Presentation on speech development on the topic: Propp's cards. Own fairy tales using the proppa method
Propp's cards as a means of teaching children
senior preschool age
creative storytelling (from work experience).
L.T. Agafonova
(teacher of the highest qualification category)
Among all types of communication monologue speech creative storytelling is the most difficult. Such stories are compiled based on children's imagination. The main functions of the imagination are the transformation of the experience gained as a result of various combinations of experienced impressions.
At the age of 5-6 years, in addition to speech readiness for verbal creativity, preschoolers also develop certain psychological prerequisites. Famous scientist A.V. Zaporozhets considers imagination as mental process, which has the greatest plasticity in preschool age and is easily amenable to pedagogical impact, and notes the importance of systematic, consistent work to translate chaotically emerging imaginary images into “new products” “visible” for the child.
When teaching children creative storytelling and composing fairy tales, I use Propp cards (Appendix 1). For examples of fairy tales invented by children, see Appendix No. 2.
The remarkable folklorist V.Ya. Propp, studying fairy tales, analyzed their structure and identified constant functions. There are 31 of these functions, but, of course, not every fairy tale contains them in full. The sequence of functions may also be disrupted: jumps, additions, combinations, which, however, do not contradict the main flow of the tale. A fairy tale can begin from the first function, from the seventh, from the twelfth, but it is unlikely to return, restoring missing events.
Propp identified 20 main functions. To work with preschool children, eight are enough.
The usefulness of Propp's maps
Visualization allows the child to retain much more in memory. more information.
The functions presented in the cards are generalized actions, which allows the child to abstract from the specific action of the hero, and, consequently, the child develops abstract, logical thinking.
Cards stimulate the development of attention, perception, imagination, creative imagination, strong-willed qualities; enrich emotional sphere, activate coherent speech, enrich the vocabulary; help increase search activity.
Preparatory games
Before you begin to directly compose fairy tales using Propp's cards, you should organize preparatory games, during which the guys will get to know and master all the fabulous functions:
“Miracles in a sieve” - how and with the help of what transformations and magic are carried out (magic word, wand and other objects, and their actions);
“Who is the meanest person in the world?” Identification of evil and treacherous fairy-tale heroes, description of them appearance, character, lifestyle, habits, home (positive heroes are analyzed in the same way);
“Treasured words” is an attempt to isolate the most effective, meaningful words in a fairy tale ( magic words, fabulous sentences, repentance of a false hero);
“What will be useful on the road?” (self-assembled tablecloth, walking boots, scarlet flower, treasure sword, etc.). Inventing new helper items;
"What's in common?" - comparative analysis various fairy tales from the point of view of the similarities and differences between them (“Teremok” and “Rukavichka”; “Moroz Ivanovich” and “Mistress Blizzard”);
"Magic names." Finding out the reasons why the hero was given exactly that name (Cinderella, Baba Yaga, Little Red Riding Hood, etc.);
“Good - bad” - identifying positive and negative traits the character of the heroes, their actions;
"Nonsense". Children come up with two unrelated sentences containing directly opposite functions. The main goal of the game is to understand the purpose of a particular function. For example, the following functions are specified: “prohibition - violation of the law.”
Sister Alyonushka forbade her brother to drink water from the hoof;
And the dog said: “Tuff! Tyaf! They are bringing bones to the old woman’s daughter in a bag!”
Sequence of getting to know the cards
Making cards. The cards used at the beginning of the work should be made in a plot manner and colorfully. In the future, use cards with a rather schematic image of each function, the meaning of which would be clear to children, or together with them, specify each image (Appendix No. 1).
Reproduction of a familiar fairy tale, differentiation: semantic parts and relationships with a specific function.
Joint search and finding of designated functions in new fairy tales (3-5 cards are used during one lesson).
Independent search for functions by children based on familiar and then new fairy tales.
Holistic development of fairy tale functions (the entire set of cards is used).
Writing fairy tales (first collectively and using a limited set of cards, gradually adding 3 - 4 cards). See Appendix No. 2.
Working with individual set cards (at first, children can be offered a ready-made name of the fairy tale, specify only the location of the action, the number of characters).
I wish you, dear colleagues, creative success, inquisitive students, responsive and interested parents to your students!
LITERATURE
Sidorchuk T. “Formation program creativity children." Obninsk 1998
Fesyukova L. “Education with a fairy tale.” Kharkov. 1996.
Belobrykina O. “Speech and Communication.” Yaroslavl: Academy of Development, 1998.
Propp's maps
Appendix 2
Examples of fairy tales invented by children of a preparatory speech group using cards Proppa.
Nikita Yurchenko
Fairy tale "Dragonfly and Beetle"
Beetle, Dragonfly and Bumblebee were friends.
One evening the Beetle and the Dragonfly were playing hide and seek. But Bumblebee didn’t want to play, he told his friends: “Don’t hide in the flowers - you’ll get in trouble.”
The Dragonfly began to lead, and the Beetle hid in a flower.
The sun has already completely set, but the Dragonfly cannot find the Beetle. Suddenly he sees one flower swaying and somehow strangely ringing: “F – f – f.” With difficulty, the dragonfly opened the petals of the flower, and there was the Beetle: “Thank you, Dragonfly, for helping me get out. The sun set and the flower closed, so I found myself trapped. I didn’t listen to the Bumblebee, and that’s why I got into trouble.”
Functions (Propp's cards) used in inventing a fairy tale:
2. Violation
14. Difficult tests
15. Elimination of trouble
20. Lesson learned: “You need to learn from other people’s mistakes, not your own.”
Vanya Ivanov
Fairy tale "The Fox and the Goat"
Once upon a time there lived a Fox and a Kosh. They decided to go for mushrooms. The weather was warm and sunny. They put on Panama hats, took baskets and went into the forest.
Neighbor Pig warned them not to vomit poisonous mushrooms. The Fox came across only inedible mushrooms, and the Goat came across edible ones. But Lisa still picked mushrooms and soon her basket was full. She decided to outwit the Goat and changed the baskets.
In the evening, the Goat and the Fox returned home. The Goat had a lot of mushrooms, and she called the Pig for help. The Pig and the Goat began to sort through the mushrooms, and the Pig noticed the substitution. She was very angry with the Fox, and the Goat was very offended by the Fox. And the Fox and the Goat no longer went mushroom picking together.
2. Violation of the ban
3. Sabotage
12. Returning home
17. Exposing the False Hero
20. Conclusion “The Fox is not Kose’s friend”
Collective
The Tale of the Cucumber
Cucumber was born in a cucumber patch in the garden. The cucumber was small, oval, green, with pimples and a yellow cap. Cucumber's older brothers: “Cucumber, Cucumber! Don’t go to that tip, the Mouse lives there and will bite your tail off!”
Cucumber is tired of lying in the garden bed. He decided to look: “Who is growing in the next garden bed?” He threw his whips over and found himself at the other end of the garden.
There were tomatoes growing in the garden bed. They were round, red, and smooth. The tomatoes exposed their shiny barrels to the sun. They were very happy about Cucumber, but their neighbor Dill didn’t like it, and he sent his children on “helicopters” to Mouse: “Mouse, Mouse, Cucumber has left his garden bed, there is no one to protect him.”
8. But then the boy Zucchini appeared.
12. His arms were long and strong. He placed the Cucumber on his leafy palm and instantly transferred it to the cucumber bed.
20. The whole cucumber family was happy about the return of the Cucumber. They unanimously thanked Zucchini.
Note: the numbers indicate the Propp maps used.
What's happened Propp's maps? Famous explorer fairy tales V.Ya. Propp analyzed the structure of Russians folk tales and identified a set of constants in them structural elements, or functions.
With the help Propp's map you can easily analyze the structure of a tale by breaking it down into functions again. to your child This will help you better understand the content of the tale and make retelling easier.
Action Plan
Stage 1: introduce children to as a genre literary work. Explain general structure fairy tales:
- saying, beginning (invitation to a fairy tale);
- narration;
- ending of the fairy tale (returning the listener to reality).
Stage 2: reading a fairy tale and accompanying the reading by laying out Propp's map;
Stage 3: retelling the fairy tale, based on Propp's maps;
Stage 4: at this stage you can try to compose fairy tales yourself using Propp's maps. For this, 5-8 cards are selected, the main characters are invented, and who will be chosen main character, the hero’s assistants and those who will harm him.
How to use creativity techniques
How can you use the fairy tale method to help your child cope with some task?
Using this method, the child, one way or another, identifies himself with the main character, plays out the situation, which ultimately helps, again, to creatively approach the task that has arisen before him and prepare for it psychologically.
To do this, you can start a fairy tale, for example, with the words: “A hero who looks like a baby goes to solve a problem. During the fairy tale, he solves the problem (problem), finds new friends, defeats the “dragon” and returns back happy.
It is advisable to direct the child to take full part in inventing (composing) a fairy tale, only occasionally helping and telling him how to “this way and that way...” build the development of the fairy tale.
In order to get the maximum effect from composing a fairy tale, it is recommended to follow a number of simple rules:
1 It is desirable that the main character and the child have some common features. Maybe they both like jam or watch the same cartoon.
2 When constructing a fairy tale, it is necessary to create a safe magical space for the main character. Therefore, formulas like: “A long time ago, in some kingdom-state” are used...
3 It’s good when the main character has a friend-helper in the space of a fairy tale. A friend in a fairy tale helps to ease mental stress and defuse emotions.
4 During the fairy tale, it is necessary to solve some problem. The main character solves a problem, acquires a certain skill and is transformed.
5 An antihero is introduced into the fairy tale - a character who must be defeated (or perhaps changed).
6 The ending of a fairy tale should be positive. The problem is solved, after which the hero returns home, receives half the kingdom and a beautiful wife.
Usage example
Here we provide a list of the main motives identified by the researcher Propp:
1. Once upon a time. We create a fabulous space. (Every fairy tale begins with introductory words“long ago”, “once upon a time”, “in the thirtieth kingdom”).
2. Special circumstance (“father died”, “the sun disappeared from the sky”, “the rains stopped pouring and a drought set in”).
4. Violation of the prohibition (the characters in fairy tales look out of the window, leave the yard, and drink water from a puddle; at the same time, a new face appears in the fairy tale - an antagonist, a pest).
5. The hero leaves home (in this case, the hero can either set off, be sent away from home, say, with the blessing of his parents to look for his sister, or be expelled, for example, a father takes his daughter expelled by his stepmother to the forest, or leave home, turning into a goat after the ban has been violated).
6. Appearance of a friend-assistant ( gray wolf, Puss in Boots).
7. A method of achieving the goal (this could be flying on a magic carpet, using a treasure sword, etc.).
8. The enemy begins to act (the snake kidnaps the princess, the witch poisons the apple).
9. Gaining victory (breaking evil spells, physical destruction of the antagonist - the Serpent, Koshchei the Immortal, victory in the competition).
10. Pursuit (what fairy tale, like a detective story, is complete without a chase? Heroes can be pursued by geese-swans, Serpent Gorynych, Baba Yaga, Dashing Accursed and other, no less “cute” characters).
11. The hero escapes from persecution (by hiding in a stove, turning into someone, or using magical means and covering vast distances).
12. The donor tests the hero. And then it appears new character– a wizard, a gnome, an old woman who needs help, or a beggar. Baba Yaga gives the girl a task to complete homework, The serpent invites the hero to lift a heavy stone.
13. The hero passes the test of the donor (everything is obvious).
14. Receiving a magical remedy (it can be transferred, made, bought, appear from nowhere, stolen, given by a donor).
15. Absence of the donor (Baba Yaga lets go in peace, the wizard disappears, the dragon hides back in the cave).
16. The hero enters into battle with the enemy (sometimes it is an open battle - with the Serpent Gorynych, sometimes a competition or a game of cards).
17. The enemy is defeated (in fairy tales, the antagonist is not only defeated in battle or competition, but also expelled or destroyed with the help of cunning).
18. The hero is marked (a mark is applied to the body or given a special object - a ring, a towel, an icon; he takes something from a defeated enemy).
19. The hero is given a difficult task (to get a ring from the bottom of the sea; to weave a carpet; to build a palace in one night; to bring something, I don’t know what).
20. The hero completes the task (how could it be otherwise?).
21. The hero is given a new look (a common technique is immersion in boiling water or hot milk, which makes the hero even more beautiful).
22. The hero returns home (usually this occurs in the same forms as the arrival, but it can also be a victorious arrival on a defeated dragon).
23. The hero is not recognized at home (sometimes due to external changes that have occurred to him, a spell cast, injury, growing up).
24. A false hero appears (that is, one who pretends to be a hero or takes credit for his merits).
25. Unmasking the false hero (this can happen as a result of special tests or evidence from authorities).
26. Recognizing the hero. (And then a substitution is discovered. The false hero is expelled in disgrace, and our character is embraced by a loving royal couple)
27. Happy ending (a feast for the whole world, a wedding, half a kingdom to boot).
28. Moral (what conclusion can be drawn from the story that happened).
You can download for free full archive Propp's map. In the archive, in one folder there are pictures separately, and in another there are two prepared sheets so that you can print them on a printer and use them for the game.
Fairy tales - powerful folklore genre. Most often about magic or heroism, mainly in prose. The fairy tale is characterized by the absence of claims to the historicity of the narrative and the fictionality of the plot. They are also ideal for solving complex problems. How?
To warm up, watch a short video about how you can tell a story using business cards, and then back to fairy tales.
Our compatriot, Vladimir Yakovlevich Propp, a philologist and folklorist, studied Russian and German philology, and was seriously involved in the study of Russian folk tales.
The most famous work scientist - “Morphology of a fairy tale,” which he published in 1928. In it, he identified the recurring constant elements (functions) of the character, laying the foundation for the structural-typological study of narrative.
What are we even talking about?
“Considering ethnic groups that have not yet parted with totemism (and do not have fairy tales as such), which are in the process of its decomposition and modern fairy tales"cultural" peoples, Propp comes to the conclusion about the unity of the origin of the fairy tale."
That is, all the fairy tales of the world consist of these functions (in literary criticism, a function is the action of a character as an actant). There are 31 of them in total, and they will help us a lot!
31 functions
Absence of a family member
prohibition addressed to the hero
violation of the ban
ferreting out
issuance
trick
involuntary complicity
sabotage (or shortage)
mediation
incipient opposition
the hero leaves home
the donor tests the hero
the hero reacts to the actions of the future donor
getting a magic remedy
the hero is transported or brought to the location of the search object
hero and antagonist come to blows
the hero is being tagged
antagonist defeated
trouble or shortage is eliminated
the hero's return
the hero is persecuted
the hero escapes persecution
the hero arrives home or to another country unrecognized
the false hero makes unreasonable claims
the hero is offered difficult task
the problem is being solved
the hero will be recognized
the false hero or antagonist is exposed
the hero is given a new look
the enemy is punished
the hero gets married
What's next?
And then everything is simple. Using these functions, you can break down any fairy tale or story into its components. And then analyze, swap functions and assemble your own fairy tale. It is not necessary to use all the functions, and perhaps you will not find many fairy tales with all the functions at once.
And to make it very easy, each function can be placed on a separate card and a thematic picture can be added there. A couple of links at the end of the post are archives with such cards (not everything is there, I never found a complete set).
Eee?
And now you are solving your difficult problem, you are the main character. Your problem is an evil enemy and special circumstance. You have friends and helpers, resources. You choose a way to achieve your goal - the usual method, or something more exotic, such as a quantum jump into subspace. You get a couple more functions from the list, determine their roles in your fairy tale, and start laying out the cards... Oh, yes. The ending should be happy. They crushed the enemy, overcame a special circumstance, did not lose friends and gained new ones, and found wealth along the way. Dream!
Where else can it be used?
Write your own fairy tales
- develop imagination in children and adults
- develop digital products
- have fun with friends
- conduct brainstorms and gamestorms
Childhood is a mythology.
These are fabulous answers to real questions.
V.S. Rabinovich
Links
StoryMaps is a cool and free app for creating stories and developing children's writing skills.
The design for this application was drawn by the designer
Methodology for working with maps of Vladimir Yakovlevich Propp has been known for a long time. But it has not lost its relevance even today. Tasks, which are solved using this technique fully comply with the provisions and requirements of the Federal State Educational Standard for Education:
- the ability to think through a plan, follow it in an essay, choose a topic is formed, interesting story, heroes;
— cards develop attention, perception, fantasy, imagination, enrich the emotional sphere, activate oral coherent speech;
— cards develop personality activity, without leaving the child indifferent to the fairy tale plot.
Folklorist Vladimir Yakovlevich Propp studied in detail the fairy tales of the peoples of the world, analyzed hundreds of plots and identified 31 permanent functions , without which no one can do fabulous work. It is not necessary that they will all be present together in the fairy tale; sometimes their sequence is disrupted, but the idea and content of the fairy tale do not suffer.
J. Rodari reduced the number of these functions up to 20 :
- prohibition or order; 2. violation; 3. sabotage; 4. departure of the hero; 5. task; 6. meeting with the donor; 7. magical gifts; 8. appearance of the hero; 9. supernatural properties of the antihero; 10. fight; 11. victory; 12. returning home; 13. arrival home; 14. false hero; 15. difficult trials; 16. elimination of trouble; 17. recognition of the hero; 18. exposing the false hero; 19. punishment of the false hero; 20. Wedding or happy ending.
Here are some examples : ban acts as a strong motive and forces one to argue with existing authority. In the fairy tale “Tiny - Khavroshechka,” the cow says: “Don’t eat my meat, collect my bones, tie them in a scarf, plant them in the garden, water them with water every morning.” IN in this case Khavroshechka did not violate the ban. And in "Geese-Swans" - parents forbade leaving the house. Alyonushka did not listen. Happening breaking the rules . Sabotage committed by the protagonist's ill-wisher (geese-swans). The Firebird steals golden apples (“The Tale of Ivan Tsarevich, the Firebird and the Gray Wolf.”
By the way, all detective stories (films and books) can be sorted into these functions quite easily.
Methodology
The listed 20 functions must be drawn and made in the form of cards. On each card, any symbolic image is invented. Don't forget that getting to know the fabulous functions involves accumulation large set fairy tale images , characters, knowledge of many fairy tales and secrets of constructing fairy tales (structure).
Saying. Initiation(Invitation to a fairy tale).
The saying itself puts listeners in a special mood, transports them to fairy world. The sayings sound significant and promising. The role of the saying is similar to the role of the epic chorus and mostly not related to the plot of the fairy tale. Target - prepare the audience for listening to the fairy tale, interest it. The teacher can start like this:
- Do you want a fairy tale? A fairy tale is a knitted yarn, it is woven from moonlight, tied with a sunbeam, and entwined with a cloud belt.
- Beyond the distant fields, beyond the deep seas, beyond high mountains, among the azure glades, in a certain kingdom, a heavenly state, there lived...
- In some kingdom, in some state...or in the distant kingdom, the thirtieth state...
Ending
The ending, like a saying, limits (separates) the fairy tale from real life and brings listeners back to reality. Ending options:
- They organized a feast for the whole world, I was there, I drank honey and beer, it flowed down my mustache, but it didn’t get into my mouth.
- Here's a fairy tale for you, and a bunch of bagels for me.
- This is where the fairy tale ends, and whoever listened, well done.
The saying and the ending form a frame in which the storyteller includes narration .
A fairy tale is usually saturated traditional, so-called fabulous formulas: speech cliches, rhythmic proverbs that characterize various actions and descriptions of characters, constant epithets etc.:
- The king began to celebrate feasts and invite guests.
- Hut, hut! Stand in the old way, as your mother put you - with your back to the forest, and your front towards me.
- He became such a fine fellow - he couldn’t think of it, couldn’t guess, couldn’t describe it with a pen.
- The horse runs, the earth trembles, flames burst from its ears.
- Treasure sword, Vasilisa the Beautiful, self-assembled tablecloth, etc.
It is necessary to explain to children that a fairy tale begins with some extraordinary event, where main role played by a magical creature. Sooner or later, the hero of a fairy tale encounters evil forces or great difficulties and obstacles, and then overcomes them. The hero usually completes difficult tasks with the help of magical objects or creatures.
When children have knowledge of many fairy tales, you can conduct several thematic classes or task games, quizzes on the topic: “Fairy-tale heroes (heroines)”, Fairy-tale monsters”, “Magic helpers”, “ Magic transformations" “A journey through the distant kingdom (the location of the action in fairy tales is determined)”, “Fairytale figure 3 (triple repetitions)”, “Visiting sisters-sayings, brothers-beginnings, girlfriends-endings”, preferably using works of painting, music as additional means of influence on the child.
Preparatory games-tasks, which can be included in educational activities:
— Miracles in a sieve. During this game, various miracles occurring in fairy tales are revealed: how and with what help transformations and magic are carried out. Magic words, objects and their effects are clarified.
- Who is the meanest (kindest) in the world? Identification of evil and insidious heroes (good ones), description of their appearance, character, lifestyle, habits, home. Then they analyze whether a fairy tale can exist without such heroes, what is their role in the development of the plot. For whom are these characters good, for whom are they evil and why (probably for Koshchei Baba Yaga is very kind woman and true friend).
— Cherished words. During this game, the guys try to isolate the most effective, meaningful words (magic, sentences).
- What will be useful on the road? ? Based on the analysis of magical fairy-tale objects that help overcome the enemy (self-assembled tablecloth, running boots, scarlet flower, etc.), new assistant objects are invented. The most ordinary object (a pen, a shoe) can become magical, or maybe it will begin to perform functions that are not typical for it - a bowler hat as a nest, a bag, a mirror.
- What's in common? The game involves a comparative analysis of various plots from the point of view of similarities and differences (“Teremok” and “Mitten”, “Morozko” and “Mistress Blizzard”)
The work of composing fairy tales can be divided into two stages:
Stage 1 - direct familiarization with functions fairy tale
Begin The lesson can be done like this: “In a forest clearing, in a small carved hut, fairy tales live. They live very friendly, helping each other to write fairy tales. Let's get to know them."
The teacher may not take all 20, but the ones most often found in fairy tales. For example: a hero leaves home, a ban, breaking a ban, a difficult task, magic remedy, help, hero escapes from persecution, fight, enemy defeated, happy ending.
You read a fairy tale, then “arrange” it by function. Later, the children themselves find the designated function verbally and lay out cards with the functions.
As children gain experience with cards and functions, you can offer tasks:
- find familiar “magic cards” in a new fairy tale you just read;
- independently determine the absence of a familiar card;
- put the cards in the order in which they are given by the plot of the new fairy tale;
- find an error in the arrangement of cards according to the plot of a new fairy tale.
Based on the material of fairy-tale texts, conduct exercises to develop speech figurativeness. They make the process of perception deeper, focus attention on linguistic material, and make you think about the meaning of the words and expressions used in the text.
For example, Baba Yaga - say it differently . Or: As they said before ? (Golden-maned horse, damask sword, morning is wiser than evening, etc.). Praise Baba Yaga .
On Stage 2 carried out learning to write your own fairy tales using "magic cards".
Children are offered a set of 5-6 cards. They can come up with two or three of them (it’s easier to cope with difficult task). When writing in groups, the child may notice inaccuracies in a friend’s story (speech, logical errors), but he himself must be careful when composing.
For example, the task is to compose a fairy tale “About the Christmas tree.” 5 cards offered - absence, ban, violation of the ban, magic remedy, happy ending. You can give the cards in order, or you can invite them to think about how to arrange them.
Or - come up with a fairy tale about Baba Yaga and Koshchei. Condition : They are kind and help people. Which magic card will be the main one (“help”), what cards could make the fairy tale more interesting, full of adventures and surprises (prohibition, violation of the prohibition, difficult task, happy ending)?
With children are specified the following provisions:
- who will be the main character;
- who will interfere with the hero;
- who will help him solve a difficult task (magical assistants, other heroes);
- come up with a title for a fairy tale;
- what beginnings and endings will be used;
- inventing fairy tale words and expressions;
- the presence of the main and minor characters, meetings, actions of heroes, their moral characteristics.
The number of game techniques and situations depends on your imagination. Can you suggest gaming techniques :
— A familiar fairy tale loses its cards. For example, “Nikita Kozhemyaka” - “the hero enters the fight”, “the enemy is defeated” are missing. Children must analyze the consequences of missing certain features in the story;
- or offer a map "Difficult task" and asking a question : “What card could be next? Why?"
Dear teachers! If you have questions about the topic of the article or have difficulties in working in this area, then write to
Campbell's Universal Monomyth Diagram
In this spirit, you can make diagrams of rituals.
Morphological diagram of a fairy tale by V. Propp:
The tale begins with the first function - absences (1) from the home of one of the family members, usually the father. The person leaving addresses those staying with ban (2) - do not go beyond the gate, do not open the chest, do not talk to strangers. The ban, of course, violated (3). The Antagonist, the pest, immediately tries to take advantage of this. He starts pry out (4) where his future victims are located or how they can be harmed. Next, to the Antagonist are issued (5) the information he needs. Having received them, the Antagonist tries deceive (6) a victim in order to take possession of him or his property. The victim succumbs to deception, thereby helping, aiding and abetting (7) To the antagonist. The antagonist takes advantage of this and harms the victim. Here we have trouble (8) or, as a variant of the eighth function - flaw (8a) something for one of the family members - the Bride, rejuvenating apples, feather of the firebird. This function is very important because... it contains the motivation for all the Hero’s journeys and exploits. It starts with her plot fairy tales (functions 8-11). Campbell's mythology begins precisely from this moment - with trouble, kidnapping, lack. Why does Campbell leave out the background to the disaster? Firstly, it should be remembered that Campbell, when analyzing a myth, breaks it down into very large (basic) elements, while Propp describes the tale thoroughly, in great detail. Secondly, Campbell proceeds from the listener's unconscious identification with the Hero, and the Hero of the myth is a seeker, and he appears in the story precisely at the beginning. Propp, on the contrary, deliberately distances himself from any identification; for him, as was said, "feelings and intentions characters do not affect the course of action in any case". Here he follows the Cartesian principle of eliminating subjective elements of perception in order to obtain an objective picture of the object under study. Propp equally impartially describes both lines into which a fairy tale can be divided at this point. And she can follow both the adventures of the Hero-seeker and the misadventures of the victim. It is characteristic that there are no cases in folklore where, as in “Ruslan and Lyudmila,” the fairy tale follows both the seeker and the victim at the same time.
Ninth function - mediation (9) - when the Hero is informed of a misfortune or shortcoming. She fully corresponds I'm calling Campbell's mythologems. The seeker decides to fight, begins opposition (10) To the antagonist. Here the mythologeme is even more accurate - it indicates that the Hero, like Jonah, for example, may try to hide from the call and resist his fate. But fate will still lead him to the Threshold of another world, for the transition is already inevitable. This is a very significant and beautiful element that Propp lacks. Next function - sending (11) - The hero leaves his familiar world. He approaches On the threshold and meets donor; should donor test (12). Usually in a Russian fairy tale another world presented dense forest; to him in front, and to the seeker with his back, there is a guard post threshold- a hut on chicken legs. Her owner is Baba Yaga combines both mythical Threshold Guard, and one of the aspects psychopomp- aspect donor. Hero reacts (13) on the actions of the donor and receives (14) at the disposal of a magical remedy or a magical Assistant. Yaga's first test is a test of strength and magical abilities. The hero cannot cross the edge of the worlds except through the gateway of the hut; he must use a magical verbal formula to unfold it "to your front". It’s interesting that if a girl ends up in a hut, she will have to work for Yaga, i.e. where a boy is tested for strength, a girl will be tested for virtue, for mastery of housework skills.
The test of strength is followed by a test of food and sleep. At first, Yaga very aggressively attacks the Hero, threatening to devour him alive, but upon hearing “First you feed me, give me something to drink, and steam me in the bathhouse, and only then ask me”, immediately thaws and turns into a benevolent Helper. Because "Yaga - bone leg"My nose has grown into the ceiling"- this is none other than a corpse; and in the tales of other peoples one can even discern signs of decay in it. She guards world of the dead, where entry to the living is closed. Yaga is aggressive because she suspects the Hero is alive. “It smells like the Russian spirit!”- she says - because dead people don't sweat. By three signs the dead recognize the living - the living smell, laugh and sleep. Therefore, the Hero does not laugh, eats the special food of the dead, thereby confirming his right to be in another world, and washes off the smell in the bathhouse. And, of course, he doesn’t sleep.
The fifteenth function of a fairy tale is moving (15) Hero to distant lands, to the thirtieth kingdom, i.e. to another world, to the Dragon's cave and to the object of the search (elixir). In the mythology, the Hero was helped in this by a psychopomp; in the tale, a gift from the giver (Yaga) is usually used for transportation. There is essentially no difference. The next four functions take place at what Campbell called nadir mythologems. The Hero and Antagonist come into direct contact fight (16). The antagonist in a Russian fairy tale is usually a snake, and Propp emphasizes that snake fighting is already second meeting with the Antagonist. And this is quite natural - after all, if the princess was carried away by a snake, then she must be taken away from the snake.
Propp treats the situation when the fairy-tale Antagonist turns out to be a relative of the Hero as an exception, as a simple technical consequence of a certain literary device. He writes: “Since the (initial) situation requires members of the same family, the saboteur included in the initial situation turns into a relative of the hero, even if his attributes definitely coincide with the snake, witch, etc.”
Next Features - Antagonist is defeated (18), Hero mark (17) . For some reason Propp gives these two functions in reverse order. The victorious hero is marked either with an object (ring, scarf) or with a wound. So in ancient times, when a young man moved to another clan (married), he was branded with a tattoo or a wound of a special shape. Maybe that's why men still can't stand lipstick, especially the kind that "stays anywhere but on the lips."
Next, the initial trouble/disadvantage are being liquidated (19). Hero returns (20), usually in the same way as he arrived in the distant kingdom. Hero pursue (21), he is saved (22) from the chase. At this point a fairy tale can give a line second move. The second move approximately repeats the functions of the first move from 8 to 15, with the only difference that harm(8bis) is not inflicted on the victim, but directly on the Hero, and the harm is caused not by the Antagonist, but by the False Hero. False Heroes (usually cowardly brothers) steal the seeker's loot, and he himself killed or thrown into the abyss(or both) (8bis). The hero sets off again search(11bis), meets the donor again, being tested(12bis), answers(13bis), gets a magic remedy(14bis) and transferred V right place(15bis), this time straight home. Here continues interrupted first move fairy tales Twenty-third function - Hero arrives unrecognized home (23). The False Hero presents unfounded claims (24). The hero is offered difficult task (25). Hero decides problem (26) and its find out (27) (by brand). False Hero exposes himself (28). The hero is given a new look. This function is transfiguration (29) - very indicative. As we said, fairy-tale hero cannot achieve deification, this is already the level of myth. Instead, the fairy tale symbolizes the transformation of the psyche that occurs during the transition transfiguration Hero, i.e. complete change, renewal of its essence. A fool gets into a horse's ear or bathes in boiling water - and turns around good fellow- written handsome. As we noted earlier, transfiguration can be considered final liquidation main fairytale lack(defects of the main character). Where the Hero of myth saves and renews his world, the Hero of a fairy tale saves and renews himself.
Next up, False Hero punished (30). However, unlike the real Antagonist, the saboteur of the first move, he can be forgiven. The antagonist should under no circumstances escape punishment. This is their fundamental difference. The antagonist is the passionary, Dark Hero, and the pest of the second move is an ordinary person, false winner. He has no true heroic strength; he is either a scumbag - if he kills a sleeping Hero, or just a loser - if he buys a trophy from the Hero for a severed finger, and then is convicted based on this finger. His plans always fail - because he is not a Hero, and will never be able to even draw the Hero's bow. He simply does not have the strength to take the place of the Hero - as well as the Antagonist.
The last function of the tale is wedding (31) and the accession of the Hero. As we see, the similarity between the schemes of Campbell and Propp is simply amazing - but this is exactly what we expected (when they said that both myth and fairy tale grow out of the same scheme of the Oedipal transition). Fairy tale is as much the result of the spontaneous production of an archetypal scheme as myth. And it solves the same functions, only a little softer.
Propp believed that the fairy tale arose during the period of collapse tribal system, as a reflection of the initiation rituals of young men that have become unnecessary, i.e. that the fairy tale originated from a ritual.
