Genre features of folk fairy tales. Animal Tales
MOSCOW DEPARTMENT OF EDUCATION
STATE BUDGET EDUCATIONAL INSTITUTION
GBOU GYMNASIUM No. 1544
LITERARY READING LESSON IN 2nd GRADE
“SIGNS AND FEATURES OF A MAGICAL TALE”
Teacher I categories Weissenberg Maria Viktorovna
MOSCOW 2013
Lesson development
Target : Stimulate interest:
To the content and characters fairy tale;
To determine the signs and characteristics of a fairy tale;
Update your knowledge:
About the concept: “magic helpers”, “magic objects”, “triple repetitions”.
Update skill:
Work with the text of a fairy tale.
Teach:
Reveal the meaning of the word “sign”, “features”, and use them in an active dictionary;
Correlate the content of the proverb and the main idea of the fairy tale;
Identify the signs and characteristics of a fairy tale and justify your opinion;
Compare fairy tales taking into account the signs and characteristics of a fairy tale and display the results in a table;
Adequately interact with a partner within the framework educational dialogue;
Carry out mutual testing and mutual assessment when completing a learning task.
Planned results.
Skill:
show interest in the content and characters of fairy tales;
consciously use the concepts of “signs” and “features” in speech;
identify the signs and features of a fairy tale and justify your opinion;
work with the content of fairy tales;
find signs and features of a fairy tale and write out the results in a worksheet;
adequately interact with a partner within the framework of educational dialogue when working in groups;
Equipment: computer, interactive whiteboard.
Name of equipment and materials
Quantity
Computer
Projector
Interactive whiteboard or classroom magnetic
Worksheets
Whatman
Progress of the lesson
Stage 1. Organizational moment
Welcoming guests, motivating children to actively participate in the lesson.
Look at each other, smile at each other and wish Have a good day!
With what works of oral folk art do you know each other? (joke, fairy tale, proverb.....)
In the hands of the teacher is a “chest of knowledge”, from which name cards are taken. (…….)
A table of “works of oral folk art” is posted on the board and filled in as they are named.(Appendix 1)
Listen to the epigraph for our lesson from Ozhegov’s dictionary.
-« Narrative, usually folk poetic work about fictitious persons and events, mainly involving magical, fantastic forces.”
Determine which piece of oral folk art will be discussed in the lesson? (about a fairy tale)
Right. We'll talk about a fairy tale today.Slide1
What types of fairy tales do you know? A table “Types of fairy tales” is posted on the board. Filled in as they are named.
(Appendix 2)
Listen to an excerpt from a fairy tale (“Teremok”).(Appendix 3)
What is the name of this fairy tale?
Determine what type of fairy tales the Teremok fairy tale can be classified as? (about animals)
Prove your answer. (animals - characters, chain - repetition of an episode, poetic songs, reproduction of the same action).
Listen to another excerpt (“Porridge from an ax”).(Appendix 4)
What is the name of this fairy tale?
What type of fairy tale does it belong to? (household).
Prove it. ?(the real world of people, extraordinary resourcefulness, dialogue, two worlds - rich and poor, worker and master, soldier and general).
Listen to another excerpt.
What is the name of this fairy tale? (“The Frog Princess”).(Appendix 5)
What type of fairy tale can this fairy tale be classified as? (children express their hypotheses, which are written down on cloud sheets and hung on the board).
Why were there different hypotheses? (Not enough facts)
What don’t we know? (signs and features of a fairy tale).
What question in the lesson will we look for the answer to? (Students rely on “helping keys” and formulate a lesson question.)(Appendix 6)
WHAT SIGNS AND FEATURES DOES A MAGICAL TALE HAVE? The question is written down by the teacher on a piece of paper and hung on the board.
What do you need to do to answer the lesson question?
I suggest you work in groups with the famous Russian folk tale “The Frog Princess”
Stage 2. Main part.
- I suggest working in groups and finding an answer to the question posed in the lesson. Each group receives a task.
(Appendix 7)
Remember the rules of working in a group. Students read an excerpt from the story and complete the worksheets and write down the conclusion of their work.
10-15 minutes are allotted for group work. As the work progresses, the group posts its number on the board, determining the order of defense of its work.
Physical education minute . Slide 3
Stage 3. Protection of work.
Each group comes to the board in turn and defends its work. The rest of the students fill out the final table on the topic “Fairy Tales”. (Appendix 8)
1 group, 2 group, 3 group, 4 group
Stage 4 Generalization.
Let's put things in order. Facts obtained by children are posted and voiced under the concept of “MAGIC TALES”.
Let's return to the lesson question. Let's read it out. "WHAT SIGNS AND FEATURES DOES A MAGICAL TALE HAVE?
A sheet of paper is hung up on which the teacher writes down the generalization formulated by the children.
“A fairy tale is a fairy tale in which the following features and characteristics are present: beginning, triple repetition, plot, development of action, climax, ending, fairy-tale characters, magical objects, magical transformations.”
Let's return to your hypotheses. Who correctly guessed the signs and characteristics of a fairy tale. These hypotheses are put forward for generalization. What features and signs of a fairy tale did you manage to discover in class today?
Stage 5 Summing up.
I suggest making a syncwine. Explain the meaning of this word. Theme "Fairy Tale".
The cinquain is written down by the teacher on a piece of paper from the words of the students. Read by students.
(Fairy tale,
Magical, mysterious,
Tells, fascinates, teaches,
The fairy tale is a lie, but there is a hint in it, good fellows lesson.)
The game will conclude today's lesson. “I’m glad that I’m a fairy tale, because.....” Students list the signs and features of a fairy tale, summing up the lesson.
Stage 6. Reflection "The magic of mood."
The teacher distributes magic objects “arrows” made of paper in advance in three colors: red - I have not learned anything, green - I have understood, not completely, yellow - everything is clear, I have learned everything. Each student chooses an object, what mood - attitude he received from the lesson, and hangs it “shoots” on a water lily leaf. Those interested can voice their opinion.(Appendix 9).
7.stage. ( Homework)
The teacher invites the children to find fairy tales. Read them and complete the “Analyzing a Fairy Tale” worksheet.(Appendix 10).
A fairy tale is a genre literary creativity, in which there are two main types:
1) A folk tale is epic genre oral folk art: prose oral history about fictitious events in folklore different nations. The type of narrative is mainly prosaic folklore, which includes works of different genres, the texts of which are based on fiction. Fairy-tale folklore is opposed to “reliable” folklore narration (myth, epic, historical song, poetry, legend, demonological story, tale, legend, epic).
2) Literary fairy tale - epic genre: a fiction-oriented work, closely related to a folk fairy tale, but, unlike it, belongs to a specific author, did not exist in oral form before publication and had no variants. A literary fairy tale either imitates a folklore one, or creates a didactic work based on non-folklore plots. The folk tale historically precedes the literary one.
At first, what was said was called a fairy tale. The word comes from the verb “to show” meaning “list, list, exact description.” It was first mentioned in chronicles of the 17th century. Currently, a fairy tale is a prose genre, an oral story of a fantastic, everyday or adventurous nature, moreover, with a focus on fiction. According to Propp, this is a cheerful farce, a poetic fiction.
The folk tale is based on a traditional plot. She stood out from the myth. A.I. wrote about the specific poetics of folk tales. Nikiforov and Vl.Ya. Propp. In the texts of this genre highlight the clichés:
1. Fairytale formulas - rhythmic prose phrases:
gernet fairy tale stage gosling
· “Once upon a time...”, “In a certain kingdom, in a certain state...” - fairy-tale initials, beginnings;
· “Soon the tale is told, but the deed is not done soon” - middle formulas;
· “And I was there, I drank honey and beer, it flowed down my mustache, but it didn’t get into my mouth,” “The fairy tale is a lie, but there is a hint in it, a lesson for good fellows,” - a fairy-tale ending, finale;
2. "Common places" - i.e. episodes that move from one text to another:
· The appearance of Ivan Tsarevich in Baba Yaga, where the prose and rhythm of the text interact;
· Clichéd description of the portrait - "Baba Yaga, bone leg";
· Clichéd formulaic questions and answers - “where are you heading,” “stand facing me, with your back to the forest,” etc.;
· Clichéd description of the scene: “on the Kalinov Bridge, on the Currant River”;
· Clichéd description of actions: moving the hero on a “flying carpet”;
· Common folklore epithets: “fair maiden”, “good fellow”.
Characteristics for a folk tale: orality, collectivity, anonymity.
Let's try to highlight some genre varieties of fairy tales. A fairy tale about animals (or an animal epic) is a collection (conglomerate) multi-genre works fairy tale folklore(fairy tale), in which the main characters are animals, birds, fish, as well as objects, plants and natural phenomena.
In fairy tales about animals, a person either 1) plays minor role(the old man from the fairy tale “The Fox Steals Fish from the Cart (Sleigh”), or 2) occupies a position equivalent to an animal (the man from the fairy tale “Old Bread and Salt is Forgotten”). A fairy tale about animals is primarily classified according to the main character (thematic classification). This classification is reflected in the index of fairy-tale plots of world folklore compiled by Aarne-Thompson and in the “Comparative Index of Plots. East Slavic Fairy Tale”:
1. Wild animals.
· Other wild animals.
2. Wild and domestic animals
3. Man and wild animals.
4. Pets.
5. Birds and fish.
6. Other animals, objects, plants and natural phenomena.
Another classification of fairy tales about animals is a structural-semantic classification that divides fairy tales according to genre. V.Ya. Propp identified such genres as:
1. Cumulative tale about animals.
3. Fable (apologist)
4. Satirical tale
E.A. Kostyukhin identified the following genres:
1. Comic (everyday) tale about animals
2. A fairy tale about animals
3. Cumulative tale about animals
4. A short story about animals
5. Apologist (fable)
6. Anecdote.
7. A satirical tale about animals
8. Legends, traditions, everyday stories about animals
9. Tales
Propp, as the basis for his classification of animal tales into genres, indicated a formal feature. Kostyukhin also adheres to this opinion, but still calls the content the main feature.
The third classification of animal tales is classification based on the target audience. Tales about animals are divided into:
1. Children's fairy tales.
· Fairy tales told for children.
· Fairy tales told by children.
2. Adult fairy tales.
Most of the plots of fairy tales about animals are cumulative tales. Some plot units are repeated several times in them. S. Thompson, I. Bolte, I. Polivka, Propp identified fairy tales with a cumulative composition in special group fairy tales The cumulative (chain-like) composition is distinguished:
1. With endless repetition:
· boring tales like "About a white bull."
· a unit of text is included in another text (“The priest had a dog”).
2. With final repetition:
· “Turnip” - plot units grow into a chain until the chain breaks.
· “The cockerel choked” - the chain unravels until the chain breaks.
· “For a rolling duck” - the previous unit of text is negated in the next episode.
A fairy tale has a complex composition: exposition, plot, plot development, climax and denouement. Magic helpers and miraculous remedies help overcome loss and lack of something. From the very beginning, fairy tales introduce the reader to a generation of elders (the king and queen, etc.) and younger ones (Ivan and his brothers or sisters). There is an absence of the older generation from the exhibition. The death of a parent is the most intense form of absence. The beginning of a fairy tale can tell about loss, shortage, prohibitions and their violations. This is where the counteraction begins: sending the hero away from home. The development of the fairy tale lies in the search for the lost. The culmination of the plot is the struggle of the heroes with evil spirits, guessing unsolvable problems. When fairy-tale characters overcome their shortcomings, we can talk about the denouement of the text. Here, most often, the heroes receive more significant social status than at the beginning of the fairy tale.
The composition of a short story (or social fairy tale) is similar to the composition of a fairy tale. In a fairy tale of this genre, the reality of what is depicted prevails over fiction. Life is depicted with reliable accuracy common people. The main character usually fights with the authorities in the name of justice and wins thanks to his dexterity, dexterity, wisdom and cunning.
A.N. Afanasyev distinguished between the concepts of an anecdotal tale and an anecdote itself. This kind of fairy tale is an expanded narration of an anecdote.
Fables are tales built on the absurd. Typically, the form is a small amount of text. The prose is often rhythmic. Fables are found both as an independent work and as part of a fairy tale (skomoroshina, bylichka, epic).
Some scientists single out the linguistic fairy tale. So in an entertaining story on a linguistic topic, linguistic and speech concepts are demonstrated with the help of vivid, illustrative examples, come to life in the form funny characters. The characters used are typical for Slavic and foreign folklore, such as: noble persons (kings, kings, princesses and princes, princes, counts), wizards and magical creatures living in castles and palaces, etc. We present separately common ones plot motives linguistic tales:
V.Ya. Propp in his work “Morphology of the Fairy Tale” highlights some of its characteristic features. Fairy tales are divided into the following types:
· With wonderful content;
· household;
· about animals.
However, it remains open question: don’t fairy tales about animals include elements of the miraculous, don’t they play significant role Are there animals in fairy tales?
They have characteristic feature: some options, episodes, heroes from one fairy tale may appear unchanged in another (example of the image of Baba Yaga).
In 1924, Odessa professor R.M. Volkov in his book identified 15 plots of a fantastic fairy tale (about the innocently persecuted, about the foolish hero, about three brothers, about snake fighters, about getting brides, about the wise maiden, about the sworn and enchanted, about the owner of a talisman, about the owner of wonderful objects, about an unfaithful wife, etc.). There is no clear principle for dividing fairy tales into these sections. One category is determined by the plot, the second - by the character of the hero, the third - by the number of heroes, etc.
One of the founders of the Finnish school, Aarne, mined and compared versions of individual plots according to their worldwide distribution. This technique raised objections among other school representatives. They argued that the plots of all fairy tales are related to each other. It is sometimes impossible to distinguish where one plot ends and where the second begins. But the mobility of elements in the Finnish school was not taken into account. Researchers of this school stated that each individual plot is an organic whole, that it can be isolated from the list of other plots and studied independently.
The plots of fairy tales are so closely related to each other that this issue requires preliminary consideration. The methods of this school required lists of subjects. It was compiled by Aarne.
This list has entered international use. It was now possible to encrypt fairy tales thanks to the Aarne pointer. The plots are named types, and each type is numbered. Here are the main categories:
1. a fairy tale about animals
2. fairy tales themselves
3. jokes
So fairy tales were divided into subsections:
1. wonderful opponent
2. wonderful spouse
3. wonderful task
4. wonderful helper
5. wonderful item
6. miraculous power or skill
7. other wonderful motives
Aarne did not create his own classification. His index is valuable as a practical reference.
A.N. spoke a lot about the description of the fairy tale. Veselovsky. The plot is a complex of motives. The motif can be associated with various subjects. The motive, according to A.N. Veslovsky, there is something primary, and the plot is secondary. A motive is an indecomposable unit of storytelling. "The hallmark of a motive is its figurative, single-member schematism; these are the elements that cannot be further decomposed lower mythology and fairy tales." If a motive is something logically whole, then every phrase of a fairy tale gives a motive. An example of motives: a father has three sons, a stepdaughter leaves the house, Ivan fights the Serpent, etc. Let’s take the motive “The Serpent kidnaps the Tsar’s daughter.” decomposes into 4 elements, which can vary: the serpent can be replaced by Koshchei, the devil, the whirlwind, the sorcerer. The daughter can be replaced by a sister, a wife, a bride, a mother; , contrary to A.N. Veselovsky, it can be argued that the motive is not single-membered.
Often different heroes fairy tales perform the same actions. Let's compare the following cases:
· the king gives the daredevil an eagle. The eagle carries the daredevil to another kingdom;
· Grandfather gives Suchenka a horse. The horse takes Suchenko to another kingdom;
· the sorcerer gives Ivan a boat. The boat takes Ivan to another kingdom;
· the princess gives Ivan a ring. The fellows from the ring take Ivan to another kingdom.
So, a fairy tale has a dual quality: on the one hand, it amazes with its variety, on the other, with its repetition.
A function is an act of an actor, defined in terms of its significance for the course of action. The constant stable elements of a fairy tale are the functional actions of persons, regardless of who and how they are embodied. They form the main component of the tale. However, we should not forget that the number of functions known to a fairy tale is limited; the sequence of functions is always the same. All fairy tales are of the same type in their structure.
Literature and theater are inextricably linked. From this point of view, fairy tales can be divided into:
1. fairy tales written specifically for stage production (plays by S. Marshak, E. Shvartsov);
2. literary tales that have become a source for other types of art (dramatic and puppet shows, ballet, opera and musical).
Charles Perrault ( French poet) is one of the first European collectors of fairy tales. In 1697, he published the collection Tales of Mother Goose. In 1704-1717, Antoine Galland published an abridged version of the Arabian tales "A Thousand and One Nights", intended for the king Louis XIV. But this process was not of a mass nature and was a one-time event. A systematic approach to folklore was taken by representatives of the German mythological school, members of the circle of Heidelberg romantics, the Brothers Grimm. After publication in 1812-1814. collection "Home and Family German fairy tales", writers from other countries also developed interest in fairy tales. The predecessor of the Grimm brothers, the German writer Johann Karl August Museus, wrote a collection in five volumes, "Folk Tales of the Germans" (1782-1786). However, this collection was published by his friend Wieland.
In Russia, the great folklorist is the ethnographer and collector of Russian fairy tales Alexander Nikolaevich Afanasyev. He published a collection in 1870 entitled "Russian Children's Fairy Tales". Dal and Avdeev also distinguished themselves on this basis. They collected and organized children's folklore. And the ethnographer-collector Shane singled out children’s folklore as special area science. Malkovich (a poet of Ukraine) popularized and collected fairy tales.
Thus, it can be noted that a fairy tale, in all its diversity of genres and content, is still not an illusion of reality. She creates her own reality. A fairy tale is a game by the author, which the reader or viewer is invited to play. A fairy tale is a masquerade that allows you to try on symbolic images of real human properties.
Are the most popular view folklore, they create an amazing artistic world in which all the possibilities of this genre are revealed in full. When we say “fairy tale,” we often mean magical story, which fascinates children from the very beginning youth. Why does she captivate her listeners/readers? Let's try to understand this and thus highlight the main features of a fairy tale.
Fiction is the main feature
The most important feature of a fairy tale is that its world and all events are based solely on fiction. When listing the characteristics of a fairy tale, one should begin with the ability to tear the reader away from everyday life and transport him to a fictional world that has no resemblance to the real one. Because in fairy tale world The boundaries of space and time are erased, and there are many examples of this: the thirtieth state, which is located far away, or the countdown of time, which is calculated in the magical system by such concepts as many and few.
Fairytale time is a circle that closes on itself. The fairy tale begins in a magical world, a space where the usual laws of physics do not apply and time is calculated according to completely different rules. Take, for example, the most common and most beloved technique used in fairy tales - triple repetition (which is most important leading place in the classification “signs of a fairy tale”). It is usually used at the very beginning of fairy-tale events and allows you to slow down the development of actions. The ending, on the contrary, speeds up; by the way, it is always happy and often ends with a wedding.
Fascinating story
What other signs of a fairy tale can be identified? The plot of the fairy tale is fascinating and very complex. It consists of episodes that are directly related to the main character and his task. The hero receives a task of a high level of difficulty, for which he is promised to be showered with gold, given a princess as his wife, or fulfilled some wish. Tasks can range from searching and obtaining an exotic item to eliminating some super-strong and powerful creature. And here the most interesting part of the fairy tale begins - the journey, which is also traditionally included in the list of “signs of a fairy tale.”
It's time to hit the road
The main character goes to distant and unknown lands and overcomes various obstacles and difficulties along the way. On a difficult journey, with his good deeds he wins the hearts of his comrades, who promise to help him in this difficult task. Together, thanks to cunning, they defeat ill-wishers, of whom there are many along the way to the main goal.
By the way, characters in fairy tales are divided into two groups. One of them includes main character together with his assistants, and in the other - the assistants of the main enemy and himself. Initially, the enemy is much stronger than the main character, and as events unfold, his advantage may even increase. But the main character always learns about the enemy’s weak point and a way to defeat him.
The effect of surprise
But with the main character’s capabilities, things are different: at first they are significantly understated. Signs of a fairy tale include the obligatory presence of a central and minor characters, their characteristics. The nicknames of the main character can indicate weak mental abilities; sometimes it also leaves much to be desired. This way the effect of surprise is achieved.
When all the side characters - strong, smart and skillful - fail to complete a difficult task for which a reward is due, then the main character appears, who, it seems, is even more unable to cope. But still they give him a chance so as not to discriminate. This turn of events can be classified as “signs of a folk tale.”
Thanks to his courage and good deeds during the journey main character receives various unique magical items or wins friends whom he saves from certain death. They often become talking animals, who subsequently help with tasks with their ideas or participate in the actions themselves.
Miracles in fairy tales are simply necessary. With their help, one can explain various phenomena, such as transformations into different creatures, instantaneous movements over any distance, and the victory of a weak positive hero over a strong negative one. All of the above can be described as signs of a folk tale.
Moral implications
The fairy tale gives lessons and develops right actions the main character is shown what a good person should be: he commits noble deeds and does not expect any reward for them. Thus, the fairy tale teaches the right things and gives a positive example to the little reader. Good must necessarily defeat evil, justice must triumph - the main idea of fairy tales.
All this is described in the fairy tale in a very simple, but very colorful and poetic language. The storytelling style of many fairy tales is very similar, but each of them is unique and interesting.
Poetics of magic
Let's summarize: what signs of a fairy tale have we discovered? It has a special composition; it contains such a technique as threefold repetition; the fairy tale has unusual, magical plots in which miraculous transformations often occur; it also has negative and positive heroes, and good necessarily defeats evil.
It is not at all difficult to identify the characteristics of a fairy tale - it is a mandatory inclusion in the content of a certain attitude towards fiction, which will determine the poetics of the fairy tale. In it, two worlds exist in parallel - the real and the magical, into which the hero finds himself from the real. In a fairy tale, the motive of a journey can be traced, during which the main character will have to go through many tests and also in a fairy tale, the hero is often helped by some kind of magical assistant or accompanies him to his cherished goal. Often, the main character is given various magical objects as a gift for performing a good deed.
Folk poetry (folklore) is the art of the spoken word and is the subject of collective creativity. There are three types of works in folklore: epic, lyric and drama. A folk tale belongs to the epic genre.
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Features of a fairy tale as a genre of oral folk art
Folk poetry (folklore) is the art of the spoken word and is the subject of collective creativity. There are three types of works in folklore: epic, lyric and drama. A folk tale belongs to the epic genre.
Researchers define a fairy tale differently as special genre oral folk art. The initial elements most often cited are the oral existence of a fairy tale, a focus on entertainment, the unusualness of the events depicted (A.N. Afanasyev, E.V. Pomerantseva, Yu.M. Sokolov), a special compositional stylistic structure (V.Ya. Propp).
In particular, V.P. Anikin defines fairy tales as “oral prose artistic narratives created and traditionally preserved by the people with such real content that necessarily requires the use of techniques of implausible depiction of reality.”
This understanding of the fairy tale seems to us the most complete and we will adhere to it in our work.
Currently, there is a division of the fairy tale into three genre varieties- fairy tales about animals, everyday short story tales and fairy tales. Each of these varieties has its own plots, characters, poetics, and style.
Researchers of folk tales (V.P. Anikin, V.A. Bakhtina, R.M. Volkov, V.Ya. Propp, etc.) as distinctive feature A fairy tale is called its magical-fantastic beginning. Fiction requires an implausible reproduction of life phenomena and is semantically related to people's ideals. A.M. Gorky called the fantastic beginning in the fairy tale “an instructive invention”, the ability of “human thought to look ahead of the fact.” The unity of the magical and the fantastic makes fairy tales especially attractive to children.
In folklore there are three thematic groups fairy tale:
1. Magically-heroic, snake-fighting type (“Battle on Kalinov Most", "Three Kingdoms").
2. Magically heroic, where heroes perform difficult tasks (“Sivka-burka”, “Rejuvenating apples”).
Z. Fairy tales with family and everyday conflict (“Geese-swans”, “Sister Alyonushka and brother Ivanushka”).
The problem of the idea of a fairy tale is connected with its moral ideal, the system moral values embodied in the images of heroes. The positive hero of a fairy tale, regardless of social affiliation and type of activity (man, soldier, prince, etc.) is a bearer of ideal human properties, a role model.
A fairy tale has special techniques for highlighting an extraordinary hero: miraculous birth, stepwise narrowing, etc. The image of the hero of a fairy tale is a “ready-made character” and does not change throughout the work, but only receives a more detailed description and is depicted in its internal qualities. The image of the main character is the center of the work; the rest of the characters are grouped around him. In the system of fairy tale images, three planes are distinguished:
1. Positive heroes(heroes are heroes, heroes are not heroes).
2. Helpers of the hero (people, animals, fantastic creatures).
H. The hero’s opponents (people and fantastic creatures).
Relationship characters are expressed in various compositional forms (connection, pairing, comparison, contrast). The magical character of the fairy tale characters is created thanks to special techniques: hyperbole (excessive exaggeration of the properties of the depicted object), agglutination (combination of different external features in one character), personification natural phenomena and elements (similarity to animate objects), a miraculous change in volume. Picture real world, where the main character lives, is contrasted with a fantasy world, the inhabitants of which are his opponents (Baba Yaga, Koschey the Immortal, Serpent-Gorynych, Dashing One-Eyed, etc.). In addition to fantastic creatures, people (older brothers or sisters) can act as antagonists. The introduction of these characters emphasizes the high moral qualities main character.
As noted by V.Ya. Propp, fairy-tale characters with their attributes can be represented by seven characters: antagonist, donor, assistant, princess or her father, sender, hero and false hero, each of which has its own range of actions, that is, one or more functions. This set of roles, according to the author, is unchanged for all fairy tales.
In a fairy tale, a character is revealed only in action, and characters who perform the same role in the plot perform the same actions.
The main character of a fairy tale, as the bearer of the moral values of the people, is the main means of revealing the theme and idea of the work. The image of the main character, being the center of the plot, unites other characters around itself and ensures the unity of the work as a whole.
The main task of a fairy tale is to test the hero, to see how he can cope with difficult tasks. The main character needs to prove whether he is really smart, brave, strong. The whole fairy tale is a building, the top of which is a happy ending. bad endings this genre of fairy tales does not know. The entire structure of the fairy tale is directed towards this end, ensures it, prepares the final victory of the hero and his reward.
The unity of a work is primarily related to its composition. A fairy tale is a narrative in which the sequence of the story is based on the conveyance of developing events and the actions of the characters. The order of development of events is carried out unilinearly in accordance with their “unfoldment in time and movement in space.” In a fairy tale, one can distinguish narration (a story about events) and dialogues - scenes. Their alternation determines the composition of the oral “text”.
G. I. Vlasova identifies three structural parts of a fairy tale: test- reaction - rewarding / punishment of heroes, which corresponds to the nature of the moral development of children. This supporting-semantic core of the fairy-tale narrative determines the originality of the plot-compositional structure: simplicity, brevity, stability, repetition of component parts, the predominance of dialogues.
One of the means that gives the work integrity and unity, along with the image of the hero and composition, is the plot. The main elements of a plot are the beginning, the development of action with a climax, and the denouement.
The plot of the tale is quite monotonous and traditional. According to R.M. Volkov, the entire fairy tale plot can be reduced to a small number of options corresponding to the approximate number of fairy tale plots.
The development of an action is a single line of events interconnected and consistently developing over time in a cause-and-effect relationship. As noted by N.I. Kravtsov, the development of the plot in a fairy tale respects not only the temporal sequence of actions, but also their unity, which leads to a strong connection between the episodes of the fairy tale.
The end of the tale resolves the conflict and resolves the contradictions. The denouement can be represented by the following options: a description of the well-being of the heroes, punishment (possibly cruel) of negative characters, a description of the hero’s generosity (forgiveness).The tale covers a lot of events; These events dynamically replace each other, there is a rapid transition from despair to hope, from sadness to joy, feelings of fear and triumph replace each other. Often, to prolong the fairy tale narrative, the technique of repeating the same motif three times with various options. In a fairy tale, the beginning and end of the story are always very clearly marked.
The idea of a fairy tale is always clear, the events are extraordinary, the victory of the good over the evil is final.
The world of wonderful objects in a fairy tale is diverse, and ordinary peasant objects can become magical: a towel, a ball of thread, a comb, a carpet, boots, a tablecloth, a saucer, etc. magical items are genetically linked to primitive magic and at the same time reflect in the fairy tale the dream of improving the tools of production and the technical capabilities of man.
The tale knows no descriptions, there are no portraits or landscapes that slow down the action. Even if in a fairy tale there is a need to describe the portrait of the heroine in order to show her perfection, then the portrait is given through a refusal to describe: “such beauty that neither can be said in a fairy tale nor described with a pen.”
But to create entertainment, to keep the listener in suspense, some slowing down of the action is still necessary. And in a fairy tale, this slowdown is achieved by repeating dynamic elements, that is, repeating the action itself: the same episode is repeated three times in a fairy tale, but the development does not proceed in a circle, but in a spiral: each repetition carries reinforcement, or two repeat each other, but strengthening in the third and last. Seeking the hand of the Princess, the hero completes difficult tasks three times, and each new task is more difficult than the previous one: three times he fights the snake, and each new opponent is stronger than the one already defeated.
There are special rules for the verbal presentation of a fairy tale, a special “ritual” for telling it. It is told differently from an animal or everyday tale. The development of the plot here may be preceded by a saying that puts the listener in a special mood, preparing him for immersion in the world of incredible events: “This happened at sea, on the ocean, on the island of Kidan. There is a tree - golden domes: on this tree he walks cat Bayun; he goes up - he sings a song, and he goes down - he tells fairy tales... This is not a fairy tale, but also a saying, and the whole fairy tale lies ahead.” But a saying is not a necessary element of a fairy tale.
Next, mandatory element fairy tales is the beginning. It indicates the place where the action will take place, the time when it will take place, and determines the main characters of the fairy tale. The peculiarity of the beginning is that the fairy tale never points to a specific place. While naming the main characters, the fairy tale never describes them (the heroes are typical for various fairy tales).
The action of a fairy tale, determined in the beginning, moves and develops in the main part of the fairy tale. It moves only forward (there are no branches, prospects, retrospectives). The action starts from nowhere and goes nowhere.
Accordingly, a humorous or ironic ending emphasizes the conventionality of what is being told and returns the listener to reality: “I was there, I drank honey-beer, it flowed down my mustache, but it didn’t get into my mouth,” “It’s a fairy tale, you can’t lie anymore,” etc.
Over the many years of the existence of fairy tales, a rich set of traditional formulas and stable phrases has been developed, and storytellers use them in similar situations of various plots. “Soon the tale is told, but the deed is not done soon,” say storytellers, to emphasize the duration of events; when approaching a forest hut fairy tale hero in any fairy tale he pronounces a magical spell formula: “Turn, little hut, with your front towards me and your back towards the forest!”
Formulas decorate a fairy tale, give it a special dimension, and distinguish it from everyday speech. The Formulas use syntactic parallelism, creating a special rhythm, sometimes rhyme: “Stand in front of me like a leaf in front of the grass!”, “I was at those feasts, drank mead beer, no matter how much I drank, I just wet my mustache,” etc. p.
The dynamics of a fairy tale require intellectual tension, comparison of facts and events while mastering the semantic line of the plot, i.e. stimulates cognitive activity. The stock of observations of nature and life that the people put into the content of the fairy tale enriches the experience of children. A fairy tale is an excellent means of developing speech. The laconicism and expressiveness of the language of the fairy tale allow us to talk about it as a source of enrichment for children’s speech. The multi-event nature of a fairy tale plot with a rigid formal organization of the narrative facilitates children's verbal creativity.
So, the fairy tale is one of the most developed and beloved genres of folklore by children. It reproduces the world in all its integrity, complexity and beauty more fully and brightly than any other type of folk art. The fairy tale gives richest food children's imagination, develops imagination - this most important trait of a creator in any area of life. And accurate expressive language fairy tales are so close to the mind and heart of a child that they are remembered for a lifetime. It is not without reason that interest in this type of folk art does not dry out. From century to century, from year to year they are published and republished classic records fairy tales and literary adaptations of them. Fairy tales are heard on the radio, broadcast on television, and staged in theaters and cinemas.
Classification of fairy tales. Characteristics of each species
The most important ideas, main issues, plot cores and - most importantly - the alignment of forces that bring about good and evil are essentially the same in fairy tales of different peoples. In this sense, any fairy tale knows no boundaries; it is for all humanity.
Folklore studies have devoted a lot of research to the fairy tale, but defining it as one of the genres of oral folk art still remains an open problem. The heterogeneity of fairy tales, the wide thematic range, the variety of motives and characters contained in them, the countless number of ways to resolve conflicts really make the task genre definition fairy tales are very complex.
And yet, the divergence in views on a fairy tale is associated with what is regarded as the main thing in it: an orientation toward fiction or the desire to reflect reality through fiction.
The essence and vitality of a fairy tale, the secret of its magical existence is in the constant combination of two elements of meaning: fantasy and truth.
On this basis, a classification of types of fairy tales arises, although not entirely uniform. Thus, with a problem-thematic approach, fairy tales dedicated to animals, tales about unusual and supernatural events, adventure tales, social and everyday tales, anecdote tales, upside-down tales and others are distinguished.
The groups of fairy tales do not have sharply defined boundaries, but despite the fragility of the demarcation, such a classification allows you to start a substantive conversation with the child about fairy tales within the framework of a conventional “system” - which, of course, makes the work of parents and educators easier.
To date, the following classification of Russian folk tales has been accepted:
1. Tales about animals;
2. Fairy tales;
3. Everyday tales.
Let's take a closer look at each type.
Animal Tales
Folk poetry embraced the whole world; its object was not only man, but also all living things on the planet. By depicting animals, the fairy tale gives them human traits, but at the same time it records and characterizes their habits, “way of life,” etc. Hence the lively, intense text of fairy tales.
Man has long felt a kinship with nature; he truly was a part of it, fighting with it, seeking its protection, sympathizing and understanding. The later introduced fable, parable meaning of many fairy tales about animals is also obvious.
In fairy tales about animals, fish, animals, birds act, they talk to each other, declare war on each other, make peace. The basis of such tales is totemism (belief in a totem animal, the patron of the clan), which resulted in the cult of the animal. For example, the bear, which became the hero of fairy tales, according to the ideas of the ancient Slavs, could predict the future. He was often thought of as a terrible, vengeful beast, unforgiving of insults (the fairy tale “The Bear”). The further the belief in this goes, the more confident a person becomes in his abilities, the more possible is his power over the animal, the “victory” over him. This happens, for example, in the fairy tales “The Man and the Bear” and “The Bear, the Dog and the Cat.” Fairy tales differ significantly from beliefs about animals - in the latter, fiction associated with paganism plays a large role. The wolf is believed to be wise and cunning, the bear is terrible. The fairy tale loses its dependence on paganism and becomes a mockery of animals. Mythology in it turns into art. The fairy tale is transformed into a kind of artistic joke - a criticism of those creatures that are meant by animals. Hence the closeness of such tales to fables ("The Fox and the Crane", "Beasts in the Pit").
Tales about animals are allocated to a special group based on the nature of the characters. They are divided by type of animal. This also includes tales about plants, inanimate nature (frost, sun, wind), and objects (a bubble, a straw, a bast shoe).
In fairy tales about animals, man:
1) plays a minor role (the old man from the fairy tale “The Fox Steals Fish from the Cart”);
2) occupies a position equivalent to an animal (the man from the fairy tale “The old bread and salt is forgotten”).
Possible classification of tales about animals.
First of all, a fairy tale about animals is classified according to the main character (thematic classification). This classification is given in the index of fairy-tale plots of world folklore compiled by Arne-Thomson and in the “Comparative Index of Plots. East Slavic Fairy Tale”:
1. Wild animals.
Other wild animals.
2. Wild and domestic animals
3. Man and wild animals.
4. Pets.
5. Birds and fish.
6. Other animals, objects, plants and natural phenomena.
The next possible classification of a fairy tale about animals is a structural-semantic classification, which classifies the fairy tale according to genre. There are several genres in a fairy tale about animals. V. Ya. Propp identified such genres as:
1. Cumulative tale about animals.
3. Fable (apologist)
4. Satirical tale
E. A. Kostyukhin identified genres about animals as:
1. Comic (everyday) tale about animals
2. A fairy tale about animals
3. Cumulative tale about animals
4. A short story about animals
5. Apologist (fable)
6. Anecdote.
7. A satirical tale about animals
8. Legends, traditions, everyday stories about animals
9. Tales
Propp, in the basis of his classification of animal tales by genre, tried to put a formal feature. Kostyukhin, on the other hand, partly based his classification on a formal feature, but basically the researcher divides the genres of fairy tales about animals according to content. This allows us to better understand the diverse material of fairy tales about animals, which demonstrates the variety of structural structures, diversity of styles, and richness of content.
The third possible classification of a fairy tale about animals is a classification based on the target audience. Tales about animals are divided into:
1. Children's fairy tales.
Fairy tales told for children.
Tales told by children.
2. Adult fairy tales.
This or that genre of animal tales has its own target audience. Modern Russian fairy tales about animals mainly belong to a children's audience. Thus, fairy tales told for children have a simplified structure. But there is a genre of fairy tales about animals that will never be addressed to children - this is the so-called. A "naughty" ("cherished" or "pornographic") tale.
About twenty plots of fairy tales about animals are cumulative fairy tales. The principle of such a composition is the repeated repetition of a plot unit. Thompson, S., Bolte, J. and Polivka, I., Propp identified fairy tales with cumulative composition as a special group of fairy tales. The cumulative (chain-like) composition is distinguished:
1. With endless repetition:
Boring tales like “About the White Bull.”
A unit of text is included in another text (“The priest had a dog”).
2. With End Repetition:
- “Turnip” - plot units grow into a chain until the chain breaks.
- “The cockerel choked” - the chain unravels until the chain breaks.
- “For a rolling duck” - the previous unit of text is negated in the next episode.
Another genre form fairy tales about animals is the structure of a fairy tale ("The Wolf and the Seven Little Goats", "The Cat, the Rooster and the Fox").
The leading place in fairy tales about animals is occupied by comic tales - about the pranks of animals ("The fox steals fish from a sleigh (from a cart"), "The wolf at the ice hole", "The fox coats its head with dough (sour cream), "The beaten one carries the unbeaten", "The fox midwife ", etc.), which influence other fairy-tale genres of animal epic, especially the apologist (fable). The plot core of a comic tale about animals consists of a chance meeting and a trick (deception, according to Propp). Sometimes they combine several meetings and pranks. The hero of a comic fairy tale is a trickster (one who commits tricks). The main trickster of the Russian fairy tale is the fox (in the world epic - the hare). Its victims are usually a wolf and a bear. It has been noticed that if a fox acts against the weak, it loses, if against the strong, it wins. This comes from archaic folklore. In the modern animal tale, the victory and defeat of the trickster often receives a moral assessment. The trickster in the fairy tale is contrasted with the simpleton. It can be a predator (wolf, bear), or a person, or a simple animal, like a hare.
A significant part of fairy tales about animals is occupied by an apologist (fable), in which there is not a comic principle, but a moralizing, moralizing one. Moreover, the apologist does not necessarily have to have a moral in the form of an ending. The moral comes from the story situations. Situations must be unambiguous in order to easily form moral conclusions. Typical examples of an apologist are fairy tales where there is a clash of contrasting characters (Who is more cowardly than a hare?; Old bread and salt is forgotten; A splinter in the paw of a bear (lion). An apologist can also be considered such stories that were known in literary fable since ancient times (The Fox and the Sour Grapes; The Crow and the Fox and many others). The Apologist is a relatively late form of animal tales. Refer to the time when moral standards They have already decided and are looking for a suitable form for themselves. In fairy tales of this type, only a few plots with tricksters' tricks were transformed; the apologist (not without the influence of literature) developed some of the plots himself. The third way of development of the apologist is the growth of proverbs (proverbs and sayings. But unlike proverbs, in the apologist the allegory is not only rational, but also sensitive.
Next to the apologist stands the so-called short story tale about animals, highlighted by E. A. Kostyukhin. A short story in an animal fairy tale is a story about unusual incidents with a fairly developed intrigue, with sharp turns in the fate of heroes. The tendency towards moralization determines the fate of the genre. It has a more definite moral than the apologist, the comic element is muted or completely removed. The mischief of a comic fairy tale about animals is replaced in the novella with a different content - entertaining. A classic example of a short story about animals is "Grateful Animals." Most of the plots of folklore short stories about animals develop in literature and then pass into folklore. The easy transition of these plots is due to the fact that they themselves literary subjects are formed on a folklore basis.
Speaking about satire in fairy tales about animals, it must be said that literature once gave impetus to the development of the satirical fairy tale. The condition for the appearance of a satirical tale arises in late Middle Ages. The satirical effect folk tale is achieved by putting social terminology into the mouths of animals (Fox the Confessor; Cat and Wild Animals). The plot of “Ruff Ershovich”, which is a fairy tale of book origin, stands apart. Arriving late in folk tale satire did not take hold in it, since in a satirical tale one can easily remove social terminology.
So in the 19th century, the satirical fairy tale was unpopular. Satire within a fairy tale about animals is only an accent in an extremely small group of stories about animals. And on satirical tale influenced by the laws of animal fairy tales with trickster tricks. The satirical sound was preserved in fairy tales where there was a trickster in the center, and where there was complete absurdity of what was happening, the fairy tale became a fable.
Fairy tales
Fairy tales magical type include magical, adventure, heroic. At the heart of such fairy tales is a wonderful world. The wonderful world is an objective, fantastic, unlimited world. Thanks to the unlimited fantasy and the wonderful principle of organizing material in fairy tales with wonderful world possible “transformation”, amazing in its speed (children grow by leaps and bounds, every day they become stronger or more beautiful). Not only the speed of the process is unreal, but also its very character (from the fairy tale “The Snow Maiden.” “Look, the Snow Maiden’s lips turned pink, her eyes opened. Then she shook off the snow and a living girl came out of the snowdrift.” “Conversion” in fairy tales of a wonderful type, usually occur with the help of magical creatures or objects.
Basically, fairy tales are older than others; they bear traces of a person’s primary acquaintance with the world around him.
A fairy tale is based on a complex composition, which has an exposition, a plot, plot development, a climax and a denouement.
The plot of a fairy tale is based on a story about overcoming loss or lack, with the help of miraculous means or magical helpers. In the exhibition of the fairy tale there are consistently 2 generations - the older (the king and the queen, etc.) and the younger - Ivan and his brothers or sisters. Also included in the exhibition is the absence of the older generation. An intensified form of absence is the death of the parents. The plot of the tale is that the main character or heroine discovers a loss or shortage, or there are motives of prohibition, violation of the prohibition and subsequent disaster. Here is the beginning of counteraction, i.e. sending the hero from home.
Plot development is a search for what is lost or missing.
The climax of a fairy tale is that the protagonist or heroine fights an opposing force and always defeats it (the equivalent of fighting is solving difficult problems that are always solved).
Denouement is overcoming a loss or lack. Usually the hero (heroine) “reigns” at the end - that is, acquires a higher social status than he had at the beginning.
V.Ya. Propp reveals the monotony of a fairy tale at the plot level in a purely syntagmatic sense. It reveals the invariance of a set of functions (the actions of actors), the linear sequence of these functions, as well as a set of roles, in a known manner distributed among specific characters and correlated with functions. Functions are distributed among seven characters:
Antagonist (pest),
Donor
Assistant
The princess or her father
Sender
False hero.
Meletinsky, identifying five groups of fairy tales, tries to resolve the issue historical development genre in general, and plots in particular. The tale contains some motifs characteristic of totemic myths. The mythological origin of the universally widespread fairy tale about a marriage with a miraculous “totem” creature, which has temporarily shed its animal shell and taken on human form, is quite obvious (“A husband is looking for a missing or kidnapped wife (a wife is looking for a husband)”, “The Frog Princess”, “ Scarlet flower", etc.). A tale about visiting other worlds to free the captives there ("Three underground kingdoms", etc.). Popular fairy tales about a group of children who fall into the power of an evil spirit, a monster, an ogre and are saved thanks to the resourcefulness of one of them (“The Witch’s Little Thumb”, etc.), or about the murder of a powerful serpent - a chthonic demon (“The Conqueror of the Serpent,” etc. .). In a fairy tale, we are actively developing family theme(“Cinderella”, etc.). For a fairy tale, a wedding becomes a symbol of compensation for the socially disadvantaged (“Sivko-Burko”). The socially disadvantaged hero (younger brother, stepdaughter, fool) at the beginning of the fairy tale, endowed with everything negative characteristics from his environment, is endowed with beauty and intelligence in the end (“The Little Humpbacked Horse”). The distinguished group of tales about wedding trials draws attention to the narrative of personal destinies. The novelistic theme in a fairy tale is no less interesting than the heroic one. Propp classifies the genre of fairy tales by the presence of “Battle - Victory” in the main test or by the presence of a “Difficult problem - Solution” difficult task"The logical development of the fairy tale was the everyday fairy tale.
Everyday tales
A characteristic feature of everyday fairy tales is the reproduction in them everyday life. The conflict of an everyday fairy tale often consists in the fact that decency, honesty, nobility under the guise of simplicity and naivety is opposed to those personality qualities that have always caused sharp rejection among the people (greed, anger, envy).
As a rule, in everyday fairy tales there is more irony and self-irony, since Good triumphs, but the randomness or singularity of his victory is emphasized.
The variety of everyday fairy tales is characteristic: social-everyday, satirical-everyday, novelistic and others. Unlike fairy tales, everyday fairy tales contain a more significant element of social and moral criticism; they are more definite in their social preferences. Praise and condemnation sound stronger in everyday fairy tales.
IN lately In the methodological literature, information began to appear about a new type of fairy tales - about fairy tales mixed type. Of course, fairy tales of this type have existed for a long time, but they were not given much importance, because they forgot how much they can help in achieving educational, educational and developmental goals. In general, fairy tales of a mixed type are fairy tales of a transitional type.
They combine features inherent in fairy tales with a wonderful world, everyday tales. Elements of the miraculous also appear in the form of magical objects, around which the main action is grouped.
Fairy tale in different forms and scale strives to embody the ideal of human existence.
The fairy tale's belief in the intrinsic value of nobles human qualities, an uncompromising preference for the Good are also based on a call for wisdom, activity, and true humanity.
Fairy tales broaden one's horizons, awaken interest in the life and creativity of peoples, and foster a sense of trust in all the inhabitants of our Earth engaged in honest work.
