The value of the genre of fairy tale in world art art. Reflection of the world of Russian magic fairy tale in decorative and applied art

Federal Agency for Culture and Cinematography

Orlovsk Regional College of Culture and Arts

Course work

by discipline

"People's Art Creativity"

Subject « Fairy tales and their meaning»

Prepared: student

IV courses

choral branch

Nabatova V.

Lecturer: Vasilyeva N.I.

Eagle - 2005.

Plan

1. Study and study of fairy tales

2. What is a fairy tale?

3. Basic principles of fairy tales

4. The value of fairy tales in a person's life.

Introduction

The report on the activities of the Ethnography Department and the Commissions of the Imperial Russian Geographic Society for 1914, among the awarded, the name of Joseph Fedorovich Kallinikova: "Silver Medal of the Company: Joseph Fedorovich Callinikov for the collection of ethnographic materials in the Oryol province, in particular for collecting fairy tales (Feedback Dan Academician A. A. Chematov). "

Writer, poet, translator and ethnographer I. F. Callinikov, a native of Eagle / 1890 - 1934 /, was the successor of the traditions of his fellow countrymen P. V. Kireevsky and P. I. Yakushkin in collecting the oral-poetic creativity of the native land .

While still a student of the St. Petersburg Polytechnic Institute. Peter the Great Callinios, interested in folk creativity, wrote down the texts of folk songs and fairy tales in Orlovshchina. The notebook of the collected materials was brought to the editorial office of the magazine "Russian wealth", where he served as the editor of the literary department of his former teacher of the Oryol gymnasium, writer F. D. Kryukov. He advised the novice ethnographer to show the entries of Academician A. A. Shamatov.

In these years, with the support of Shakhmatov, expeditions and business trips were made in Russia and abroad to replenish information on dialectology, the history of Russian writing, household poetry and folklore, to compile dictionaries. It is also known that in the 1910s, a geographical society assumes the initiative in the collection and publication of fairy tales. Obviously, Chematov attracted the materials of Callinov, and the geography of seats was interesting.

The first rides in the Orlovshchina for the collection of ethnography and folklore were carried out by P. I. Yakushkin at the beginning of the 19th century; The few fairy tales collected by him entered the assembly of A. N. Afanasyev. In the future, the richest fabulous folklore of Orlovshchina was not intended and not studied. "Collect fairy tales in the village," this was the answer of Shahmatov.

Having received from the Imperial Geographical Society, legitimation of the branch of the Russian language and literature, a phonograph and monetary allowance, Calliniki goes to their first expedition in Orlovshchina.

The fairy tales of Kalinnikov and his reports made at meetings of the Fabulous Commission of the Russian Geographical Society were published in the magazine "Living Older" / 1913. -1915 /, and the main works - "On the collection of fairy tales in the Oryol province" and "Fairy tales and their fairy tales" - were issued by separate prints. The work of a young ethnographer was appreciated by Academician A. A. Shamatov, who gave a review for the presentation of Callinov to a silver medal.

On March 4, 1915, Callinova informed Kallinikov, on behalf of the Russian Imperial Academy of Sciences: "I have the honor to notify you that the department of the Russian language of verbost, having heard a note from February 7 of this year, decided to allocate you for the publication of the fairy tales recorded by you during 1915, 1916 and 1917 on five hundred rubles, providing you with a choice of typography. "

In 1916, the Oryol Typography turned to the printing of Callinine fairy tales - "People's Tales of the Oryol Governor", but with interruptions / edition was suspended in 1919 / only the first seven and a half printed sheets were printed.

Callinnik himself highly appreciated the significance of folklore expeditions in the Oryol province for further writing activities. In the autobiography / 1932 / he wrote: "Each little thing in the village of Rustic Way has been imprinted in my memory. Folklore is a school life for a writer. Records and conversations kept the knowledge of the language and enriched the stock of expressions. The source of my studies was the Oryol province, where the folklore materials were collected by my countrymen Yakushkin and the Kireevsky brothers, who gave the Oryol tales of Pushkin. From the same source died their stocks of Turgenev, Leskov, Andreev, Bunin and other countrywood writers ... It was Russia Gogol, Zamyatina, Leskov and partly Pechersk, Russia landowners, feudal mesh and monastic ". In the letter to Orlovtsu-Orlovtsu E. Sokolu Kallinikov in the last years of his life confessed: "... if it were not for Russia, the villages, the long songs of her and what she breathed in me when I wandered behind fairy tales, for her songs - It would not be worth living. "

With all the diversity of techniques and approaches, the word has always been mighty and all-defining folk work. Its not knowing the obstacles is significantly in the most simplest types of fairy tales! The child is familiar with them as soon as he acquires the ability to understand the words, to associate the concept of fairy tale in the life of the child, while he comes to the peak of his attraction to her, that adults even have inconvenience from children's demands to tell new fabulous stories or infinitely repeating already known . "Parents often tell the child and not children's fairy tales, when

No fairy tale without fiction. Equally, this refers to any fairy tale of adults and children's fairy tales, but in a children's fairy tale, the fiction exists only for the sake of didactics, instructions, even if the most valuable. The fiction of a children's fairy tale is different meaning.? The fairy tale first of all recreates the imagination of the painting and scenes, which themselves make the child with the empathor of everything about what is being spent. The child follows the course of action in a fairy tale, happily takes a prosperous ending. In the emotional experience of sympathy for characters, in the admission of a child to the struggle for victory and consists of the most important value of fabulous fiction - especially the magical.

1. Study and study of fairy tales

The main side of the complex problem of the origin of a fairy-tale fiction in magical fairy tales - the establishment of a magic fiction with the rite - it means to clarify a lot in the origin of fabulous fiction. However, this does not mean that its nature is understood.

According to the conviction of a primitive man, in the field, in the forest, on the waters and in the dwelling - everywhere and constantly he faces a hostile alive, conscious power, seeking the case to send failure, illness, misfortune, fires, ruin. People sought to leave from under the power of mysterious, vengeful and cruel strength, furnishing their lives and life of the most complicated system of prohibitions - the so-called tabu (Polynesian word denoting "impossible"). The prohibition (Tabu) was imposed on individual actions of a person, to touch it to individual subjects, etc. With a certain circumstances, the prohibition violation entailed, according to primitive people, hazardous consequences: a person was deprived of protection, became a victim of the outside world. These ideas and concepts of people gave rise to numerous stories about how a person violates any of the domestic prohibitions and falls under the power of hostile forces. Magic fairy tales clearly transmit a sense of constant danger that a person is exposed in the face of invisible and always powerful mysterious forces, dominative in the surrounding world.

Fabulous fiction - a certificate of mighty scope of a person's live thoughts, tested in ancient times to go beyond the nature of the practice, the severely limited possibility of historical time.

There are several types of magic: partial magic is characteristic and for a fabulous narration of death of Koschey. The death of Koshiya, says in a fairy tale, at the end of the needle, needle in the egg, egg in a duck, duck in a hare, hare in a chest, a chest in a high oak. The hero of the oak, breaks the chest, catches the hare, and then squeezed out of the hare, extracts the egg in it and, finally, takes the needle in his hands, breaks the tip - and now "how many wounds begged, but I had to die. "

The magic of contact was reflected in the episode of a fairy tale about the magic mirror: it tells how the girl tied to the neck tape and immediately fell asleep. The evil monster devours the heart of the murdered snake to be equal to it in force and to beat the hero, who defeated the snake himself. Control with things in a number of magical customs entails the achievement of the result. This is a contact magic.

Diverse in fairy tale species verbal, i.e. verbal, magic. By the way, the dungeons will be reel - only say: "Doors, doors, discouraged!" Svistnul-planked Ivan Moledtian Posters, Bogatlish Intrick: "Squa Burk, prophetic canophage! Become in front of me like a leaf before grass. "

The fairy tale reproduces a miracle as a phenomenon resulting from the execution of ritual-magical actions.

Carpet-aircraft, touch-sensitive tablecloth, boots, swords, wonderful hoops, magic mill, wooden eagle, some wonderful box, in which the whole city is hidden with palaces, slobs and surrounding villages, do not contain anything magical in itself. This is an artistic fiction. The fabulous fiction associated with the oldest economic magic has been preserved only as the echo of some customs, which primitive people attributed magic consequences.

Good transfers the magic fairy tale a variety of types of love magic.

Love magic knows the "spoken" drink and food, to which a person will "be engaged."

In the fairy tale about Vasilis, the love of his narrowed is so brought back: I took it and let the drop of my blood in the dough for a cake intended for the wedding table. Made a pie and put in the oven. When a piece of cake was cut, a pigeon with a dove flew out of it. The pigeon crushed, and the dove tells him: "Vorkuy, Vorkui, doves! Do not forget your dove, like Ivan forgot your own! "

Damage, evil eye, filling, harmfulness - in a word, a variety of types of malicious magic are also fully reflected in fairy tales. The damage in the fabulous narrative is usually carried out through direct contact: only some potion is enough to get enough, take it into some kind of conspiracted food, touch the subject of the object. Fairy tales tell about some wonderful water, the sip of which turns a person in the animal. In a hot day, Syarots Alyonushka with a brothers in distant areas: a brother of water from puddles got drunk and became a goat ("Sister Alyonushka and Brother Ivanushka").

The nature of magical actions in a fairy tale coincides with the types and types of folk magic. The following types of magic were allocated in science: therapeutic, malicious (damage), love, economic. Among the minor species of magical rites should be paid special attention to the magic of pregnancy and birth. In fairy tales there are all types of these magical rituals.

2. What is a fairy tale?

Three factors influenced the poetic style of animal fairy tales: Communication with ancient beliefs about animals, the impact of social allegories and, finally, the prevailing child began.

The fact that the fairy tales of animals historically preceded legends and stories about animals, led to the right and accurate reproduction of some significant habits of animals even after the actions of animals began to be perceived as human actions. Fabulous felt, like a real fox, loves to visit the chicken coop. She lives in Nore. Once in a deep and narrow pit, can not jump out of it. Lisa can not push her head into a narrow pitcher.

Each of the fairy tales of animals recreates household stories rich in detail. Speech of animals and birds, the internal motives of their actions, actions, the most everyday situation - everything indicates an ordinary and habitual. Fabulous heroes live the life of ordinary people.

The comic content of animal fairy tales develops a sense of real and simply fun, activating the spiritual power of the child. However, fairy tales are also sorrow. How contrasting them transitions from sad to merry! The feelings expressed by a fairy tale are as bright as the child's emotions. The child can upset, trifle, but it is just as easy to console it. Crying a bunny at the threshold of his hut. He was kicked out the goat deres. It is unprofitable in grief. Cappy came with oblique:

I go in boots, in gold earrings,

Carry a braid - your head will demolish at the very shoulders,

Forest from the furnace!

The goat rushed out of the hut. Jacot the hare is not end. Fun and listener ("goat-deres").

It is not always easy to distinguish the magic fairy tale from other species. There was an attempt to take for the main thing in magical fairy tales that a man was made in them, and not an animal. But by this sign as a criterion to use it was difficult, since the specificity of the magical fairy tales was not identified. No magic fairy tale costs without wonderful action: the evil and destructive strength intervene in the life of a person, then a kind and most favorable supernatural force. Magic tale is abounding wonders. Here are terrible monsters: Baba Yaga, Koschey, Fiery Snake; and wonderful items: carpet airplane, invisible hat, boots-boosters; Wonderful events: Resurrection from the dead, human appeal in the beast, bird, in some subject, travel to another, distant kingdom. Wonderful fiction lies in the basics of this type of fairy tales.

Fairy tales - beautiful creation of art. Our memory is inseparable with them. In the simplicity and simple stories about the fox and wolf, herg and crane, the fool of Emela, the miracles of the princess frogs are attracted by the acuity of social sense, the inexhaustibility of fiction, wisdom of vital observation. With extraordinary generosity, in all the magnificence is revealed in fairy tales of the treasures of the people's colloquial speech. The flexibility, the subtlety of the meaning, diversity and abundance of shades, the word in the fairy tale was surprised even by the most demanding artists.

In fairy tales consistently condemn violence, robbery, cunning, black act. The fairy tale helps strengthen in the most important concepts about how to live, on what to base attitude towards their own and foreign actions. Fabulous fantasy approves a person in the bright acceptance of life, complete worries and accomplishments. Pursuing social evil, overcoming life obstacles,

Scientists interpret a fairy tale in different ways. Some of them, with unconditional evidence, sought to characterize the fabulous fiction as independent of reality, while others wanted to understand how the attitude of folk narrator to the surrounding reality was in fantasy fairy tales. Do you consider a fairy tale in general, any fantastic story or to allocate in oral folk prose and its other species is an inappropriate prose? How to understand a fantastic fiction, without which none of the fairy tales do? Here are the problems that have long been worried

Without fiction, no fairy tale is unthinkable. Such an understanding close to our everyday concepts about a fairy tale. We are today, wanting to point out the inconsistency of any speech truth, we say that she is a fairy tale.

Afanasyev made the following conclusion: "No, a fairy tale is not an empty fold, in it, as in all the creatures of the whole people, could not really be and in fact there is neither the purpose of the composed lies or deliberately evasion from the real world." Afanasyev was right, although he came from a special, mythological understanding of the genesis of fairy tales.

The folk tale is characterized by all the features of the folklore. The storyteller depends on traditions, in the form of which the collective artwork work of other fairy tales comes to him. Traditions, as it were, dictate the storyteller content and shape of his creation, the main poetic techniques, a particularly developed and developed fabulous style for centuries. These traditions will powerfully interfere with the creative process of a folk mastera-storyboard. Oral fairy tales recorded from the oblasts are the creations of many generations of people, and not just these individual masters.

Tale, her images, plots, poetics are a historically established phenomenon of folklore with all the features inherent in mass collective folk creativity.

3. Basic principles of fairy tales

The fairy tale has its own varieties. There are fairy tales about animals, magical, novnelistic. Each genre variety of fairy tale has its own characteristics, but also specific features that distinguish one kind of fairy tales from another, as a result of the creativity of the masses, their centuries-old artistic practice.

The fairy tale as a folklore genre is characterized by the feature of art, traditionally by the people's maturity. This is something in common, which combines a fairy tale with any kind of folklore.

Fairy tales convince us that they prevail the desire of fairy tales to state his conceived thought.

In the magical fairy tales, a whole world of fantastic items, things and phenomena was created. In the copper, silver and gold kingdoms, of course, their laws and orders, not similar to those known to us. Everything is unusual here. No wonder the magic fairy tales warn the listener already at the very beginning of the words about the unknown three-year kingdom and a not known as a thirtieth state in which the "increditious" events will occur and the enjoyable history of a lucky hero will be told.

The fairy tale awakened and raised the best qualities in people.

Fairy tale lies, yes in it hint

Good well done lesson.

Fairy tales - a peculiar ideological and aesthetic and ethical code of the people, the moral and aesthetic concepts and submission of the labor people, its aspirations and expectations are embodied here. In fabulous fiction reflects the features of the people who created it.

The fairy tale came out of popular life: it refers to the matchmaking, she laughs at sfth, etc. There is a lot of faithful reality of truths in it.

Each fairy tale carries a generalized thought. No matter how many correct observations over the widths of animals and birds are filled with fairy tales, they always talk about the general. Environmental conditionality and here corresponds to the latitude of artistic generalization.

The overall ironic design of the fairy tale is sometimes accompanied by the rhythmization of the narration. Such are the "Ershevich Ershevich", "Ryabina", "Kolobok", a fairy tale "Bean grains" about how the rooster was suppressed by the grain, the fairy tale "no goat with nuts." The ironic style of such fairy tales is expressed in deliberately underlined rhymes and consonants of words in the course of the story. Simple rhymes sound mockingly and comically: "In the old years, in the old season, in the Red Spring, in the warm summer, such a somomot was made, in the world, the mosquitoes began to appear.

In most fairy tales, the wealth of imagery is used, hidden in colloquial speech. After all, the fairy tale is primarily prose. Style rhythmic clichés meet in fairy tales: Zsingn like "lived-had", the ending of the type "began to live-wear and good", typical formulas with characteristic inversions: "Less fucked and says"; "Here is a fox and tells the man" etc. True, these properties of a fairy-tale style in nature narrative speech.

It is precisely the mental and psychological state of the speaker.

The word in the fairy tale completely conveys an oral executive game.

The image is revealed entirely in all the verbal text and, only on the basis of it, you can understand the oral executive game of the Tappy-actor. The game and the word in the fairy tale are associated so firmly that it is possible to consider them as mutually complementary starts, only recognizing the defining role of the verbal text in which all the richness of the fabulous narration is.

4. The value of fairy tales in a person's life

A large number of images of the magic fairy tale was in deep antiquity, in that very era, when the first ideas and concepts of a person about the world arose. Of course, this does not mean that every magical fiction originates from the depths of centuries. Many images of the magic fairy tale have developed in a relatively nearby past. In each new era, the magic fairy tale has had a certain fantastic material, which generations transferred from old people, keeping and developing former oral poetic traditions.

About one hundred fifty original magical fairy tales has been created by the Russian people, but there are no strict classification.

Magic fairy tales - specific artwork works of folk art. Each of them has its own idea that is clearly expressed in all versions of the same fabulous plot.

Fairy tales as separate art phenomena can be compared only by essential historical folklore, ideological and shaped features.

The people understood that not wonders seek justice that the real action was necessary, but the question is what? Fairy tales do not answer this question. Fairy tales Magic narratives wanted to support the desire of the people to justice. A safe outcome of fairy tales is undoubtedly wearing utopian character. He testified about the time when people painfully looking for exit from the tragic social conditions.

In the magic fairy tale, their poetic forms were established, a certain composition, style. The aesthetics of the beautiful and pathos of the social truth caused the stylistic character of the magic fairy tale.

In the magic fairy tale there are no developing characters. It is primarily reproduced by the actions of heroes and only through them - characters. The static character of the pictures of characters is striking: a coward is always a coward, a brave everywhere brave, a cunning wife is constant in insidious plans. The hero appears in a fairy tale with certain virtues. So it remains until the end of the narration.

Russian beauty and elegacity are distinguished by the magic tale. This is not a halftone, it is deep, thick colors, are emphasized certain and sharp. The fairy tale is talking about the dark night, about white light, about the red sun, about the blue sea, about white swans, about black ravene, about green meadows. Things in fairy tales smell, have taste, bright color, distinct forms, the material is known from which they are made. Armor on the hero as if the fever burn, took out, says in a fairy tale, he his sharp sword, pulled the tight onions.

The magic fairy tale is a sample of national Russian art. She goes to his deepest roots in psyche, perception, culture and language of the people.

Fantasy fairy tales created by collective creative efforts of the people. As in the mirror, it reflected the life of the people, his character. Through a fairy tale, his thousand-year history is revealed.

Fabulous fantasy had a real base. Any change in the life of the people inevitably led to a change in the content of fantastic images and their forms. Once arising, fabulous fiction developed in connection with the entire combination of existing folk ideas and concepts, exposed to new processing. Genesis and changes over the centuries explain the features and properties of fiction in the folk fairy tale.

Folded for centuries in close connection with the life and life of the people, fabulous fiction is distinctive, and unique. This identity and uniqueness is explained by the qualities of the people who belong to the fiction, the circumstances of the origin and the role that the fairy tale in the folk life playing.

So what is a fairy tale?

Fairy tales are collectively created and traditionally stored by the people of oral prosaic artistic narrations of such a real content, which, if necessary, requires the use of techniques of incredible image of reality. They are not repeated anymore in any other genre of folklore.

The difference of fabulous fiction from the fiction, which is found in other folk works, is initial, genetic. The difference is expressed in a special function and as much as the use of fiction.

The originality of the fiction in fairy tales of any type is rooted in their special content.

The conditionality of artistic forms of life content is the main thing for understanding any poetic genre. An originality of the fairy tale cannot be caught if you pay attention only to the formal properties.

Having tried to understand and explore the fabulous folklore, I was convinced that folk fairy tales were never a ground fantasy. The reality appeared in a fairy tale as a complex system of relationships and relationships. Reality reproduction is combined in a fairy tale with the thought of her creators. The world of reality is always conquered by the will and fantasy of the storyboard, and it is precisely this volitional, the active start of everything attractive in a fairy tale. And now, in the century, crossed the threshold of the most bold dreams, an ancient thousand-year tale has not lost his power over people. Man's soul, as before, in the past, open for poetic charm. The striking technical discoveries, the stronger the feelings that argue people in the feeling of the greatness of life, the infinity of her eternal beauty. Accompanied by a string of fabulous heroes will enter the coming centuries. And then people will admire the art of fairy tales about the fox and wolf, a bear and a hare, a kolobok, geese-swans, a blasphemy, fire-haired snakes, Ivanushka-fool, a plot of a soldier and about many other heroes that have become eternal satellites of the people.

Fairy tales are not only a wonderful creation of art, their social, artistic and pedagogical value is undoubted and generally accepted. In ordinary stories about the cunning fox and the trusting wolf, the fool of Emele and the princess is Nesmeyan, about the evil of a wool and fearless good good, etc. Attracts the inexhaustibility of fiction, wisdom of vital observations. The fairy tale allows children to attach children to the spiritual culture of their people and enrich knowledge about the history of their homeland.

The Great German Poet Friedrich Schiller wrote that only a person knows how to play, and only then he is quite a person when he plays. This thought really liked the wonderful teacher V.A. Sukhomlinsky. Praphrasing her, he said that there is something nursing, close between a fairy tale and the game that only a person knows how to create fairy tales; And maybe he is most of all when he listens to the fairy tale, composes or remembers it. Fairy tales are called to the transformation of the world, creating on the basis of humanity and beauty, condemning evil, violence, destruction, robbery.
wrote: "Dear friend, young educator, if you want your pupil to become smart, curious, smart, if you have a goal to approve in his soul sensitivity to the finest shades of thought and feelings of other people, - bring up his mind the beauty of the word, thoughts , and the beauty of a native word, its magic force is revealed, first of all, in a fairy tale.

The fairy tale is a cradle of thoughts, we must put the child's upbringing so that he keeps the exciting memories of this cradle all his life. The beauty of a native word is his emotional paints and shades - comes to a child, touches him, awakens a feeling of self-esteem when the heart applies to the heart, the mind is the mind. The poetic sound of a native word becomes music for a child, when he himself takes a tool himself, creates music himself, sees, feels like his music affects other people. "

The fairy tale is the most ancient genre of literary creativity; An artistic work of a magical, adventure or domestic nature, in which the plot generated by reality is painted with elements of fantastic fiction. There are folklore fairy tales, which have extended as a common genre of oral folk creativity, as well as literary fairy tales created by writers as a distinctive literary work.
The fairy tale is the first genre of the expanded literary narrative, accessible to children from an early age. Throughout preschool childhood, the fairy tale protrudes one of the main sources of knowledge and development of the surrounding world. The moral experience gained and grounded by mankind for thousands of years, the child must be assimilated in just a few years. And the fairy tale plays an exceptional role in this. Its content is determined by the ideas of moral ideals, the good and evil embodied in the images of positive and negative heroes. Ultimately, good in the fairy tale triumphs, the positive heroes wander over the forces of evil and injustice. This creates an emotionally positive life background for a child, forms the optimistic perception of the world. Fairy tales with their wonders and magic transformations are most consonant with the child's globility. They transmit moral concepts not in the form of a dry edition, but in bright, fascinating, clear in meaning and funny form. At the same time, they introduce a child with a complex and controversial life, disclose essential phenomena and patterns of reality. Enriching the social experience of the child, fairy tales raise aesthetic attitude towards nature, to man, to work and work.

The educational impact of the fairy tale is determined by the fact that it, first of all, affects the feelings of the child, emotionally staining the edge content. Listening to the fairy tale, the child in imagination identifies himself with positive heroes, lives by their noble feelings, says in their exploits. Parents should alert if the opposing of the child is associated with negative characters: it usually indicates some mental disadvantaged.

The life of a modern child is saturated with complex games, television and videos, and a fairy tale in it is still less place. Moreover, many parents, considering fairy tales naive and primitive, try to focus the attention of the child on more useful, from their point of view, classes. However, it should not be forgotten that the formation of social and moral maturity is one of the most important tasks of upbringing. And therefore, it is impossible to underestimate the fairy tale, which is not only a means of entertainment, but also an educational tool.

Fairy tales are a very useful material for the development of cognitive interest. In the surprises of the folklore world there are a lot of figurative and subtle logic situations available to children.
In the book "Fairy Tale as a source of creativity of children", it is particularly noted that a creative function is inherent in a fairy tale, i.e. The ability to identify, form, develop and implement the creative potential of the personality, its shaped and abstract thinking. The fantastic world of fairy tales, the presence of surreal, variable elements in it, the ability to "invite to co-authorship" allow the listener to overcome the stereotypes of thinking, the alienation complexes, awaken the "sleeping", non-declared creative (poetic, musical, dance, acting, picturesque, graphic, etc. .) Ability.

Forming the usual skills, techniques, actions, the ability of children, adults should invoke their interest not only and not so much in the final result as in the process of creating new plots or new images. This corresponds to the activity of creativity. This stage, the stage of formation of creative potential, presupposes organic unity of both reproductive, standard, traditional and innovative, creative elements. The adults require mobilization of all methods, techniques that form creative qualities of personality: imagination, verbal abilities, observation, shaped memory, the ability to improvisation, to expressive movement, to predictive thinking, to comparative evaluation activities, i.e. Everything is formed by the psychological creative potential of the person.

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The role of the folk fairy tale in the development and raising of children

Introduction Fairy tale like a genre of Russian folklore.

The role of the folk fairy tale in the development and raising of children.

1. Folklore - Universal Pedagogical System

development and raising children.

2. Fairy tales - artistic way to know the world

baby.

3. Cognitive and educational value of fairy tales

about animals.

4. Magic fairy tales - the lessons of the celebration of good.

5. Household fairy tales - a school of preparing children to adult

Conclusion. Folk fairy tale and artistic

literature.

Introduction

Fairy tale like a genre of Russian folklore.

What is a fairy tale? At first glance, it may seem that this question is absolutely idle that it is known to anyone. Such views were expressed even in science. Finnish scientist H. Chonti writes: "The one-sided definition of the well-known concept is, in fact, unnecessary: \u200b\u200beveryone knows what a fairy tale is, and can almost relieve it from the so-called kindred genres - the people's legend, legends and jokes." It can be noted that A.N.Veselovsky, whose works about the fairy tale make up a whole volume, never gave his definition of the fairy tale. According to V.Ya.proppa: "1) The fairy tale is recognized as a narrative genome (devour - to tell, tell); 2) The fairy tale is considered fiction. "

A.S. Pushkin wrote in 1824 from the Mikhailovsky link: "I listen to fairy tales in the evening - and I reward the flaws of the damned upbringing. What the beauty of these fairy tales! Each is a poem! " But the great poet did not just listened in the evenings of the fairy tale Arina Rodionovna; He was one of the first who began to record them, and later created his famous fairy tales.

In my life, fairy tales occupy a big and important place. It is with them that the first memories of childhood are connected; It is they still help to believe in miracles and, it means to hope for the best. Tales in the world of our family make good, understanding, warmth. I loved the most evening when my mother was a teacher of literature - read, preparing for lessons, fairy tales out loud. Then I even calmed down my older brother, we sat down under my mother's barrel and forgot about everything in the world.

I am sure that in the upbringing of people with good, merciful, honest, the fairy tale plays the most important role. The one who "grew up on fairy tales" will never make meanness, will retain optimism in the most difficult moments of life, because the folk tale is the best teacher. This means that the study of fairy tales remains the relevant, necessary direction of work in modern school. The purpose of my work is to show the role of a folk fairy tale not only in the upbringing, but also in the development of children.

The role of folklore fairy tale in the development and raising of children.

1. Folklore is a universal pedagogical system for the development and education of children.

Oral folk literature because it is called oralwhat for centuries, from generation to generation transferred from mouth to mouthwas stored only in the memory of the people. World literature would not know "Iliada" nor "Odyssey" of Homer, nor Icelandic Saga, nor Russian fairy tales and epic, if they were not recorded, collected. In Russia, A.S. Pushkin, N.V. Gogol, N.M.Yuzykov, V.I. Dal, A.N. Rodltsov were such as pioneers-collectors of folklore. The first arch of people's Russian fairy tales gathered and published in 1855 - 1863 A.N.Afanasyev. In the same way first were collected and published in the XIX century samples of children's folk art, riddles, historical songs, intensity and other genres of folklore. This age is rightly called golden., having in mind the highest achievements of literature. He was golden. And for collecting, learning, the publication of Russian folklore.

The word "folklore" in more accurate translation from English means publicology, Socialized. This is the path of knowledge of the people through folk creativity. The knowledge of the people, and therefore itself. No wonder those who break away from their roots, the people himself calls "Ivanov, who are not remembered by kinship."

But the folklore is not only one of the forms of literature (oral, unnamed). Folklore is the basis of the foundations of the education and development of children. This is a universal pedagogical system in which the millennium of people's experience has already selected the most natural and necessary forms of speech development, musical abilities, logical and figurative thinking, labor skills, ethical and moral ideals. And not simply selected as the sum of certain methodical techniques, but entertain them in an art form.

Folklore is an art pedagogy! This is the most aesthetic education system of children with the help of literature and art (words, music, dance), which is still trying to carry out some experimental studios and art schools. In folklore, all this is initially laid. People's pedagogy simply does not know other methods and forms except aesthetic, artistic education.

In Folklore, the first months and years have the meaning of almost more than the entire subsequent life. No education system, except for the folklore, does not take as a basis the same "critical development period" of a child in which, according to experts, and "is a decisive laying of sound information". Decisive - for life!

It all begins with prediction poetry - lullaby songs, Pestushek, Pleeshek. Lullabous songs are conspiracies-overalls based on the magical strength of the influence of words and music, to calm their ability, protect, protect.

A, BAY, BAY, BAY,

Sits raven on the edge

And plays a pipe.

Walking the pipe playing,

Sleep and drill cattons.

Sleep, daughter, alloy,

Harmon take you.

From the very first minutes of his earthly being, the child is not in the chaos of sounds, but in the authorities of words and music, in an ordered musical and poetic environment.

Many do not even suspect about the magical meaning of children's folklore. But "Ladushka, Ladushki, where were the grandmother," forty-forty, where was it? - Daluo, "this is the best way to coordinate movement, children's gymnastics (ancient aerobics), as speaking - the development of speech, eliminating its natural flaws (ancient speech therapy), where everything is based on the rhythm, in a poetic word.

"Going a cat's goat", children's games are already the next step of folk artistic multi-level education. And as a result, it is imperceptibly and unobtrusively - by two or three years, the child turns out to be quite prepared for independent wordness. He passed the necessary poetic and music school, received an idea of \u200b\u200brhythm and rhyme.

Folklore is also the comprehension of the language wealth of living folk speech. We should not forget that folklore is oral, and not written literature. The famous folklorist A.I.Nikiforov wrote about this in 1927: "Works of people's literature - not literature that is written by the writer silently at the table. On the contrary, a fairy tale, song, epics, etc. First of all pronounced. The text of the fairy tale is excluding its execution - the corpse. And the study of this text will give an understanding of the anatomy of the fairy tale, but not the life of a fabulous organism. "

2. Fairy tales - an artistic way to know the world by a child.

Folklore laid the foundations of not only aesthetic, but also moral education. Almost all children's fairy tales are based on moral. Fabulous didacticism begins with the first uncomplicated stories about animals, it is both in domestic, and in satirical, and in the magical, and in the warrior fairy tales. At the same time, the educational value of fairy tales is inseparable from cognitive. Fairy tales - an artistic way to know the surrounding world. It is not by chance that they are called the People's Pedagogical Encyclopedia. But this encyclopedia is an artistic, embodied in images, plots. Any moralization is achieved here unobtrusively, as if by itself. Such a hidden edification was imprisoned in almost all children's fairy tales, the meaning of which is sometimes extremely simple: it is impossible to go out into the street, you can not drink from the puddle, you can not be greedy ... But the child does not even suspect that in the "Gee-Swans", in " All these pedagogical taboos are inspired by his sister Alyonushka and Bratz Ivanushka.

Psychology of children, basic laws of children's logic and perception - all this is taken into account in folklore, summarizing the pedagogical experience of the people. Even the feeling of fear is used in tales-horrids as one of the forms of fostering feelings. Children's "horror stories" - the oldest folk genre. Listening to such fairy tales "On the dead, about the feats of bovy", the young Pushkin fell asleep, they heard the boys in the Turgenev "Bezhin Meadow". Not to mention the fact that "May night, or drowning", "terrible revenge" N.V. Gogol, "Mermaid", "Bride" A.S. Pushkin, "Scarlet flower" S.T. Asksakova, like Many other works of the so-called "nonhiste" school of Russian and European romanticism (horror literature "of their time) were based on similar folk stories-fairy tales. Overcoming the feeling of fear, according to psychologists, is also included in the system of pedagogical education.

To all the listed features of the folklore, you must add another one. Folklore is not only the most national, but also the most international form of art. Almost all fabulous plots are among the "stray" coinciding in the folklore of many countries and peoples. In Uzbek, Tatar, Serbian, Scandinavian fairy tales, there is a "bunker", as in Lithuanian, Swedish, Spanish - its "repka", in Portuguese, Turkish, Indian, Arab - their "princess-frog". And Emelya, and Alyonushka and Brothers Ivanushka, and the Snow Maiden, and a tiny-havel - all these fabulous images also coincide. And the coincidence is sometimes so striking that they would not leave, it would seem, no doubt about borrowing. For example, in a Russian fairy tale, Ivanushka has a pond:

Alyonushka, my sister!

Smells, sailing on bass.

Lights burn fuel,

Boilers boil kipbish

Knives point bouquet,

Want to cut me!

And sister Alyonushka answers him:

Ivanushka-brother!

Hard stone pulls

Luta Snake Heart sucked!

In the Italian fairy tale, this dialogue of the brother and sister looks like this: "My sister! The knife is shared, the boiler is ready, they want to be slaughtered. " - "My brother! I can not protect you in the depths of the well. " In German: "Ah, sister, save me! The owner dogs chasize me. " - "Ah, Brother, Be patient! I'm lying on a deep day. Earth is my bed, the water covers me. Ah, brother, getting up! I'm lying on a deep day. "

A lot of such examples can be brought, but they indicate not about borrowing, but about coincidences of life and historical situations: all the mothers of the world are lulling and their children are the same, all the heroic fights, meetings with "unrecognized" children, brothers, sisters coincide as coincide solutions The same arithmetic tasks regardless of where this task (twice two - four) is solved: in Africa, China, Russia, America or India.

Aesthetic, moral and patriotic education - all this is concluded in the folklore fairy tale, in the pedagogical and creative genius of the people.

3. Cognitive and educational importance of animal fairy tales.

In the modern school program, folk tales are divided into three types: about animals, magical and domestic. It should be highlighted on a huge educational and developing role of each of these groups.

Tales of animals originated at a very early stage of the development of human society and first had a purely practical, vital importance for humans. They were the stories of ancient hunters, hunting, fishermen about the real events that took place with them, and were uncomplicated narratives about the most remarkable habits of animals, birds and fish. Along with real features, these stories have carried a mark of communication with the ancient forms of consciousness of people of the distant past - an animation of nature (animism), the conviction in the origin of a human race from some animal or even a plant (totemism) and finally faith in The possibility of a magical (magical) impact on various phenomena of the surrounding world. At first, these stories were not allegorical. Gradually, the knowledge of people about the world around them expanded, faith in supernatural forces was lost, and the power over nature grew.

With a loss of a naive attitude towards nature, adventure of animals in this genre group is increasingly manifested by a new, ironic approach to narrative data characters. Images of many animals are depicted not only terrible, but also ridiculous. Since then, the images of animals, fish, birds are used as allegory to induce the flaws and human weaknesses. Stories about animals become real fairy tales.

Each of the characters of animal fairy tales reproduced some strictly defined properties inherent in individual people. For example, the strongest forest beast of the central part of Russia - the Bear was the embodiment of the predatory, not limited to the power of man; The wolf symbolized the hypostatic and cruelty in combination with mental limitation; Lisa personified deception, freight and treachery; Hare and mouse - weakness and fearness; Rooster - credulity and courage; Falcon - courage and moral majesty; Korshun - greed and ferocity; Yersh - resourcefulness and dodging, etc. Exposing the relationship of people, tales of animals condemned human vices.

Nowadays, the tales of animals still have a great informative and educational value, as not only not only introduce children with the peculiarities of behavior and characteristic habits of various animals, birds and fish, but also carry a large educational burden. Popular tale of repka, for example, talks about the role of the team; Tale of the cat, rooster and fox - about the power of friendship; Fairy tales "Man, Bear and Fox", "Fox-Miscellah" and others. Raze excessive word, incomprehensibility, absurdity of behavior of some characters.

Russian tales of animals are pretty simple in structure, often small in volume. The successful combination of their style of uniqueness with specific techniques of their execution (sound-modification, the use of gestures, facial expressions) allows you to unobtrusively teach a child to distinguish between good and bad, good and evil, truth and lies, develop the ability to recognize animals by the sounds that they publish, on external Signs and sobs.

4. Magic fairy tales - the lessons of the celebration of good.

Magic fairy tales with their appearance are obliged by the work of a person of a distant past. Overcoming the forces of nature, people did not just wanted to know the world around them, they dreamed of facilitating their work, about the conversion of shallow spaces in flowering gardens, about wonderful assistants from among those known and imaginary animals and plants. On fantastic movement speeds and many other things. These good dreams have become a primary element of a significant number of magical fairy tales. Reported facts and characters of magical fairy tales are lowreatic and fully considered to be fictional.

The main characters of magical fairy tales: Ivan-peasant or Soldier's son, Tsarevich or Korolevich, Andrei-Sagittarius, Cassen Sokol, Emelya-Fool and others - as a rule, endowed with excellent appearance, wonderful internal qualities, outstanding abilities. Often, for greater relief of the image of the storyter at the beginning of the story, they seek not only not to show all this, but also to present their hero being stupid, defenseless, with repulsive appearance, non-extent actions. For that, his native brothers and strangers do not like him. But the moment comes when the main character, surprisingly, is changing radically: it easily solves the most complex tasks, it easily wins many enemies, copes with any business and, as a reward for everything good, finding unpretentious wealth and the girl-beauty in wives. According to a fair remark of M. Gorky, a fabulous hero, "Even by the Father and the Brothers, which is always smarter, always - the winner of all life luck ..."

An important place in the magical fairy tales is occupied by the close to the main character. Women's images: Vasilisa Wheaved, Elena Lovely, Swan Zharivna, Marya Morrevna, Siegyglazka, Nastasya-Golden Spit. Each of them, along with characteristic of representatives of the weak fellowity, inherent inexhaustible activity, creative energy, vitality, outstanding incistent and unprecedented power. Next to them are also presented with delicate images of patient, modest, unreasonably persecuted, but later by the merits of female female type of stepdaughter, sister of Alyonushki, Snow Maiden, Cinderella and others. Something close to their destiny to the image of the Ivan's persecuted, these heroines cause deep sympathy of listeners.

The heroes of magical fairy tales in the successful solution of the tasks of great help provide real and fantastic animals (Squa Burk, Golden Skimatka, Cote Bayun, Gray Wolf, Duck, Eagle, Pike, etc.), as well as creatures and objects endowed with supernatural qualities ("Uncle", "Old Towns", united, listening, stove, river-dairy shores, apple tree, etc.). Of great importance in fairy tales have wonderful items and wonders, which often perform very responsible tasks: a carpet aircraft, boots, boots, husli-samogudo, sword-self-sext. Related and various "inexhaustible" items: Tablecloth-self-bare, hat-platter, a cat's handbag, as well as magic invisible cap, Molding apples, live and dead water.

Wonderful things and woundings in fairy tales are very difficult to take possession, and on their way to them, the hero enters the conflict with those who personify in the magical fairy tales dark, hostile forces. Among them are envious and cunning brothers and sisters, unfair and greedy kings and merchants, Baba Yaga, Koschey Immortal, famously one-eyed, snakes Gorynych, Miracle Marine, Mountain. All of them are the embodiment of inhumanity, treachery, ferocity, strength destroying everything good and bright in life.

But the enemies of the hero, despite their monstrous power and fantastic survivability, in the end turn out to be defeated, in the final of the fairy tale, good triumples over evil.

The educational and developing importance of magical fairy tales is that they are taught to overcome any obstacles to the achievement of the goal, to remain vitality even in the greatest situations, believe in the all-configurable power of good.

5. Household fairy tales - a school of preparing children to adulthood.

Household fairy tales appeared much later magic and fairy tales about animals and were firmly connected with the daily life of the people. They are almost no fantastic conditions in which characters, nor wonderful deeds of heroes, nor supernatural assistants. In these fairy tales, everything happens in everyday, often rustic, atmosphere, the main characters are usually landpashers, carpenters, shoemakers, soldiers, just men.

Among the household fairy tales, you can highlight themes related to the show of personal and family relationships, with a story about the affairs of wise and resourceful people and some others. In fairy tales of family-personal relationships, we are talking about marriage or marrying the main heroes of the narrative, about married relationships, about the re-education by the husbands of negligent and recurrent wives, about the inability and unwillingness of the wives to conduct a household. In these fairy tales, marital infidelity, treason, deception are ridicule.

In a group of fairy tales about wise and resourceful people, a special place occupies a special place for the works of works about the soldiers who are not lost in any atmosphere or a peasant. These fairy tales reveal inner nobility, the mental superiority of a simple person over the gentlemen. The main characters of such fairy tales can get out of any predicament, are able to fulfill such tasks and answer such questions that are not rendered to rich. And at the same time, these heroes are willing to laugh at the stupid owner, a terrible old man, a very close general. Looking at the fairy tales, everything is positive that inherent in conventional workers, fairy tales with undisguised satisfaction show their superiority over the gentlemen. It is invariably manifested in the celebration of the mind, justice, skillful overcoming the hero of any hostile forces.

Talking about the relationships of a simple people with a class of caviar, the storytellers are often given to those who are valid. Crashing, the dyeing peasant in these fairy tales invariably comes out the winner. He sees well and skillfully uses each of the flaws of his barrine. The man is not just laugh at the vices of the Lords ("Barin and Man", "Soldier and Barin", "Baryna and Chickens"), but also in various ways a punishment of their opponents ("Angry Baryna", "Barin and Carpenter", "About need" ). Moreover, the peasant acts against the Barina not with the help of wonderful "sleepy droplets", and the most real way - Barin beat three times, hijacles his three horses, takes the money from Baryni and even pig with piglets.

The characteristic feature of household fairy tales is that in them the people, the bichus of the defects inherent in individual people: laziness, stubbornness, sludge, greed and nonsense, - at the same time shows the best that is characteristic of labor people: a brilliant practical mind, an extraordinary smelling, The ability to do any job. It is clear that household fairy tales prepared children to adulthood, showed its difficulties and difficulties and at the same time convinced the mind, smelts, courage and tricks.

Conclusion.

Folklore fairy tale and fiction.

Fairy tales - works of large art. I get acquainted with them, you do not notice their complex construction - they are so simple and natural, you do not notice how many people study with their help. The value of Russian folk fairy tales in the upbringing and development of children. Having absorbed into the centuries-old man's experience, reflecting his thoughts and hopes, tales teach and instruct people, will be their consciousness, makes seriously think about the important problems of modernity. Resolutely ridicuing human vices, the Russian tale always sofled good and bright, which was on earth. All the above confirm the results of a survey conducted among the pupils of our group in kindergarten, only 1 of which claims that he does not like fairy tales. The guys believe that folk tales teach good, courage, justice, hard work, honesty, wisdom (it was in such a sequence a percentage). They are confident that in fairy tales the kind heroes those who are weaker who offend. I do not like the heroes of evil, greedy, soulless, envious, insidious, unfair, boastful, dishonest (blasting - 68%, Baba Yaga - 29%). And all the respondents (even one that does not like

It is not by chance that the works of fabulous folklore, to his heroes often

artistic literature applied. The strength of the folklore word felt A.S. Pushkin. Hence the poet's special attention to the form and style of a folk fairy tale, which manifested itself in the images of his early poem Ruslan and Lyudmila. Later, in the fairy tales of Tsar Saltan, about the golden fish, about the pop and his employee of Pushkin, according to T.F. Curdumova, "will enter the direct poetic" rivalry "with folk originals."

The line of creative interaction of folklore and literature continues M.Yu.lermontov, A.K. Tolstoy. Special beauty and animation of everyday life sees in the folk tales of N.V.Gogol. The interaction of the literature of the XIX century and folklore develops in the direction of the use of individual elements to the image of the deployed paintings of peasant life and folk spiritual ideals. The creativity of N.A.Nekrasov, in poems and poems of which the topic of "national happiness" is being developed in this movement.

The oral folk word felt thinly by N.S. S.Leskov, followed by A. Grazov, B. Pilnyak, A. Blotonov. The appeal of all these authors to the style canons of the folklore fairy tale is associated with the desire to convey deep meanings, encouraging inherent in national culture, use its great educational and developing force.

Bibliography.

Anikin V.P. Russian folktale. Manual for teachers. - M., 1977.

East Slavic Magic fairy tales. Compiled by T.V.Zueva. - M., 1992.

The literature of the peoples of Russia. - M.: Drop, 2002.

Morokhin V.N. Prose genres of Russian folklore. Reader. M., 1977.

Nugaybekova M.A. Proverbs and sayings as a means of forming competencies. Samara, 2005.

Russian folk riddles, proverbs, sayings. Compiled by Yu.G. Kruglov. - M., 1990.

Folklore of the peoples of Russia. In 2 T.: T. 1 - M.: Drop, 2002.

Many centuries ago, when there was no writing yet, an oral folk creativity arose, which fulfilling the same role as literature was carried out. For children, the people created wonderful fairy tales, songs, riddles, sayings. Works of folk art did not lose their influence on the child and in our day.

In oral works, they reflected deep moral ideas, dreams and persuasions of the people. Simply and convincingly says a fairy tale about the victory of good over evil, truth over false, about the celebration of justice. The positive hero of the fairy tale always wins. The fairy tale shows the work as the basis of life, the hardworking hero is awarded, the lazy is punishable. The fairy tale is glorified by the mind, resourcefulness, courage.

The folk fairy tale is deployed against the background of the native nature. The child sees the clean field, and the dense forest, and the fast river. Nature seems to sympathize with the positive hero: Apple Tabs, the river is covered with a girl from chase geese-swans, beasts and birds help to overcome obstacles. Pictures of nature help to strengthen the emotional effects of the work. The tale contributes to the upbringing of love for his native nature, to his homeland.

Highly appreciated the folk fairy tale The Grand Russian Teacher K. D. Ushinsky. He wrote about a fairy tale: "These are the first and brilliant attempts by Russian folk pedagogy, and I don't think anyone is able to compete in this case with the pedagogical genius of the people."

In addition to fairy tales, the people have created a large number of songs, additives, sweetes, readers. Diverse in content, they clarify the ideas of a child about the environment, imperceptibly direct his behavior. So, in the Sort-Crow Song, Kashi does not receive anyone who did not work: the firewood did not saw, did not wear the water.

Songs are amused by the child, accompany his games, develop a sense of humor, teach him to think. From the first months of life, the child listens to the sounds of a melodious lullaby, which his mother carries him, putting a lot of warmth and affection in it. Cheerful songs, fun associated with the movement and differ in vigorous rhythm. Very close to children of songs about animals.

In folk songs, there is a wide variety of rhythms, depending on the content - this is or a spectative belonging, or dance speech, or a calm lullaby song. The first musical perceptions the child gets from the tunes of their songs.

The tale creates favorable conditions for the occurrence of empathy in children, some of them have one listening to artistic text yet, it does not yet cause relevant emotional experiences. To better understand and more deeply feel the meaning of fairy tales, children need to reproduce the plot of the works and relationships of its heroes in the expanded exterior form. Good soil in this case is the saturation of fairy tale dialogues, dynamism of action, characteristic masks.

Thus, fairy tales cannot be considered only as an interesting pastime, as a pleasant, affordable occupation. With the help of fairy tales, you can raise a child metaphorically, to help overcome the negative aspects of its emerging personality.

It is useful to honor the fairy tale "about a cowardly hare", the greedy, egoistic - "about fisherman and fish", "three greedy bear", a capricious girl - "Princess on the pea", etc. If your child has emotional problems (he is alarming, aggressive or capricious), try to compose a fairy tale for him, where the characters and their adventures will help solve the child of his problem (fear, uncertainty, loneliness, rudeness, etc.). You can come up with such a creature that is a little externally (eyes, hair, ears) and character (Drachun, timid, capricious) looks like your child and from whom a lot of opportunities and elections appear in the plot of the fictional fairy tale in order to overcome obstacles. The child himself will find the way out of the traumatic situation. But telling the baby's fairy tale, be sure to complete it immediately. And speak the usual voice to which the child got used to real life.

Fairy tales are needed, especially folk. Small children are intuitive, only parents need to remember that the fairy tale must correspond to age.

Works of oral folk creativity - a great art of the word. A clear, slim composition, a fascinating fantasy of a magical fairy tale, bright images of heroes, expressive and extremely concise language, rhythmic, finishes the plot of the short songs make these works highly artistic in shape. They will always enjoy the great love of children.

Fairy tales. They arose in time immemorial. The fairy tale tale was widespread in Russia, they loved them, and adults. The fairy tale will certainly triumph and good. The fairy tale is always on the side of offended and oppressed, about what it would narrate. It clearly shows where the right life paths of a person are held, in which his happiness and misfortune, what is his paying for mistakes and what a person is different from the beast and birds.

In a fairy tale for children, there is a special charm, some caches of ancient world-ups are opening. They find in a fabulous narration on their own, without explanation, something very valuable for themselves necessary for the growth of their consciousness. Imaginary, the fantastic world turns out to be the display of the real world in its main foundations. The fabulous, unusual picture of life gives the baby and the opportunity to compare it with reality, with a surroundings in which he himself, his family, people close to him. The fairy tale tends him to think that evil in any case should be punished.

For children, it does not matter who hero is a fairy tale: a person, an animal or tree. The matter is another: how he behaves, what is he - beautiful and kind or ugly and angry. The fairy tale tries to teach the child to evaluate the main qualities of the hero and never resorts to psychological complication. Most often, the character embodies any one quality: Fox Cher, Bear Silen, Ivan in the role of fools lucky, and in the role of Tsarevich fearless. The characters in the fairy tale are contrasting, which determines the plot: a diligent, reasonable sister Alyonushka did not listen to the brother Ivanushka, watched water from a goat hoof and became a goat, - I had to get out of it; Evil stepmother builds a goat against a good stepper ... so the chain of actions and amazing fabulous events arise. The fairy tale is based on the principle of a chain composition, including, as a rule, troped repetitions. Sometimes the replay is carried out in the form of a dialogue; Then children, if they play a fairy tale, are easier to reincarnate into her heroes. Often the fairy tale contains songs, booms, and children remember them first of all.

The fairy tale has its own language - laconic, expressive, rhythmic. Thanks to the language, a special fantastic world is created. On topics and stylistics, fairy tales can be divided into several groups, but usually researchers allocate three large groups: animal fairy tales, magical fairy tales and household (satirical).

Lecture

Mythological and fabulous characters became the heroes of the works of Russian art, first of all, the folk, starting from ancient times. Folk art - One of the National Memory carriers. It is in him that the images of Slavic mythology are preserved. Often these images were so transformed with time that it is difficult for us to understand what is depicted on a particular work. But many characters recognizable. These are the Mermaid-Faraerians, decorated at home in the Nizhny Novgorod province, and the images of the mother of raw land in northern red-white embroidery, and the fabulous birds of Sirin and the Alkonost, appearing in many types of folk art - embroidery, wood painting, as well as in the chests, and many others. IN folk toy - Clay (Dymkovsky and Kargopol) and a wooden (Bogorodskaya) - also a lot of fabulous characters also depict - the heroes of Pushkin fairy tales were especially popular.

For Peter I. There was an active admission to the achievements of the centuries-old European, including ancient, art, in connection with which in the XVIII - the first half of the XIX centuries. In the works of graduates and teachers of the Academy of Arts in St. Petersburg (painters I.Akimova, A. Slesenko, P.Sokolov, K. Brullova, P.Basina, A.IvanovaSculptors I.Prokofieva, F. Hordeva, F. Steden, M.Kozlovsky, B. Oorlovsky, I.Vitali And many others) the heroes of antique mythology appear - Zeus and Fetid, Narcissus and Gimenta, Paris and Mercury, Apollo and Venus, Diana and Prometheus). By request Peter I. They were ordered in Italy and installed in the summer garden about 90 sculptures, including mythological plots (Apollo and Diana, Rock and Nemesis, Nymphs, Muses, Talia and Terraticor, Vertun and Pomona and many others).

The special page of Russian art during this period is to decorate the interiors of buildings, including palaces that are currently included in the complex of the Russian Museum, painting and sculpture on the stories of antique mythology. This is both Plafones S.Terelli, J.Valeryani and E. Lipgart In the Marmara and Stroganovsky Palaces, and Reliefs A. Aadamson In the academic halls of the Mikhailovsky Palace, and painting on the plots of Homer's "Iliad" and "Odyssey" A.Vigi. On the walls of the White Hall of the Mikhailovsky Palace.

In the second half of the XIX century, an interest in Russian history, to folklore, to folk arts, is awakened. In the works of professional artists (first V.M.vasnetsov) The heroes of the epic (Bogatyri Ilya Muromets, Alesha Popovich, Dobrynya Nikitich) and fairy tales (Alenushka, Ivan-Tsarevich, Koschei). At the turn of the XIX-XX centuries N.K.rerich Appeals to the topic of the epic in the series of monumental panels "Bogatyr Friz", which he fulfilled for one of the St. Petersburg mansions. M.A.Vrubel Creates his "hero", as well as a series of majolicic sculptures on the topics of Sadko's operas and Snow Maiden. I.Y.Bribin Finding its own style of book design, the basis of which are the motives of Russian folk and medieval art. Many artists treated during this period and to antique mythology: A.N. Benua, V.A. SEROV, E.E.LERSER, N.D. Milioti, N.K. Kalmakov, M.F. Marion.

In 1933, ACADEMIA published a collection of "Kalevala" with original illustrations of the group of "Masters of Analytical Art" school P.N. Filonova: T.N.Glebova, A.I.Port, M.P.TSybasova And others. Other artists also appea to the topic of this world-famous Karelian-Finnish epic - N. Kochergin, V. Kurdov, M.Mchechev, Rfrek, T.Y.

In the XX century, fabulous images live, first of all, in folk art and in the book illustration. A special role in the formation of the appearance of the Soviet children's book belongs publishing "Detgiz"created in Leningrad 1933. This publisher was called "University" for illustrators of the children's book. The artistic version was headed by V.Lestev, under the guidance of which worked V.Konashevich, V. Kurdov, Yu.Vasnetsov, N. Tits, A. Pakhomov, E. Scharushin, A. Sakeson and many others.

More than 200 books designed T.Mavrina, the only Soviet artist, awarded award named after G. Hendersen for contributing to illustrating children's books.

Nowadays, fabulous topics most often appear in folk art - in a miniature painting of Phane, Holoi, Msterows, in Bogorodskaya, Dymkovsky and Kargopol toys.

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