Ideological and thematic content of fairy tales a lindgren. Realism and symbolism of Ch. Dickens. Topic: "Foreign literary fairy tale"

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Plan

Introduction

1. Biography of Astrid Lindgren

1.1 Early years

1.2 Beginning of creative activity

2. Fairy tales by Astrid Lindgren

Conclusion

Introduction

A literary fairy tale is a whole trend in fiction. Over the long years of its formation and development, this genre has become a universal genre, covering all phenomena surrounding life and nature, achievements of science and technology.

Just as a folk tale, constantly changing, absorbed the features of a new reality, literary tale has always been and is inextricably linked with socio-historical events and literary and aesthetic trends. The literary fairy tale did not grow from scratch. It was based on a folk tale, which became famous thanks to the records of folklorists. The literary tales of the romantics are characterized by a combination of magical, fantastic, ghostly and mystical with modern reality. The basis of a literary fairy tale can be a fantastic image born of the imagination of a child.

Humor in a literary fairy tale has a different character and has become its hallmark. Sometimes literary fairy tales written for adults become children's favorite reading, and vice versa, talented literary fairy tales intended for a children's audience are made available to both children and adults, and not only because an adult learns from them how a child perceives life, but also because adult life, reflected in the categories of children's vision and perception, acquires unexpected humorous, and sometimes satirical contours. Fairy tale literature with elements of nonsense is very popular among children: paradox, surprise, illogicality, apparent nonsense, poetic "nonsense".

Literary tale has many faces these days. It is called "fantastic book", "fantastic story", "fantastic story", "modern literary fairy tale", in the West the term "fantasy" is increasingly used - scientists do not have complete unanimity. Among the definitions, the most complete is the formulation of L.Yu. Braude: “A literary fairy tale is an author's artistic prose or poetic work, based either on folklore sources, or invented by the writer himself, but in any case subject to his will; a work, predominantly fantastic, depicting the wonderful adventures of fictional or traditional fairytale heroes and in some cases child-oriented; a work in which magic, a miracle plays the role of a plot-forming factor, helps to characterize the characters.

lindgren fairy tale pippi carlson

1. BiographyAstrid Lindgren

1.1 Earlyyears

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

As Lindgren herself pointed out in the collection of autobiographical essays My Fictions (1971), she grew up in the age of "horse and cabriolet". The family's main means of transportation was a horse-drawn carriage, the pace of life was slower, entertainment was simpler, and the relationship with the natural environment was much closer than today.

Such an environment contributed to the development of the writer's love for nature - all Lindgren's work is imbued with this feeling, from eccentric stories about the daughter of Captain Pippi Longstocking to the story of Ronnie, the daughter of a robber.

The writer herself always called her childhood happy (there were many games and adventures, interspersed with work on the farm and in its environs) and pointed out that it was this that served as a source of inspiration for her work.

Astrid's parents not only had a deep affection for each other and for the children, but also did not hesitate to show it, which was rare at that time. The writer spoke about the special relationship in the family with great sympathy and tenderness in her only book not addressed to children, Samuel August from Sevedstorp and Hanna from Hult (1973).

1.2 Startcreativeactivities

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

Her abilities became apparent already in elementary school, where Astrid was called "Wimmerbün Selma Lagerlöf", which, in her own opinion, she did not deserve.

After school, at the age of 16, Astrid Lindgren started working as a journalist for the local newspaper Wimmerby Tidningen. But two years later, she became pregnant, unmarried, and, leaving her position as a junior reporter, went to Stockholm. There she completed secretarial courses and in 1931 found a job in this specialty. In December 1926, her son Lars was born. Since there was not enough money, Astrid had to give her beloved son to Denmark, to the family of foster parents. In 1928, she got a job as a secretary at the Royal Automobile Club, where she met Sture Lindgren (1898-1952). They married in April 1931, and after that, Astrid was able to take Lars home.

2. fabulousstoryAstridLindgren

After her marriage, Astrid Lindgren decided to become a housewife in order to devote herself entirely to caring for Lars, and then for her daughter Karin, who was born in 1934. In 1941, the Lindgrens moved into an apartment overlooking Stockholm's Vasa Park, where the writer lived until her death. Occasionally taking on secretarial work, she wrote travel descriptions and rather banal tales for family magazines and advent calendars, which gradually honed her literary skills.

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

After the first story about Pippi, which Karin fell in love with, Astrid Lindgren over the next years told more and more evening tales about this red-haired girl. On Karin's tenth birthday, Astrid Lindgren wrote down several stories in shorthand, from which she compiled a book of her own making (with illustrations by the author) for her daughter. This original manuscript of "Pippi" was less carefully finished stylistically and more radical in its ideas. The writer sent one copy of the manuscript to Bonnier, the largest Stockholm publishing house. After some deliberation, the manuscript was rejected. Astrid Lindgren was not discouraged by the refusal, she already realized that composing for children was her calling. In 1944, she took part in a competition for the best book for girls, announced by the relatively new and little-known publishing house Raben and Sjögren. Lindgren received the second prize for Britt-Marie Pours Out Her Soul (1944) and a publishing contract for it.

In 1945, Astrid Lindgren was offered the position of editor of children's literature at the publishing house Raben and Sjögren. She accepted this offer and worked in one place until 1970, when she officially retired. All of her books were published by the same publishing house. Despite being extremely busy and combining editorial work with household chores and writing, Astrid turned out to be a prolific writer: if you count picture books, a total of about eighty works came out of her pen. Work was especially productive in the 1940s and 1950s. In the years 1944-1950 alone, Astrid Lindgren wrote a trilogy about Pippi Longstocking, two stories about children from Bullerby, three books for girls, a detective story, two collections of fairy tales, a collection of songs, four plays and two picture books. As you can see from this list, Astrid Lindgren was an unusually versatile author, willing to experiment in a wide variety of genres.

In 1946, she published the first story about the detective Kalle Blomkvist (“Kalle Blomkvist plays”), thanks to which she won first prize in a literary competition (Astrid Lindgren did not participate in competitions anymore). In 1951, a sequel followed, “Kalle Blomkvist risks” (both stories were published in Russian in 1959 under the title “The Adventures of Kalle Blomkvist”), and in 1953 - the final part of the trilogy, “Kalle Blomkvist and Rasmus” (was translated into Russian in 1986). With Calle Blumqvist, the writer wanted to replace cheap thrillers that glorified violence.

In 1954, Astrid Lindgren wrote the first of her three fairy tales - "Mio, my Mio!" (trans. 1965). This emotional, dramatic book combines the techniques of heroic storytelling and fairy tale, and it tells the story of Bo Wilhelm Olsson, the unloved and neglected son of foster parents. Astrid Lindgren more than once resorted to fairy tales and fairy tales, touching on the fate of lonely and abandoned children (this was the case before “Mio, my Mio!”). To bring comfort to children, to help them overcome difficult situations - this task was not the last thing that moved the work of the writer.

In the next trilogy - “The Kid and Carlson, who lives on the roof” (1955; transl. 1957), “Carlson, who lives on the roof, flew in again” (1962; trans. 1965) and “Carlson, who lives on the roof, plays pranks again ”(1968; transl. 1973) - the fantasy hero of a non-evil sense is again acting. This “moderately well-fed”, infantile, greedy, boastful, puffed up, self-pitying, self-centered, although not without charm little man lives on the roof of the apartment building where the Kid lives. As Baby's imaginary friend, he is a much less wonderful image of childhood than the unpredictable and carefree Pippi.

The kid is the youngest of three children in the most ordinary family of the Stockholm bourgeoisie, and Carlson enters his life in a very specific way - through the window, and he does it every time the kid feels superfluous, bypassed or humiliated, in other words, when the boy feels sorry for himself .

In such cases, his compensatory alter ego appears - in all respects, "the best in the world" Carlson, who makes the Kid forget about troubles.

Conclusion

The writer died on January 28, 2002 in Stockholm. Astrid Lindgren is one of the most famous children's writers in the world. Her works are imbued with fantasy and love for children. Many of them have been translated into over 70 languages and published in more than 100 countries. In Sweden, she became a living legend, as she entertained, inspired and comforted generations of readers, participated in political life, changed laws and, not least, significantly influenced the development of children's literature.

The form of communication with a fairy tale among modern children has changed. Communication with the media has become a daily routine for them, and the narrator of fairy tales - a mother or grandmother has been replaced by technology. And it is not known what or whom children prefer more: an electronic device or a live storyteller. It all depends on habit. However, in Lately more and more nostalgic for the past. For example, in the United States, colleges that train future librarians organize courses in storytelling. In the last decade, the American "Society of Storytellers" began to function quite widely. Its participants, mostly women aged 20-60, are trying to revive the tradition oral story. They hold festivals of storytellers, where mostly fairy tales are heard. And in the libraries, matinees, evenings of fairy tales with storytelling competitions and puppet theater performances are regularly arranged.

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annotation scientific article on linguistics and literary criticism, author of scientific work - Koblenkova D. V.

The political and ethical problems of A. Lindgren's late story "The Brothers of the Lionheart" are considered. The conceptual difference between the works of A. Lindgren of the early 40s and the mid 70s of the twentieth century is analyzed. Motive analysis of the text reveals the strengthening of traditional humanistic motives, a return to the idea of non-resistance to evil by violence. Lindgren's rejection of the ideas of the early period is associated, like most other writers who advocated the active transformation of society, with disappointment in the methods of social reform. Lindgren comes to the conclusion that any transformation of life, even conceived for the benefit of man, is associated with violence. The ideal hero in the story becomes a person who does not cross the moral line. Thus, the semantic center of the story becomes ethical conflict. The sacrificial path of the hero, symbolizing ideal goodness, is presented in the form of a journey to alternative worlds after death. Lindgren uses elements of fairy tale, fantasy, political parable, dystopia. The symbolism of the story refers to the biblical figurative system. Motives, the nature of the conflict and poetics allow us to conclude that the story uses the traditions of Christian sentimentalism.

POLITICAL AND ETHICAL MOTIVES IN A. LINDGREN'S FANTASY NOVEL "THE BROTHERS LIONHEART"

The article discusses political and ethical problems raised in A. Lindgren’s later novel “The Brothers Lionheart”. The conceptual difference between the works of A. Lindgren written from the early 1940s to mid-1970s is analyzed. The analysis of the text reveals the strengthening of traditional humanistic motives and the return to the idea of nonresistance to evil. It is argued that Lindgren’s abandonment of her ideas of the early period, like in the case of most other writers who advocated active transformation of society, is due to the disappointment in the methods of social reforms. Lindgren concludes that any transformation of life, even if it is conceived for people's benefit, is accompanied by violence. The ideal hero of the novel is a man who does not cross the moral line. Thus, an ethical conflict becomes the focus of the novel. The self-sacrifice path of the hero who symbolizes the perfect good is presented in the form of a journey to alternative worlds after death. Lindgren uses some elements of a fairy tale, fantasy , political parable , dystopia . The symbolism of the novel refers to the biblical imagery. The novel's motifs, the nature of the conflict and the poetics suggest the use of Christian sentimentalism traditions in this work.

The text of the scientific work on the topic "Political and ethical motives in the fairy tale story "The Brothers Lionheart" by A. Lindgren"

Philology

Bulletin of the Nizhny Novgorod University. N.I. Lobachevsky, 2015, No. 1, p. 270-276

POLITICAL AND ETHICAL MOTIVES IN THE FAIRY-TALE STORY "THE BROTHERS LIONHEART" by A. LINDGREN

Nizhny Novgorod State University N.I. Lobachevsky

Received December 24, 2014

The political and ethical problems of A. Lindgren's late story "The Brothers of the Lionheart" are considered. The conceptual difference between A. Lindgren's works of the early 1940s and the mid 1970s is analyzed. Motive analysis of the text reveals the strengthening of traditional humanistic motives, a return to the idea of non-resistance to evil by violence. Lindgren's rejection of the ideas of the early period is associated, like most other writers who advocated the active transformation of society, with disappointment in the methods of social reform. Lindgren comes to the conclusion that any transformation of life, even conceived for the benefit of man, is associated with violence. The ideal hero in the story becomes a person who does not cross the moral line. Thus, the ethical conflict becomes the semantic center of the story. The sacrificial path of the hero, symbolizing ideal goodness, is presented in the form of a journey to alternative worlds after death. Lindgren uses elements of a fairy tale, fantasy, political parable, dystopia. The symbolism of the story refers to the biblical figurative system. Motives, the nature of the conflict and poetics allow us to conclude that the story uses the traditions of Christian sentimentalism.

Key words: Swedish prose, Astrid Lindgren, political motives, ethical conflict, fantasy, parable, dystopia, Christian sentimentalism.

In the socio-cultural life of Sweden in the 1970s, the works of Astrid Lindgren (Astrid Anna Emilia Lindgren, 1907-2002) acquire a new meaning due to her active political position. The era itself contributed to this: social democracy was on the eve of a political crisis, discussions were resumed on the question of the Swedish "third way" and domestic economic reforms.

K. Lindsten wrote that “in the 70s in Sweden it became customary to raise political and social issues even in the pages of children's books. Lindgren in these years, as once in the 40s, after the release of Pippi, again found herself at the epicenter of political and social disputes. As a result, in 1973, A. Lindgren's ethical and political story The Brothers of the Lionheart was published, and in 1976, in the Expressen newspaper, the famous storyteller struck the public with an unprecedented satirical pamphlet about the extremes of Swedish tax policy. The public outcry of her publication was such that it affected the results of the next elections to the Riksdag: for the first time in several decades, the Social Democratic Party lost. This "literary" case showed how great was the influence of one specific person. Of course, Lindgren

was a charismatic figure, but in fact remained only a children's writer. Therefore, the reason for her popularity was the ability to express in her original works the main principles of self-determination of the individual. For the second time in the history of Sweden in the 20th century, a woman writer became the spiritual leader of the nation. At the beginning of the century, S. Lagerlöf occupied this position, in the second half of the 20th century A. Lindgren reached such a peak. Despite the fact that Swedish society rapidly became feminized and did much to change the intellectual life in the country, this case remains apparently unprecedented in world history. It is also important that both Lagerlof and Lindgren deserved such an attitude for their "childish" works, i.e. for texts that offer a certain model of personality education.

The more interesting is the literary evolution of Lindgren, since her prose of the early 70s differs significantly - if not radically - from the works of the 40s. Early stories were striking in the destruction of the literary and ethical canon, reflecting ethical disputes about individual freedom and the image of the superman. The author of "Pippi" and "Carlson" was attracted only by passionate personalities. Second-

Foamy heroes were those who were waiting for their appearance and together with them - changes in their destiny. The attitude towards strong, non-systemic characters divided the Swedish society, but the majority spoke out in support of them, since at that stage Sweden needed a new initiative hero who was not afraid to break stereotypes. At the same time, in the 1940s and 1950s, it became obvious what place children's and adolescent literature occupies in Sweden, how serious social and pedagogical functions it performs. Researchers rightly note that Swedish literature, on the one hand, has a certain freedom compared to children's books in many countries, since it is created in a democratic country, on the other hand, it is often forced to follow the public course, to educate in the “right” direction. It is much more difficult for children's writers than for the creators of "adult" literature to be unbiased authors in a state in which public institutions closely monitor the observance of certain pedagogical and ethical standards. In addition, with the change of eras, the moral climate also changes, so the same work can be evaluated differently.

In the 70s came new era in literature. Politics came to the fore, and A. Lindgren “was attacked by young radicals for immorality. Its heroes were found to be elitist individualists. She was accused of not analyzing the causes of evil and social injustice.

In response to criticism from her opponents, Lindgren responded with the fairy tale The Brothers of the Lionheart (Bröderna Lejonhjärta, 1973). And this text turned out to be completely different in its ethical orientation than the “anarchist” stories of the forties era and, of course, did not suit the “young radicals”.

Long before the writing of A. Lindgren's story "The Brothers of the Lionheart" in her collection "Little Nils Karlsson" (Nils Karlsson-Pyssling, 1949), a new image of a sick and lonely child appeared. Such lonely children were taken away by the magical Uncle Lillonquast to another world, called the Land of Twilight, or the Land Between Light and Darkness.

In the fairy tale "Mio, my Mio!" (Mio min Mio, 1954) a suffering child heard a sad Goryun bird in the garden, portending hard times. So heavy that for many these forebodings reminded the anti-utopias of K. Boye "Kallokain" and "1984" by J. Orwell. For this reason, Lindgren's book was found "destructive and pessimistic", inconsistent with

cabbage soup "optimistic and idyllic" era of the 50s. In 1959, A. Lindgren released the collection "Sunny Meadow" ^ippapap^), which again caused conflicting opinions. In an interview, Lindgren said that she wanted to move "the well-fed children from the municipal parks of the People's House out of town and let them run barefoot in a heavenly sunny meadow", demonstrating that not everything is in the "People's House", that is, in the new social system Sweden, it seems to her harmonious and thoughtful. The text of the new story - "The Lionheart Brothers" - once again surprised both literary critics and readers. The increased interest in the story is due to the fact that the theme of "The Brothers" is not purely for children. The political discourse of narration pushed the fairy tale into the ranks of "adult" works of "social indignation". Not surprisingly, The Brothers Lionheart is seen as Astrid Lindgren's response to the political rhetoric of the 70s.

Unlike many of her works, in this fairy tale, Lindgren used, among the techniques of secondary convention, a fantastic assumption and the creation of alternative worlds. The action takes place first in earthly reality, in which a boy is depicted slowly dying from a serious illness on a kitchen sofa in a poor apartment. His mother is preoccupied with her inner life and personal misfortune after the departure of her father. The child understands that he is a burden to her. Thus, the idyllic idea of the inextricable bond between parents and children, mother and sick child is destroyed. Lindgren fearlessly breaks with the tradition of patriarchal ideas about the family hearth as a source of stability and happiness.

As in other works of the author, in which children found loved ones not in their parents, but in someone else, little Karl finds salvation in his older brother, who replaced his father. And - in the subtext - not only the earthly father, but also the Heavenly Father, wise and noble, who became his protector. Big brother Jonathan is different amazing beauty and a kind heart, he looks like a fairytale prince with golden hair, blue eyes and an affectionate smile. He alone takes care of the sick boy, tells him stories in the evenings, warms honey water at night to get rid of a heavy cough and consoles him with the thought of the existence of another country of Nangiyala, where he will live cheerfully and easily, without suffering from his illnesses. There he will live in the Valley of Cherries, fishing and riding the horse he so dreamed of on earth.

The story about the spiritual attachment of the brothers is built from the perspective of a dying boy. This is a rare case in literature when the story is entrusted to a child who is waiting for death. The technique allows you to enhance the existential sound, gives the story an emotional and lyrical intonation and at the same time gives the reader the right to interpret the story in different ways, including as a dream or a vision. Weak in character and sickly, the boy enthusiastically admires his beautiful brother, worthy of being called Jonathan the Lionheart for his nobility. The little storyteller himself does not hide his fears and anxieties, considering himself Karl Hareheart. But Jonathan loves his weak brother, emaciated from tuberculosis, and affectionately calls him Sukharik.

The second part of the story begins after an unexpected tragic incident: Sukharik's house caught fire, and the older brother, saving him, jumped down with him, holding him on his back. Dying, he said: “Don't cry, Sukharik. We'll see you in Nangiyala!" . So Lindgren returns to the image of the Land of Twilight, that is, the world of death as a different, alternative space, where the time of "bonfires and fairy tales" flows.

The image of another world reveals a relationship with Christian images of the other worlds in the works of G.Kh. Andersen ("The Girl with Matches"), Ch. Dickens "The Bells", F.M. Dostoevsky (“The Boy at Christ on the Christmas Tree”). Spiritual ideal spaces were the subject of the portrayal of the romantic heroes of Novalis, E.T.A. Hoffmann, W. Hauff, E. Poe. But Lindgren's motif of dual worlds shows that the story is written not only about the pragmatic earth and the spiritual sky. And the characters themselves are not escapists of the romantic era. They are "revolutionaries of the spirit" who, however, in each of the realities are not free from social hierarchy and difficult ethical choices.

Social themes interspersed in the story gradually: after the fire, the society for the charity of the poor gave Sukharik and his mother "old furniture", and "mother's aunts", who ran to her "with their rags, muslins and other junk", "also gave something" . The dying Rusk was still lying on the old sofa in the kitchen, as the mother lived in the only room, who still sewed for wealthy ladies. No one, as before, did not show compassion for the child. On the contrary, he knew how everyone regretted that it was not he who died, but his brother: “Poor you, Fru Leyon! After all, it was Jonathan who was so wonderful with you! . The child does not say a word about the mother in his internal monologue. She don't care

moaned about him, but he did not condemn her. However, the lonely and dysfunctional state weighed on the boy so much that he was waiting for the transition to Nangiyala, where he eventually ended up.

After a brief idyllic picture of a meeting with Jonathan, who showed him their house in the Cherry Valley, gave him the wonderful horse Fja-ral and a fishing rod, a new stage begins in the fate of the two dead brothers. The text acquires a political content: Jonathan tells about another country - the Thorn Valley, in which the power belongs to the tyrant Tengil, who controls the inhabitants with the help of the dragon Katla (Old Norse woman's name, meaning "boiler"; it is also the name of a volcano in Iceland). Elements of a fairy tale are intertwined with elements of a political parable. The text is completely restructured and becomes a description of the struggle against Tengil's dictatorship (a variant of the Old Norse name TiengSh - "master"). The dictator is depicted as a black knight from the country of Carmagnac. Medieval knightly paraphernalia, the presence of a castle surrounded by a stone wall, power over a fire-breathing dragon controlled by a magic horn are elements of fantasy. From fantasy, the principle of depicting two opposing worlds is also borrowed, the confrontation of which forms the adventurous outline of the plot of the story. Lindgren also relies on the medieval epic when depicting goodies. A direct association connects Jonathan with Richard the Lionheart.

Noble Jonathan helps the inhabitants of the Thorn Valley. He single-handedly rescues the imprisoned Ur-var, the leader of the liberation struggle, from the Katla cave. At the same time, conflicting characterizations of those who lead this movement for a new order are emerging. Good and Evil in Lindgren are ambiguous, the line between them blurs. For example, the red-haired hunter Hubert from the Valley of Cherries is vain and jealous of another leader of the movement - Sophia. Sophia, the mistress of an idyllic garden, commanding wise white doves, despite her symbolic name, is not far-sighted enough, does not trust the words of Sukharik, and succumbs to the deceit of a traitor. Traitor Jussi, nicknamed the Golden Rooster, on the contrary, inspires confidence with his benevolence and cheerful disposition. Urvar, the main figure among the rebels, after the release is ready to lead people, not doubting his right to violence.

As a result, the ethical conflict becomes the main one in A. Lindgren's story: Jonathan asks

asks Urvar if he is ready to kill enemies in order to free the Thorn Valley, to which he no doubt replies in the affirmative. But Jonathan, unlike him, is not ready to kill.

Even if it's about saving your life? Urvar asked.

Yes, even then, - answered Jonathan.

Urvar could not understand this in any way ...

When, after the victory and the death of people, many in the Ternovnik Valley cried, Urvar did not cry: “Not Urvar,” Lindgren writes.

If everyone were like you, - said Urvar, - then evil would rule the world undividedly and forever!

But then I said that if everyone were like Jonathan, then there would be no evil in the world.

This main dialogue of the story is reminiscent of the conversation between Sonya and Raskolnikov in "Crime and Punishment" and between the Captive and the Grand Inquisitor in "The Brothers Karamazov" by F.M. Dostoevsky. A similar dialogue was introduced into a number of works of literature of the twentieth century. . Astrid Lindgren also addresses the theme of Dostoevsky, whose influence on Swedish literature is very great and is constantly confirmed by Swedish writers and readers. In contrast to her position in the early forties, she comes to think about the ethical boundaries of what is permitted, about the need for internal self-improvement, and not forcible change in the world. Explaining the idea of the story in 1978 at the presentation of the German Booksellers Peace Prize to her, Astrid Lindgren titled her speech “Not Violence.” Consequently, the position of the author has changed significantly. She clearly returned to universal values, like most writers who started with revolutionary works and then became disillusioned with the practice of social reforms.

The death world of Nan-gyal, depicted in her story, into which little Sukharik was so eager to get, ceases to be an ideal space. The story is filled with dystopian content. The outcome of this story is the new death of Jonathan from the fire of Katla, which is already in the next - the third world - again courageously followed by his younger brother. Another transition of Suharik to the new world of Nan-gilima through the second death is another terrible attempt to become strong, to become happy. The last words of the story: “Oh, Nangili-ma! Yes, Jonathan, yes, I see the light! I see the light! - can be interpreted in different ways: from the pathetic statement of the thought that faith in

the ideal is eternal, no matter how much one has to die for it, to the tragic denial of the possibility of gaining Light, as the transitions from one world to another multiply, and faith in the existence of an ideal space becomes less and less.

In this story, both the Christian picture of the world and the worldview concepts of the romantics are rethought. The other world is filled with the same social and psychological conflicts as the earthly world. Social evil is shown as inescapable, born by the evil of each individual person, which can coexist with noble impulses. In her biographical book about Lindgren, M. Strömstedt wrote that when “the view of Evil is not presented so unambiguously, the light of Good is seen clearer, both darkness and black evil shadows become clearer” . Such shadows fall on Lindgren's heroes, they “grow out of the world of aggressiveness and violent emotions. Love and Good sleep side by side with destructive, ready to ignite Evil. It is no coincidence that all the characters of the writer, who had a strong, emotional character, were capable of aggressive actions justified by the goal, the justice of revenge. Heroes who are unable or unwilling to cross the "line", as a rule, on the contrary, were portrayed as balanced, devoid of exaltation. Their energy was directed inside themselves, personal harmony, moral integrity were more important to them, in contrast to those whose energy was directed to transforming the world.

By the time the story was created, Lindgren had clearly changed her focus: in her early works, the writer fought evil with the help of active heroes who themselves could easily break the law, while her latest works, on the contrary, contain elements of Christian ethics. Jonathan is clearly depicted as Christlike: forgiving, loving people ready to sacrifice. Without killing anyone in the battle, he is mortally wounded himself and dies, still not wishing harm to anyone. Repeatedly to Sukharik’s questions why he does this, why he risks his life, helps people, does not take revenge on enemies, Jonatan replies that a person should not be “a small pile of shit” (“en liten lort”).

This expression by A. Lindgren is not only fraught with psychological meaning concerning the behavior of individuals. She spoke about such responsibility, referring to the state. In the context of Swedish history, this is related to both foreign policy and domestic social programs. This understanding of responsibility reflected her personal disappointment.

social democracy, which forgot about the ideals of the "People's House" and returned, in its opinion, to the class struggle, behind which stands the eternal desire for power.

As a result, no Lindgren book, not even Pippi Longstocking, has been criticized as harshly as The Brothers Lionheart: “Coming out in 1973, The Brothers Lionheart turned out to be an untimely book. The books of the 70s were instructive studies on social topics about the role of the sexes and environmental pollution; about the director Frant, who has polluted the whole world, about a mother who works as a plumber, about a father who puts on an apron and cooks food. Marxist literary scholars from Gothenburg accused Lindgren of representing evil only from one side and considering death as the solution to all problems. Ola Larsmu, in the article "If everyone were like Jonathan" (1983), wrote that "Jonathan's pacifism is certainly a noble quality, but it does not stand the test of reality." The radicals fighting imperialism hoped to live to defeat it in this life and not in the next, and therefore they were also outraged. Psychologists, for their part, considered it unacceptable to depict a situation in which children are forced to die twice and thereby increase the already shocking experience of death. The last episode of the story, in which Jonathan urges Sukharik not to be afraid of death and to follow him again, was generally perceived as a call for childish suicide.

The story thus drew criticism for both political and ethical reasons.

Famous writer P. K. Erschild also wondered about Lindgren's position, but tried to defend it: “Which political party does Astrid Lindgren side with? Does she understand what she's doing? Does she write with her heart or her mind? If she writes with her mind, what views does she share: social democratic, centrist, communist or Glistrup's views ... It is difficult to draw such distinctions, they must be combined with a respectful attitude towards a work of art, with wisdom and, perhaps, with some sense of humor.

Lindgren was also defended by children who, judging by the polls, also perceived death as a transformation, a transformation. Doctors thanked Lindgren for the therapeutic effect that such a book gave, calming and reconciling with death. Lindgren herself did not object to such a perception of the text, but denied religious speculation.

tion on this topic. She did not impose ideas about the afterlife and called her understanding of the universe agnosticism.

Previously, A. Lindgren did not turn to the image of otherworldly existence and did not use so many symbolic images of Christianity. Critics noted the significance of the white dove, in the form of which Jonathan flies to the dying Sukharik. The white dove is a symbol of the Holy Spirit, which confirms the already open comparison of Jonathan with Christ, and the old Matthias, who sheltered Jonathan and saved his life, with God the Father. The traitor Jussi is associated with Judas Iscariot, the Cherry Valley in Nangiyala is associated with paradise. The double transition of the heroes, first to Nangiyala, and then to Nangilima, in which there should be no death and evil, is also perceived by critics as the influence of the Catholic idea of purgatory and paradise, inspired by Dante's Divine Comedy.

Bu Lundin, in a 1973 review, even put forward the idea that Jonathan and Karl never got to Nangiyala, that everything that happens is the dream of Karl dying of tuberculosis, who dies for the first time at the very moment when he sees the light. Lundin's interpretation thus translates the text of the story into a realistic narrative plan. To numerous requests from the children to tell what happened to the brothers in Nangilim, Lindgren replied that the children had settled in the Apple Tree Valley on Matthias's farm, that they could now build huts, go around the forests, Karl got his dog named Mekke. Tengil and Yussi didn't make it to Nangilima. They ended up in another country called Lokrumé. Since this is the name of one of the parishes on the island of Gotland, one can understand how skeptical Lindgren was about attempts to give the story a religious interpretation and clearly shunned the institutions of the church. But this did not prevent the author from using traditional biblical allusions and reminding about humanism. Lindgren's interest in Christian ethics is confirmed by her other later writings: she released the collections Christmas Stories (Julberattelser, 1985), Merry Christmas in the House! (God Jul i stugan!, 1992) and the story "Christmas holidays are a wonderful invention, said Madicken" (Jullov ar ett bra pahitt, sa Madicken, 1993).

Other aspects of the story remained in the shadow of political and ethical-religious discussions. In particular, the psychological and philosophical motive of duality, spiritual kinship between brothers. Reception is so often present

It is known that the history of the creation of this fairy tale about the brothers is unusual. First, Lindgren saw a strange metaphysical landscape near Lake Fryken, similar to the "dawn of mankind", then at the cemetery in Vimmerby she read on one of the tombstones: "The newborn Falen brothers, who died in 1860, are buried here." “I realized,” Lindgren said, “that I would compose a fairy tale about two brothers and death.” Finally, the idea of strong and weak brothers, older and younger, symbolizing a complex unity, visited the author on the set of a film about Emil from Lönneberg, when the boys were selected for the role of Emil: “There was turmoil around little Janne Ohlsen, camera flashes flashed. When it was over, Janne slid off the chair and sat on his older brother's lap. He clung to him, and his brother also hugged him and kissed him on the cheek. Then I realized that before me were the brothers of the Lionheart.

A natural question arises, how is Lindgren's story related to Dostoevsky's last novel, with which it is associated due to its title? It seems that not only the problems of The Legend of the Grand Inquisitor make The Brothers Lionheart related to The Brothers Karamazov. They are united by the idea of a deep psychological connection between opposite natures. Dostoevsky emphasized the complex unity of the images of the Inquisitor and the Captive, as well as the unity of the four brothers Karamazov. The disembodiment of the qualities of a single personality in different images shows that each of them has features of the others.

A. Lindgren uses the similarity of the names: “Broderna Karamazov” and “Broderna bv]onb]arla”, but does not create such a complex figurative system. Her brothers have a common bright beginning. They are distinguished only by the strength and weakness of the spirit. But Suharik "grows" spiritually during his stay in Nan-gyal, imitating his mentor Jonathan. The concept of the image of Jonathan brings him closer to the image of Christ, and the story is perceived as a Christian "pedagogical poem". It includes elements of a novel of education, reminiscent of Nils Holgersson's Amazing Journey Through Sweden by S. Lagerlöf. But in the idealistic world of S. Lagerlof, Niels found happiness on earth, and the brothers in A. Lindgren's story did not find him even in death. If any transformation of the world is associated with violence, then evil is inevitable. The ending of the story is open: on the one hand, goodness reveals its unviability, because Jonathan

died, and whether he finds a perfect world in the third space is unknown. On the other hand, if the author no longer believed in ideal systems, then she suggested believing in an ideal person, and, unlike the heroes of early works, he no longer crosses the line even in the name of a good goal. The use of biblical symbolism and the pathetic, often melodramatic pathos of the story, aimed at compassion for the weak and suffering, allows us to attribute the work to Christian sentimentalism. Such an ideological turn characterized the author's perception of the last decades of the twentieth century. Lindgren actually returned to the ethical ideals that Lagerlöf wrote about. But if at the beginning of the century Christian ethics reflected the priorities of the majority, then in the era of radical changes there were incomparably more oppositionists. Lindgren was once again outside the mainstream. Today, Swedish researchers write about Lagerlöf, who was awarded the Nobel Prize, as the creator of the literary canon, and Lindgren's prose is perceived as "non-format".

By now, Swedish readers are divided according to their priorities: for some, Lindgren remains the author of Pippi Longstocking, for others she is the author of The Lionheart Brothers. We add that at the end of the 20th century a large study was published in Sweden “The Best Books of the Swedish People”, which presented a rating of the best works of Sweden in the 20th century. Lindgren's books turned out to be the most in it, which proves her undeniable influence on the Swedish mentality. As for “Pippi” and “Brothers”, out of 100 nominations in this rating, they took the second and third places, respectively: “Pippi” outperformed the “Brothers” by one position. This means that non-resistance to evil by violence turned out to be less preferable than the dream of a strong Sweden, which, like Pippi, could declare itself, as it was once in the era of great power.

Bibliography

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2. Lindgren A. Pomperipossa i Monismanien [Electronic resource] // Expressen, 10 mars 1976. Access mode: http://www.expressen.se/noje/pomperi-possa-i-monismanien/

4. Lindgren A. Brothers Lionheart / Per. from the Swedish N.K. Belyakova, L.Yu. Braude. M.: Astrel, 2009. 253 p.

5. Sukhikh O.S. Two Philosophical Dialogues ("Legend of the Grand Inquisitor" by F.M. Dostoevsky and "Pyramid" by L.M. Leonov) // Bulletin of the Nizhny Novgorod University. N.I. Lobachevsky. 2012. No. 6 (1). pp. 321-328.

6. Sukhikh O.S. "Great Inquisitors" in Russian Literature of the 20th Century. N. Novgorod: Mediagraphic, 2012. 208 p.

7. Strömstedt M. Great storyteller. Life of Astrid Lindgren / Per. from the Swedish E. Enerud, E. Ermalinsky. Moscow: Agraf, 2002. 274 p.

8. Tapper S., Eriksson S. Biblisk symbolism: en undersökning om den bibliska symbolismen i Bröderna Lejonhjärta. student thesis. University of Gävle. Department of Humanities and Social Sciences. Amnesavdel-ningen för religionsvetenskap, 2001. 17 s.

9. Lundin B. Skorpans slut blir välbelyst [Electronic resource] // Expressen, 26 oct. 2009. Access mode: http://www. expressen.se/kultur/skorpans-slut-blir-valbelyst/

6. Suhih O.S. "Velikie inkvizitory" v russkoj litera-

POLITICAL AND ETHICAL MOTIVES IN A. LINDGREN "S FANTASY NOVEL "THE BROTHERS LIONHEART"

The article discusses political and ethical problems raised in A. Lindgren's later novel «The Brothers Lionheart». The conceptual difference between the works of A. Lindgren written from the early 1940s to mid-1970s is analyzed. The analysis of the text reveals the strengthening of traditional humanistic motives and the return to the idea of nonresistance to evil. It is argued that Lindgren's abandonment of her ideas of the early period, like in the case of most other writers who advocated active transformation of society, is due to the disappointment in the methods of social reforms. Lindgren concludes that any transformation of life, even if it is conceived for people's benefit, is accompanied by violence. The ideal hero of the novel is a man who does not cross the moral line. Thus, an ethical conflict becomes the focus of the novel The self-sacrifice path of the hero who symbolizes the perfect good is presented in the form of a journey to alternative worlds after death Lindgren uses some elements of a fairy tale, fantasy, political parable, dystopia The symbolism of the novel refers to the biblical imagery. The novel "s motifs, the nature of the conflict and the poetics suggest the use of Christian sentimentalism traditions in this work.

Keywords: Swedish prose, Astrid Lindgren, political motifs, ethical conflict, fantasy, parable, dystopia, Christian sentimentalism.

1. Lindsten K.Eh. Astrid Lindgren i shvedskoe ob-shchestvo // Neprikosnovennyj zapas. 2002. No. 1 (21). Mode access: http://magazines. russ.ru/nz/2002/21/lind-pr.html

2. Lindgren A. Pomperipossa i Monismanien // Expressen, 10 mars 1976. Regim do stupa: http: //www. expressen. se/noj e/pomperi-possa-i-monis-manien/

3. Lindgren A. Broderna Lejonhjärta. Stockholm: Raben & Sjögren, 1973. 228 s.

4. Lindgren A. Brat "ya L" vinoe Serdce / Per. so shved. N.K. Belyakovoj, L.Yu. Braude. M.: Astrel", 2009. 253 s.

5. Suhih O.S. Dva filosofskih dialoga (“Legenda o velikom inkvizitore” F.M. Dostoevskogo i “Pyramida” L.M. Leonova) // Vestnik Nizhegorodskogo universiteta im. N.I. Lobachevsky. 2012. No. 6 (1). S. 321-328.

ture XX century. N. Novgorod: Mediagrafik, 2012. 208 s.

7. Stryomstedt M. Velikaya skazochnica. Zhizn" Astrid Lindgren / Per. s shved. E. Ehnerud, E. Ermalinskoj. M.: Agraf, 2002. 274 s.

9. Lundin B. Skorpans slut blir välbelyst // Expressen, 26 oktober 2009. . Rezhim dostupa: http://www.expressen.se/kultur/skorpans-slut-blir-valbelyst/

10. Edström V. Astrid Lindgren - Vildtoring och lägereld. Stockholm: Raben & Sjögren, 1992. 322 s.

11. Svenska folkets bästa böcker / Red. Y. Nilsson, U. Nyren. Boras: Diagonal Förlags AB, 1997. 130 s.

Chapter I. Genre-thematic originality of Jerome Klapka Jerome's prose.

1.1. "Three in a boat, not counting the dog": genre specificity of the work, traditions of the travel novel.

1.2. Dominants of the English national character in the characters of Jerome Klapka Jerome.

1.3. Features of the humorous prose of Jerome K. Jerome.

Chapter II. Genre-thematic originality of O "Henry's short prose.

I. 1. America and Americans in the work of O "Henry.

11.2. National-cultural stereotypes in O'Henry's short stories.

P.Z. The novel "Kings and Cabbage": genre and modification of national and cultural stereotypes.

P.4. A humorous interpretation of the American way of life and the American character in the works of O'Henry.

Recommended list of dissertations

Irony in the "small" prose of Jerome K. Jerome and the English literary tradition 2006, candidate of philological sciences Koroleva, Olga Andreevna
Typology of small genres in the prose of Jerome K. Jerome (1885-1916) 1984, candidate of philological sciences Sadomskaya, Natalia Dmitrievna
The Formation and Development of the Short Story Genre in English Literature of the Victorian Period: Based on the Works of Ch. Dickens, W.M. Thackeray, T. Hardy 2009, candidate of philological sciences Eremkina, Natalya Ivanovna
The evolution of the short story genre in Dagestan literature 2006, candidate of philological sciences Yusufova, Luara Omarovna
Stories by A.T. Averchenko: Genre. Style. Poetics 2003, candidate of philological sciences Kuzmina, Olga Anatolyevna

Introduction to the thesis (part of the abstract) on the topic "Genre-thematic originality of the fiction of Jerome Klapka Jerome and O" Henry

The unifying processes taking place in the modern world give rise to a new type of global thinking and global culture. Globalization tendencies bring to life at the same time a heightened desire for national self-identification 1. Of particular importance in this cultural context is the confrontation between European and American culture. Concept [See: 11; 21; 52; 92; 131; 174; 223], the "American dream" is actively being introduced into the consciousness of European and even some Asian peoples, thereby proving its universality. In this regard, the comparison of European, especially English, and American national identity, expressed in literary texts, seems to be extremely relevant.

The perception of America in England is ambivalent. On the one hand, America is a product of the English culture of the Enlightenment. The two countries are connected by a common language, common ideals (labor, common sense, justice, "fair play"). On the other hand, since the 19th century, the British have not forgive Americans either violations of the norms of classical English, or criticism of their own homeland. The definition of the United States both as a "different" nation and as a successor culture remained dominant in the 20th century and still persists in the 21st. Americans demonstrate those not the best properties of the national character, the designation of which allows English authors to distance themselves from the “new” nation, delegating to it at the same time those qualities that were attributed to the British themselves.

As for US literature, it developed along the expected and logical path: in the 17th and even 18th centuries, it retained the dominants of English literature of the Enlightenment era (subject, author's position, Hereinafter, in square brackets, the edition number according to the list of references is indicated; with simultaneous reference for several works they are separated from each other by a semicolon, style, etc.), then American writers managed to create a national literature that has a pronounced originality and is easily recognizable (regardless of the realities that it reflects). The connection with the “proto-culture” was preserved at many levels, including the linguistic one, but the ever-increasing gap in national cultural priorities during the deployment in time was naturally reflected in the texts of authors born in the USA.

The most productive in terms of identifying national priorities reflected in literary texts is a comparison of the most characteristic features in creative heritage authors occupying similar niches in the history of English literature, thesaurus analysis, the principles of which were developed by Val. A. Lukov and Vl. A. Lukov, reliance on the multicultural potential of literature and its educational value. The works of the Englishman Jerome Klapka Jerome and the American O "Henry provide rich material for working in the designated direction. Two humorist writers who have masterfully mastered the genres of small prose, in particular the short story, have a largely similar creative destiny. In their homeland, each of them enjoyed hugely popular with readers, but was not taken seriously by critics and literary historians precisely because of the humorous theme of their works.This situation continues to this day: in 1982, a collection of works by the country's most widely read comedians was published in England, among which Jerome K. Jerome occupied an honorable place The rating of the works of O "Henry in his homeland is still extremely high. The main characters of the short stories in both are representatives of the "middle class" - not the rich, but not the poor, that is, those who make up the national and cultural basis of the people. Avoiding extremes, the writers sought the maximum breadth of generalization. (A little more difficult for O "Henry: due to the ethnic and geographical heterogeneity of different regions of the United States, it was not possible to identify a "typical American", and the writer deduced such a type for each historically developed regional culture separately). To remain popular with readers for more than a century, especially in era of global decline in interest in reading in general, only those authors whose work expresses national cultural priorities as fully as possible can identify and compare them on the material of artistic literary texts most rationally by analyzing the thematic and genre originality of the work of two authors, since this will naturally include the definition and comparison of chronotope, style, figurative system, author's position and other creative parameters, which will maximize the field of research and draw significant conclusions.

In his classical work“Problems of the Comparative Historical Study of Literature” V. M. Zhirmunsky wrote: “... comparison, that is, the establishment of similarities and differences between historical phenomena and their historical explanation, is an indispensable element of any historical research. Comparison does not destroy the specificity of the phenomenon under study (individual, national, historical); on the contrary, only with the help of comparison, i.e., the establishment of similarities and differences, it is possible to determine exactly what this specificity is. This is true even in relation to a simple comparison of similar social phenomena. But the path of scientific research leads from simple comparison, stating similarities and differences, to their historical explanation. Features of typological similarity between phenomena are found in the ideological and psychological content, in motives and plots, in historical images and situations, in the features of genre composition and artistic style, of course - with very significant differences due to differences in socio-historical development.

About "Henry and Jerome K. Jerome are considered masters of the short story of the early 20th century. However, in Russian criticism there is a definition of their works of small form as stories. Attribution to one or another genre in this case is extremely important for us, as it creates a certain angle of view for analysis texts and identifying the author's position... Modern reference publications qualify the story as an epic work of a small volume, which is based on the image of one event, one episode from the life of the hero... JI. defining a story as a small work of art about a single event in a person's life, without a detailed depiction of what happened to him before and after this event.

The researcher of prose epic genres N. P. Utekhin takes as a basis the event-quality side of the work, believing that in the story “not only one episode from a person’s life, but his whole life can be displayed. or several episodes of it, but it will be taken only at some particular angle, in some one ratio.

Some researchers do not fundamentally separate the genres of the story and the short story. So, V.P. Skobelev notes a situation, a fact, a case as the content basis of the story. Giving a genre definition of a story, he writes: “A story (short story) is an intensive type of organization of artistic time and space, involving a centripetal collection of action, during which a test is carried out, a test of a hero or, in general, any socially significant phenomenon with the help of one or several homogeneous situations, since the reader's attention is reduced to decisive moments in the life of the character or the phenomenon as a whole. Hence the concentration of the plot-compositional unity, the one-dimensionality of the speech style and the small volume as a result of this concentration. As you can see, the non-separation of the genres of the story and the short story occurs if the genre-forming basis of the story is taken to be the concentration, the intensity of the organization of the narrative. It is these features that traditionally distinguish the short story.

The content of the novel is, as a rule, some event that goes beyond the scope of everyday life. It usually combines two plans - random (strange) and typical (ordinary). Thus, the short story connects two pictures of the world - tragic and ordinary prose, while “exposing” the latter by the whole course of events. But in the short story, a comic plan is equally possible, expressing the main conflict in anecdotal form. The structure of the short story is determined precisely by the special nature of the conflict, in which reality is revealed at the climax. J.I. S. Vygotsky calls this psychological effect catharsis.

The novelistic plot, built on situational antitheses and sharp transitions between them, is common in many folklore genres: fairy tale, fable, medieval anecdote, fablio, schwank. In the form of a comic and instructive short story, the formation of Renaissance realism takes place, revealing the spontaneously free self-determination of the individual in a world fraught with surprises. Subsequently, in its evolution, the short story is repelled from related genres: short story, short story, anecdote, depicting extraordinary, paradoxical and sometimes supernatural events, breaks in the chain of social and psychological determinism. The heyday of the genre of the short story in the era of romanticism absorbed the cult of the tragic-ironic game of chance, destroying the course of everyday life (E.-T.-A. Hoffmann, G. von Kleist, E. A. Poe). At a late stage in the development of classical realism, the short story reveals closed life worlds within society; in connection with this, short stories are often painted in fatalistic and even grotesque tones (G. de Maupassant, S. Zweig, I. Bunin). In the modernist short story, chance is fetishized and interpreted as a blind game of fate (F. Kafka).

According to P. Eckermann, J. W. Goethe defined the short story as “an unheard-of incident that happened”. Based on the case, the short story reveals to the utmost the core of the plot - the central twists and turns, reduces all life material to one event. The novelistic plot is built on situational antitheses and abrupt transitions between them. Later, in the course of its evolution, the novella continues to depict extraordinary, paradoxical and even supernatural events, reflecting breaks in the chain of social and psychological determinism. In this regard, the flourishing of the genre of the short story in the era of romanticism can be fully explained.

Theorists and historians of literature reveal the originality of the genre of the short story through comparison with other genres. Thus, B. M. Eikhenbaum and M. A. Petrovsky characterize the genre specificity of the short story through the features of the novel. B. M. Eikhenbaum in the article “O. Henry and the theory of the short story" writes: "The novel and the short story are not only not homogeneous, but internally hostile. The novel is a syncretic form. short story - the form is basic, elementary (this does not mean primitive). The novel is from history, from travel; short story - from a fairy tale, from an anecdote. The difference, in essence, is due to the fundamental difference between large and small forms. We read from M. A. Petrovsky: “The novel and the short story, taken as concepts, are two types of narrative organization. The relation between them is the relation of the extensive to the intensive. The novel spreads out in breadth, strives to cover as much as possible and, passing beyond the prescribed limit, easily turns into a chronicle. The short story strives for brevity, and beyond the limits set by it stands an anecdote "," the unity of the event is associated with the totality of the plot ".

American critics also paid much attention to the brevity of the short story. B. Matthews argued that "the short story must deal with a single character, a single event, a single action or situation."

In all national literatures, plot short stories dominate, but there are also plotless ones. Such a novel can be taken apart and rearranged without damage. common sense works. The system of conjugation of motives in a plotless short story can be very diverse. For example, in O'Henry's novel The Gift of the Magi, a continuous narrative develops, where each new motive is prepared by the previous one. In his Roads of Fate, the novel is divided into chapters, or parts where a break in the narrative is possible, corresponding to a change of acts in the drama.

The genre of the short story received the name "national" in the history of American literature, as it most fully corresponded to the national mentality and most accurately reflected the realities of life in the New World. This genre not only gained wide popularity in the United States, it was associated with the formation of national American literature. For many prominent American writers, he was the main one. In the nineteenth century, the history of American literature was often viewed solely as the history of the novel.

The founder of the school short story” consider Francis Hopkinson, whose “Entertaining Stories” appeared two years before the Declaration of Independence (1774; it is curious that he also owns a sketch of the national flag, which at that time had only thirteen stars - according to the number of former English colonies united in a sovereign state).

It was the novelists in the emerging national literature of the United States that attracted the attention of Europe. W. Irving, E. A. Poe, N. Hawthorne worked in this genre. Later, F. Bret Hart realized the special significance of the short story for "the coming American literature" and called the short story "its germ", believing that the sharp plot, humorous coloring and unexpected ending characteristic of this genre surprisingly correspond to the character and temperament of the American [See. : 155]. Bret Hart saw the main specific feature of the American short story in its unique national flavor. In his opinion, the writer should depict "characteristically American life, based on an excellent knowledge of its characteristics and on sympathy for its originality. However, the writer believed that even the best of the romantics, W. Irving and E. Poe, lacked this knowledge and specific national coloring. “American literature huddled on a narrow strip of the Atlantic coast and listened. to the noises of other lands, but not to the voices of one's own country. The romantic novel seemed too literary to Bret Hart. He wrote that it lacked the vitality, richness of experience and observation of the average American, that it was indifferent to the contrasts and surprises that distinguish American civilization. Indeed, the national flavor entered the literature of the United States only with the beginning of the work of realists who worked in the genre of the short story. These writers faced new aesthetic challenges that required a radical modernization of the novel genre. Exoticism, philosophy, allegorism, ambiguity, characteristic of the romantics, have disappeared from the American short story. All this turned out to be alien to the pragmatic American spirit. The national short story was based on a household sketch, close attention to everyday life, which reflected democracy and a certain earthiness of the national character (recall O. Wilde's Canterville Ghost). Alogism, reaching the grotesque, also became characteristic of the American short story. Perhaps it was the alogism that reflected the contrasts inherent in American life. Somewhat naive and ingenuous optimism, characteristic of the initial period of the formation of the national American mentality, was replaced by an understanding of the impracticability of the "American dream". The brevity, energy, accelerated pace of the narration most fully and accurately corresponded to the national mentality. O "Henry did a lot to form a national American short story with all its advantages and disadvantages.

B. Eichenbaum quite accurately determined the place of O "Henry's work in the development of the American national short story, noted that the reception of his short stories in Russia is specific due to the fact that Russians perceive this genre outside of national-historical ties: "Torn out of national traditions, the short stories O" Henry, like the works of any writer on foreign soil, we feel as a finished, finished genre. Meanwhile, "the real O" Henry is in the irony that permeates all his short stories, in a keen sense of form and tradition." to which all the details should gravitate, to the finale, which should clarify everything previous. Consciousness of the special importance of the final stress runs through the entire culture of the American short story ". The researcher points out that in the history of any genre there comes a period when it, previously used as a serious one, even " tall", is reborn, speaking in its parodic form. This was the case with the adventure novel, with the epic poem, etc. at the end of the 19th century, it acquires the features of self-parody, bringing to the fore the narrator-humorist. obvious techniques are deliberately exposed in their purely formal meaning, motivations are simplified, psychological analysis disappears. On this basis, the short stories of O "Henry are developing, in which the principle of approaching the anecdote seems to be brought to the limit. " Eichenbaum proves that O "Henry is ironic in relation primarily to the genre of the short story, beating and parodying its canons. It is also characteristic of him that he often makes questions of the literary craft itself the theme of his works, theorizes and ironizes about the style itself. His works are a parody of the classical logic of the novel. Eichenbaum allows himself an interesting comparison: his short stories resemble the once common parodic sonnets, which deal with the process of creating a sonnet. From this, the scientist concludes that in the work of O "Henry, the American short story of the 19th century (short story) has reached the limit of its development. "Thousand and One Nights", see below) and concludes: "On<. .>the whole story was built in continuous irony and emphasizing the techniques - as if O "Henry went through the "formal method" in Russia and often talked with Viktor Shklovsky ". V. B. Shklovsky developed the theory of prose.

However, having completed one line in the development of the American novel, O "Henry was ready to start another. After his death, the unfinished novel "Dream" was found on his desk. Eichenbaum refers to the "commentator" (without naming him), who said: "He (O "Henry. - D.R.) meant to make this story different from others, to start a new series in a style that he had not tried before. “I want to show the public,” he said, “that I can write something new, new for me, of course, a story without jargon, a simple dramatic story in its plan, interpreted in a spirit that comes closer to my idea of \u200b\u200ba real story ( story writing). Before the end of his career, O "Henry was faced with the question of the need for evolution. Eichenbaum notes that the development of the American short story went exactly along the path outlined by O" Henry: in American fiction of the early 20th century (T. Dreiser, S. Anderson, etc.) it is planned movement towards a moralistic and psychological novella. “Basically parody novel O" Henry paved the way for this rebirth ". So, B. Eichenbaum claims that O" Henry's short stories completed a certain stage in the development of this genre on the basis of American literature and, having exhausted itself, outlined the path for its further evolution. He sees the basis for this in the tendency towards the self-parody of the genre that emerged towards the end of the writer's creative path.

Strictly speaking, the terms "story" and "story", on the one hand, and "short story", on the other, can mean the same thing: a prose work is less than a novel in volume, with an exciting plot and an unexpected ending. Genre criteria, as we see, are different: when defining a story and a story, they are guided by the volume of the text, while when defining a short story, they are guided by the features of the plot.

If we talk about the specifics of the American short story, then, biased from European literatures, this genre not only organically fit into the literature of another continent, but also showed a tendency to self-parody, to play with stereotypes and vary them.

In the work of O "Henry, the tendency to self-parody did not extend to the entire corpus of his works. He has short stories created in full accordance with the traditions of "gentle" literature, especially in the collection "Burning Lamp". There is even a short story that is fully consistent with the canons of the early Italian short story , - "Roads of Destiny". It is difficult to judge the last novel by O "Henry ("Dream"), since it was not completed, but you can still notice the unconscious, obviously following X. L. Borges, his story "Secret miracle, where the hero experiences an illusory expansion of time before death, which allows him to live another life.

As for the pointy endings of O'Henry's short stories, mentioned more than once by critics, in his work they demonstrate the features of the national mentality with a "double load". They were the embodiment of American swiftness, efficiency, part of democratic, optimistic art. But these endings are always believable and logical His heroes are not toys of rock, they create their own destiny. Some of them understand this and become virtuosos in manipulating people and circumstances. This is how the images of "noble crooks" O "Henry are built. Others, innocent and helpless in life, simply do not perceive evil from the surrounding life, and therefore they are lucky. As a result, a combination of simple-hearted naivety and sober efficiency, so characteristic of the American mentality, clearly emerges [See: 27; 160; 161; 177].

In the work of Jerome K. Jerome, the genre affiliation of small prose forms is not so unambiguously established. In criticism, there is a definition of his works as short stories, but, taking into account all of the above, it can be argued that from the features of this genre, Jerome can only distinguish the brevity and dynamism of the plot. Sometimes this is enough, but more often, nevertheless, in his works, classified as short stories, there is not one, but several storylines, and, as a rule, absolutely independent ones. The narrator is constantly distracted, recalls incidents that happened to him, his relatives and acquaintances, told to him by someone, and begins to recount them, as if forgetting how his original story began. In this case, each of these stories can be considered a short story, but then there is no need to talk about the purity of the genre. In addition, no matter how Jerome's novels look, in almost all cases they do not have a pointy ending, which is the "calling card" of O'Henry's short stories. It would be more correct to qualify these works as stories, however, such a genre definition will not be complete and accurate. The humorist Jerome, having set out to amuse his readers, as if trying to offer them more funny stories, collects them in one work, and the epic inherent in the story disappears. , the most popular in Russia.

A number of works of small prose form in Jerome's collections of both the early and late periods of his work are classified as essays. These are The Idle Thoughts of an Idle Fellow (1890), The Second Thoughts of an Idle Fellow (1898), Sketches in Purple, Blue and Green (Sketches in Lavender, Blue and Green, 1897), Idle Thoughts in 1905. In terms of genre, these "sketches" are quite attributable to fictionalized essays.

In the dissertation of O. A. Koroleva, Jerome's short stories are typified according to the following feature: humorous short stories include those works whose plot is not a coherent chain of successively presented events. These are short stories, consisting of a number of separate comic scenes, which are united only by the figure of the hero-narrator. His psychological novellas are built according to the traditional principle: a single storyline, including an outset, a climax and a denouement. If in psychological short stories there are few events, the plot action is slow, then in humorous short stories the action develops rapidly, with unexpected twists and turns. The heroes of these short stories are faceless, since the author is indifferent to their inner world: it is focused on the external, eventful side of the work. Often the hero serves only as the bearer of one dominant character trait, which, in fact, becomes the object of ridicule and on the basis of which comic situations are built. Often this dominant feature is taken out by the author in the title of the novel.

As a rule, in comic short stories, Jerome, unlike O "Henry, does not focus on the chronotope. For him and for his reader, it does not matter where and when the events take place. The main task of the author in most humorous short stories is to show the type of character, focus on the single-line the image, which some researchers call "mask". Outside the attention of the writer is often the social affiliation of the character. The language of these short stories is usually close to colloquial, which is facilitated by the introduction of the image of the hero-narrator.

In his psychological novels, Jerome is closer to Dickens' style: he pays much attention to describing the appearance of the characters, their clothes, manners, and the environment for action. O. Koroleva notes that in the course of the development of the creative individuality of the writer, preference is increasingly given to psychological novels.

Both authors made a significant contribution to the development of the prose of small epic genres, each for their own national literature. If Jerome K. Jerome continued the rich traditions of English national prose of small genres, then O "Henry, having completed a certain stage in the development of domestic short stories, at the end of his creative path outlined a line for its further development.

The theme of a work of art is closely and inextricably linked with its genre. Moreover, it is often determined by him. The novel genre is no exception.

The term "theme", widely used in European literary criticism, comes from the ancient Greek word "thema" - that which is the basis. The meaning of the term is quite broad, but it can be reduced to two main ones. V. E. Khalizev defines themes as "the most essential components of the artistic structure, aspects of form, support techniques" . In literature, this is the meaning of keywords, what is fixed by them. So, V. M. Zhirmunsky conceived the subject as a sphere of the semantics of artistic speech: “Each word that has a real meaning is a poetic theme for the artist, a kind of artistic influence. . In lyric poetry, a whole poetic direction is often determined primarily by its verbal themes; for example, sentimentalist poets are characterized by such words as “languid”, “sad”, “twilight”, “sadness”, “coffin urn”, etc.” . For Russian symbolist poets, the adjective "lilac" was so characteristic that some ill-wishers suggested that any text where it occurs is symbolist.

The word "theme" is endowed with a similar meaning in musicology, merging with the concept of "motive" - an active, highlighted, accentuated component of the artistic fabric. The possibility of a broad interpretation of literary terminology also allows us to interpret “motive” as “image”: “A motive is an image that is repeated in several works of one or many authors and reveals the creative passions of a writer or an entire artistic movement; or, in other words, a persistently recurring theme, expressed in various aspects with the help of its most significant elements. Such, for example, are the images-motifs of a snowstorm and wind by A. Blok, “village Russia” by S. Yesenin, rain and a garden by B. Pasternak.

Another meaning of the term "theme" is essential for understanding the cognitive aspect of art: it goes back to the theoretical experiments of the last century and is not connected with the elements of the structure, but directly with the essence of the work as a whole. The theme as the foundation of artistic creation is everything that has become the subject of the author's interest, comprehension and evaluation. B. V. Tomashevsky, speaking about the theme of a work from the substantive, and not from the structural side, defined it as “the unity of the meanings of the individual elements of the work. The theme combines the components of an artistic construction, is relevant and arouses the interest of readers. In this sense, the concept of "theme" is quite broad, since in literary works both being as a whole and its individual facets are directly or indirectly refracted.

With all the versatility and diversity of the term "theme" (a set of topics that are significant for a given work of art), at the theoretical level it is customary to consider it as a combination of three principles:

ontological and anthropological universals;

Local (sometimes, however, very large-scale) cultural and historical phenomena;

Phenomena of individual life.

The complex of ontological themes in the field of art consists of the fundamental properties of being, its constants. These are natural universals - chaos and space, movement and immobility, life and death, light and darkness, fire and water. The anthropological aspect of artistic themes includes the spiritual principles of human existence in all their antinomy, the sphere of instincts, as well as supra-epochal situations. human life, historically stable forms of human existence (work, leisure, etc.). The aforementioned existential principles make up the circle of so-called "eternal themes".

The theme of the work, being determined by the genre, is at the same time one of the genre-forming factors: a voluminous epic and a humorous short story exploit different aspects of life and do not overlap thematically. However, the short stories of the authors considered in this study are characterized by going beyond the traditional themes set aside in national literatures for works of this genre. Bringing out the comical situations that their heroes find themselves in, both authors solve the most important deep task: identifying national cultural priorities.

The relevance of our study lies in the significance for literary science of identifying and comparing the genre and thematic features of the works of Jerome K. Jerome and O "Henry.

The object of the dissertation research are the works of Jerome K. Jerome and O "Henry.

The subject of the study was literary phenomena that reflect national historical and cultural factors, which make it possible to identify genre and thematic features. fiction Jerome K. Jerome and O "Henry.

The material for the study was the works of O "Henry and the humorous short stories of Jerome K. Jerome, as well as his stories "Three in a boat, not counting the dog" and "Three on four wheels".

The theoretical and methodological basis of the work was the works of domestic and foreign literary critics and culturologists: M. M. Bakhtin, B. M. Eikhenbaum, I. V. Vershinin, V. V. Vinogradov, Vl. A. Lukov , Yu. M. Lotman , E. M. Meletinsky , V. M. Zhirmunsky , A. F. Kofman , D. Burstin , D. Adcock , E. Current-Garsia , S. Leacock , V. Matthews , F. Pattee and others.

The problematics and goal setting determine the methodological principles of this work, which are based on a multidimensional approach that led to the use of several analytical methods:

Textual analysis with elements of comparative typology;

Biographical, linking the work of the writer and his life path, which allows us to consider the work of Jerome and O "Henry as a reflection and reflection of their personal experience;

Comparative-historical, the purpose of which is to consider the similarities and differences in literary phenomena on the basis of their direct comparison (this method allows you to explore the originality of the functioning of the work in the context of the era);

Historical and literary;

Elements of the thesaurus approach ("thesaurus" - "a structured representation and a general image of that part of world culture that a subject can master." I.V. Vershinin, Vl.A. Lukov).

The purpose of the study is to determine the genre and thematic specificity of the works of Jerome K. Jerome and O "Henry, due to the reflection of national cultural mentalities and dominants in it and other historical and cultural factors.

To achieve this goal, it was necessary to perform the following tasks:

Determine the parameters of typological similarities in the heritage of these writers and the factors that influenced these convergences;

To identify elements of tradition and innovation in the small prose of Jerome K. Jerome and O "Henry, as well as the nature of the evolution of this genre in the process of creative development of each of the authors;

To reveal the thematic and genre specifics of the short stories by Jerome K. Jerome and O "Henry;

To reveal which national and cultural dominants of England and the USA, actualized in the course of historical development, were reflected in the themes and poetics of the works of these writers;

To characterize the originality of the manifestation of the author's position among writers - representatives of two cultures that are in a complex relationship of tribal community and confrontation.

The main provisions for defense:

The themes of the fiction of Jerome K. Jerome and O "Henry have many similarities, due to a single language code of literatures, the similarity of the cultural and literary situation in Europe and the United States at the turn of the 19th and 20th centuries.

The small prose of Jerome K. Jerome and O "Henry is deeply rooted not only in the rich traditions of their domestic literatures and folklore, but also in the traditions of the world literary process.

Both Jerome and O "Henry have a bright talent for reproducing the features of a special national mentality in the images of typical representatives of their people, nation, a special social stratum of society.

The genre specificity of the small prose of Jerome and O "Henry lies in the coexistence within the framework of one work of its various modifications, such as a sketch, a sketch, an essay, an anecdote, a fairy tale, a short story. The features of these genre varieties often penetrate each other, genre boundaries are erased. However, with genre transformation, the most stable features of the short story are preserved: a series of comic episodes in Jerome takes on a novelistic form of plot structure, for O "Henry it is typical to introduce an event-impulse into the narrative, giving a new direction to the development of the plot.

Most often, writers deviate from the canonical scheme, simplifying or complicating its plot, introducing elements of other genres into it: memoir literature, travel or moral essay, pamphlet, comic or pathos dialogue, sentimental-psychological story, as well as elements of tragedy and paradox.

The short stories of Jerome K. Jerome are more traditional, but this genre is organically inherent in Jerome's creative personality: even in his works of large form, it is easy to see inserted short stories, which sometimes make up the main fabric of the work.

The range of artistic images and genre modifications of the novel in the work of O "Henry is much wider than in the work of Jerome. He creates individual characterological characters with the mentality of residents of different regions of the United States, images of people of different social status, profession, age and gender, which in aggregates represent collective image of the American people and in which the features of the future multicultural American society are guessed.

The humor of Jerome K. Jerome and O "Henry, despite the outwardly entertaining nature, is thematically connected with the most important social and moral problems of our time.

Despite the fact that the small prose of Jerome and O "Henry is not recognized as the pinnacle of achievements of national literatures, it was the embodiment of the deep traditions of world literature, folklore and a manifestation of the unique bright talent of humorous writers. Their original artistic achievements give them the right to love and respect from readers of all times and peoples, and to a worthy, adequate assessment by serious literary criticism.

The scientific novelty of the work lies in identifying the relationship between the problems and poetics of Jerome K. Jerome's fiction and

O "Henry with the traditions of world and national literature (in the context of

22 of the genesis and transformation of small genres of European and American prose), as well as the degree of their conditionality by the national historical mentality of the author's habitat, his readers and the characters of his works. The novelty is also determined by the insufficient research of the work of Jerome K. Jerome and O "Henry in our country, as well as the complete absence of attempts to compare their works.

The theoretical significance of this dissertation is due to the possibility of using its materials and conclusions in further work on the study of both the creativity of the authors in question, and expressed in artistic text national picture of the world.

The practical significance of the work lies in the possibility of using its results in the development of the university course of foreign literature, as well as special courses, seminars, practical classes on the history of American and English literature.

Approbation of the dissertation was carried out at meetings of the Department of Russian, Foreign Literature and Methods of Their Teaching of the Volga State Social and Humanitarian Academy. Reports on the topic of the dissertation were read: at the annual scientific and practical conference of the Balashov Institute of Saratov State University (2010, 2011, 2012); at international conferences: “XXII Purishev Readings. The History of Ideas in Genre History” (Moscow, Mill U, 2010), “XXIII Purishev Readings. Foreign literature of the 19th century. Actual problems study” (Moscow, Mill U, 2011). The main provisions of the work are reflected in 8 publications, including 3 articles in scientific periodicals recommended by the Higher Attestation Commission of the Russian Federation.

The structure of the study is determined by its content. The work consists of an introduction, two chapters, a conclusion, a bibliography containing 287 titles.

Similar theses in the specialty "Literature of the peoples of foreign countries (with an indication of specific literature)", 10.01.03 VAK code

Ch. Tsydendambaev's prose: the specifics of creating a national picture of the world 2007, candidate of philological sciences Halkharova, Larisa Tsymzhitovna
The specifics of the short story genre in the work of Isaac Bashevis Singer 2005, candidate of philological sciences Slepova, Alexandra Valerievna
Satire and humor in the oral folk art of the Circassians 2010, Doctor of Philology Chuyakova, Nafset Muratovna
Short stories by N. Neustroeva: The development of small genres of prose in Yakut literature of the 20-30s 2000, candidate of philological sciences Efimova, Tatyana Moiseevna
The story of D.K. Jerome "Three men in a boat, not counting the dog" and "Three men for a walk" and neo-romantic tendencies in English literature of the late 19th - early 20th centuries. 2012, candidate of philological sciences Karaseva, Tatyana Borisovna

Dissertation conclusion on the topic "Literature of the peoples of foreign countries (with an indication of specific literature)", Rozevatov, Denis Alexandrovich

CONCLUSION

A comparative analysis of the literary prose of two English-speaking contemporary writers Jerome K. Jerome and O "Henry allows us to draw conclusions about significant typological similarities in the content and artistic form of their works and, at the same time, about the bright originality of their talent and creative manner.

Genre-typological convergence, in our opinion, is due to both a related literary and linguistic tradition, and the similarity of the socio-cultural situation in England and the United States at the turn of the 19th - 20th centuries. This “transitional” time (Vl. A. Lukov) is characterized by complex historical and civilizational processes that influenced the worldview, value orientations of people, the state of their spiritual life. Distinctive features time are the strengthening of intercultural and literary ties, the mutual influence of national literatures, the internationalization of the largest peak achievements of mankind in the field of science, culture, literature, the coexistence of new artistic methods, trends, schools, style trends. In this mosaic picture, general trends in the development of Western European and American literature stand out: the actualization of the individual author's consciousness; the predominance of romanticism and realism, with the influence of the poetics of other directions, the democratization of literature and the readership, the demarcation between "elitist" and "mass" literature.

The turn of the century turned out to be a true "golden age" for small prose genres. Many European and American writers were fond of short prose. The artistic level of their works and the degree of giftedness of the authors were very different. Everyone had their favorite characters, plots, genre preferences. A brilliant constellation of such compatriots of Jerome as Stevenson (1850 - 1894), Conan Doyle (1859 - 1930), Kipling (1865 - 1936),

Galsworthy (1867 - 1933), Maugham (1874 - 1965), Chesterton (1874 - 1936), Wells (1866 - 1946), Mansfield (1888 - 1923). It is not surprising that such a temporary "neighborhood" left Jerome's work in the shadow and out of the attention of critics. In similar conditions, the work of O "Henry developed: the American romantics, led by E. Poe, developed the genre of the action-packed novel and set that high bar for the "technology" of the genre and the variety of genre modifications, which was rather difficult to meet. Nevertheless, both Jerome and O "Henry were the most popular writers among a wide democratic readership with an underestimation of "highbrow" elitist criticism.

The similarity of writers' destinies can be explained by typological similarities in subject matter, writers' genre preferences, author's position, and the commonality of Anglo-American short prose traditions.

Thematically, the work of the two writers is connected primarily with the figurative structure of their works: the main character of Jerome and O'Henry's short prose is the "little man" with his daily worries, personal sorrows and joys, goals and desires. Neither Jerome nor O'Henry introduce their own heroes into big politics, do not force them to solve world problems. The properties of their characters, the greatness or baseness of their spirit are revealed through everyday life, detail, expressive features inherent in their social status and national mentality.

As universal components of the national mentality, presented in the images of the heroes of short prose of both writers, we single out democracy, tolerance for dissent, respect for other people's personal freedom, pragmatism, social optimism. Respect for someone else's personal freedom as a principle of coexistence is reflected in the works of both writers and is manifested in the demonstrative refusal of their characters to meet any standard, the refusal to condemn people who have placed themselves outside of society. The interests of the heroes of Jerome and O "Henry rarely rise above everyday life, which does not prevent them from showing kindness and nobility, human dignity, empathy and compassion towards their own and strangers (as well as sometimes intellectual limitations, individualism and selfishness, snobbery and other vices and shortcomings).

Both Jerome and O "Henry have a vivid talent for reproducing the features of a special national mentality in the images of typical representatives of their people, nation, a special social stratum of society. Such an important component of the national mentality as perception of nature and the feeling of being in it. The British are great lovers of nature in its untouched by civilization form. The famous English parks are organized as corners of a real forest, in contrast to the French ones, which demonstrate the supremacy of a rational principle - trimmed trees, flower beds and straight, even paths. Conservatism and unwillingness to change anything are manifested here on an aesthetic level. The same can be said about the attitude of the British towards pets - they recognize their social rights along with their own. In America, the utilitarian, pragmatic, and not poetic attitude towards nature is due to the historical development of the country. Land, forest, subsoil for an American is not an object of admiration, not a place of residence for the spirits of ancestors, but an object of application of forces, a source of income, a field for business, sometimes a sign of savagery and uncivilization that must be overcome. This is due to the presence of the landscape in the works of O "Henry exclusively as a background, scenery for ongoing events, and the fundamental aesthetic deafness of many of his heroes in relation to the beauties of nature. It is in the bosom of nature that Jerome's heroes most sharply feel the presence of their country's past in all immutability.

In the works of Jerome K. Jerome, the characters, moving around the country, feel at home everywhere; nowhere in his own country will an Englishman be a stranger. The short stories of O "Henry reflect the specifics of the formation of one of the main components of the national picture of the world - the opposition "us or foe", which has its own characteristics in America. The culture of the United States is declared as a synthesis of many national cultures (the famous "melting pot"). Therefore, "its own "And" alien "was positioned in relation to other domestic areas. O" Henry's short stories reflected the personal experience of the writer himself, due to life circumstances, who was directly familiar with the culture of many American states, as well as Latin America. In short stories dedicated to certain regions, he finds and reflects specific cultural dominants with maximum completeness and expressiveness. So, in short stories about New York (Northeast USA), he draws a Yankee hero: businesslike, pragmatic, striving for success, for moving up the hierarchical ladder. The characters of O "Henry here are typical "little people", but with self-respect, able to show real height of spirit.

The Western states are also widely reflected in O'Henry's short stories. Here a different national type is presented - a cowboy, and we can say that it is in the "Western novels" that the positive hero O'Henry is formed - a "natural person" in his local version - a simple honest hard worker, in a difficult relationship with the law. The breadth of the soul, the strength of character, fidelity to the word, the rejection of restrictive conventions - all this is richly represented by the colorful characters of O "Henry.

The south of the United States is represented in the work of O "Henry to a much lesser extent. In his short stories, rather, a kind of "southern myth" is formed. The writer emphasizes the absolute dominant of the local mentality - conservativeness, the desire to return to the past as in the mythological "golden age." This feature compatriots causes constant irritation and irony in the southerner O "Henry. However, in a number of short stories he still remains true to his fundamental attitude: the most important thing is general humanistic values, and not small-town ambitions. The work of Jerome K. Jerome and O "Henry successfully combined the literary experience of both European (especially English) and American writers specializing in prose genres, the deep traditions of Anglo-American short prose.

The ideological and thematic connection of Jerome's works with the memoir literature of the Enlightenment, with a pantheon of images of jesters, eccentrics, eccentric personalities, richly represented in the history of English folklore and literature from Shakespeare and Stern to Dickens, Lewis Carroll and Edward Lear, is seen. The concept of the relationship between nature and man in Jerome has an undoubted connection with the traditions of English pre-romanticism, his theory of "painting" (I.V. Vershinin), and the romantic short story in Western European and American literature.

Despite the difficult youth of O "Henry, associated with poverty and insufficient formal education, according to some elements of intertextuality inherent in his works (comic interpretation of ancient, biblical motifs and images of world literature), one can judge the writer's erudition, his erudition, artistic taste and creative implementation of the Anglo-American and world folklore and literary tradition in his short stories. The main sources of O "Henry's short stories - the oral folk art of the frontier with its local humor, "long tales" (genre of fiction), the experience of American journalism, Twain's pamphlet humor - determined the genre diversity small prose forms in his work, such as an anecdote, a sketch, a legend, a story, a pamphlet, which, in the process of developing the writer's skill, were transformed into the genre of a humorous, and then a psychological novel.

The predecessors of O "Henry D. F. Cooper, N. Hawthorne, G. Melville, F. Bret Garth and other romantic writers, as well as his contemporary J. London, used "local color" as a technique for artistic recreation of a recognizable, characteristic, special natural-national environment that forms the properties of the human personality.

In both Jerome and O'Henry, local color becomes a way of comprehending and artistically recreating national images of the world and man, the interpretation of which is due to the connection with pan-European and American romantic and realistic traditions.

The English and American writers are related by the features of their author's position: orientation towards a humorous display of life phenomena, a tendency to self-irony, social optimism, commitment to social justice, a combination of patriotic and international interests, feelings, humane attitudes towards man and humanity.

At the same time, the artistic worlds recreated in the works of English and American writers have undoubted differences and specific features, due both to differences in the national mentality of the authors and their heroes, and to the specifics of each individual artistic talents.

The national originality of Jerome's artistic world is connected with the general English tradition of recreating the image of a typical Englishman. Jerome's hero is a middle-class gentleman, not constrained by means, reasonable, moderate in views, a loyal citizen. As a rule, he is a "leisure" person (loving leisure and prone to amateurish reasoning and evaluating everything and everyone). He is akin to a classic character on a humorous journey, going back to Sterne, Smollett and Dickens, especially his Pickwickians. This, as a rule, is a loser hero, a victim of circumstances. Again and again he enters into a hopeless struggle with circumstances hostile to him, against which he is completely unprepared. In this respect, the hero of Jerome is also close to the heroes-losers of Mark Twain's pamphlets. Jerome's characters are characterized by some uniformity. So, the heroes of two cycles of Jerome's short stories, combined into two individual works(Jay, George and Harris), act as a kind of collective hero of humorous chronicles. Under the pen of Jerome, this seemingly not new hero, familiar to the reader, acquires a special conceptualization and subsequently receives a wonderful stage embodiment in the famous comic characters of Charlie Chaplin, popular all over the world.

The national specificity of the artistic world of the works of O "Henry is largely due to the influence of such a specific American phenomenon as the "school of local color", which has formed in large regions of the United States: in New England, the southern states, in the Mid and Far West. This influence was reflected in the predominance of special images-topos in the prose of O "Henry, displaying character traits certain geographical, historical and cultural environment.

The range of artistic images in the work of O "Henry is much wider than in the work of Jerome. He creates individual characterological characters with the mentality of residents of different regions of the United States, images of people of different social status, profession, age and gender. Only in aggregate they represent a collective the image of the American people, in which the features of the future multicultural American society are guessed. The following groups of heroes occupy the prevailing position among the characters in O'Henry's prose: inhabitants of the urban environment of the metropolis; ranchers, cowboys, residents of the rural Mid and Far West; representatives of the industrial and commercial East; people who find themselves outside of society are vagabonds, noble robbers and swindlers. In these images, one can see both the tradition of romanticizing the outcast and rebel hero, characteristic of legends, traditions, folklore and literary tales and ballads, and O "Henry's special penchant for irony and parody of the traditional romantic hero. This diverse human world of O'Henry's novels is comparable to the Falstaff background in Shakespeare's tragedies and, in our opinion, needs a detailed study and description in a separate study.

The genre specificity of the small prose of Jerome and O "Henry lies in the coexistence within one work of its various modifications, such as a sketch, sketch, essay, anecdote, fairy tale, short story. The features of these genre varieties often penetrate each other, genre boundaries are erased. However during the genre transformation, the most stable features of the short story are preserved: a series of comic episodes in Jerome takes on a novelistic form of plot structure; for O "Henry, it is typical to introduce an event-impulse into the narrative, giving a new direction to the development of the plot. Sometimes writers follow the three-part scheme of a classic short story (exposition, climax, denouement with an unexpected turn of events traditional for European short stories), but most often they deviate from the canonical scheme, simplifying or complicating its plot, introducing elements of other genres into it: memoir literature, travel or moralistic essay, pamphlet, comic or pathetic dialogue, sentimental and psychological story, as well as elements of tragedy and paradox.

Our study does not pretend to be an exhaustive analysis of the themes and genre originality of the work of the two most famous writers-humorists, whose works are still popular with a wide multinational readership. In our opinion, the work of both Jerome K. Jerome and O "Henry are large and so original phenomena of culture and literature, the full and adequate disclosure of which is possible only with the combined efforts of specialists in the field of literary criticism, cultural studies, linguopoetics, psychology and ethnology.

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264. The Complete Works of Edgar Allan Roe. N.Y., 1902. - Vol. 9. - P. 106.

265. The Norton Anthology of English Literature / Gen. editor M. Abrahams. -N. Y., 2000.

266. The Oxford Companion to English Literature / Ed. by M. Drabble. Oxford, N.Y., 1985.

267. Drabble, M., Stringer, J. A Guide to English Literature / Per. from English-M., 2003.

268. Western literary criticism of the XX century. Encyclopedia. M., 2004.

269. Foreign writers: Bio-bibliographic dictionary: At 2 pm / Ed. N. P. Mikhalskaya. M., 2003.

270. Culturology: Encyclopedia. T. 1. - M., 2007.

271. Levidova, I. M. O "Henry: Bio-Bibliographic Index. M., 1962.

272. Literary encyclopedia of terms and concepts / Ch. ed. and comp. A. N. NIKOLYUKIN M., 2003.

273. Literary encyclopedic dictionary. M., 1987.

274. The newest philosophical dictionary // Comp. A.A. Gritsanov. Minsk, 1999.

275. Poetics: Dictionary of current terms and concepts / Ed. N. D. Tamarchenko. M., 2008.

276. Rudnev, V. Encyclopedic dictionary of culture of the XX century. M., 2001.

277. Rum, A. R. W. Great Britain: a linguistic and cultural dictionary. M., 1999.

278. Dictionary of literary terms / Ed.-comp. L. I. Timofeev, S. V. Turaev. M., 1974.

279 Longman Dictionary of English Language and Culture. L., 1999.

280. Oxford Advanced Learner's Dictionary of Current English / A. S. Hornby. - Oxford, 1977.

281. Roget, P. M. Roget "s Thesaurus of English Words and Phrases // New Edition prepared by Susan M. 6 impr. - Harlow (Essex), 1985.

Please note that the scientific texts presented above are posted for review and obtained through recognition of the original texts of dissertations (OCR). In this connection, they may contain errors related to the imperfection of recognition algorithms. There are no such errors in the PDF files of dissertations and abstracts that we deliver.

EDUCATIONAL AND METHODOLOGICAL SUPPORT

WORLD AND RUSSIAN CHILDREN'S LITERATURE

Workshop 1

Topic: Genre and thematic diversity of a fairy tale of the 20th century

Issues for discussion

Russian literary fairy tale of the XX century: main development trends. Moral and aesthetic potential of tales. The skill of a storyteller. Fairy tale parable in creativity. The problems and poetics of fairy tales.

2. Prepare for defense an essay on the work of one of the writers (optional).

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form of control

1. Oral questioning.

2. Protection of abstracts.

Workshop 2

Topic: Fairy tale genre in world literature for children

Issues for discussion

C. Perrault is the founder of the European literary fairy tale. The work of the Brothers Grimm. Psychology and verbal creativity of a child in A. Milne's fairy tale "Winnie the Pooh and all-all-all" Fairy-tale legacy

Tasks for independent work

Read three to five fairy tales by each of the indicated authors, make entries in the reading diaries. Prepare an analysis of one of the tales (author of choice) according to the following scheme: problems, images that make up the plot (exposition, plot, ups and downs, climax, denouement, epilogue), narrative features (author, narrator, hero), genre of the work, language features and style. To develop the topics of ethical conversations for preschoolers based on the works of foreign storytellers (author of choice). Prepare for oral presentation and presentation of prepared materials.

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form of control

Oral survey. Written analysis of the tale.

Workshop 3

Topic: Development of genres of scientific and educational prose in Russian literature.

Issues for discussion

Role in the development of scientific and educational literature for children. Soviet (comparative analysis of works). Genre-thematic diversity of modern scientific and educational literature. The specifics of familiarizing preschoolers with scientific and cognitive genres.

Tasks for independent work

Read the stories recommended by the Early Childhood Education Curriculum for working with preschool children (,). Conduct a comparative analysis of works about nature: general and individual in the disclosure of the theme of nature: genre originality of works, originality of language and style. When determining the genre specificity of works, use information about the features of genre formation in a natural history book (encyclopedias, atlases, a story, an article, a fairy tale, an adventure, a journey, a fantastic story, a story, a novel). Prepare a review-annotation of modern encyclopedias for preschoolers (3-5 editions). Prepare for oral presentation and presentation of prepared materials

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form of control

Oral survey. Written analysis of works about nature.

Workshop 4

Topic: Methods of speech development in the process of familiarizing preschoolers with

Issues for discussion

Preparation of the educator and children for a lesson in reading and telling fiction. Methodology artistic reading and storytelling depending on the content of the books and the age of the children. Conversations with preschool children in connection with reading works of art.

Tasks for independent work

Make abstract notes on all topics of the lesson. Prepare for an oral presentation on the issues under discussion. Prepare a summary of a conversation with children on one of the proposed literary works:

middle preschool age - K. Ushinsky “Know how to wait”, M. Prishvin “Zhurka”, “Two greedy bear cubs”; senior preschool age - V. Garshin "The Traveling Frog", L. Tolstoy "The Bone", N. Nosov "The Living Hat".

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form of control

Oral survey. Abstract of a conversation with children on one of the proposed literary works

Workshop 5

Topic: Familiarization of preschool children with poetry and works of oral folk art

Issues for discussion

Techniques for teaching expressive reading of poetry. Methods of using small forms of folklore in work with children. Folk tales, their role in general and speech.

Make abstract notes on all topics of the lesson. Prepare for an oral presentation on the issues under discussion. Select several works of one of the genres of folklore (riddles, proverbs, sayings, songs, nursery rhymes, etc.), think over and describe the methodology for using the works of this genre in working with children.

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form of control

Oral survey. Abstract on the use of folklore works in work with children.

Practice 1

Subject: Poetic tale (,).

Issues for discussion

Innovation of fairy tales: ambiguity of content, psychologism in the disclosure of images, the severity of the author's principle. Traditions in the fairy tale "Humpbacked Horse". Practical work with the texts of fairy tales.

Tasks for independent work

Prepare abstracts to answer questions for class discussion. Read fairy tales:

(“The Tale of Tsar Saltan ....”, “The Tale of the Fisherman and the Fish”) “The Little Humpbacked Horse”.

Make entries in the reader's diary.

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Materials needed for the lesson:

books (“The Tale of Tsar Saltan ....”, “The Tale of the Fisherman and the Fish”), “The Little Humpbacked Horse”; A4 paper reader's diaries. pencils, markers, etc.

form of control

Oral survey. Evaluation of the preparation and quality of work in the classroom.

Practice 2

Topic: Works about children in Russian literature of the XIX - XX centuries

Issues for discussion

Genre of the story in Russian literature. Images of children in creativity. Tolstoy's traditions in stories. Skill - a psychologist in stories about children. Russian social story and story of the late XIX - early XX centuries. Soviet humorous story(, etc.) New trends in the development of modern children's prose.

Tasks for independent work

Read the stories recommended by preschool education for reading to children, make entries in the reading diaries. Conduct a written comparative analysis of the stories and (optional). Comparison parameters: age orientation of texts, genre specifics, issues, the concept of childhood, the nature of the image of the child, the specifics of using a preschool education institution in the work of a teacher. Develop topics for ethical conversations for preschoolers based on works,. Prepare for oral presentation and presentation of prepared materials

main , ,

additional , , , , ,

form of control

Oral survey. Written analysis of stories.

Practice 3

Theme: Foreign children's story

Issues for discussion

The theme of destitute childhood in (G. Malo "Without a family", A. Daudet "The Kid", V. Hugo "Gavroche"). Vienna - a psychologist and satirist in stories about children ("The Adventures of Tom Sawyer", "The Adventures of Huckleberry Finn"). Genre-thematic originality of A. Lindgren's realistic stories ("Rasmus the Tramp", "Emil from Lenneberg"). Works about children in the 20th century (E. Kestner "Emil and the Detectives", "Tricks of the Twins", D. Krus "My great-grandfather, heroes and me").

Tasks for independent work

1. Make abstract notes on all issues of the topic of the lesson.

2. Prepare for defense an essay (report) on the work of one of the writers (optional).

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Electronic resources:

http://bibliogig. en

form of control

Oral survey. Work in subgroups.

Practice 4

Topic: Literary works of foreign naturalists in the curriculum of preschool education.

Issues for discussion

The specificity of E. Seton-Thompson's animalistic stories, the criteria for selecting the writer's works for preschoolers. Arrell in reading children, their humorous orientation, the severity of the author's attitude. The role of scientific and artistic books in the development and education of children. Guidelines for educators on familiarizing preschoolers with the works of foreign naturalists

Tasks for independent work

To study and outline information about the life and career of D. Darrell, E. Seton-Thompson. Familiarize yourself with the content of the stories of E. Seton-Thompson ("Ragged Ear", "Chink"), D. Darrell (collection "Zoo in my luggage"). Write out passages in the reading diary that are acceptable for reading to preschoolers with motivation for choice. Prepare a comparative analysis of the stories of Seton-Thompson and Darrell, reflecting your own impression of the read works. To develop guidelines for educators to familiarize preschoolers with the works of foreign naturalists. Prepare for a written survey on the following questions: List the representatives of a foreign scientific and educational book. Who is considered the creator of the first animalistic story? What is the innovation of E. Seton-Thompson in the development of the theme of nature? List the works of E. Seton-Thompson, which brought the author world fame. What is the structure of the writer's books written in the genre of "biography" of animals? What is the artistic originality of Seton-Thompson's animal stories? What is the place in Thompson's work of the book "Way of the Naturalist Writer"? What ensures the value of the works of the Canadian classic in the reading of modern children? What works of Seton-Thompson can be recommended for reading to preschoolers? What do you know about the life and work of D. Darrell? Name the writer's works translated into Russian? Determine the genre of D. Durrell's stories from the book "The Zoo in My Luggage". What is the unusual fairy tale story by D. Darrell "The Talking Package"? How are the works of foreign naturalists presented in modern encyclopedias for children?

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form of control

Defense-presentation of prepared materials. Written survey on cards.

Practice 5

Topic: Russian and foreign poetry for preschool children

Issues for discussion

Russian poetry XIX century in the circle of children's reading. The main trends in the development of Soviet poetry for children. Genre-thematic diversity of modern children's poetry. foreign poetry in translations for children (authors recommended by the curriculum of preschool education).

Tasks for independent work

Read and enter in the reading diary the works of poets of the 19th - 20th centuries recommended by the curriculum of preschool education). Prepare an analysis of a poem by a modern author (motivation for choosing a work, originality of content and form, recommendations for familiarizing preschoolers with a poetic text). Present a presentation of the work of one of the modern children's poets (, Yu. P. Moritz, G. V., Sapgir, R. S., Sef, A. E. Usachev, etc.) Write an essay-reasoning on the topic “My favorite poem ...” , in which to reflect the following points: motivation for choosing a text; characterization of the feelings and associations that the work evokes; determining the main mood of the poem; highlighting the most expressive poetic means. Prepare for an oral presentation of prepared materials.

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form of control

Defense-presentation of prepared materials. Composition-reasoning on the topic "My favorite poem ..."

Practice 6

Theme: Poetic works for preschool children

Individual or group expressive reading by listeners of poems with elements of display, game actions, dramatizations.

Assignment for independent work

Learn by heart 2-3 poems (at the choice of the listener). Prepare for its expressive reading in the audience (conduct a preliminary analysis of the text).

Reading analysis:

Writing the score of the text: highlighting the words in it, on which, according to the laws of the logic of Russian speech, the logical stress falls, the arrangement of pauses. Analysis of the emotional side of the work: the selection of emotional compositional parts with the definition of a reader's super-task for each of them. Definition of the most important task for reading the work as a whole. Determining the role of intonation, gesture, facial expressions, posture, game actions. For the expressiveness of reading, use information about the basic rules of the logic of Russian speech: The group of the subject and predicate is separated by a pause.

Exceptions:

If the subject is expressed, it does not carry stress and is read in one measure with the predicate: He went out. Will you come back. if the predicate does not make much sense: The wind was blowing. It was raining. A definition is stressed if it is expressed: a noun in: Forehead of Socrates; noun with a preposition: Singer from the opera; application-definition: Old-timer forester; common definition: A shaggy sheepdog tied to an apple tree. The definition does not carry an accent if it is expressed: by a pronoun: my book; adjective: blue sky; northern story. In the phrase "verb and object" the emphasis falls on the object: They eat sweets, throw orange peels. Contrasting: the emphasis falls on both opposed concepts.

The son was killed - the mother stood in his place.

Comparison: The emphasis is on what the object is being compared to.

Stupid as the truth (the comma before it is not readable, there is no pause).

An address at the beginning of a sentence is separated by a pause:

Comrades, // I am very happy.

If the appeal is in the middle or end of the sentence, then there is almost no pause:

Sing, little one, don't be ashamed.

In complex names, the emphasis falls on the last word:

Bolshoi Academic Theater of the Russian Federation.

When listing, the stress is placed on each word:

Ringing bells, bells, alarm clocks.

10 If definitions are listed, then the last of them, standing before the noun, does not carry stress:

One of those hard, dry, angry faces.

If the definitions are heterogeneous, then there are no pauses or accents: The last street lamps.

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form of control

expressive reading of a poem

Practice 7

Topic: Forms of working with a book outside of class

Issues for discussion

Book corner, its meaning, design requirements in different age groups Features of the content and form of work in the book corner with children of different preschool ages. Literary holidays in work with preschool children.

Assignment for independent work

Develop a sketch of a book corner (drawing, etc.). Make it a description:

location, lighting, design aesthetics; list of books, content and forms of work. Develop a plan-outline of a literary matinee, a literary quiz for children of senior preschool age. Prepare for their presentation and holding.

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Magazines on preschool education (Praleska, Preschool education, Child in kindergarten, Hoop, etc.).

form of control

Oral survey. Book corner sketch. The plan is a summary of a literary event.

«_ (reg. No. date) AGREED AGREED Head of the Department Dean of the Faculty Pozdeeva T.V. Voronetskaya L.N. P _ 20 _ 20 BG Y RI EDUCATIONAL AND METHODOLOGICAL COMPLEX FOR EDUCATIONAL ... "

-- [ Page 5 ] --

TOPIC: TALES OF A.S. PUSHKIN AND FOLKLORE

Type of lesson - literary game (the student group is divided into two teams participating in 8 competitions, each of which is evaluated by a certain number of points, additional points are assigned to active participants in the game)

Stages of the literary game:

P 1st competition "The heirs of Pushkin":

Come up with a name and motto for the team, making a connection with the fairy tales of RE Pushkin and modern student life.

2nd competition "Connoisseurs of fairy tales" (testing knowledge of the content of fairy tales).

Questions:

1. What did Dadon offer the sage instead of the shamakhan girl?

(“Ask from me At least a treasury, at least a boyar rank, At least a horse from the royal stable, At least half my kingdom”).

2. What did the seven brothers do in the wilderness?

(“Before the morning dawn, Brothers in a friendly crowd Go for a walk, Shoot gray ducks, Amuse the right hand, Sorochina in the field in a hurry, Or cut off the head from the broad shoulders of the Tatar, Or etch the Pyatigorsk Circassian out of the forest”).

3. After how many days did the army of King Gvidon meet the Queen of Shamakhan?

(After 8 days).

4. What was the name of the dog that guarded the house of the seven heroes? (Sokolko).

5. How tall was Gvidon born? (Arshin).

6. How many meetings did the old man and the fish have? (Six).

7. What did the priest feed Balda? (Boiled spelled).

8. In what sport did Balda and the imp compete for the second time? (In throwing into the distance).

9. What shoes did the old woman wear when she became a noblewoman? (Red boots).

10. What furs did the old woman love? (Sable).

11. When is the birthday of the "dead" princess? (Christmas Eve).

– – –

17. Where did the princess lie down to rest on the first day of her stay in the house of the heroes? (On the floors).

18. What object with an element of applied art was in the bogatyrs' chamber? (Stove with tiled bench).

19. In one of the tales of A.S. Pushkin and in one of his famous poems there is a hero with the same name ZI. In a fairy tale, he is the bearer of good beginnings, in a poem

- evil. What is the name of this hero? (Chernomor).

20. In Pushkin's fairy tale and in the Russian folk tale there is a plot with imprisonment in a P barrel. Name this Russian folk tale. ("By magic").

3rd competition "Pushkin's Tales and Folklore".

Tasks:

1. Pick up Russian proverbs and sayings that reflect the ideological content of Pushkin's fairy tales: "The Tale of the Priest and His Worker Balda" (first team), "The Tale of the Fisherman and the Fish" (rival team).

2. Reveal the proximity of Pushkin and folklore images(tales are the same).

4th competition "The poetic world of fairy tales by A.S. Pushkin".

Tasks:

1. Give examples of sound writing, intonational and rhythmic diversity of Pushkin's fairy tales.

2. Pick up passages that confirm the graphic and dynamic nature of fairy tales.

5th competition "Black box".

1. Here lies an object that was a symbol of sadness, evil, quarrels, wars started because of it. But this did not repel people from this subject, but rather seduced. This item is present not only in Pushkin's fairy tales, it was also found in mythology and Christian legend. Name this item.

2. Here lies a thing that belongs personally to Guidon. Thanks to her, he earned the favor, friendship, and then the love of the Swan Princess. Name this item. (Snurok: "From the cross, a silk cord pulled over an oak bough").

6th competition "Staging-improvisation".

The task:

To stage (the whole team participates) an episode from Pushkin's fairy tale of your choice, demonstrating an understanding of the author's idea, showing creativity and originality in interpreting images, using improvised costumes and scenery.

7th competition "Competition of captains"

– – –

Introduce parents and educators to the book in such a way that they want to buy and read it.

LITERATURE

to prepare for the literary game:

1. Children's literature. Expressive reading: Practicum: tutorial in the specialty "Preschool education" / O.V. Astafieva [i dr.]. – M.: Academy, 2007. – 270 p.

2. Oparina, N.P. Literary games in the children's library / N.P. Oparina. – M.:

Liberia, 2007. - 95 p.

3. Russian writers: Biobibliographer. dictionary. At 2 o'clock - Part 2 / Ed. P.A. Nikolaev. – M.:

RE Enlightenment, 1990.- 448 p.

4.Tubelskaya, G.N. Children's writers of Russia: one hundred and thirty names:

bio-bibliographic reference book / G.N. Tubelskaya.- M.: Russian School Library Association, 2007.- 391 p.

5. Pushkin at school: Sat. Art. /Comp. V.Ya. Korovina.- M.: GROWTH, 1998.- 365 p.

Lesson 9

TOPIC: GENRE AND THEMATIC DIVERSITY OF RUSSIAN

OF THE LITERARY TALE OF THE XX CENTURY

ISSUES FOR DISCUSSION:

1. Russian literary fairy tale of the 20th century: main development trends.

2. Moral and aesthetic potential of P.P. Bazhov.

3. Mastery of N.N. Nosov - a storyteller.

4. Fairy tale parable in the work of V.P. Kataev.

5. Problems and poetics of fairy tales by E.N. Uspensky.

TASKS

1. Prepare abstracts for the answer to the first question of the lesson.

2. Present a video presentation of the author's work of choice (the task is performed in subgroups).

3. Compile a personal bibliography (list of monographs, analytical or review journal articles) of the writer's work.

1. To develop a fragment of the lecture "Russian literary fairy tale of the late XX - early XXI centuries." (use the textbook by I.N. Arzamastseva "Children's Literature" - M., 2009. - P. 469-500).

2. Write an essay about the work of one of the storytellers of the 20th century:

T.A. Alexandrova, A.M. Volkov, V.V. Medvedev, G.B. Oster, E.A. Permyak, A.P. Platonov, S.L. Prokofiev, V.G. Suteev, E.L. Schwartz and others. The abstract should have a creative part - a holistic analysis of the tale of the author in question (optional).

– – –

Polozov. - M.: Academy, 1998. - 506 p.

4. Russian children's writers of the XX century: Biobliographic dictionary / ed. G.A.

For an in-depth study of the topic:

1. Begak, B. True fairy tales: Conversations about fairy tales of Russian Soviet writers / B. Begak. - M.: Det. lit., 1989.- 126 p.

2. Lipovetsky, M.N. Poetics of a literary fairy tale (based on the Russian literary fairy tale of the 1920s) / M.N. Lipovetsky. - Sverdlovsk: Ural Publishing House. university – 183 p.

3. Petrovsky, M. S. Books of our childhood /M. Petrovsky. - St. Petersburg: I. Limbach, 2006. O - – –

4. Ovchinnikova L.V. Russian literary fairy tale of the XX century: History, classification, poetics: textbook. allowance / L.V. Ovchinnikova.- M.: Nauka, 2003. - 311 p.

RE Session 10

TOPIC: FORMATION OF A EUROPEAN LITERARY TALE

ISSUES FOR DISCUSSION:

1. Sh. Perrot - the founder of the European literary fairy tale.

2. Creativity of the Brothers Grimm.

3. Fairy tale legacy of H.K. Andersen.

TASKS

2. Carry out a comparative analysis of the "adult" and "children's" editions of Charles Perrault's fairy tales (on the example of a specific work).

3. Determine the genre affiliation of the read fairy tales by the Brothers Grimm, using the principles of analysis of the folk epos.

4. Prepare an analysis of one of the fairy tales of H.K. Andersen according to the following scheme:

problems, images that make up the plot (exposition, plot, ups and downs, climax, denouement, epilogue), narrative features (author, narrator, hero), genre of the work, features of language and style.

For an in-depth study of the topic:

1. Familiarize yourself with the content of one of the following monographs: Braude L.Yu. On the magical paths of Andersen (St. Petersburg, 2008); Gaidukova A.Yu.

Tales of Charles Perrault: Traditions and Innovation (St. Petersburg, 1997); Skurla G.

Brothers Grimm: Essay on life and work (M., 1989). Provide a detailed summary of the book (a concise description of the ideological orientation, content, purpose of the book).

2. To develop the topics of ethical conversations for preschoolers based on the works of foreign storytellers.

3. Write a research paper on the topic “H.K. Andersen’s traditions in

– – –

Ziman. - M., Russian School Library Association, 2007. - 287 p.

4. World children's literature: a reader: a textbook for Wednesdays. textbook establishments / T.E. Autukhovich [and others] - Minsk: Literature and skill, 2010. - 591 p.

5. Sharov, A. Wizards come to people: A book about a fairy tale and storytellers / ZI A. Sharov .- M .: Det. lit., 1985.- 320 p.

For an in-depth study of the topic:

1. Boyko, S.P. Charles Perrault / S.P. Boyko. - M .: Young Guard, 2005. - 289 p.

2. Braude, L.Yu. On the magical paths of Andersen / L.Yu. Braude.- St. Petersburg: Aleteyya, 2008. P - – –

3. Skurla, G. Brothers Grimm: Essay on life and work / G. Skurla. - M .: Rainbow, 1989.p.

4. Gaidukova A.Yu. Tales of Charles Perrault: Traditions and innovation / A.Yu. Gaidukov.- St. Petersburg: Publishing House of St. Petersburg. un-ta, 1997.- 273 p.

5. Gestner, G. The Brothers Grimm / G. Gestner. - M.: Young Guard, 1980. - 268 p.

Lesson 11

THEME: A FAIRY TALE IN THE WORK OF ASTRID LINDGREN

ISSUES FOR DISCUSSION:

1. The life and creative path of the writer.

2. Genre diversity of A. Lindren's fairy tales, folklore and literary sources of her work.

3. The trilogy "Kid and Carlson": problems, system of images, originality of the composition, language and style of the fairy tale.

4. The role of the works of A. Lindgren in reading to young children, the organization of work with fairy tales in kindergarten.

TASKS

1. Prepare a video presentation of the work of A. Lindren.

2. Develop a script for literary leisure for preschoolers using the works of A. Lindgren.

3. Write a miniature essay "Childhood is ...", based on the image of the world of childhood by A. Lindgren.

For an in-depth study of the topic:

1. Write a review of one of the following books: Braude L.Yu. “I don’t want to write for adults”: A documentary essay on the life and work of Astrid Lindgren (M., 1987); Westin B. Children's literature in Sweden (M., 1999);

Metcalf E.-M. Astrid Lindgren (Stockholm, 2007).

2. Prepare a research paper on one of the following topics:

"The image of Niels in the work of S. Lagerlöf and A. Lindgren",

– – –

2. Foreign children's writers: one hundred names: bio-bibliographic reference book / G.N.

Tubelskaya.- M.: School Library, 2005.- 271 p.

3. Ziman, L.Ya. Foreign literature for children and youth: textbook / L.Ya.

TO Ziman. - M.: Russian School Library Association, 2007. - 287 p.

4. World children's literature: textbook. allowance for Wednesdays. ped. study establishments / T.E.

Autukhovich [and others] - Minsk: Literature and skill, 2010. - 326 p.

5. World children's literature: a reader: a textbook for Wednesdays. textbook establishments / T.E. Autukhovich [and others] - Minsk: Literature and skill, 2010. - 591 p.

About For in-depth study of the topic

1. Brandis, E.P. From Aesop to Gianni Rodari / E.P. Brandis.- M.: Det. lit., 1980.P - – –

2. Braude, L.Yu. “I don’t want to write for adults!”: A documentary essay on the life and work of Astrid Lindgren / L.Yu. Braude. - L .: Det. lit., 1987.- 111 p.

3. Westin, B. Children's literature in Sweden / B. Westin .. - M .: Journal “Det. lit.", 1999. - 71 p.

4. Braude, L.Yu. Scandinavian literary tale / L.Yu. Braude.- M.: Nauka, 1979.- 208 p.

5. Metcalf, E.-M. Astrid Lindgren / E.-M. Metcalf. - Stockholm: Swedish Institute, 2007.- 47 p.

Lesson 12

THEME: THE WORK OF Gianni Rodari

ISSUES FOR DISCUSSION:

1. Brief information about the life and work of J. Rodari, the sources of his work.

2. The poetry of J. Rodari in its relationship with the fabulous works of the writer.

3. Genre-thematic variety of fairy tales by J. Rodari.

4. The cycle "Tales with three ends" in the development of the child's fantasy and imagination.

5. The method of stimulating the verbal creativity of children in the "Grammar of Fantasy" by J. Rodari.

2. Compose a fairy tale on your own (according to the laws of the genre presented in the above cycle).

3. Develop a summary of a lesson on the development of creative storytelling of older preschoolers based on the works of an Italian storyteller.

For an in-depth study of the topic:

1. Submit an annotated bibliography of the writer's work.

– – –

1. Brandis, E.P. From Aesop to Gianni Rodari / E.P. Brandis.- M.: Det. lit., 1980. - 446 p.

2. Foreign children's literature: textbook. allowance for Wednesdays. and higher ped. textbook

TO establishments / N.V. Budur [and others] - M .: Academy, 1998. - 304 p.

3. Foreign children's writers: one hundred names: biobibliogr. reference book / Comp.

G.N. Tubelskaya.- M.: School Library, 2005.- 271 p.

4. Ziman, L.Ya. Foreign literature for children and youth / L.Ya. Ziman.– M.:

Russian School Library Association, 2007. - 287 p.

For an in-depth study of the topic:

1. Gianni Rodari: Bibliography. decree. /Comp. V.G. Danchenko.- M.: BGBIL, 1991.-254 p.

2. Foreign children's writers in Russia / Borovskaya E.R. and [others].- M.: Flinta: Nauka, RE 2005.- 517 p.

Lesson 13

THEME: ANTOINE DE SAINT-EXUPERY'S FAIRY TALE

"LITTLE PRINCE"

ISSUES FOR DISCUSSION:

1. Brief biographical information about the writer.

2. "The Little Prince" in the context of the work of Antoine de Saint-Exupery.

3. Problems of a fairy tale, its genre specificity.

4. The system of images in the work.

5. The originality of the language and style (the place of romantic conventions, allegory, satire).

6. The relevance of the sound of the book. The specifics of familiarizing young children with a fairy tale.

2. Prepare a creative retelling of a fairy tale for preschoolers.

3. Write an essay on the topic "We are responsible for those we have tamed."

For an in-depth study of the topic:

1. Compile a catalog of articles about the writer's work.

2. Prepare a photo album "Antoine de Saint-Exupery - military pilot and writer."

3. Develop a script for a play for preschoolers based on the fairy tale "The Little Prince".

LITERATURE

Mandatory:

1. Foreign children's literature: textbook. allowance for Wednesdays. and higher ped. textbook

institutions / N.V. Budur [and others] - M .: Academy, 1998. - 304 p.

– – –

2. Mizho, M. Saint-Exupery / M. Mizho. – M.: Sov. writer, 1963.

3. Sharov, A. Wizards come to people / A. Sharov.- M.: Det. lit., 1985.p.

ZI Lessons 14*, 15, 16

TOPIC: WORKS ABOUT CHILDREN IN RUSSIAN LITERATURE

ABOUT

– – –

ISSUES FOR DISCUSSION:

1. The genre of the autobiographical story in Russian literature*.

2. Images of children in the work of L.N. Tolstoy. Tolstoy's traditions in the stories of V.A. Oseeva.

3. The skill of A.P. Chekhov - a psychologist in stories about children.

4. Russian social story and story of the late XIX - early XX centuries.

5. Soviet humorous story (N.N. Nosov, V.Yu. Dragunsky, V.V. Golyavkin and others).

6. New trends in the development of modern children's prose.

Oseeva, N.N. Nosova, V.Yu. Dragunsky, V.V. Golyavkin, make entries in the reading diaries.

2. Conduct a written comparative analysis of the stories of L.N. Tolstoy and A.P. Chekhov (comparison parameters: age orientation of tests, genre specifics, problems, the concept of childhood, the nature of the image of the child, the specifics of using a preschool teacher in the work).

3. To develop the topics of ethical conversations for preschoolers based on the works of L.N. Tolstoy, V.A. Oseeva.

4. Compose topics for individual conversations, consultations, parent meetings using the works of A.P. Chekhov.

5. Compare the stories of N.N. Nosov and V.Yu. Dragunsky from the angle of using various forms of the comic (external and internal humor, satire, irony, grotesque, pun, neologism, word play, paradox, nonsense, etc.).

6. Prepare a mini-report on the work of a modern children's storyteller (V.V. Golyavkin, V.K. Zheleznikov, Yu.I. Koval, G.B. Oster, R.P. Pogodin, Tim Sobakin, E.N. Uspensky and etc.).

For an in-depth study of the topic:

– – –

4. Prepare an abstract on one of the following topics:

L.N. Tolstoy is a public teacher.

TO Illustrations by A.F. Pakhomov to the stories of L.N. Tolstoy.

Pedagogical views of A.P. Chekhov.

The theme of childhood in the work of A.I. Kuprin.

– – –

Stories about child workers D.N. Mamin-Siberian.

The problem of a positive hero in the work of A.P. Gaidar.

P The image of a child in the work of B.S. Zhitkov.

RE Mastery VV Golyavkin the narrator.

Innovation Yu.I. Koval-children's writer.

1. Read one of the following autobiographical works (optional): L.N. Tolstoy "Childhood", S.T. Aksakov "Childhood of Bagrov-grandson", N.G. Garin-Mikhailovsky "Childhood of the Theme", A.M. Gorky "Childhood". A.N. Tolstoy "Childhood of Nikita".

2. Compile a bibliographic index of the writer's work, including critical material about the autobiographical story read (links to electronic resources are possible).

3. Prepare (in writing) a holistic analysis of the autobiographical story (problematics, genre, figurative system, plot and composition, ways of expressing the author's position, language and style).

For self-control:

QUESTIONNAIRE

1. What is the genre specificity of an autobiographical story?

2. Name the representatives of the autobiographical story in Russian literature.

3. Which of the foreign writers turned to the development of this genre?

4. What is the open L.N. Tolstoy's method of depicting the "dialectics of the soul" of the child?

5. What is the problematic of L.N. Tolstoy "Childhood"

5. As reflected in the autobiographical trilogy of L.N. Tolstoy questions of socialization of the child?

6. What is the innovation of S.T. Aksakov - creator

– – –

autobiographical trilogy by A.M. Gorky "Childhood", "In People", "My Universities"?

10. As revealed in the story of A.M. Gorky's "Childhood" is the problem of TO of the social and moral definition of the child, his opposition to the "lead abominations" of life?

11. What positive personal qualities are typified in the image of Akulina Ivanovna's grandmother?

12. What is the problematic of N.G. Garin-Mikhailovsky "Childhood of the Theme"?

13. What age and individual qualities of the child are reflected in the image of PE Tema Kartashev?

14. What is the pedagogical and aesthetic value of A.N. Tolstoy's "Childhood of Nikita"

15. What chapters from the story "Nikita's Childhood" are used in preschool reading?

LITERATURE:

Mandatory:

1. Arzamastseva, I.N. Children's literature / I.N. Arzamastseva, S.A. Nikolaev. - 6th ed., corrected. - M.: Academy, 2009. - 574 p.

3. Nikolina N.A. Poetics of Russian autobiographical prose: Textbook / N.A.

Nikolina. - M.: Flinta: Science, 2002.- 422 p.

5. Russian children's writers of the XX century: Biobliographic dictionary / ed. G.A.

Chernoy [and others] - M.: Flinta: Nauka. - 2001. - 512 p.

For an in-depth study of the topic:

1. Begak, B. Children laugh: Essays on humor in children's literature / B. Begak. – M.: Det. lit., 1979. - 223 p.

2. Dragunskaya, A. About Viktor Dragunsky: Life, creativity, memories of friends / A.

Dragunskaya.- M.: Chemistry and Life, 1999.- 175 p.

3. Life and work of Nikolai Nosov: Collection / Comp. S. Mirimsky. – M.: Det. lit., 1985. - 256 p.

4. Kashtanova, I.A. Tolstoy about children and for children / I.A. Kashtanova.- Tula: Priok. book. publishing house, 1971.- 129 p.

5. Kovalina book: Remembering Yuri Koval.- M.: Vremya, 2008.- 496 p.

6. Articles about Chekhov / ed. L.P. Gromov. - Rostov-on-Don: Publishing House Rost. / n /D state. ped.

in.ta, 1972.- 109 p.

– – –

2. The skill of M. Twain, a psychologist and satirist in stories about children (“The Adventures of Tom Sawyer”, “The Adventures of Huckleberry Finn”).

3. Genre-thematic originality of realistic stories by A. Lindgren TO ("Rasmus the tramp", "Emil from Lenneberg").

4. Works about children in German literature of the XX century. (E. Kestner "Emil and the ZI detectives", "Tricks of the twins", D. Krus "My great-grandfather, heroes and me").

5. The theme of childhood in the work of A. Marshall.

FORMS OF PARTICIPATION IN THE CONFERENCE:

A) individual presentation (report, abstract, message);

B) group presentation of the work of one of the foreign writers PE (works studied in the course of children's literature are considered);

C) participation in the discussion of the problem (in the debate).

LITERATURE

(the general direction of the search, the search for literature on specific authors is carried out by the speakers themselves):

1. Antipova, I.A. Essays on children's writers / I.A. Antipov. – M.: Ballas, 1999.- 240 p.

2. Begak, B. Paths of mystery: Adventure literature and children / B. Begak. – M.: Det.

lit., 1985.- 95 p.

3. Winterich J. Adventures of famous books / J. Winterich. - M.: Book, 1985. - 254 p.

4. Foreign children's writers in Russia / Borovskaya E.R. and etc.]. – M.: Flinta: Science, 2005.- 517 p.

Tubelskaya. - M .: School Library, 2005. - 271 p.

6. Foreign writers: Bibliographic dictionary. At 2 pm / Ed.

N.P. Mikhalskoy.- M .: Education: JSC "Teacher Lit.", 1997. Part 1.A-L. - 476 p.; Part 2. M-Ya.

Electronic resources:

http: // bibliogid. Ru http:IIlib. Septemberember. En Sessions 18, 19*

TOPIC: SCIENTIFIC AND EDUCATIONAL LITERATURE FOR CHILDREN

ISSUES FOR DISCUSSION:

1. The role of K.D. Ushinsky in the development of domestic scientific literature for children.

2. Soviet scientific and natural history book (comparative analysis of the works of V.V. Bianchi, M.M. Prishvin, E.I. Charushin).

3. Genre-thematic diversity of modern scientific and educational literature.

– – –

Sladkov.

2. Conduct a comparative analysis of works about nature by V.V. Bianchi, M.M. Prishvina, E.I. Charushin: general and individual in the disclosure of the theme of TO of nature, genre originality of works, originality of language and style. When determining the genre specificity of works, use the information about the features of genre formation in the natural history book:

encyclopedias, atlases; story, article, fairy tale, adventure, journey, About a fantastic story (story, novel).

4. Prepare a review of modern encyclopedias for preschoolers (3 editions).

For an in-depth study of the topic:

1. Write a review of the book by E.L. Levina, M.B. Shelomentseva "Modern scientific and educational literature for children and youth"

2. Develop a summary of a lesson-excursion for preschoolers using the works of M.M. Prishvin about the forest (collection "Golden Meadow").

3. Prepare an abstract on one of the following topics:

KD Ushinsky and the present.

Stories about animals B.S. Zhitkov.

Books about technology M. Ilyin.

The world of nature in the work of K. G. Paustovsky.

Traditions and innovation in the works of G.Ya. Snegirev.

Naturalist writer G.A. Skrebitsky.

Historical stories by S.M. Golitsyna, A.V. Mityaeva, S.P. Alekseeva:

comparative analysis.

Managed self-employment

1. Provide brief information about the life and career of D. Darrell, E. Seton-Thompson.

2. Familiarize yourself with the content of the stories of E. Seton-Thompson ("Ragged Ear", "Chink"), D. Darrell (collection "The Zoo in My Luggage"), write out excerpts in the reading diary that are acceptable in reading preschoolers (with motivation for choice) .

3. Prepare a comparative analysis of the stories of Seton-Thompson and Darrell, reflecting your own impression of the read works.

– – –

3. What is the innovation of E. Seton-Thompson in the development of the theme of nature?

4. List the works of E. Seton-Thompson, which brought world fame to the author of TO.

5. What is the structure of the writer's books written in the genre of "biography"

ZI animals?

6. What is the artistic originality of Seton-Thompson's animalistic O stories?

7. What is the place in Thompson's work of the book "Way of the Writer and the Naturalist"?

8. What is the value of the works of the Canadian classic in the reading of modern children?

9. What works of Seton-Thompson can be recommended for reading by preschoolers?

10. What do you know about the life and work of D. Darrell?

11. What are the writer's works translated into Russian?

12. Determine the genre of D. Durrell's stories from the book "The Zoo in My Luggage".

13. What is the unusual fairy tale story by D. Darrell "The Talking Package"?

14. How are the works of foreign naturalists presented in modern encyclopedias for children?

LITERATURE:

Mandatory:

1. Arzamastseva, I.N. Children's literature / I.N. Arzamastseva, S.A. Nikolaev. - 6th ed., Rev. - M.: Academy, 2009. - 574 p.

2. Children's literature: textbook / E.E. Zubareva [and others] - M.: high school, 2004. - 550 p.

3. Foreign children's literature: textbook. allowance for Wednesdays. and higher ped. textbook

institutions / N.V. Budur [i dr.]. - M., 1998. - 304 p.

4. Russian literature for children: textbook. allowance for Wednesdays. ped. textbook establishments / Etc.

Polozov. - M.: Academy, 1998.- 506 p.

5. Foreign children's writers: one hundred names: bio-bibliographic reference book / G.N.

Tubelskaya.- M.: School Library, 2005.- 271 p.

For an in-depth study of the topic:

1. Foreign children's writers in Russia / Borovskaya E.R. and etc.]. – M.: Flinta: Nauka, 2005. – 517 p.

2. Foreign writers: Bibliographic dictionary. At 2 pm / Ed. N.P. Michalskaya.

- M .: Education: JSC "Education Lit.", 1997. Part 1. A-L. - 476 p.; Part 2. M-Ya. – 448 p.

3. Ivic, A. Nature. Children / A. Ivic. - M.: Det.lit., 1980.- 223 p.

4. Levina, E.R. Modern Soviet scientific and educational literature for children and youth / E.L. Levina, M.B. Shelomentsev. - M.: MGIK, 1991. - 88 p.

– – –

2. The main trends in the development of Soviet poetry for children.

3. Genre-thematic diversity of modern children's poetry.

4. The specifics of familiarizing preschoolers with a poetic text.

2. Prepare an analysis of a poem by a modern author (motivation about the choice of a work, originality of content and form, recommendations for familiarizing preschoolers with a poetic text).

3. Present a presentation of the work of one of the modern children's RE poets: Ya.L. Akim, B.V. Zakhoder, V.D. Berestov, V.A. Levin, Yu.P. Moritz, E.E. Moshkovskaya, G.B. Oster, V.A. Prikhodko, G.V. Sapgir, R.S. Sef, I.P. Tokmakova, A.A. Usachev, E.N. Uspensky, M.D. Yasnov and others (the task is performed in subgroups).

4. Prepare an oral review of a new poetry book for children.

For an in-depth study of the topic:

1. Compile a bibliographic index of articles and studies on the development of modern poetry.

2. Prepare an electronic reader of texts by poets of the 20th century for use in the work of a preschool teacher.

3. Write an essay on one of the following topics:

Lyrical diary of V. Berestov: genre and thematic diversity.

Lyrics of nature in the work of E. Moshkovskaya and I. Tokmakova.

The World of Childhood in the Poetry of R. Sefa.

Poems for children B. Zakhoder: innovations in the field of content and form.

Traditions of OBERIU in Poetry Yu. Moritz.

Experimental poetry of G. Oster.

The use of elements of "abstruse" poetry in the work of G. Sapgir.

The nature of humor in R. Mucha's poetry.

Managed self-employment

1. Prepare a report about the Russian poet of the 19th century, who entered the circle of children's reading, reflecting the creative path of the writer (briefly), the main motives of poetry, the ideological and artistic originality of the works.

Preference should be given to poets included in the kindergarten program.

2. Compile a bibliography of the works of the Russian poet of the second half of the 19th century. (A.V. Koltsov, I.S. Nikitin, A.N. Maikov, A.N. Pleshcheev, I.Z. Surikov, A.K. Tolstoy, F.I. Tyutchev, A.A. Fet).

3. Write an essay-reasoning on the topic “My favorite

– – –

(determine who owns the lines) 1. "Whisper, timid breathing, Trills of the nightingale, THEN Silver and the swaying of the Sleepy stream." (A.A.F.) ZI 2. “It’s not without reason that winter is angry, Its time has passed - Oh

– – –

And drives from the yard. (F.I.T.) RE 3. “My bells, Steppe flowers!

Why are you looking at me, Dark Blues? (A.K.T.) 4. “When the yellowing field is agitated And the fresh forest rustles at the sound of the breeze, And the raspberry plum hides in the garden Under the shade of a sweet green leaf ...” (M.Yu.L.) 5. “Go away, Winter gray-haired!

Already the beauties of Spring The golden chariot Rides from the mountain height! (A.N.M.) 6. “White snow is fluffy It spins in the air And quietly falls to the ground, lies down” (I.Z.S.) 7. “Autumn has come, Flowers have dried up, And bare bushes look sadly” (A .N.P.) 8. “Childhood is cheerful, children's dreams ... As soon as you remember - a smile and tears ... The nanny bowed her head in a nap, Dropped her stocking on the floor from the couch, Jumps notes, moves his paw,

– – –

LITERATURE

Mandatory:

1. Arzamastseva, I.N. Children's literature / I.N. Arzamastseva, S.A. Nikolaev. - 6th ed., RE correct. – M.: Academy, 2009. – 574 p.

2. Russian literature for children: textbook. allowance for Wednesdays. ped. textbook establishments / Etc.

Polozov. - M.: Academy, 1998.- 506 p.

3. Russian children's writers of the XX century: Bio-bibliographic dictionary / ed. G.A.

Chernoy [and others] - M.: Flinta: Nauka. - 2001. - 512 p.

4. Reader on children's literature: textbook. allowance / Comp. I. N. Arzamastseva [i dr.].

- M.: Academy, 1997. - 538 p.

For an in-depth study of the topic:

1. Geyser, M.M. Marshak / M.M. Geyser. - M .: Young Guard, 2006. - 325 p.

2. Life and work of Agnia Barto: Collection / Comp. I.P. Motyashov. – M.: Det. lit., 1989. - 336 p.

3. Kobrinsky, A.A. Daniil Kharms / A.A. Kobrinsky.-M.: Young Guard, 2008. - 499 p.

4. Russian poetry for children: T. 1–2 / Comp. and intro. Art. E.O. Putilova. - St. Petersburg: Humanitarian Agency "Academic Project", 1997. Vol.1. – 766 p. T.2. – 750 s.

5. Pavlova, N.I. Lyrics of childhood. Some problems of poetry / N.I. Pavlova. – M.: Det.

lit., 1987.- 140 p.

– – –

“Skillful readers should be created among us. I even think that public readings will eventually replace performances in our country” (N.V. Gogol).

ZI “Unfortunately, the overwhelming majority of teachers of literature and librarians are not able to read works of art with a certain degree of artistry. When reading alone, a person is enriched only by the P of the author of the book. And during collective reading and discussion of what was read, his mind is fed by two sources - books and thoughts of the participants in the experience. The team is RE a great teacher ”(A.M. Toporov, teacher).

Reading analysis:

1. Writing the score of the text (highlighting the words in it, on which, according to the laws of the logic of Russian speech, the logical stress falls, the arrangement of pauses).

2. Analysis of the emotional side of the work (singling out the emotional compositional parts with the definition of a reading supertask for each of them).

3. Definition of the most important task for reading the work as a whole.

4. Determining the role of intonation, gesture, facial expressions, posture, game actions.

Information about the basic rules of the logic of Russian speech

1. The group of subject and predicate is separated by a pause.

Exceptions: a) if the subject is expressed by a pronoun, it does not carry stress and is read in one measure with the predicate: He went out. Will you come back; b) if the predicate does not make much sense: The wind was blowing. It was raining.

2. The definition is stressed if it is expressed:

a) a noun in the genitive case: Forehead of Socrates.

b) a noun with a preposition: Singer from the opera.

c) definition-application: Forester-old-timer.

d) common definition: A shaggy sheepdog tied to an apple tree.

3. The definition does not bear stress if:

a) expressed by a pronoun (my book) or an adjective: blue sky, northern story.

4. In the phrase "verb and object" the emphasis falls on the object:

They eat sweets, throw orange peels.

5. Opposition: the emphasis falls on both opposing concepts:

The son was killed - the mother stood in his place

– – –

8. In complex names, the emphasis falls on the last word:

Bolshoi Academic Theater of the Russian Federation.

9. When listing, the stress is placed on each word:

Ringing bells, bells, alarm clocks.

If definitions are listed, then the last of them, standing before the ZI noun, does not carry an accent: One of those hard, dry, embittered faces.

If the definitions are heterogeneous, then there are no pauses or stresses:

P Last street lights.

LITERATURE FOR PREPARATION FOR THE LESSON-CONCERT:

Readers

1. Big book of poems for reading in kindergarten / Comp. I.P. Tokmakova, E.I. Ivanova.

- M .: Planet of childhood, 2000. - 512 p.

2. Literature and fantasy: A book for educators for children. garden and parents / Comp. L.E.

Streltsov. - M .: Education, 1992. - 255 p.

3. Russian poetry for children: T. 1–2 / Comp. and intro. Art. E.O. Putilova. - St. Petersburg: Humanitarian Agency "Academic Project", 1997. Vol.1. – 766 p. T.2. – 750 s.

4. Reader on children's literature: textbook. allowance / Comp. I. N. Arzamastseva [et al.].– M.: Academy, 1997. – 538 p.

Teaching aids

1. Gritsenko, Z.A. Workshop on children's literature and methods of introducing children to reading: textbook / Z.A. Gritsenko.- M.: Academy, 2008.- 222 p.

2. Children's literature. Expressive reading: Practicum: textbook in the specialty "Preschool education" / O.V. Astafieva [i dr.]. – M.: Academy, 2007. – 270 p.

3. Book's name day / Ed.-comp. L.I. Bug. - Minsk: Krasiko-Print, 2003. - 126 p.

4. Oparina, N.P. Literary games in the children's library / N.P. Oparina. – M.:

Liberia, 2007. - 95 p.

5. Sinitsyna, E.I. Clever poems / E.I. Sinitsyn. M.: "List", 1999. - 168 p.

Session 23* (TSR)

THEME: CHILDREN'S DRAMA

TASKS:

1. Visit a play created on the basis of a dramatic work for children (Belarusian Republican Theater for Young Spectators, Belarusian State Puppet Theater).

2. Write a review about the performance you have watched.

3. Write an essay-reasoning on the topic "Ideal children's performance."

Your performance review should include:

– – –

5. Characteristics of the stage design of the performance.

6. Conclusions about the compliance (non-compliance) of the content of the theatrical TO version of the work with the author's intention.

7. Own assessment of the performance.

– – –

TASKS:

1. Prepare a review of one of the periodicals for children P of preschool and primary school age (Russian, Belarusian, RE foreign magazine or newspaper).

3. Write an essay-reasoning on the topic "If I were (were) the editor of a children's magazine."

CHILDREN'S MAGAZINE (NEWSPAPER) REVIEW SCHEME

1. Imprint.

2. Addressee.

3. The structure of the publication.

4. Characteristics of permanent sections.

5. Artistic works in the magazine.

6. Illustration, polygraphy.

7. Evaluation of the merits (disadvantages) of the publication.

Session 25* (TSR)

TOPIC: GENRE OF CHILDREN'S BOOK ILLUSTRATION

TASKS:

1. Write an essay on the work of the artist - illustrator (the list is given below): brief information about the life and career of the artist, information about illustrated books, a description of the creative manner.

2. Compile an annotated bibliography of the work of an illustrator of a children's book (the author is the same).

3. Develop a summary of the lesson to familiarize children with the illustrations of the selected artist.

4. Present visual material for working with preschoolers.

LIST OF ARTISTS FOR REFERENCE:

– – –

LITERATURE:

1. Bubnova, L.S. Mai Miturich / L.S. Bubnova.- M.: Sov. artist, 1980. - 128 p.

2. Gankina, E.Z. The artist in the modern children's book / E.Z. Gankin. – M.: Sov.

– – –

3. Dmitrieva, N. Tatyana Mavrina / N. Dmitrieva. – M.: Sov. artist, 1981. - 127 p.

4. To preschoolers about the artists of the children's book: A book for a kindergarten teacher / Comp.

T.N. Doronova. - M .: Education, 1991. - 124 p.

5. Kudryavtseva L.S. Children's Book Artists: A Handbook for Wednesdays. and higher ped. textbook

institutions / L.S. Kudryavtseva.- M.: Academy, 1998.- 204 p.

6. World of Charushin: E.I. Charushin is an artist and writer. - M .: Artist of the RSFSR, 1980. - 232 p.

7. Panov, V.P. Illustrations in the book. Tips for a beginner artist / V.P. Panov. – M.:

Magazine "Young Artist", 2001. - 30 p.

8. Pakhomov, A. About his work in a children's book / A. Pakhomov. – M.: Det. lit., 1982. - 131 p.

9. Polevina E.V. Illustration of a children's book in library work with children / E.V.

Polevina. - M .: School Library, 2003. - 199 p.

10. Silivon, V.A. How to consider an illustration: a guide for preschool teachers.

institutions / V.A. Silivon. - Mazyr: White wind, 2008. - 62 p.

11. Artist Lev Tokmakov / Comp. ON THE. Zavadskaya. - M .: Sov. artist, 1989. - 240 p.

12. Artists of a children's book about themselves and their art / Comp. V. Glotser. - M .: Book, 1987. - 305 p.

– – –

U P BG Y RI TO ZI O P R E

SECTION OF KNOWLEDGE CONTROL

– – –

3. Give the names of folklore tales:

about magical animals

– – –

grows by leaps and bounds a long time ago, white-white they began to live, live, make good

5. Continue the list of children's book illustrators:

I. Bilibin……...

6. Name the publications of Greek and biblical mythology for children of preschool and primary school age:

Greek mythology:___________________________________________________

biblical mythology:______________________________________________

– – –

The theme of childhood in Russian literature (story genre) is represented by the following authors:

P in their works: _________________________________________________

RE The story about children in foreign literature was developed by the following writers (indicate names and works): __________________________

12. Name the most popular encyclopedias for children: _____________________________________________________________

13. Indicate the works of the following authors known to you:

V. Bianchi E. Charushin M. Prishvin B. Zhitkov D. Darrell E. Seton-Thompson

REPO ZITO

RI Y BG P U Sample questions for the exam on the course

1. Children's literature as the art of the word.

2. General concept about children's folklore.

3. Pedagogical and artistic value small folklore genres.

4. Folklore poetry of the peoples of the world in translations for children /characteristics of classical publications/.

5. Genre - style features folk tales about animals, magical, social and household.

6. General idea of the myth (features, typology, information on the history of the study).

7. Ancient Greek mythology in editions for children. The specifics of familiarizing preschoolers with myths.

8. Biblical stories in retellings for children.

– – –

14. Leading trends in the development of Russian prose tales in the second half of the 19th century.

15. Innovation of K. Chukovsky the storyteller.

16. Tetralogy by S. Mikhalkov "Uncle Styopa" from the standpoint of the modern reader.

17. Moral and aesthetic potential of P. Bazhov's tales.

18. E. Uspensky is a storyteller.

19. Tales-parables of V. Kataev for preschoolers.

20. N. Nosov's trilogy "The Adventures of Dunno and His Friends": Traditions and About

– – –

21. French literary tale (review).

22. The artistic world of Ch. Perrault's fairy tales.

23. Fairy tale - parable by A. de Saint-Exupery "The Little Prince".

24. Tales of the Brothers Grimm and folklore.

25. Almanacs of fairy tales by V. Gauf in the reading of adults and children.

26. The world of childhood in E. Hoffmann's fairy tale "The Nutcracker and the Mouse King".

27. The German Literary Fairy Tale of the 20th Century: An Overview (D. Krüs, E. Kästner, O. Preusler).

28. L. Carroll's innovation in the dilogy about Alice.

29. Tales of R. Kipling in the development of cognitive activity of preschoolers.

30. Psychology and word creation of the child in the book by A. Milne "Winnie the Pooh and others."

31. The image of the teacher in the fairy tale "Mary Poppins" P. Travers.

32. The fantasy genre in the work of D. Tolkien.

33. Tales of Harry Potter D. Rolling: the secret of success with the reader.

34. The works of D. Rodari in the development of children's verbal creativity.

35. Traditions and innovation in the work of H. Andersen.

36. "Niels' Journey" S. Lagerlöf: innovation of the genre, originality of problems.

37. The image of a child in the story-tale "The Kid and Carlson" A. Lindgren.

38. Tales of T. Jansson in the reading of children and adults.

39. Child and nature in the lyrics of Russian poets of the second half of the 19th century.

40. The innovative character of V. Mayakovsky's poetry for children.

41. Creativity S. Marshak in the kindergarten program.

42. Poetry OBERIU.

43. The image of a preschooler in the poetry of A. Barto.

44. Creativity I. Tokmakova.

45. The main trends in the development of modern poetry for children.

46. Foreign poetry in the kindergarten program.

47. Polish poets for children.

48. My favorite children's poet.

– – –

54. Comparative analysis of the stories of N. Nosov and V. Dragunsky.

55. The theme of "dispossessed" childhood in foreign literature of the XIX century.

56. Mastery of M. Twain-satirist and psychologist in the story "The Adventures of Tom TO Sawyer".

57. Modern foreign story about children.

58. Writers-winners of the H.K. Andersen.

59. The formation of scientific and educational genres in Russian literature of the XVIII-XIX centuries.

60. Promotion of scientific knowledge in the work of K. Ushinsky.

61. Soviet natural history book of the 1920-1930s.

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