Astrid Lindgren is probably the most famous Swedish writer in Russia.

Her heroes settle in the minds of childhood - the red-haired girl Pippi Longstocking, the daughter of the robber Roni, the detective Kalle Blumkvist, the fat man in his prime, the owner of the propeller on his back and the most common surname in Sweden Carlson, who flies to the Kid when he becomes sad.

They settle and remain until the very gray hairs - on the rights of a jewel that we, becoming parents, pass on to our children, reading her books at night. If you have already read everything - find a rather rare autobiographical "We are all from Bullerby", in which the writer sketches her own childhood - not very rich, but filled with impressions and adventures.

Astrid Anna Emilia Ericsson was born on November 14, 1907 in the south of Sweden, in the city of Vimmerby. Her first publication was a school essay, because of which classmates began to tease her with Selma Lagerlef (Swedish novelist - "b"). After that, Astrid gave up writing fairy tales and went to work for the local newspaper Wimmerby Tidningen.

"If I managed to brighten at least someone's gloomy childhood, then I'm happy."

“Becoming the subject of gossip was like being in a pit full of snakes, and I decided to leave this pit as soon as possible. It didn't happen at all the way some might think - I was not kicked out of the house like in the good old days. Not at all, I left on my own. Nobody could keep me at home "
After moving to Stockholm, Astrid graduated from courses in stenographers, but could not find a job and gave her newborn son Lars to a foster family.

"I write for myself to entertain the child inside me - I can only hope that it will amuse other children as well."
In 1928, Astrid got a secretary position at the Royal Automobile Club and three years later married her boss, Sture Lindgren. After getting married, Astrid Lindgren was able to take her son and gave birth to a daughter, Karin. After that, the writer broke her vow and began to compose fairy tales for home magazines.


“The worst thing is when a child cannot play. Such a child is like a boring little old man, from which, over time, an adult old man grows, deprived, however, of the main advantage of old age - wisdom "
In 1944, Astrid Lindgren won second place in the Raben & Shegren's Best Girls' Book Competition and was able to publish Britt-Marie Pouring Out Her Soul


"You will not find true peace on earth, perhaps it is just an unattainable goal."
Astrid Lindgren invented her most famous heroine, Pippi Longstocking, during the war and illness of her daughter Karin. The writer gave the first homemade print run to her daughter for her birthday, and in 1945 Raben and Shegren published the book "Pippi settles in the" Chicken "villa"


In 1954, Astrid Lindgren wrote the story "Mio, My Mio", in 1955 - "The Kid and Carlson." In 1961, "Three stories about Malysh and Carlson" were published in the USSR: their lifetime circulation in Russian amounted to more than 5 million copies

“I drink summer like wild bees drink honey. I am gathering a huge ball of summer so that it will last for ... for the time when ... there will be another time ... Do you know who this is? ...
- There are sunrises and blueberries, blue with berries, and freckles, as you have on your hands, and moonlight over the evening river, and the starry sky, and the forest in the midday heat, when the sunlight plays in the tops of the pines, and the evening rain, and everything around ... and squirrels, and foxes, and elk, and all the wild horses that we know, and swimming in the river, and riding horses. Understand? The whole lump of dough from which summer is baked. "

"Roni, the robber's daughter"

“The journalists are so stubborn. Just leave a blank space in the newspaper and write: "Something about Astrid Lindgren should have come out here, but she did not want to participate in it" "
From 1946 to 1970 Astrid Lindgren worked as a children's literature editor at Raben & Sjögren, which published all of her books, and hosted quizzes on Swedish radio and television.

"Today in our world there are so many dictators, tyrants, oppressors, tormentors ... What kind of childhood did they have?"
In 1976, Astrid Lindgren published the adult tale "Pomperiposs of Monismania" about an overly tough tax policy, and in 1985 sent to Stockholm newspapers a tale about a loving cow against animal abuse. As a result, the Lex Lindgren Animal Welfare Act (Lindgren Act) was passed in Sweden in 1988
Photo: Constantin-Film / ullstein bild via Getty Images


“God save me from the Nobel Prize! Nellie Sachs died from what she received, I'm sure the same will happen to me. "
In 1958, Astrid Lindgren received the Hans Christian Andersen Medal (also called the Nobel Prize in Children's Literature), and in 1969 the Swedish State Prize for Literature

Formation of creative views Astrid Lindgren Astrid Lindgren strid Lindgren November 14, 1907 January 28, 2002 Stockholm Swedish writer. Lindgren was born into a family of farmers in an old red house in the back of an apple orchard. But Lindgren was in no hurry to publish the story.

If this work did not suit you at the bottom of the page there is a list of similar works. You can also use the search button

PAGE \ * MERGEFORMAT 2

Test. Topic: "Science fiction in the fairy tales of Astrid Lindgren". Volume 8 - 13 pages

1. Shaping the creative minds of Astrid Lindgren

Astrid Lindgren (November 14, 1907 - January 28, 2002, Stockholm), Swedish writer. Stories for children "Pippi - Long Stocking" (1945-52), about Little Boy and Carlson (1955-68), "Rasmus the Tramp" (1956), about Emil from Lenneberg (1963-1970), "Brothers Lionheart" ( 1979), "Ronya, the robber's daughter" (1981) are imbued with humanism. The fantastic adventures of its heroes, distinguished by their spontaneity, inquisitiveness and mischief, take place in the real world with its sharp contradictions.

Lindgren was born into a family of farmers "in an old red house in the back of an apple orchard." Even at school she was predicted the future of the writer, calling her "The Seventh Lagerlef with Vimmerby"; she promised herself not to write, just not to be like someone else. In 1941, her daughter fell ill, and when her mother had used up the entire store of stories, she asked, giving an unexpectedly strange name: "Tell me about Pippi Long Stocking." The unusual name made me come up with the most unusual heroine. But Lindgren was in no hurry to publish the story.

In 1944, she fell ill herself and processed her oral stories, donating one copy to her daughter, and sending the second to the publishing house. As Lindgren had hoped, the publishing house, shocked by the extraordinary character and abilities of the heroine, who can raise a horse with one hand and eat a whole cake at once, and, in addition, laughs at benefactors and generally behaves amazingly, rejected the manuscript. But in 1945, Lindgren won the prize for the book Britt-Marie, the Fitting Heart, then the following year, and the revised version of Peppy was removed. The Adventures of the Famous Investigator Kalle Blumkvist (1946) was the next book to be awarded the prize again.

Lindgren became a professional writer. She believed that childhood gave her the material that later entered her works. Tramps, who repeatedly asked to sleep with her parents, made her think already in childhood that not all people have their own roof, their stories expanded her worldview, taught to see that the world is inhabited not only by good people. The theme of the struggle between good and evil, one of the leading in her works, was born even then. The writer believed that “you can't sit and invent some stories. You need to immerse yourself in your own childhood. " Only then can you write something that awakens the child's imagination. And she considered this the most important task of literature, only inherent in it, because neither cinema nor television leaves room for imagination.

Imagination, Lindgren quite rightly believed, is the most important ability of mankind, "after all, everything great that ever appeared in this world was born first in the human imagination." In addition, a book for children should develop children's faith in the ability to create a miracle, in its very existence. But the miracle in Lindgren's works is always born out of reality itself, as in the story of Little Boy and Carlson, who lives on the roof.

Lindgren did not openly express her program, but tried to contribute to the democratization of public relations with her creativity, she wanted to see a world without war, where children would not suffer. She wrote for children, and therefore her ideas take on a form that children can understand. So, in the fairy tale-story "Mio, my Mio!" the hero opposes the evil knight Kato, and the Lionheart brother fights against the tyrant Tengil. In the works of Lindgren, about medieval times, it is not only about the struggle between good and evil, as in all fairy tales of all times. In the features of the enemies of the writer's goodies and in the descriptions of the countries they rule, the features of fascism are clearly visible, and the characters themselves are similar to modern Swedes.

1. Specificity of Lindgren's fairy-tale craftsmanship

The specificity of Lindgren's fabulous skill lies in the fact that she created fairy tales where real modern boys and girls suddenly acquire fabulous properties, like the poor, abandoned girl Peppy, or live a double life in an ordinary Swedish city of the XX century. with the phone, going to school like a Kid; with poverty and misfortune, like Brother Lionheart; orphaned like Mio; at the same time they have a second world - a fabulous, fantastic one.

Here they are either powerful and heroic themselves (Mio, Brother Lionheart), or they have supernatural helpers and friends, like the Kid, whose friend Carlson becomes. Fairy tale heroes of the past flew on airplane carpets, in flying chests, etc. Children of the XX century, familiar with the aircraft of our time, guess the motors, propellers, control buttons. Lindgren's fiction itself is a world created by the imagination of a contemporary child. Carlson's ideas, for example, are pranks that are possible for an ordinary child with a developed imagination. Lindgren never moralizes. She makes her little readers see the bad in the examples available to them. The writer's gentle humor creates a special kind atmosphere, where there is no opportunity for the triumph of the evil principle.

The inevitability of the final victory of good is also inherent in Lindgren's stories for youth, and their heroes are the same dreamers, like the heroes of fairy tales. Kalle Blumkvist imagines himself a famous investigator, playing with his friends in the War of the Red and White Roses. Rasmus the Tramp idealizes the life of homeless beggars. Lindgren also educates his readers in stories about real events: the war of the Red and White Roses is waged between friends according to the rules of highly interpreted chivalry, it is filled with inexhaustible ingenuity of adolescents, destroys obstacles; Rasmus understands the true nature of vagabonds.

However, Lindgren did not abandon trolls, elves, brownies or spiritualizations of the forces of nature, mountains or objects, but this traditionally fantastic is combined with a change in reality with a child's fantasy. In her tales, Lindgren followed G.K. Andersen, who knew how to tell amazing stories about ordinary objects, for S. Lagerlef, who combined in one work a textbook about the nature of Sweden, the real life of a little boy Niels and the history of a goose flock. However, it does not repeat its predecessors. Lindgren, introducing the reader into the circle of the child's fantasies and emotions, teaches adults to respect his inner world, to see him as a person.

1. The main characters of the fairy tales by Astrid Lindgren

The largest works of Lindgren are fairy tales: "Pippi Longstocking" ("Boken om Pippi Langs-trump", 1945-1946), "Mio, my Mio" (1954), "The Kid and Carlson Who Lives on the Daxy" (" Lillebror och Karlsson pa Taket ", 1955 - 1968)," The Brothers Lionheart "(" Brodema Lejon-hjarta ", 1973), as well as the story for children and youth" The Adventures of the famous investigator Kalle Blumkvist "(" Masterdetektiven Blomqvist lever farligt " 1946-1953), "Rasmus the Tramp" ("Rasmus pa Luffen", 1956) and the trilogy about Emil from Lenneberg ("Emil in Lonneberga", 1963-1970). Lindgren did not openly express her program, but with her creativity she wanted to contribute to the democratization of social relations, she wanted to see a world without war, where children would suffer. She wrote for children, and therefore his ideas take on a form that children can understand. So, in the fairy tale-story “Mio, my Mio!” The hero opposes the evil knight Kato, and the Lionheart brothers fight against the tyrant Tengil. in all fairy tales of all times.In the features of the opponents of the writer's good characters and in the descriptions of the countries they rule, the features of fascism are clearly visible, and the characters themselves are similar to modern Swedes.

The specificity of Lindgren's fabulous skill is that she created fairy tales, fairy tales, where real modern boys and girls suddenly acquire fabulous properties, like the poor, abandoned girl Pippi, or live a double life in an ordinary Swedish city of the 20th century. with the phone, going to school like a Kid, with poverty and hardship like the Lionheart brothers; orphaned like Mio; time they have another world - fabulous, fantastic. Here they are either powerful and heroic themselves (Mio, take the Lionheart), or they can have helpers and friends endowed with supernatural powers, like the Kid, whose friend Carlson becomes. The fabulous heroes of the past flew on airplane carpets, near flying chests, etc. Children of the 20th century, They are familiar with the aircrafts of our time, they come up with engines, propellers, control buttons. Lindgren's fiction itself is a world created by the imagination of a contemporary child. Carlson's tricks, for example, are pampering, which an ordinary child with a developed imagination can do. Lindgren never moralizes. She makes her little readers see the bad in the examples available to them. The writer's soft humor creates a special kind atmosphere, where there is no opportunity for the triumph of the evil of the beginning.

The inevitability of the final victory of good is also inherent in Lindgren's stories for youth, and their heroes are the same dreamers, like the heroes of fairy tales. Kalle Blumkvist imagines himself a famous investigator, plays with his friends in the war of the Scarlet and White Rose. Rasmus the vagabond idealizes the life of homeless beggars. Lindgren also educates his readers in stories about real events: the war of the Scarlet and White Roses is waged between friends according to the rules of highly interpreted chivalry, it is full of inexhaustible inventiveness of adolescents, destroys the state of obstacles; Rasmus understands the true nature of vagabonds. However, Lindgren did not abandon trolls, elves, brownies or the spiritualization of the forces of nature, mountains or objects, but this traditionally fantastic is combined in her with a change in reality with a child's fantasy. In her tales, Lindgren followed G.K. Andersen, who knew how to tell amazing stories about nayprosy objects, for S. Lagerlef, who combined in one work a textbook on the nature of Sweden, the real life of a little boy Niels and the story of a goose flock. However, it does not repeat its predecessors. Lindgren, introducing the reader into the circle of the child's fantasies and emotions, teaches adults to respect his inner world, to see him as a person.

Pippi Longstocking is the central character in a series of books by Swedish writer Astrid Lindgren.

Peppy is a little red-haired freckled girl who lives alone in the "Chicken" villa in a small Swedish town with her animals: the monkey Mr. Nilsson and the horse. Peppy is the daughter of Captain Ephraim Longstocking, who later became the leader of the black tribe. From her father, Pippi inherited fantastic physical strength, as well as a suitcase of gold, which allows her to exist comfortably. Peppy's mother died when she was still a baby. Peppy is sure that she has become an angel and is looking at her from the sky ("My mother is an angel, and my father is a Negro king. Not every child has such noble parents").

Pippi “adopts”, but rather, invents various customs from different countries and parts of the world: when walking, back up, walk the streets upside down, “because your feet are hot when you walk on a volcano, and you can put on your hands in mittens”.

Peppy's best friends are Tommy and Annika Söttergren, children of ordinary Swedish people. In the company of Peppy, they often get into trouble and funny alterations, and sometimes - real adventures. Attempts by friends or adults to influence the disorderly Pippi do not lead to anything: she does not go to school, is illiterate, familiar and always composes fables. However, Pippi has a good heart and a good sense of humor.

Pippi Longstocking is one of Astrid Lindgren's most fantastic heroines. She is independent and does whatever she wants. For example, she sleeps with her feet on the pillow and with her head under the covers, wears colorful stockings when returning home, backs away because she does not want to turn around, rolls the dough right on the floor and keeps the horse on the veranda.

She is incredibly strong and agile, even though she is only nine years old. She carries her own horse in her arms, defeats the famous circus strongman, scatters a whole company of hooligans to the sides, breaks off the horns of a ferocious bull, deftly exposes two police officers from her own house who came to her to forcibly take her to the orphanage, and instantly throws two onto the closet smashed the thieves who decided to rob her. However, there is no cruelty in Pippi's reprisals. She is extremely generous to her defeated enemies. She treats the disgraced police with freshly baked gingerbread in the shape of hearts. And embarrassed thieves who have worked out their intrusion into a strange house by dancing with Pippi Twist all night, she generously rewards gold coins, this time honestly earned.

Peppy is not only extremely strong, she is also incredibly rich. It costs her nothing to buy for all the children in the city "a hundred kilos of candy" and a whole toy store, but she herself lives in an old dilapidated house, wears a single dress made from colorful rags, and the only pair of shoes her father bought her "for growth." ...

But the most amazing thing about Pippi is her vivid and violent fantasy, which manifests itself in the games that she comes up with, and in amazing stories about different countries where she visited with her dad-captain, and in endless practical jokes, the victims of which become idiots. adults. Pippi takes any of his stories to the point of absurdity: a mischievous maid bites guests by the legs, a long-eared Chinese man hides under his ears in the rain, and a capricious child refuses to eat from May to October. Peppy gets very upset if someone says that she is lying, because lying is not good, she just sometimes forgets about it.

Peppy is a child's dream of strength and nobility, wealth and generosity, freedom and selflessness. But for some reason the adults Pippi do not understand. And the pharmacist, and the school teacher, and the director of the circus, and even the mother of Tommy and Annika are angry with her, teach, educate. Apparently, therefore, more than anything in the world, Pippi does not want to grow up:

“Adults never have fun. They always have a lot of boring jobs, stupid dresses and cumin taxes. And they are also crammed with prejudice and all sorts of nonsense. They think it’s a terrible misfortune if you put a knife in your mouth while eating, and so on. ”

But "who said that you need to become an adult?" No one can force Peppy to do what she does not want!

The books about Pippi Longstocking are full of optimism and unchanging belief in the very best.

And the last thing that needs to be said: about the influence of Astrid Lindgren on Russian children's literature. It should be admitted that the very existence of the Swedish writer’s wonderful books raised the bar of quality in children's literature, changed the attitude towards children's books as second-class literature, the creation of which does not require excessive efforts from the writer, if only it was neat and funny (and edifying). Of course, Astrid Lindgren was not alone in this struggle for a good children's book, but her authority and personal example did a lot to strengthen the high requirements for literature for children.

Astrid Lindgren left an amazing legacy - a talented and diverse contemporary children's literature, which - and this is no exaggeration - came out of her books. Thank her for this wonderful magical gift to all of us.

Astrid Lindgren's books are also good because you want to return to them, you want to reread them not only in childhood, but in adulthood. These are fairy tales and at the same time they are stories about children, those who live in the neighboring yard. There is nothing fantastic in them, they just know how to dream, fantasize, see inaccessible to adults.

List of used literature

1. Astrid Lindgren. Pippi Longstocking / translated by N. Belyakova, L. Braude and E. Paklina. - SPb: Azbuka, 1997
2. Braude L. Astrid Lindgren for children and youth // Children's literature, 1969. Moscow, 1969. P. 108.
3. Lindgren A. Pippi Longstocking. - Petrozavodsk: Karelia, 1993.
4. Uvarova I. What's new in the theater for children // Theater. 1968. No. 8, p. 23.

I have long wanted to keep in my journal an article by Oleg Fochkin about the life of Astrid Lindgren and excerpts from her childhood memories. Supplemented with photographs.
Here, I save :)
And I advise you to read it to those who have not read it yet - it was written very interestingly and with great love!

One of the minor planets is named after Astrid Lindgren.
"Call me now" Asteroid Lindgren ", - she joked, having learned about such an unusual act of recognition.
The children's writer became the first woman to whom a monument was erected during her lifetime - it is located in the center of Stockholm, and Astrid was present at the opening ceremony.
The Swedes called their compatriot "the woman of the century".
Astrid Anna Emilia Lindgren is Sweden's most famous children's writer.

She has written 87 children's books and most of them have been translated into Russian. In particular, these are:
- "Pippi Longstocking"
- "The Kid and Carlson Who Lives on the Roof"
- "Emil from Lönneberg"
- "Brothers Lionheart"
- "Roni, the robber's daughter"
- "The famous detective Kalle Blumkvist"
- "We are all from Bullerby"
- "Rasmus the Tramp"
- "Lotta from Gorlastaya Street"

In 1957, Lindgren became the first children's writer to receive the Swedish State Prize for Literary Achievement. Astrid has received such a number of awards and prizes that it is simply impossible to list them all.
Among the most important:
- Prize named after Hans Christian Andersen, which is called the "Minor Nobel Prize";
- Lewis Carroll Award;
- awards from UNESCO and various governments;
- Leo Tolstoy International Gold Medal;
- Silver Bear (for the film "Ronnie, the Robber's Daughter").

Astrid Lindgren, née Ericsson, was born into a farming family on November 14, 1907 in the small town of Vimmerby in the Småland province of southern Sweden.

As Lindgren herself would later write in the collection of autobiographical sketches "My inventions", she grew up in the age of the horse and the convertible. The main means of transportation for the family was a horse-drawn carriage, the pace of life was slower, entertainment was simpler, and the relationship with the surrounding nature was much closer than today.
And from childhood, the future great storyteller loved nature very much, not imagining how she could live without this amazing world.

Childhood passed under the banner of endless games - exciting, exciting, sometimes risky and in no way inferior to boyish fun. Astrid Lindgren kept her passion for climbing trees until her very old age. "The Law of Moses, thank God, does not forbid old women to climb trees", - she used to say, she used to be in old age, overcoming the next tree.

She was the second child of Samuel August Ericsson and his wife Hannah. My father rented a farm in Nes, a pastor's estate on the very outskirts of the town. In addition to her older brother Gunnar, Astrid soon had two sisters - Stina and Ingegerd.

Astrid's parents met when her father was thirteen and her mother was twelve, and have loved each other ever since.
They felt deep affection for each other and for the children. And most importantly, they were not shy about these feelings, which by the standards of that time was a great rarity, if not even a challenge to society.
The writer fondly told about this time and special relations in the family in her only "adult" book "Samuel August from Sevedstorp and Hannah from Hult".

As a child, Astrid Lindgren was surrounded by folklore, and many jokes, fairy tales, stories that she heard from her father or from friends later formed the basis of her own works.
Love for books and reading, as she later admitted, arose in the kitchen of Christine, with whom she was friends. It was Christine who introduced Astrid to the wonderful world of fairy tales.
The girl grew up on books that were completely different from her own future works: on the sugary Elsa Beskow, on varnished recordings of folk tales, on moralizing stories for youth.

Her own abilities became evident already in elementary school, where Astrid was called “Selma Lagerlöf of Wimmerbün”, which, in her own opinion, she did not deserve.
Astrid, who read a lot from an early age, learned very easily. It was much more difficult to maintain the rules of school discipline. It was the prototype of Pippi Longstocking.

The city that is described in almost every Lindgren novel is Vimmerby, near which Astrid's home farm was located. Vimmerby turned out to be the city where Pippi went shopping, now the patrimony of the policeman Bjork, now the place where little Mio runs.

After school, at the age of 16, Astrid Lindgren began working as a journalist for the local newspaper Wimmerby Tidningen.
Once obedient Astrid has become a real "queen of swing".

But the top of the shocking was her new haircut - she was one of the first in the district to cut her hair short, and this at sixteen!
The shock was so great that her father categorically forbade her to show herself in front of him, and people on the street approached her and asked her to take off her hat and demonstrate her outlandish hairstyle.

At eighteen, Astrid became pregnant.
The scandal turned out to be so great that the girl had to leave her parental home and go to the capital, leaving the position of a junior reporter and her beloved family.
In 1926, Astrid had a son, Lass.
Since there was not enough money, Astrid had to give her beloved son to Denmark, to the family of adoptive parents. She never forgave herself for that.

In Stockholm, Astrid studies to become a secretary, then works in a small office.
In 1931 he changed his job to the Royal Auto Club and married his boss, Sture Lindgren, who turned Astrid Ericsson into Astrid Lindgren. After that, Astrid was able to take Lars home.

After marriage, Astrid Lindgren decided to become a housewife in order to devote herself entirely to her son. The boy was proud of Astrid - she was the most bully mom in the world! One day she jumped on a tram at full speed and was fined by a conductor.

Daughter Karin was born to the Lindgrens in 1934, when Lass was seven years old.

In 1941, the Lindgrens moved into an apartment overlooking Stockholm's Vasa Park, where the writer lived until her death. The family lived in harmony until Sture's death in 1952. Astrid was then 44 years old.

The history of the twisted leg

Perhaps we would never have read the fairy tales of the Swedish writer, if not for her daughter and "His Majesty the case."
In 1941, Karin fell ill with pneumonia, and every night Astrid told her all sorts of stories before going to bed. Once a girl ordered a story about Pippi Longstocking - she invented this name right there, on the go. So Astrid Lindgren began to write a story about a girl who does not submit to any conditions.

Shortly before her daughter's tenth birthday, Astrid unsuccessfully twisted her leg and, lying in bed and thinking about her daughter's birthday present, the future great storyteller wrote down her first novel "Pippi Longstocking" and a written sequel about a funny red-haired girl.
The handwritten book with illustrations by the author was greeted by my daughter with delight. Astrid's 10-year-old daughter and friends persuaded Astrid to send the manuscript to one of the major Swedish publishing houses.
Since this all started...

The writer sent one copy of the manuscript to the largest Stockholm publishing house Bonnier. After some deliberation, the manuscript was rejected. But the writer had already decided everything for herself and in 1944 she took part in the competition for the best book for girls, announced by the relatively new and little-known publishing house "Raben & Sjotgren".
Lindgren won second prize for Britt-Marie pours out her soul and her publishing deal.

At the same time, the writer closely followed the discussion about upbringing unfolding in society, advocating an upbringing that would take into account the thoughts and feelings of children and thus show respect for them.
She became an author consistently speaking from a child's perspective.
Worldwide recognition for a long time could not reconcile the author with the Swedish State Commission for Children's and Educational Literature. From the point of view of the official educators, Lindgren's tales were incorrect and not instructive enough.

And then Lindgren starts working in this publishing house as the editor of the children's literature department.
Five years later, the writer receives the Niels Holgerson Prize, then the German Prize for the Best Children's Book (Mio, My Mio).
She worked at this publishing house until her retirement, which she officially retired in 1970.
In 1946, she published the first story about the detective Kalle Blumkvist, thanks to which she won the first prize in a literary competition (Astrid Lindgren did not participate in the competitions anymore).

Carlson became kinder in the USSR

The idea of ​​Carlson, who lives on the roof, was also suggested by his daughter.
Astrid drew attention to Karin's funny story that when the girl is left alone, a small cheerful man flies into her room through the window, who hides behind a picture if adults enter.
His name was Liljem Kvarsten - a magical uncle in a pointed hat who takes lonely children on incredible journeys at dusk. He came to life in the collection "Little Nils Carlson" .

And in 1955, "The Kid and Carlson Who Lives on the Roof" appeared.
Carlson is the first positive character in a children's book with a full set of negative traits. He made me believe that all our fears and problems are just "trifles, a matter of everyday life."

In March 1966, the French language teacher Lilianna Lungina - the wife of the screenwriter Semyon Lungin, the mother of the filmmakers Eugene and Pavel Lungin - brought home a Swedish book by a certain Astrid Lindgren in an old string bag.

For a year she had dreamed of working as a translator, and the publishing house "Children's Literature" promised to conclude a contract with her if there was a good Swedish book ...

In 1967 the first Soviet edition of Carlson was published.
The book instantly became popular. By 1974, more than 10 million (!) Copies of the fairy tale had been sold.
Lindgren liked to repeat in her interviews that there is "something Russian" about Carlson. And then Lindgren came to Moscow. Lilianna Lungina recalled: "Astrid turned out to be surprisingly similar to her books - perceptive, very intelligent. Light and really funny. When she came to us, she pulled our six-year-old son Zhenya out of his crib and began to play with him on the carpet, and when we accompanied her to the hotel, she , getting off the trolleybus, I danced so infectiously and enthusiastically on the street that we had to answer her in kind ... "

Carlson's "personality cult" in the USSR began after the release of the animated series "Kid and Carlson" and "Carlson Returned" filmed at the Soyuzmultfilm studio.
It could have become a trilogy (a series about Uncle Julius), if the director of the cartoon Boris Stepantsev had not been carried away by new projects.
And the leading role in the cult cartoon was played by the artist Anatoly Savchenko. It was he who created the characters who ousted the originals of Ilon Wikland from our consciousness.
Many catch phrases from m / f are missing in the book. Let's remember at least:
- "Karlson is dear!"
- "Fu! I served my whole neck"
- "Do I love children? How can I tell you? ... Crazy!"
- "And I'm out of my mind! What a shame ..."

The emphasis was shifted towards the loneliness of the Kid. And instead of the mischievous boy that Lindgren had (he throws stones and defies Miss Bock), we see a sad big-eyed melancholic.
Carlson, in Russian translation, is generally good-natured.

How a fairy tale changed power

Astrid Lindgren earned more than one million crowns selling the rights to publish her books and their adaptation, to release audio and video cassettes, CDs with recordings of her songs or literary works in her own performance.

But all these years, her lifestyle has not changed - Lindgren lived in the same modest Stockholm apartment and preferred to distribute money to others.
Only once, in 1976, when the tax collected by the state amounted to 102% (!) Of its profits, Lingren protested.

She sent an open letter to the Expresssen newspaper in Stockholm, in which she told a story about a certain Pomperipossa from Monismania. In this fairy tale for adults, Astrid Lindgren took the position of a layman and tried to expose the vices of society and its pretense.
In the year of parliamentary elections, the fairy tale became a bomb for the bureaucratic apparatus of the Swedish Social Democratic Party, which had been in power for over 40 years in a row.
The Social Democrats lost the elections.
At the same time, the writer herself was a member of this party all her life.

Her letter was so well received because of the general respect she enjoyed in Sweden. The books performed by her were listened to on the radio by Swedish children. Her voice, face and sense of humor were also known to adults, who constantly saw and heard Lindgren on radio and television, where she hosted various quizzes and talk shows.

“Not Violence,” she said at the presentation of the German Bookselling Peace Prize.
"We all know- reminded Lindgren, - that children who are beaten and abused will themselves beat and abuse their children, and therefore this vicious circle must be broken. ".

In the spring of 1985, she spoke publicly about the harassment of farm animals.
Prime Minister Ingvar Karlson himself listened. When he paid a visit to Astrid Lindgren, she asked what kind of young people he had brought with him. "These are my bodyguards"- answered Carlson.
"Quite reasonable of you,- said the 78-year-old writer, - you never know what to expect from me when I'm in this mood! "

And in the newspapers there was a fairy tale about a loving cow protesting against the mistreatment of livestock. In June 1988, an animal welfare law was passed that was named the Lindgren Act.

She was always afraid not to be in time ...

Astrid Sture's husband died in 1952.
Then - mother, father, and in 1974 her brother and several old friends died.
And a son.

A voluntary retreat began.
"Life is a wonderful thing, it drags on for so long and yet is so short!" she said.
The only thing Astrid was really afraid of was not being in time.

In recent years, she rarely left the house and did not communicate with journalists.
She practically lost her sight and hearing, but always tried to be aware of everything that was happening.
When Astrid turned 90, she turned to numerous fans with an appeal not to send her gifts, but to send funds to a bank account for the construction of a children's medical center in Stockholm, where the writer herself sent an impressive amount.
Now this center - the largest in Northern Europe - is rightfully called the Astrid Lindgren Center.

Her books have been translated into more than 80 languages ​​of the world and published in more than 100 countries.
They say that if the entire circulation of Astrid Lindgren's books is put in a vertical stack, then it will be 175 times higher than the Eiffel Tower.

There is Astrid Lindgren's Fairy Tale Museum "Junibacken" in Stockholm.
Nearby there is "Astrid Lindgren Park", where you can run on the rooftops with Carlson, ride your own horse Pippi Longstocking and wander along Ugly Street.

The children's writer was posthumously nominated for the Nobel Peace Prize.
For the past ten years, the Swedish press has been annually calling for Astrid Lindgren to be awarded the Nobel Prize.
But this award has never been given to children's writers. Children's literature seems to live on its own. Maybe because she faces not only literary tasks, but also pedagogical ones. And society always resists, lags behind.
The Lindgren Award was never given ...

Oleg FOCHKIN

MEMORIES ABOUT CHILDHOOD

Astrid with her older brother Gunnar

"From my childhood, I first of all remember not people, but that amazing and beautiful environment that surrounded me. With age, the sensations become less and less vivid, but then the whole world around was unimaginably saturated and full of colors. Strawberries among the rocks, carpets of blue spring flowers, meadows of primrose, blueberry thickets known only to us, a forest covered with moss, through which graceful pink flowers make their way, Nes's walks, where we knew every path and every pebble like the back of your hand, a stream with water lilies, ditches, springs and trees - all I remember this much more clearly than people. "

Nes's wonderful landscapes not only provided a unique playground for children, but also allowed them to develop a vivid imagination. Little Eriksson tirelessly came up with exciting new games with what they saw around them. The songs and prayers learned by the children were also important for these games.
Amazing magic games.

"Oh, how we knew how to play! The four of us could play tirelessly from morning to night. All our games were fun and active, and sometimes even life-threatening, which, of course, we were completely unaware of at the time. We climbed on the tallest trees and jumped between the rows of boards at the sawmill. We climbed high on the roof and balanced on it, and if only one of us stumbled, our games could stop forever. "

One of the favorite games of the little Eriksson and their guests in Näs was "Don't step on the floor." At the same time, all the children had to climb the furniture in the bedroom without touching the floor at all. It is in such a game, but much later, that Peppy will offer to play Tommy and Annika at the Chicken Villa.

“From the office door, we had to climb onto the sofa, from there climb to the kitchen door, and then to the dressing table and the work table. why on the open fireplace again move to the door of the office. "

Another favorite game of Astrid and Gunnar was the wind-sail game.
Children had to run through all the rooms of the house, starting from different ends of it, and meet in the kitchen, where each had to poke another finger in the stomach and shout "wind-sail!"
This is what Emil and Ida play in the books about Emil from Lönnerberg.

There was an old elm in Nes, which Astrid and her brother and sisters called the "owl tree."
The inside of the tree was completely hollow, and the children loved to play in it.
One day Gunnar climbed a tree holding a hen's egg. He put the egg in an owl's nest, and twenty-one days later found in it a newly hatched chicken, which his mother later bought from him in seventy-five oers.
Astrid tells this story to us in the book "We are all from Bullerby", where little Bosse does this trick of Gunnar.

However, at the beginning of the last century, the children of farmers had to not only rest, but also do hard work. They planted turnips, weeded nettles from vegetable gardens, and reaped crops.
Everyone was busy working on the farm: both the children of hired workers and the children of the owners.

“As was customary in those days, of course, from childhood, we were brought up with awe and awe of the Lord. However, in our free time, no one followed us, no one told us what to do. And we played and played and played ... If we had the opportunity, we could play forever! "

According to Astrid herself, she very clearly remembered the moment when her childhood came to an end, and the terrible realization came to her that the games were over forever.

"I remember that moment very well. We then loved to play with the priest's granddaughter when she came to Nes for the holidays. And one summer, on her next visit, we were going to start our usual games and suddenly found that It was a very strange feeling, and we became very sad, because we did not know at all what else we could do if we didn’t play "........

Well, and a book, of course :)
A book written by The Amazing Storyteller Astrid Lindgren.

It contains nine short stories. Not related to each other.
I have always loved "There are no robbers in the forest" and "Little Nils Carlson".
The translation of fairy tales in the book is familiar from childhood - L. Braude.
And in "Princess ..." and in "Beloved Sister" - E. Solovyova. I really don't remember if I read these two fairy tales as a child ...

Drawings in the book by Ekaterina Kostina. Vaschinskaya. Kostina-Vaschinskaya ... I got confused with the change of her surnames :)
I love her "crackle-style" drawings dearly :)
So the question of buying this book was not for me - Lindgren + Kostina = I'm happy :)

Well, about the publication.
It's very good! Large format, sturdy cover, matte chalk, large bold print and excellent print quality.

I very much approve of this book and shamelessly recommend it for purchase :)

Astrid Lindgren
"Little Nils Carlson"

Publisher - Machaon
Year - 2015
Binding - cardboard with partial varnishing
Paper - coated
Format - encyclopedic
Pages - 128
Circulation - 8,000 copies

Translated by L. Braude, E. Solovyova
Artist - Ekaterina KOSTINA

Lindgren knows children well, knows how to tell stories to make them enjoyable, and knows well what a children's book should be. Turning to a young author who wants to create for children, the writer advises him to write in such a way that it is fun only for children and not for adults, to write in such a way that it is fun for children and adults, but never write in such a way that only adults have fun. She believes that composing for children is extremely fun, you just need to write freely and with all your heart. " If you ask me what a children's book should be, I will answer after a long thought: it should be GOOD. I assure you, I thought about this for a long time, but I can not find another answer."And continues" There is nothing more important in the world than freedom, and in children's literature too. Freedom is necessary for a writer so that he can write such books as he wants: documentary essays or nonsense poetry, short instructive stories or exciting adventure novels ... Fairy tales generated by irrepressible imagination, funny books and disturbing books ... the authors, each in their own way, talk to the reader about the most intimate.

Let children's writers write about anything - at your own risk! Let children's writers feel the hard way about risk. But just let them be free. Free to write according to their own understanding, and not by order and not according to ready-made recipes"(Braude, 1969: 108). And at the same time, Lindgren points out the personal responsibility of children's authors: “ If you want to write an amazing book for children about how difficult and impossible it is to be human in our world, you should have the right to do so; if you want to write about racial oppression and racial strife, you must have the right to do so; if you want to write about a blooming island in the arms of the Skerries, you actually should have the right to e then ”(Lindgren, 1997: 4).

Lindgren herself writes about a lot. Her books can be read by people of any age, starting from the minute they begin to love fairy tales. Lindgren always wants to write a book that she would like herself in childhood, but she, in her own words, would like it if they talked to her sincerely and seriously, and she does not hide from little readers that there is poverty, grief in the world , suffering and illness, people who struggle to make ends meet in modern Sweden, and what can upset a child. In 1978, Lindgren received one of the international prizes for peace defenders: “ We live in a turbulent, complex world, and as a mother, I often think what awaits the millions of those whose parents are now in their cradle. Children are our future, the embodiment of our hopes. And it is the duty of us adults to protect their future, to provide them with a world free of fear and hate."(Lindgren, 1997: 5).

Focusing on the little reader, Lindgren also dictated the optimal genre form of her works: stories and fairy tales.

Usually in a children's story the natural course of a character's life is reproduced, several episodes are highlighted. Which give the most complete idea of ​​the personality of the main character. The genre is attentive to detail. Descriptions play an important role in it. It is important to show how the views and worldview of the hero change during a particular period (most often this is the period of growing up). The story describes the place and time of the action as concretely and in detail as possible. There are a lot of minor characters here. Quite often, the main theme of the story is the complex relationship of children with adults, the author focuses on the psychology of the child, the peculiarities of his perception of people and the world. In order to recreate the personality of the protagonist, the author often turns to children's folklore, introducing children's teasers, counting rhymes into the story, paying attention to certain features of children's speech. In addition, the story should tell readers not only about themselves, but also about the world in which they live.

In this case, it is important to educate certain values, a story about how to build relationships with adults, peers, how to behave in a given situation, what consequences rash actions can lead to. The story teaches the child to take life seriously and this is the main advantage of the works of this genre.

In the works of A. Lindgren it is present as actually fairy tales, singled out by her in a separate collection: "Junker Niels from Eka", "Knock-knock", "Does my linden ring, does my nightingale sing", "Sunny meadow", "There are no robbers in forest! ”,“ Beloved Sister ”,“ The Princess Who Didn't Want to Play with Dolls ”,“ One Night in May ”,“ Mirabelle ”,“ The Merry Cuckoo ”,“ Peter and Petra ”,“ In a Twilight Country ”,“ Baby Nils Carlson ". All of these works are small in volume and fully convey the specifics of the genre. Let's highlight the most characteristic features of the writer's fairy tales:

1. Lindgren's fairy tales are based on the principle of double world, which is manifested by the dichotomies of the world of adults / the world of children, the real world / ideal world. The principle of double world is observed in fairy tales not only at the content level, but also at the intentional level: the fantasy plot is addressed to the child, and the philosophical subtext is addressed to the adult.

2. Lindgren's fairy tales are a special layer of her work. They are mainly written for the poor, about poor children, whose life is gloomy and joyless, but there is always hope in it, because, as we said above, children do not have a tragic attitude; hope for a happy life with a loving mother and endless games, even if in another world. So in the fairy tale "Sunny Glade" Matias and Anna (brother and sister) find shelter on " the magical Sunny meadow, where there was eternal spring, where tender birch leaves smelled, where thousands of tiny birds sang and rejoiced in the trees, where birch bark boats floated in spring streams and ditches, and where mother stood in the meadow and shouted:

- Here, here, my children!"(Lindgren, 1995: 125)

3. A fairy tale performs a kind of healing function: children recover with the help of a fairy tale, the inhabitants of the other world support and amuse them during illness. Such are the plots of the fairy tales "The Merry Cuckoo", in which the cuckoo from the wall clock entertains the ailing Gunnar and Gunilla; "In the twilight land", in which Mr. Vecherin takes away the boy Yoran, who cannot go to the fabulous Twilight land, thereby making the boy's existence not devoid of meaning; "Juncker Niels iz Eki", in which a fairy tale helps a seriously ill boy overcome his illness.

4. It is to children that secrets are revealed in fairy tales, it is they who are able to work miracles. Children in fairy tales act as cultural heroes. Let us recall that the “cultured hero” in mythological systems fights monsters and brings various benefits to people. So, the main heroine of the fairy tale "Knock-Knock" little Stina-Maria, goes to the underground country, overcoming fear, in order to return the farm sheep, which were bitten by the wolf. And she returns them.

5. There are also such characters in fairy tales who are the keepers of the secrets of the other world, these are often old people - grandmothers and grandfathers. They reveal secrets to those who can believe in them, and for whom the other world - the world of a fairy tale - is as real as the usual one. And these are mostly children. Such a keeper is, for example, the oldest inhabitant of the village of Capela in the fairy tale "Knock-Knock" - the grandfather of Stina-Maria.

6. Mandatory characters in fairy tales are inhabitants of the other world: fairies, trolls, talking cuckoos, animated dolls, dwarfs, little men, etc.

7. In many fairy tales there are so-called guides to the other world: Party, scarlet bird, underground inhabitant, old man, etc.

8. In Lindgren's tales, fairytale canons are observed: a characteristic beginning, digital symbolism, overcoming obstacles and the rebirth of a hero, an indefinite, distant time.

The origins of fairy tales are typically fabulous: “once upon a time there was a princess ...” (“A princess who did not want to play”), “a long time ago, in a time of trouble and poverty, there lived…” (“Sunny meadow”), “a long time ago, long ago, in times of poverty and hunger ... "(" Knock-knock ")," a long time ago, in years of poverty and poverty ... "(" Juncker Niels from Eki ")," a long time ago, in a time of troubles and poverty ... " ("Is my linden ringing, is my nightingale singing"), etc.

Time of fairy tales: a long time ago, the birthday of the main character, before the New Year, a few years ago.

Rebirth of heroes: the sick boy Nils turns into the cadet Niels, brave and fearless; the sick boy Yoran turns into absolutely healthy in a fairy-tale land, where he can do anything, even dance; poor and unhappy Mattis and Anna - happy and beloved children, etc.

Let's give an example of the fairy tale "Sunny meadow":

The sacred number 3 functions: three times it is said about how hard life was for the children with the guardian:

« In the spring, Matthias and Anna did not build water wheels on the streams and did not let birch bark boats in the ditches. They milked the cows, cleaned the cow stalls in the barn, ate potatoes dipped in herring brine, and often cried when no one saw it.»;

« And when summer came in the Peat Bog, Mattias and Anna did not pick strawberries and did not build huts on the hillsides. They milked the cows, cleaned the cow stalls in the barn, ate potatoes dipped in herring brine, and often cried when no one saw it.»;

« And when autumn came to the Peat Bog, Mattias and Anna did not play hide and seek in the courtyard at dusk, did not sit under the kitchen table in the evenings, and did not whisper fairy tales to each other. No, they milked the cows, cleaned the cow stalls in the barn, ate potatoes dipped in herring brine, and often cried when no one saw it"(Lindgren, 1995: 110-111).

Children overcome the forest - they find themselves in another world;

The guide to the other world is the bright-bright scarlet bird;

On the path of children, there is a cave - a type of death - and a clearing - a type of paradise.

In the clearing, a mother is waiting for them, who is a mother for all the same children - the Mother of God.

Another genre variety of A. Lindgren's works is children's story- is built according to the classical scheme. The following characteristic features of stories can be distinguished.

1. Most of the stories are focused on preschool and primary school age. An exception is the novels about Kalle Blumkvist, which are aimed at adolescence. Let's make a reservation that the style of presentation in teenage stories is very different from others: it becomes closer to the "adult" storytelling.

2. Astrid takes everything from life. The heroes of the stories live and act in the ordinary real world and their activities reflect their daily affairs and events.

3. Children are always heroes. Moreover, the images of children are typical for the society of the 20th century, and the author constantly emphasizes this. Naming her heroes in different stories in the same way, and she herself, with light irony, comments on the generalizing nature of her works: “ This book is about Rasmus Persona. Eleven years old. " Therefore, there is not one iota here about Rasmus Oscarsson, nine years old, or Rasmus Rasmusson, five years old ... There is absolutely nothing in common between these three Rasmusams. Except for the name, which is one of the most common in our country. Is not it?"(Lindgren, 2006: 172).

4. The duration of the stories usually fits either in a very short period of time (one day), or in several years.

5. The author is always present in the book and takes the position of the storyteller. The author's position is either explicitly or implicitly, but always actualized in the text of the work. This is indicated, for example, by such metalanguage phrases as: “ I didn't read it(history) in the book and did not invent it, they told me it», «… she seems to me touching and beautiful". Expressing his opinion, the author thereby forms the outlook of the young reader, his moral and aesthetic components, and educates him. Often, Lindgren puts his thoughts about raising children and attitudes towards them into the mouths of the children themselves, for example, the author's position is explicated in the dialogue of two girls who are nine years old - Lisa and Anna from Bullerby: “ Taking care of children is not difficult at all. You just need to remember that you need to talk to them kindly. Then they will obey<…>- Of course, you need to handle them carefully and affectionately, but how could it be otherwise! - I agreed. - Yeah, you think there are few people who growl at children? - said Anna. - And from this they become angry and stubborn and do not obey anyone at all"(Lindgren, 1998: 130).

6. The main goal of the stories, in our opinion, is to reveal child psychology and to reconstruct his inner world.

And, finally, the third genre in which A. Lindgren creates is a fairy tale; syncretic genre that combines elements of both genres considered. A distinctive feature of these works ("Pippi Longstocking", "Kid and Carlson", "Mio, my Mio!"

Topically, the works of A. Lindgren are subordinate to one main theme- the theme of childhood, which is made up of individual motives and typical situations that reveal the world of childhood.

V.E. Khalizev interprets the motive as an obligatory component of any work: “a component of a work with increased significance” (Khalizev, 2002: 301). The forms in which the motive is represented can be very different: it can be explicated in the work by means of all kinds of linguistic means, or it can be implicitly manifested through the subtext.

After analyzing the stories and tales of A. Lindgren, we were able to identify a number of main motives functioning in her work:

1. Christian motives. Lindgren's heroes, like herself, are brought up in the Christian tradition: they listen to biblical stories and songs told by adults, read the biblical stories themselves, tell them to their younger brothers and sisters, “play” biblical stories, study the law of God at school. Christian motives are especially clearly manifested in the stories about Madiken, where the main character often plays biblical stories with her younger sister in real life: Joseph in the well, baby Moses, baby Jesus, etc.

2. The motive of illness and death("Something Alive for Kalya-Kolchenozhka", "Juncker Niels from Eka", "In the Twilight Country", "Merry Cuckoo", "Merit", "Sunny Glade", "Is My Linden Ringing. Is My Nightingale Sweat" ), and the motive of suffering due to the death of a close creature ("We are on the island of Saltkrokka").

3. The motive of loneliness. In many of Lindgren's works, this motive acts as a catalyst for children's fantasy, the main result of which is the opening of the door to the other world and the appearance of doubles: Tommy and Annika are alone in their games, they are bored - as a result, Pippi ("Pippi Longstocking") appears in their lives; The kid is lonely: " Here you, mom, have a dad; and Bosse and Bethan are also always together. And I have - I have no one”(Lindgren, 1985: 194) - Carlson appears; little Bertil " spent the whole day at home alone"While the parents were at work - Little Nils Carlson appears; little Britta-Kaisa was a girl from a very poor family and her parents did not have the money to buy her a doll - an old man appears who gives her a magic seed, from which Britta grows herself a living doll (Mirabelle); little Barbara dreams of a dog, but for now she has no one, but has a beloved twin sister Ulva-Li, who lives in a magical land, plays with Barbara, but disappears as soon as Barbara has a puppy ("Beloved Sister").

4. The motive of the continuity of generations as a guarantee of upbringing: « Old and young are always drawn to each other"(" Knock-knock ": Lindgren, 1995: 145); old house, as a memory of predecessors ( Stolyarova estate in "We are on the island of Saltkrokka"); special love and care of the little ones for the old ones (the grandfather loved by all children in the story “We are all children from Bullerby”), etc.

5. The motive of cohesion and friendship within the family and with neighbors... Focusing on his own childhood, Lindgren displays in his works big family: everyone who lives in the house - both servants and neighbors - all family members: “We are on the island of Saltkrokka”, “Children from Buzoterov Street”, “We are all children from Bullerby”, “The Adventures of Emil from Lönneberg”. And even the semantics of the titles of works, as we can see, indicates the unity of people existing together, which is explicated by the personal pronoun in the plural we.

6. The motive of love... According to Lindgren, love should be as it was with her parents: simple, it grows between everyday affairs, then it is strong; idle love is not sincere and fleeting. " A love that does not rage, but grows and gains strength calmly and reasonably, is better than the one that burns with fire”(“ Samuel August of Sevedstorp and Khan of Hult: Lindgren, 1999: 401). Everything was inherent in childhood, and Astrid understood this well. The boundless love of her parents, warmth, joy, work, and the absence of reproaches made it possible for her to become grateful and have the opportunity to love and teach love to others. Love takes on different guises in her works: this is love between parents, mutual love of children and their parents, love-care of children for animals, love-friendship of older children for younger ones, love-pity for the poor and vagabonds, love-help for grandmothers and grandfathers, love-reverence and at the same time to God.

7. The motive of poverty... Lindgren shows young readers how defenseless poverty is, it is defenseless so much that a person in moments of despair can go to extreme measures, for example, Aunt Nilsson from the story "Madicken" decides to sell her body for pennies after death, despite the fact that her only hope was to receive a dignified burial. The motive of poverty can be traced in the images of vagabonds and residents of almshouses, orphans of the same age, small children who do not even have the opportunity to buy a doll. But poverty is not only a concept associated with the material world, but also with the spiritual. Lindgren equates the poor in spirit, who allow themselves the violence and humiliation of a child, for example, little Eva's aunt, with whom the girl is forced to live while her mother is in the hospital ("Golden Girl"), and the guardian of little Mathias and Anna from Solnechnaya glades ", which actually kept them in order to exploit child labor, etc. Material poverty, according to Lindgren, also gives rise to spiritual poverty, which as a result leads to mental callousness and inability to love, to self-humiliation, that is, a person loses your human form. This is what happens, for example, to the parents of Abbe Nilsson from the story "Madiken": material problems lead Abbe's father to alcohol and loss of his own dignity, when Abbe has to risk his life to save the life of his drunk father; parents try to find an outlet in meeting the minimum needs - for food and alcohol. At the same time, they become so stale that they even forget to buy a gift for Abba for Christmas, for them the son becomes not an object of love, but those who should please themselves.

8. The motive of kindness and compassion for other living beings: « It was Ulle who made him kind(the dog). After all, Ulle himself kind ”(“ We are all from Bullerby ”: Lindgren, 1998: 10); She's beautiful, Madiken thinks. There are beautiful words and beautiful music, but here - beautiful weather. For some reason, this weather makes you kinder ”(Lindgren, 2009: 63); " Kind people know how to get along with people”(“ Samuel August of Sevedstorp and Khan of Hult ”: Lindgren, 1999: 398); "- For this we were born into the world, - continued the teacher. - We live to make people good... I only live for this! she shouted. - And other people, I wonder what they live for? " (Lindgren, 2003 145); " I'm used to bulls, ”Kalle explained. - Just a little kindness- and you can easily take them"(" Småland Toreador ": Lindgren, 1995: 222).

9. The motive of friendship between a child and an adult... Such friendship is based on mutual respect and complete equality between an adult and a child. Such a rare type of friendship is depicted by A. Lindgren in the stories “We are on the island of Saltkrokka” and “Rasmus the vagabond”. It is interesting to note that such friendship is possible only when an "inner child" lives in an adult, when both roles of a child and an adult are balanced, and then the adult simply cannot but respect the child, this would contradict his essence: " Melker and Cherven developed that rare friendship that sometimes happens between a child and an adult. Friendship of two equal people who are frank with each other in everything and have the same right to speak frankly. Melker's character had a lot of childishness, while Cherven had a measure of something different, even if not the maturity of an adult, but some tangible inner strength, and this allowed them to keep on an equal or almost equal footing. Cherven, like no one else, treated Melker to bitter truths, from which he sometimes even cringed, and he was ready to give her a slap, but then he cooled down, realizing that with Cherven it would not lead to anything. However, for the most part, she was sweet and loyal, since she loved Uncle Melker very much."(Lindgren, 2004: 375). In Rasmus the Tramp, the author goes further and through the child's choice of a father, reveals his point of view on the ideal parent: parents can have their own shortcomings, like all people, but they must live in harmony with the world and themselves, must be sincere in their actions and judgments, must sincerely love the child and be on an equal footing with him, that is, see him as a person.

10. The motive of mutual assistance and support... The development of this motive enables the author to reveal the essence of true human relationships. This is best represented in the story "We are on the island of Saltkrokka": Marta Granqvist, a neighbor of the Melkersons, thinking about how to help a family who has just arrived on the island, prepares and brings them dinner, helps to cope with the stove, the whole Granqvist family supports the neighbors constantly, without demanding anything in return, and comes to the rescue in a difficult situation: “ Teddy and Freddie wanted to be with their friends in difficult times. What then are friends for? The girls had never seen Johan and Niklas so gloomy and depressed. And Pelle! He sat at the table, pale as a sheet. Malin was sitting next to him. She hugged Pelle and was as pale as he was. All this was terrible and unbearable. And then there was this little girl imagining mumbling about some bungalow. No wonder Teddy and Freddie went berserk"(Lindgren, 2004: 505).

11. The motive of gratitude... A kind attitude towards children, sincere love for them naturally evokes a feeling of gratitude in children, and children are ready to forgive their parents for all the failures, even if they upset them themselves, and do everything possible to comfort their parents: “- But you've already done everything you wanted to, Dad, ”Malin said calmly. - We got. All the most beautiful, funniest and most wonderful things in this life. And we got it from you, only from you! And you took care of us, and this is the most important thing. We have always felt your concern.

Then Melker began to cry, oh, this Malin brought him to tears.

“Yes,” Melker sobbed. - I took care of you! If this means something to you ...

“That's all,” Malin said, “and I don’t want to hear that my father is a failure anymore. And come what may come to the Carpenter's estate"(Ibid .: 512).

Typical situations through which the psychology of the child is revealed in the works of Lindgren and his world is represented, can be reduced to the following:

1. The situation of temporary absence of parents... Despite the fact that children love their parents, they cannot completely admit them into their world, since parents tend to worry about their children, and therefore limit their freedom, and in addition, parents, due to their adulthood, lose the ability to fantasy and play and therefore not so much fun with them. So, Tommy and Annika are more happy to go to the fair with Peppy than with their mother; rejoice in freedom when mom and dad leave for two days, and even send housekeeper Ella from home to visit her mother to enjoy complete freedom in Peppy's company.

2. Two children and the third (fourth) from an incomplete, dysfunctional family- as a contrast of the influence of the environment and the habitat. Lindgren often shows that these children by their nature are no worse, only the lack of proper attention and love sometimes awakens bad qualities in them, but more often brings up the strength of the spirit and incredible responsiveness. An example is the image of Abbe Nilsson from the story "Madiken".

3. The situation of the relationship between senior and junior can be traced in almost all works. Older children are always teachers of life for the younger ones, even though they may tease the younger ones or play with them cruelly enough; they are always the protectors of the younger ones; Between the elders and the younger, complete mutual understanding does not always reign, but always, without fail, love. The younger ones always take an example from them, be it in the acts of the pious or mischievous. So, almost everything that Malyavka can do was taught by her older sister Anna Stina: “ Anna Stina knew everything and could do everything, and everything that Malyavka herself could, she learned from Anna Stina. She learned only one thing herself: to whistle through her front teeth. And Anna Stina taught her to count to twenty, to recognize all the letters, to read a prayer, to somersault and climb on cherries."(Lindgren, 1995: 235). In the most touching form, these relations are presented in the fairy tale "The Brothers of the Lionheart": the elder brother comforts and brightens up the days of the sick younger brother, and then, without hesitation, saves him from certain death, throwing himself out of the burning house with him, instantly himself at the same time dying.

4. Game situation as an obligatory and constant component of the children's world.

5. Situation of saving someone, in which all the strength of the spirit and dedication of a child is manifested, the clearest example of such a child's feat is Emil's rescue of his friend Alfred ("The Adventures of Emil from Lönneberg"). In addition, we can give similar examples: brothers rescuing each other, as well as the rebel imprisoned in the dungeon in the story-tale "The Lionheart Brothers"; Abbe's rescue of his father in Madiken; saving a classmate boy by little Merit at the cost of her own life in the story of the same name, saving sheep by little Stina-Maria, despite the fact that for this she has to visit the kingdom of the dead and remain marked forever ("Knock-knock").

6. Situation of violence from non-native people: guardian (owner of the farm), aunts, adoptive parents.

7. Situation of the invasion another, sometimes hostile, sometimes just alien, for the children of the world into their happy world: the arrival of strangers from the city, people for whom the link between generations is broken, most often people are lonely: aunt and Monica in "We are all children from Bullerby", uncle with a capricious daughter in “We are on Saltkrokka Island” (in their opinion, it is beautiful here, but boring, or neglected and everything needs to be redone); the arrival of an important gentleman who wants to demolish the old house, cut down a tree and drive the children out to Pippi Longstocking.

As has already been seen from the analysis of typical motives and situations, the child's world in Lindgren's work is revealed through a system of antinomies. Here are the main ones: life (Christmas) - death (funeral); joy - sadness; healthy people are crippled; children are angels; Children Adults; big small; reward - punishment; reality is fiction, dream; child sacrifice - forgetfulness and lack of understanding of sacrifice by adults; immediacy - thoughtfulness; friendship - / = rivalry; wealth - poverty; well-being, satiety, home - poverty, hunger, blizzard (homelessness).

Send your good work in the knowledge base is simple. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

Posted on http://www.allbest.ru

Ministry of Education and Science of Ukraine.

Luhansk National University

named after Taras Shevchenko

On the subject: "Children's literature"

on the topic: "Creativity of Astrid Lindgren"

Completed: 4th year student "

Kolomiychenko Natalia.

Sevastopol

Astrid Lingren was born on November 14, 1907 in southern Sweden, in the small town of Vimmerby in the province of Småland (Kalmar County), into a farming family. Her parents - father Samuel August Ericsson and mother Hanna Jonsson - met when they were 13 and 9 years old. Seventeen years later, in 1905, they married and settled on a rented farm in Näs, a pastor's estate on the very outskirts of Vimmerby, where Samuel began farming. Astrid became their second child. She had an older brother Gunnar (July 27, 1906 - May 27, 1974) and two younger sisters - Stina (1911-2002) and Ingegerd (1916-1997).

As Lindgren herself pointed out in the collection of autobiographical essays "My Fictions" (1971), she grew up in the age of "horse and convertible". The main means of transportation for the family was a horse-drawn carriage, the pace of life was slower, entertainment was simpler, and the relationship with the surrounding nature was much closer than today. Such an environment contributed to the development of a love of nature in the writer - this feeling is imbued with all Lindgren's work, from the eccentric stories about the daughter of Captain Pippi Longstocking, to the story of Ronnie, the robber's daughter.

The writer herself always called her childhood happy (there were many games and adventures in it, interspersed with work on the farm and in its vicinity) and pointed out that it was this that served as a source of inspiration for her work. Astrid's parents not only felt deep affection for each other and for their children, but also did not hesitate to show it, which was a rarity at that time. The writer spoke about the special relationship in the family with great sympathy and tenderness in her only book not addressed to children - Samuel August from Sevedstorp and Hannah from Hult (1973).

As a child, Astrid Lindgren was surrounded by folklore, and many jokes, fairy tales, stories that she heard from her father or from friends later formed the basis of her own works. Love for books and reading, as she later admitted, arose in the kitchen of Christine, with whom she was friends. It was Christine who introduced Astrid to an amazing, exciting world that you could get into by reading fairy tales. The impressionable Astrid was shocked by this discovery, and later she herself mastered the magic of the word.

Her abilities became evident already in elementary school, where Astrid was called the "Wimmerbühn Selmoy Lagerlöf"which, in her own opinion, she did not deserve.

After school, at the age of 16, Astrid Lindgren began working as a journalist for the local newspaper Wimmerby Tidningen. But two years later, she became pregnant without being married, and, leaving the position of junior reporter, left for Stockholm... There she graduated from the secretary courses and in 1931 year found a job in this specialty. December 1926 year she had a son, Lars. Since there was not enough money, Astrid had to give her beloved son to Denmark, to the family of adoptive parents. V 1928 year she got a job as a secretary at the Royal Auto Club, where she met Sture Lindgren(1898-1952). They got married in April 1931 year and after that Astrid was able to take Lars home.

Years of creativity

After marriage, Astrid Lindgren decided to become a housewife in order to devote herself entirely to caring for Lars, and then of the 1934 year daughter Karin. V 1941 year The Lindgrens moved into an apartment overlooking the Stockholm Vasa Park, where the writer lived until her death. Occasionally undertaking secretarial work, she wrote travel descriptions and rather banal fairy tales for family magazines and Christmas calendars, which gradually honed her literary skills.

According to Astrid Lindgren, " Peppy Longstocking" (1945 ) was born primarily thanks to her daughter Karin. In 1941, Karin fell ill with pneumonia, and every night Astrid told her all sorts of stories before going to bed. Once a girl ordered a story about Peppy Longstocking- she invented this name right there, on the go. So Astrid Lindgren began to write a story about a girl who does not submit to any conditions. Since Astrid then advocated a new and controversial idea for that time education taking into account child psychology, the challenge to convention seemed to her an amusing thought experiment. If we consider the image of Pippi in a generalized way, then it is based on the 1930 --40s years of innovative ideas in the field of child education and child psychology. Lindgren followed and participated in the controversy unfolding in society, advocating for an education that would take into account the thoughts and feelings of children and thus show respect for them. The new approach to children also affected her creative manner, as a result of which she became an author consistently speaking from a child's point of view.

After the first story about Pippi, which Karin fell in love with, Astrid Lindgren over the next years told more and more evening tales about this red-haired girl. On Karin's tenth birthday, Astrid Lindgren made a shorthand record of several stories, from which she then made a self-made book for her daughter (with illustrations by the author). This original Pippi manuscript was less elaborate stylistically and more radical in ideas. The writer sent one copy of the manuscript to the largest Stockholm publishing house Bonnier. After some deliberation, the manuscript was rejected. Astrid Lindgren was not discouraged by the refusal, she already understood that composing for children is her vocation. V 1944 year she took part in the competition for the best book for girls, announced by the relatively new and little-known publishing house Raben and Sjögren. Lindgren won second prize for Britt-Marie Pouring Out Her Soul (1944) and her publishing deal. astrid lindgren children's writer

V 1945 year Astrid Lindgren was offered the position of children's literature editor at Raben & Sjögren. She accepted this offer and worked in one place until 1970 year when she officially retired. All her books were published in the same publishing house. Despite being extremely busy and combining editorial work with household duties and writing, Astrid turned out to be a prolific writer: if you count picture books, she produced a total of about eighty works from her pen. The work was especially productive in 40s and 50's years. Totally agree 1944 --1950s Astrid Lindgren has written a trilogy about Pippi Longstocking, two stories about children from Bullerby, three books for girls, a detective story, two collections of fairy tales, a collection of songs, four plays and two picture books. As you can see from this list, Astrid Lindgren was an unusually versatile writer, willing to experiment in a wide variety of genres.

V 1946 year she published the first story about the detective Kalle Blumkvist ("Kalle Blumkvist plays"), thanks to which she won the first prize in a literary competition (Astrid Lindgren did not participate in the competitions anymore). V 1951 year followed by a sequel, "Kalle Blumkvist is at risk" (in Russian, both stories were published in 1959 year entitled "The Adventures of Kalle Blumkvist"), and in 1953 year- the final part of the trilogy, "Kalle Blumkvist and Rasmus" (was translated into Russian in 1986 ). "Kalle Blumkvistom" the writer wanted to replace the readers glorifying violence with cheap thrillers.

V 1954 year Astrid Lindgren wrote the first of her three fairy tales - "Mio, my Mio!" (trans. 1965 ). This emotional, dramatic book combines the techniques of the heroic legends and magic fairy tales, and it tells the story of Boo Wilhelm Ohlsson, the unloved and neglected son of adoptive parents. Astrid Lindgren has repeatedly resorted to a fairy tale and a fairy tale, touching upon the fate of lonely and abandoned children (this was the case before "Mio, my Mio!"). To bring comfort to children, to help them overcome difficult situations - this task was not the least of the writer's work.

In the next trilogy - "Kid and Carlson who lives on the roof "( 1955 ; per. 1957 ), "Carlson, who lives on the roof, has flown in again" ( 1962 ; per. 1965 ) and "Carlson, who lives on the roof, is playing pranks again" ( 1968 ; per. 1973 ) - again a kind of fantasy hero is acting. This "moderately well-fed", infantile, greedy, boastful, pouty, self-pitying, egocentric, though not devoid of charm, lives on the roof of the apartment building where the Kid lives. As an imaginary friend of the Kid, he is a much less wonderful image of childhood than the unpredictable and carefree Pippi. The kid is the youngest of three children in the most ordinary Stockholm family bourgeois, and Carlson enters his life in a very specific way - through the window, and he does this every time the Kid feels superfluous, bypassed or humiliated, in other words, when the boy feels sorry for himself. In such cases, its compensatory alter ego- in all respects "the best in the world" Carlson, who makes the Kid forget about troubles.

The writer died on January 28, 2002 in Stockholm. Astrid Lindgren is one of the world's most famous children's writers. Her works are imbued with fantasy and love for children. Many of them have been translated into over 70 languages ​​and published in over 100 countries. In Sweden, she became a living legend, as she entertained, inspired and consoled more than one generation of readers, participated in political life, changed laws and significantly influenced the development of children's literature.

Posted on Allbest.ru

Similar documents

Formation of the creative views of the Swedish writer Astrid Lindgren. Fantastic adventures of her heroes, distinguished by spontaneity, inquisitiveness and mischief. The specificity of Lindgren's fabulous skill, the inevitability of the final victory of good.

test, added 10/30/2015


Marina Ivanovna Tsvetaeva as a Russian poet, prose writer, translator. Childhood and adolescence, the influence of the mother. The beginning of creative activity. Romantic plays and poems from the period of the Civil War. Emigration and return to the USSR. The last years of Tsvetaeva's life.

presentation added on 02/13/2012


Yesenin Sergei Alexandrovich - Russian poet, representative of the new peasant poetry and (in a later period of creativity) imagism. The main milestones of the poet's biography: childhood, adolescence, personal life, death. Study of Yesenin's creativity, analysis of poems.

presentation added on 02/05/2012


The life and work of the Russian Soviet poet, screenwriter, playwright, author and performer of his own songs Alexander Arkadyevich Galich. Childhood and adolescence, the beginning of creativity. Political acuity of Galich's songs, conflict with the authorities, expulsion and death.

presentation added on 04/28/2011


Literary tale as a trend in fiction. Features of the Scandian literary tale: H. K. Andersen, A. Lindgren. Creativity of Tuva Jansson, a brilliant representative of the literary tale of Scandinavia. The fairy-tale world of Moomin-dol.

abstract, added 01/21/2008


Review of the biography of F. Sagan - French writer and playwright. An analysis of her creative method. The theme of the "lost generation" in the writer's works. The embodiment of the "feminine" theme in Sagan's work, its artistic meaning and connection with tradition.

abstract added on 05/13/2015


Childhood and family of Goncharov. Education, years of study at Moscow University. Service of the young Ivan Alexandrovich, the beginning of literary activity. Travel around the world and the frigate "Pallada". The flowering of his creativity. The last years of the life of the writer.

presentation added on 11/18/2013


Childhood and adolescence, the beginning of the service of Mikhail Yuryevich Lermontov. Formation of personality and its formation as a poet. The influence of the poem "The Death of a Poet" on the further fate of M.Yu. Lermontov. Creativity of the poet during exile. The reasons for the last duel.

presentation added on 10/18/2011


Childhood and adolescence I.A. Bunin, a famous Russian writer and poet. His studies at the Eletskiy gymnasium. Bunin's work in the editorial office of the newspaper "Orlovsky Vestnik", the beginning of his creative activity. Bunin was awarded the Nobel Prize in 1933.

presentation added 03/21/2012


The life and work of the Russian writer Mikhail Alexandrovich Sholokhov. Childhood and adolescence, the beginning of the creative path. Major works and their characters. Time of the appearance of "Quiet Don". Virgin Soil Upturned as an Example of Socialist Realism Literature.