Fairy tale in Russian fine arts. The role of the Russian folk tale in the formation of the child's personality

DEPARTMENT OF EDUCATION OF THE CITY OF MOSCOW

STATE EDUCATIONAL INSTITUTION

PEDAGOGICAL COLLEGE № 13 NAMED AFTER S.Ya. MARSHAK

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FINAL QUALIFICATION WORK

Folk tale as a means of developing the artistic abilities of preschool children"

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Moscow 2011

Introduction ................................................ ................................................. ................................................. ...................

Chapter 1. Creative abilities of preschool children .............................................. .................................

1.1 Creativity, the essence of the concept, structure .............................................. .................................

Development of creative abilities of preschool children .............................................. .................

Studies of domestic and foreign authors on the problem of developing the creative abilities of children……………………………………………………………… ................................................. ..............

Chapter 2

The essence of a folk tale, its peculiarity ………………………………………………… ...............................

The use of folk tales in solving pedagogical problems .............................................. ..............

Folk tale in the development of children's creative abilities .............................................. .......................

Chapter 3 Using folk tales to use the development of creative abilities.

Introduction

The development of artistic abilities takes place in activities that are impossible without sufficient social experience, which the child draws from the world around him through communication, observation, and also through folk tales.

A folk tale has a tremendous power of emotional impact and is the basis for the formation of the spiritual world of a person, his morality. A folk work plays an important role not only in the formation of an expressive, visually represented image in a child, which he can later reproduce on paper, but also contributes to the emergence of certain individual associations.

Many researchers (T.S. Komarova; E.A. Flerina, E.A. Ezikeeva and others) establish a certain relationship between artistic abilities and fiction. Of all the variety of material offered by the Kindergarten Education Program, Russian folk tales are invaluable. They differ in brightness and bulge in the depiction of the characters. Children understand the beauty of the moral character of positive characters.

One of the tasks of the program for visual activity is the creation of drawings by preschoolers based on literary works.

The visual activity of preschoolers contains great potential opportunities for the comprehensive development of the child. However, these opportunities can only be realized when children feel joy and satisfaction from the image they have created. Children's drawing, being one of the means of reflecting the plots of folk works, contains the spiritual culture of the content of the work.

Object of study: creative abilities of older children

preschool age.

Subject of study: development of creative abilities

children of senior preschool age

when getting acquainted with folk tales.

Purpose of the study: revealing the role of folk tales in the development

creative abilities of older children

preschool age.

Tasks:

1) analyze the psychological and pedagogical literature on the problem under study;

2) develop and test a methodology for experimental research on the development of creative abilities

through folk tales;

3) determine the dynamics of development of creative

abilities of older preschool children.

Hypothesis:

The use of folk tales in the pedagogical process of the preschool educational institution in the classroom contributes to the development of the creative abilities of children of senior preschool age.

Research methods:

1) theoretical: the study of psychological and pedagogical literature;

2) statistical: analysis of products of activity, computer

treatment.

Novelty: Pedagogical literature (E.A. Flerina, N.P. Sakulina, E.G. Kovalskaya) attaches great importance to the perception of works of art by preschool children and raises the question of using art to form creativity. So, E.A. Flerina in the guidelines for the development of visual activity suggests using works of fine art that are ambiguous in their appearance: when drawing - a toy, sculpture, in modeling, on the contrary - a picture.

In the work "Development of drawing abilities in preschoolers"N.P.Sakulina writes about the positive meaning of showing the illustration.

And we propose to use a folk tale in development

creative abilities of preschool children.

Practical significance: the work consists in the development of abstracts for the development of children's creative abilities through folk tales.

Research base:

Chapter 1. Artistic abilities of preschool children.

Artistic abilities, the essence of the concept, structure

Successful visual activity requires developed artistic abilities.

Artistic ability - the psychological characteristics of the individual, which are the possibilities for the successful fulfillment of his artistic activity.

The development of artistic abilities is based on the appropriate inclinations. At present, the existence of special sensitive periods during which the development of artistic abilities is especially favorable is shown. So, for artistic abilities, this is a period of up to 5 years, when all the mental processes of the child are actively formed.

Thus, artistic abilities can be formed in any healthy child. Of course, not only professional artists and students of art schools, colleges and universities have natural inclinations, on the basis of which artistic abilities develop. There are many people who have subtle inclinations, which

for various reasons (living conditions, lack of perseverance, etc.) did not become professional artists.

M. Gorky said that every person bears in himself the makings of an artist, and that with a more attentive attitude to one's own feelings and thoughts, these makings can be developed. The validity of what has been said is confirmed by numerous facts, which once again testify to the fact that natural inclinations, on the basis of which artistic abilities develop, are found in a much larger circle of people than is usually believed. Let's take some of them as an example.

In 1764, an “educational school” was created at the Academy of Arts, where boys 5-6 began to be admitted to the hotel. In the first year, 61 boys were admitted to the school, and the recruitment was carried out without taking into account the personal interests and abilities of the children. However, from those who entered the "educational school" in 1764, such major artists were formed as: Ivan Prokofiev, professor of sculpture; Taras Markov - professor of painting; Ivan Tupylev - professor of historical painting; Ivan Krantsov - animal painter; Fedor Matveev - famous landscape painter; Yakov Gerasimov (Farorontiev) - perspectivist. We observe the same picture in subsequent years, when from among the students of the school,adopted at the age of 5-6 years, wonderful painters, graphic artists, sculptors were formed. Suffice it to name G.I. Ugryumov (entered the school at the age of 6),

A.I. Ivanov (who entered the school at the age of 5), V.I. Demut-Malinovsky (who entered the school at the age of 6), O.A. Kiprensky (who entered the school at the age of 5), etc.

Before the opening of the drawing school in Arzamas, only rare cases of artistic abilities of the townspeople and residents of the surrounding area were known. When in 1802 A.V. Stupin opened an art school in the city, many of the young men who entered this school, mostly from peasants, showed themselves to be very capable painters and draftsmen. Despite all the obstacles that the serf landowners put up, many of the students of the Arzamas school later became famous artists. A striking example is the school organized by A.R. Venetsianov in 1824 in the village of Safonovka in the Tver province.

The structure of abilities for visual activity (as well as other abilities) is a complex phenomenon. Moreover, in each specific activity, the role of the properties that make up the structure is different. In this regard, in the psychology of abilities, it is customary to single out the main (leading) and auxiliary properties.

The leading properties of artistic abilities include:

a) the properties of artistic creativity of imagination and thinking, which ensure the selection of the main, most significant and characteristic in the phenomena of reality, the concretization and generalization of the artistic image, the creation of an original composition;

b) the properties of visual memory that contribute to the creation of vivid visual images in the mind of the artist and help to successfully transform them into an artistic image;

c) emotional attitude (especially aesthetic feelings develop) to the perceived and depicted phenomenon;

d) volitional properties of the artist's personality, which ensure the practical implementation of creative ideas.

These properties develop most successfully with the perfection of the visual analyzer, which provides, in the process of artistic activity, the perception of proportions, features of three-dimensional and flat forms, the direction of lines, spatial relations of objects, light and shade relations, rhythm, color, accepted at the age of 5, the harmony of tone and color, perspective contractions of three-dimensional objects movement.

Auxiliary properties of artistic abilities usually include:

a) the properties of the visual analyzer to reflect ("feel") the texture of the surface of perceived objects - softness, hardness, velvety, etc.;

b) sensorimotor qualities, especially those associated with the actions of the artist's hand, ensuring the rapid and accurate assimilation of new techniques in drawing and painting.

The productive work of creative imagination, thinking and visual memory is of paramount importance at all stages of creating a work of art. What has been created also refers to the developed emotional attitude of the artist to the pictorial, to the volitional attitude in the process of creative work. This determines the leading nature of these properties.

Emphasizing the exceptionally important role of some properties of abilities or noting the need for others, it should be remembered that they are all closely interconnected and only their harmonious combination determines the high level of development of artistic abilities.

The development of artistic abilities is possible only in the process of assimilation and practical application of special knowledge, skills and abilities.

So, mastering knowledge about the laws of aerial and linear perspective, chiaroscuro, constructive connection of objects of reality, acquiring knowledge of color science, composition, mastering graphic skills and abilities, schoolchildren thereby develop their artistic abilities.

The lack of necessary knowledge, skills and abilities is an insurmountable barrier in the development of abilities. Training and education, therefore, serve as a decisive factor in the formation of abilities.

Analyzing the ability to inventive activity, it is necessary to consider the question of what inclinations are, and in what relationship are inclinations and visual abilities in a person, and above all in a child. An inclination is a personality trait that manifests itself in the preferred choice of doing a particular activity.

As a rule, the inclination to any activity and the ability to the same activity coincide in the same child. And Bi further their development goes in parallel.

The increased inclination of the child to visual activity serves as an indicator of his awakening abilities for artistic mastery.

The foregoing is confirmed by the bibliographic data of outstanding artists.

About the outstanding artist I.N. Kramskoy knows that already at the age of 7 he was very fond of drawing and painted everything that he saw around him. He liked to sculpt Cossacks from clay, whom he saw galloping along the street.

The outstanding Russian landscape painter F.A. Vasiliev lived only 23 years. But over the years of his short life, he managed to create a whole gallery of not only Russian, but also world art.

The ability to draw manifests itself in childhood in different ways. So, IN AND. Surikov he began to draw from childhood, but his early artistic abilities were especially clearly manifested in a slightly different way - from early childhood, as he himself later recalled, he was very interested in faces, he kept looking: how the eyes were set apart, how the facial features were “composed”. But such observation and interest

to nature are the most important elements of artistic abilities.

ingenious artistE.I. Repin already at the age of 3 he cut out horses from paper, and at the age of 6 he painted with paints. The famous portrait painter V.A. Serov sculpted from the age of 3, and from the age of 6 he drew from nature, having mastered the perspective well at this age. The brilliant Italian painter and architect of the XVII century. Raphael and the outstanding French artist J.B. Grez's artistic abilities manifested themselves at the age of 8, with the talented Flemish painter A. Van Deyp - at 10 years old, with the brilliant Italian painter, sculptor and architect Michelangelo - only at 13 years old.

But the real talent of these great artists appeared at a later time.

But the drawings of Nadia Rusheva (1952-1969) began to be published when she was 11 years old. From the age of 13 she has been systematically published as an illustrator and her talent is widely recognized. Her productivity was amazing: she left over 10,000 drawings.

Lev Kassil, speaking about Nadia, very opportunely quoted the words of the artist-teacher P.P. Pashkova: "First the imagination, then the consideration, and finally the image" 1.

But if for "consideration" and "image" experience and training are needed, then "memory in

1. Lev Kassil. Imagination Nadia Rusheva. "Youth" 1964, No. 6, p112.

The similar talent of Ossetian Irgi Zaron, who drew attention to herself with her drawings at the age of 4, received 2 gold medals as a schoolgirl at international exhibitions of children's creativity, is developing in an ascending line and, moreover, in unity with general development.

The given examples testify that in - 1, the development of artistic abilities is closely connected with the strengthening of their inclinations for visual activity; in - 2, a strong purposeful and long-term propensity for visual activity is an essential indicator of the child's abilities for artistic creativity.

The development of their interest in artistic creativity is closely connected with the development of a tendency to visual activity in children.

As a rule, the tendency to engage in visual activity in children is accompanied by a manifestation of interest in color, features of the shape of surrounding objects. They begin to be interested in everything that is somehow connected with the fine arts - for a very long time and intently examine postcards, reproductions, books, listen with pleasure to the stories of adults about artists, etc.

Speaking about the initial stage of the development of abilities for visual activity in children, one should point out those moments that can serve as the first motivating factor to engage in fine arts.

One of the factors is often a deep emotional experience of the child when he perceives an object or phenomenon that struck his imagination - a bright picture, a book, a toy, an animal, bright greenery, etc. The state of emotional experience of what he saw causes the child to need, one way or another, to tell others about the object or phenomenon that struck him. And since he still cannot fully, meaningfully tell in words, he begins to "finish" with a pencil, paints on paper.

Very often, the impetus for the manifestation of interest in visual activity, the manifestation of a desire to do drawing, modeling, is the observation of people who draw or are engaged in modeling. The process of creating bright images of people, animals, cars, nature with the help of a pencil, brush, paints, clay, the appearance of bright colors makes an indelible impression on the audience, and, above all, on children, makes them want to try to do it themselves. image", clarity and the expressiveness of Nadia's lines is a natural talent.

The impetus for the development of artistic abilities of V.G. Perov was served by the case when, as a boy, at the age of nine, he observed the process of depicting a dog in a picture - how the artist rubbed the paints, as he wrote with them, "how instead of one dog in the picture another appeared."

A huge influence on the development of the child's artistic abilities is a personal example, help, demonstration, explanations from comrades, parents, teachers who are more experienced in drawing, painting, modeling.

For example, the development of artistic abilities of Karl Bryullov was greatly influenced by his father and older brother Fedor.

One of the most important indicators of the ability to visual activity is the ability to convey in the image the similarity with the depicted object.

So, while still a cadet, P.A. Fedotov stood out noticeably among his comrades for his abilities. The "Note of P.A. Fedotov on his life", compiled by the artist himself, tells how he "begged one of the condescending comrades to sit still; having copied him to lust, he aroused in others his own desire to sit still; again lust, then again - and mm, they have already begun to say that it always makes lust." 1.

The exact transmission of nature, the similarity of the invention with the depicted, is determined not by the number of transferred details and details of nature, but by the harmonic purpose of the image, which conveys the most characteristic properties and sides of the depicted. An essential sign indicating the presence of abilities for visual activity is the speed of successful assimilation of special knowledge, skills and abilities.

The next important indicator of artistic abilities is the presence of expressive composition. A careful analysis of the work of great artists suggests that this sign of ability was very clearly represented in each of them.

For an example, it is enough just to consider several portraits of I.S. Repin. Despite the fact that the outstanding master painted a huge number of them and that it is very difficult to give a new composition in portraits, we will not find among the portraits of Repin and two that would be similar in composition decision. 1. 48, v.6; pp. 348-349

One of the indicators of artistic abilities is the ability to see in objects and phenomena the main, most typical and characteristic, although hardly noticeable. Artists call the ability to see in objects and phenomena the main thing "set eye". The ability to see enables the draftsman to select in reality the most important, vivid, typical and characteristic

Attaching great importance to the "staging" of the draftsman's eye in his successful activity, many artist-teachers in their pedagogical work begin by developing in students the ability to be observant, to notice everything and keep it firmly in memory.

"Seeing nature always means the ability to observe, equalize, inquisitively study the properties and patterns, aspects and signs of objects and phenomena of the surrounding world. Therefore, the formation of the ability to notice the main thing in phenomena and objects, the ability to see nature means the development of observation, the ability to quickly study, analyze and select the main , the main features and signs of objects and phenomena.

In artistic activity, it is very important, first of all, to notice, to see beauty, aesthetic in seemingly the most ordinary, familiar to all phenomena and objects. The faster the artist sees the beautiful in reality, the faster and more fully he conveys it in his works, the more aesthetic pleasure the viewer experiences from the perception of this picture.

An equally important indicator of ability is a great love for visual activity, accompanied by a huge capacity for work.

The presence of artistic abilities contributes to the manifestation and development of such personality traits as efficiency and perseverance. No love for art without great, persistent and real work can give a positive result in the development of artistic abilities.

The next indicator of the presence of X visual activity abilities is the vivid expression of the artist's emotions, feelings, both in the process of direct depiction and in the work itself.

Moreover, the basis of expressions of emotions, feelings of the artist is the emotional excitement received from objects and phenomena. If the painter himself does not experience emotional excitement from the image process, from the depicted object or phenomenon, he is unlikely to be able to create an image that can "touch" the feelings of the audience. The ability to aesthetically experience the observed objects and phenomena of the surrounding world creates the conditions for a more complete and deep knowledge of the depicted, and above all, the aesthetic.

The emotional experience of the artist is also closely connected with expressiveness. As a rule, the more fully and deeply the artist "felt" the depicted, the more expressively he depicts the content of the work. The expressiveness of the work presupposes, first of all, the transfer of the artist's feelings, his attitude to reality, to the depicted.

If an artist has a high degree of development of abilities, then they usually talk about him as a talented master. A prerequisite for this is such a combination of the artist's abilities, which allows him to work especially productively in the field of artistic creativity.

Artistic talent is a particularly favorable combination and interaction of abilities for visual activity, which have been highly developed in the process of training and education, ensuring the success of the creative performance of artistic activity.

Development of artistic abilities of preschool children

The task of developing artistic abilities in children is determined by the general requirements for the comprehensive development of the personality, its individuality. The source of development and formation of artistic abilities is activity. Studies of Soviet teachers, psychologists E.A. Flerina, N.P.

Sakulina, E.I. Ignatieva and others give grounds to conclude that visual activity occurs in children at the age of 2.

At the age of 1 year to 1 year. 2 months this activity is in the nature of manipulation. The child shows accuracy when mastering new materials (pencils, paper). He rearranges pencils, rustles a sheet of paper, moving it across the table. At the same time, the child listens to the sounds that arise and seeks to repeat his movements many times. There is no visual activity yet, since the purpose of a pencil and paper is unfamiliar to the child. His movements are like a game. And even if in the process of it some strokes and dots accidentally appear on the paper, they will not attract the attention of the child. Such activities of the child can continue for quite a long time, during the whole 2 years of life, if there is no guidance from an adult.

In the diaries of parents, the observations of researchers, the moments of the appearance of the visual activity of children are recorded. It is noted that, as a rule, it appears earlier in cases where children observe similar activities of adults and begin to imitate them. The child is attracted by the movement of a pencil, a pen on a sheet of paper, and most importantly, the appearance of traces. It was a discovery for him: there was a blank sheet and suddenly ribbons of lines, lines, strokes appeared.

In observations of his son N.F. Ladygina-Kote notes that at 1 year and 5 months. he began to show interest in drawing, which consisted in the fact that the boy gladly covered sheets of paper with lines and strokes. Interest in this activity arose, especially in those moments when he observed the process of drawing adults.

The greatest pleasure was given to him by scribbling "to pee on those sheets where there are traces of an adult's writing."

Have you noticed how the baby manifests itself if an adult allows him to pee, draw? He quickly and firmly grabs a pencil with his whole fist and begins to move it well along the table, often bypassing the sheet of paper. It is difficult for him to coordinate his movements and rhythmically fill the space of the sheet.

At the age of 2 (especially in the first half), children cannot yet intentionally depict any specific objects and phenomena. However, this period of activity is important, since they gradually move from pencil manipulations to depicting objects, phenomena of the world around them.

So, at first, children do not have a direct intention to depict something and interest in visual activity arises as a result of imitating the actions of an adult. Researchers call this periodpre-figurative.

In the second half of the 2nd year of life, the child begins to develop speech more actively. This contributes to the enrichment of his artistic activity.

Children 1 year old 6 months - 2 years more and more often they notice traces on paper, they try to give names to the first images. The researchers described in detail the gradually changing nature of the movements produced by the child in the process of drawing. At the beginning, children cover a sheet of paper with dots, strokes, then with continuous arcuate lines.

After that, the lines are rounded, broken at an angle, crossed. Zigzags appear, with which the child covers the entire sheet. Then the children begin to master the rotational movement, as a result of which the inseparable spirals, coils, increase in size and occupy the entire sheet. Constantly in the drawing, the chaotic heap of lines disappears and more and more clear graphic images appear. As the child accumulates life experience, graphic forms are associated with objects and phenomena of the surrounding world. The monotony that seems to us, adults, of children's scribbles, three-dimensional forms, in fact, is fraught with a complex chain of movement of thoughts and feelings, which gradually, with the development of the child, change and deepen.

At 3 years old life in children there is a further development of speech, concrete-figurative thinking, emotions, and the accumulation of a small amount of personal experience. Due to the fact that kids are constantly engaged in drawing, they begin to learn the concept of how to draw on a sheet with a pencil (paint). They are inquisitive and art activities make them very happy.

Analyzing the visual activity of children of 3 years of age, one can note some differences in the processes of drawing in children of 2 years - 2 years 6 months. and 2 years 6 months. - 3 years.

Children from 2 years to 2 years 6 months. they draw with interest and pleasure, but not everyone can find similarities in lines and strokes. The hand holds the pencil uncertainly. Images of indefinite forms appear, to which the child gives various names. The association arises by color, by the nature of the form, but these associations are unstable and quickly disappear.

Children from 2 years old 6 months up to 3 years they hold a pencil more confidently. The appearance of lines, the simplest forms gives children great pleasure, they can name what happened. Recognition is a new stage in visual activity. So, strokes, lines are sometimes called rain, sticks, rounded shapes - balls. At the same time, associations are unstable.

Children 2-3 years old draw not only with pencils, but also with paints. What characterizes this activity? At first, children are not confident in their actions, for a long time they do not dare to start work. They are frightened by new material: they take the brush timidly, by the very tip, or tightly clamp it into a fist.

Gradually, children are attracted not only by the process of painting, but also by color spots of different shapes. Children rhythmically apply strokes all over the sheet or paint over it in stripes. If there are free areas, they immediately paint over them. The nature of the first color "compositions" is different. In some, large color spots can often be observed in the drawings; others like small specks that cover the entire leaf.

Associations in children arise by the color and shape of the spot. So, a child calls a large red spot a flower, a flag, yellow - the sun.

For children of 4 years of age, the development of coherent speech is characteristic, a higher level of concrete-figurative thinking based on previously acquired experience, the kids continue to master visual skills and abilities. There are images of objects that can be identified by specific features. Children transmit various shapes: rounded, rectangular, spherical. According to their design, they can depict any object.

At the older preschool age, the stages in the emergence and development of artistic images in children are more distinct. A creative drawing is built by a child already in accordance with the plan in relation to both content and form, phenomenon, object. An active attitude to the depicted appears, and the search for expressive means to convey it is also activated.

In children of 6-7 years old, there is already a conscious use of color, shape, drawing as expressive means for displaying a separate image or a folded composition. Therefore, older children, compared with children of younger preschool age, use the found expressive techniques more widely and more freely, extending them to a large number of depicted objects and phenomena. In other words, older preschoolers learn these techniques more firmly, fix them in their minds.

In the process of creating images, the individual characteristics of children are of great importance. They are manifested not only in a peculiar vision of an object or phenomenon, but also in the preservation of an individual manner of performance.

The problem of the expressiveness of children's drawings was dealt with by: V.S. Mukhina, A.N. Melik-Pashaev, T.G. Kazakova, E.Zh. Shorokhov, E.A. a complex of their use of the following means of expression: color, form, composition, dynamics, determined by the content of the idea of children's work.

T.S. Komarova claims that she sees the expressiveness of the drawing of two- and four-year-old children in a variety of forms, their linear contours, color, colorful spots.

The most accessible means of expression for preschoolers is color. Color in the visual arts is an external means of expressing the artistic intent, the idea of a work, its use, being in close connection with the content of the work. Color contrasts are used to highlight the main thing in the picture; color conveys the mood, dark, muted tones - in pictures with sad content; bright, saturated in joyful.

Having become acquainted with many colors, children of 4-5 years old often use them as an expressive tool that helps to make the image more beautiful, more elegant.

Compositional means of rhythm and symmetry. They not only give harmony, harmony to the image itself and the whole picture, but also facilitate the image, which is especially important for children who have not yet mastered visual skills.

Since the rhythm is inherent in human movements, the child quickly begins to use it, at the same time with the goal of doing the job beautifully. The whole composition of the drawing of a younger preschooler is created by a rhythm that gives it expressiveness: the rhythm of lines, the rhythm in the arrangement of color spots. In older preschool age, the sense of rhythm also helps to create a compositionally filled picture, a peculiar moment in the performance of the composition is the non-shielding of one object by another, the violation of proportional relationships between them. These moments speak of the child's desire to convey his real impressions of the life around him, where each object has its place in space. On the other hand, this is due to the inability to convey life ideas by those conditional means, with which all compositional techniques in the drawing are associated.

The transfer of the dynamic state of the depicted object is also one of the expressive means used by the child. If at a younger age the movement is not depicted, then the image of an object in motion is available to older children, which can make the image expressive. But the expression of dynamics is still difficult for the child, because the shape and arrangement of the parts of the object changes with movement. Therefore, often, despite the expressiveness of the image, the form is distorted.

In an expressive drawing, the form serves as a means of conveying the character of the image. Children try to achieve expressiveness of the image through the image of certain poses, tests, a certain arrangement of figures.

Children find expressive means to realize their idea - color combinations, shape, composition. In a creative drawing, they convey their attitude to the depicted. The creative process involves a figurative vision of the world and reality in preschool children. Reality is the basis of the creative process.

Thus, visual creativity is formed due to the figurative vision of the child - the ability to observe, notice characteristic features, details, analyze the shape, color of the observed object and at the same time the ability to retain impressions of the object, phenomenon.

1.3. Study of domestic and foreign authors on the problem of the development of children's artistic abilities. Domestic researchers about artistic abilities.

In the theory of preschool education, active methods for the development of versatile artistic abilities were found. Under these conditions, creativity also develops fruitfully. Modern science is trying to find an explanation for the objective nature of children's artistic creativity.

For the development of artistic creativity, artistic abilities are needed, these are those individual psychological characteristics that allow the child to easily, quickly and efficiently master the methods of creative actions and successfully cope with them.

The systematic enrichment of the aesthetic perception of children, the development of observation, the ability to see, understand the content of the observed, experience it, as well as the ability to see the shape, design, size, color, spatial relationship, i.e. visual signs - this is the basis on which the creative activity of the child is built.

In psychology, an absolutely correct position has been established that abilities are manifested and developed in the activity that requires the presence of appropriate abilities.

E.I. Ignatiev in the book "Psychology of children's visual activity" (1961) raises the question of the need to develop in children, first of all, the ability to "see", understand combinations of graphic lines as an image of known objects, and then perceive their own drawing in the process. The author makes the correct conclusion that the child's ability to read someone else's drawing is an important condition for the child's readiness for visual activity.

At the present stage of development of pedagogy, children's creativity cannot be considered in isolation from the practice of teaching fine arts. The results of analyzes of children's drawings indicate that preschoolers have the ability to observe, remember what they see, and convey the color and shape of objects. However, the quality of a creative drawing is evaluated not only by the "correctness" of the image, but also by the expressiveness of the image, its artistry.

Unlike an image in professional art, an artistic image in a children's drawing requires different criteria for evaluation. This is due to the specifics of children's creativity, its originality, which depends on a number of age characteristics of the child; in addition, the formation of an artistic image

takes place in the conditions of upbringing and education, that is, an adult teacher plays a very important role.

V.S. Mukhina believes that consideration of children's drawings from the point of view of any one of these areas cannot lead to a true understanding of the nature of children's fine art. Children's drawing cannot be explained solely on the basis of one idea. A one-sided theoretical approach to children's drawings is reflected in their interpretation.

In her book "The Visual Activity of a Child as a Form of Assimilation of Social Experience", V.S. Mukhina explains the nature of children's drawing in terms of the theory of the Marxist position on the social inheritance of psychological properties and abilities that has developed in Soviet child psychology; on the appropriation of individuals of material and spiritual culture created by man.

L.S. Vygotsky emphasizes the peculiarity of the graphic form of children's images, indicating, in his opinion, that the child draws what he sees and what he knows, regardless of the actual appearance of objects.

Thus, the analysis of the content of children's drawings gives grounds that the individual orientations of the child are due to various psychological and pedagogical influences and his personal experience; the child identifies the most significant for himself and makes it the subject of the content of the drawing.

Drawing as a specific product of children's creativity is evaluated differently in the pedagogical literature. Some are attracted, first of all, by immediacy, original expressiveness, sometimes even unexpectedness of images, originality of compositional constructions, pronounced decorative effect. Others considered it from the point of view of veracity, the ability to observe, the accuracy of the image, the presence of certain skills and abilities.

In the images that are created by children, characters, plots of fairy tales appear in all their specific versatility, in all their riches. From children's drawings, we see how an offended bunny cries, how a cunning fox deceives a kolobok, etc.

N.A. Vetlugina notes that each child has its own special smell of impressions and observations. Individual features of life experience always affect the perception of plots. This circumstance is a source of uniqueness, originality, originality of the created images.

It is interesting that, while creating an image of the whole plot, striving for completeness [of a plausible image], the child chooses, however, its most characteristic signs and features. The child already departs from the absolutely accurate reproduction of the plot, and, trying to express the essence of the phenomenon, conveys an expressive image in his drawings.

Children's creativity is most directly connected with the peculiarities of the perception of a fairy tale.

That is why one of the most important conditions for the development of children's visual activity is the formation of artistic figurative vision.

The education of a figurative vision of the plots of a fairy tale is in the center of attention in the formation of a compositional construction of a drawing.

The child not only reproduces what he sees, but interprets and contemplates his drawing in his own way. Therefore, those ideas * which are then embodied in the drawing are of great interest.

The images in the drawings attract not only by their immediacy, but also by their coherence, the display of details, the certainty of the plastic characteristics of the depicted character, and the color scheme.

E.V. Shorokhov notes that the composition is the focus of the ideological and creative principle, which allows the author to purposefully organize the main and the secondary and achieve maximum expressiveness of content and form in their figurative unity, and this is typical not only for professional artists, but also for preschool children.

This opinion is shared by the doctor of pedagogical sciences, a professional artist, teacher N.E. Mikhailova, and on the basis of her research, she notices that for an adult, myth and reality are already separated, and for a baby, any experience is material. Based on this, she concludes that the result of drawing is important for adults, and the process for a preschooler.

R. Miroshkinain his work "The formation of expressiveness of the image in children's drawings" critically notes that educators often ignore the function of expressing attitudes towards the depicted through the creation of an expressive form, as a result of which the content of the drawing is combined with a low quality of its execution. Drawings lose their educational value and cease to satisfy the child.

R. Miroshkina offers a means to improve the expressiveness of children's drawings - this is the examination of illustrations in books.

We believe that some of these shortcomings occur in the work of educators.

On the basis of psychological research, B.M. Teplov on the need to combine the components of artistic activity (the processes of education, performance, creativity) and its influence on the artistic development of the child, teaching children to depict graphic forms based on the education of artistic means of book graphics, possibly contributes to the creation of expressive images by children in the drawing, the manifestation of creativity in the transfer of the forms of objects, thanks to the emotional response of children to the artistic images of illustrations, visual familiarization with the methods of their creation. Children need to master the ways of perceiving the artistic means of illustrations, to gain certain knowledge about the artistic significance of the drawing as the most important pictorial and expressive graphic image.

In viewing, you can use the illustrations of such artists as V. Konashevich, V. Lebedev, Yu. Vasnetsov, E. Charushin.

At the same time, a professional artist, teacher, creator of an original technique with young children, an employee of the Wagner Children's Center and the Center for Preschool Childhood.

N.E.Mikhailova notes that visual activity is the only area of creativity where complete freedom in the learning process is not only permissible, but also necessary. For an adult, the result of an activity is important, but for a child, the process is of paramount importance (and in drawing too).

If a little artist is already able to express his emotions through color and line, he can, while drawing, splash out his experiences: joy, love, fear ... Splashing them out on a piece of paper, the child, as it were, frees himself from them, releases them into the wild - and in this is an element of the psychotherapeutic effect of drawing. The author emphasizes that positive reinforcement by adults of children's drawing (understanding and approval) instills in the child self-confidence, in his abilities and strengthens his interest in drawing.

Foreign teachers about artistic abilities

Foreign experience is very diverse and so much so that even in one country there are different approaches: from asserting the spontaneous nature of creativity and denying the need to guide it to recognizing the importance of training in a specially designed program. We meet with such situation in the USA, in Japan.

Drawing as a specific product of children's creativity is evaluated differently in the literature. A detailed interpretation of the psychological content of the drawing was given under the influence of the ideas of the biologization persuasion, Gestalt psychology, and Freudianism.

At the beginning of the 20th century, according to the biogenetic law of E. Hegel (ontogenesis is a short and quick repetition of phylogeny), the supporters of this theory V. Stern, J. Luque established the development of drawing in the fact that the child invents what he thinks, believes, knows - not what he sees. This understanding of the nature of children's drawing had many consequences. Proponents of genetic psychology, in the depths of which the foundations of modern knowledge of visual perception were laid, determined that "the child draws what he sees."

Freudian ideas were based on the assertion that children's creativity is interpreted as the expression of symbols of innate and subconscious impulses. To the question: “What does a child draw?” Freudians answer this way: “A child draws what he feels.”

In the USA, according to Soviet teachers A.S. Zhukova, Z.A. Malkova, B.P. Yusov, the approach to spontaneous learning prevails, sometimes quite consciously aimed at denying the surrounding reality. Such a view denies the need to teach children how to draw, encourages the creation of non-objective compositions from spots, the rhythm of strokes. And what is remarkable: organizing excursions to museums, exhibitions, children's attention is reflected more on abstract works.

This cultivation of abstractionism is explained by the fact that children allegedly strive for freedom, for the free play of forms, for self-expression. The task of adults is to preserve this freedom.

The question involuntarily arises: why do the supporters of this trend encourage only that freedom that leads away from the realistic image, do not lead children to the perception of realistic art? They sincerely believe that it is this kind of art that gives children true freedom. However, one cannot exclude realistic art, which develops an extremely strong desire for analysis.

Some experts in the United States consider visual activity as a means of therapy. In the process of creating an image, in their opinion, the child deepens into reality and, as it were, moves away from the negative influence of the surrounding world; absorbed in the process, the baby lives in another world that brings him joy. Those positive emotions that he experiences at the same time have a beneficial effect on his nervous system, the child calms down, nervous tension is relieved, which is harmful to his psyche. Thus, the pictorial activity, during which the little artist reveals the impressions received, expressing his attitude to the subject, relieves him of fear, nervous tension, and distracts him from difficult experiences. By the way, this point of view is supported not only in the USA, but also in Great Britain, in France. It is wrong to deny this position, but it is also wrong to limit its significance only to the therapeutic effect. Our opinion: visual activity, being a means of comprehensive development of children (of course, subject to purposeful guidance), at the same time can also become a means of therapy.

In the United States, many educators and researchers are making attempts, teaching children visual activity, to more actively influence the development of their artistic abilities and creativity.

So, B.Jefferson - her work is called: "Teaching children the art" - highlights professional teaching methods that ensure success. The author refers motivation, assessments, exhibitions to them. The method of motivation, in her opinion, arouses interest in inventive activity: i.e. develops artistic abilities: mentoring helps the child identify the problem (theme) of the image, analyze possible solutions, stimulates the development of creative activity in accordance with abilities.

B.Jefferson pays special attention to the evaluation method. The author believes that evaluating one's own drawing can teach other children a lot. But at the same time, the assessment of his work by a teacher, adults in general, is also important for a small artist, since a positive assessment inspires, develops creativity, individual handwriting, which is so important for subsequent schooling. Among the analyzed teaching methods, B. Jefferson also names such as pointing, drawing, painting over finished contours.

Note that the researcher qualifies them negatively, emphasizing that these methods do not develop children's creativity. The progressive position of the author is perfect. However, recognizing the need for learning, B. Jefferson at the same time warns not to get too carried away with straightforward metaphors, since in some cases and with a skillful approach, painting over finished contours can be very useful (example: when a child solves a visual problem, selects a color on his own , uses a variety of material, etc.)

Among foreign researchers, one cannot fail to note the American scientist Professor E. Eisner. Eisner believes children should be taught to be creative. The group led by him is currently developing educational programs for children of different ages. E. Eisner believes that education should be carried out taking into account the age characteristics of children, individual differences. Eisner's opinion: it is important to tactfully, subtly, unobtrusively offer children certain solutions, since the teacher thereby evokes only a positive response. And vice versa, gross intervention gives rise to isolation in the child, and the result is unwillingness to work.

In Japan Pedagogy of artistic education in general and inventive activity in particular pays great attention to the development of aesthetic perception on the basis of the formation of various perspective actions. The so-called "lessons of contemplation" are widely known. Children are taught to purposefully contemplate, peer attentively, listen to the surroundings: sometimes focus their eyes on the smallest, on characteristic details, phenomena. For example, they even offer to admire a frozen drop of water, shimmering with all the colors of the rainbow in the sun, listen to the rustle of leaves, the sound of rain, the sound of a drop. Moreover, the "lessons of contemplation" are based on a realistic basis, in the process of cognition of natural phenomena. Japanese teachers attach great importance to the image from nature. A special place in the work is given to the education of children's color perception.

Japanese babies can distinguish up to a hundred colors and shades. IN

Japan pays close attention to children's fine arts, the development of artistic abilities. Why?

Firstly, Japan is an ancient country, where centuries-old cultural traditions with unique deeply national art have developed. The Japanese highly appreciate nature, including it as an aesthetic component in the urban landscape. The aesthetic attitude to the environment is passed down from generation to generation, making up a significant part of the entire process of education.

Secondly , visual activity, from the point of view of Japanese teachers, is a means of comprehensive development of the individual, preparation for life. The high level of development of production characteristic of Japan requires that a person has a finely developed sensory sense. And it can be provided to a greater extent in the process of purposeful teaching of visual activity. After all, successful mastery of drawing is possible only under the condition of sensory development. Acquired sensory abilities will subsequently manifest themselves in various areas of human activity.

Third , the Japanese are adherents of realistic art, therefore, a realistic orientation prevails in education.

An interested, careful attitude to verbal creativity is another feature of foreign pedagogy.

In Portugal, in one of the kindergartens, pieces of paper hung out on a stand in the group room with some texts written in block letters attracted a lot of attention. These were the compositions of children, written down by educators. Children love to listen to their own stories, so teachers write them down and, at the request of the children, read them from time to time.

Thus, each country has its own forms of organizing work with children, which contributes to the development of artistic abilities. In some - in the USA, Great Britain, Portugal - they prefer individual lessons or classes with subgroups; in others - in Japan - they consider: more effective group classes. In other words, the activity of the teacher is not limited to a certain framework. One goal is pursued: to develop children's creativity, artistic abilities of children.

Conclusions for chapter 1:

1. At the core artistic abilities of children - preschool children are based on a broad sensory development of the child, the formation of a variety of perceptual actions, including the actions of perceiving the external properties and qualities of objects, and tactile and kinesthetic actions.

The development of artistic abilities occurs in visual activity. Visual activity is a complex artistic activity. Mastering it in this regard requires the development of a whole range of human properties, various sensory and sensorimotor qualities, skills and abilities. Only in this case it is possible to ensure the successful implementation and development of activities, and the formation of abilities for it.

2. Development of artistic ability closely associated with the formation of such personal qualities of the child as independence, activity, diligence, will. The formation of artistic abilities is closely interconnected with the implementation of a comprehensive education of a child - a preschooler.

3. Studies in the Development of Artistic Ability children are diverse and multifaceted.

There are two main trends that are typical for most of the research work.

One of them is the interpretation of children's creativity as a consequence of innate, instinctive impulses; readiness for artistic creativity is declared independent of external influences. Hence the rejection of pedagogical leadership.

The second trend comes down to the desire to use artistic creativity as one of the ways to purposefully educate the "superman". And artistic abilities are the basis of artistic creativity.

Chapter P. Folk tale as a means of developing artistic

children's abilities

2.1. The essence of a folk tale, its features

Among the riches of the folk epic, fairy tales are a special folklore form based on the paradox of the real and the fantastic. Fairy tales reveal historically established national and universal values in an expressive way, with an attractive force, in a form accessible to a child. That is why they require an analytical order, scientific understanding, firstly, from the point of view of genre features and place, and secondly,

study of their pedagogical value for early childhood.

The story is a beautiful work of art. For the first time, the word "fairy tale" as an independent one was recorded in the "Manuscript Lexicon" in the first half of the XVIIIb. in the meaning of "fairy tale-fable", and in relation to a literary work, it first appears inA.P. Sumaronov, M.V. Lomonosov.

Fairy tales are their common heritage, an inheritance from the time of Kievan Rus, carefully preserved by the three peoples. Tales from XVIIb. began to be recorded. The names of their first Russian collections were reported about fairy tales:

"Mockingbird, or Slavic Tales" by M.D. Chulkov, 4 parts, which were printed in 1766-1768;

"Slavic Antiquities, or Adventures of Slavic Princes" by M.I.Popov; 3 parts, in 1770-1771;

"Russian fairy tales containing the most ancient stories about glorious heroes";

"Folk and other fairy tales, which remained through V.A. Levshin's "Adventures" retold in memory, published in separate parts in 1780-1783. "Wonderful wonder, wonderful miracle, Russian fairy tale", "a cure for thoughtfulness and insomnia, or Real Russian fairy tales ".

The entertaining function inherent in a fairy tale is constantly emphasized by publishers and writers. It is for "passing boring time" that "Mockingbird" by M.D. Chulkov, "Russian Tales of P. Timofeev" was written.

At the same time, attempts are being made to rehabilitate this genre from the point of view of its usefulness, to see in it only useful things "as useful and as pleasant," since they serve as a source of information about the rights and customs of peoples.

In the second half of the eighteenth century not only is the specificity of the fairy tale genre felt, but attempts are made, and not without success, to determine its content and functional specificity.

The genre definition of a fairy tale has become a sign of a marvelous, wonderful story about the supernatural, in which evil and good magical heroes, heroes, etc. this is a wonderful world of sleep, dreams, a beautiful and far from the truth of life world.

The atmosphere of magic, sorcery, reminiscent of these works.

L.G. Yakob answers that a fairy tale is a world of dreams, a world "only a fantasy of inventions", a world of magic, incomparable with reality, but in the form of true representations of light.

A number of researchers of folklore called everything that "affected" a fairy tale.

Academician Yu.M. Sokolov: "Under the folk tale in the broadest sense of the word, we mean an oral-poetic story of a fantastic, adventurous novelistic and everyday character." Professor B.M. Sokolov also believed that "Any successful story" should be called a fairy tale. Both researchers argued that fairy tales include "a whole range of special genres and types." BM Sokolov pointed out the entertaining nature of fairy tales. A fairy tale always contains an entertaining fantastic fiction, no matter what the nature of the narrative is: whether it is a legendary, magical, adventurous or everyday fairy tale. Without fantasy, no fairy tale is unthinkable. An unusually pedagogical side of the tale was and remains such a rich and comprehensive presentation of fantasy in it. As conjecture in relation to reality, as a hyperbolic disclosure of the properties of nature and man, fantasy is very close to the child's psyche.

What is meant by entertaining fantastic fiction? Indeed, even in a children's joke or nursery rhyme there is fantastic fiction and entertainment.

An attempt to distinguish a fairy tale from other genres of folklore was made more than 100 years ago by K.S. Aksakov. He believed that a fairy tale and a song are different: a fairy tale is collapsible (fiction), and a song is a true story. Aksakov emphasized that the most characteristic of fairy tales- fiction, and conscious . A.N. Afanasiev did not agree with Aksakov. He did not allow the idea that the "empty fold" could be preserved among the people for a number of centuries. A.N. Afanasiev believed that a fairy tale is not a simple fold, it is caused by reality, some objective realities of the life of the people.

As the scientist - folklorist V.P. Anikin notes, that he was right, although he proceeded from a special, mythological understanding of the genesis of a fairy tale.

The well-known Soviet fairy tale expert E.V. Pomerantsev accepts the point of view, defining a folk tale as an epic oral work of art, predominantly prosaic, magical or everyday in nature with a setting for fiction.

Genres of fairy tales.

Tales about animals.

Animal stories were not created for children. Having arisen in a primitive society, they reflected in their images the experience and ideas of a hunter and his transformation into a cattle breeder and farmer. They gradually became the property of children.

Like all other types of Russian folklore, fairy tales about animals in the records of the 19th-20th centuries, in which they have come down to us, are imbued with a deeply national color. The very range of animals acting in the tales of different peoples is determined by the conditions of nature and the characteristics of the peasant economy.

Of the wild animals of many peoples, there is a bear, a wolf, a fox, a hare, of birds - a crow, an owl, a magpie, of domestic animals - a dog, a cat, a ram, a bull, a rooster, a horse.

They passed from fairy tale to fairy tale: a cunning fox, a rustic bear, a greedy wolf, a cowardly hare.

Animals and beasts in fairy tales have always been humanized, the skills and qualities inherent in people were transferred to them. Animal tales originated in pre-class society and were associated with totemism.

Totemism is a peculiar form of religious awareness of man's connection with nature and dependence on it. At the same time, in totemism, and especially in rituals associated with belief in a totem, there was a desire to find protection against the dangers that lay in wait for people at every step.

J. Grimm was the first to express important thoughts about the origin and historical fate of fairy tales about animals. According to Jacob Grimm, man unwittingly transferred his properties to animals. Man did not distinguish between himself and animals.

Scientists came to the conclusion that natural selection and the struggle for existence gave rise in the animal world to that expediency and natural rationality that surprised the primitive hunter. Over time, these tales lost their mythological and magical character, approaching a moralizing fable. Tales about animals are simple in their composition, they gravitate towards dialogue. The artistic form of fairy tales about animals fully corresponds to the peculiarities of the perception of young children.

Fairy tales .

They originally arose with myths and had a magical significance; over time, only individual elements of the mythological representation were preserved in them. Not a single fairy tale can do without a miraculous action: sometimes an evil and destructive, sometimes a good and favorable supernatural force intervenes in a person's life. A fairy tale abounds with miracles, Here are strange monsters, Baba Yaga, Koschey, Fire Serpent; and miraculous objects: a flying carpet, a cap of invisibility, walking boots, miraculous events, resurrection from the dead, the transformation of a person into a beast, a bird, into some object, a journey to another, distant kingdom. Wonderful fiction is at the core of this kind of fairy tale.

Fairy tales of all peoples are marked by rich verbal ornamentation, they are characterized by intricate features and endings, fabulous formulas. These fairy tales are filled with sunlight, forest noise, whistling wind, rumbling thunder - all the features of the world around us. The night in fairy tales is dark, the sun is red, the sea is blue, the hero's sword is sharp. Things and objects have clear forms: their material and quality are known. All taken together makes the fairy tale an example of the national art of the word.

A feature of all fairy tales is that the hero, sooner or later, in an open or hidden form, necessarily enters into certain relationships with magical miraculous forces. This sets the stage for the development of a fantastic plot. This is the main interest of a fairy tale. These fairy tales will become favorite in preschool, at 5-7 years of age.

Household novelistic tales.

The name itself already says that they are devoted to everyday topics, that their content is based on family or social relations of people (animals do not act, but if they are introduced into the context, then only in real form, without possessing any qualities and signs). Actions usually take place in a hut, in a garden, in a village, in a field, in a forest. But here's the main thing: it is in the everyday fairy tale that the youngest children begin to get acquainted with this genre ("Row Hen", "Turnip", etc.).

adventurous tales

They set out the extraordinary adventures of the hero, interpreting them usually without magical fantasy. They also include tales about historical events. In an adventurous tale, the hero (a soldier, a merchant's son) shows a flexible mind, resourcefulness, and dexterity.

These tales are often difficult to distinguish from a fairy tale - a short story about a faithful wife, about a warrior girl, about taming an obstinate wife, about fate and happiness.

Thus, the fantasy of fairy tales was created by the collective creative efforts of the people. As in a mirror, it reflected the life of the people, its character, Through a fairy tale, its thousand-year history is revealed to us. In fairy tales about animals, the functionality of fiction is mainly on the transmission of critical thought: for humorous purposes, human traits are transferred to animals. In fairy tales, the improbability of what is reproduced is based on the transmission of overcoming life's obstacles through a miracle. This fiction in its origins goes back to the most ancient worldview and ritual-magical concepts and ideas. The extraordinary permeates the entire plot in fairy tales. Everyday fairy tale reproduces reality in exaggerated forms of deliberate violation of reality. Fiction here is based on the discrepancy between the reproduced phenomena and the norms of common sense.

Features of folk tales.

There are such features of folk tales: nationality, optimism, fascination of the plot, imagery and fun, and didacticism.

Nationality The material for folk tales was the life of the people: their struggle for happiness, beliefs, customs - and the surrounding nature. In the beliefs of the people there was a lot of superstitious and dark. Piece dark and reactionary - a consequence of the difficult historical past of the working people. Most of the fairy tales reflect the best features of the people: diligence, talent, loyalty in battle and work, boundless devotion to the people and homeland. The embodiment of the positive traits of the people in fairy tales made fairy tales an effective means of transmitting these traits from generation to generation. Precisely because fairy tales reflect the life of the people, their best traits, and cultivate these traits in the younger generation, nationality turns out to be one of the most important characteristics of fairy tales.

In fairy tales, especially in historical ones, one can trace the interethnic ties of peoples, the joint struggle of the working people against foreign enemies and exploiters. In a number of fairy tales there are approving statements about neighboring peoples. Many fairy tales describe the journeys of heroes to foreign countries, and in these countries they, as a rule, find helpers and well-wishers: the workers of all tribes can agree among themselves, they have common interests. If a fairy-tale hero has to wage a fierce struggle in foreign countries with all kinds of monsters and evil wizards, then usually victory over them entails the liberation of people languishing in the underworld or in the dungeons of monsters.

Moreover, the liberated people hated the monster just as much as the fairy-tale hero, but they did not have enough strength to free themselves. And the interests and desires of the liberators and the liberated turned out to be almost the same.

Positive heroes, as a rule, are helped in their difficult struggle not only by people, but also by nature itself: a thick-leaved tree that hides the fugitives from the enemy; a river and a lake that leads the chase down the wrong path; birds warning of danger; fish, looking for and finding a ring dropped into the river, and passing it on to other human helpers - a cat and a dog, etc. All this reflected the age-old optimistic dream of the people to subdue the forces of nature and make them serve themselves.

Many folk tales inspire confidence in the triumph of rules, in the victory of good over evil. As a rule, in all fairy tales, the sufferings of the positive hero and his friends are transient, temporary, joy usually comes after them, and this joy is the result of a struggle, the result of joint efforts.

Optimism children especially like fairy tales and enhances the educational value of folk pedagogical means. The fascination of the plot, imagery and amusingness make fairy tales a very effective pedagogical tool. Makarenko, characterizing the peculiarities of the style of children's literature, said that the plot of a work for children, if possible, strives for simplicity, the plot - for complexity. Fairy tales most fully meet this requirement. In fairy tales, the scheme of events, external clashes and struggle is very complex. This circumstance makes the plot fascinating and attracts the attention of children to the fairy tale. Therefore, it is legitimate to assert that fairy tales take into account the mental characteristics of children, first of all, the instability and mobility of their attention.

Imagery - an important feature of fairy tales, which facilitates their perception by children who are not yet capable of abstract thinking. In the hero, those main character traits that bring him closer to the national character of the people are usually very convex and vividly shown: courage, diligence, wit, etc. These features are revealed in the events, and thanks to a variety of artistic means, such as hyperbolization. Thus, as a result of hyperbolization, the feature of industriousness reaches the maximum brightness and convexity of the image (in one night to build a palace, a bridge from the hero’s house to the king’s palace), in one night to sow flax, grow, process, spin, weave, sew and clothe the people, etc. d.). The same should be said about such traits as physical strength, courage, courage, etc.

The imagery is complemented by the amusingness of fairy tales. The wise educator, the people, took special care to make fairy tales interesting and entertaining. In a folk tale, there are not only bright and lively images, but also subtle and cheerful humor. All peoples have fairy tales, the special name of which is to amuse the listener. For example, fairy tales "shifters". "The Tale of Grandfather Mitrofan", "What was his name?", "Sarmandey" and others; or "endless tales, such as the Russian "About the White Bull".

Didacticism is one of the most important features of fairy tales. Fairy tales of all peoples of the world are always instructive and instructive. It was precisely noting their instructive nature, their didacticism, that A.S. Pushkin wrote at the end of his "Tale of the Golden Cockerel":

A fairy tale of lies, but there is a hint in it!

Good fellows lesson.

Hints in fairy tales are used just to enhance their didacticism. The peculiarity of the didacticism of fairy tales is that they give "good fellows a lesson" not with general reasoning and teachings, but with vivid images and convincing actions. Therefore, didacticism in no way reduces the artistry of fairy tales. One or another instructive experience, as it were, is formed completely independently in the mind of the listener. This is the source of the pedagogical effectiveness of fairy tales. Almost all fairy tales contain certain elements of didacticism, but at the same time there are fairy tales that are entirely devoted to one or another moral problem, for example, fairy tales - "Smart boy", "What is learned in youth - on a stone, what is learned in old age - on snow." "Old man - four people", etc.

Due to the features noted above, fairy tales of all peoples are an effective means of education. A.S. Pushkin wrote about the educational value of fairy tales: "... in the evening I listen to fairy tales and thereby reward the shortcomings of my accursed upbringing."

Fairy tales are a treasure trove of pedagogical ideas, brilliant examples of folk pedagogical genius.

2.2. The use of folk tales in solving pedagogical problems

The pedagogical value of fairy tales is extremely high. Fairy tales introduce children to the life of different peoples, national customs, culture, traditions, nature. They are imbued with a feeling of ardent love for the Motherland, faith in the triumph of justice, in a brighter future. After all, it is possible to determine the value of a fairy tale intended for the smallest, based on an analysis of general patterns as a genre.

However, let us remember: the fairy tale was intended primarily for an adult, capable of conveying its content to children through the artistic word - "from mouth to mouth", creating a priority setting for purposeful education. Everything is important here: the form, the content, and the artistic presentation of the text, taking into account the age, but the most important thing is the ability to preserve the zest of folk wisdom in the interpretation.

In other words, when introducing a fairy tale to a child, an adult should think: what lies at the basis of its content, for what purpose was it created by the first author (to teach something, surprise or amuse?) He must understand what value orientation this fairy tale is of interest to modern child.

Leading Russian educators have always had a high opinion of the educational and upbringing significance of folk tales and pointed out the need for their wide use in pedagogical work.

So, V.G. Belinsky appreciated in fairy tales their nationality, national character. He believes that in a fairy tale behind fantasy and fiction there is real life, real social relations.

V. G. Belinsky, who deeply understood the nature of the child, believed that children have a strongly developed desire for everything fantastic, that they need not abstract ideas, but specific images, colors, sounds.

N.A. Dobrolyubov considered fairy tales to be works in which people reveal their attitude to life, to modernity.

Tales of the Russian people K.D.Ushinsky called the first brilliant attempts at folk pedagogy. Fairy tales, being works of art and literature, were at the same time for the working people an area of theoretical generalizations in many branches of knowledge. They are a treasury of folk pedagogy; moreover, many fairy tales are pedagogical compositions, i.e. they contain pedagogical ideas.

Fairy tales are an important educational tool, worked out and tested by the people over the centuries. Life, folk practice of education convincingly proved the pedagogical value of fairy tales. Children and a fairy tale are inseparable, they are created for each other, and therefore acquaintance with the fairy tales of one's own people must necessarily be included in the course of education and upbringing of each child.

In Russian pedagogy, there are thoughts about fairy tales not only as educational and educational material, but also as a pedagogical tool, method.

Thus, the nameless author of the article "The Educational Significance of the Fairy Tale", in the monthly pedagogical leaflet "Education and Training" (No. 1, 1894), writes that the fairy tale appeared at that distant time, when the people were in a state of infancy. Revealing the significance of a fairy tale as a pedagogical tool, he admits that if children repeat the same moral maxim at least a thousand times, it still remains a dead letter for them, but if you tell them a fairy tale imbued with the same thought, the child will be excited and shocked by her.

Fairy tales as a method of persuasion were widely used in his pedagogical activity by the outstanding teacher I.Ya. Yakovlev. act as a means of persuasion in the moral education of children. In a number of fairy tales, he admonishes children by referring to the objective conditions of life, and most often to the natural consequences of children's bad deeds: he assures them, convinces them of the importance of good behavior.

Fairy tales, depending on the topic and content, make listeners think, suggest reflections. Often the child concludes: "It doesn't happen like that in life." The question involuntarily arises: "What happens in life?" Already the conversation of the narrator with the child, containing the answer to this question, has a cognitive value.

Some methods of influencing the personality are reflected in folk tales, the general conditions of family education are analyzed, the approximate content of moral education is determined, etc.

A fairy tale is one of the elements of culture, and above all its aesthetic component. Is it based on folk-ethnic culture, on folklore roots, and is rich?

moral and pedagogical potential.

The social and pedagogical significance of a fairy tale is due to the fact that the listener has the opportunity, relying on the real-existential moments of the fairy tale, psychologically, to accept its "non-existent", unreal side. It creates rich opportunities for the development of the listener's creative imagination, connecting his figurative thinking to a magical, unreal plan. At the same time, the entire sensory system of the listener is socialized: vision, hearing, smell, touch, spatial motor mechanisms.

The specificity of a fairy tale is that it is always a product of the creativity of a certain people. It contains such plots, images, situations that are specific to a particular ethnic group. This is reflected in the names of the characters, in the names of animals and plants, in the features of the scene, and so on. These elements can pass from fairy tale to fairy tale ("I lived and was", "in a certain kingdom, in a certain state", etc.), from storyteller to storyteller, from ethnos to ethnos.

Any fairy tale is focused on a socio-pedagogical effect: it educates, educates, warns, teaches, encourages activity and even heals. In other words, fairy tales are much richer than their artistic and figurative significance.

A fairy tale is one of the most important socio-pedagogical means of personality formation.

From a socio-pedagogical point of view, socializing, creative, holographic,

valeologotherapeutic, cultural-ethnic, verbal-figurative functions of a fairy tale. The presence of these functions is revealed in the practice of pedagogical, artistic, and other types of use of fairy tales.

Firstly , the fairy tale includes the function of socialization, i.e. familiarizing new generations with universal and ethnic experience.

A fairy tale, like any art phenomenon, has a compensatory function. Any person is limited in his individual life experience: in time, space, professional and event, limited by gender differentiation, etc.

Art in general, in particular the fairy tale, comes to the aid of a person, pushing the boundaries of his individual life experience, connecting to the experience of the individual the experience of mankind, accumulated in the international and ethical world of fairy tales.

The variable nature of the tale encourages the personality of the listener to his own, individual interpretation of the plot of the images, the characteristics of the characters, their assessment, i.e. turns the listener from a subject of influence into a subject of interaction, into a co-author of a fairy tale. This is expressed in the individual visualization of the text, in the originality of the emotional experience of the plot, in the individual style of presenting the tale, etc.

A.S. Pushkin wrote about a fairy tale: "A fairy tale is a lie, but there is a hint in it, a lesson for good fellows." It is a "hint", and not a moral maxim, not a resonant moralization, not an ideological directive, that is contained in a fairy tale, its plot, its images. The very concept of "hint" implies the actualization of personal interpretation, individual rethinking of the content of the tale by each listener. Of course, the socializing function of a fairy tale requires unique abilities from the teacher, the release of the resonator-mentoring style, from unambiguously standard approaches. The teacher should be able to tell a fairy tale, and stimulate its individual perception, and encourage children to their own creativity.

Secondly , a creative function is inherent in a fairy tale, i.e. the ability to identify, form, develop and realize the creative potential of the individual, his figurative and abstract thinking.

The fantastic world of a fairy tale, the presence of surreal, variable elements in it, the ability to "invite to co-authorship" allow the listener to overcome stereotypes of thinking, complexes of alienation, awaken "sleeping", unrevealed creative (pictorial, musical, poetic, graphic, etc.) abilities .

Forming the habitual skills, techniques, actions, abilities of children, the teacher should arouse their interest not only and not so much in the final result, but in the very process of creating plots or new images. This corresponds to the active nature of creativity. This stage, the stage of the formation of creative potential, implies an organic unity of both reproductive, standard, traditional, and innovative, creative elements.

The teacher is required to mobilize all the methods, techniques, mechanisms of methods that form the creative qualities of the individual: imagination, verbal abilities, observation, figurative memory, the ability to improvise, to expressive movement, to predictive thinking, to comparative evaluative activity, i.e. to everything that forms the psychological creative potential of the individual.

Third , a holographic function can be found in a fairy tale, manifesting itself in three main forms.

First of all, the holographic character of the figurative constructions of a fairy tale is manifested in its ability to represent the universe in its entirety in its internal structure in its three-dimensional spatial (height, width, length, macrocosm, microcosm, heavenly, terrestrial, underground worlds; inanimate, living and human society) and temporal dimension ( past present Future). These aspects of the spatio-temporal content of fairy tales form a holographic continuum (universality, integrity), which is consonant with the child's psyche. That is why children are so sensitive to the universality of a fairy tale: in it they find consonance with their equally universal inner world. Moreover, the universal world of a fairy tale is able to actualize all the sense organs and mental functions of a developing personality.

Further, the holographic nature of a fairy tale can be interpreted in the synesthetic sense of the word ("syn" - Greek joint, aesthetics - feeling). We mean the potential ability of a fairy tale not only to actualize all the human senses (synesthesia), but also to be the basis, the foundation for the creation of all types, genres, types of aesthetic creativity. , in the local to represent the global, in the microplot to reflect the macro-problems. The fairy tale is able to display global problems, enduring values, eternal themes of the confrontation between good and evil, light and darkness, joy and sorrow, strength and weakness.

In pedagogical practice, this aspect of the tale can be used to

formation of a holistic worldview of listeners, their moral, artistic, ecological, valeological culture.

Fourth, it is quite natural to single out the developmental-therapeutic function of the fairy tale.

About "fairy tale therapy" has long been discussed in the literature, implying its psychotherapeutic (therapeutic) effect. The therapeutic function of a fairy tale has its roots in the function of art as a whole, which Aristotle designated by the term "katharis" (purification, appeasement, stress relief). This cathartic function of art served as the basis for the formation of a whole trend - aesthetic therapy, i.e. treatment of people through painting, poetry, dance. The fairy tale also has the function of prevention, the function of educating a healthy lifestyle, protecting a person from harmful hobbies, addictions, actions, and behavioral acts that are detrimental to health.

Considering that a fairy tale is one of the forms of folk wisdom, expressed in a figurative form accessible to everyone, then fairy tale therapy can be considered as one of the areas of sophiotherapy. The fairy tale actively influences the emotional-figurative potential of the individual.

Fifth, Considering the ethno-national originality of most of the world's fairy tales, we can talk about the cultural and ethnic function of a fairy tale. A fairy tale, as a phenomenon of the culture of an ethnic group, historically reflects the economic and everyday bias of the people, their language, the peculiarities of their mentality, their traditions and customs, and object-thing attributes. Therefore, through a fairy tale, any listener, especially children, can assimilate all the richness of ethnic culture, joining the historical experience of their people. A fairy tale is, as it were, the social memory of an ethnic group. It accumulates his centuries-old practice with its positive and negative sides, exploits and defeats, joys and sorrows, etc. Ethnopedagogy, as a section of social pedagogy, has the richest opportunities for using the materials of folk tales to include the younger generation in the world of ethnic culture in a natural figurative and playful way.

At sixth , in the studies of fairy tales from the standpoint of literary criticism, pedagogy, ethnography, the lexical and figurative function of a fairy tale is also fixed, its ability to form the linguistic culture of a person, possession of the ambiguity of folk speech, its artistic and figurative, compositional and plot variability. When listening and reading fairy tales, individual internalization of verbal-sign forms of fairy tales occurs, and when playing (retelling, interpreting, repeating, dramatizing) fairy tales, the development of abilities for individual exteriorization, the development of the speech culture of the individual. At the same time, both main language functions function and develop - expressive and communicative. If the expressive function forms the verbal-figurative frame of the personality's language, then the communicative function develops the social qualities of the personality, its ability to communicate, understand, and dialogue.

"The fairy tale provides an excellent common language for an adult working with a child. Usually they speak different languages. At the same time, the child is more bilingual, and the adult has communication problems. The language of the fairy tale naturally brings them together."

Thus, in the upbringing of preschool children, in the formation of high moral qualities in them, fairy tales are of great importance. They bring up love for the Motherland, introduce them to the culture of the people, introduce them to the customs and way of life, the richness of their native language. Fairy tales contribute to the formation of the child's character, the development of his thinking, speech, creative imagination, artistic taste, teach to overcome difficulties, instill love for work, cultivate noble feelings, arouse the desire to be kind, honest, brave, fair.

Reading fairy tales always brings great joy to children. They listen to them carefully, actively experience, quickly learn the content, retell it with pleasure, play games on fairy tales, use memorable phrases and epithets in colloquial speech.

(pull-pull, frog frog, etc.) 2.3. Folk tale in the development of children's artistic abilities

The richness and brightness of fantastic images of a folk tale contributes to the development of artistic abilities. The fairy tale, as a special literary genre, has its own specific features. Fairy tales also embody significant ideas about the true world. Fairy tales vividly and vividly reflect the life of the people, the surrounding nature, etc. At the same time, in a fairy tale, the reflection of living, real reality is combined with the richness and originality of fantastic images.

First of all, in creative drawings on fairy tales, we find courage and richness of imagination. Some children, wanting to show images, change the real colors inherent in this or that object, give it a fantastic shade.

Among the diverse phenomena of reality, individual children find and express their own, experienced and felt theme. Reflecting reality, the child independently selects images, combines them in actions and builds content, introducing creative initiative into it, using expressive means specific to him.

As the analysis of the drawings shows, some children tend to use the rhythm of strokes, spots, linear contour, while others gravitate towards a picturesque reflection of the phenomena of reality.

Children find expressive means to realize their idea - color combinations, composition form. In a creative drawing, they convey their attitude to the depicted. The creative process involves a figurative vision of the world and reality in preschool children.

Reality is the basis of the creative process.

Visual creativity is formed due to the figurative vision of the child - the ability to observe, notice the characteristic features, details, analyze the shape, color of the observed object, color and at the same time the ability to maintain a holistic impression of the object, phenomenon.

In modern conditions, an important role is given to the development of artistic abilities by means of art, including folk tales.

A fairy tale, like other types of art, reflects the surrounding reality in a special figurative form, artistic images created by expressive means.

Familiarity with fairy tales not only enriches the emotional side of the psyche of children, but also expands and deepens their understanding of the environment, causes them to have a certain attitude towards those events and phenomena that are reflected in these works.

The main form of reflection of the reality surrounding the child is an artistic image. It is the artistic image that makes one feel a similar life image. It serves to educate a sense of beauty, and through the artistic image - the corresponding perception of the surrounding life.

Visual activity, even in the smallest child, is associated with his feelings. An emotional attitude to a phenomenon through a fairy tale helps to better remember, and then reproduce the perceived concept.

Fairy tales help to carry out broader tasks of education in the process of visual activity: the image depicted by the child again evokes in him feelings experienced earlier and thereby helps to consolidate these feelings. Therefore, it is important to consider what feelings this or that fairy tale or image evokes in children.

It is very important for the development of artistic abilities, through fine art, to maintain the first manifestation of a sense of color, to develop it further, to lead the child from the perception of contrasting combinations to ever more subtle, harmonious ones.

The news is that the drawings of preschoolers are distinguished by their cheerful mood. Cheerfulness arises, first of all, due to the color system. In most children's drawings, we see bright, open colors: blue sea, white ships, bright flowers on a light green meadow, etc.

Many children's works are characterized by bright decorative richness. Small fractional coloring is unacceptable for children. The drawing is decorated with only a few spots, but this turns out to be enough to create an expressive, interesting in its decorative structure, cheerful image. Cheerfulness is achieved mainly through a sharp contrast of color spots.

In children's drawings, you can find such images that are built on a monochrome, delicate range of colors: lilac, purple, dark brown tones. Most often this can be observed in the transmission of images of nature. And we see a variety of colors of flowers in fairy tales. In a children's drawing, color is also a means of expressing a certain figurative content. When transferring negative images of fairy tales (witches, Baba Yaga), it is significant that the child consciously uses black paint to convey his attitude to these images.

Children portray the witch not only with loose, tousled hair, an ugly face, they "dress" her in a black dress and even the house in which she lives is painted with black paint. This is the negative attitude towards this image.

In drawings, children sometimes use a color combination that gives the image a mystery and fantasy. The restless background of the sky - orange with bright red stripes - enhances the disturbing mood of the picture, and depicting a black sorcerer. In these drawings, we see a kind of interweaving of fiction and truth, fantastic and real.

A fairy tale is a reflection of objective reality.

A fairy tale is a specific form of cognition of reality and influence on it. Life facts, individual events, embodied by the artist in the image and interpreted by him, help to understand the real life processes more deeply, to look more closely at the world around us.

A fairy tale has the ability to grasp the most important and essential, to focus its attention on life facts and processes that most reveal the meaning of what is reflected. A fairy tale is characterized by a sense of the object, a special perspicacity in dealing with the diverse world of concrete things.

Consequently, reality is known through a fairy tale and through artistic images we receive unusually diverse and multifaceted impressions and knowledge that enrich a person.

For the development of creative abilities, it is necessary to teach children to master the basic ways of creative solutions. In this, the display of works of folk tales will be invaluable help.

In the creative process of a child of 6-7 years old, two stages can be distinguished: 1) the formation of an idea; 2) the creation of the drawing itself. The moment of concept formation in creative drawing seems to be very important. In general, the resulting product will depend on how the idea is formulated.

The development of perception, observation, "memorability" of what has been seen acquires essential importance here. The main thing is to promote the accumulation of visual representations, impressions of the child, the development of his imagination through a fairy tale. Attention to the methods of transmission, the form of color, composition in the fairy tales used gives children the opportunity to understand and find expressive means to translate their ideas.

In drawing on the themes of fairy tales, it is necessary to convey the nature of situational moments, actions, the search for specific visual means to express a "fairytale" plot. All these moments contribute to the activity of the imagination and their embodiment in creating an expressive image. The work must be realistic and highly artistic. This idea has been repeatedly expressed in the pedagogical literature. The authors who studied the perception of works of art by children, one of the first conditions in the selection of works for perception put their realism and high artistry.

According to their theme, fairy tales should be close and understandable to children. Children should have a stock of ideas and knowledge about the phenomena and objects artistically reflected in the picture.

The selection of works contributes to the discovery and enrichment of ways for children to convey their ideas in drawings. Apart from the fact that a work is artistic and accessible in terms of its plot, it must be understandable by its very artistry, i.e. must have an aesthetic effect.

Aesthetic impact can be exerted on children by such works, the expressive means of which are accessible to their perception. The works enrich the ideas of children, contribute to the development of the ability to see figuratively.

Therefore, objectivity, concreteness of drawings, special emotionality, provided by color and dynamics, is necessary.

When studying the influence of a fairy tale on children's fine art, the question of the aesthetic perception of art acquires great importance. Only under the condition of aesthetic perception of art can we talk about the influence of art on the development of creativity.

The tale unfolds in a straight line: one episode follows from another, and they are all interconnected. There are no verbose descriptions in the fairy tales, sparse but vivid characteristics are given; most often the image is shown in action. The images of fairy tales, despite the fantastic elements, are simple, real, connected with life familiar to children.

Drawings can be recreated only from the text of such a work, where the pictures are really meant and imagined. The episodes are illustrative.

The main characters involved in these fairy tales are available for the image of a child of senior preschool age. These fairy tales make it possible in their drawings to combine several objects into a simple plot, i.e. to express the relationship between the characters, to reflect the situation of the action, to express one's attitude to the depicted event.

Conclusions for Chapter II:

1. The essence of folk tales lies in the fact that fairy tales reveal historically established national and universal values. The tale carries folk wisdom. It contains ideals, people's dreams of a happy life, the conquest of nature, joyful work. Fairy tales are based on real and fantastic.

There are genres of fairy tales: fairy tales about animals; fairy tales; household novelistic fairy tales, adventurous fairy tales.

Also distinguish features of folk tales: nationality, optimism, amusingness, didacticism.

2. Fairy tales are an important educational tool developed and tested by the people over the centuries. Life folk practice of education convincingly proved the pedagogical value of fairy tales. Children and fairy tales are inseparable, they are created for each other, and therefore acquaintance with the fairy tales of one's own people must be included in the course of education and upbringing of each child.

3. The richness and brightness of the fantastic images of a folk tale contributes to the development of artistic abilities. Visual creativity is formed due to the figurative vision of the child - the ability to observe, notice the characteristic features, details, analyze the shape, color of the observed object and at the same time the ability to maintain a holistic impression of the object, phenomenon.

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The role of folk tales in the upbringing of children

Childhood is the most wonderful time in the life of every person, but at the same time the most difficult, since it is in childhood that character is formed, the basics of morality are assimilated, education is acquired. Since ancient times, the issue of raising children has been the main one in any society. It is not so easy to explain to a child the rules of life, the value of cultural traditions, and in order to do this in the most appropriate form for the child, fairy tales were invented.

Fairy tales are not fictional stories for the entertainment of children, they carry a deep meaning. Many centuries ago, when there was still no written language, oral folk art arose, performing the same role that literature later played. For children, the people created wonderful fairy tales, songs, riddles, sayings. Works of folk art have not lost their impact on the child in our days.

Deep moral ideas, dreams and beliefs of the people are reflected in oral works. The fairy tale speaks simply and convincingly about the victory of good over evil, truth over lies, about the triumph of justice. The positive hero of a fairy tale always wins. The tale shows work as the basis of life, the hardworking hero is rewarded, the lazy one is punished. Reason, resourcefulness, courage are glorified in the fairy tale.

The action of the folk tale unfolds against the backdrop of native nature. The child sees an open field, a dense forest, and a fast river. Nature, as it were, sympathizes with the positive hero: an apple tree, a river shelter the girl from the pursuit of swan geese, animals and birds help to overcome obstacles. Pictures of nature help to enhance the emotional impact of the work. The fairy tale contributes to the education of love for the native nature, for the Motherland.

The great Russian teacher K. D. Ushinsky highly appreciated the folk tale. He wrote about the fairy tale: "These are the first and brilliant attempts of Russian folk pedagogy, and I do not think that anyone is able to compete in this case with the pedagogical genius of the people."

In addition to fairy tales, the people created a large number of songs, jokes, nursery rhymes, and counting rhymes. Diverse in content, they clarify the child's ideas about the environment, imperceptibly direct his behavior. So, in the song "Magpie-Crow" the one who did not work does not get porridge: he did not saw wood, did not carry water.

Songs amuse the child, accompany his games, develop a sense of humor, teach him to think. From the first months of life, the child listens to the sounds of a melodic lullaby, which the mother sings to him, putting a lot of warmth and affection into it. Funny songs, nursery rhymes are associated with movement and are distinguished by a peppy rhythm. Songs about animals are very close to children.

In folk songs there is a wide variety of rhythms depending on the content - this is either a recitative rhyme, or a dance nursery rhyme, or a calm lullaby. The child receives the first musical perceptions precisely from the tunes of his songs.

The fairy tale creates favorable conditions for children to empathize with the hero; for some of them, just listening to a literary text does not yet cause the corresponding emotional experiences. In order to better understand and more deeply feel the meaning of a fairy tale, children need to reproduce the plot of the work and the relationship of its characters in an expanded external form. Good ground in this case is the saturation of the tale with dialogues, the dynamism of action, and the characteristic mask roles.

Thus, fairy tales should by no means be considered only as an interesting pastime, as a pleasant, accessible activity for a child. With the help of fairy tales, one can metaphorically educate a child, help to overcome the negative aspects of his emerging personality. Unfortunately, modern works have lost their main meaning - the meaning of teaching and education, which is why it is still more useful for children to read Russian folk tales, because it was on them that many generations were brought up, our grandmothers, mothers, we. It was the ancient folk art that laid the moral foundation in us. Thanks to them, we have learned to see the line between good and evil, feel compassion, understand the importance of such qualities as respect and forgiveness. And therefore, it is easiest for us to educate our children on these fairy tales.

Many people are still wondering why our children should read and watch Russian folk tales? – there are several reasons for this. But first of all, this is due to cultural affiliation, the tales of each country carry the foundations of morality, culture and traditions of each individual people, and it is better for children to get acquainted with the culture of the country in which they live. Another reason why it is more useful for our children to read Russian fairy tales is that Russian fairy tales are easier to understand, which is very important for a child.

It is useful for a shy and timid child to read the fairy tale "About the Cowardly Hare", for a greedy, selfish child - "About the Fisherman and the Fish", "Three Greedy Little Bears", for a capricious girl - "The Princess and the Pea", etc. If your child has emotional problems (he is anxious, aggressive or capricious), try to compose a fairy tale for him, where the characters and their adventures will help the child solve his problem (fear, insecurity, loneliness, rudeness, etc.). You can come up with a creature that looks a little like your child in appearance (eyes, hair, ears) and character (fighter, timid, capricious) and who, according to the plot of a fictional fairy tale, has many opportunities and choices in order to overcome obstacles. The child himself will find a way out of the traumatic situation. But when telling a fairy tale to a child, be sure to finish it right away. And speak in a normal voice that the child is used to in real life.

Children need fairy tales, especially folk ones. Young children intuitively feel this, only parents need to remember that a fairy tale should be age appropriate.

The works of oral folk art are a great art of the word. A clear, harmonious composition, a fascinating fantasy of a fairy tale, vivid images of heroes, an expressive and extremely laconic language, rhythm, and completeness of the plot of a short song make these works highly artistic in form. They will always enjoy the great love of children.

Fairy tales are not only a wonderful creation of art, their social, artistic and pedagogical value is undeniable and generally recognized. In simple stories about the cunning Fox and the gullible Wolf, the fool Emel and Princess Nesmeyana, the evil Koshchei and the fearless good fellow, etc. attracts the inexhaustibility of fiction, the wisdom of life observations. The fairy tale allows you to introduce children to the spiritual culture of their people and enrich them with knowledge about the history of their homeland.

The great German poet Friedrich Schiller wrote that only a man can play, and only then is he fully human when he plays. This idea was very much liked by the wonderful teacher V.A. Sukhomlinsky. Paraphrasing it, he said that there is something sisterly, close between a fairy tale and a game, that only a person can create fairy tales; and perhaps he is most human when he listens to a fairy tale, composes or remembers it. Fairy tales call for the transformation of the world, creation on the basis of humanity and beauty, condemning evil, violence, destruction, robbery.
wrote: “Dear friend, young educator, if you want your pupil to become smart, inquisitive, quick-witted, if you have a goal to establish in his soul sensitivity to the subtlest shades of thoughts and feelings of other people, educate his mind with the beauty of words, thoughts , and the beauty of the native word, its magical power is revealed, first of all, in a fairy tale.

A fairy tale is a cradle of thought, manage to organize the upbringing of a child in such a way that he retains exciting memories of this cradle all his life. The beauty of the native word - its emotional colors and shades - reaches the child, touches him, awakens self-esteem, when the heart touches the heart, the mind touches the mind. The poetic sound of the native word becomes music for the child when he picks up the instrument himself, creates music himself, sees, feels how his music affects other people.

A fairy tale is the most ancient genre of literary creativity; a work of art of a magical, adventurous or everyday nature, in which the plot generated by reality is colored with elements of fantastic fiction. There are folklore tales that have long existed as a common genre of oral folk art, as well as literary tales created by writers as an original literary work.
A fairy tale is the first genre of a detailed literary narrative accessible to children from an early age. Throughout preschool childhood, a fairy tale is one of the main sources of knowledge and development of the surrounding world. The moral experience, accumulated and polished by mankind over thousands of years, a child needs to learn in just a few years. And the fairy tale plays an exceptional role in this. Its content is determined by ideas about moral ideals, about good and evil, embodied in the images of positive and negative characters. In the end, goodness triumphs in the fairy tale, positive heroes triumph over the forces of evil and injustice. This creates an emotionally positive life background for the child, forms an optimistic perception of the world. Fairy tales with their miracles and magical transformations are most consonant with the worldview of the child. They convey moral concepts not in the form of a dry edition, but in a bright, fascinating, clear in meaning and funny form. At the same time, they introduce the child to a complex and contradictory life, reveal the essential phenomena and patterns of reality. Enriching the social experience of the child, fairy tales bring up an aesthetic attitude to nature, to man, to work and creativity.

The educational impact of a fairy tale is determined by the fact that, first of all, it affects the feelings of the child, emotionally coloring the edifying content. Listening to a fairy tale, the child in his imagination identifies himself with positive characters, lives with their noble feelings, and participates in their exploits. Parents should be alerted if the child's empathy is associated with negative characters: this usually indicates some kind of mental distress.

The life of a modern child is full of complex games, television and video films, and there is less and less room for a fairy tale. Moreover, many parents, considering fairy tales naive and primitive, try to focus the child's attention on activities that are more useful, from their point of view. However, one should not forget that the formation of social and moral maturity is one of the most important tasks of education. And therefore, one should not underestimate the fairy tale, which is not only a means of entertainment, but also an educational tool.

Fairy tales are very useful material for the development of cognitive interest. In the surprises of the folklore world, there are a lot of figurative and subtle logical situations that are accessible to children.
In the book “Fairy Tale as a Source of Children's Creativity” it is especially noted that “a creative function is inherent in a fairy tale, i.e. the ability to identify, form, develop and realize the creative potential of the individual, his figurative and abstract thinking. The fantastic world of a fairy tale, the presence of surreal, variable elements in it, the ability to "invite to co-authorship" allow the listener to overcome stereotypes of thinking, alienation complexes, awaken "sleeping", unrevealed creative (poetic, musical, dance, acting, painting, graphic, etc. .) capabilities.

Forming the habitual skills, techniques, actions, abilities of children, adults should arouse their interest not only and not so much in the final result, but in the very process of creating new plots or new images. This corresponds to the active nature of creativity. This stage, the stage of the formation of creative potential, implies an organic unity of both reproductive, standard, traditional, and innovative, creative elements. Adults are required to mobilize all the methods and techniques that form the creative qualities of the individual: imagination, verbal abilities, observation, figurative memory, the ability to improvise, to expressive movement, to predictive thinking, to comparative evaluation activity, i.e. to everything that forms the psychological creative potential of the individual.

Tales of the Russian people K.D.Ushinsky called the first brilliant attempts at folk pedagogy. Admiring fairy tales as monuments of folk pedagogy, he wrote that no one is able to compete with the pedagogical genius of the people. The same should be said about the fairy tales of other peoples.

Fairy tales, being works of art and literature, were at the same time for the working people an area of theoretical generalizations in many branches of knowledge. They are a treasury of folk pedagogy; moreover, many fairy tales are pedagogical works, i.e. they contain pedagogical ideas.

Leading Russian educators have always had a high opinion of the educational and upbringing significance of folk tales and pointed out the need for their wide use in pedagogical work. So, V.G. Belinsky valued in fairy tales their nationality, their national character. He believed that in a fairy tale behind fantasy and fiction there is real life, real social relations. V.G. Belinsky, who deeply understood the nature of the child, believed that children have a highly developed desire for everything fantastic, that they need not abstract ideas, but concrete images, colors, sounds. ON THE. Dobrolyubov considered fairy tales to be works in which people reveal their attitude to life, to modernity. N.A. Dobrolyubov sought to understand the views of the people and their psychology from fairy tales and legends, he wanted “so that, according to folk legends, the living physiognomy of the people who preserved these traditions could be outlined before us.”

The great Russian teacher K.D. Ushinsky had such a high opinion of fairy tales that he included them in his pedagogical system. Ushinsky saw the reason for the success of fairy tales with children in the fact that the simplicity and immediacy of folk art correspond to the same properties of child psychology. “In a folk tale,” he wrote, “the great and poetic child-folk tells the children their childhood dreams and at least half believes in these dreams.” In passing, a very revealing fact should be noted. Ushinsky's thoughts about fairy tales are very close in nature to K. Marx's statement about them. In the introduction “To the Critique of Political Economy”, K. Marx wrote that the reason for the popularity of fairy tales among children is the correspondence between the naivety of the child and the artless truth of folk poetry, in which the childhood of human society is reflected. According to Ushinsky, natural Russian teachers - grandmother, mother, grandfather, who did not get down from the stove, understood instinctively and knew from experience what a huge educational and educational power a folk tale is fraught with. As you know, the pedagogical ideal of Ushinsky was a harmonious combination of mental and moral and aesthetic development. According to the firm conviction of the great Russian teacher, this task can be successfully accomplished provided that the material of folk tales is widely used in education. Thanks to fairy tales, a beautiful poetic image grows together with a logical thought in the soul of a child, the development of the mind goes hand in hand with the development of fantasy and feelings. Ushinsky worked out in detail the question of the pedagogical significance of fairy tales and their psychological impact on the child; he resolutely put the folk tale above the stories published in educational literature especially for children, for the latter, as the great teacher believed, were still a fake: a childish grimace on an old face.

In Russian pedagogy, there are thoughts about fairy tales not only as educational and educational material, but also as a pedagogical tool, method. Thus, the nameless author of the article "The Educational Significance of the Fairy Tale", in the monthly pedagogical leaflet "Education and Training (No. 1, 1894), writes that the fairy tale appeared at that distant time, when the people were in a state of infancy. Revealing the significance of the fairy tale as a pedagogical tool, he admits that if the same moral maxim is repeated even a thousand times to children, it will still remain a dead letter for them; but if you tell them a fairy tale imbued with the same thought, the child will be excited and shocked by it. Further in the article, the story of A.P. Chekhov is commented. The little boy took it into his head to smoke. He is admonished, but he remains deaf to the convictions of his elders. The father tells him a touching story about how smoking has adversely affected the health of one boy, and the son, with tears, throws himself on his father's neck and promises never to smoke. “There are many such facts from the life of children,” the author of the article concludes, “and every educator probably had to sometimes use this method of persuasion with children.”

Fairy tales as a method of persuasion were widely used in his pedagogical activity by the outstanding Chuvash teacher I.Ya. Yakovlev.

Many fairy tales, and stories by I.Ya. Yakovlev, compiled by him in the manner of everyday fairy tales, are in the nature of ethical conversations, i.e. act as a means of persuasion in the moral education of children. In a number of fairy tales and stories, he admonishes children by referring to the objective conditions of life, and most often to the natural consequences of children's bad deeds: he assures them, convinces them of the importance of good behavior.

The educational role of fairy tales is great. There is an assertion that the pedagogical significance of fairy tales lies in the emotional and aesthetic plane, but not cognitive. One cannot agree with this. The very opposition of cognitive activity to emotion is fundamentally wrong: the emotional sphere and cognitive activity are inseparable, without emotion, as you know, knowledge of the truth is impossible.

Fairy tales, depending on the topic and content, make listeners think, suggest reflections. Often the child concludes: “It doesn’t happen like that in life.” The question involuntarily arises: “What happens in life?” Already the conversation of the narrator with the child, containing the answer to this question, has a cognitive value. But fairy tales contain cognitive material directly. It should be noted that the cognitive significance of fairy tales extends, in particular, to individual details of folk customs and traditions, and even to household trifles.

For example, in the Chuvash fairy tale “He who does not honor the old, he himself will not see the good” tells that the daughter-in-law, not listening to her mother-in-law, decided to cook porridge not from millet, but from millet and not on water, but only on oil. What came of it? As soon as she opened the lid, millet grains, not boiled, but roasted, jumped out, fell into her eyes and blinded her forever. The main thing in the fairy tale, of course, is the moral conclusion: you need to listen to the voice of the old, take into account their worldly experience, otherwise you will be punished. But for children, it also contains educational material: they fry in oil, not boil it, therefore, it is ridiculous to cook porridge without water, in oil alone. Children are usually not told about this, because in life no one does this, but in a fairy tale children are instructed that everything has its place, that everything should be in order.

Here is another example. The fairy tale "A penny for a miser" tells how a smart tailor agreed with a greedy old woman to pay her one penny for each "star" of fat in the soup. When the old woman put oil, the tailor encouraged her: “Lay, put, old woman, more, do not spare oil, because I ask you not without reason: I will pay a penny for every “star”. The greedy old woman put more and more butter in order to get a lot of money for it. But all her efforts gave an income of one penny. The moral of this story is simple: don't be greedy. This is the main idea of the tale. But its cognitive meaning is also great. Why, - the child will ask, - did the old woman get one big "asterisk"?

The fairy tale "Ivanushka the Fool" tells how he walked, walked through the forest and reached a house. I entered the house, there were 12 stoves, in 12 stoves - 12 boilers, in 12 boilers - 12 pots. Ivan, hungry on the road, began to try food from all the pots in a row. Already trying, he ate. The educational value of the given detail of the tale is that in it the task is offered to the attention of the listeners: 12 x 12 x 12 \u003d? Could Ivan have eaten? Not only could, moreover, only a fairy-tale hero could eat so much: if he tried in all the pots, then he ate 1728 spoons of food!

Of course, the educational value of fairy tales also depends on the storyteller. Skillful storytellers usually always try to use such moments, posing questions like in the course of telling a fairy tale: “What do you guys think, how many boilers were there? How many pots? and so on.

The educational significance of fairy tales in geographical and historical terms is well known.

So, in the fairy tale "Let parents always be held in high esteem" tells about the following. The son went to harvest peas, took his old mother with him to the field. The wife, a lazy, quarrelsome woman, stayed at home. Seeing off her husband, she said: “We don’t properly feed your mother at home, she, hungry, would not have eaten all the peas there. Follow her." Indeed, the son in the field never took his eyes off his mother. Mother, as soon as she arrived in the field, took and put one pea in her mouth. She tossed the pea with her tongue, sucked, tried with all her might, toothless, to taste the peas of the new crop. The son, noticing this, remembered his wife’s order: “He doesn’t eat in the morning, so she will eat everything. There is not much sense from her on the field, I’d better take her back home. ” When they arrived home, the mother, while getting off the cart, dropped a single pea from her mouth and confessed this to her son with tears. The son, hearing about this, put his mother on a cart and hurried back to the field. But he was in a hurry in vain, by the time they arrived on his site there was not only not a single pea, but there was no straw left either: a large flock of cranes ate the peas, a large herd of cows, goats and sheep ate the straw. So, a man who regretted one pea for his own mother was left without a single pea.

The moral of the story is quite obvious. From the point of view of its educational value, something else attracts attention. Many narrators of this tale pass it off as the “true truth”: they name the name of the old woman’s son, not only the village where he lived, but also the place where his field (pen) was. One of the narrators reported that the old woman dropped a pea on a pothole known to the listeners, and not at the house, as recorded in the version of the tale we cited. As a result, the tale introduces the past of the village, with some of its inhabitants, talks about economic ties and relationships.

In the fairy tale “About how they fell into the underworld” it is told how the mother of three sons and three daughters wanted to marry them to each other. She managed to marry the eldest and middle daughter, respectively, to the eldest and middle son. The youngest daughter did not agree to marry her brother and ran away from home. By the time she returned, their home, with their mother, two sons and two daughters, had sunk into the ground. "As soon as the earth wears it!" - talking about a very bad person. So in the fairy tale, the earth could not stand the criminal guilt of the mother, and the children who obeyed the immoral demand of the mother were also punished. It should be noted that the mother is bred disgusting in all respects: heartless, cruel, drunkard, etc. Consequently, her act in relation to her own children is not an accident, but a consequence of her personal qualities. The moral of this tale is obvious: marriage between relatives is immoral, unnatural, and therefore unacceptable. But this tale at the same time has a cognitive meaning: once in antiquity, marriage between relatives was allowed. An ancient tale is a reflection of the struggle for the rejection of such marriages, for their prohibition. Such a tale, of course, could only have arisen in ancient times.

The short fairy tale "Fishing" tells about how the Chuvash, Russians and Mordovians fished on one large lake. The main idea and main purpose of the fairy tale is the development and strengthening in children of a sense of friendship between peoples: "Russian, Mordvin and Chuvash are all the same: people." But at the same time it also contains a small cognitive material. The Chuvash say: “Syukka” (No”), the Mordovians “Aras” (“No”), the Russians also did not catch a single fish, therefore, in essence, in this case, the position of the Chuvash, Mordovians and Russians is the same. But the Russians heard the words "syukka", "aras" as "pike" and "crucian carp". People speak different languages, words may be similar to each other, but their meaning is different. To understand foreign languages, you need to learn them. The tale assumes that the fishermen do not know each other's languages. But the listener will learn from the fairy tale that "syukka" and "aras" in Chuvash means "no". The tale, although it introduces only two words of other peoples, nevertheless arouses in the child an interest in foreign languages. It was the masterful combination of the educational and the cognitive in fairy tales that made them very effective pedagogical means. In the foreword to The Tale of the Release of the Sun and the Moon from Captivity, the writer of the legend admits that he heard it only once, when he was nine years old. The style of speech was not retained in the memory of the writer, but the content of the legend was preserved. This recognition is indicative: it is generally believed that fairy tales are remembered due to a special way of speech, presentation, etc. It turns out that this is not always true. Undoubtedly, in memorizing fairy tales, their capacious meaning, the combination of educational and educational material in them, plays an important role. This combination contains the peculiar charm of fairy tales as ethnopedagogical monuments, in them the idea of the unity of teaching (education) and upbringing in folk pedagogy is implemented to the maximum extent.

FEATURES OF FAIRY TALES AS FOLK MEANS OF EDUCATION

Not being able to analyze in detail all the features of fairy tales, we will dwell only on their most characteristic features, such as nationality, optimism, the fascination of the plot, imagery and amusingness, and, finally, didacticism.

The material for folk tales was the life of the people: their struggle for happiness, beliefs, customs, and the surrounding nature. In the beliefs of the people there was a lot of superstitious and dark. This is dark and reactionary - a consequence of the difficult historical past of the working people. Most of the fairy tales reflect the best features of the people: diligence, talent, loyalty in battle and work, boundless devotion to the people and homeland. The embodiment of the positive traits of the people in fairy tales made fairy tales an effective means of transmitting these traits from generation to generation. Precisely because fairy tales reflect the life of the people, their best traits, and cultivate these traits in the younger generation, nationality turns out to be one of the most important characteristics of fairy tales.

In fairy tales, especially in historical ones, one can trace the interethnic ties of peoples, the joint struggle of the working people against foreign enemies and exploiters. In a number of fairy tales there are approving statements about neighboring peoples. Many fairy tales describe the journeys of heroes to foreign countries, and in these countries they, as a rule, find helpers and well-wishers for themselves. Workers of all tribes and countries can agree among themselves, they have common interests. If a fairy-tale hero has to wage a fierce struggle in foreign countries with all kinds of monsters and evil wizards, then usually victory over them entails the liberation of people languishing in the underworld or in the dungeons of monsters. Moreover, the liberated people hated the monster just as much as the fairy-tale hero, but they did not have enough strength to free themselves. And the interests and desires of the liberators and the liberated turned out to be almost the same.

Positive fairy tale characters, as a rule, are helped in their difficult struggle not only by people, but also by nature itself: a thick-leaved tree that hides the fugitives from the enemy, a river and a lake that direct the pursuit along the wrong path, birds that warn of danger, fish that seek and find a ring dropped into the river, and passing it on to other human helpers - a cat and a dog; an eagle raising the hero to a height inaccessible to man; not to mention the faithful fast horse, etc. All this reflected the age-old optimistic dream of the people to subdue the forces of nature and make them serve themselves.

Many folk tales inspire confidence in the triumph of truth, in the victory of good over evil. As a rule, in all fairy tales, the sufferings of the positive hero and his friends are transient, temporary, joy usually comes after them, and this joy is the result of a struggle, the result of joint efforts. Optimism children especially like fairy tales and enhances the educational value of folk pedagogical means.

The fascination of the plot, imagery and amusingness make fairy tales a very effective pedagogical tool. Makarenko, describing the features of the style of children's literature, said that the plot of works for children should, if possible, strive for simplicity, the plot - for complexity. Fairy tales most fully meet this requirement. In fairy tales, the scheme of events, external clashes and struggle is very complex. This circumstance makes the plot fascinating and attracts the attention of children to the fairy tale. Therefore, it is legitimate to assert that the tales take into account the mental characteristics of children, first of all, the instability and mobility of their attention.

Imagery- an important feature of fairy tales, which facilitates their perception by children who are not yet capable of abstract thinking. In the hero, those main character traits that bring him closer to the national character of the people are usually very convex and vividly shown: courage, diligence, wit, etc. These features are revealed both in events and through various artistic means, such as hyperbolization. Thus, as a result of hyperbolization, the feature of industriousness reaches the maximum brightness and convexity of the image (in one night to build a palace, a bridge from the hero’s house to the king’s palace, in one night to sow flax, grow, process, spin, weave, sew and clothe the people, sow wheat , grow, harvest, thresh, grind, bake and feed people, etc.). The same should be said about such traits as physical strength, courage, courage, etc.

Imagery is complemented funnyness fairy tales. The wise educator-people took special care to make fairy tales interesting and entertaining. In a folk tale, there are not only bright and lively images, but also subtle and cheerful humor. All peoples have fairy tales, the special purpose of which is to amuse the listener. For example, fairy tales "shifters": "The Tale of Grandfather Mitrofan", "What was his name?", "Sarmandey", etc.; or "endless" tales, such as the Russian "About the White Bull". In the Chuvash proverb “One had a smart cat,” the cat died. The owner buried her, put a cross on the grave and wrote on the cross like this: "One had a smart cat ...", etc. And so on until the listeners, with laughter and noise (“Enough!”, “No more!”) deprive the narrator of the opportunity to continue the tale.

Didacticism is one of the most important features of fairy tales. Fairy tales of all peoples of the world are always instructive and instructive. It was precisely noting their instructive nature, their didacticism, that A.S. Pushkin wrote at the end of his “Tale of the Golden Cockerel”:

The tale is a lie, but there is a hint in it!

Good fellows lesson.

Hints in fairy tales are used just to enhance their didacticism. The peculiarity of the didacticism of fairy tales is that they give “good fellows a lesson” not with general reasoning and teachings, but with vivid images and convincing actions. Therefore, didacticism in no way reduces the artistry of fairy tales. One or another instructive experience, as it were, is formed completely independently in the mind of the listener. This is the source of the pedagogical effectiveness of fairy tales. Almost all fairy tales contain certain elements of didacticism, but at the same time there are fairy tales that are entirely devoted to one or another moral problem, for example, the Chuvash fairy tales “Smart Boy”, “What is learned in youth - on a stone, what is learned in old age - in the snow”, “You won’t go far on a lie”, “An old man - four people”, etc. There are many similar tales among all peoples.

Due to the features noted above, fairy tales of all peoples are an effective means of education. A.S. wrote about the educational value of fairy tales. Pushkin: "... in the evening I listen to fairy tales and thereby reward the shortcomings of my damned upbringing." Fairy tales are a treasure trove of pedagogical ideas, brilliant examples of folk pedagogical genius.

PEDAGOGICAL IDEAS OF FAIRY TALE

In a number of folk tales, we meet with certain pedagogical concepts, conclusions, and reasoning. First of all, it should be noted the desire of the people for knowledge. In fairy tales there is an idea that books are a source of wisdom. The fairy tale "In the Land of the Yellow Day" speaks of "one big book". In the short fairy tale "Arguing in vain" it is indicated that only those who know how to read need a book. Therefore, this tale affirms the need to learn to read in order to have access to bookish wisdom.

Some methods of influencing the personality are reflected in folk tales, the general conditions of family education are analyzed, the approximate content of moral education is determined, etc.

Once upon a time there was an old man with his son and daughter-in-law. He also had a grandson. This old man was tired of his son and daughter-in-law, they did not want to look after him. And so the son, on the advice of his wife, put his father on a sled and decided to take him to a deep ravine. He was accompanied by the old man's grandson. The son pushed the sleigh with his father down into the ravine and was about to go back home. But his little son delayed him: he rushed into the ravine for the sled, despite the angry remark of his father that he would buy him a new, better sled. The boy pulled a sled out of the ravine and said that his father should buy him new sleds. And he will take care of these sleds, so that after many years, when his father and mother grow old, he will deliver them to the same ravine.

The main idea of the tale is that a person should be punished according to his deserts for his crime, that punishment is a natural consequence of his crime. The content of the Russian fairy tale, processed by L.N. Tolstoy, is completely analogous, in which a child playing with wood chips tells his parents that he wants to make a tub to feed his father and mother from it in the same way as they wanted to do with their grandfather.

The power of example in education is emphasized in folk pedagogy in the maximum way. In the fairy tale “Let parents always be held in high esteem”, the natural consequence of the daughter-in-law’s act is her blindness, the son is that he was left without peas. In another tale, “You Can't Go Far on a Lie,” the liar is severely punished: the neighbors did not come to his aid when thieves attacked his house. Russians, Ukrainians, Tatars, etc. have a similar fairy tale.

The conditions of family education and measures of influence on the personality are discussed in the fairy tales "Snowstorm", "Magic Sliver" and some others. The fairy tale "Snowstorm" tells that disagreements, quarrels in the family are worse than the strongest snowstorm on the street; I want to run away from home without looking at anything. In such conditions, of course, the correct upbringing of children is also excluded. The fairy tale "The Magic Sliver" contains a hint that parents should also engage in self-education, that family relations should be built on mutual concessions.

A husband and wife lived. The wife was quarrelsome. She constantly made scandals to her husband, which ended in fights. And so this woman decided to seek advice from a wise old woman: “What to do with a husband who offends me all the time.” This old woman, already from a conversation with a woman, realized that she was quarrelsome, and immediately said: “It is not difficult for you to help. Here, take this sliver, it is magical, and as soon as your husband comes home from work, put it in your mouth and hold it firmly with your teeth. Don't let go for anything." On the advice of the old woman, the woman did all this three times, and after the third time she came with gratitude to the old woman: "The husband stopped offending." The tale contains a call for compliance, accommodating, complaisant.

In fairy tales, including the cited one, the problem of the personality of the teacher, the direction of his educational efforts, is also posed. In this case, the old woman is one of the folk teachers-masters. Fairy tales show that their distinctive feature is that they are engaged in educating not only children and youth, but also their parents. This is very typical.

The principle of conformity to nature, and almost in the spirit of Ya.A. Komensky, is contained in the fairy tale "What is learned in youth - on a stone, what is learned in old age - in the snow." Stone and snow - in this case - images introduced to substantiate an empirically established objective physiological and psychological pattern. This regularity lies in the fact that in childhood, in youth, a person assimilates educational material much more firmly than in old age. The grandfather says to his grandson: “The snow is blown away by the wind, it melts from the heat, but the stone has been lying safe and sound for hundreds and thousands of years.” The same thing happens with knowledge: if they are acquired in youth, they are stored for a long time, often for life, and knowledge acquired in old age is quickly forgotten.

Many other problems of public education are also raised in fairy tales.

An amazing pedagogical masterpiece is the Kalmyk fairy tale “How a lazy old man began to work,” which considers the gradual involvement of a person in work as the most effective way to overcome laziness. The fairy tale reveals in a fascinating way the method of accustoming to work: initiation to work begins with an advance encouragement and the use of the first results of labor as reinforcement, then it is proposed to move on to the application of approval; inner motivation and the habit of work are declared indicators of the final solution to the problem of instilling industriousness. The Chechen fairy tale "Hasan and Ahmed" teaches how to preserve the sacred bonds of brotherhood, calls to cherish the feeling of gratitude, to be hardworking and kind. In the Kalmyk fairy tale Unresolved Court Cases, even a kind of symbolic experiment is set up, proving the need for extremely gentle treatment of a newborn. “The brain of a newborn child is like foam of milk,” the fairy tale says. When the herds of the Gelung Gawang were noisily going to the watering place past the wagon, the child had a concussion and he died.”

Fairy tales comment on the pedagogical ideas of proverbs, sayings and aphorisms, and sometimes fairy tales argue these ideas, revealing them on specific facts. For example, the Chuvash aphorism is known: “Labor is the support of life” (options: “handle of fate”, “rule of life”, “basis of life”, “support of the universe”). There are many adequate proverbs about labor among other peoples. Thoughts similar to this aphorism are contained in the tales of many peoples. The author of this book at one time selected and translated into the Chuvash language Russian, Ukrainian, Georgian, Evenki, Nanai, Khakass, Kirghiz, Lithuanian, Latvian, Vietnamese, Afghan, Brazilian, Tagalog, Hindu, Bandu, Lamba, Hausa, Iraqi, Dahomey, Ethiopian fairy tales, the main idea of which corresponds to the above proverb. As the name of the collection, its second part is taken - "Support of Life". This small anthology of fairy tales from different peoples shows the universal nature of ideas about work and diligence.

The collection opens with a Kyrgyz fairy tale “Why is a person stronger than anyone in the world?” A similar story is known to many peoples. The tale is interesting because it contains the best answer to the riddle-question: "Who is the strongest in the world?"

The wild goose's wings are frozen to the ice, and he marvels at the power of the ice. The ice says in response that the rain is stronger, and the rain - that the earth is stronger, the earth - that the forest is stronger (“sucks the power of the earth and stands rustling with leaves”), the forest - that the fire is stronger, the fire - that the wind is stronger (it blows - puts out the fire , will uproot old trees), but the wind cannot overcome low grass, it is stronger than a ram, and that one is stronger than a gray wolf. The wolf says: “The strongest man in the world. He can catch a wild goose, melt the ice, he is not afraid of rain, he plows the earth and makes it useful for himself, extinguishes the fire, conquers the wind and makes it work for himself, mows grass for hay that does not lend itself to a scythe, uproots and throws away, slaughters the ram and eats its meat, praises. Even I am nothing for a man: he can kill me at any time, take off his skin and sew a fur coat for himself.

A person in a Kyrgyz fairy tale is a hunter (he catches birds at the beginning of the fairy tale and hunts wolves at the end), a tiller, a mower, a cattle breeder, a butcher, a tailor ... He puts out the fire too - this is not an easy job. Thanks to labor, a person becomes the master of the universe, it is thanks to labor that he conquers and subjugates the mighty forces of nature, becomes stronger and smarter than everyone in the world, acquires the ability to transform nature. The Chuvash fairy tale “Who is the strongest in the universe?” differs from the Kyrgyz fairy tale only in some details.

Similar tales in somewhat modified versions are also found among other peoples. The Nanai fairy tale “Who is the strongest of all?” is peculiar and interesting. The boy fell while playing on ice and decided to find out what the power of ice is. It turned out that the sun is stronger than ice, a cloud can cover the sun, the wind can disperse a cloud, but cannot move a mountain. But the mountain is not the strongest in the world; allows trees to grow on their top. Adults were aware of human strength and wanted children to know this and try to be worthy of the human race. The boy, playing, grows and prepares for work. And an adult is strong precisely by labor, and he says to the boy: “So, I am the strongest of all if I knock down a tree growing on a mountain top.”

In Russian, Tatar, Ukrainian fairy tales, as well as in the fairy tales of other peoples, the idea is clearly carried out that only the one who works can be called a man. In labor and struggle, a person acquires his best qualities. Hard work is one of the main human characteristics. Without labor, a person ceases to be a person. In this regard, the Nanai fairy tale "Ayoga" is interesting, which is a true masterpiece: a lazy girl who refuses to work, eventually turns into a goose. Man has become himself through labor; he can cease to be it if he ceases to work.

The main idea of the Dargin fairy tale "Sunun and Mesedu" is that labor is a joyful creativity, it makes a person strong, saves him from all worldly troubles. The central character of Sunun's tale is brave, resourceful, honest, generous. The leading thought of the tale is clearly expressed: “... and Sununa's friends helped him master all the skills that people knew, and Sununa became stronger than all his brothers, because even the khanate can be lost, but you will never lose what your hands can do and head."

In the Ossetian fairy tale "What is more expensive?" one of the young men, by his personal example, proves to the other that the most precious thing in the world is not wealth, but a faithful friend, and loyalty in friendship consists in joint work and struggle. The Udmurt fairy tale "Lazy Woman" describes a whole system of measures to influence a lazy wife in order to instill in her industriousness. In the Koryak fairy tale "A Boy with a Bow" it is said that "before the fathers of the boys who began to walk, they made bows to practice shooting." The Yakut fairy tale “The Stupid Daughter-in-Law” contains an appeal to first learn to work, then to obey, and consciousness is required from the obeyer: “This is how those who want to obey everyone have to live - you even have to draw water with a sieve!” - the fairy tale ridicules the daughter-in-law, who has not learned the rule, known to the neighboring Nenets people: “You can’t scoop up water with a net.” The Bulgarian fairy tale "Mind wins" shows that a person wins not by force, but by the mind. The same idea is preached in the Kirghiz, Tatar and Chuvash fairy tales.

The hero of Chechen fairy tales is not afraid to go into battle with a huge snake and sea monsters, a fire-breathing dragon and a terrible wolf Berza Kaz. His sword strikes the enemy, his arrow never misses. Dzhigit takes up arms to intercede for the offended and subdue the one who sows misfortune. A true horseman is one who never leaves a friend in trouble, will not change this word. He is not afraid of danger, saving others, he is ready to lay down his head. In this self-forgetfulness, selflessness and self-denial is a remarkable feature of a fairy-tale hero.

The themes of Chechen fairy tales are unexpected, others are unique. A Chechen sits on patrol for many days and nights. On his knees is a saber, pointing to his face. He falls asleep for a moment, his face hits a sharp saber, and his neck is wounded - blood flows. Wounds do not allow him to sleep. Bleeding, he will not miss the enemy. And here is another tale. “Two friends lived - Mavsur and Magomed. They became friends when they were boys. Years passed, Mavsur and Magomed grew up, and friendship grew stronger with them. Mavsur proved this and saved Magomed. And they began to live and live, never to be separated. And no one knew a stronger friendship than theirs. To die with him, for him is a manifestation of friendship typical of Chechens. Loyalty in friendship is the highest human value for a Chechen. The theme of another tale is the hero's help to his father's friend. The sons said to their father with one voice: “If there is something between heaven and earth that can help your friend, we will get it and help your friend out of trouble.”

There is nothing on earth more valuable than the Motherland. A horse hurries towards the native mountains - and he understands the Chechen.

On the coat of arms and the flag of the Chechen Republic - Ichkeria - a Wolf is depicted ... This is a symbol of courage, nobility and generosity. The tiger and the eagle attack the weak. The wolf is the only animal that dares to attack the strong. He replaces the lack of strength with courage and dexterity. If the wolf loses the fight, he does not die like a dog, he dies silently, without making a sound. And, dying, turns his face to his enemy. The wolf is especially revered by the Vainakhs.

Fairy tales simply and naturally pose the problems of instilling in young people a sense of beauty, the formation of moral traits, etc. In one old Chuvash fairy tale "The Doll", the main character sets off to look for a groom. What interests her in the future groom? She asks everyone two questions: “What are your songs and dances?” and “What are the rules and regulations of life?” When the sparrow expressed a desire to become the bridegroom of the doll and performed a dance and a song, talking about the conditions of life, the doll ridiculed his songs and dances (“The song is very short, and its words are not poetic”), she did not like the sparrow rules of life, everyday life . The tale does not deny the importance of good dances and beautiful songs in life, but at the same time, in a witty form, very evilly ridicules those loafers who, without working, want to spend time in fun and entertainment, the tale inspires children that life severely punishes the frivolity of those who does not appreciate the main thing in life - everyday, hard work and does not understand the main value of a person - diligence.

In the Ossetian fairy tales "Magic hat" and "Gemini" the moral code of the highlander is given. The covenants of hospitality are cultivated in them, well-wishes are confirmed by the example of the father, labor combined with intelligence and kindness is declared as a means of combating poverty: “Alone, without friends, drinking and eating is a shame for a good mountaineer”; “When my father was alive, he did not spare a churek and salt, not only for friends, but also for his enemies. I am my father's son"; “May your morning be happy!”; "Let your path be straight!" Kharzafid, “a good mountaineer”, “harnessed oxen and a cart and worked day, worked night. A day passed, a year passed, and the poor man drove away his need. The characteristic of the young man, the son of a poor widow, her hope and support, is noteworthy: “He is brave, like a leopard. Like a sunbeam, his speech is direct. His arrow hits without a miss.

The three virtues of the young highlander are clothed in a beautiful form - the formulated virtues are joined by an implicit appeal to the beautiful. This, in turn, enhances the harmony of the perfect personality. Such an implicit presence of individual features of a perfect person characterizes the oral creativity of many peoples. So, for example, the highly poetic Mansi fairy tale “Sparrow”, from beginning to end sustained in the form of a dialogue, consists of nine riddles-questions and nine riddles-answers: “Sparrow, sparrow, what is your head? - A ladle for drinking spring water. - What is your nose? - A crowbar for chiseling spring ice... - What are your legs? - Podporochki in the spring house ... "Wise, kind, beautiful act in a fairy tale in poetic unity. The highly poetic form of the fairy tale itself immerses its listeners into the world of beauty. And at the same time, it vividly depicts the life of the Mansi people in its smallest details and details: it tells about a painted oar for riding up the river, a lasso for catching seven deer, a trough for feeding seven dogs, etc. And all this fits in eighty-five words of a fairy tale, including prepositions.

The most generalized pedagogical role of fairy tales was presented in his works by V.A. Sukhomlinsky. He effectively used them in the educational process; in Pavlysh, the children themselves created fairy tales. The great democratic teachers of the past, including Ushinsky, included fairy tales in their educational books, anthologies.

With Sukhomlinsky, fairy tales became an integral part of his theoretical heritage. Such a synthesis of folk principles with science becomes a powerful factor in enriching the pedagogical culture of the country. Sukhomlinsky achieved the greatest success in educational work, primarily due to the fact that the first of the Soviet teachers began to widely use the pedagogical treasures of the people. Progressive folk traditions of education were realized by him to the maximum extent.

The formation of Sukhomlinsky himself was greatly influenced by folk pedagogy. He brilliantly transferred his experience to his pupils. Thus, the experience of self-education becomes a support in education. In the book "Methods of Education of the Collective", published in Kyiv in 1971, an amazing fairy tale is given, based on which Sukhomlinsky makes important pedagogical generalizations.

What is love?... When God created the world, he taught all living things to continue their kind - to give birth to others like themselves. God placed a man and a woman in a field, taught them how to build a hut, gave a shovel to a man, and a handful of grain to a woman.

Live: continue your family, - God said, - and I will go about the housework. I'll come back in a year and see how you are...

God comes to people a year later with the archangel Gabriel. Comes early in the morning, before sunrise. He sees a man and a woman sitting near a hut, before them the bread ripens in the field, under the hut there is a cradle, and in it the child sleeps. And a man and a woman look at the orange field, then into each other's eyes. At that moment, when their eyes met, God saw in them some kind of unprecedented power, an unusual beauty for him. This beauty was more beautiful than the sky and the sun, the earth and the stars - more beautiful than anything that God blinded and made, more beautiful than God himself. This beauty surprised God so much that his God’s soul trembled with fear and envy: how is it, I created the earthly foundation, molded a person from clay and breathed life into him, but apparently I could not create this beauty, where did it come from and what kind of beauty is this?

This is love, - said the archangel Gabriel.

What is this - love? God asked.

The archangel shrugged.

God approached the man, touched his shoulder with his old hand and began to ask: teach me to love, Man. The man did not even notice the touch of the god's hand. He felt like a fly had landed on his shoulder. He looked into the eyes of a woman - his wife, the mother of his child. God was a weak, but evil and vengeful grandfather. He got angry and shouted:

Yeah, so you don't want to teach me how to love, Human? Remember me! Older from this hour. Let every hour of life take away your youth and strength drop by drop. Turn into a ruin. Let your brain dry up and your mind become impoverished. Let your heart become empty. And I will come in fifty years and see what will remain in your eyes, Man.

God came with the archangel Gabriel after fifty years. He looks - instead of a hut there is a little white house, a garden has grown on a wasteland, wheat is earing in the field, sons plow the field, daughters tear flax, and grandchildren play in the meadow. Grandfather and grandmother are sitting near the house, looking at the morning dawn, then into each other's eyes. And God saw in the eyes of a man and a woman an even stronger, eternal and invincible beauty. God saw not only Love, but also Loyalty. God was angry, screaming, hands trembling, foam flies from his mouth, eyes on his forehead climb:

Is old age not enough for you, Man? So die, die in agony and grieve for life, for your love, go to the ground, turn into dust and decay. And I'll come and see what your love will turn into.

God came with the archangel Gabriel three years later. He looks: a man is sitting over a small grave, his eyes are sad, but in them there is an even stronger, unusual and terrible human beauty for God. God has already seen not only Love, not only Loyalty, but also the Memory of the Heart. God's hands trembled from fear and impotence, he approached the Man, fell to his knees and begged:

Give me, Man, this beauty. Whatever you want, ask for her, but just give me her, give me this beauty.

I can't, said the man. - She, this beauty, gets very expensive. Its price is death, and you are said to be immortal.

I will give you immortality, I will give you youth, but just give me Love.

No, don't. Neither eternal youth, nor immortality can be compared with Love, - answered the Man.

God got up, squeezed his beard into a handful, moved away from grandfather, who was sitting near the grave, turned his face to the wheat field, to the pink dawn and saw: a young man and a girl were standing near the golden ears of wheat and looking at the pink sky, then into each other's eyes . God grabbed his head with his hands and went from earth to heaven. From that time on, Man became God on Earth.

That's what love means. She is more than God. This is the eternal beauty and human immortality. We turn into a handful of dust, but Love remains forever...

On the basis of the fairy tale, Sukhomlinsky draws very important pedagogical conclusions: “When I told future mothers and fathers about love, I tried to establish in their hearts a sense of dignity and honor. True love is the true beauty of a person. Love is the flowers of morality; there is no healthy moral root in a person - there is no noble love either. Stories about love are the hours of "our happiest spiritual unity." Boys and girls are waiting for this time, according to Sukhomlinsky, with hidden hopes: but in the words of the educator they are looking for an answer to their questions - those questions that a person will never tell anyone about. But when a teenager asks what love is, he has completely different questions in his thoughts and in his heart: how can I be with my love? These intimate corners of the heart should be touched especially carefully. “Never interfere in the personal,” Sukhomlinsky advises, “do not make the subject of general discussion what a person wants to hide most deeply. Love is noble only when it is shameful. Do not focus the spiritual efforts of men and women on increasing the "knowledge of love." In the thoughts and heart of a person, love should always be surrounded by a halo of romance, inviolability. Disputes “on topics” of love should not be held in the team. This is simply unacceptable, this is a dense moral lack of culture. You, father and mother, talk about love, but let them be silent. The best conversation of young people about love is silence.

The conclusions of the talented Soviet pedagogue show that the pedagogical treasures of the people are far from exhausted. The spiritual charge accumulated by the people for thousands of years can serve humanity for a very long time. Moreover, it will constantly increase and become even more powerful. This is the immortality of humanity. This is the eternity of education, symbolizing the eternity of the movement of mankind towards its spiritual and moral progress.

FAIRY TALES AS A MANIFESTATION OF PEOPLE'S PEDAGOGICAL GENIUS

A folk tale contributes to the formation of certain moral values, an ideal. For girls, this is a red girl (clever, needlewoman ...), and for boys - a good fellow (brave, strong, honest, kind, hardworking, loving Motherland). The ideal for a child is a distant prospect, to which he will strive, comparing his deeds and actions with him. The ideal acquired in childhood will largely determine him as a person. At the same time, the educator needs to find out what the ideal of the baby is and eliminate the negative aspects. Of course, this is not easy, but that is the skill of the teacher to try to understand each pupil.

Work with a fairy tale has various forms: reading fairy tales, retelling them, discussing the behavior of fairy tale characters and the reasons for their success or failure, theatrical performance of fairy tales, holding a fairy tale connoisseur competition, exhibitions of children's drawings based on fairy tales, and much more*.

* Baturina G.I.. Kuzina T.F. Folk pedagogy in the education of preschoolers. M.. 1995. S. 41-45.

It is good if, when preparing the staging of fairy tales, the children themselves will select its musical accompaniment, sew costumes for themselves, and distribute roles. With this approach, even small fairy tales give a huge educational resonance. Such “trying on” the roles of fairy-tale heroes, empathy with them, make the problems of the characters of even the long and well-known “Turnip” even closer and more understandable.

TURNIP

Grandfather planted a turnip and says:

Grow, grow, turnip, sweet! Grow, grow, turnip, strong!

The turnip has grown sweet, strong, big, big.

The grandfather went to pick a turnip: he pulls, he pulls, he cannot pull it out. Grandpa called grandma.

grandma for grandpa

Grandfather for a turnip -

The grandmother called her granddaughter.

Granddaughter for grandmother

grandma for grandpa

Grandfather for a turnip -

They pull, they pull, they can't pull it out.

Granddaughter called Zhuchka.

Bug for granddaughter

Granddaughter for grandmother

grandma for grandpa

Grandfather for a turnip -

They pull, they pull, they can't pull it out.

Bug called the cat.

Cat for a bug

Bug for granddaughter

Granddaughter for grandmother

grandma for grandpa

Grandfather for a turnip -

They pull, they pull, they can't pull it out.

The cat called the mouse.

Mouse for a cat

Cat for a bug

Bug for granddaughter

Granddaughter for grandmother

grandma for grandpa

Grandfather for a turnip -

Pull-pull - pulled out a turnip.

I was lucky enough to be present at an unforgettable performance of the fairy tale "Turnip" in the Sorshenskaya secondary school, brilliantly performed by the teacher Lidia Ivanovna Mikhailova. It was a musical tragicomedy, with songs and dances, where a simple plot was expanded by the dialogues of the characters.

In the graduating class, an hour-long lecture is given on the topic "The wise pedagogical philosophy of "Turnip"". In the same school, in the tenth grade, a discussion “One Hundred Questions about Turnip” was held. Questions were collected, both their own, and accidentally heard, and children's. They also arose spontaneously, in the course of reasoning.

In this tiny fairy tale, everything makes sense. You can discuss this with your children. For example, why did grandfather plant a turnip? Not carrots, not beets, not radishes. The latter would be much more difficult to pull out. The turnip is all out, holding on to the ground only with its tail. The primary action is important here - sowing a single tiny, barely visible seed, which has a round, spherical shape, the turnip itself almost exactly reproduces the ball, increasing in size thousands of times. This is very similar to the parable of Christ about the mustard seed: it is the smallest of all seeds, but when it grows, it becomes the largest of all garden plants. Infinitely small and infinitely large. The fairy tale reveals resources, reserves of infinite, universal development. Yes, and a mouse from the same category of relationships: the infinitely small has its own meaning in the world, its meaning, the infinitely large is made up of the infinitely small, without the latter there is no first: “Mouse urine is a help to the sea,” say the Chuvash. There is a similar proverb among the Buryats.

So, in "Turnip" a whole philosophical concept reveals itself, wise and highly poetic, as well as huge resources of the word, verbal means and methods. This tale is a testament to the extraordinary possibilities and spiritual potential of the Russian language, to the fact that the Russian language has rightfully become the language of interethnic communication. Therefore, no matter how the situation in the country and in the world changes, we must by no means allow the deterioration of the study of the Russian language and Russian culture.

Control questions and tasks

1. The most ingenious fairy tales in the world are "Ryaba Hen", "Gingerbread Man", "Turnip". Try to justify it with reasoning.

2. I typed almost a hundred questions about "Repka", my own and students. Grandfather planted a turnip, sowed, probably? Grandfather was a grandfather - how did he not manage to pull out a turnip, did he immediately become a grandfather? And the grandmother - match him. The main characters of the tale seem to be a turnip and a granddaughter - is it really so? How is the idea of the infinitely large embodied in the fairy tale? What can you say about the diminutive suffix "to" in relation to the huge turn-to-toe? What do you think about the "intersecting" pairs of seven fairy tale characters? What can you say about such couples as a cat and a mouse, a dog and a cat? (G.N. Volkov).

Ask two or three more questions, and use proverbs in your reasoning.

3. How do you imagine a matinee of fairy tales in the classroom?

4. What is your favorite fairy tale and justify why you especially like it?

5. Highlight the moral basis of A.S. Pushkin's fairy tale "About the Fisherman and the Fish."

6. Discuss the topic of V.A. Sukhomlinsky's favorite fairy tale about love.

Federal Agency for Culture and Cinematography

Orel Regional College of Culture and Arts

Course work

by discipline

"Folk art"

Subject « Fairy tales and their meaning »

Prepared by: student

IV course folk-

choral department

Nabatova V.

Lecturer: Vasilyeva N.I.

Eagle - 2005

Plan

1. Research and study of fairy tales

2. What is a fairy tale?

3. Basic principles of fairy tales

4. The meaning of fairy tales in human life.

Introduction

In the report on the activities of the Department of Ethnography and the commissions of the Imperial Russian Geographical Society attached to it for 1914, among the awardees is the name of Joseph Fedorovich Kallinikov: “Silver medal of the Society: Joseph Fedorovich Kallinikov for collecting ethnographic materials in the Oryol province, in particular for collecting fairy tales (review given by Academician A. A. Shakhmatov)”.

The writer, poet, translator and ethnographer I. F. Kallinikov, a native of Orel / 1890 - 1934 /, was the successor of the traditions of his countrymen P. V. Kireevsky and P. I. Yakushkin in collecting the oral and poetic creativity of his native land .

While still a student at the St. Petersburg Polytechnic Institute. Peter the Great Kallinikov, being interested in folk art, wrote down the texts of folk songs and fairy tales in the Oryol region. He brought a notebook of collected materials to the editorial office of the Russian Wealth magazine, where his former teacher of the Oryol gymnasium, writer F. D. Kryukov, served as editor of the literary department. He advised the novice ethnographer to show the notes to Academician A. A. Shakhmatov.

During these years, with the support of Shakhmatov, expeditions and business trips were undertaken in Russia and abroad to replenish information on dialectology, the history of Russian writing, everyday poetry and folklore, and to compile dictionaries. It is also known that in the 1910s the Geographical Society takes the lead in collecting and publishing fairy tales. Obviously, Kallinikov's materials attracted Shakhmatov, and the geography of places was also interesting.

The first trips to the Oryol region to collect ethnography and folklore were made by P. I. Yakushkin at the beginning of the 19th century; a few fairy tales collected by him were included in the collections of A. N. Afanasyev. In the future, the richest fairy-tale folklore of the Oryol region was not purposefully collected and studied. "Collect fairy tales in the village," was Shakhmatov's reply.

Having received from the Imperial Geographical Society the legitimization of the department of the Russian language and literature, a phonograph and a cash allowance, Kallinikov goes on his first expedition to the Oryol region.

Tales of Kalinnikov and his reports, made at meetings of the fairy tale commission of the Russian Geographical Society, were published in the journal Living Antiquity / 1913. -1915 /, and the main works - "On the collection of fairy tales in the Oryol province" and "Storytellers and their fairy tales" - were released as separate prints. The work of the young ethnographer was duly appreciated by Academician A. A. Shakhmatov, who gave a review to submit Kallinikov for a silver medal.

On March 4, 1915, Academician Shakhmatov, on behalf of the Russian Imperial Academy of Sciences, informed Kallinikov: “I have the honor to inform you that the Department of the Russian Language of Literature, having heard your note dated February 7 of this year, decided to allocate you for the publication of fairy tales recorded by you during 1915, 1916 and 1917 for five hundred rubles, giving you the choice of printing house.

In 1916, the Oryol printing house began printing Kallinikovsky tales - “Folk Tales of the Oryol Province”, but with interruptions / the publication was suspended in 1919 / only the first seven and a half printed sheets were printed.

Kallinikov himself highly appreciated the importance of folklore expeditions in the Oryol province for further writing. In his autobiography /1932/ he wrote: “Every little thing in the village hut was imprinted in my memory. Folklore is a school of life for a writer. Recordings and conversations deepened the knowledge of the language and enriched the stock of expressions. The source of my studies was the Oryol province, where my countrymen Yakushkin and the brothers Kireevsky collected folklore materials, who gave Oryol tales to Pushkin. Turgenev, Leskov, Andreev, Bunin and other compatriot writers drew their language reserves from the same source ... It was the Russia of Gogol, Zamyatin, Leskov and partly of the Caves, the Russia of the landowners, feudal bourgeois and monastic. In a letter to a fellow Orlovite E. Sokol, Kallinikov admitted in the last years of his life: to live."

With all the variety of techniques and approaches, the word has always been powerful and all-determining in folk art. His action, which knows no barriers, is palpable even in the simplest types of fairy tales! The child is introduced to them as soon as he acquires the ability to understand words, to connect concepts with favors, the role of a fairy tale in a child’s life increases until the peak of his attraction to it comes that adults even feel uncomfortable from the demands of children to tell new fairy tale stories or endlessly repeat already known ones. . "Parents often tell the child and not children's fairy tales, with

There is no fairy tale without fiction. This equally applies to any fairy tale - fairy tales of adults and children's fairy tales, but in a children's fairy tale fiction exists only for the sake of didactics, instruction, even the most valuable one. The fiction of a children's fairy tale has a different meaning.? First of all, a fairy tale recreates in the imagination pictures and scenes, which in themselves make the child an empathetic agent of everything that is being discussed. The child follows the course of action in a fairy tale, joyfully accepts a happy ending. In the emotional experience of sympathy with the characters, in the involvement of the child in the struggle for victory, lies the most important value of fairy-tale fiction - especially magic.

1. Research and study of fairy tales

The main side of the complex problem of the origin of fairy tale fiction in fairy tales - the establishment of a connection between magical fiction and ritual - means to clarify a lot in the origin of fairy tale fiction. However, this does not mean that its nature is understood.

According to the primitive man, in the field, in the forest, on the waters and in the dwelling - everywhere and constantly he encounters a living, conscious force hostile to himself, looking for an opportunity to send bad luck, illness, misfortune, fires, ruin. People sought to get away from the power of a mysterious, vindictive and cruel force, furnishing their lives and life with the most complex system of prohibitions - the so-called taboos (the Polynesian word for "impossible"). The prohibition (taboo) was imposed on individual actions of a person, on his touching individual objects, etc. Under certain circumstances, violation of the prohibition entailed, according to primitive people, dangerous consequences: a person lost protection, became a victim of the outside world. These ideas and concepts of people gave rise to numerous stories about how a person violates any of the everyday prohibitions and falls under the power of hostile forces. Fairy tales clearly convey the feeling of constant danger to which a person is exposed in the face of invisible and always powerful mysterious forces that rule in the world around him.

Fairy-tale fiction is evidence of the mighty scope of the living thought of a person who, even in antiquity, tried to go beyond the limits of practice, severely limited by the possibility of historical time.

There are several types of magic: partial magic is also characteristic of the fairy tale narration about the death of Koshchei. The death of Koshchei, the fairy tale says, at the end of a needle, a needle in an egg, an egg in a duck, a duck in a hare, a hare in a chest, a chest on a tall oak. The hero fells an oak tree, breaks a chest, catches a hare, and then a duck fluttering out of a hare, extracts an egg hidden in it, and, finally, picks up a needle, breaks the tip - and now “no matter how much Koschey fought, no matter how much he rushed about in all directions, and he had to die."

The magic of contact is reflected in an episode of the fairy tale about a magic mirror: it is told how a girl tied a ribbon around her neck and immediately fell asleep. An evil monster devours the heart of a slain serpent in order to equal its strength and beat the hero who defeated the serpent himself. Contact with things in a number of magical customs entails the achievement of the desired result. This is contact magic.

The types of verbal, that is, verbal, magic in fairy tales are varied. At the word, the dungeons open - just say: "Doors, doors, open!" Ivan whistled and barked with a valiant whistle, a heroic cry: “Sivka-burka, prophetic kaurka! Stand before me like a leaf before grass."

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

A flying carpet, a self-assembled tablecloth, walking boots, wonderful hoops, a magic windmill, a wooden eagle, some wonderful box in which a whole city with palaces, settlements and surrounding villages is hidden, do not contain anything magical. This is a work of art. The fabulous fiction associated with ancient economic magic has survived only as an echo of some customs to which primitive people attributed magical consequences.

Fairy tale conveys well various types of love magic.

Love magic knows the "spoken" drink and food, having tasted which a person will be "bewitched".

In the tale of Vasilisa the Wise, the heroine returns the love of her betrothed in this way: she took it and put a drop of her blood into the dough for the pie intended for the wedding table. They made a pie and put it in the oven. When a piece of the pie was cut, a dove with a dove flew out of it. The dove cooed, and the dove said to him: “Coo, coo, dove! Do not forget your dove, as Ivan forgot his!

Damage, evil eye, slander, infliction of harm - in a word, various types of harmful magic are also fully reflected in fairy tales. Damage in a fairy tale narrative is usually carried out through direct contact: it is enough just to drink some kind of potion, take some spoken food inside, touch the spoken object. Fairy tales tell about some wonderful water, a sip of which turns a person into an animal. On a hot day, the orphans Alyonushka and his brother wandered in distant lands: The brother drank water from a puddle and became a goat (“Sister Alyonushka and brother Ivanushka”).

The nature of the magical actions in the tale coincides with the types and types of folk magic. In science, the following types of magic are distinguished: healing, harmful (damage), love, economic. Among the secondary types of magical rites, it is necessary to pay special attention to the magic of pregnancy and birth. In fairy tales, all kinds of these magical ritual actions are found.

2. What is a fairy tale?

Three factors influenced the poetic style of animal tales: the connection with ancient beliefs about animals, the impact of social allegory, and, finally, the prevailing childishness.

The fact that animal tales were historically preceded by legends and stories about animals led to the faithful and accurate reproduction in them of some essential habits of animals, even after the actions of animals began to be perceived as human actions. The fairy fox, like the real fox, loves to visit the chicken coop. She lives in a hole. Once in a deep and narrow hole, he cannot jump out of it. The fox cannot stick his head into a narrow jug.

Each of the fairy tales about animals recreates everyday stories rich in details. The speech of animals and birds, the inner motives of their actions, actions, the most everyday atmosphere - everything testifies to the ordinary and familiar. Fairy tale characters live the lives of ordinary people.

The comic content of fairy tales about animals develops a child's sense of the real and simply amuses, activating the child's mental strength. However, fairy tales also know sadness. How contrasting are the transitions from sad to cheerful in them! The feelings expressed by the fairy tale are as vivid as the emotions of the child. A child can be upset by a trifle, but it is just as easy to console him. A bunny is crying at the threshold of his hut. He was kicked out by a dereza goat. He is inconsolable in grief. A rooster came with a scythe:

I walk in boots, in gold earrings,

I'm carrying a scythe - I'll take your head down to the very shoulders,

Get off the stove!

The goat rushed out of the hut. There is no end to the joys of the hare. Fun and listener ("Koza-dereza").

Distinguishing a fairy tale from other species is not always easy. There was an attempt to take as the main thing in fairy tales that the “central subject of the narration” in them is a person, and not an animal. But it turned out to be difficult to use this sign as a criterion, since the specifics of fairy tales were not revealed. Not a single fairy tale can do without a miraculous action: sometimes an evil and destructive, sometimes a good and favorable supernatural force intervenes in a person's life. The fairy tale abounds with miracles. Here are terrible monsters: Baba Yaga, Koschey, a fiery serpent; and wonderful objects: a flying carpet, an invisibility hat, walking boots; miraculous events: the resurrection from the dead, the transformation of a person into a beast, a bird, into some object, a journey to another, distant kingdom. Miraculous fiction is at the core of this kind of tale.

Fairy tales are a wonderful work of art. Our memory is inseparable from them. In simple-hearted and simple stories about the fox and the wolf, the heron and the crane, the fool Emelya, the miracles of the frog princess, we are attracted by the acuteness of social meaning, the inexhaustibility of fiction, the wisdom of life observations. With extraordinary generosity, in all its splendor, the treasures of folk colloquial speech are revealed in fairy tales. With its flexibility, subtlety of meaning, variety and abundance of shades, the word in a fairy tale surprised even the most demanding artists.

In fairy tales, violence, robbery, deceit, black deeds are invariably condemned. The fairy tale helps to strengthen in the most important concepts about how to live, on what to base the attitude towards one's own and other people's actions. Fairy tale fantasy affirms a person in the bright acceptance of life, full of worries and accomplishments. Pursuing social evil, overcoming life's obstacles,

Scholars have interpreted the story in different ways. Some of them, with absolute obviousness, sought to characterize fairy tale fiction as independent of reality, while others wanted to understand how the attitude of folk storytellers to the surrounding reality was refracted in the fantasy of fairy tales. Should we consider any fantastic story as a fairy tale in general, or should we single out other types of it in oral folk prose - non-fairy-tale prose? How to understand fantastic fiction, without which none of the fairy tales can do? Here are the problems that have long worried

Without fantasy, no fairy tale is unthinkable. Such an understanding is close to our everyday concepts of a fairy tale. Even today, wanting to point out the inconsistency of some speech with the truth, we say that it is a fairy tale.

Afanasiev drew the following conclusion: “No, a fairy tale is not an empty fold; in it, as in all the creations of an entire people, there could not be, and in fact there is neither a deliberately composed lie, nor a deliberate deviation from the real world.” Afanasiev was right, although he proceeded from a special, mythological understanding of the genesis of a fairy tale.

The folk tale is characterized by all the features of folklore. The storyteller depends on the traditions in which the collective artistic work of other storytellers comes to him. Traditions, as it were, dictate to the storyteller the content and form of his creation, the basic poetic devices, a special fairy-tale style worked out and developed over the centuries. These traditions imperiously interfere in the creative process of the folk storyteller. Oral tales recorded from storytellers are the creations of many generations of people, and not just these individual masters.

A fairy tale, its images, plots, poetics is a historically developed phenomenon of folklore with all the features inherent in mass collective folk art.

3. Basic principles of fairy tales

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

The fairy tale as a genre of folklore is characterized by the features of art traditionally created jointly by the people. This is what unites the fairy tale with any kind of folklore.

Fairy tales convince us that they are dominated by the desire of storytellers to express their thoughts.

In fairy tales, a whole world of fantastic objects, things and phenomena has been created. In the copper, silver and gold kingdoms, of course, there are their own laws and orders, not similar to those known to us. Everything here is unusual. It is not for nothing that fairy tales warn the listener at the very beginning with words about an unknown faraway kingdom and an unknown faraway state, in which “untrue” events will occur and an intricate and amusing story of a lucky hero will be told.

The fairy tale awakened and brought up the best qualities in people.

The tale is a lie, but there is a hint in it

Good fellows lesson.

Fairy tales are a kind of ideological, aesthetic and ethical code of the people; moral and aesthetic concepts and ideas of the working people, their aspirations and expectations are embodied here. Fairy tale fantasy reflects the features of the people who created it.

The tale came out of folk life: it talks about matchmaking, she laughs at arrogance, etc. It conveys many truths true to reality.

Each tale carries a generalized thought. No matter how many correct observations about the habits of animals and birds are filled with fairy tales, they always talk about the general. The conventionality of fiction here again corresponds to the breadth of artistic generalizations.

The general ironic idea of the tale is sometimes accompanied by the rhythmization of the narration. Such are “Ruff Ershevich”, “Rocked Hen”, “Gingerbread Man”, the fairy tale “The Bean Seed” about how the rooster choked on grain, the fairy tale “There is no goat with nuts”. The ironic style of such tales is expressed in deliberately underlined rhymes and consonances of words in the course of the story. Simple rhymes sound mocking and comical: “In the old years, in the old days, in the red spring, in warm summers, such a mess became, the burden in the world: mosquitoes and midges began to appear, bite people, let hot blood pass” (“Mizgir”).

Most fairy tales use the richness of imagery hidden in colloquial speech. After all, a fairy tale is, first of all, prose. Stylistic rhythmic clichés are also found in fairy tales: beginnings like “once upon a time”, endings like “began to live, live and make good”, typical formulas with characteristic inversions: “A fox came running and says”; “Here comes the fox and says to the peasant,” etc. True, these properties of the fabulous style are in the nature of narrative speech.

Speech accurately conveys the mental and psychological state of the speaker.

The word in the tale fully conveys the oral performance game.

The image is revealed in its entirety only in the entire verbal text, and only on the basis of it all, one can understand the oral-performing game of the storyteller-actor. The game and the word in a fairy tale are so firmly connected that it is possible to consider them as mutually complementary principles only by recognizing the decisive role of the verbal text, which contains all the richness of the fairy tale narrative.

4. The meaning of fairy tales in human life

A large number of images of a fairy tale developed in ancient times, in the very era when the first ideas and concepts of a person about the world arose. Of course, this does not mean that all magical fiction originates from ancient times. Many images of a fairy tale took shape in the relatively recent past. In each new era, the fairy tale had certain fantastic material, which generations passed down from old people, preserving and developing the old oral-poetic traditions.

The Russian people created about one hundred and fifty original fairy tales, but there is still no strict classification of them.

Fairy tales are concrete artistic works of folk art. Each of them has its own idea, which is clearly expressed in all versions of the same fairy tale plot.

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

The people understood that justice is not achieved by miracles, that real action is needed, but the question is - what kind? Fairy tales do not answer this question. The storytellers wanted to support the very desire of the people for justice with a magical narration. The successful outcome of fairy tales is undoubtedly utopian. He testified to the time when the people were painfully looking for a way out of tragic social conditions.

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

There are no developing characters in a fairy tale. It reproduces, first of all, the actions of the characters, and only through them - the characters. The static nature of the characters depicted is striking: a coward is always a coward, a brave man is brave everywhere, an insidious wife is constantly in insidious plans. The hero appears in the tale with certain virtues. It stays that way until the end of the story.

Russian beauty and elegance distinguish the language of a fairy tale. These are not halftones, these are deep, dense colors, emphatically defined and sharp. The fairy tale is about a dark night, a white light, a red sun, a blue sea, white swans, a black crow, green meadows. Things in fairy tales smell, have a taste, bright color, distinct shapes, the material from which they are made is known. The armor on the hero is like a fire burning, he took out, as the fairy tale says, he pulled his sharp sword, pulled on a tight bow.

A fairy tale is an example of national Russian art. It has its deepest roots in the psyche, in the perception, culture and language of the people.

The fantasy of fairy tales was created by the collective creative efforts of the people. As in a mirror, it reflected the life of the people, their character. Through a fairy tale, its thousand-year history is revealed to us.

Fairy tale fiction had a real basis. Any change in the life of the people inevitably led to a change in the content of fantastic images and their forms. Once having arisen, fairy-tale fiction developed in connection with the totality of existing folk ideas and concepts, undergoing new processing. Genesis and changes over the centuries explain the features and properties of fiction in a folk tale.

Developed for centuries in close connection with the way of life and the whole life of the people, fairy-tale fantasy is original and unique. This originality and originality are explained by the qualities of the people to whom the fiction belongs, the circumstances of origin and the role played by a fairy tale in folk life.

So what is a fairy tale?

Fairy tales are collectively created and traditionally kept by the people oral prose artistic narratives of such real content that, of necessity, requires the use of methods of implausible depiction of reality. They are not repeated in any other genre of folklore.

The difference between fairy tale fiction and fiction found in other folklore works is primordial, genetic. The difference is expressed in a special function and in the extent to which fiction is used.

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

The conditionality of artistic forms by life content is the main thing for understanding any poetic genre. The originality of a fairy tale cannot be grasped if one pays attention only to its formal properties.

Having tried to understand and study fairy folklore, I was convinced that folk tales were never groundless fantasy. Reality was presented in a fairy tale as a complex system of connections and relationships. The reproduction of reality is combined in a fairy tale with the thought of its creators. The world of reality is always subjugated to the will and imagination of the storyteller, and it is this strong-willed, active principle that is most attractive in a fairy tale. And now, in an age that has crossed the threshold of the most daring dreams, the ancient thousand-year-old fairy tale has not lost its power over people. The human soul, as before, in the past, is open to poetic charms. The more amazing the technical discoveries, the stronger the feelings that affirm people in the feeling of the greatness of life, the infinity of its eternal beauty. Accompanied by a string of fairy-tale heroes, man will enter the coming centuries. And then people will admire the art of fairy tales about a fox and a wolf, a bear and a hare, a bun, swan geese, Koshchei, fire-breathing snakes, Ivanushka the Fool, a rogue soldier and many other heroes who became the eternal companions of the people.