Thinkings are formed thinking, fantasy and worldview of many generations. Fairy tales not only entertain us in childhood, but the actions of the heroes of Russian fairy tales taught us to distinguish good and evil, be brave and act rightly.

At the same time, in fairy tales, high-rise beliefs, views and presentations of the people are displayed. During its development, the fairy tale has significantly changed, its functions have changed. If it was primarily used with a magical intelligence target (urge good luck on the hunt, to protect yourself from enemies or to ensure victory in battle), then over time, losing the ritual value, the fairy tale has acquired aesthetic, training character or entertaining.

Conventions remained and fabulous characters. They are types, not individuality, and therefore are described in general terms, are often idealized, exalted, hyperbollays. The main images here are always antagonistic: one embodies good, beautiful; Another - evil forces. From here - their characteristics are actions, actions, intentions, language. Accordingly, with the functions, the heroes of Russian fairy tales shall be conditionally divided on kindergartens, malignors and disadvantaged.

The largest group of fabulous folk epic make up magic, fantastic fairy tales. The explanation of many motifs and features of fabulous heroes can be found only in comparison with long-standing rituals, elements of the socio-religious mistake of the life of Praslavan and the ancient Eurasians. Let's try to analyze some, the most famous characters Russian fairy tales.

Heroes of Russian fairy tales. Baba Yaga

Baba Yaga is a character of Slavic myflogia and folklore. Usually the ugly old woman endowed magic power and magic objects. Often the witch, the sorcerer. Most often - a negative character (lures children and good young people in their hut in the curious legs to eat), but sometimes acts as an assistant hero. According to a specialist in the field of folklore, Vladimir Propppe, you can highlight three kinds of Baba Yagi in fairy tales: a donel (gives the chief hero of a fairy-tale horse), the kidnapper of children and the warriper (fights with the main character "not for life, and death").

IN modern ideas Baba Yaga - the owner of the forest and the guardian of the borders of the "other world" (the trident kingdom). Therefore, Neyo bone Noga - To stand in the world of dead. In many fairy tales of Baba Yaga, he drove the bath and evaporates the hero, making the rite of ablution. Then feed him, that is, it makes a trianue with him. And the female image of Baba Yaga himself is connected, according to researchers, with matriarchal ideas about the device of the social world.

Heroes of Russian fairy tales. Water

IN slavic mythology - Spirit that lives in water, the owner of water, the embodiment of the element of water as a negative and dangerous beginning. It appears in front of us in the form of a stupid old man, a puchglase, with a fish tail. It has a huge beard and mustache, sometimes fish features, paws with membranes and horn on the head. He lives in pools, whirlwinds, but especially loves water mills. Therefore, the milbs of them in every way task, and also buried under the log, where there will be a door to a mill, live black rooster or other security attributes. Often, water is associated with the marine king.

Heroes of Russian fairy tales. Firebird

Fabulous bird is usually the goal of finding the hero of the fairy tales. Feathers of heat-birds are shining and amazed by beauty. He lives in the Paradise Garden, in the Golden Cage. It feeds on gold apples, with their singing heals patients and returns sights blind. On the deep mythological level is the personification of fire, light and sun. Therefore, every year in the fall of the fire-bird dies, and in the spring is reborn. In the intercultural level, she has an analogue - Phoenix bird, reborn from ash.

Heroes of Russian fairy tales. Zmey Gorynych

Furgent dragon with several heads, the personification of an evil principle in fairy tales and epic. It usually lives in the mountains, the fiery river and wakes Kalinov Bridge, which fall into the kingdom of the dead. The number of Snake-Gorynych's head is usually equal to three (3, 6, 9 or 12). In fairy tales with the snake, the fiery element is usually associated. Zmey-Gorynych kidnates girls (often it is princes) to enjoy. After that, the main characters comes to him for a fight, before killing his cub-guy.

Heroes of Russian fairy tales. Ivan-Dol

A very popular image in mythology, which in solving problems is guided by its own, non-standard solutions, often contradictory common sense, but bringing success. The designation "Fool" is interpreted in different ways. Some of the researchers consider it to be a guard from the evil. According to another version of Ivan, they are called a fool, since it is usually in fairy tales, he is the third son who does not have the proportion of the parental inheritance (hence and the ability to think unusual, find a way out of difficult situations). Etymologically, the image of Ivan-fool is associated with the image of the priest, because he can sing and play on different tools, and also speaks riddles. In the final of the fairy tales, Ivan-Durak receives wealth and princess in wives.

Heroes of Russian fairy tales. Cat Baiyun

A huge cat-eater holding a magic voice. On the one hand, he speaks and shifts his tales of trails, on the other, his fairy tales may heal. The word "Bayun" means "Govorun, Frame". In fairy tales, Baun's cat sits on a high post for the thirty lands in the thirty kingdom or in a lifeless forest where there are no animals. In one of the fairy tales, he lives with Baba-Yaga.

Catch the cat Bayun is usually a test for the main character who catches it in the iron cap and iron mittens. But the caught cat Baun then serves as a royal yard, heals patients with his stories.

Heroes of Russian fairy tales. Kolobok

Fabulous character wheat hub A spherical shape, which runs away from grandparents, from different animals, but at the end eaten fox. This character clearly personifies the reverent attitude of the Slavic people to bread, and its sacred value. Namely, the round shape of a kolobka, which is also rolling, which refers us to the cult of the sun.

Heroes of Russian fairy tales. Koschey (Kashing) Immortal

An evil magician whose death is hidden in several magic animals and objects in each other. "On the sea, there is an island on the ocean, on the Tom Island of Oak stands, under the oak, the chest buried, in the cheese trunk, in the hare - a duck, in a duck - an egg, in the egg - death of Koschey." Often kidnates the bride of the main character. The view is thin (blasting - from the word "bone") a high old man or a living skeleton. Sometimes on a speaker and flying horse. Mighty magicians, which also allows its prototypes to call priests.

Heroes of Russian fairy tales. Led

Spirit-owner of the forest in the mythology of Slavs. The appearance of it is different, the breeds even the opposite different fairy tales - It is a small growth, then a giant, then an anthropomorphic creature, it has an animal appearance. In any case, the nature of its otherworldly. The attitude of people to him is also dual. On the one hand, he is afraid of him, he can make a person to bother, sometimes refunds, can punish for improper behavior in his possessions. At the same time, it was the Lessel guard that the life of a person depends on a large extent.

Heroes of Russian fairy tales. Miracle Yudo

Character of folk fairy tales and epic, and even Praslavyan mythology. The positive or negative character of the character is clearly not indicated, as well as his genus - in different epochs He was both female and male, and middle. Miracle Yudo - the character is so ancient that researchers find it difficult to bind it to any phenomenon.

It may be a marine animal, mythical snake, dragon. And in the author's fairy tale, Peter Yershova "Konon-Gorbok" (1834) there is a miracle yudo fish-whale - the island.

The fairy tales have its own special structure - sustainable stories and motives are constantly used in its compositions, the heroes of fairy tales meet with their unchanged functions and abilities. We all remember the popular folk fairy tales with their three-time repetitions, with repeating formulas "lived - were ...", "in some kingdom, in some state ...", "The fairy tale is a lie, and there is a hint of it ...". The space in the fairy tale is conditionally and distant from reality.

The characters of fairy tales are distinguished by such bright human qualities as nobility, kindness, courage, resourcefulness, and good forces In fairy tales always borrowed. Among the positive heroes of Russian folk fairy tales, there are brave tsarevichi, and epic warders, and simple peasants, and a number of female images.

Bogati - initially heroes of Russian epic, but over time they penetrated both folk tales. The most famous hero of fairy tales Ilya Muromets. He embodies the ideal of a warrior hero, which is famous not only to his non-Laugless physical strength, but also with special moral qualities inherent in the real hero: tranquility, durability, good nature. In the eponym and fairy tales, this bogatyr is a folk intercessor. Recall, for example, such a work as "Ilya Muromets and the Solovy-Robber". Also deserves mention a noble, but the little-known ancient hero of Russian fairy tales Ruslan Lazarevich. Plots and adventures in which he appears, close to famous plots with Ilya Muromers.

Dobrynya Nikitich, as a hero of fairy tales, acts as a reliable assistant of the Prince, to which he, right, serves for many years. He performs Prince's personal instructions, for example, save his daughter or niece. Dobrynya is characterized by special courage - he himself decides to perform the tasks from which the rest of the warriors refuse. Often it is a hero of a fairy tale about Smeaking, as well as Alyosha Popovich. Their adventures and those plots of fairy tales in which they appear are extremely similar to each other. Recall, for example, such plots as "Dobrynya Nikitich and Snake Gorynych" and "Alyosha Popovich and Tugarin Snake."

All these three epic heroes are in close cooperation with each other, and in different fairy tales, there are different and noble qualities in different ways. These names of the heroes of folk fairy tales are familiar. Alyosha Popovich is a collective manner in Russian folklore. In the character of this hero, fairy tales we see a mixture of various traits. First of all, Alyosha is distinguished by courage, but he is also very darling and heter. In his image, all the latitude of the soul of the Russian man reflected, its entire polyhedrality.

Favorite hero of folk fairy tales - Ivan-Tsarevich. This is a well-known positive character who struggles with evil helps weak and offended. Often it is the youngest of the three sons of the king. In some plots, Ivan does not know about his royal origin at all, but, nevertheless, personifies the nobility and good qualities of the soul. For example, he struggles with blazing, overcomes it, saves his wife or beautiful princess. And for its heroic behavior and good deeds, this hero of folk fairy tales receives him the relying kingdom or other people's foliage, and tsar's daughterAnd other magic skills.

Ivanushka-fool is also a very important hero of fairy tales, standing on the side of good and bright forces. Ivan-Durak is just a peasant son and he does not like at all on a noble fairy-tale hero. His feature is that it is not at all such as other positive heroes of Russian fairy tales. It does not shine with the mind, but precisely thanks to its irrational behavior and non-standard thinking, all fabulous tests, wins his opponent and gets wealth.

It is important to note that Ivan-Durak has a special creative ability - it plays on musical instruments (hobslings or twin), and in fairy tales, it often attaches great importance to his wonderful singing. This is its peculiarity, because there are not always the positive heroes of fairy tales capable of creating something excellent independently, without resorting to the help of magical animals or items.

Among women fabulous images Especially outstanding is the type of wonderful bride. This extraordinary hero of fairy tales is distinguished by the mind and special female cunning. Often it owns some kind of magical objects or knows how to use wonderful forces. We all know the heroine corresponding to this type: Vasilisa Lovely, Vasilisa Revinda and Tsarevna Frog. This is a female version of the strong hero of folk fairy tales.

This kind heroine is a reflection of the light side, the personification of good and the world, but in, then, the same time in many plots wonderful bride accounted for a daughter of the enemy of the main character of the fairy tale. A kind hero of folk fairy tales passes, harsh tests and solves complex riddles, and a wonderful bride helps him with the fulfillment of these tasks. Thus, sometimes in one fairy tale we encounter not one, but two, or even three characters that help each other in the fight against evil.

As we see, the positive heroes of folk fairy tales are very diverse. They reveal different sides of a folk nature: here and the nobility, and dedication, and the moderate, and cunning, and special heroism, straightforwards, and woman wisdom. All obstacles in their path the characters of fairy tales overcome thanks to these positive qualities. Indeed, in Russian folklore, fabulous heroes seek to light, and good forces always borrow.

Ustyurtskaya high school

Scientifically Research

(analysis of fixed character traits

heroes of animal fairy tales)

Student 8 "b" class

Ustyurt Secondary School

scientific adviser:

russian language and literature teacher

Baizhanova Tilektes Jeksenbaevna

Beineu 2014-2015ach

Introduction ........................................................................................ .. ............ 3

What is a fairy tale?. ........................... ............. .................................... .....……...…….........four

The main characters of fairy tales about animals and their characteristics of their character ..............................................8

Questioning "Russian folk tales about animals in our life" with open

the type of questions among students of 8-9 classes and online surveys ............................... ................................................................................................... 12

Pen's test: I compose a fairy tale about animals ........................................... .......................................fifteen

Conclusion ............................................................................................. ... ... 17

List of used literature ............................................................................................. 18

Applications ........................................................................... ........................ ......nineteen

Introduction

"Grandma, tell me a fairy tale ..." How often these words are pronounced in childhood, full anticipation of the real miracle. We all love the unforgettable moments of waiting for a fairy tales, waiting for them with impatience, to be happy to plunge into the amazing world of fantasy, where beautiful palaces grow in one night, where the horses fly across the sky, where incredible adventures occur with people, and the animals speak human voice. And the grandmother shortly resists, it sits on the edge of the bed, and her voice pouring quietly, in the acton, betraying the foxes, then the evil wolf, then an angry bear, then the bunny panties.

Do we believe in the reality of the fairy tale? And believe, and I do not believe, but for some reason I really want to believe in a fabulous miracle in the magic in everyday life. Why? What is a fairy tale? When did she appear? What is its attractive force? These questions were interested in me, and I decided to explore fairy tales.

I am put the followingtarget : Get acquainted with the history of folk fairy tales; analyze folk tales of animals; identify the main features of the character of the heroes of animal fairy tales; Create their classification.

In the process of research, I solved the followingtasks : 1) deeper to study folk tales; 2) to analyze fairy tales aboutanimals; 3) reveal the features of fabulous animals; 3) classify The main features of the character of the heroes of these fairy tales and compare them with the features of the character of a person; 4) Create a presentation "Incoming reflections on a fairy tale" for use on extracurricular activities According to literary reading.

Object My research is folk tales of animals;subject Research - distinctive features of the character of the heroes of these fairy tales.

In the course of the study, I use suchmethods As learning fairy tales, familiarity with reference books on the theory of literature, drawing up its own (author) fairy tale, its review, survey (Internet questionnaire and spectacle students Our school), analysis of the assembled material, systematization and classification of fabulous animal features,drawing up presentation.

Chapter 1

1.1. What is a fairy tale?

Before starting the study, you need to carefully examine its object. Therefore, I decided to find out what a fairy tale as a genre of oral folk art.

If the word "tale" pick up single words, then the next row will turn out: a fairy tale - a tale - to tell - to tell - the story. That is, a fairy tale is what it tells, this is the heard story about something interesting for both the performer and for his listeners.

For the interpretation of the word "fairy tale", I turned to various dictionaries and reference books:

1) in the "Living Dictionary of the Living Great Russian" V.I. Dalya is given such a value: "The fairy tale is a fictional story, an unprecedented and even unless story, tale."

2) in the dictionary of the Russian language "S.I. Ozhegova The following explanation: "Tale - 1. The narrative, usually populating, the work of fictional persons and events, mainly with the participation of magical, fantastic forces. 2. Fortiment, not true, lie (talk) »

3) In the book for reading the "small door to the big world" in a brief dictionary of literary terms, the following meaning is given: "The fairy tale is a work of oral folk literature. This is the story of fictional and incredible events.

4) From the "Great Dictionary of Modern Russian" D.N. Shushakova, I learned the following: "The fairy tale is a narrative work of oral folk creativity about fictional events."

5) "Big Russian Encyclopedic Dictionary"So interprets this concept:" The fairy tale is one of the main genres of folklore, epic, mainly prose art Magic adventurous or domestic nature with fictional installation. "

As a result of studying these definitions, I came to the conclusion that the most precise definition Gave the "Dictionary of the Russian Language" S.I. Ozhegova: "The fairy tale is narrative, usually the people's poetic, the work of fictional persons and events, mainly with the participation of magical, fantastic forces."

Why do people tell and listen to fairy tales - because they understand that everything is said about them, - incredible! Of course, not in order to learn how to produce molding apples or defeat Koschey. But, listening to the fairy tale, we enjoy the folding, beautiful speech and admire beautiful heroes, bold, good, wise. The fairy tale glorifies hardworking, mind, courage and resourcefulness. She teaches us good deeds: Help your neighbor, be kind, loyal, courageous. The fairy tale shows that good is perfect, and evil disgusting. But this is the main truth of life, because good serves life, and evil - death. And therefore a fairy tale, with all its implausibility, tells us the truth, it reflects the world of the people, his beliefs, thoughts, desires and dreams.

Each child sooner or later asks the question "and who created fairy tales? Who was the first to tell the unless magical adventure story? "

There is such an explanation of the origin of fairy tales - fantastic. Tales compound gypsies, like mermaids. They sit in the sea ... and the fairy tales affect ... And people are sitting on the shore and listen and write down ... and let the light written. Here one reads, and the other he has heard, and this one passes to another, and the other is the third, and the third one is the fourth ... so fairy tales and go their dear throughout the world.

Yes, the fairy tales created the people, which is why they are called Russian folk. They arose in deep antiquity, when people still did not know writing, and were transmitted from mouth to mouth, from generation to generation. Slantless patriors and a narrower composed and orally transferred their poetic creations to the listeners. They were not limited to only the repetition of the predecessors heard. New Speakers - Folk Master Words - sought to convey fairy tales in their own way, created by ancestors. So, fairy tales became works of oral folk art.

Imagine a rustic hut in ancient Russia. Winter evening It stretches for a long time, the mad shines, women are sitting behind a bark. And some grandmother leisurely affects fairy tales, and so vividly that the listeners are capturing. And the little girl granddaughter sits next to and does not just listen carefully, but remembers every word, greedily catches each intonation. She already knows a lot of fairy tales, and time will come - it will also like to tell the fairy tales to other listeners.

Over the years, the names of writers and teachers in Russia were forgotten, and the works created by nameless fairy tales lived in the people who became the lean keeper of these precious artistic treasures.

Approximately two hundred years ago fairy tales began to record. At the same time, scientists tried to keep the intonational features of the oral Russian speech: expressiveness, sonicity, rhythm, laconicity.

For the current tradition, Russian folk tales depending on the topic are divided into three groups:

Fairy tales about animals. ("Fox and Zhuravl", "Teremok", "Kolobok", "Kochetok and chicken", etc.).

Magic fairy tales. ("Morozko", "Tsarevna-Frog", "Squa Burka", "Magic Dudge", etc.).

Household fairy tales. ("Inept wife", "Barin and Man", "What does not happen in the world", "about the need", "man and pop", etc.).

In fairy tales of animals there are a tricky fox, an evil wolf, a cowardly hare, a proud rooster, a good-natured bear and other animals and birds. Fairy tales of animals, as a rule, satirical or humorous works, they are moral and asked. Hero's favorite Hero of such fairy tales - Plutre, Chestens and Deceiver (Fox, Hare, Raven, Spider, etc.) - Be sure to oppose positive character (Kotu, Bear, Konya, Drozda, Tetherov, etc.). In fairy tales of animals, the victory of the positive heroes above is negative, the victory of goodness over evil.

IN magic fairy tales It is told about the thirtieth kingdoms, about the magic ring, about Ivan Tsarevich, Vasilis Wolly, Koshee Immortal, Snake Gorynych, Baba Yaga. The topic of magical fairy tales is the fate of unfortunate heroes. For kindness, honesty and loyalty to their troubles, in the end, are replaced by well-being and happiness. These turnover in their fate, they are obliged to interfere with supernatural, magical forces. Such fairy tales teach to be hard and truthful in life tests, do not put up with evil and wrong, believe in justice and victory of good over evil.

The acting faces of household fairy tales are a soldier, a man, a barin, a wise of Virgo, a kind old woman. Household fairy tales are characterized by an acute social orientation. They with irony talk about frivolous kings, mercenary officials, greedy landowners, unfair judges, false pops and other stupid and evil people who oppressed the simple Russian man. We all like the mind, cutter, dexterity, simpleness, endurance, cheerful and nonsense character of the main hero of household fairy tales. These fairy tales are taught to be resourceful, be able to distinguish false kindness and the imaginary mind from real heartiness and rationality.

Thus, I introduced the classification of Russian folk fairy tales in the form of the following table:

Classification of Russian folk fairy tales

Table 1

Fairy tales about animals

Magic fairy tales

Household fairy tales

Pets,

wild animals,

wizards

sordlendian

Barin, damn, merchant,

people from the people

wise tea

Signs

Each animals are confined for certain features, animals behave like people

The presence of miracles, wonderful events, magic items, a hero, passing through cruel tests, reaches its purpose and happiness

Real prevails over fantastic, no magic and magic items, the pictures of everyday life are reproduced

Signs characteristic of all fairy tales

The combination of real and fantastic.

In fabulous form, human defects and disadvantages are ridicule.

From the fairy tale every reader extracts moral lessons.

Through fairy tales in front of the reader opens a thousand-year history of the Russian people.

Chapter 2.

The main characters of fairy tales about animals and their characteristics of their character

Fairy tales about animals, like magical, arose in ancient times, they reflected forgotten beliefs, rites, human ideas about the world. Such fairy tales told before the start of hunting, and it had magic value. Ancient people, going to the hunt, asked their gods about good luck, and returning, thanked for prey. In fairy tales of animals, belief was reflected in the mind of the animal and plant world.

The appearance of fairy tales about animals preceded the stories related to the beliefs in which the future main characters of animal fairy tales acted. These stories have not yet had an allegoric meaning. In animal images, animals were depicted. The stories had a life destination: they gave advice, taught people how to treat animals. Later, with an empty of the cult of animals, the fairy tale began to include an ironic image of a funny cauldron of animals. the main task There are such fairy tales - ridiculous a bad traits, negative deeds and cause compassion to the weak, offended. For fairy tales of animals, the idea that revived nature is capable of acting independently, animals and plants have the right to their lives.

Animal fairy tales are such fairy tales in which animals, birds, fish, plants and phenomena of nature are like the main characters. In fairy tales of animal people or plays secondary role (The old man from the fairy tale "Fox is stealing fish from the war"), or occupies a position, an equivalent to the animal (a man from the fairy tale "Old bread-salt forgets").

The fairy tales of animals can be classified, first of all, on the main hero of the characters in them are:

wild animals: Fox (fox-sister and wolf, "Fox and the Nightingale", "Bear and Fox"), other wild animals ("Wolf-Ferren", "Bear");

wild and pets ("Cat, Rooster and Fox", "Pig and Wolf");

man and wild animals ("Lion, Pike and Man", "Fox, Bear and Man");

pets ("bean grains", "goat-deres");

birds and fish ("About the pike toothy", "Crane and Heron");

other animals, objects, plants and phenomena of nature ("War of Mushrooms", "Bubble, Solominka and Laporn").

The specifics of the fairy tales of animals are manifested primarily in the features of fantastic fiction. It has been established that the fairy tales of animals took the forms of fiction of the concepts of people who attributed animals the ability to think, speak and reasonably act.

The main actors of Russian fairy tales about animals are fox, wolf, bear, hare, goat and goat, cat, bull, horse, dog, raven, rooster and other animals.

The most often the heroes of fairy tales are fox and wolf. This is explained by the fact that, first of all, with them a person most often had to come across economic activity; Secondly, these bees in magnitude and power occupy the middle of the kingdom; Finally, thirdly, thanks to the previous two reasons with them, a person had the opportunity to meet very closely.

Each animal has its own character, its distinctive features:

Fox - its image is permanent. She draws as lying, the tricky cheat: deceiving a man, crashed down dead ("Lisa steals fish from Sanya"); deceives the wolf ("Fox and Wolf"); deceiving a rooster ("cat, cock and fox"); drives out a hare from the Lubyana hut ("Fox and the Hare"); Changes the Gusaches on the sheep, lamb to the bull, steals honey ("Bear and Lisa"). In all fairy tales, she is flattered, vengeful, tricky, calculating, malicious, deft, cruel. People endowed her different names: Lisa Patriyevna, Fox - Maslyan Gubitsa, Fox - Kumushka, Plutum, Lisafia.

Another hero, with whom Fox often faces, is a wolf. The stupidity that the wolf is endowed in the fairy tale is the main property of the wolf. Often, the fairy tale ends with the story about the death of the wolf. The wolf devours the goat ("Wolf and Kozdy"), wants to break the sheep - take off her "Tulup" ("Sheep, Fox and Wolf"). Letter from the bag, instead of words of gratitude, the wolf says: "And what, man, I eat you!" ("Old bread-salt is forgotten"). The insatiable thirst for blood, which recognizes one right - the right of strong, the right of sharp teeth, is not a wolf without this feature.

In numerous fairy tales, a bear was bred. In the consciousness of everyone who is familiar with fairy tales, the Bear is the beast of the highest "rank". Bear is the strongest forest beast. During the addition of fairy tales as artistic genre In the bearer began to see the embodiment of the sovereign - every person with great powers. Famous fairy tale "Bear and man" about how the bear with the peasant shared the harvest, also confirms this thought. The persuasion at the man with a bear was like this: "I am root, and you, Misha, Truzhok." Sunny turnip went up, grew up - the Bear got the tops. The bear remained with anything. The bear does not know what it grows. He is alien to a peasant work. The stupidity of the bear is the stupidity of the government, but a little aware of the creature.

The cat in folklore appears often. In Russian folk fairy tale Cat (exactly a cat, not a cat) is often found in the image of the Savior from various misfortunes. When attempting fox to steal the rooster, the cat comes to the revenue ("Cat, cock and fox"), he braved the guard of the rooster, the cat is excellent rumor, he is smart and caring and acts as a positive hero. There is a whole cycle of fairy tales "Cat and Fox", you can note the general features. First, everywhere the animals are afraid of the cat. Secondly, Lisa marries him. And, thirdly, the cat is always a name, and with the patronymic (Cotonaylo Ivanovich, Kotay Ivanovich, cat Kotonayevich). Why is Lisa marry a cat? Because these two beasts are similar in their own features: both cunning and clever, so folk tradition Connects them together. In all Russian fairy tales, the cat is shown to be dexterous and cunning. In a number of fairy tales, he is a warrior, comes to help friends ("Kochetok, hare and cat"). He loves to wash on the stove and enjoy the sour cream or mouse ("goat, ram and cat"). May arrange a "closer", and may come to terms with death ("landowner and cat").

Hare, Frog, Mouse, Drozd Play the role of weak. They serve on parcels, they are easy to offend. From domestic birds fairy tales chose a rooster. The warlike rooster is ready to help anyone offended, but the positivity of this character of fabulous narration is very conditional. The fairy tale about how the rooster kicked the fox from the holy hut ("Fox, hare and rooster"), at the heart of his cheerful humorous. The irony is that the rooster - the fox - faithfully managed to scare a chicken meat amateur.

Thus, each animal has its own character, its distinctive features, but they all personify the person and the features of its warehouse.

I have compiled a classification of the character of a person embodied in the fabulous images of animals in Russian folk fairy tales. This classification is represented as a table:

Classification of the character character of a person embodied in fabulous images

animals

table 2

Fabulous images of animals

Character features, embodied in fabulous animal images:

Examples of fairy tales

Cunning, rodystavitation, falsehood, flattery, vigilance, greed, insatiability, dodgy, prurceness,

"Fox-sister and Wolf", "Cat, Rooster, and Fox", "Fox and Hare", "Bear and Fox"

Stupidity, greed, anger, ungratefulness, shamelessness, arrogance,

greed, insatiability, cunning

"Old bread-salt is forgotten", "Wolf and Goat", "Wolf-Ferren",

"Insatiable wolf"

Continuation of Table 2.

Rough strength, stuffiness,

clumsiness, awkwardness, negligence, nervousness, closure, rudeness

"Many and Bear", "Teremok", "Bear and Girl", "Winter Beasts", "Bear and Dog", "Bear - Lipovaya Noga."

Defender, Warmork, Care, Attentiveness, Dexterity, Cunning, Sweetheart, Turning, Sweatshit, Defenseism

"Fox and cat", "Cat, Rooster and Fox", "Kochetok, Hare and Fox", "Goat, Baran and Cat", "Cat - Gray forehead"

From this table, it can be seen that the world of animals in fairy tales is perceived as an allegorical image of the human world. Animals personify not only real carriers of human defects in everyday life (greed, stupidity, cowardice, boasting, rutting, cruelty, flattery, hypocrisy, and so on.). They are embodied and positive features The character of a person is its positive features (caringness, warrior courage, defender, nobility, courage).

True fairy tales is that in them, although they speak of beasts, the life of a person is reproduced. All characters are attributed to the properties of people, thoughts and acts of beasts reflect the Duma and actions of the person. This is the patrimony of fairy tales: every listener or reader, thinking about the behavior of fairy-tale heroes, thinks about himself and those around him.

Even in fairy tales that are samples of folk art related to the mythical ideas primitive man, animals act. In these fairy tales you can find the echoes of very ancient representations ("the most happy year"," Why a camel looks around "," why the quail quiet quiet ").

With a close friendly communication of the Kazakh people with Russians in the work of both peoples, the related fabulous scenes mutually penetrated. So, among Kazakh folk fairy tales there are very reminiscent of their contents of well-known Russian fairy tales ("the rams of wolves scare", "Fox, Bear and the Shepherd" and others). But these fairy tales pass all the features of the Kazakh life. They also express the sincere experiences of the Kazakh people, like fairy tales having an original story. Interesting in this regard, the fairy tale "Poor Old Man". The plot of it is similar to the Pushkin fairy tale about the Golden Fish, however, the fairy tale is saturated with the details of the Kazakh life: here the fish turns out to be a maritime lord of Khan-Shaban; At the bottom of the sea, where the old man gets, sheep is grazing herd; The wealth received by the old man is numerous herds of various livestock, etc. The century-old dreams of peoples found their incarnation in a new public strictly born of the Great October Socialist Revolution. But the fairy tale continues to arise in the people and now. It serves to express the poetic attitude of the people to the surrounding reality, to a new life. So in the poetic form of the fairy tale embodies the infertility history of the love of the young man Ilyas and the girls of Tanap ("Three tasks"). Respect and care, which is surrounded by the mother in the Soviet state, found their expression in the song "Answer Kyushi". A neutralized class enemy causes a contemptuous mockery ("Bai and Red Army").

The so-called "magical" fairy tales, with a complex plot, many adventures of heroes enjoy great popularity. Samples of such fairy tales can be placed in the collection "Wise Ayaz" and "EP-Tone". Fairy tales of legends are very common about the origin of the names of localities, rivers, lakes ("or caret").

Kazakh fairy tales have long been attracted the attention of Russian and Kazakh scientists. The first publications of Kazakh fairy tales in Russian refer to the beginning of the 19th century. The outstanding Kazakh scientist, the enlightener of the Kazakh people and the conductor of Russian culture, Ch. Valikhanov, was one of the first gatherers of folk art. Kazakh poets Abay Kunanbaev and Ibrai Altynsarin also took the gathering and popularization of folk art.

And if you compare these fairy tales: Russian and Kazakh, then we see in it that in every fairy tales main role Heroes play, who save their lives with the help of their animals: for example, in the Kazakh fairy tale "EP-Tonek", saves horse, and in the Russian fairy tale "Ivan Tsarevich and a gray wolf", Ivan saves the wolf. Here are the similarity of Russian and Kazakh fairy tales.

Significant in Kazakh magic fairy tales is fiction. The defenders of the EP-Tones, Joy-Mergen, Kara-Mergen, overcoming all obstacles, visit the unknown, the magical world, recognize his secrets. The heroes of Kazakh fantastic fairy tales have high intelligence and moral qualities, are endowed with an extraordinary force, extraordinary hearing and vision. Many Kazakh fairy tales are devoted to animals. Pets are showing friends and assistants of a person - camel, horse, sheep, goat, and enemies - wolf, fox, bear, tiger, snake. Some of these fairy tales are narrated about the hillocks-tools who won the championship on competitions ("Teply-Kok", Southgandar), or about the sorrow of the camel, which lost the camel ("Bose Ingen"), etc.

As in the fairy tales of many other peoples, including Russians, Lisa is invariably excreted by Lukava, a bear - a respect, but gross rapist, a wolf - greedy predator. In most fairy tales, domestic animals of a person - win cunning predators.

Chapter 3.

Questioning "Russian folk tales about animals in our life" with an open type of questions among students 8-9 classes

I have conducted a survey "Russian folk tales about animals in our life" with an open type of questions:

among classmates (grade 8 students),

among students grade 9,

among random respondents of different agesWho wished to take part in this questionnaire.

The questionnaire was attended by 22 Vios Klassnik. Of these, 19 (86%) people answered that they love to read fairy tales, stories, stories and poems. Preference only to fairy tales gave 9 (41%) people.

100% of respondents answered that they love to read Russian folk tales, including fairy tales of animals; For the first time, fairy tales heard in early childhood (from 2 to 5 years) from parents or grandmother.

Favorite animal fairy tales: "Teremok", "Kolobok", "Winter beasts", "Mitten", "Fox and Hare", "Fox and Crane", "Fox with a Rock", "Fox-sister and Wolf", "Sheep , Fox and wolf "," Hare and Rooster "," Cat and Fox "," Man and Bear ", etc. Analysis showed that most often the children mentioned fairy tales, in the names of which included the fox name (82%), wolf ( 45%), hare (36%) and bear (27%).

Calling your favorite fabulous animal heroes, children called the fox (86%), wolf (68%), hare (68%), bear (45%), frog (23%), mouse (23%), rooster (23%) , Cat (18%), hedgehog (9%), goat (5%), dog (5%), calf (5%).

Positive children consider hare (86%), a bear (50%), rooster (45%), cat (23%), mouse (23%), hedgehog (10%), frog (5%). Even the wolf and the fox 14% of respondents consider positive heroes.

According to my peers, animal heroes in fairy tales are almost always like a person. 86% of respondents believe that the character of a person hides under the appearance of each fabulous animal. And only 14% of fourth-graders think that fabulous animals have a temper and an animal habits.

Fairy tales about animals, according to my classmates, teach goodness and wisdom (64%), honesty and justice (45%), courtesy and responsiveness (36%), hard work (36%), friendship and loyalty (27%), love for Animals (27%), love to others (23%), courage (14%).

In the survey among graduates, the 9th graduates took part 18 people. Preference in reading, they, of course, were given not to fairy tales, but all (100%) noted that they loved the fairy tales in childhood very much, they gladly listened to them in the performance of parents, grandparents.

Boys and girls remembered such beloved in childhood fairy tales like "Winter beasts", "Beasts in the pit", "Teremok", "Kolobok", "Fox with a rill", "Fox-sister and Wolf", "Lisa-Drying" , "Fox and Drozd", "Cat and Fox", "Cat - Gray Lob", "Old Man and Wolf" and others.

Listing Favorite Fairy Tale Heroes - Animals, eleven-graders called Fox (39%), bear (44%), wolf (33%), hare (33%), bubble frog (28%), Mouse-norushka (28%) , Rooster (22%). Among the positive are the Bear (44%), hare (33%), mouse (28%) and rooster (22%).

Graduate students are convinced that animal heroes in fairy tales copy the nature and behavior of a person (100%).

Tales of animals, according to high school students, teach honesty and justice (67%), kindness (38%), the love of others (33%), courtesy and understanding (33%), friendship and loyalty (28%), vital wisdom ( 22%), love for animals and care for them (17%).

The questionnaire took part 10 people of different ages (from 18 years to 53 years). The results of the survey showed that adults people fairy tale almost do not read, but they know them well. Such fairy tales were listed as "Teremok", "Fox and Zhuravl," Fox with Rocky "," Crane and Heron "," Man and Bear "," Masha and the Bear "," Kochetok and Chicken "," Zimonia beasts ", "Kolobok" and other survey participants called the following main fabulous heroes: wolf, fox, hare, cat, dog, bear.

Adults noted (100%) that the signs embodied in animals characterize a person, that is, reading Russian folk tales of animals, under each of them you need to imply people with a certain warehouse of nature, that is, these are fairy tales - allegory.

All fairy tales, according to adults, learn love and peace (80%), be careful for someone else's grieving (60%), to be generous soul and help others (50%), do not break (40%), do not smash and boldly watch life In person (30%).

a total of 50 people aged 8 to 53 years old. The survey participants believe that the characters of fabulous animals imply a person (94%). Thus, reading Russian folk tales about animals, the reader under each of them to keep in mind people with a certain warehouse of nature, that is, these are fairy tales - allegory.

According to the respondents, the tales of animals enrich their reader with life experiences, serve a wise lesson: teach goodness and wisdom (60%), honesty and justice (44%), politeness, responsiveness and understanding (40%), love to others (38% ), friendship and loyalty (22%), courage (20%), love for animals (18), hard work (16%).

After analyzing these questionnaires, it can be concluded that a person at any age (from infancy and to old age) knows and loves Russian folk tales about animals and their main characters. The names of the read fairy tales from different generations coincide, as well as the names of favorite heroes. And it doesn't matter how old you are where you live, learn or work, beauty, simplicity and expressiveness of the images of Russian folk fairy tales attracts a huge audience.

Chapter 4.

Pen's test: I compose a fairy tale about animals

I really like fairy tales about animals, their instructiveness, a thin humor and educational moment.

I wanted to compose a fairy tale myself, imitating the oral folk creativity.

Lived - there were cat and fox in the world. They were boring, lonely and decided to build a hut in the forest, and live together. So they did.

We lived - they lived, did not exist, everything was fine. Cat in the woods of firewood cut, berries, the mushrooms collected, but birds caught. And the fox at home was climbing: climbed, dinners were preparing, everything was smoothly worked out, a lot of things had time to do, and before the cat boiled: "That's what I am well done! I do everything, and you bring little firewood, berries and mushrooms. "

Somehow once decided the cat to first look at how this fox did everything and not get tired. Pretended that she was leaving for prey, and he hid under the window and watched. In the meantime, Lisa took out the box, he opened it and waved her handkerchief, immediately appeared all sorts of animals and began to work, all things in the house were redesigned: and they were removed, and the waters were taped, and prepared tasty, and pirogov was prepared. And Lisa lying all this time, sang songs:

Oh, I'm smart fox,

Cat around the finger circled.

He catches birds, the mushrooms collects

And nothing else knows.

And I'm lying on a bench

Yes, all the songs sing!

He heard all the cat, got angry, went to the house. Lisa saw him, frightened, confessed in everything that she did not work, and everyone was made by the animals from the magic box. The cat took the box at the fox, took it to the river and threw out, then the fox expelled and began to live, and one work, and forgot about work and boredom. And it turned out everything.

For your fairy tale, I am a review:

I really like animals in Russian folk fairy tales, their diverse traits of character, their speech, actions and actions, so I decided to write my fairy tale about animals. The main characters I chose a fox and cat. After all, everyone knows that Fox is a tricky cheer. And this time she decided to deceive the cat so that he fulfill all the hard work. And the fox helps simple things to finish her magic box. The fairy tale is being completed sadly, exposing the fox deception, the cat drives the tunewood and a cheater.

I think that my fairy tale is similar to Russian folk in that the fairy tale is simple in content, and the heroes are endowed with the characteristics of them inherent in all fairy tales.

My fairy tale classmates liked that:

first, it is similar to the favorite Russian folk tales who love to read all children;

secondly, its main characters cat and fox do not differ from the characters of Russian folk fairy tales;

thirdly, false and lazy fox was punished, and the hardworking cat revealed the cheating of the cheating, which means that good won the victory, as in any other Russian folk tale

; Fourth, this fairy tale is asked: teaches friendship, trust, truthfulness and hardworking. Evidence that the fairy tale "Cat and Fox" liked the peers and caused their living interest, are illustrations drawn by classmates to my author's work.

Conclusion

The value of Russian folk fairy tales about animals in a man's life is great. We can not live without fairy tales because they are a conductor in adult life. Fairy tales not only develop positive traits in us, but also form it, teach us with its examples, bring up. They contribute to the moral development of a person. No wonder A.S. Pushkin said: "I listen to fairy tales - and reward the lack of education," "What the beauty of these fairy tales is! Each has a poem! "," Fairy tale lies, yes in it a hint! Good young lesson! "...

Analyzing Russian folk tales about animals, I came to the conclusion that:

For his centuries-old history, the people created a large number of animal fairy tales;

Each animal like a hero of fairy tales is endowed with its distinguishing features of character, (which allowed me to classify them as a permanent belonging, moving from a fairy tale in a fairy tale);

These features were so strengthened for animals, which became permanent epithets characterizing animals, became part of permanent comparisons, protrude with the names of the human nominated in the human speech;

Signs embodied in animals, characterize a person, that is, reading Russian folk tales of animals, we mean by each of them mean people with a certain warehouse of nature, that is, these are fairy tales - allegory.

Fairy tales of animals love not only children, but also adults, as evidenced by the results of the survey.

Thus, Russian folk tales of animals are a real household encyclopedia, to which a person is drawn to comprehend its own nature. At one time, one of the researchers of the Russian fairy tale Yevgeny Trubetskoy wrote: "Does it remain much from our poetry and from our music if you throw out a fairy tale and fabulous from them? This is the best proof that some great treasure is buried in a fairy tale, without which we cannot do. "

Results of the survey "Russian folk tales about animals

in our life "with an open type of questions

Questionnaire "Russian folk tales about animals in our life":

Specify your age.

At what age did you first heard Russian folk tales about animals? Who did you hear them from?

List the names of Russian folk fairy tales about animals that you read. What is your favorite Russian folk fairy tale about animals?

List fabulous heroes - animals (specify positive heroes.)

Do you think that the properties of people are attributed in fairy tales of animals to all characters?

What do folk tales of animals teach?

The questionnaire was attended by 22 years of grades, 18 people from graduates of graduates of fifteen years and 10 people of different ages (18 years to 53 years old).

In the survey "Russian folk fairy tales about animals in our lives" 50 people aged 8 to 53 years old have been attended by an open type of question. The survey participants believe that the characters of fabulous animals imply the character of a person (94%). Thus, reading Russian folk tales about animals, the reader under each of them to keep in mind people with a certain warehouse of nature, that is, these are fairy tales - allegory.

According to the respondents, the fairy tales of animals enrich their reader everyday experience, serve a wise lesson: teach goodness and wisdom (60%), honesty and justice (44%), courtesy, responsiveness and understanding (40%), love to others (38% ), friendship and loyalty (22%), courage (20%), love for animals (18), hard work (16%).

After analyzing these questionnaires, it can be concluded that a person at any age (from infancy and to old age) knows and loves Russian folk tales about animals, their main characters and purpose. The names of the read fairy tales from different generations coincide, as well as the names of favorite heroes. And it doesn't matter how old you are where you live, learn or work, beauty, simplicity and expressiveness of the images of Russian folk fairy tales attracts a huge audience.

Bibliography

Berdnikov GP Encyclopedic dictionary of young literary critic. - M.: Pedagogy. - 1987. - 416 p.

Library of Russian Folklore: In 3 tons. / Compiled by Kruglov Yu.G. - M.: Soviet Russia, 1988. - T. 2. - 544 p.

Large Russian Encyclopedic Dictionary / GL. Prokhorov A.M. - 3rd ed. - M.: Encyclopedia, - 1985. - 1600 p.

Buneev R.N., Buneeva E.V. Little door to the big world. Reading book in grade 2. - M.: Balam, 2004. - 208 p.

Lordarev F.P. Fairy tales / ch. ed. Azadsky MK - Petrozavodsk, 1941. - 656 p.

Dal V.I. Explanatory dictionary of the living Great Russian / Sost. Shahmatova N.V. - S.-Petersburg: Eid All, - 2004. - 736 p.

Ozhegov S.I. Dictionary of the Russian language / under. ed. Swedio N.Yu. - M.: Russian, - 1985. - 797 p.

Russian folk tales / series: the best fairy tales of the world. Cost. Anikin V.P. - M.: Press, 1992. - 560 p.

Russian folk fairy tales / Sost. Alekseeva OB - M.: Contempor, 1988. - 586 p.

Trubetskaya E.N. Another kingdom and his seekers in the Russian folk tale. - M.: Kanon, 1997. - 478 p.

Ushakov D.N. Large dictionary modern Russian language / ch. ed. Semenian Yu.I. - M.: Alta Print, 2007. - 1239 p.

Introduction

Socio-household fairy tales in keeping closer to animal fairy tales. A satirical beginning was especially expressed in them, expressing social sympathies and antipathies of the people. Their hero is a simple person: a peasant, a blacksmith, a carpenter, soldier ... Fairy tales admire his life.

Magic fairy tales in their plot composition complex genre. They include and the heroic fairy tales about the fight against snakes, with the immortal, and the plots about the search for wickers - a cereal deer, fire-birds, and the narration of the stepmother and Padherce, and many others.

Note that artistic images of a magical fairy tale represent a single artistic systemexpressing folk ethical and aesthetic ideas. Each of the traditional images has its constant characteristic and acts in a fairy tale according to its aesthetic function.

Objective: to characterize traditional images of heroes and antiheroev in Russian magic fairy tales.

V.Ya. Propppe, who investigated a fairy tale on features of characters, sets seven major fairy tale in a magical fairy tale acting persons: pest (harms the hero, his family, fighting him, pursues him), the donator (transfers the hero the magician), the assistant (moves the hero, helps him in the fight against the pest), the queen (the desired character), the sender (sends the hero), Hero, false hero.

Give an analysis by the main artistic techniques, with which the central image receives an in-depth characteristic;

Investigate the varieties of magical Russian fairy tales displaying the image of heroes and antiheroev.

Artistic techniques with which the central image gets an in-depth characteristic

The sequence of functions of acting persons leads to a monotonous construction of fairy tales, and the stability of functions - to the uniformity of fabulous images. However, the actual number of characters does not correspond to the number of actors, since various characters are endowed with one function. So, in the role of the pest, snakes, wrap, a peasant with marigolds, Baba Yaga and others, in the role of the donor - grandmother-tailoring, wonderful birds, etc. In the magical fairy tales, other characters. The evil is represented in them with fantastic, disgusting monsters. This is, above all, the blaspheme immortal - a terrible, strong antiquity, kidnapping women - as a rule, mother, wife or bride Hero fairy tales. This and Baba Yaga - "Bone leg, on a stage, nose in the ceiling, one leg into the right corner, and the other in the left." This is a snake of Gorynych, a pysterious fire, about three, six, nine or twelve heads. It may be "a peasant with a marigold - a beard from the lochot" and others. These monsters carry the death of people and kingdoms. They are unusually strong and aggressive. But the evil began to embody human characters. It is hated by the children husband's husband, these are the older brothers of the hero, etc.

With all of them, they are not a struggle, and the main characters of magical fairy tales - Ivan-Tsarevich, Ivan-Durak, Ivan Bykovich. They are distinguished by modesty, hard work, loyalty, kindness, willingness to help, selflessness. All this causes us admiration. We sympathize with them in a difficult moment, rejoice in their victories. All together they embody the unwritten moral code of the people. Ivan Bykovich, without thinking, goes to protect the people from the snake; Ivan-Tsarevich goes to search for a mother who suddenly stole blades; Ivan-Fool unquestionably fulfills the request of a deceased parent to come to him on the grave.

Magic fairy tales claim: he will come out by the winner in the fight against the enemy who loves his people, he reads the parents, respects the elders, keeps loyalty to his beloved person who is kind and fair, modest and honest.

With all the plot difference, magical fairy tales have the unity of the poetic structure. This is expressed in the strict correlation of the motives that form a consistently developing action from the strings through the development of action to the climax leading to the junction. The action of the fairy tale is based on the principle of growth: Each previous motive explains the subsequent, preparing the events of the main, culminating, which transmits the most dramatic moment of the storyline: Ivan-Tsarevich wins Kosheya, performs difficult orders of the sea king, Ivashka burns the witch, the king opens the witches and returns his wife Flashing in Lynx, the appearance of the beautiful queen, culminated, or, otherwise, the central, the motive is specific for each plot. The rest may vary, i.e., to be replaced by the motifs in the framework of this plot.

Conflict, expressed in a sharp opposition of the main actors, the indispensable condition of the scene action. In a magical fairy tale, it is always motivated. Traditional motivations that define the actions of heroes are marriage, the desire to obtain wonderful items, the destruction of the enemy, appreciating the hero (his family or people in general), for example, the destruction of sowing, the abduction of the princess, etc. One fairy tale may contain two motivation ( For example, Ivan-Tsarevian wins the snake and at the same time finds his wife in the underground kingdom). Depending on the direction of the plot of motivation can receive heroic, domestic or social color. The composition of the magic fairy tale in its own way is simple, but this simplicity is the clarity of the complex, the result of a centuries-old grinding of a fairy tale in the process of its existence. Padderitsa politely responds with frozen and he rewards her, stepmother's daughters are grown and dying.

When registering plot - differences, copyright interpretations, fabulous characters appear by a wide gallery of typical images. Among them, the image of the hero is especially important, because it largely determines the ideological and artistic content of the magical fairy tales, embodying people's ideas about justice, kindness, true beauty; It seems to be concentrated all the best qualities of a person, thanks to which the image of the hero becomes an artistic expression of the ideal. High moral qualities of heroes are revealed through their actions. However, in fairy tales, it is possible to detect elements of a psychological nature, attempts to convey the inner world of heroes, their mental life: They love, rejoice, are upset, proud victory, experience treason and infidelity, looking for a way out of difficult situations, sometimes mistaken. That is, in a fairy tale, we already find the image marks.

Nevertheless, it is possible to talk about individualization of images with a known proportion of convention, as many features inherent in the hero of one plot will be repeated in the heroes of other fairy tales. Therefore, the opinion about the image in the fairy tales of a common popular nature is true. This folk nature was embodied in different types of heroes - male and female images.

The fabulous hero is essentially unnamen. The name Ivan admits any replacement - Vasily, Frol, Ivan peasant Son., Ivan Medvedko and others.

At the beginning of the fairy tale, it is called among other actors: "there was a king, he had three sons," such a typical beginning of most magical fairy tales. To highlight the hero among secondary characters, the fairy tale introduces a number of traditional provisions and situations associated only with the hero. He is young, among the brothers he is always younger and therefore do not trust him. The definition of "younger" may not only be

age, but also social: Ivan-Durak despise the older brothers, he is deprived of the inheritance, Ivan the peasant son, like the younger, is opposed to the royal sons.

Not rare the hero is distinguished by a wonderful birth: the queen eats the pea, drinks water from a well or a stream - she has twin sons of her. Ivan Medvedko will be born from the marriage of man and a bear, the wonderful fish eat the queen, maid and cow, each of them is born the son, but the son of the Cow (Ivan Bykovich) shows in the future the character of the hero.

These motives, beginning a fairy tale, by virtue of their tradition, are as if signaling situations that pay the attention of listeners to the hero and, accordingly, determine the attitude towards other characters. Such bias enhances emotional perception.

In most magical fairy tales, the hero, unlike other characters, is endowed with an extraordinary force. His heroishness is found already in childhood, he "grows not by day, but by the clock," "will go out on the street, whom the hand grabbies - the hand is away, whom I will grab - my leg." It is only a wonderful horse, which expects a ride in itself into a dungeon, chained twelve chains. Going on the road, Tsarevich orders his tool at twelve pounds. The same power is hidden in Ivan-fool ("Squa-Burka"): "... grasped Klyach for the tail, I sorted the skin from her and shouted:" Hey, fly, daws, cargos and forties! Here you have a father stern sent

It should be noted that any quality of the hero The fairy tale gives not how the animals gently says; Ivan-Fool for the last money redeems the dog and the cat, frees the crane that fell into the sink; Hunter, tolerant, for three years feeding the eagle. The same manifestation of ideal qualities is the execution of debt, honoring the elders, following the wise advice. Usually, the advice proceed from the old men and women who embody the life experience, the ability to foresee events. These characters often act as wonderful assistants. In a fairy tale about the three kingdoms, Ivan-Tsarevich, going to search for a stolen mother, wins a multi-headed snake, following its punishment "Do not beat weapons twice" or rearrange the barrels with "strong and powerless water." The plot "Looks there, I do not know where" the whole is being built by the execution of the fumes of the wise councils of their wife. Failure to comply this word It is estimated as a guide and carry heavy consequences: Ivan-Tsarevich is kidnapped by wonderful items, the bride.

The initial error behavior gives the correct actions. Ivan Tsarevich thinks where to get a boysk horse. To the question of the on-line grandmother, what he thought about, is responsible to rudeness, but then it is dressed, asks the old man forgiveness and gets the right advice.

The identity of the hero is manifested in the actions, in his reaction to the outside world. The plot action (the situation in which the hero was put) serves as disclosure and proof of the truly positive qualities of a person, the correctness of his actions, as relevant to the norms of human behavior in society. For each good deed, the hero is awarded with magic objects: a hat-invisible, a self-priming tablecloth, wonderful animals - a heroic horse, assistant beasts. The award can be in the form of a board - where to find a horse, how to find the road to the narrowed, overcome the snake.

The magic fairy tale knows the two main types of heroes: Ivan-Tsarevich - the hero of the magic and heroic plots ("three kingdoms", "killing immortal", "Molding apples", etc.) and Ivan-fool - the hero of the fairy tales "Sivan Burka", "Magic Ring", "Wonderful Gifts", "Konk-Gorbok" and others. The existence of various types of heroes finds its historical and aesthetic conditionedness, the latter is determined by the desire to comprehensively reveal the unionful ideal. The purpose of the Hero B. different plots Different: Return to people a light that swallowed snakes, get rid of

monsters Mother and find the brothers, return the vision and the health of the old man, turns the queen into the white duck, and then trying to destroy her children.

Revealing images of their heroes, the fairy tale transfers people's ideas about people, their relationship, approves kindness and loyalty. The image of the hero is revealed in complex system Scene opposition. Antithesis - This is an artistic technique with which the central image receives an in-depth characteristic. Opposition to the hero of his opponent (pest) is of particular importance, since the relationship between these characters is an expression of various life principles and thus become the means of disclosure ideological content fairy tales

The main types of heroes - active (Ivan-Tsarevich) and passive (Ivan-Fool, Padder) - correspond to the types of opponents. Conditionally, they can be divided into two groups: the monstrous opponents of the "other" kingdom-snakes, hagging, Baba Yaga and other and opponents of "their" kingdom - King, Tsarevna, brothers, etc.

Monstrous opponents - Characters of heroic plots. Folk fantasy draws them fantastic monsters. Intentionally depicting heroes outwardly ordinary people - Common young, red maiden, the fairy tale resorts to the hyperbola when describing the enemies: nine snakes, a peasant with a marigold - a beard with a lochot. All of them are aggressive, carry people death and destruction: kidnapped women, children burn kingdoms. But than the monstrous opponent, the greater determination and courage should have a hero.

The antagonistic relationship of the hero and his enemy make up scene base All magic fairy tales. But with the general similarity of the plot fabul, no fairy tale nevertheless repeats the other. This difference lies, in particular, in a plot manifold, which is largely due to the numerous types of opponents. Each of them is inherent

a specific traditional feature in the plot, hence the differences in the appearance, attributes, properties that generate special forms of combating them. The number of opponents of the hero will increase even more, if we take into account that various characters may hide behind one name.

Thus, in addition to the main actors - the hero and his opponent - a lot of other characters in a fairy tale, each of which is inherent in its appointment in the plot action; Among them are especially numerous group of characters, giving wonderful assistants, and wonderful assistants themselves. These are the characters only the magic fairy tales.

In the magical fairy tales, homemade and wild animals are always standing on the side of the hero: the horse helps to defeat the snake, the cow of a row is fulfilling a difficult work, a cat and. The dog return the stolen cigarette ring, the bear, the wolf, the hare helps the prince to get the death of a snack or divided with the sorcerer - the lover of sister.

It has long been, wanting to get rid of himself from diseases and random dangers, seeking to ensure good luck in all matters, the popular imagination emphasized bread, water, fire, as well as many of the most diverse items: light, towel, needle, mirror, ring, knife, etc. This faith finds confirmation in numerous rituals and customs, it reflected in a kind of miraculous properties in a fairy tale. individual itemsWith the help of which the hero performs difficult orders, avoids danger. Wonderful items in a fairy tale are, as a rule, externally ordinary household items - a comb, brush, towel. Wonderful properties Enclosed in their action: the tablecloth feeds all the hungry, the towel is spread by the river, the comb turns into an impassable forest.

1. Portrait- An image of the appearance of the hero. As noted, it is one of the techniques of individualization of the character. Through the portrait, the writer often reveals the inner world of the hero, its characteristics of his character. In the literature there are two types of portrait - unfolded and torn. The first-present description of the appearance of the hero (Gogol. Turgenev, Goncharov, etc.), the second - in the course of the nature of the nature, characteristic details of the portrait (L. Tolstoy, etc.) are distinguished. L. Tolstoy categorically objected to the detailed description, considering it static and unsubstantiated. Meanwhile, creative practice confirms the effectiveness and such a form of portraying. Sometimes the idea of \u200b\u200bO. appearance The hero is created without portrait sketches, and with the help of the deep disclosure of the inner world of the hero, when the reader seems to be drawn by himself. "GAK, in the romance of Pushkin" Eugene Onegin "says nothing about color of the eyes or strips of Onegin and Tatiana, but the reader represents them as living.

2. Acts. As in life, the character of the hero is revealed primarily in what he does, in the actions. The plot of works is a chain of events in which the characters of the characters are revealed. About the person is judged not because he speaks of himself, but according to his behavior.

3. Individualization of speech. It is also one of the most important means of disclosing the character of the hero, since in speech a person fully reveals himself. In antiquity there was such aphorism: "I will say that I saw you." Speech gives an idea of social status Hero, his character, education, profession, temperament and many other things. The talent of the prose writer is determined by the ability to reveal the hero through his speech. The art of individualization of speech characters is all Russian classic writers.

4. Hero biography. IN artistic work The life of the hero is depicted, as a rule, for certain periods. The day to reveal the origins of certain character traits, the writer is often driven) biographical information relating to its past. Thus, in the Roman I. Thrycharov "Oblomov" there is the chapter "Sleep Oblomov", which tells about the hero's childhood, and the reader becomes clear why Ilya Ilyich grew up lazy and completely unsuitable for life. Important to understanding the character Chichikov biographical information leads N. Gogol in the novel "Dead Souls".

5. Author's characteristic. The author of the work acts as a all-in-one commentator. He comments not only events, but also what is happening in the spiritual world of heroes. This means can not use the author dramatic workSince its direct presence does not correspond to the peculiarities of drama (partially perform its remarks).

6. Characteristic of the hero by other actors. This tool is widely used by writers.

7. The worldview of the hero. Each person has its own view of the world, its attitude to life and people, so the writer for completeness characteristic of the hero illuminates its worldview. A characteristic example of -bazarov in the novel of the I.Turgenev "Fathers and Children", expressing their nihilistic views.

8. Habits, manners. Each person has its own habits and manners that shed light on his personal qualities. Teacher's habit of Belikov from the story of A.hehkhov "Man in the case" in any weather, wearing an umbrella and halosh, guided by the principle "how would not happen," characterizes it as a casual conservative.

9. The ratio of the hero to nature. By how a person relates to nature, to the "brothers to our smaller" animals, one can judge his character, about his humanistic essence. For Bazarov, Nature is not a temple, but a workshop, but a person in drinking worker. " Other attitude towards nature at the Kalinic peasant ("Horing and Kalinich" I.Turgenev).

10. Related characteristic. Peshi, surrounding man, give an idea of \u200b\u200bhis material supply, profession, aesthetic taste and many other things. Therefore, writers widely use this means, giving the important importance to the so-called artistic details. Thus, in the living room of Manilov's landowner ("Dead Souls" N.Gogol), the furniture costs several years in an unrecognized, and on the table there is a book, revealed as many years on the 14th page.

11.Tools of psychological analysis: Dreams, letters, diaries, revealing the inner world of the hero. Tatiana's dream, letters of Tatiana and Onegin in the novel A.Pushkin "Eugene Onegin" help the reader understand the inner state of heroes.

12. Meaning (creative) surname. Often, for characteristics of heroes, writers use surnames or names that correspond to the essence of their characters. Large masters The creation of such names was in Russian literature N.Gogol, M. Saltykov-Shchedrin, A. Chekhov. Many of these surnames have become a nominal one: Dervorda, Pokyev, Derunov, etc.

IN modern literary study Indebid differences: 1) biographical author- creative personexisting in uncomfortable, primary empirical reality, and 2) author in his internallyan artistic embodiment.

The author in the first meaning is a writer who has his biography (a literary design genre of the scientific biography of a writer, for example, four-volume work S.A. Makashin, dedicated to the life view of M. Sealtykova-Shchedrin, etc.), which creates writing otherreality is verbal and artistic statements of any kind and genre that claims to create text.

In the moral and legal field of art wide walking have the concepts: copyright(part of civil law, which determines the legal obligations related to the creation and use of works of literature, science and art); author's treaty(agreement on the use of works of literature, science and arts concluded by the owner of the copyright); author's manuscript(in the textology-concept characterizing the affiliation of this written material to a specific author); authorized text(text, to publish, the translation and distribution of which the author's consent is given); author's proofreading(editing of the marks or layout, which is performed by the author himself by agreement with the editors or publisher); author's translation(published by the author of the original translation of the work to another language) and others.

With a different degree of inclusion, the author participates in the literary life of his time, entitled to direct relations with other authors, with literary critics, with the editors of magazines and newspapers, with book publishers and books, to epistolary contacts with readers, etc. Similar aesthetic appeals lead to creating writing groups, circles, literary societies, other copyright associations.

The concept of the author as a person of empirico-biographical and fully responsible for the work of them is rooted together with the recognition in the history of the culture of the self-satisfaction of creative fantasy, artistic fiction (in the ancient literature, the descriptions were often accepted for the undoubted truth, for what was or was actually happening one). In the poem, quotation from which is given above, Pushkin captured a psychologically difficult transition from the perception of poetry as a free and magnificent "Music Service" to the awareness of the word art of the word as a certain kind of creative work.That was a distinct symptom professionalizationliterary labor characteristic of Russian literature early XIX. in.

In oral collective folk art (folklore), the category of the author is deprived of the status of personal responsibility for the poetic statement. Place the author of the text stands there executortext - Pelevts, narrator, narrator, etc. The long century of the literary and even more realcate creativity. The idea of \u200b\u200bthe author with different degrees of openness and discretion was included in the universal, esoterically meaningful concept of divine authority, prophetic instrument, mediativity, consecrated by the wisdom of centuries and traditions 1. Historians of literature celebrates gradual increase personalbeginning in the literature, barely noticeable, but relentless strengthening the role of author's individuality in the literary development of Nation 2. This process, starting with an ancient culture and more clearly find himself in the Renaissance (Creativity of Boccaccio, Dante, Petrarki), mainly binds to the urgent trends to overcome artistic and regulatory canons, consecrated by Paphos Sacred Cultural School. The manifestation of direct author's intonations in poetic literature is due primarily to the growth of the authority of sincere-lyrical, hostess-personality and plots.

Copyright self-conscious reaches apogee in the hesitance era romanticthe arts focused on aggravated attention to the unique and individual value in man, in his creative and moral quest, on the design of the secret movements, to the embodiment of the fleeting states, the hard-effective experiences of the human soul.

In a wide sense, the author acts as an organizer, embodiment and an emotional expressive integrityunity of this artistic text as the author-creator. In the sacral sense, it is customary to talk about the live presence of the author in the creation itself (cf. in the poem of Pushkin "I will have an unpretentious monument to myself ...": "... The soul in the cherished lyre / my ashes will survive and the quench will run ...").

The attitude of the author who is outside the text and the author, captured in the text,reflected in difficult-to-comply with comprehensive descriptions of the submitted and omniscient author's role, copyright, author's concept (idea, will),detected in each "cell" of the narrative, in each plot-composite unit of the work, in each component of the text and in an artistic whole work.

At the same time, the recognition of many authors associated with the fact that literary heroes In the process of their creation, they begin to live as it were, according to unwritten laws of their own organics, they acquire some inner sovereignty and come against the initial copyright expectations and assumptions. L.N. Tolstoy recalled (this example has long been a shittomatoid) that Pushkin somehow some of his friends confessed: "Imagine what kind of died with me Tatiana! She got married. That I did not expect from her. " And continued: "The same thing I can say about Anna Karenin. In general, my characters and heroines are sometimes doing such things, which I would not want: they do what they should do in real life and how it happens in real life, and not what I want ... "

Subjective author's willpronounced in all artistic integrity of the work, commanding inhomogeneously interpret the author perthe text, recognizing it in the inseparalism and inexpensiveness of Empi-Rico-household and artistic and creative principles. The common eaten revelation was the quatrain of A.A.Akhmatova from the "Secrets of Crafts" cycle (the poem "I could not need anything ..."):

When you knew, from what kind of sera / grow poems, without knowing shame, / how yellow dandelion At the fence, / like burdocks and the swan.

Often a peculiar kaleidoscopic-centripetal text becomes diligently replenished by contemporaries, and then the descendants of the "piggy bank" - legends, myths, legends, anecdotes about the life of the author. Increased interest can be attracted to an unclear love, family-conflict and other parties to the biography, as well as to the unusual, nontrivial manifestations of the poet's personality. A.S. Pushkin in a letter to P.A. Nezdensky (the second half of November 1825) in response to the networks of his recipient about the "loss of Bairon's notes": "We know Byron pretty. Seen him on the throne of glory, saw in the torment of the Great Soul, saw in the coffin in the midst of resurrecting Greece. - Hunt for you to see him on the ship. The crowd eagerly reads confession, notes etc., because in the meanness of it is rejoiced to humiliation of high, the weaknesses of the powerful. When opening any abrasion, it is admirable. He is small as we, he is a nasty, like us! You are lying, scoundrels: he and small and nasty-it is like you - otherwise. "

More specific "personified" copyright internal manifestations give good foundations to literary criticism carefully examine the image of the authorin fiction, detect various forms of the author's presence in the text. These forms depend on generic belongingworks from his genrebut there are general trends. As a rule, the author's subjectivity is clearly manifested in framework components Text: title, epigraph, beginningand endingbasic text. In some works there are also dedications, author notes(like in Evgenia Onegin), preface, afterword,combined peculiar meta-textcomponent with basic text. To the same circle of issues can be attributed to the use of pseudonymwith an expressive lexical meaning: Sasha Black, Andrei White, Demyan Poor, Maxim Gorky. This is also a way to build an image of the author, targeted impact on the reader.

The piercing the author declares itself in lyricswhere statement belongs to one lyrical subjectwhere its experiences are depicted, attitudes towards "inexpressible" (V.A. Zhukovsky), to the outside world and the world of his soul in infinity of their transitions to each other.

IN dramathe author is more in the shadow of his heroes. But here his presence is seen in title, epigrafe(if he is), the list of actors,in different kind scenic instructions, previations(eg, in the "Auditor" N.V. Gogola- "characters and costumes. Comments for the Lord of the actors", etc.), in the remark systemand any other scenic instructions in replica to the side.The author's verge can be the actors themselves: heroes -resoners(Wed. Monologists of the Starugam in Comedy D.I. Fonvizina "Nepal"), khor.(from ancient Greek Theater Bertold Brecht's Theater) and others. Author's deliberation is in the general concept and plotting of drama, in the arrangement of actors in the nature of conflict stress, etc. In insidences classic works Often there are characters "from the author" (in movies based on literary works introduced a voice-over "author's" voice).

With a greater measure of the inclusion in the event, the author looks like in epos.Only the genres of autobiographical story or autobiographical Romanaand also adjacent works with them with fictional heroes, Winning light of autobiographical lyrism, impose an author to a certain extent directly (in "confession" J.-zh. Rousseau, "Poetry and Pravda" I.V.Gothe, "Were and Things" A.I.Getzen, "Poshekhonskaya Starina" M.E.Saltykova-Shchedrin, in the "History of My Contemporary" V.G. Korolenko et al.).

The most often the author acts as narrator,lead story OT. third partyin an easy, impersonal form. Since the time of Homer is a famous figure overall authori know everything and everything about your heroes, freely moving from one time plan to another, from one space to another. In the literature of the new time, such a method of narrative, the most conditional (the union of the narrator is not motivated), is usually combined with subject-to-form, with the introduction narrator,with transmission in speech formally owned by the narrator, points of viewof a hero (so, in the "war and the world" battle of Borodino The reader sees the "Eyes" of Andrei Bolkonsky, Pierre Duzhova). In general, in the epic, the system of narrative instances can be very complex, multi-stage, and the form of entry "foreign speech" is characterized by a large variety. The author can reproach his plots to him, a passing storyteller (participant of events, chronicle, eyewitness, etc.) or tolders who can, thus, the characters of their own narration. The narrator leads narration from the first person;depending on its proximity / alien to the author's horizon, the use of one or another vocabulary, some researchers allocate personal narrator("Notes of the Hunter" I.S.Turgenheyev) and the narrator actually, with its characteristic, patterned tale ("Warrior" N.S.Leskova).

In any case, the unifying the beginning of the epic text is the author's consciousness, shedding light on the whole and on all components of the artistic text. "... Cement, who binds every artistic work in one whole and because it produces illusion of reflection of life, - wrote L.N. Tolstoy, - there is not unity of persons and regulations, but the unity of the original moral attitude of the author to the subject "2. IN epic works Copyright appears in different ways: as the author's point of view on the recreated poetic reality, as the author's comment along the plot, as a direct, indirect or infirm-direct characteristics of the heroes, as a copyright description of the natural and real world, etc.

The image of the authoras semantico-styling category epicand laro-epicworks are purposeful to understanding V.V. Vinogradov as part of the theory of functional styles 2 developed by them. The image of the author was understood by V.V. Vinogradov as the main and multivalued style characteristic of a separate work and all artistic literature as a distinctive whole. Moreover, the image of the author was mentioned primarily in its style individualization, in its artistic and speech expression, in the selection and implementation of appropriate lexical and syntactic units in the text, in the total compositional incarnation; The image of the author, according to Vinogradov, is the center of the artistic and speech world, which detects the aesthetic attitude of the author to the content of his own text.

One of them recognizes in a dialogue with the artistic text. Full or almost complete allocation readerits unconditional and natural right to freedom of perception of the poetic work, free from the author, from the obedient following the author's concept, embodied in the text, on the independence of the author's will and the author's position. Looking at the works of V. Gumboldt, A.A.Potebni, this point of view found its incarnation in the works of representatives of the psychological school of literary studies of the XX century. A.G. Gornfeld wrote about the artistic work: "Completed, detached from the Creator, it is free from its impact, it has become a playing of historical fate, for it became an instrument of someone else's creativity: creativity perceive. The work of the artist must us precisely because it is the answer to our questions: our,for the artist did not put them on himself and could not foresee them<...> Every new reader of Hamlet has a new author ... ". Yu.I. Yayhenwald offered his own Maxim: "Never read reader just what the writer wrote."

The extreme expression of the designated position is that the author's text becomes only a pretext for subsequent active reading receptions, literary transfers, dealerships for the languages \u200b\u200bof other arts, etc. Request or unintently justifies the arrogant readership Kate Goris, the desires of judgments. In the practice of school, and sometimes special philological education is born confidence in the limitless power of the reader over the artistic text, replicated by M.I. Dzvetaya formula "My Pushkin", and involuntarily is another, ascending to Gogol Khlestakov: "With Pushkin on a friendly foot.

In the second half of the XX century. The reader's reader was brought to its extreme limit. Roland Bart, focusing on the so-called poststructuralism in artistic literature and philological science and declaredthe text of the zone of exceptionally linguistic interests capable of bringing the reader mainly playful pleasure and satisfaction, argued that the traces of our subjectivity were lost in verbal and artistic work "," every self-identity disappears and first of all the bodily identity of the writing "," the voice is separated from its source , for the author, death comes. " Artistic text, according to R. Bart, is an outcast structure, and the sinor of the owner of the manager itself is the reader: "... The birth of the reader has to pay for the death of the author." Contrary to his proud dip and extravagance, concept the death of the authordeveloped by R. Bart, helped to focus research philological attention to the deep semantic and associative roots preceding the observed text and the components of it not fixed by the author's consciousness of genealogy ("Texts in the Text", dense layers of involuntary reminderscence and bonds, archetypical images, etc.). It is difficult to overestimate the role of the reading public in the literary process: because the fate of the book depends on its approval (path of silent), indignation or complete indifference. Disputes readers about the character of the hero, the persuasiveness of the junction, the symbolism of the landscape, and the pr. - Here is the best testimony about the "life" of the artistic essay. "As for my last work:" Fathers and children ", I can only say that I stand myself amazed before his action," writes I.S.Turgennev P.V.annenkov.

But the reader declares itself not only when the work is completed and proposed to him. It is present in the consciousness (or subconscious) of the writer in the act of creativity, affecting the result. Sometimes the thought of the reader is drawn up as an artistic image. To indicate the participation of the reader in the processes of creativity and perceptions use various terms: In the first case - addressee (imaginary, implicit, internal reader);in the second - real reader (public, recipient).In addition, allocate image of the readerin the work 2. Here we will talk about the reader-addressee of creativity, some related issues (mainly on the Russian material xIX-XX literature centuries).