, courageous people, travel, inventions, human behavior in emergency situations, etc. (B. Zhitkov "On the Water"; "Arius Stone" and other works of the sailor and writer S. Sakharnov;

Children's reading circle.

At all times of the existence of mankind, people have shown special attention to works for children, considering them the most important in the formation of a person in a child.

Questions about the circle of children's reading were raised in Russia in the 18th century, and in the works of N. Chernyshevsky, V. Belinsky, N. Dobrolyubov, L. Tolstoy in the 19th century.

But nevertheless, the acuteness of the issue remains in modern Russia in the 21st century.

A person dealing with children's reading needs to have versatile knowledge in the field of Russian folklore, and foreign creativity, writers of Russian and foreign children's literature. And also to form a circle of children's reading, you must have excellent pedagogical and psychological training. It is important for him to keep track of the development trends of the children's literature market, children's book publishing, to read a lot and to believe that a literary word can influence and influence a person.

So what is this children's reading circle? This is a range of works that children listen to, read and perceive. They were written, passed on from adults, were understood and accepted by children. The circle of children's reading includes:

Folklore,

Books for children,

Children's creativity,

Children's newspapers and magazines,

It is known that certain works correspond to each year of a child's life: four-line nursery rhymes and little dogs in early preschool age, to fairy tales-novels in older preschool age.

This begs the question - what does the circle of children's reading depend on ?:

From the age of the child, from his preferences. So, the youngest listeners prefer fairy tales, nursery rhymes, poems written by a certain author to a certain book.

From the development of literature itself. What can I say, the state of the level of development of children's literature at the end of the 20th century remained at a low level, poems for children were practically not published, very few historical and realistic works, which did not contribute to the education of a versatile reader.

From the selection of literature for children's reading. In the funds of urban and rural libraries, from the books in families, the very time in which the child lives has a great influence.

Children's reading circle cannot be the same for everyone, and it should not. After all, a child is able to choose a book for himself, even the smallest, by an attractive cover, by illustrations.

The educational program, which is carried out in a preschool institution, contains a certain list of recommended reading materials for children, according to the age category.

Along with this, there is family, home reading. This is a variable part of reading, which depends on the knowledge of children's literature, taste, preferences, education of parents and it plays a positive role in preserving the uniqueness of the child listener, the child reader.

In the circle of children's reading there are a number of obligatory works, without which preschool childhood cannot be imagined. These are works that have passed the test of many generations of readers, classics:

Folk tales,

Works by K. Chukovsky, S. Marshak, A. Barto, N. Nosov,

Tales of S. Perrault, H. Andersen, A. Lindgrend.

VG Belinsky, argued that children have a special perception of what they hear, about the importance of the role of books in raising a child. After all, a "wrong" book can lead to a distortion of moral ideas, destroy aesthetic feelings, and about your place in the world around you.

Preschoolers perceive art out of context: they can animate inanimate objects, change works at their own discretion, making it a hero of themselves or their friends. The book he likes makes a strong impression on the child, and he uses the plot in his games, lives by them, and includes them in his real life.

Literature, as an art form, helps in educating a literate listener and reader, but it should be remembered that it will be better perceived in the event that a special emotional atmosphere is created, a child's mood for reading a book.

Children should be given time to read, and nothing should be in the way or distract. Children need to be explained that they cannot read while eating, in transport, on the go. You should not read the same book over and over again. When reading, you should take your time, pronounce sounds and letters clearly and clearly. Adults should remember that it is unacceptable to force a child to listen if he is tired, distracted, wants to change the type of his activity. Only an attentive, caring attitude towards preschoolers, a careful choice of reading this or that work will lead to the desired result.

In the selection of the circle of children's reading, special attention should be paid to:

Availability,

Clarity,

Amusement,

The dynamism of the plot,

Educational value of the work.

So what should be included in the circle of children's reading?

All types of literature:

Prose (epic), poetry (lyrics), drama, fiction;

Folklore genres - folk tales, lullabies, little dogs, nursery rhymes, chants, verdicts, fables, shape-shifting, children's folk songs, horror stories;

Popular science genres (encyclopedias);

Literature works of the peoples of the world.

The subject matter of the works should be as diverse as the reader requires:

Childhood;

Children's play, toys;

Nature, fauna;

Relationship between children and adults; family, duty to parents and relatives; internationalism; honor and duty to the Motherland;

War and heroism;

Historical periods;

Man and technology.

It is also important to consider gender differences between children. For girls, you need to read books about female virtues, about housekeeping, about female destiny. Boys will also be interested in literature about courage, about courage, about heroes, about travel, inventions, about people's behavior in difficult situations.

Children's literature is an intrinsically valuable form of verbal artistic creativity that plays an important role in the development and upbringing of a child. V. Lunin noted: "I must confess to you that I am writing not for you, but for myself!"

Children's literature and children's reading.

Children's literature is the art of words, which means that it is an organic part of spiritual culture, therefore, it has inherent qualities inherent in all fiction. It is closely related to pedagogy, since it is designed to take into account the age characteristics, capabilities and needs of the child.

Children's literature is an undoubted part of the general literature, but nevertheless it is a kind of phenomenon. It was not without reason that V.G.Belinsky argued that one cannot become a children's writer - one must be born: “This is a kind of vocation. This requires not only talent, but also a kind of genius. A children's book must meet all the requirements for a book for adults, and, in addition, take into account the children's view of the world as an additional artistic requirement.

Summarizing the historical and modern experience of the development of children's literature, we can say that children's literature arose at the intersection of artistic creativity and educational and cognitive activities. In it you can see special features aimed at the education and upbringing of a child, and the younger the child, the stronger these features are. Accordingly, the specificity of children's literature is primarily due to the age of the reader. Together with the growing reader, his books also "mature", and the whole system of preferences is gradually changing.

Another distinctive feature of children's literature is the biaddressing of children's books. The peculiarity of the children's writer is that he sees the world from two sides; from the perspective of a child and from the perspective of an adult. And it means that the children's book contains these two points of view, only the adult subtext is not visible to the child.

And the third specific feature of a children's book is that it (the book) must have a special language, which must be specific, accurate, at the same time accessible and educationally enriching for the child.

I would also like to note that in the children's book there is always a full-fledged co-author of the writer - an artist. A small reader can hardly be carried away by a solid letter text without pictures. This is also a feature of children's literature.

Children's reading - these are works or fragments from works of general literature accessible to children's perception, interesting to children and therefore fixed in their reading.

Today's world is different. The computer and television took the children away from their time and desire to read. Parents complain that it is difficult to get children to read. Parents often turn to teachers for advice: how to awaken a child's interest in reading? Scientific research suggests that a person's attitude to books is formed at primary school age. It is then that the question is decided whether the reader's attitude to the book will be active or moderately passive. It is also important to note that nowadays, when the school is reorienting itself from the development of the child's memory to the development of his thinking, the role of the book increases immeasurably.

The crisis of children's reading is manifested not so much in the fact that many children have stopped reading, but in the fact that they have not developed an interest in this area of ​​study. LS Vygodsky believed that “before you want to call a child to any activity, interest him in it. And interest in any lesson, including reading, will be stable, provided that the child is ready for this activity, that he has all the forces necessary for it, and that the child will act on his own, the teacher only has to lead and direct his activities ”.

N.F. Vinogradova said that "for a six-year-old child who has not yet mastered the skill of reading, listening to literary works read to him by a teacher is a source of developing a persistent interest in literature, accumulating reading experience, developing speech, imagination."

And they read little both at school and at home. The student himself will reach for the book when he reads easily, without stress. A student who reads by syllables is not able to fully perceive the book. It was during this period, like air, that reading aloud is necessary, which is the beginning of the formation of readers' interest in younger schoolchildren.