Historical genre in the circle of children's reading. Federal State Budgetary Educational Institution of Higher Professional Education "Tomsk State Pedagogical University

FEDERAL STATE BUDGET EDUCATIONAL INSTITUTION OF HIGHER PROFESSIONAL EDUCATION

"TOMSK STATE PEDAGOGICAL UNIVERSITY"

(TSPU)

APPROVE

Dean PF

G.Yu. Titov

"___" __________ 2011

WORKING PROGRAM OF THE DISCIPLINE

DPP.F.04 - Children's Literature

Tomsk - 2011

1.Goals and objectives of the discipline

Children's literature plays an important role in the preparation of future elementary school teachers. The course "Children's Literature" involves a consistent consideration of the evolution of genre forms in literature for children and youth, as well as the study of the development of children's and youth literature, various forms of interaction between Russian children's literature and foreign

Target: to form a holistic view of children's literature as an independent historical and literary phenomenon, reflecting the general trends in the development of domestic and world culture, literature, as well as pedagogical thought.

Tasks:

To study monographically the work of outstanding children's writers, both Russian and belonging to world culture, but "who have found a second cultural homeland" in Russia;

Develop the skills of an analytical approach to a literary text that has a child or teenager as its addressee;

To provide interdisciplinary connections of the course "Children's Literature" with the disciplines of the psychological and pedagogical cycle, considering the work of art of children's literature as a source of information about the psychological characteristics of children.

^ 2. Requirements for the level of mastering the content of the discipline

Studying the course of children's literature should help future teachers master the skills of organizing children's and youth reading, when the focus is not on problem-thematic analysis, but on natural and logical attention to the literary word.

Students must acquire the following knowledge, skills and abilities:

To master the specifics of children's literature: artistic and pedagogical components;

Master the methodology for analyzing works of children's literature;

Master the key literary and critical written genres: annotation, review, review of a children's literary publication; artistic genres: literary fairy tale (stylization, parody, etc.), riddle, story (which is based on a dynamic fascinating plot);

To learn by heart a number of poetic and (partly) prose texts that are mandatory when working with children and adolescents;

Learn to understand the age and psychological characteristics of children through the analysis of works of children's literature,

Learn to take into account the interests of the young reader when compiling lists of literature for extracurricular reading.

^ 3. Volume of discipline and types of educational work

^ 4. Content of discipline

4.1. Sections of the discipline and types of classes

^ 4.2. The content of the sections of the discipline

Section 1. Specifics of children's literature: artistic and pedagogical components. Circle of children's reading.

Lectures: Children's literature and youthful reading, artistic pedagogical book. Classifications of children's literature: genre-thematic, reader-age, artistic-functional. Functions of children's literature as the art of the word: communicative, hedonistic, aesthetic, educational, cognitive (training).

Specificity of children's literature: artistic and pedagogical components. Circle of children's and youth reading. Variety of topics, types and genres of children's literature. The concept of "children's literature", "children's reading", "children's book". Basic editions for children.

The specifics of children's literature: the availability of content, the simplicity and rapidity of the development of the action, the brightness and emotionality of the images, the richness of the language.

^ Workshops: Literature as the basis of the spiritual and moral development of the individual. Classification of children's literature. The value of children's literature in the educational, educational, pedagogical and psychological work of the teacher.

Section 2. The main stages in the history of domestic and foreign children's literature. Trends in the development of modern children's literature. Scientific basis for the analysis of works of children's literature when working with younger students.

The place of children's literature in the culture of childhood and its role in world and domestic literature. Educational and educational literature. Educational literature for children in the 19th century. The work of K.D. Ushinsky, L.N. Tolstoy, D.I. and E.N. Tikhomirovs on the creation of educational literature. Activities of L.N. Tolstoy at the Yasnaya Polyana school. The idea and history of the creation of Tolstoy's "ABC". Variety of modern alphabets (their analysis). Ancient alphabets, alphabet books, primers, encyclopedias. Publication of the first children's magazine "Children's Reading for the Heart and Mind" by N.I. Novikov. Development of the theory and criticism of children's literature. The main directions of development of children's literature. Works of Russian writers of the XIX century, included in the circle of children's reading. Children's literature of the XX century, the main trends in the development of children's literature. The history of the emergence and development of children's literature from the 18th to the 21st centuries. The main criteria for children's literature, requirements for it. Genre composition of folklore and peculiarities of analysis of folklore texts. Features of the school analysis of works of art of different genres. Analysis of prose works: life circumstances that influenced the writing of the work, analysis of the title, motivation for certain plot key elements, composition, images and ways of creating the type of hero, narrative features, genre specifics. Analysis of a poetic work: time of writing, genre, composition, poetic organization of the work. the image of a lyrical hero, the "markup" of the text - the composition of the score (logical and emotional figurativeness), the definition of the most important task of reading. The specifics of the analysis of a dramatic work. The need for lexical and phraseological work in the lessons of literary reading. Work with lexical and artistic means of expression.

^ Section 3. Folklore in children's reading. Folk and literary tales.

Lectures: Genre-functional classification. Modern children's folklore. Classification of children's folklore, folklore in children's reading. Folklore of adults for children. Actually children's folklore. Folk prose: fairy tale and non-fairy prose. Heroic and novelistic epics. Small folklore genres in works for children. Folk tale and myth. Transformation of a pagan myth from a fairy tale about animals to a fairy tale and everyday life. Cumulative tale. The main motifs of the tale. Features of children's folklore at the present stage.

Literary (author's) fairy tale: prose and poetry. Literary tale of the era of classicism, Enlightenment and sentimentalism (tales of C. Perrault, Catherine II, N. Karamzin). The heyday of the author's fairy tale in the era of romanticism (poetic tales by A. Pushkin, V. Zhukovsky, P. Ershov and others; prose tale by V. Dahl, V. Odoevsky,
A. Pogorelsky, S. Aksakov, L. Tolstoy and others). Tales of the Brothers Grimm. The development of the author's fairy tale in the XX century. Using the poetics of folk tales. Russian literary fairy tale of the 20-30s of the XX century. The development of the author's fairy tale in the 60-90s of the XX century.

^ Workshops: Children's folklore: genre-functional classification. Activities of V.I. Dahl. Small folklore genres in pedagogical creativity
K.D. Ushinsky and L.N. Tolstoy.

Folk tale. Relationship between fiction and reality. Reflection of agricultural cults in a fairy tale (the cult of water, the cult of the earth, the cult of the sun). "Rooster and Fox". Mythological in the Russian folk tale. Folk tale and myth. Transformation of a pagan myth from a fairy tale about animals to a fairy tale and everyday life. Myth and Conflict in Animal Tales. Cumulative tales. "Kolobok". Myth and morality. Fairy tale. Great opponents and helpers.

Analysis of a literary fairy tale (one fairy tale from Russian and foreign literature). Folk tale and fairy tale by A.S. Pushkin. The Tale of Bova Korolevich. borrowing methods. Interpretation of folklore plots and images in poetic fairy tales. Features of poetic speech. The image of the narrator-narrator (and mockingbird) in fairy tales and the poem "Ruslan and Lyudmila". V. Zhukovsky and A. Pushkin. Tales of A. Pushkin and P. Ershov's fairy tale "The Little Humpbacked Horse". Main conflict. A magical assistant in conflict resolution. Shame on "sinners": tempters, proud people, etc. Fools and smart people. Traditions of the "Humpbacked Horse" in a literary fairy tale. The style of a literary fairy tale. The development of the author's fairy tale in the XX century.

Section 4. Gospel circle of calendar holidays. Old and New Testament themes, motifs and images in children's literature. Christmas story. Easter story.

Lectures: Christian myth in literary genres. Reflection of the gospel calendar circle in children's literature. Christian myth in Russian poetry for children in youthful reading from G. Derzhavin to B. Pasternak. (Circle of children's and youth reading). Lyrics of Russian poets about the holidays of the gospel calendar and the events contained in them. Mother of God motives in children's poetry. Christmas story. Easter story. their genre specificity. Bible for children in the retelling of Archpriest A. Sokolov.

^ Workshops: Christian myth in literary genres. Myth in children's reading. Myth and Literary Plot. The myth is pagan (Slavic), antique. The oldest epics in the reading circle of modern children. The role of archaic plots in the history of children's literature. The Bible and hagiographic genres in children's reading. The myth of the divine child. Reflection of the gospel calendar circle in children's literature. Analysis of the Christmas story (N. Leskov. Offended at Christmas; G.-H. Andersen. Girl with matches; F.M. Dostoevsky. Christmas tree and wedding. Boy at Christ on the Christmas tree; B. Pasternak. Christmas tree and others). Analysis of the Easter story (A.S. Khomyakov. Bright Sunday; E. Opochinina. Tsar's Easter eggs and others). Analysis of L.N. Tolstoy (“What people live for”, “Divine and human”).

^ Section 5. Historiography of the soul. The child and his world in autobiographical works from S. Aksakov to I. Shmelev.

Lectures: Autobiography as a genre. Autobiographical prose about childhood as a source for studying the psychology of the child. The hero and the narrator: the relationship between the point of view of a child and an adult. Paradoxes of the child's soul. Inner monologue. Artistic detail. Gen. way. The world. The role of parents in the formation of heroes of autobiographical prose. Religious education in the family. attitude towards religion. Memories of books read. Friendship and love of an autobiographical hero.

^ Workshops: Analysis of works of art: Aksakov S.T. Childhood Bagrov-grandson. Tolstoy L.N. Childhood. Adolescence. Garin-Mikhailovsky N.G. Childhood Themes. Gymnasium students. Gorky M. Childhood. Green A.S. Autobiographical story by Tolstoy A.N. Childhood of Nikita. Chukovsky K.I. Silver emblem. Shmelev I. Summer of the Lord. G.H. Andersen. The story of my life.

^ Section 6. Historical genres in children's and youthful reading: origins, evolution, modernity.

Lectures: Historical truth and fiction . Folk legends. Epos. Epic and song. Chronicle legends, hagiographic genre. Domestic history in the stories of Ishimova, Platonov, Sipovsky, Konchalovsky and others. The style of historical prose by S. Alekseev, V. Mityaev, V. Nesterov, I. Mozheiko and others. Plot. Detail. "Retellings" of world history for children and youth. Patriotic education.

^ Workshops: Analysis of works on a historical theme (at the choice of students). Works about the war. Images of children in the works of military subjects.

^ Section 7. Genres of adventure literature for children. Adventure literature and fantasy. Fantasy.

Lectures: genre synthesis. Adventure travel. Plot features. Intrigue. Types of conflict. Conflict and moral dominance. The nature of the obstacles. Formation of the type of hero. Hero and the world. The ideal and the hero in the adventure literature of the Soviet period for children and youth. Conflict and moral dominance. Domestic tradition of science fiction. Jules Verne and his "textbooks" in Russian children's and youth literature. Science Fiction and Fantasy . Grotesque. Litotes. Dvoemirie. Otherness. Time and achronism in fantastic genres.

^ Workshops: Analysis of Russian and foreign adventure literature and works of Russian seascapes (at the choice of students). K. Stanyukovich, B. Zhitkov, A. Green. Peculiarities of individual style in the "sea stories" of writers. "Children of Captain Grant" by J. Verne and "Two Captains" by V. Kaverin. Traditions and "your own voice". A. Belyaev. J. Rowling, W. Tolkien, K. Lewis and others.

^ Section 8. Natural history theme in literature for children. Scientific and artistic knowledge.

Lectures: Scientific knowledge and artistic form in the works of children's writers about nature. Science in entertaining forms. Russian textbooks: history and modernity. Natural history in art genres. Genre of adventure and travel in the presentation of scientific knowledge. Local history and geography in art and popular science genres. Encyclopedic book for children. Genre diversity of works of children's literature about nature.

^ Workshops: Scientific and artistic knowledge. Analysis of the works of V. Bianchi, M. Prishvin, K. Paustovsky, E. Charushin, I. Akimushkin, B. Zhitkov and others.

^ Section 9. Humor. Children's literature of Russian abroad.

Lectures: Humor in literature for children.

"Returned" names of children's literature: S. Cherny, N. Teffi and others.

Reinterpretation of poetic classics for children. Scientific-artistic and scientific-cognitive children's book of the late XX - early XXI century.

^ Workshops : Analysis of the works of N. Nosov, B. Zakhoder, G. Oster and others. Analysis of works for children of Russian abroad.

Section 10. Foreign children's literature. Transformation of foreign classics in Russian literature. 4+2

Lectures:

Transformation of foreign classics in Russian literature. "The Adventures of Pinocchio" by K. Collodi and "The Golden Key" by A. Tolstoy. National folklore dominants. Discoveries of the Silver Age in A. Tolstoy's fairy tale. G.H. Andersen and his traditions in N.P. Wagner. Retelling. Stylization. Caricaturing. Parody in portraying the "prototype". "Doctor Doolittle" by H. Lofting and "Aibolit" by K. Chukovsky (prose). "The Wizard of Oz" by F. Baum and "The Wizard of the Emerald City" by A. Volkov. Ways of "growing" "someone else's word" into the national tradition from
A. Pushkin to A. Volkov and others. "Alice in Wonderland" by L. Carroll. From translation to a variety of content development. Traditions of the "nonsense" genre in poetry and prose. Translations by A. Demurova, B. Zakhoder, V. Nabokov. Proteism of fairy tales by K. Chukovsky.

Workshops:

Analysis of works.

^ 5. Laboratory workshop

Not provided.

6. Educational and methodological support of discipline

a) basic literature:

1. 
   Arzamastseva, I. N. Children's literature / I. N. Arzamastseva. - M., 2007. - 470 p.
2. 
   Mineralova, I. G. Children's literature / I. G. Mineralova. - M., 2008. - 174 p.
3. 
   Psychology of childhood in the fiction of the XIX-XX centuries: an anthology-practical work / comp. G. A. Uruntaeva, biog. essays by M. V. Naumlyuk. - M., 2008. - 349 p.

b) additional literature:

1. 
   Library of world literature for children. - M., 1981.
2. 
   Svetlovskaya, N. N. Meetings with writers: a guide for teachers / comp. N. N. Svetlovskaya, O. V. Dzhezheley, N. M. Druzhinina. - M., 1978.
3. 
   Children's literature / ed. E. E. Zubareva. - M., 1989.
4. 
   Children's collection: articles on children's literature and anthropology of childhood / comp. E. Kuleshov, I. Antipova. - M., 2003.
5. 
   World literature for children and about children: a collection of scientific articles. - M., 2002.

c) literary texts that are mandatory for reading:

1. 
   Aksakov, S. T. Bagrov's grandson's childhood. Scarlet Flower (any edition).
2. 
   Astafiev, V. Last bow (any edition).
3. 
   Bible for children (any edition).
4. 
   Bradbury. Dandelion wine; Wolf. Look at your home, angel (any edition) (student's choice).
5. 
   Bunin, I. A. Life of Arseniev. Book of my life (any edition).
6. 
   Star of Bethlehem. Christmas and Easter in verse and prose / comp. M. Written, (any edition).
7. 
   Volkov, A. The Tale of Life. Listen to yourself. The Wizard of the Emerald City (any edition).
8. 
   Garin-Mikhailovsky, N. G. Childhood Themes. Gymnasium students. Students. Tales (any edition).
9. 
   Garshin, V. M. Attalea princeps. The Tale of the Toad and the Rose. Frog traveler. The Tale of the Proud Agea (any edition).
10. 
    Gorky, M. Childhood. In people (any edition).
11. 
    Grigorovich, D.V. Gutta-percha boy (any edition).
12. 
    Green, A. S. An autobiographical story (any edition). Running on the waves, Scarlet sails and others.
13. 
    Children's poetic folklore: an anthology / comp. A. N. Martynova. - St. Petersburg, 1997.
14. 
    Ershov, P. P. The Little Humpbacked Horse (any edition).
15. 
    Zhitkov B., Bianki V., Prishvin M., Paustovsky K. - stories about nature (at the student's choice (any edition).
16. 
    Zhukovsky, V. A. Sleeping Princess. Tale of Tsar Berendey. Tale of Ivan Tsarevich and the Gray Wolf. Tulip tree. Poems (any edition).
17. 
    Karamzin, N. M. The beautiful princess and the happy dwarf. Ilya Muromets. Dense forest. Eugene and Julia (any edition).
18. 
    Korolenko, V. G. Children of the Underground. Blind Musician (any edition).
19. 
    Krapivin, V. (2 pieces of your choice).
20. 
    Mamin-Sibiryak, D.N. Zimovye on Studenaya. Foster. Emelya the hunter. Gray neck. The rich man and Eremka. Spit. Alyonushka's Tales (any edition).
21. 
    Myths of the peoples of the world (any edition).
22. 
    Nekrasov, N. A. Grandfather Mazai and hares. General Toptygin. Peasant children. Poems (any edition).
23. 
    Odoevsky, V.F. Town in a snuffbox. Frost Ivanovich. Indian tale of four deaf people. King girl. Joiner. Igosha (any edition).
24. 
    Easter prose. - In the book: Ivan Pankeev. Easter. Resurrection of Christ. - M., 2003.
25. 
    Easter stories. - M., 2007.
26. 
    Pogorelsky, A. Black Hen, or Underground Inhabitants (any edition).
27. 
    Adventure literature (optional).
28. 
    Pushkin, A. S. Tales. Poem "Ruslan and Lyudmila" (any edition).
29. 
    Remizov, A. Limonar, in other words, a spiritual meadow (any edition).
30. 
    God is with us! Nativity of Christ in Russian poetry of the 18th-20th centuries. - M., 2000.
31. 
    Tales of the peoples of the world (7-10). Russian folk tales (3-4 of each genre).
32. 
    Stanyukovich, K. M. Man overboard. Sevastopol boy. Maxim. Nyanka and others (any edition).
33. 
    Creativity of one of the writers of marine painters.
34. 
    The work of one of the science fiction writers.
35. 
    Tolstoy, A. N. Nikita's childhood. Adventures of Pinocchio (any edition).
36. 
    Tolstoy, L. N. Childhood. Adolescence. What people are alive. Divine and human.
37. 
    Turgenev, I. S. Bezhin meadow. Singers. Mu Mu. Sparrow (any edition).
38. 
    Ushinsky, K. D. Two plows. Fairy tale hunter. Not well tailored, but firmly sewn. Fox and goat. Rogue cat (any edition).
39. 
    Fantasy (optional).
40. 
    Khomyakov, A. S. Bright Sunday / A. S. Khomyakov. - M., 2007.
41. 
    Chekhov, A.P. Vanka. Boys. Kids. I want to sleep. Chestnut. White-fronted. Volodya. Fugitive. Event, etc. (any edition).
42. 
    The Miracle of Christmas Night: Christmas Stories. - St. Petersburg, 1993.
43. 
    Chukovsky, K. I. Silver coat of arms (any edition).
44. 
    Shmelev, I. Summer of the Lord (any edition).
45. 
    The language of folklore: a reader / comp. A. T. Khrolenko. - M., 2005.

^ 6.3. Means of ensuring the development of discipline

The book fund of the department, the library of the TSPU, the regional library named after. A.S. Pushkin.

6.4. Logistics of discipline

DVD - player, discs with records of children's and youth films.

The main forms of organization of training: conducting lectures (in the form of traditional and problematic lectures); practical / seminar classes (in the form of a discussion of the read texts, literary analysis, reader conferences and seminars), various forms of independent work of students, intermediate attestations of students (in the form of tests and testing), consultations, an exam.

^ 7.2. Methodological instructions for students

Independent work of a student involves various forms of individual learning activities: reading and analytical activities, note-taking of scientific literature, maintaining an annotated list of books read, designing, performing thematic creative tasks, etc. The choice of forms and types of independent work is determined by an individual-personal approach to learning jointly by the teacher and student.

^ 8. Forms of current monitoring of progress and intermediate certification of students

8.1. Topics of abstracts

Not provided.

8.2. List of exemplary control questions and tasks

for independent work

Specificity of children's literature: artistic and pedagogical components. Circle of children's reading. 8

The main stages in the history of domestic and foreign children's literature. Trends in the development of modern children's literature. Scientific basis for the analysis of works of children's literature when working with younger students. 6

^ Folklore in children's reading. Folk and literary tales. 10

Evangelical circle of calendar holidays. Old and New Testament themes, motifs and images in children's literature. Christmas story. Easter story. 10

In addition to the required reading texts for all, it is recommended to read 2 more Christmas and 2 Easter stories by different authors. In addition, be sure to memorize 2 poems of the Christmas and Easter cycles, respectively.

^ Historiography of the soul. The child and his world in autobiographical works from S. Aksakov to I. Shmelev. 16

It is recommended to prepare messages or electronic presentations on works of autobiographical prose that are not analyzed in practical classes (L. Tolstoy. Childhood. M. Gorky. Childhood. A. Tolstoy. Nikita's Childhood. A. Green. Autobiographical story).

^ Historical genres in children's and youth reading: origins, evolution, modernity. 4

Prepare messages or electronic presentations on the work of writers (on a historical topic).

^ Genres of adventure literature for children. Adventure literature and fantasy. Fantasy. 4

Prepare messages or electronic presentations on the work of writers (on an adventure theme).

^ Natural History Theme in Children's Literature. Scientific and artistic knowledge. 4

Prepare messages or electronic presentations on the work of writers (on a natural history topic).

Humor. Children's literature of Russian abroad. 2

Foreign children's literature. Transformation of foreign classics in Russian literature.

^ 1. Literary fairy tale: prose and poetry.

Various ways of portraying the previous folklore and literary material. Tale in a literary fairy tale. The evolution of the storyteller type. The evolution of a romantic fairy tale. N. Karamzin and V. Zhukovsky. O. Somov, A. Novopoltsev, N. Leskov, P. Bazhov, B. Shergin, I. Pankin. Analysis of P. Bazhov's tales. Narrator image. Imagery. Syntax. Scenic start. A parable in the tales of P. Bazhov. Tales of N. Wagner. Traditions G.Kh. Andersen. N. Wagner and V. Garshin. N. Wagner and M. Gorky. N. Wagner ("Great") and A. Gaidar. Ballad, poem, epic, song in the style of poetic fairy tales. Parody and stylization.

^ 2. Myth in children's reading. The myth is pagan (Slavic), antique. Myth Christian. Retelling goals. Bible for children in the retelling of Archpriest A. Sokolov. "Legends of Christ" by Selma Lagerlöf. Two types of approaches. Symbol and myth. Myth and metaphor, allegory. Myth and phraseology. Myth and Literary Plot.

Christian myth in literary genres. Christian myth in Russian poetry for children in youthful reading from G. Derzhavin to B. Pasternak. (Circle of children's and youth reading). Allusions and reminiscences of the Christian myth in the "Christmas story", in a fantastic story and novel. “Lemonar, that is, a spiritual meadow” A.M. Remizov. Allusions and reminiscences of the Christian myth in the "Christmas story", in a fantastic story and novel.

3. Learn by heart the poems of Russian poets about the events of the gospel calendar(2 poems each) .

^ 4. Historiography of the soul. The child and his world in the autobiographical genre from S. Aksakov to I. Shmelev and V. Astafiev. Artistic detail. Gen. way. Inner monologue. Moral and psychological dominant in Russian prose. Bunin I.A. Arseniev's life. Book of my life. The world through the eyes of a child in the stories of modern writers: Yu. Nagibin, V. Belov, V. Astafiev, A. Aleksin, V. Rasputin and others. Bradbury. Dandelion wine; Wolf. Look at your house, angel.

5. Learn by heart a poem by Russian poets about childhood.

^ 6. Scientific and artistic knowledge. Russian textbooks: history and modernity. Natural history in art genres. Genre Adventure and travel in the supply of scientific knowledge. Local history and geography in art and popular science genres. Scientific knowledge and artistic form in the works of V. Bianchi - I. Akimushkin. Encyclopedic book for children. Science in entertaining forms. V. Bragin. "In the land of dense grasses."

^ 7. Parody and caricature in humor for children. From folklore to literature. Humorous story. Traditions of Russian laughter culture. Antithesis. The function of the beginning of laughter in the formation of the artistic whole. Comic and dramatic. Comedy of characters and sitcom. "Mockingbird" image. I. Krylov - A. Tolstoy - Sasha Cherny. Poetic and prose genres. Lyricism and pathos in humor. "Undersand" by Y. Koval: caricature of genres in the mind of the inner form.

^ 8. Artistic synthesis in literature for children. Picturesque in literature. Music in Literature. Image methods. Intra-literary synthesis: the interaction of poetry and prose as autonomous meaningful artistic worlds. The supertask of "synthesis". genre synthesis. "Three Fat Men" by Y. Olesha - "The Golden Key" by A. Tolstoy. Artistic synthesis in The Chronicles of Narnia by C. Lewis. function of the poetic. mythological and symbolic.

^ 9. Poetry in children's and youth reading. "Subject" poetry: tasks, function of the plot, features of the formation of artistic content. Poetic classics in the circle of children's and youthful reading. Word and work. Word and text. Ways of concentrating artistic content in poetry. Poems by S. Marshak and B. Zakhoder in children's reading. Poetry school of Marshak. A variety of genres, plot conflicts, ways to update the "stamped" pedagogical task. E. Uspensky, G. Oster and others. Analysis of specific poetic samples on the recommendation of the teacher and the choice of students. The Golden Age of Russian Poetry. The Silver Age of Russian Poetry. Modern poetry. Imagery. spiritual dominance.

10. Learn two poems by heart about nature.

^ 11. Synthetic genres and syncretic artistic genres for children. Theatre. Puppet Theatre. Musical Theatre. Staged. Film version of a literary work. Animation.

"Alice in Wonderland" by L. Carroll. Traditions of the "nonsense" genre in poetry and prose. Translations by A. Demurova, B. Zakhoder, V. Nabokov.

^ 12. Periodicals and criticism. The first magazines for children. Periodicals for children at the turn of the XX-XX centuries. The evolution of children's systematic publications in the Soviet era. "Ideal" periodical for children. Requirements for printed materials for children. The main results of the course. Perspective directions of scientific research of the history of children's literature.

^ 13. Children's literature of the Russian diaspora.

14.Children's foreign literature.

8.3. Questions for self-examination, dialogues, discussions, discussions, examinations

1. 
   Test examples

^ 8.5. Sample list of questions for the exam

1. 
   Children's literature as an academic discipline. Goals and objectives of the course. Children's literature and circle of children's reading.
2. 
   Functions of children's literature as the art of the word.
3. 
   Folklore in children's reading and in children's literature. Small genres of folklore.
4. 
   Actually children's folklore.
5. 
   Folk tale. The evolution of the mythological content of fairy tales (tales about animals, household, fairy tales).
6. 
   Genre of literary fairy tale. Analysis of a literary fairy tale (at the student's choice: V. Zhukovsky, A. Pushkin, A. Pogorelsky, V. Dal, V. Odoevsky, P. Ershov, S. Aksakov, A. Tolstoy, etc.). The choice should not be limited to Pushkin's fairy tales.
7. 
   Yuletide and Christmas story (analysis of students' choice).
8. 
   Easter story (analysis of students' choice).
9. 
   Pagan, ancient, Christian myth in children's reading and in the history of children's literature.
10. 
    Lyric poetry of the 19th century in children's reading. Genres. Imagery. rhythmic organization. Word as work.
11. 
    Poetry N.A. Nekrasov for children. Genres. Plot. Hero. features of the verse.
12. 
    D. Mamin-Sibiryak is a children's writer. Fairy tale. Fairy tale cycle. Story. Features of the narrative style.
13. 
    Adventure genres in children's literature and children's and youth reading. Issues. Heroes. Style.
14. 
    The genre of autobiographical story in children's reading. Hero type. Plot features. Analysis of one work from the recommended list as directed by the teacher.
15. 
    Small genre forms for children and about children in the works of writers of the late nineteenth and early twentieth centuries (A. Chekhov, L. Andreev, A. Kuprin).
16. 
    L. Carroll. "Alice in Wonderland" and the school of "nonsense" in children's literature of the twentieth century.
17. 
    K.I. Chukovsky in the history of children's literature.
18. 
    Comic and lyrical in the prose and poetry of Sasha Cherny. Fox Mickey's Diary style.
19. 
    Poetry of the Silver Age for children and in children's reading. Artistic synthesis and intraliterary synthesis in the style of poets.
20. 
    The problem of portraiture in translation: "The Adventures of Pinocchio" by K. Collodi" and "The Golden Key" by A. Tolstoy, "Doctor Dolittle" by H. Lofting and "Doctor Aibolit" by K. Chukovsky; "The Wise Man of Oz" by F. Baum and "The Wizard of the Emerald City". A. Volkova and others.
21. 
    Children's Poetry in the 20th Century: Main Development Trends. Plot. Rhythm. Features of figurative speech.
22. 
    The history of the development of scientific and artistic books for children in the twentieth century.
23. 
    Natural history book in the twentieth century. Genre. Narrator. Plot.
24. 
    V. Bianchi is a lyricist and encyclopedist.
25. 
    Lyrical and philosophical beginning in the books of M. Prishvin and K. Paustovsky.
26. 
    Historical genres in children's and youth reading: origins, evolution, modernity.
27. 
    The originality of the artistic narrative about the history of the Problem. Features of the conflict. Hero. Plot. Composition.
28. 
    Science Fiction: Science Fiction and Fantasy. Plot features. Past, present and future in science fiction and fantasy genres.
29. 
    Christendom in the "Chronicles of Narnia" by C. Lewis. The accuracy of translation is in the creation of the internal form of the work. Heroes. Style. Dialogue with the past and present.
30. 
    My favorite children's poet.
31. 
    My favorite science fiction writer.
32. 
    My favorite adventure book.
33. 
    Perfect book for 10-13 year olds.
34. 
    The problem of popularization of world classics for children. Translations and paraphrases.
35. 
    World children's classics in the interpretation of Russian artists, composers, playwrights and film directors.
36. 
    Children's periodicals and criticism in the history of children's literature.

^ 8.6. Topics for writing a term paper

Not provided.

8.7. Forms of current control

prose colloquium,

Colloquium on poetry (reading by heart).

Written:

• 
  creative work: essay on the work of your favorite children's writer;
• 
  answers to the proposed questions based on the results of the topic, to identify knowledge of the literary text;
• 
  scientific-critical: annotation of a book or a separate work in compliance with the annotation structure - 1 page; review of one work for children - 5 pages; a review of critical materials on the problems of children's literature or a review of the children's periodicals themselves - 3 pages.

The work program of the academic discipline is compiled in accordance with the federal state educational standard of higher professional education in the specialty 031200 (050708.65) - Pedagogy and methods of primary education.

The working program of the academic discipline was:

PhD in Philology, Associate Professor of the Department

pedagogy and methods

primary education N.I. Milevskaya

The work program of the academic discipline was approved at a meeting of the Department of Pedagogy and Methods of Primary Education,

protocol No. ____ dated "___" __________ 2011

Head department

pedagogy and methods

primary education S.I. Pozdeeva

The work program of the discipline was approved by the methodological commission of the pedagogical faculty of the TSPU

Chairman of the Methodological

Commission PF T.N. Yarkina

Agreed:

Dean of Pedagogical

faculty G.Yu. Titov

Teaching aid

Ministry of Culture of the Krasnoyarsk Territory

KGBOU SPO Krasnoyarsk Regional Library College

PCC of general professional disciplines

LITERATURE FOR CHILDREN AND YOUTH

Teaching aid

Compiled by: Russkikh T.I.

Approved at a meeting of the subject-cycle commission

general professional, mathematical
and natural sciences

Literature for children and youth [Text]: teaching aid for the discipline "Literature for children and youth" /; KGBOU SPO Krasnoyarsk Regional Library College. - Kansk, 2012. - p.

The textbook gives an idea about the features of literature for children and youth, about the works included in the circle of children's and youth's reading; myths and other legends, the work of classics and modern writers.

The main advantage of literature for children and youth is revealed - a combination of high artistry and educational principles.

Using this manual, the student will be able to independently prepare on a particular topic, additional material, various tasks will help to hold an event dedicated to the work of a children's writer.

Edition 2, corrected, supplemented.

© KGBOU SPO Krasnoyarsk Regional Library College

© T.I. Russian

INTRODUCTION

The subject considered in this manual includes, first of all, that part of the literature that is addressed to children and youth, has entered the circle of their reading.

The formation of literature for children and youth is reflected.

In the early stages of history, people not only took care of maintaining their existence, but also sought to preserve their tribe, their clan. And everything that contributed to the upbringing of a person became the content of lullabies, nursery rhymes, riddles, fairy tales. There is much in common in the oral folk art of the most diverse, even very distant from each other, countries.

And the most ancient literary monuments of many peoples - myths, legends, tales - also have many similarities: they reflect a high idea of ​​Man and his recognition on Earth. The selected material reflects the similarities and differences of fairy tales and myths, legends and traditions, etc. The authors of works intended for children turned, first of all, to the oral folk art of their countries. Conscious creativity becomes a sign of a literary fairy tale, even in the case when the work is based on a folklore basis. The manual pays considerable attention to this issue (the work of H.K. Andersen, A.S. Pushkin, and others).

It is also noted that childhood is interpreted by romantics as a precious world in itself, the depth and charm of which attracts adults (“Historiography of the Soul”). Meanwhile, the romantic perception of childhood later acquired an exaggerated form of the so-called childhood advocacy, which relieved the child of responsibility for his actions and feelings. In the literature of our days, such a concept as the demonization of childhood has appeared. (W. Golding, V. Zheleznikov). And this is also given attention.

With the development of realistic tendencies, the deepening of psychologism in the literature for children and youth, a voluminous, multifaceted image of childhood is being affirmed.

Children's literature today is unusually diverse genre and thematically.

In the modern sense, literature for children and youth includes:

1. folklore works and books by classic writers, which were originally intended for adults, but over time entered the circle of children's reading and are published in adaptations and retellings;
2. works of folklore and classic books included in the circle of children's reading without abbreviations and adaptations;
3. books addressed directly to children.

It was from this premise that the material was selected. The work is taken as an example, a sign of a stable art form, so the list of studied works and the circle of writers' names is limited.

MAIN STAGES OF DEVELOPMENT OF LITERATURE FOR CHILDREN AND YOUTH

Literature for children and youth- area of ​​artistic creativity. Includes artistic, scientific-artistic and popular science works written specifically for children and meeting the spiritual and aesthetic needs of the child, the possibilities of his perception.

Among the arts addressed directly to children, literature plays a leading role. Great opportunities are associated with it for the development of the emotional sphere of the child's personality, figurative thinking, the formation of the foundations of the worldview and moral ideas in children, and the expansion of their horizons. Literature for children and youth caused a lot of controversy and discussion about whether it can be considered a department. kind of art, which is the main thing in works for children - the laws of artistic creativity or educational function. Instructiveness, the requirements of understandability and accessibility often determined the relatively low level of works written specifically for children against the general literary background. But in the circle of children's reading, those works were retained that satisfied the child's needs for a figurative, emotional word, a clear and entertaining depiction of the phenomena of reality.

First of all, some folklore works (fairy tales, parables, ritual poetry) and classical literature met these criteria. The tasks of introducing the young reader to high art in those forms that correspond to the peculiarities of his worldview and spiritual development, the need for age differentiation determine the specifics of literature for children and youth.

The formation of children's literature is associated with the appearance of educational books. Their authors considered the artistic word, placed next to the teaching material, as an incentive to learn and master the rules of life.

The initial stage in the development of children's literature in Russia is associated with the appearance of works of educational literature, the first primers and alphabet books (16-17 centuries). By placing appeals to the student, verses, sermons on the pages of educational books, the authors tried to meet the needs of childhood. Karion Istomin is considered the first Russian children's writer. His "Personal Primer" (1694) discovered one of the most important features of literature for children and youth: the principle of visibility is the basis of not only an educational book, but also a fiction one. From letter to letter, a whole journey was made in it, as a result of which the student learned the alphabet, a lot of moral concepts and cognitive information.

In its main features, literature for children took shape in the second half of the 18th century. under the influence of the increased interest in the issues of education, the achievements of pedagogical thought during the Enlightenment.

Already in the 17th century. translated works for children entered the world of Russian books: Aesop's fables, stories about Bova Korolevich, Yeruslan Lazarevich, and others. the novel by M. Cervantes "Don Quixote" was published in retelling.

From 1768 the tales of Ch. Perrault, who first made this folklore genre the property of children's literature, were translated. "Gulliver's Travels" by J. Swift in the Russian version for children has retained only a fairy-tale-adventure canvas.

The desire to enrich and expand the horizons of the child was facilitated by the 18th century, characteristic of world children's literature. a form of edifying conversation (a mentor with a student, a father with children, etc.). D. Defoe's novel "Robinson Crusoe" in the retelling for children of the German teacher J. G. Kampe received a dialogic form that was absent in the original. The beginning of this tradition in Russian literature was laid by V. K. Trediakovsky's translation of F. Fenelon's political moralizing novel "The Adventures of Telemachus, son of Ulysses." The wanderings of Telemachus and his older friend and mentor Mentor (this became a household name) and their conversations gave the author the opportunity to provide readers with a lot of information. Following the translation, numerous "Conversations of a Prudent Mentor with Well-Brought-Up Pupils", "Letters from a Mother to her Son about Righteous Honor and to a Daughter about Virtues Befitting the Female Sex" and others appeared. Enlightenment ideas in these works often took the form of moralization. Next to the "mentor", who addressed the "well-behaved children", an obedient child-reasoner appeared as a hero.

Genuine enlightenment pathos clearly sounded in the odes of M. V. Lomonosov. A. P. Sumarokova ("Letter to the girls of the city of Nelidova and the city of Borshchova"), Ya. B. Knyazhnina ("Message to Russian pets of free arts"), M. N. Muravyov. Addressing future citizens, the authors of the odes affirmed the power and usefulness of enlightenment, modesty and labor, the height of spiritual perfection. In his poems, M. M. Kheraskov ("To the Child"), G. A. Khovansky ("Message to the Children Nikolushka and Grushinka"), P. I. Golenishchev-Kutuzov ("To the Five-Year-Old Boy"), I. I. Dmitriev ("To the Baby"), drawing early childhood as the happiest period in life, a time of innocent pranks, spiritual purity, they wanted to prepare a person for future worldly hardships and temptations.

A. T. Bolotov sought to help children understand the structure of the universe, in the purposes and meaning of human activity in the book "Children's Philosophy, or Moral Conversations between a Lady and Her Children". Written clearly and vividly, the book taught to recognize and love nature, introduced children to the main provisions of the Copernican system. Bolotov's play "The Unfortunate Orphans" was also very popular, marking the beginning of children's dramaturgy. N. G. Kurganov's "Letter Book" (naib, complete - 4th ed., 1790) became a reference book for all reading Russia.

18th century was marked by the appearance of the first Russian magazine for children "Children's Reading for the Heart and Mind" (1785-89), which brought up several generations. Its publisher N. I. Novikov saw the purpose and purpose of the journal in helping to educate good citizens, to help develop those feelings, without which "a person cannot be prosperous and satisfied in life." In accordance with this program, noble ideals were instilled in the works of Russian and translated literature placed on the pages of the magazine: a person was valued only because of his personal merits, any violence was condemned ("Damon and Pythias", "Generosity in a low state", "Correspondence father and son about village life", "On imitation of parents", etc.).

N. M. Karamzin took an active part in the publication of the journal (the story "Eugene and Yulia", translations, poems). At the beginning of the 19th century The circle of children's reading included his works "Poor Liza", "Raisa", historical novels "Natalya, the Boyar's Daughter" and "Bornholm Island". The so-called. sentimental education - the awakening of touching sympathy for someone else's fate, deep penetration into the world of one's own soul, unity with nature. Fruitful for children's literature was the activity of A. S. Shishkov, who selectively translated and revised about a third of the "plays" from the "Children's Library" Campe (the Russian version went through 10 editions). In the verses "A song for bathing", "Nikolashin's praise of winter joys", etc. Shishkov opened up as a subtle and kind connoisseur of children's life. The world of the child in his activities, games, feelings, relationships with parents found an original reflection in the poems of A. F. Merzlyakov ("Chorus of Children to Little Natasha", etc.).

The Patriotic War of 1812 heightened interest in history. P. Blanchard's works (translated by F. Glinka, S. Nemirov) "Plutarch for Youth" and "Plutarch for Young Maidens" enjoyed success with the reader. In publications published after 1812, new chapters appeared devoted to the biographies of "the most famous Russians." In the 1823 edition, the book presented a peculiar course of Russian history from Olga, Svyatoslav and Vladimir to Kutuzov and Bagration. The books by A. O. Ishimova "History of Russia in stories for children" were distinguished by a masterful transcription of historical works (including Karamzin). The historical and educational direction in children's literature is also connected with the work of Ishimova and A.P. Sontag ("Sacred History for Children ...", parts 1-2, 1837).

The tradition of depicting the inner world of a child, which emerged in the literature of the late 18th century, was developed in a number of works of the 19th century, the hero of which was the reader's peer ("Grey Armyak" by V.V. Lvov, "Black Hen, or Underground Inhabitants" by A.A. Pogorelsky "Fairy tales of grandfather Iriney" by V. F. Odoevsky).

A. S. Pushkin's work played a special role in the development of children's literature. Pushkin himself did not intend any of his works specifically for children's reading. But, as V. G. Belinsky wrote, "... no one, absolutely none of the Russian poets has acquired such an indisputable right to be an educator of both young and mature and even old ... readers, like Pushkin, because we do not know in Russia a more moral, with great talent, a poet ... ". "Tales", an introduction to "Ruslan and Lyudmila", the poet's lyrical poems early enter the literary world of the child in our days. According to A. A. Akhmatova, "these works, by the will of fate, were destined to play the role of a bridge between the greatest genius of Russia and children."

Since the end of the 40s. poems began to appear on the pages of children's magazines, which readers loved for a long time. These works met the child's need to hear and say about themselves, they were easy to remember ("The Orphan" by K. A. Peterson, "One, two, three, four, five ...." F. B. Miller, "Ah, gotcha, bird , wait..." A. Pchelnikova). Poems were set to music, they turned into a children's game.

In Russian poetry for children, a fundamentally new stage was opened by the work of N. A. Nekrasov. The poet continued the traditional form of a conversation between an adult and a child, but filled it with dramatic life content ("Railway"). In Nekrasov's poems, for the first time, a peasant child appeared as a lyrical hero, full of charm, opposing an idle existence as a way of life. The range of children's reading included many of the poet's works. Motives of native nature, peasant labor are also characteristic of children's poetry by I. S. Nikitin, I. Z. Surikov, A. N. Pleshcheev, I. P. Polonsky. In the poems of A. A. Fet ("The cat sings, squinting his eyes", "Mom! Look out the window ..."), A. N. Maikov ("Haymaking", "Lullaby") adults, as it were, were personified, began to be portrayed not as "elder", "parents", whom children feared and revered, but as close people, evoking feelings of love and affection. The objects and toys surrounding the child came to life, laughter sounded, children's sorrows and joys were revealed.

A significant factor in the history of children's literature was the pedagogical activity of L. N. Tolstoy. In his "New ABC" he set out to create a type of children's book capable of becoming a source of moral and aesthetic education, to introduce the child to the miracle of "infection" with the art of the word. Based on the experience of world literature, he sought to develop a figurative and simple style of narration accessible to children. For the "ABC" Tolstoy wrote the fairy tale "Three Bears", the stories "Philippok", "Kostochka", etc., the story "Prisoner of the Caucasus".

The instructive stories of K. D. Ushinsky ("Four Desires", Children in the Roche, etc.) gained popularity. He attracted L. N. Modzalevsky, whose poems "Invitation to School" ("Children! Get ready for school!") had a special reading success. Multiple reprints withstood the collection of philosophical parables for children "Tales of the Cat Purr" by N. TT. Wagner, the central theme of which is - the relationship between mind and feelings in the human soul.

Writers who came to children's literature in con. 19 - beg. 20 centuries, expanded the range of its problems, created new genre forms. The works of D. N. Mamin-Sibiryak depicted pictures of the life of the Urals, the hard work of adults and children, revealed the harsh beauty of the taiga and the depth of human relationships ("Alyonushkina's Tales", etc.). In "The Traveling Frog" and other fairy tales by V. M. Garshin, fantastic fiction and reality close to the little reader rightfully coexisted.

With Tolstoy's trilogy "Childhood", "Adolescence", "Youth", with the story by S. T. Aksakov "Childhood of Bagrov the Grandson", the hero-child entered children's literature as an independent person with his own individual character traits. In these works, childhood appeared as the richest world of feelings, thoughts, interests. The topics of literary works were largely determined by questions about how the fate and character of a person depend on the social structure of society, when a child begins to get acquainted with life, how the world of children and the world of adults correlate with each other.

In the works of A. P. Chekhov, V. G. Korolenko, A. I. Kuprin, K. M. Stanyukovich, children most often share the fate of the “humiliated and insulted”. Society dooms them to overwork ("Vanka Zhukov" and "I want to sleep" by Chekhov, "Petka in the country" by L. N. Andreev), they are absolutely defenseless and powerless. Tragic is the fate of the gifted Theme Kartashev, whose bright aspirations are crushed by the atmosphere of the gymnasium, where hypocrisy, denunciation and cruelty prevail ("Theme's Childhood", "Gymnasium students" by N. G. Garin-Mikhailovsky). The world of children's consciousness - poetic, joyful, spontaneous - is opposed to the consciousness of adults prone to any compromises; through the naive and pure perception of the child, events and people receive the most correct assessment ("In a bad company" Korolenko. "Nanny" Stanyukovich). A child with his special, often difficult fate, becomes the hero of such works as "Children". "Boys" by Chekhov, "White Poodle", "Elephant" by Kuprin, "Into the Storm", "Snake Puddle", "Seryozha", "Three Friends", "Nikita" by A. S. Serafimovich, "Sevastopol Boy" by Stanyukovich.

In Russian children's literature, translations included works. world literature: books by J. Verne, T. M. Reid (T. Mine-Read), G. Aimard, A. Daudet, G. Beecher Stowe, R. L. Stevenson, Mark Twain, A. Conan Doyle, J. London. Adolescents were attracted to them by the brightness of the ethnographic color, the beauty of the descriptions of nature, the amusing plot, and the authenticity in the depiction of characters. Romantic books gained great popularity: "Spartacus" by R. Giovagnoli, "The Gadfly" by E. L. Voynich. Works directly addressed to children (especially in the edition of the Golden Library by M. O. Wolf) have become widespread among children: Little Women, Little Men by L. M. Olcott, Little Lord Fauntleroy and The Little Princess "("Sarah Crewe") F. E. Burnett, "Silver Skates" M. M. Dodge, "Without a Family" G. Malo, "Heart" (in Russian. Transl. "Notes of a Schoolboy") E. De Amicis, "Sandal" by B. Auerbach, "Blue Heron" by S. Jemison, "Foremen of the Vilbai School" by Reed. The young heroes of these works, in the most difficult, sometimes tragic circumstances, retain their dignity, courage, and good attitude towards people. Folk and literary tales enjoyed constant success with the reader, including "Nils Holgerson's Wonderful Journey with Wild Geese in Sweden" by S. Lagerlöf, "Alice in Wonderland" by L. Carroll, stories and fairy tales by R. Kipling, stories about animals E. Seton-Thompson and others.

In 1901-10 (1 at different times there were about 70 magazines for children of all ages, in which many works were published for the first time, which received recognition: "Ryzhik" by A. I. Svirsky, poems by I. A. Bunin, K. D. Balmont , S. M. Gorodetsky, A. A. Blok, R. A. Kudasheva ("A Christmas tree was born in the forest"), S. A. Yesenin, Sasha Cherny. Young readers were fond of the novels of L. A. Charskaya; in the best of them - "Princess Javakha", "Brave Life" (about N. Durova) found an artistic expression of the ideas of friendship, selflessness, compassion. However, during this period, many "light" works were in demand among readers (for example, serials about the detective Nate Pinkerton).

In con. 19 - beg. 20th century serious scientific, artistic and popular science books for children and youth were created, in the work of which prominent scientists A. N. Beketov, A. A. Kizevetter, M. N. Bogdanov, P. N. Sakulin and others took part. D. N. Kaigorodova, A. A. Cheglok, I. Zinger has gone through numerous reprints. The theme of science and technology was presented in the works of N. A. Rubakin, V. Lunkevich, V. Ryumin, Ya. I. Perelman, who created the book series "Entertaining Sciences" (continued by V. A. Obruchev). Recommended reading for gymnasiums was the entertaining biographies of classic writers P. V. Avenarius ("Pushkin's Adolescence", "Pushkin's Youth", "Gogol's Student Years", etc.).

The first two decades of Soviet power were marked by an intense search for ways to develop children's literature, resolving questions: how and what to write about for the new generation of the Soviet country, does a proletarian child need a fairy tale? In sharp discussions, the officially supported point of view prevailed that a fairy tale using conventional literary devices can have a negative impact on a child's realistic perception of the world and interfere with the upbringing of an active person. There were also suggestions that the "new" child does not need a fun, entertaining book, but a business, informational one. Books appeared, on the pages of which children talked about the problems of adults, using the language of newspaper editorials. The works of K. I. Chukovsky, the play poems of S. Ya. Marshak, and the tales of V. V. Bianchi were taken into question.

The pioneers of Soviet poetry for children were K. I. Chukovsky, V. V. Mayakovsky, S. Ya. Marshak. For Chukovsky, an important task of poetry is to help children's optimism to assert itself. Cheerful, action-packed, dynamic poetic tales of Chukovsky ("Crocodile", "Moydodyr", "Fly-clatter". "Cockroach", "Wonder Tree", "Barmaley"), easily remembered already at the age of two or three, contributed to the expansion of age boundaries of children's literature.

Poetry of the 20-30s experienced a strong influence of the social order - to inspire children with new concepts about morality, work, about the meaning of social struggle. This was reflected in Mayakovsky's poetry. The poet continued the tradition of conversation between the elder and the younger ("What is good and what is bad." "We walk." "Horse-fire", "Who to be?"). In an effort to give children elementary ideas about the life of society, Mayakovsky looked for non-traditional ways of their artistic embodiment. He created an acutely social fairy tale poster ("The Tale of Petya, the fat child, and Sim, who is thin"), a picture book ("Every page is an elephant, then a lioness", "This book is mine about the seas and about the lighthouse" ), "May song", "Song-lightning".

The creator of a cheerful, concise and accurate "children's" verse was Marshak. His poems are aphoristic, full of humor, close to folk speech. The past and present, the joy of work, nobility and courage, the amazing properties of things, people of difficult, tempting professions, children's games and deeds are the main themes of Marshak's poems ("Yesterday and Today", "Fire", "Mail", "The Story of an Unknown Hero " and etc.).

Overcoming schematic representations of the child, children's literature became more attentive to him and, consequently, more diverse both in thematic and artistic terms. The ability to peer closely into the life of a growing person, starting from his first step, the first toys and the first psychological problems, distinguishes the poetry of A. L. Barto. In a lyrical manner, E. A. Blaginina painted the childhood life: in her poems, the feelings, actions, deeds of the child are full of meaning, children are connected with their elders by deep affection ("That's what a mother", "Let's sit in silence"). The image of a little man, mastering the world as a kind of miracle, became the main one in the cheerful lyrical verses of Heb. poet L. M. Kvitko (included in Russian poetry in the translations of Marshak, S. V. Mikhalkov, M. A. Svetlov, Blaginina, etc.). A penchant for eccentric jokes, improbability, and a shifter were characteristic of the authors of the magazines. "Hedgehog" and "Siskin" by D. Kharms ("Squad", "Liar", "Game", "Ivan Ivanovich Samovar"), Yu. D. Vladimirov ("Eccentrics", "Orchestra", "Evsey"), N A. Zabolotsky ("How the mice fought with the cat", "The Tale of the Crooked Man"). A. I. Vvedensky, the author of journalistic poems for older children, poetic stories, lyrical miniatures for kids (collections "On the River", "Journey to the Crimea", "Summer", a poem with an instructive basis " Who?"). New paths in poetry for children were opened by the work of S. V. Mikhalkov, who combined the humorous beginning with the lyrical and journalistic ("Uncle Styopa", "What about you?", "My friend and I").

Children's prose of the 1920s and 1930s has come a long way. It turned out to be difficult to find ways to cover the events of the revolution and the civil war in children's literature. Attempts to give an idea of ​​the revolutionary events for younger readers through the chamber toy world ("Riot of the Dolls" by Gorodetsky, "War of Toys" by N. Ya. Agnivtsev) failed, for teenagers - through the incredible adventures of heroic children ("Vanka Ognev and his dog Partizan "F. G. Kamanina, "The Secret of Ani Gai" by S. T. Grigoriev), although the best of them are "Red Devils" by P. A. Blyakhin, "Makar the Pathfinder" by L. E. Ostroumov, who inherited the traditions of the adventure book of the beginning 20th century - preserved in the circle of children's reading. The first books that combined a believable depiction of events with an entertaining, adventure plot were the stories "Tashkent - a city of bread" by A.N. Neverov, "R.V.S.", "School" by A.P. Gaidar, stories and novels by Grigoriev " With a bag for death", "Red buoy", "Steam locomotive ET-5324". The works of S. G. Rozanov ("The Adventures of Grass"), B. S. Zhitkov ("What happened", "What I saw") answered many questions of a child who was exploring the world in a new way. The heroes of Zhitkov - sailors, workers, hunters - are constantly tested for courage, camaraderie, honor; in difficult trials, the true face of a person is revealed. Together with the characters of the books by N. Ognev ("The Diary of Kostya Ryabtsev"), L. A. Kassil ("Conduit" and "Shvambrania"), N. G. Smirnov ("Jack Eight" rkin - American "), L. Budogoskaya ( "The Tale of the Red-haired Girl" and "The Tale of the Lantern"), the young reader wondered what a new life should be like. From the book "The Republic of Shkid" by G. Belykh and L. Panteleev, "The Clock" by Panteleev. "Salazonok" by S. A. Kolbasyev , "Ten wagons" by B. M. Levin, stories by A. V. Kozhevnikov, he learned how the old world went into the past, how former homeless children became full-fledged citizens. Written for adults, but included in the reading circle of adolescents, had a strong impact on the minds Pedagogical poem "A. S. Makarenko.

The literary tale was especially loved by readers - a genre that was less influenced by ideological stereotypes than others. The richness of fiction, a fascinating plot, a hero who is close to the reader are the main features of the fairy tales "Three Fat Men" by Olesha, "The Golden Key, or the Adventures of Pinocchio" by A. N. Tolstoy, the plays "Little Red Riding Hood" and "The Snow Queen" by E. L. Schwartz, "The Wizard of the Emerald City" by A. M. Volkov. The story-tale "The Old Man Hottabych" by L. I. Lagin and the humorous "Adventures of Captain Vrungel" by A. S. Nekrasov were very popular.

The most important issues of ethics and morality became the basis of children's stories by M. M. Zoshchenko ("The Most Important", "Stories about Lele and Minka"). The anxieties of youth, its need to love, the thirst for genuine human relationships found expression in the book by R. I. Fraerman "The Wild Dog Dingo, or The Tale of First Love." The romance of the feat captivated the young reader of the book "Two Captains" by V. A. Kaverina, who organically combined the adventure genre with everyday life. Gaidar's artistic world, which is characterized by such a combination of genres, did not easily win its place in children's literature. Disputes arose around his books: the writer was reproached for the mood of sacrifice, for using the means of "soulfulness" that were outdated for educational influence (discussion about "Military Secret", 1935).

In the 2nd half of the 30s. in the official educational policy, a serious role was assigned to the heroic example, which led to the spread of biography, the genre. There were works of Leniniana (stories by Zoshchenko, A. T. Kononov), which received particular development in the post-war years, books about party leaders ("Iron Felix" by Yu. P. German, "Rook - a Spring Bird" by S. D. Mstislavsky, from Urzhum" by A. G. Golubeva and others). An extensive library was made up of historical books for children and youth (Al. Altaev, Yu. N. Tynyanov, V. B. Shklovsky, T. A. Bogdanovich, S. P. Zlobin, V. Yan, E. I. Vygodskaya, V. P. Belyaev, Z. K. Shishova, Grigoriev).

The books of N. I. Plavilytsikov, Bianchi, E. I. Charushin, the works of M. M. Prishvin, which are distinguished by the depth of the philosophical vision of the world, helped to feel the beauty of native nature, their connection with it. These writers created in the Soviet children's literature the genre of scientific fiction book, which was developed in the 60-80s. The beginning of scientific journalism laid the book. M. I. Ilyin ("The Story of the Great Plan", "Stories about Things." "How a Man Became a Giant"), Zhitkov ("Telegram", "Dry Dime", "Steamboat"); Paustovsky in "Kara-Bugaz" and "Colchis" combined the traditions of fiction and journalism.

This means that the role in the development of Soviet literature for children and youth and in the unification of children's writers was played by the children's magazines Murzilka, Pioneer, Druzhnye rebyata, Koster, and others, in which many prominent children's writers collaborated - Marshak, Zhitkov, B. Ivanter, N. Oleinikov, Schwartz and others. In the journal. "Children's Literature" (1932-41) systematically evaluated and analyzed the novelties of children's books. The creation of the publishing house "Children's Literature" was of great importance.

The theme of the Great Patriotic War of 1941 - 1945 becomes one of the most significant in literature. From fiction and documentary books, the reader learned about his peers, participants and heroes of the war ("The Fourth Height" by E. Ya. Ilyina, "The Tale of Zoya and Shura" L T. Kosmodemyanskaya, "Partisan Lenya Golikov" by Yu. M. Korolkov, "Street of the Younger Son" by Kassil and M. L. Polyanovsky, etc. A lot of attention in these books was paid to the pre-war period, the story of how the character and spiritual image of the hero developed. The writers sought to convey to the young reader the harsh truth of the life of people in the war and in the rear (the book "Son of the Regiment" by V.P. Kataev, "On the Skiff", "Marinka" by Panteleev. "My Dear Little Boys" by Kassil, "Ivan" by V. O. Bogomolova).

A. Ya. Brushtein ("The road goes into the distance"), A. G. Aleksin (" In the meantime, somewhere...", "A late child", "My brother plays the clarinet", "Mad Evdokia", "Division of property", "Signals and buglers"), A. A. Likhanov, R. M Dostyan. Yu. Ya. Yakovlev. A notable phenomenon in children's literature of the 80s. became the story of V. K. Zheleznikova "Scarecrow", challenging the ingrained point of view, according to which the team is always right. Here, the truth turns out to be on the side of the girl, who opposed her moral attitude to life to the cruelty and callousness of her peers.

Many writers turned to original genre forms. On the basis of the Eastern literary tradition, L. Solovyov created "The Tale of Khoja Nasreddin", which was loved by readers of different ages. The masterful use of the techniques of modernist prose distinguishes the story of E. Dubrovin's post-war childhood "Waiting for the Goat". The Estonian prose writer J. Rannap built a caustic and funny satirical story about the school "Agu Sihvka tells the truth" in the form of a series of explanatory notes, where the young mischievous sarcastically imitates the stereotypes of speech and thinking of adults.

At the same time, a manner of elevated romantic depiction of reality developed (A. A. Kuznetsov, Yu. I. Korinfts, R. P. Pogodin, Yu. I. Koval, and the Estonian writer H. Vyali). In the works of V. Mukhina-Petrinskaya, Z. Zhuravleva, V. P. Krapivin, and the Ukrainian prose writer V. Bliznets, that natural, festive, poetic experience of being, which is characteristic of many impressionable natures in childhood and adolescence, is conveyed. A romantic tinge is also present in the historical works of Al. Altaev and Shishova.

Adventure novels and stories, literary fairy tales, including translated ones, had a significant impact on children's literature in the 50-70s of the XX century. Children's prose of this period includes stories of teenage robinsonades created in various languages ​​of a multinational country, childish adventures in the spirit of Tom Sawyer and Huck Finn, dangerous games, as a result of which children expose criminals. Of the works of this genre, readers fell in love with the masterfully written stories by A. N. Rybakov "Kortik" and "The Bronze Bird", the poetics of which goes back to Gaidar's "The Fate of the Drummer".

The atmosphere of the game, often associated with the violation of traditional genre canons, is inherent in fairy tales, fairy tales-parables, which children's writers willingly turned to in the 60-80s of the XX century. Such are the theatrical tales of E. N. Uspensky, the tales of T. Alexandrova, combining folklore and modern motifs, romantic fairy-tale adventure productions. F. Knorre, S. L. Prokofieva and Krapivin; fantastic stories by V. Alekseev, philosophical tales by R. Pogodin, fairy tales-parables by R. Ovsepyan (Armenia), stories-tales by K. Say (Lithuania) and S. Vangeli (Moldova), built from poems and prose, magic stories and moral descriptive sketches, mosaic compositions 3. Khalila (Azerbaijan), picturesque rhythmic fairy tales-miniatures by I. Ziedonas (Latvia).

The 60-80s of the XX century were marked by a stormy interest in science fiction. Teenagers were fond of the books of R. Bradbury, K. Simak, R. Sheckley, but their huge popularity was not inferior to the success of domestic novels and short stories. Books of the 20-30s are also of constant interest. XX century. "Aelita" and "Hyperboloid of Engineer Garin" by A. N. Tolstoy, "Professor Dowell's Head" and "Amphibian Man" by A. R. Belyaev, "Flaming Island" by A. P. Kazantsev, as well as later published "Andromeda Nebula" I. A. Efremov, works by G. S. Martynov, I. I. Varshavsky, G. I. Gurevich, A. P. Dneprov, A. N. and B. N. Strugatsky, A. I. Shalimov, A. A. Shcherbakova, A. and S. Abramovykh, K. Bulycheva, D. A. Bilenkina, E. I. Parnova and others. some works of this genre - the novel "The Hour of the Bull" by Efremov, the story "Ugly Swans" by the Strugatskys, later published under the title "Rain Time", were subjected to a politic ban).

In children's literature of the 60-70s. XX century there has been a kind of "diffusion" of genres. Clear boundaries between fiction and scientific-artistic, popular-scientific literature were erased. The works of I. Andronikov and N. Ya. Eidelman, which introduce schoolchildren to literary criticism and history in an entertaining way, can serve as examples of good Russian prose. "Tales of the Titans" by Ya. E. Golosovker, which gives teenagers an idea of ​​ancient mythology, is imbued with the poetry of ancient legends and the tragic worldview of the twentieth century. Books about wildlife by V. Chaplina, G. A. Skrebitsky, N. Ya. Sladkov, G. Ya. Snegiryov, I. I. Akimushkin are read as full-fledged works of art, distinguished by the spirit of humanity, a sense of human responsibility for all living things. D. S. Danin tells children about the world of modern science in a fascinating and accessible way, N. L. Dilaktorskaya and N. M. Verzilin about wild and domestic plants, A. E. Fersman about minerals, Yu. A. Arbat about crafts , about painting - LN Volynsky.

In the genre of scientific journalism in the 80s. The writers A. M. Markush, R. K. Balandin, G. I. Kublitsky worked in the 20th century. In scientific and artistic literature for children, the biographical theme is of great importance - the life of famous scientists (books by L. E. Razgon about the physicist P. N. Lebedev, about the astronomer P. K. Sternberg). Far from humanitarian problems at first glance, popular science books for young people help the reader to feel how diverse and complex reality is, thereby laying the foundations of the modern worldview. In the 2nd floor. In the 70s of the 20th century, children's journalism reached a high level (E. Bogat, L. Zhukhovitsky, L. Krelin, etc.), which spoke to the reader mainly on humanitarian topics - about conscience, the dignity of reason, feelings, human personality. For the 60-70s. In the 20th century, the flourishing of poetry, from early childhood, brought up in readers a sense of the word. In the works of I. P. Tokmakova, V. V. Berestov, B. V. Zakhoder, Ya. L. Akim, E. E. Moshkovskaya, Yu. P. Moritz, G. V. Sapgir, A. M. Kushner, L. Mezinova, V. Levin, Yu. Kushak. R. Sefa, V. Lunin, O. Driz have fantasy and humor, genuine feeling, subtle lyricism, mischief. At this time, poets of the older generation also continued to work - Barto, Blaginina, Mikhalkov.

In children's literature, the 2nd floor. 80s-beginning 90s In the 20th century, a significant event was the publication of the prose collection "Aboriginal", "Catching Butterflies and an Abandoned Friend", "I Fly in a Dream", which tells about the problems of everyday life, the state of the family and school, and the spiritual image of a modern teenager. Among the works included in these collections, the most artistically interesting were truly tragic things, such as the stories "The Humpbacked One" by N. Solomko, "Crooked Thursday" by L. Sinitsyna, "Aboriginal" by Y. Korotkov, "Shokhin's Cassettes" by S. Vinokurova, telling about the difficult, often leading to a tragic outcome, the dramas of adolescents. The novels "From the Life of Kondrashek" by I. Chudovskaya, "Little Night Serenade" by V. Romanov are distinguished by their lyrical mood. Entertaining narration, well-aimed psychological observations are characteristic of the novels and stories of L. Evgenieva (collection "The Frog"). Some works that were not allowed for publication at one time were released, in particular, the novels by B. Zhitkov "Iron" and Y. Daniel "Flight".

Since 1990, the Russian Children's Fund has been publishing the magazines "Tram" for young children and "We" for teenagers. The literary almanacs "Boy" and "Girl" are popular, the creators of which set themselves the task of helping the moral development of growing men and women, to form a good aesthetic taste in them.

In the 50-70s. In the 20th century, new translations and retellings for children of works of world children's literature, folk tales appeared. The circle of children's poetry included the ballads of E. Lear, comic poems by A. Milne. In many translated works beloved by children, childhood appears as a kind of autonomous country whose laws adults cannot understand ("King Matt the First" by J. Korczak, "The Little Prince" by A. de Saint-Exupery). The characters of the books by J. Barry ("Peter Pan and Bendy"), Milna ("Winnie the Pooh and All-All-All"), P. Travers ("Mary Poppins") find themselves in an imaginary world where they live an exciting, active life. Young readers enjoy the playful side of these fairy tales; for adults, they discover a lot in the complex world of a child.

The books of the Swedish writer A. Lindgren "Baby and Carlson, who lives on the roof", "Pippi Longstocking", "Mio, my Mio!" are very popular. Funny adventures of heroes, soft humor of Lindgren's works reveal the fullness of life, create instructive characters.

The Polish poet Julian Tuwim accurately expressed the universal nature of children's literature, saying that if laziness, boasting, talkativeness, arrogance fall under fire, if good laughter, jokes, play, fun reign in poetry, then this is for all children. The books of E. Kestner and J. Kruss (Germany), A. Marshall (Great Britain), J. Rodari (Italy), writers of the Eastern countries became the property of children's literature in Russia, as well as in many other countries. Europe A. Bosev, D. Gabe, M. Alechkovich, V. Nezval, F. Grubek, A. Sekora. A high professional level is distinguished by translations and retellings of works by foreign writers into Russian by T. G. Gabbe, A. I. Lyubarskaya, Zakhoder, Tokmakova, Korints, Berestov, V. Orel, Yu. Vronsky, Akim, and others.

The works of the world children's classics of the 2nd floor became an organic part of the national children's literature. XX century. - Philosophical tales "The Lord of the Rings" by JR Tolkien. "Threshold" and "Mage of the Earth" by W. Le Guin, books by T. Janson and others.

FOLKLORE AND LITERATURE FOR CHILDREN AND YOUTH

Folklore and its relationship with myth and literature. Lyrics. Small folklore forms. Poetry of nurturing.

household folklore. Game folklore. Proverbs, sayings. Children's folklore.

The word "folklore", which is often used to denote the concept of "oral folk art", came from the combination of two English words: folk- the people and lore- wisdom, the history of folklore goes back to ancient times. Its beginning is connected with the need of people to realize the natural world around them and their place in it. This awareness was expressed in the inextricably merged word, dance and music, as well as in works of fine art, primarily applied art (ornaments on dishes, tools), in jewelry, and objects of religious worship. “From the depths of centuries, myths have come to us that explain the laws of nature, the secrets of life and death in a figurative and plot form. The richest soil of ancient myths still nourishes folk art and literature.

Like literature, folklore works are divided into epic, lyrical and dramatic. Epic genres include epics, legends, fairy tales, historical songs. Lyrical genres include love, wedding, lullabies, etc. Dramatic genres include folk dramas (with Petrushka, for example). The original dramatic performances in Russia were ritual games: seeing off Winter and meeting Spring, elaborate wedding ceremonies, etc. There are also small folklore genres - ditties, sayings, proverbs, etc.

Many folklore genres have become a model for writers. Folk tales were the basis of the famous "author's" tales of A. Pushkin, V. Zhukovsky, P. Ershov and other writers of the 19th century. Ushinsky included fairy tales in his books "Children's World", "Native Word", believing that no one can compete with the pedagogical genius of the people. Leo Tolstoy highly appreciated the role of folklore, including fairy tales, in the work of the younger generation. Later, M. Gorky, K. Chukovsky, S. Marshak and other writers spoke passionately in defense of children's folklore. They convincingly confirmed their views in this area by modern processing of ancient folk works and writing literary versions based on them. Lullabies created according to folk motives are available from M. Lermontov (“Cossack lullaby”), Y. Polonsky (“The Sun and the Moon”), K. Balmont, V. Bryusov and others. In essence, lullabies are Marina Tsvetaeva's "By the Bed", S. Marshak's "The Tale of the Silly Mouse", and I. Tokmakova's "Lullaby to the River". In addition to the poetic fairy tale, a prose fairy tale (M.Z. Saltykov-Shchedrin, Leo Tolstoy, A.N. Tolstoy, A. Remizov, P. Bazhov, etc.) is developing, as well as a dramatic fairy tale (children's plays by F. Odoevsky, S. Marshak , E. Schwartz). Although the author's tale is freer in plot, in its construction it obeys the traditions of the folk tale.

Federal State Educational Institution of Higher Professional Education

Thesis

Federal Agency for Culture and Cinematography

Federal State Educational Institution

Higher professional education

"State Academy of Culture and Arts"

Library and Information Faculty

Department of Information Services

Historical literature in the reading of teenagers 10-14 years old

Thesis

Executor:

group student

correspondence department

Scientific adviser:

cand. ped. Sciences,

docent ________________

Head department,

cand. ped. Sciences, Associate Professor

_____________________

Date of admission to protection:

______________________

Scientific adviser:

(signature)

Reviewer:

cand. ped. Sciences, Associate Professor _______________________

(signature)

Protected: ______________

rated _______________

commission members

for the defense of theses ________________________

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________________________

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Introduction

I. Features of reading teenagers in the modern period

1.1. Adolescent Reading Studies

1.4. Teenager as a reader

II. Analysis of the activities of the Teshnyar rural library

2.1. The work of the Teshnyar rural library to introduce students to the study of historical literature

2.2. Reading Historical Literature: Results of a Poll of Teenage Readers

Conclusion

Bibliography

Introduction

"History is the teacher of life," said the ancients. And indeed, people always, especially in critical periods for society, try to find answers to the most pressing questions of our time in the historical past.

To talk about the great commanders, outstanding compatriots, to remember those who made history means to instill in the younger generation respect for the history of the Motherland, for the exploits of the defenders of the Fatherland, a sense of pride in their country.

Dmitry Sergeevich Likhachev wrote: “Love for one's Motherland is not something abstract; it is also love for one's city, for one's locality, for the monuments of its culture, pride in one's history." Therefore, it is so important to learn love for the motherland on the monuments of history and culture of one's region.

In connection with the foregoing, the topic of the thesis is relevant, as it sets the task of studying the reading of historical literature by a teenager; revealing the specifics of the genre "historical book" will allow to outline the ways of familiarization with this literature.

Object of study: adolescents aged 10-14 as readers of historical literature.

Subject of study: the influence of historical literature on the reading development of adolescents aged 10-14.

The base for the study: Teshnyarskaya rural library and Teshnyarsky municipal secondary school of the Sosnovoborsky district.

The purpose of the study: to determine the place of historical literature in the reading of adolescents, to substantiate the optimal ways of familiarizing with this literature in libraries.

Research objectives: study of literature and experience of libraries in accordance with the research topic; selection and analysis of printed publications on history, addressed to the reader - a teenager; determining the place and role of historical books in adolescent reading; development and implementation of the most effective methods of working with literature on history.

Research methods: analysis of psychological, pedagogical and library science literature, documentation and experience of the library; reader survey.

Scientific novelty: determining the specifics of a historical book, identifying the motives and factors for choosing a book by teenagers.

Practical significance: the result of the study will contribute to the improvement of the work of the library with historical literature.

The structure of the work: this work consists of an introduction, two chapters, a conclusion, a list of references.

The introduction formulates the relevance of the study, goals, objectives, subjects, objects, research methods.

The first chapter reveals the features of reading teenagers in the modern period, the study of the reading interests of teenagers, the features of the historical genre of fiction, the age characteristics of teenagers, the teenager as a reader.

The second chapter analyzes the activities of the Teshnyar rural library, the work of the Teshnyar rural library to familiarize students with the study of historical literature, and presents the results of a survey of adolescent readers.

Chapter 1. Features of reading teenagers in the modern period

1.1.Research on the reading interests of adolescents

Changes took place in the cultural life of the country, which led to a sharp increase in interest in national history, the origins of national culture, and lost traditions. These changes significantly affected the work of libraries.

Allegations of a "children's reading crisis" are far from accidental and have a real basis. At the beginning of the XXI century. children read “wrong” and “wrong” like previous generations. But they certainly read. At the same time, there is an intensive process of transformation, a radical change in the reading habits of young readers. Almost all characteristics of children's reading are changing: the status of reading, its duration (reading time at leisure), the nature, the way of working with printed text, the reading circle of children and adolescents, the motives and incentives for reading, preferred works, etc. The sources of obtaining printed materials are also changing. , information in general and much more. Our research allows us to speak about the development of a number of trends in children's reading, as well as about the process of changing the old model of children's mastering of book culture to a new one.

What are the new picture and the new model of reading (a set of new features of a young reader) when entering a literary culture? Let us immediately note that in some regions of Russia the situation is relatively favorable, while in others there are negative processes of rejection of children from printed culture.

We will rely only on the results of a sociological study of the reading of schoolchildren in the 7th and 10th grades. According to our data, on average, the majority of children and adolescents read in their spare time, and if a fifth of the respondents spent up to 30 minutes reading. a day, a third of them read from half an hour to an hour. About 42% read for more than one hour a day. But, as a rule, most of those who love to read are children of primary school age. The older children are, the less time they take to read at leisure, and the less they like to read. If the share of those who chose the answer option “I like to read, I read a lot” at a younger age is 43%, then by grade X it drops to 17%, and at the same time, the share of those who among the younger ones chose the answer option “I read rarely, I don’t like”, will melt from 8% to 17% in the senior classes. The attitude towards reading is an important characteristic, and it indicates that, in general, the positive attitude of schoolchildren towards reading is preserved.

Research results show that only one in ten schoolchildren surveyed does not read anything other than the books needed to complete the lessons. If we analyze the reading circle of adolescents, then about 40% of it is entertainment literature, while scientific and educational books occupy half as much as 21%.

At the turn of the century in the reading of children, and especially adolescents and youth, various magazines became especially popular. An active appeal to periodicals begins already at primary school age, but it especially intensifies by adolescence.

While magazines are often bought and sometimes borrowed by teenagers from libraries, the sources of books are mainly home, public and school libraries. Thus, according to the above-mentioned survey of students in various regions of Russia (2001), in 43% of cases schoolchildren read books from their home library. In second place was a public (public) library (18%), in third - a purchase (16%). Adolescents, boys and girls also borrow books from friends, and with age, the share of this source more than triples (from 6% to 21%), ranking second among high school students after the home library. The last place among the sources of obtaining books is the school library, which is used by about every ninth schoolchild. In general, the share of all "home" sources of obtaining books is approximately 60%, and libraries - about 30%.

However, in the provinces, libraries often serve as virtually the only source of books for schoolchildren. In the last decade, the problem of library acquisition has become extremely acute. The uneven distribution of book resources persists, and the further one moves away from central Russia, the distribution channels become worse and worse. At the same time, the needs of schoolchildren for new, relevant literature have increased dramatically, which is associated not only with changes in reading, but also with the ongoing reform of the school. As a result, in many regions of Russia, the needs of children and adolescents often remain unsatisfied.

When asked what books they would like to read but could not find, children aged 11-14 named books about nature and animals (16% of respondents), adventures and "horrors" (11%), and fairy tales (7%). Adolescents noted science fiction (8%), books on technology (7%), history (4%), various popular science literature (3%). The number of different topics on which children need books is huge. There seems to be a lot of literature on these topics. But due to the fact that it does not reach the regions, children experience a “book hunger” that they themselves do not realize. The specificity of the children's reading group lies precisely in the fact that they need the book "here and now", children cannot, like adults, put off their unfulfilled needs for the future, they simply switch to other means of communication and ways of spending their leisure time.

In the modern situation, the process of socialization of the individual becomes especially difficult. Along with the main social institutions of education and upbringing, the family and the school, “electronic educators” play an increasingly important role in it. Television continues to occupy a significant place in the lives of children and adolescents. Over the past decade, it has become the most common way of spending leisure time for most children and adolescents, both in the city and in the countryside, and ranks first in the list of daily leisure activities.

In large cities, new media are an alternative to television. The modern teenager has a great opportunity to choose one or another way of spending leisure time. These are various means of mass communication and electronic mass media. It is children, adolescents, youth and youth today who are the most active social groups that easily master new information technologies. They do not have those psychological barriers that interfere with adults, because they are receptive to the new; many of them already in early childhood get acquainted with the computer. This is a new "multimedia generation", which has different values, behaviors and orientations in the world of information.

Electronic culture, including video production and a variety of multimedia, is often perceived as a competitor to the printed word. Of course, at the first stage of mastering a new type of media and the new opportunities that it provides, there is a keen interest in it. Later, after mastering it, it will "integrate" into the structure of life and take its proper place in it. The book won't go away, and neither will the reading. The point is not what medium will be chosen - a book or a computer, where the text will be - on paper or on a monitor screen, the point is different: what exactly will be read there and what information, what knowledge, what culture and art will these means represent for the development of a young person.

While we are still in line with the old literary tradition. But this time is quickly running out, which is especially noticeable in children's reading. In recent years, there has been a deterioration in a number of reading characteristics of schoolchildren, a decrease in their level of literacy. Teachers are sounding the alarm about the simplification and coarsening of students' speech, primitive clichés, with which their compositions are often full.

The concern for reading the nation in many advanced economies is striking. We have a situation where many children do not have new books in their immediate environment (including libraries). And according to VTsIOM, 34% of adult Russians no longer read! The difficulties of the process of transformation of reading are superimposed by the difficulties of the deterioration of the environment of book resources in which many children live. They need to realize their right to read the best classical and modern literature.

In the future society, reading and "the person who reads" will certainly be considered as a national value. But reading nations are made up of reading children. Today in Russia it is also necessary to recognize the problem of reading children and adolescents as a national problem due to the fact that at present children's reading especially needs to be protected and supported not only by society, but also by the state.

So, in the reading of children and adolescents today, very serious changes are taking place, which are of a profound nature. And many parents, teachers, librarians are still focused on the old literary model, while most of today's children and adolescents have very different preferences and a different perception of book culture. They treat the book not as a "textbook of life", but as one of the media and mass communication. Thus, to some extent, there is a gap between generations in the transmission of the long-standing tradition of mastering literary culture. During this period, the role of libraries becomes especially important as organizations that support children's reading and protect the rights of young readers to access books and information. This becomes more and more visible when comparing the social groups of children visiting and not visiting libraries. For example, young readers who frequent libraries read more and better than their peers who do not use libraries. Libraries are also engaged in "levelling" the socio-cultural and educational opportunities of children from different walks of life, primarily helping children from poor and low-income families. But the role of libraries in book culture can only grow if their funds are properly stocked in accordance with the changing needs and interests of readers.

1.2. Features of the historical genre of fiction

The writer, like the historian, can recreate the events and appearance of the past, although this artistic recreation differs from the scientific one. Based on historical data, the writer at the same time always follows the path of creative fiction, without which art is impossible; he depicts not only what was, but also what could be. However, the right to historical fiction does not exclude the fact that fictional situations must be historically possible and motivated, and the depiction of truly historical events, the era of its life, individual details must be strictly based on the achievements of historical science, data from historical sources. The reflection of history in fiction, the depth of the artist's comprehension of the historical process is closely connected with the development of historical, sociological and all social sciences, with the prevailing concepts of historical development. The writer's reflection of the historical past is directly influenced by the development of certain historical problems and topics in historical science, and the level of processing of historical sources achieved. Truly artistic historical works are imbued with historicism, alien to modernization and subjectivism, which distort historical truth. The best examples of historical fiction are not only aesthetic, but also historical and educational value. Historical fiction is capable of depicting a bygone era in its entirety, revealing in living images the social activities, ideology, way of life, and psyche of its representatives; historical fiction, which has the power of great emotional impact, embodying historical events in a living, figurative form, contributes to the familiarization of broad sections of the people and youth with history. Among the literary works on historical themes, there are many works that, although they set the task of depicting the life of any historical era, in reality do not rise to historicism, distort and modernize history (and, therefore, have no historical and educational value). Thus, it is often rightly said about the pseudo-historicism of certain historical novels, plays, poems. Not every work that refers to the events of the past sets itself the task of actually recreating this past, and has proper historical goals. Sometimes a writer looks in the past only for material for a sharp plot, colorful paintings, a special color - sublime, exotic, etc. e. This clearly appears, for example, in many adventure novels that absorb events of the past (for example, in the novels of A. Dumas, which have a very limited historical and educational value). Also widespread (especially in the literature of modern times) are works that can be called historical allegories, where the historical plot is used by the writer only to embody one or another idea (such, for example, is the drama of the Brazilian playwright G. Figueiredo "The Fox and the Grapes", in which the image the ancient Greek fabulist Aesop is used by the author to affirm the need for human freedom, or the drama of the French playwright J. Anouil "The Lark", in which the author raises the problem of responsibility of the individual, the assertion of human dignity, referring to the image of Joan of Arc). These works occupy their place in literature. , but they can by no means always be attributed to historical literature proper. At the same time, the value of historical fiction is far from being exhausted by its historical and cognitive significance. Sometimes a literary work of historical subject matter, even far from historical accuracy, but consonant with the modern era, expressing Great, progressive ideals, affirming the national self-consciousness of the people, painting vivid pictures of the revolutionary and liberation struggle, have the power of tremendous ideological influence (for example, Spartacus by R. Giovagnoli, 1874, The Gadfly by E. Voynich, 1897). Historical literature is of great educational value. The beginning of historical fiction proper dates back to the turn of the 18th and 19th centuries, when the historical novel was formed as a special literary genre, which set itself the direct goal of depicting the life of past eras. The historical novel (and the historical drama proper that arose later) qualitatively differs from historical works of previous eras in their subject matter. The formation of historical fiction proper coincides with a significant turning point in historical knowledge itself - with the process of the formation of history as a science. The rapid and abrupt upheaval in social relations during the era of the French bourgeois revolution made it possible to finally realize the irreversibility and qualitative nature of historical changes. Historicism, as such, enters into historical knowledge, and a similar process occurs in fiction. In an aesthetic sense, the formation of the Historical genre was associated with the artistic discoveries of romanticism: the mastery of depicting the color of place and time, the sharpness of perception of the special, individual in each phenomenon, interest in national movements, in the national past in all the unique originality of each of its stages.

The formation of historical fiction in the proper sense is associated with the name of the English writer W. Scott (1771-1832). The great German writers I. Goethe (dramas Goetz von Berlichingen, 1773, Egmont, 1788) and F. Schiller (dramas Wallenstein, parts 1-2, 1798-99, " Mary Stuart”, 1801, “William Tell”, 1804, etc.), but it was the work of W. Scott, the founder of the historical novel, that was a real milestone. W. Scott created a whole series of novels depicting the era of the Crusades ("Ivanhoe", "Richard the Lionheart", "Robert, Count of Paris"), the period of the formation of national monarchies in Europe ("Quentin Dorward"), the English bourgeois revolution ("Puritans ”, “Woodstock”), the collapse of the clan system in Scotland (“Waverley”, “Rob-Roy”), etc. The transition to a bourgeois lifestyle that took place in England gave the writer the opportunity to keenly feel the change of eras, a sharp difference in social relations, ideology , psychology and life of the Middle Ages and modern times. The artist strives to realistically recreate the spirit and appearance of a way of life that has sunk into the past. For the first time, an artistic recreation of the past is based on a real study of historical sources (whereas earlier the artist was limited to reproducing only the general course of historical events and the most characteristic features of the figures of the past). The work of W. Scott had a direct impact on subsequent historical fiction. Many romantic writers, for example, V. Hugo (the drama Cromwell, 1827, the novels Notre Dame Cathedral, 1831, The Man Who Laughs, 1869, The Ninety-Third Year, 1874), and de Vigny (the novel Saint-Map, vols. 1-2, 1826), Manzoni (The Betrothed, 1827), the English writer E.J. Bulwer-Lytton (the novels The Last Days of Pompeii, 1834, Rienzi, the Last of the Roman Tribunes, 1835, and others), North American novelist F. Cooper (The Spy, 1821), Russian novelists: M. Zagoskin ( Yuri Miloslavsky, or Russians in 1612, ch. 1-3, 1829), I.I. Lazhechnikov ("Ice House", 1835). The works of the historical genre created by the romantics do not always have historical and educational value. This is hindered both by the subjective-idealistic interpretation of events and the substitution of objective social conflicts for contrasts of good and evil, darkness and light. The main characters in such novels are most often not historically specific types, but only the embodiment of the romantic ideal of the writer (Esmeralda in Hugo). The subjective political convictions of the author also have an effect: for example, A. de Vigny, who sympathized with the aristocracy, made a representative of the feudal opposition the program hero of his novel. However, the merits of a work of the historical genre as an artistic creation cannot be judged only by the degree of scientific authenticity of the depicted. Hugo's novels, for example, have great power of emotional impact. “He sounded the alarm bell,” A.N. wrote about Hugo. Tolstoy: “Wake up, man is in poverty…” associated with the victory of realistic principles in the historical novel and drama. The conquest of realism was the creation of social characters, penetration into the complex process of the struggle of historical forces, the depiction of the role of the people in history - aesthetic moments, in many respects already prepared by the school of W. Scott (Chuans by Balzac, Jacquerie by Mérimée). In Russia, the realistic historical genre triumphed in the work of A.S. Pushkin ("Boris Godunov", "Arap of Peter the Great", "The Captain's Daughter").

New in the 30s and 40s. 19th century was the deepening of psychological analysis in the works of I. Zh. (“The Chronicle of the Times of Charles IX” by Merimee and especially the episodes of the image of Waterloo in Stendhal's novel “The Parma Monastery”, which L. Tolstoy later referred to). The epic of L. Tolstoy "War and Peace" is a majestic pinnacle in the development of the historical genre in the 19th century. Its historicism is manifested both in a large-scale awareness of the very course of the historical process, and in the creation of historical types, and in the exact transfer of social, everyday, ideological, psychological and linguistic features of the time.

However, after the achievements of the realistic historical literature of the middle of the 19th century, the most outstanding works of which raised the most important questions of people's life and the historical destinies of the nation on the basis of historical material, they sought to resolve the problems of the connection between the individual and the people, etc., while giving high examples of historicism - there is a regression in the development of historical fiction. This is connected primarily with the general processes of strengthening the reactionary nature of bourgeois ideology in the late 19th and early 20th centuries, with the ever greater departure of bourgeois social thought from historicism. The authors of historical novels modernize history. So, for example, even such an outstanding realist artist as A. France, in the novel from the time of the Great French Revolution “The Gods Are Thirsty” (1912), carries out the idea that humanity is, as it were, marking time in its development. A special kind of “symbolic” historical literature is becoming widespread, which, sometimes claiming to have a deep understanding of the historical process, actually creates purely subjectivist constructions of a mystical nature (“The Veil of Beatrice” by A. Schnitzler, 1901, “historical” trilogy by D. Merezhkovsky - “ Pavel I", 1908, "Alexander I", 1911-12, "December 14", 1918). On the contrary, in a number of countries of Eastern Europe, historical themes acquired in the late 19th and early 20th centuries. great importance and public resonance, which is associated with the national upsurge in these countries. The leading place in the themes of historical literary works of this period was occupied by the history of the beginning liberation struggle. In some cases, historical fiction is romantic in nature. Such, for example, are the historical works of the Polish novelist G. Sienkiewicz (“With Fire and Sword”, vols. 1-4, 1884, “The Flood”, 1886, “Pan Volodyevsky”, 1887-88, “Kamo are coming”, 1894-96, "Crusaders", 1897). Many works are written in a realistic manner: the Czech writer and historian A. Irasek creates a series of novels and dramas depicting the era of the Hussite wars (historical novels "Between Currents", vol. 1-3, 1887-90, "Brotherhood", vol. 1- 3; 1898-1908, etc., historical drama "Jan Zhizhka", 1903, "Jan Hus", 1911), Bulgarian writer I. Vazov - historical dramas based on scenes from the life of medieval Bulgaria ("Borislav", 1909, "K abyss”, 1908, “Ivaylo”, 1911). The national liberation movement, the awakening of national consciousness were the basis for the emergence and development of the historical novel genre in many countries of the East. In India, the creator of the historical novel in Bengali literature was the outstanding writer Bonkima Chondro Chottopadhay ("The Fort Commander's Daughter", 1865, "Mrinalini"), in Marathi literature - Hari Narayan Apte ("They took the fortress - they lost the lion", 1903, "The Tiger of Mysore" , 1890-91, "Princess Rupnagara", 1900-02, "Chandragupta", 1902-04, etc. ), in Hindi literature - V. Varma ("Kundar Fortress", 1928, "Rani Jhansi-Lakshmi Bai", 1946, and many others). The historical novel was the first genre of the new Arab fiction (historical novels by Jirji Zeidan, 1861-1914 - "Ghassanid", "Armanossa the Egyptian", etc., Farah Antun, 1873-1923 - "New Jerusalem, or the Capture of Jerusalem by the Arabs", etc.) . In the 20s. the first historical novels began to appear in Iran (“The Tale of the Artist Mantz” and “Spreaders of the Nets, or Avengers for Mazdak” by Sanatiz-zade Kermani, “Love and Power” by Agasheikh Musa Hamadani, etc.). Most of the works of young historical literature of the countries of the East were written in a romantic manner, many of them played a significant role in the national liberation struggle.

In the countries of Western Europe, a new upsurge in the development of the realistic historical novel begins after the Great October Socialist Revolution. This world-historical upheaval enabled the great realists of the West to create a number of outstanding examples of historical fiction. At the same time, the appeal to the historical theme of the leading writers of the West was associated with their protection of the cultural heritage and progressive traditions of the past, with the anti-fascist speeches of humanist writers. Such, for example, are the historical works of G. Mann (the novel The Youth of King Henry IV, 1935) and T. Mann (the story Lotta in Weimar, 1939), numerous historical novels by L. Feuchtwanger (The Ugly Duchess, 1929, " Jew Suess, 1925, The Jewish War trilogy, 1932, Sons, 1935, The Day Will Come, 1942, The False Nero novel, 1936, Foxes in the Vineyard, 1948, Wisdom of an Eccentric, or Death and transformation of Jean-Jacques Rousseau, 1953, Goya, 1951, etc.). Closely connected with modernity, distinguished by a humanistic, democratic orientation, they are at the same time characterized by the writer's careful work on historical sources. However, even these best works of historical Western literature are imprinted by the general conceptions of the historical process, which are characteristic of bourgeois historical science. Thus, in Feuchtwanger's historical novels (especially in pre-war ones), the idea of ​​historical progress is sometimes expressed as a struggle between reason and inertia, which rarely ends in the victory of reason, the role of the people in history is underestimated, and the author's subjectivism is clearly manifested. A new stage in the development of historical fiction is associated with the literature of socialist realism. Standing on the positions of a materialistic understanding of history, affirming historical existence as the creativity of the masses, this literature has all the objective conditions for successful development on the principles of genuine historicism and has achieved major results along this path. M. Gorky, evaluating the first attempts at creating a Soviet historical novel, wrote in 1930 (referring, in particular, to the works of A.N. Tolstoy about Peter I and 10. N. Tynyanov about the Pushkin era): “... a historical a novel that was not in pre-revolutionary literature...” (M. Gorky on Literature, 1955, p. 413). The most important topics of Soviet historical literature were the depiction of the revolutionary and patriotic traditions of the Russian people, the problem of the role of the people in history, the depiction of critical, significant eras; historical literature is characterized by a desire for epic, great artistic generalizations. So the novel by A.N. Tolstoy "Peter 1" (1st book - 1929-30, 2nd - 1933-34, 3rd - unfinished, 1944-45), depicting the image of Peter I, is at the same time an epic about the fate of the Russian people at one of the turning points in its development. A deep understanding of the era of Peter is given in the story of A. Platonov "Jestfan Gateways" (1927). The theme of revolutionary peasant movements of the past was widely covered in Soviet historical literature (for example, Chapygin's novels "Razin Stepan", 1926-27, "Walking People", 1935-37, "Pugachevshchina" by K.A. Trenev, 1924, "Emelyan Pugachev ", V.Ya. Shishkova, 1-3, 1938-45).

Important themes of Soviet literature were the liberation struggle against tsarism, the fate of advanced Russian culture in tsarist Russia (the novels by O.D. Forsh “Dressed with Stone”, 1925, the trilogy about Radishchev - “Yakobinsky leaven”, 1934, “Kazan landowner”, 1936, “ Pernicious book", 1939, etc.; novels by Yu.N. Tynyanov "The Death of Vazir-Mukhgar", 1927-28, "Kukhlya", 1925, "Pushkin", 1936-43, etc.). Of particular importance are works about the era of the preparation of the revolution and about the revolution itself and the civil war. So, to a large extent, the Life of Klim Sangin by M. Gorky belongs to historical literature (although Gorky himself did not attribute this work, nor The Case of the Artamonovs to the genre of a proper historical novel), and The Quiet Don by M.A. Sholokhov, and A.N. Tolstoy, and "First Joys" and "Unusual Summer" by K.A. Fedin. In Soviet historical literature, the military-historical theme is widely developed, which received special significance during the years of the Great Patriotic War and in the immediately preceding Sevastopol Strada (1937-40) by S.N. Sergeev-Tsensky, "Tsushima" (1932-1935) A.S. Novikov-Priboy and others. V. Yan’s trilogy (“Genghis Khan”, 1939, “Batu”, 1942, “To the Last Sea”, 1936) depicts the invasion of the Mongols on the states of Asia and Russia and shows the struggle of the Russian people against the Mongol-Tatar yoke; the theme of the fight against the Mongol-Tatar yoke and the rise of Moscow is also devoted to the novel by S.P. Borodin "Dmitry Donskoy" (1941).

1.3. Age features of adolescents

Adolescents are children between the ages of ten and fourteen. Among them, three age groups are distinguished: 10-11 years old - younger teenagers; 12-13 years old - teenagers (in the narrow sense of the word); 14 years old - older teenagers.

The transition to adolescence is characterized by profound changes in the conditions affecting the child's personal development. They relate to the physiology of the body, the relationships that develop in adolescents with adults and peers, the level of development of cognitive processes, intelligence and abilities. In all this, a transition from childhood to adulthood is outlined, the child begins to quickly rebuild and turn into the body of an adult. The center of the physical and spiritual life of the child moves from home to the outside world, passes into the environment of peers and adults. Relationships in peer groups are built on more serious than recreational joint games, affairs covering a wide range of activities, from working together on something to personal communication on vital topics. A teenager enters into all these new relationships with people, already being an intellectually sufficiently developed person and having abilities that allow him to take a certain place in the system of relationships with peers. The child's intellect, understood as the ability to set and solve problems in practical, figurative and symbolic terms, is developed by the beginning of adolescence. During this period, the formation of the child as a person continues. During three or four years of high school education, the motivational sphere of a person is formed, his personal and business interests are determined, professional inclinations and abilities are manifested.

Adolescence is the most difficult and complex of all childhood ages, which is a period of personality formation. At the same time, this is the most crucial period, since the foundations of morality are formed here, social attitudes, attitudes towards oneself, towards people, towards society are formed. In addition, at this age, character traits and the main forms of interpersonal behavior are stabilized. The main motivational lines of this age period, associated with an active desire for personal self-improvement, are self-knowledge, self-expression and self-affirmation.

At the beginning of adolescence, the child develops and intensifies the desire to be like elders, children and adults, and such a desire becomes so strong that, forcing events, the teenager sometimes prematurely begins to consider himself already an adult, demanding appropriate treatment of himself as an adult. At the same time, he still does not fully meet the requirements of adulthood. All teenagers, without exception, strive to acquire the qualities of adulthood. Seeing manifestations of these qualities in older people, a teenager often imitates them uncritically. Adolescents' own desire for adulthood is strengthened by the fact that adults themselves begin to treat adolescents no longer as children, but more seriously and demandingly. Teenagers are asked more than junior schoolchildren, but he is allowed a lot of things that are not allowed to first graders. For example, a teenager, much more than a younger student, can be out of the house, on the street, in the company of friends and among adults. He is allowed to participate in situations to which younger students are usually not allowed. This confirms the more equal and independent position of the adolescent in the system of human relations. All this taken together gives the teenager an idea of ​​himself as a person who has ceased to be a child, who has stepped over the threshold of childhood. The result of these processes is the strengthening internal desire of the teenager to become tall as soon as possible, which creates a completely new external and internal situation of personal psychological development. It requires that it generates a change in the entire system of the adolescent's relations with other people and with himself.

A teenager is also forced to grow up quickly by the circumstances of life associated with physical changes in his body. Rapid maturation, physical strength give rise to additional responsibilities that a teenager receives both at school and at home.

In adolescence, the content and role of imitation in personality development change. If at the early stages of ontogenesis it is spontaneous, little controlled by the consciousness and will of the child, then with the onset of adolescence, imitation becomes manageable, begins to serve the numerous needs of the child’s intellectual and personal self-improvement. A new stage in the development of this form of learning in adolescents begins with imitation of the external attributes of adulthood.

The easiest way to achieve the goal of "being like an adult" is to mimic the external forms of observable behavior. Adolescents, starting from the age of 12-13 (girls a little earlier, boys later) copy the behavior of adults who enjoy authority in their circle. This includes fashion in clothes, hairstyles, jewelry, cosmetics, special vocabulary, demeanor, recreational activities, hobbies, etc. In addition to adults, adolescents can become role models for their older peers. The tendency to look like them and not like adults in adolescence increases with age.

For teenage boys, the object of imitation often becomes the person who behaves “like a real man” and has willpower, endurance, courage, courage, endurance, loyalty to friendship. Girls develop a tendency to imitate those who look "like a real woman": older friends, attractive, popular adult women. Many teenage boys are very attentive to their physical development, and starting from the V-VI grades of the school, many of them begin to perform special physical exercises aimed at developing strength and endurance. In girls, the imitation of the external paraphernalia of adulthood is more observed: clothes, cosmetics, coquetry techniques, etc. .

In adolescence, the process of formation and development of the child's self-awareness continues. The improvement of self-awareness in adolescence is characterized by the child's special attention to his own shortcomings. The desired image of "I" in adolescents usually consists of the merits of other people that they value.

Since both adults and peers act as role models for adolescents, the ideal they create turns out to be somewhat contradictory. He combines the qualities of both an adult and a younger person, and not always these qualities are compatible in one person. This, apparently, is one of the reasons for the inconsistency of adolescents with their ideal and their constant worries about this.

In the 7th-8th grades of the school, some teenagers begin to systematically and purposefully engage in self-education. This is especially true for boys, among whom the ideal of masculinity becomes one of the main ideals that give rise to criteria for evaluating the surrounding people. Teenagers love adventure, romantic films and related literature, since it is in them that heroes are found who have the necessary qualities of masculinity, courage, character and willpower. Teenagers try to imitate these characters in real life, reproducing in games and situations they create scenes read in books or seen in films. This is especially typical for younger teenagers between the ages of 11 and 13.

In older adolescence, many boys begin to engage in self-development of the necessary volitional personality traits. Comrades, older in age, young men and adult men, become the object of imitation for them. In companies with them, a teenager takes part in cases that require the manifestation of will.

A very common way among modern teenagers to develop their volitional personality traits is to engage in sports associated with great physical exertion and risk, such as requiring extraordinary strength and courage. This is boxing, wrestling, weightlifting, hockey. Taking a great interest in many types of sports activities, at first for the sake of developing strong-willed personal qualities, some teenagers then continue to engage in them to achieve high results. Thanks to this, the motivation to achieve success is further developed.

The general logic of the development of all volitional qualities can be expressed as follows: from the ability to manage oneself, concentrate efforts, withstand and endure heavy loads to the ability to manage activities and achieve high results in it. According to this logic, they replace each other, and the methods of developing volitional qualities are being improved. At first, a teenager simply admires them in other people, in a good way envies those who have these qualities (10-11 years old). Then the teenager declares his desire to have such qualities in himself (11-12 years old) and, finally, proceeds to their self-education (12-13 years old). The most active period of volitional self-education in adolescents is considered to be the age from 13 to 14 years.

In adolescence, all cognitive processes, without exception, reach a very high level of development. During these years, the vast majority of the vital personal and business qualities of a person openly manifest themselves. For example, direct mechanical memory reaches its highest level of development in childhood, forming, together with sufficiently developed thinking, the prerequisites for the further development and improvement of logical, semantic memory. Speech becomes highly developed, varied and rich, thinking is represented in all its main forms: visual-effective, visual-figurative and verbal-logical. All these processes acquire arbitrariness and verbal mediation. In adolescents, they already function on the basis of the formed inner speech. It becomes possible for a teenager to learn various types of practical and mental (intellectual) activities, moreover, using a variety of techniques and teaching aids. General and special abilities are formed and developed, including those necessary for future professional activities.

Adolescence has many contradictions and conflicts characteristic of this particular age. On the one hand, the intellectual development of adolescents, which they demonstrate when solving various problems related to school subjects and other matters, encourages adults to discuss quite serious problems with them, and adolescents themselves are actively striving for this. On the other hand, when discussing problems, especially those related to the future profession, ethics of behavior, responsible attitude to one's duties, one discovers the amazing infantilism of these people, outwardly looking almost adults. A psychological and pedagogical dilemma arises, which can only be resolved by an experienced adult: how, while treating a teenager in a serious way, that is, in an adult way, at the same time treat him like a child who constantly needs help and support, but outwardly, such a “childish” treatment cannot be detected.

It is known that with age, the interest of adolescents in themselves changes rapidly. Children studying in grades IV-V of the school are characterized by increased attention to the position that they occupy in the classroom among their peers. Sixth graders begin to show a certain interest in their appearance, in children of the opposite sex and relationships with them. Seventh-graders have common hobbies of a business nature, there is a special interest in developing their abilities in various types of practical activities and in their future profession. Eighth graders highly value independence, individuality, personality traits that are manifested in friendship and camaraderie. Relying on these types of emerging interests of adolescents one after another, it is possible to actively develop in them the necessary strong-willed, businesslike and other useful qualities.

The main new feature that appears in the psychology of a teenager in comparison with a child of primary school age is a higher level of self-awareness. Along with it, a clearly expressed need arises to correctly assess and use the available opportunities, to form and develop abilities, bringing them to the level at which they are in adults.

At this age, children become especially sensitive to the opinions of their peers and adults; for the first time, they face acute problems of a moral and ethical nature, related, in particular, to intimate human relationships.

Adolescence - as adolescence is sometimes called - is the time of the formation of a true individuality, independence in learning and work. Adolescents discover confidence in the ability to determine and control their own behavior, their thoughts and feelings. Adolescence is a time of heightened desire for self-knowledge and evaluation, for the formation of a holistic, consistent image of the “I”.

Between the ages of 12 and 14, when describing themselves and other people, adolescents begin to use less categorical judgments, including the words “sometimes”, “almost”, “it seems to me” and others in their self-description, which indicates a transition to the positions of evaluative relativism, understanding ambiguity, inconstancy and diversity of personal manifestations of a person.

In the middle classes of the school, instead of one teacher, several new teachers appear, who usually have very different styles of behavior and manner of communication, as well as methods of conducting classes. Different teachers have different requirements for teenagers, which makes them individually adapt to each new teacher. In adolescence, a differentiated attitude towards different teachers appears: some are loved, others are not, and others are treated with indifference. New criteria for assessing the personality and activities of adults are also being formed. On the one hand, this creates an opportunity for a more accurate and correct assessment of people by comparing them with each other, and on the other hand, it creates certain difficulties due to the inability of adolescents to correctly perceive an adult, to give him a correct assessment.

Adolescents value knowledgeable teachers more, who are strict but fair, who treat children kindly, are able to explain the material in an interesting and understandable way, give fair grades, and do not divide the class into favorites and unloved ones. The erudition of the teacher, as well as his ability to properly build relationships with students, is especially highly valued by the teenager.

Between the ages of ten and fourteen, significant changes take place in the motives of a teenager's activities, in his ideals and interests. In the initial period of this age (10-11 years old), many adolescents (about a third) give themselves mostly negative personal characteristics. This attitude towards oneself remains in the future, at the age of 12 to 13 years. However, here it is already accompanied by some positive changes in self-perception, in particular, an increase in self-esteem and a higher assessment of oneself as a person.

As they grow older, the initially global negative self-assessments of adolescents become more differentiated, characterizing behavior in individual social situations, and then private actions.

In the development of reflection, that is, the ability of adolescents to realize their own strengths and weaknesses, there is a tendency, as it were, of the opposite nature. In the initial period of adolescence, children are mainly aware of only their individual actions in certain life situations, then - character traits, and, finally, global personality traits.

It has been established that with age, the perception of the surrounding people by adolescents also changes. The standards of interpersonal perception that they use when evaluating the people around them are becoming more and more generalized and do not correlate with the opinions of individual adults, as it was at primary school age, but with ideals, values ​​and norms. The content of evaluative moral standards continues to expand and deepen, they become more subtle and differentiated, individually different.

As an illustration of this idea, A.A. Bodalev makes the following observation. If students of the seventh grade are asked, for example, to describe a person whom they do not know, but whose individual features they name in advance (for example, evil, kind, etc.), then among the answers that are obtained in this experience, four different groups. Adolescents from the first group name only the external signs of the person presented to them. Students from the second group mention both external and some internal features. In the third group, in addition to what was reported about a person, his deeds and deeds are called. In the fourth group, in addition to everything that has been said, the thoughts and feelings of the person being evaluated are also mentioned. Based on this experience, we can conclude that there is a significant personal differentiation in adolescence of standards of interpersonal perception and evaluation of people.

1.4. Teenager as a reader

The reader's portrait of a teenager is largely determined at the age of 10-11. It should be taken into account that by this time parental care begins to weaken, and the school often "obliges" to read, without awakening personal motives for turning to the book. The time limit also affects reading (the study load increases, communication with peers, circle activities become more active, new hobbies arise). Experience shows that if by the age of 10 a child has already realized the significance of a book in his life, if turning to the printed word has become his inner need, if his cognitive interests have resulted in reading interests, then there is reason to believe that in the future these qualities will be strengthened and developed. If there is no interest in reading, then we can expect that at the senior school age this teenager will join the ranks of "non-readers".

Under favorable conditions, a child at the age of 10-11 years of age activates cognitive activity, there is a noticeable interest in unusual natural phenomena, in questions of the universe, in historical events unknown to countries, in understanding the facts of the surrounding reality. At this age, the reader, as a rule, already distinguishes between scientific and educational and fiction. The first attracts him with the opportunity to “learn something”, the second - to “survive”. It is now that the librarian can fully develop the reading needs of children in the field of cognitive literature, introduce different types of literature into the circle of reading: reference publications, "business" books, popular science almanacs and magazines. It is useful during this period to reveal to the teenager the variety of technical methods of reading scientific and cognitive literature, to teach them how to apply them in practice.

It has been noted that the reading activity of adolescents is especially intensively formed in the process of reading books, the authors of which rely on mutual co-creation, put the reader in the role of an inquisitive researcher. Problematic materials meet the needs of children of this age, satisfy their interest in everything new, unusual, striking their imagination, pose more and more new questions to them. Such qualities, for example, correspond to the books of P. Klushantsev, I. Akimushkin, Yu. Dmitriev, M. Ivin, G. Svirin and others.

A librarian needs to know that a focus solely on cognition can sometimes turn the reading of fiction into a purely rational process. This danger can be avoided if the teenager's attention is promptly focused on the peculiarities of reading different types of literature.

For some librarians, readers who from an early age show a steady interest in any one branch of knowledge act as an ideal. Others find it more desirable for a teenager to change interests. Psychologists say that no interest can develop in isolation from others. A varied reading experience, "trying on" different roles are fundamentally important for the full development of the individual. That is why the variety of hobbies of teenagers aged 10-11 must be supported, conditions must be created for a free, independent choice of books, and not be afraid of the variability of requests.

One of the reasons for the decline in interest in reading at the age of ten, according to psychologists, is the attitude towards giving up efforts. Reading requires active mental labor. Reading is boring for someone who does not have appropriate motives, strong motivations, no interests. Relying solely on entertainment, fascination, the game that librarians often resort to in promoting books to teenagers (quizzes, competitions, KVN, etc.), is not always consistent. It is easy to captivate and interest a momentary 10-year-old teenager with something unusual, but it is difficult to maintain and maintain this interest, to transform it into a reader's one.

The search for "surprising", "unusual" to a certain extent remains in younger adolescents and in relation to fiction. In this case, the reader's interest is driven by the plot, the extreme situation, the superhero. This meets the vital needs of a teenager: the desire to test their abilities, to test themselves mentally in unusual circumstances. Hence the natural interest in adventure literature, to which readers of 10-11 years old include books “about Indians”, science fiction, literary fairy tales, books “about horrors”, books “about war”. The most requested and most read during this period, according to the observations of librarians, are the books of A. Volkov, K. Bulychev, Stevenson, W. Scott. Books with mythological plots are readily read by children.

Observations have shown that in the hero of adventure books, a teenager values ​​courage and determination above all else, even if these qualities are combined with cruelty and callousness. It is necessary to help debunk the killer heroes in the mind of a teenager, no matter how attractive they may seem at first sight. In a conversation about heroes, more attention should be paid to manifestations of mercy, kindness, humanity.

The dominant reading interests of 10-11-year-old schoolchildren - orientation to the "exciting" in the book - can later lead to illegible reading, to the loss of a sense of the word. The task of the librarian is to skillfully rely on the interests of children to recommend highly artistic works for them to read.

Contact with a book at the age of 10-11 largely depends on the awareness of the motives for reading: why a teenager reads, what reading gives him, what he would like to read, what he can recommend to another. It is useful to draw the attention of every teenager to such questions. If the formation of reading motives is not given due attention during this period, then, as a rule, there is no development of needs.

The range of cognitive interests in adolescents aged 12-13 is significantly expanding. Cognitive requests often acquire personal meaning, become selective, conscious. Many adolescents have stable interests in individual subjects and, consequently, in the relevant areas of knowledge. As the study of G.I. Ginzburg, teenage readers are characterized not only by the appearance of questions in the process of reading, but also by the desire to resolve them themselves. It is the process of the emergence of questions in a teenager in connection with what he has read, the nature of his independent actions aimed at resolving them, the emergence of new questions that are an essential indicator of his reading activity.

According to the degree of reading activity and the nature of the motives for reading scientific and cognitive literature, adolescents can be divided into three groups. The first includes readers who are looking for entertaining, necessarily “new”, “easy” information “for themselves” and books “for the lesson”. Adolescents in this group are characterized by situationality, narrow practicality of reader demand, reflecting the passivity of their position, the absence of deep cognitive interests. When faced with something incomprehensible in the text, these readers skip it without trying to understand it. The cognitive activity of these adolescents is aimed primarily at reproducing what is being read (writing out fragments of text, numbers, names, dates, etc.).

The second group of readers are teenagers aged 12-13, who are able not only to obtain information from the book, but also to compare what they read with what is already known, to correlate with their own life experience. They are looking for answers to their questions, they are interested not only in the novelty of the material, but also in its connection with previous reading.

The smallest group includes readers whose motives are aimed at deepening the understanding of the known, the search for ways to apply knowledge. Readers of this group, not limited to the perception of new information, try to understand it in conjunction with the already known. The questions they raise reflect a desire to find meaningful connections. These teenagers consider books written in the form of conversations to be the most interesting, when the author connects the reader to the search for evidence of the hypotheses put forward, introduces the essence of scientific controversy. They are interested in books that help to model, design. To do this, they often use appendices to books (tables, maps, diagrams), look for an explanation of special terms. They willingly turn to popular science journals, to editions of recommendatory bibliography.

As for reading fiction, the peak of reading adventure literature is at the age of 12-13. The reading circle of adolescents consists of novels by A. Dumas, A. Christie, K. Simenon, A. Conan Doyle. Fantasy is second in demand. The reading repertoire of adolescents includes "adult" literature (works by V. Pikul, A. Rybakov and other authors). Unlike readers of 10-11 years old, these teenagers are interested not only in the actions of the characters, but also in their inner world, relationships with other characters. Many teenagers during these years include literature in the context of their own lives. Although they often formulate the motives for reading fiction as educational or entertaining (“I read to learn about life”, “to relax”), in fact (their reviews about what they read speak about this) the motivation for reading is deeper for many - interest in a person , to the psychology of relationships, the need for indirect life experience.

A characteristic feature of the perception of fiction at this age is self-awareness, which was previously extremely rare. When reading works of art, many teenagers create an “affiliation effect” and, on this basis, transfer what they read to themselves.

However, not all adolescents have a variety of motivation for reading fiction, and their perception is deep and rich in feelings. The primitivism of perception, the stereotype of entertaining reading, and the orientation towards mass culture are characteristic phenomena of today's teenage reading.

It is very important at this age to awaken the reader's self-esteem, to help the teenager see himself as a reader in comparison with others. To this end, some librarians hold debates “Reading as creativity”, organize special exhibitions: “What are you like, our reader?”, “Know yourself, reader”, “We are readers”, “Reader's portrait of a friend”, conduct business games , contests for the best reader.

Fourteen-year-olds need special attention from librarians. These are difficult teenagers to guide reading. The differentiation of attitudes toward books (positive or negative) that has become apparent among ten-year-olds becomes polarized by the age of 14. It is no coincidence that some call eighth-graders "the most readers", while others - "the most non-readers." Both of them are right. This is most affected by the results of the influence of the socio-pedagogical conditions in which the teenager developed earlier. Those teenagers who have gone through a good school of educating a culture of reading, whose friendship with a book has become habitual, are distinguished by the breadth and stability of reader requests, their selectivity, the ability to perceive works that are difficult for their age, and developed criteria for evaluating attitudes towards a book. The circle of reading, motives, perception of works bear the stamp of their individuality. These are readers-"researchers", readers-"thinkers". Some of them summarize what they have read “for themselves”, and make “scientific” reports.

Others, by the age of fourteen, acquire the features of a low reading stereotype: their demand for literature is situational and random, often dictated only by external factors, their perception does not differ in character from younger adolescents. It is not uncommon for them to display nihilism towards the book as an "obsolete" medium of information.

In general, the internal position of fourteen-year-olds is most often characterized by a pronounced tendency, on the one hand, towards self-determination, comprehension of one's “I”, on the other hand, towards the search for a moral ideal. Typical for them is the motive of self-education and self-education. Publicism is widely included in the circle of reading, and interest in poetry is growing. Attention is sharpened to the artistic originality, the creative manner of the writer. The attitude towards the hero is changing: the character of the personality in all its complexity and integrity worries. At this age, there is a tendency to separate the interests of boys and girls.

As for reading scientific and educational literature, in comparison with the previous age, the range of reader requests narrows somewhat, and the number of favorite activities also decreases. Many by this time had already formed core interests in specific areas of knowledge and activities, which determines the selectivity of reading. Career guidance intentions begin to affect demand.

The greatest opportunities for the reading development of an older teenager lie in individual communication with a librarian. The key to success is the parity nature of communication. In a librarian, a 14-year-old reader appreciates most of all competence, erudition, "non-interference in the affairs of the reader." An eighth-grader can enter into a dialogue with a librarian only if he has full confidence in him. He immediately notices the “white threads” of pedagogical calculation. Hence the high demands on the skill of a librarian, on the subtlety of his pedagogical techniques, the strengthening of the role of mediated forms of communication (the use of readers' reviews, "bookmarks", memos, etc.).

So, the life of a modern teenager is significantly different from the one that was 10-15 years ago. Today's student has access to a large number of sources of information. The younger generation lives in a rapidly changing, complex, contradictory world. The task of the pedagogical community and the library is to help the student find his place in this diverse world, to teach him to understand and appreciate cultural traditions.

Chapter 2

2.1 The work of the Teshnyar rural library to introduce students to the study of historical literature

The information and bibliographic base of the Teshnyar rural library is the basis for information support of the educational process. Moreover, special attention is paid to working with literature on the history of the Fatherland.

A reference and bibliographic apparatus has been formed to help students of Russian history. Literature on national history is reflected in the SK, SKS, in thematic mini-card indexes, recommendatory bibliographic manuals, lists.

In order to study the demand for literature on the history of Russia, a survey was conducted among adolescents.

As it turned out, the main motive for turning to this type of literature was the fulfillment of a task within the framework of a school course on the history of the Fatherland, that is, the need for business reading. This group comprised 77 percent of the respondents. Turn to historical books for personal interest - 10 out of 100 respondents, and 16 combine both personal and business interests.

Among the various genres of literature of historical content, 29 percent of students are in great demand for works of art. 24 percent prefer scientific and educational literature on the history of the Fatherland, 23 - encyclopedic, 12 emphasized the need for reference literature.

Questioning and the practice of work on reference and bibliographic services for students indicate that the need for new, modern reference, educational, popular scientific literature on national history is high.

First of all, publications containing voluminous and objective information are valued. Among those in demand are documents, eyewitness accounts. Often schoolchildren use dictionaries for definitions of historical terms, words and expressions. Of interest are materials about significant historical dates, the dissident movement, national liberation wars. Most of the respondents noted that they receive information on the history of Russia in the library. In some cases - in the media, the Internet.

The students answered the questions about the historical events they remembered and famous personalities in Russian history quite fully, highlighting statesmen, military leaders, and cultural figures from different eras.

To another question - about the use of the SBA library when choosing historical literature - only 25 percent of students answered positively.

In general, the survey data made it possible to draw a conclusion about the rather low reading culture of schoolchildren, about ignorance and misunderstanding of the advantages of independent search and selection of literature. Of course, librarians today need to improve and intensify individual and mass work on educating the information culture of adolescents.

The question of reading periodicals devoted to the history of the Fatherland, or publications publishing articles on this topic, put many students in a difficult position. Only 15 percent of the respondents answered positively and named a number of magazines, and only 9 percent know and read the historical magazine Rodina, as well as local history publications.

The survey showed that half of the adolescents are well versed in historical periods and have sufficient knowledge of specific historical events. Students' interest in historical and historical-biographical literature and the need for business reading are growing.

Therefore, the rural library pays special attention to the preparation of lessons on national history. A fairly complete collection of encyclopedias, dictionaries, reference books has been assembled. The fund of literature on this topic presents the main works of Russian historians, educational, reference, literature on the military history of Russia. Conditions have been created to guarantee free access to the search and receipt of information of any kind. One of the modern sources for fulfilling a bibliographic request is periodicals, which helps to fill in the gaps in the acquisition of the book fund. Readers-students are offered special headings of SCS, thematic mini-files, folders of newspaper clippings. Rodina magazine, which publishes materials on a wide range of issues of Russian history, enjoys particular success. The new scientific-practical journal “History and Social Studies for Schoolchildren” also helps the children to get to know the history of our country better. You can read about how to write a creative essay, how to avoid mistakes when preparing for testing, etc.

An analysis of bibliographic requests clearly showed that the fulfillment of school assignments on the history of the Fatherland requires students to turn to encyclopedias, dictionaries, reference books, textbooks, works of Russian historians, popular science literature, newspaper and magazine articles.

It can also be noted that the modern educational process contributes to a certain extent to the development of interest in historical literature among schoolchildren.

"Save yourself for Russia and Russia - for yourself" - this is the motto of the Club of History Lovers, jointly organized by the village library and the school. The purpose of the work is the revival of high moral values, national culture, the upbringing of respect for the customs of various peoples, for ourselves, our roots, the realization of who we are and what our destiny is.

As part of the work of the Club of History Lovers, many interesting events took place related to Russian culture, the history of their small Motherland - their village (Appendix 1).

In the general fund, historical literature was identified and thematic shelves were designed: “Fatherland”, “Feat to live forever”, “History in faces”, “Historical novels”, “Literary pages of history”, “Stories about Russia”. In order to promote the fund, they developed and designed historical bookmarks and book "semaphores": "Interesting Book", "New Book".

Exhibitions play an important role in opening up the book fund. Each one is unconventional; in its preparation, librarians show a maximum of fiction and imagination. For example, the exhibition-dictionary "Stories about Russia" was arranged in such a way that each bookshelf corresponded to a certain century. For the exhibition, a card file was prepared with questions from the quiz “Do you know the history of your country? Your village?

As already mentioned, the "Club of History Lovers" is organized by the school and the library, because. their common goals: the revival of national traditions and culture, historical education and patriotic education.

There have been many innovations in the work of the library. Games and discussions are actively used. Historical-game expedition "How our ancestors lived"; folklore hour "Feast of porridge"; literary-historical march-throw "With the Russian warrior through the centuries"; discussion hour “What our ancestors valued in a person”; historical messengers "I remember the whole XX century", "If you remember and compare"; historical minutes. These and other events involve the reader in an active activity, allow him to become a participant in what is happening.

Each meeting of the club or just an event is focused on the promotion of literature and attraction to reading, the awakening of the best feelings, primarily patriotic ones. And the education of patriotism is unthinkable without knowledge of the history of one's small homeland. Therefore, librarians are no less actively involved in local history.

Many teachers and librarians today are concerned about the nihilistic attitude of young people to national culture, the lack of interest in the historical past of their people, and healthy national pride. In this regard, special attention in the work of the club is given to this work. In particular, through the joint efforts of the school and the library, a scientific-practical conference of schoolchildren "Start in science" (Appendix 2), the Action "I am a citizen of Russia" (Appendix 3) was held. Students of grades 9-10 participated in the preparation of the conference.

The purpose of these events is to form the social maturity of students, their self-determination in culture and the development on this basis of a life position that allows them to understand belonging to their native people and at the same time be aware of themselves as a citizen of the country.

The main tasks are the following:

1. To form knowledge about the conditions for the formation of the culture of the Kuznetsk land.

2. Create conditions conducive to students' awareness of their involvement in the affairs of their ancestors and the development of responsibility for the future of their land.

3. To teach to carry out the simplest research in the field of studying the culture of the Kuznetsk land.

4. Create conditions for creative work.

For several years, students master the basics of the scientific organization of labor on the basis of historical and literary material. They get acquainted with the methods of theoretical research, questionnaire survey, interviewing, comparative ethnography, with theses, plans, abstracts. Next, they are invited to choose a topic for a report on a historical and literary topic, independently compile a bibliography, write a report and defend it.

Presenting their work at the events, speakers introduce classmates to the culture of their fellow countrymen, from ancient times to the present day. They talk about people who have had a fateful influence.

Thus, along with the assimilation of the necessary amount of knowledge, the creative, mental development of students is ensured, which turns out to be very important for the formation of a personality.

The search for modern forms and methods of popularizing historical literature and developing the interests of schoolchildren is carried out in the course of coordinating the efforts of teachers, parents, representatives of cultural institutions and the public.

2.2. Reading Historical Literature: Results of a Survey of Teenage Readers

In the course of this study, I compiled a questionnaire in order to identify the interests of adolescents in the field of historical literature. This revealed:

1. Do you consider it important to read historical literature? Why?

3. Do you read for the “soul” or only according to the school curriculum?

4. Would you like to increase the number of hours devoted to the study of history at school?

5. What study materials would you choose?

6. What historical period are you most interested in?

7. Where do you prefer to take literature for reading?

8. Does the library fund meet your needs for reading historical literature?

9. What literature on history do you prefer to read?

10. What historical magazines do you know?

Adolescents aged 10-14 were surveyed

The following results are obtained.

To the first question, “Do you consider it important to read historical literature? Why? 100% of the respondents answered positively. The reasons given were as follows: “you need to know the history of your ancestors well”, “because it is interesting”, “a lot of educational material”, “because it is historical literature that makes it possible to understand modern history”.

The third question, “Do you read for the “soul” or only according to the school curriculum” revealed that adolescents read according to the school curriculum, but prefer reading “for the soul”.

Answers to the next question of the questionnaire “Would you like to increase the number of hours allocated for the study of history at school?” revealed that 65% of respondents would like to increase hours, 35% answered this question in the negative.

When answering the fifth question of the questionnaire “What materials would you choose for study?” Opinions were divided as follows: the respondents gave the first place to video materials, followed by a specialized textbook and special materials selected by the teacher, an equal number of votes were received by an electronic textbook and audio materials. It should be noted that the majority of respondents chose several types of materials, believing that this is the most effective.

The sixth question "Which historical period interests you more than others" received the following answers: "present time". "Ancient Ages", "Reign of Tsars", "Middle Ages", "World War II", "Formation of Russia, USSR, Russia", "Future".

When answering the seventh question "Where do you prefer to take literature for reading?" 71% of the respondents preferred the library, 14.5% take literature from friends, the rest name the point or another, without indicating the source.

Answers to the eighth question “Does the library stock meet your needs for reading historical literature?” showed that the library fund does not fully meet the needs of adolescents.

When answering the ninth question “What kind of literature on history do you prefer to read”, teenagers preferred fiction, but it should be noted that non-fiction literature was not left without attention - 64% of respondents showed interest in reading this type.

It was revealed (from the answers to the tenth question) that teenagers know the magazines: "Russian Federation", "Motherland", but about 40% are not interested in periodicals.

An analysis of the activities of the Teshnaria rural library showed that the library is actively involved in the educational process of the rural school. Particular attention in serving schoolchildren is paid to such topics as the history of the native land and the history of the fatherland.

A survey conducted among teenage schoolchildren determined the students' motivation for literature on the history of Russia and revealed that reading historical literature occupies a priority place in the reading of adolescents.

Conclusion

Unfortunately, during the post-Soviet transformations in our country, teenagers have become simplistically related to such concepts as love for the motherland, patriotism, and civic duty. The central place in the young man's worldview was occupied by the attributes of success: money, regardless of its source, a prestigious level of consumption and leisure. To a large extent, this was a consequence of the intensified planting in our society of the individualistic model imported from the West.

As a result, a new type of young man appears, for whom the main thing is to live without “fanaticism”, or rather, without ideals and inspiration, according to calculation, “without tension”, without “getting into” anything. According to a number of historians and sociologists, the emerging tendency is fraught for Russia in the near future to turn into a socio-cultural catastrophe, with the inevitable degradation and collapse of the state, which has been holding on from time immemorial (note that the word “power” came from here) on duty and service to the Fatherland.

In this regard, it seems to me that in the work on patriotic education one should always take into account the peculiarities of the interests of modern youth in combination with the changes taking place in society. This can be done with the help of historical literature.

In the thesis, the reading of historical literature by adolescents was studied; the specificity of the genre "historical book" was revealed, which made it possible to outline the ways of introducing teenagers to this literature.

The result of the study will contribute to the improvement of the work of the library with historical literature.

The paper defines the specifics of a historical book, identifying the motives and factors for choosing a book by teenagers.

As a result of the study, the place of historical literature in the reading of adolescents was determined, and the optimal ways of familiarizing with this literature in the context of libraries were substantiated. The influence of historical literature on the reading development of adolescents aged 10-14 is shown.

In the course of the study, the following tasks were set and solved:

studied the literature on the problem and the experience of the library in accordance with the topic of the study;

the place and role of the historical book in the reading of adolescents is determined;

the most effective methods of working with literature on history have been developed and implemented.

The Teshnyar rural library pays great attention to introducing students to reading historical literature. On the basis of the library, research is conducted on the study of reading historical literature. At the same time, it is necessary to actively look for ways and methods, to identify factors that help to study the problem of students' reading, affect their reading in the process of learning and self-education. Undoubtedly, the results of the study conducted by the library are of great interest to teachers, as well as to libraries of other departments that serve this category of the population.

List of used literature:

Abramova G.S. Developmental psychology: textbook [Text] / G.S. Abramov. - M.: Academic Project; Yekaterinburg: Business book, 2000.- 624 p.- (Gaudeamus).

Aseev V.G. Developmental psychology: textbook [Text] / V.G. Aseev.- Irkutsk, 1989.- S. 119-153.

Bayard R.T. Your restless teenager [Text] / R.T. Bayard, D. Bayard. - M., 1991. - S.27-48.

Balashova L.A. Formation of interest in poetry among older teenagers [Text] / L.A. Balashova // Sov. Library Science.- 1989.- №1.- S. 50-57.

Library service: theory and methodology: textbook [Text] / Ed. AND I. Aizenberg.- M.: MGUK, 1996.- 200 p.

Bigeza V.M. Scientific and educational book in the reading of adolescents [Text] / V.M. Bigeza, K.L. Naumenko // Questions of bibliography and library science: mezhved. Sat. - M., 1990. - Issue 2. - S. 123 - 130.

Bozhovich L.I. Personality and its formation in childhood [Text] / L.I. Bozhovich.- M., 1968.- S. 292 - 365.

Bratus B.S. Psychological aspects of the moral development of personality [Text] / B.S. Bratus.- M., 1977. -FROM. 21-64.

Bubnov A.D. The development of cognitive interests of adolescents [Text / A.D. Bubnov // Library for schoolchildren: Sat. Art. / State. library of the USSR. IN AND. Lenin.- M., 1986.- S.43-51.

Butakova E.S. What interests students [Text] // Library.- 2005.- No. 4.- P. 32.

Butenko I.A. Reading on assignment and on demand [Text] / I.A. Butenko // Sov. Pedagogy.-1989.- №10.- S. 49-54.

In the world of a teenager [Text] / Ed. A.A. Bodaleva.- 2nd ed., add.- M.: Medicine, 1982.- 295 p.

Developmental and pedagogical psychology [Text] / Ed. A.V. Petrovsky.- M., 1979. - S. 101-145.

Developmental psychology: childhood, adolescence, youth: reader: textbook [Text] / Compilation and scientific. ed. V.S. Mukhin. A.A. Tails.- M.: Academy, 1999.- 624 p.

Ginzburg G.I. Scientific and educational book in the formation of the reading needs of adolescents [Text] / G.I. Ginzburg // Sov. Library science.-1984.- №3.- S. 69-76.

Danilchenko L. What does the history of the native land teach [Text] / L. Danilchenko // Education of schoolchildren. - 2001.- No. 7. - S. 6.

Dvorkina M. Why do we study history [Text] / M. Dvorkina // Library. - 2000. - No. 2. - S.10-12.

Differentiated guidance for children's reading: Sat. scientific tr. [Text] - L., 1983. T.78

Zderzhikova E. About reading with respect [Text] / E. Zderzhikova, O. Ponomareva // Library.- 2000.- No. 12.- P. 18-21.

Inozemtseva I.E. History is the mentor of life [Text] // Library.- 2004.- No. 12.- P. 30-33.

Kabachek O.L. The study of the reader's development of younger adolescents [Text] / O.L. Zucchini // Sov. Library Science.- 1990.- No. 3.- P.29-36.

Kabachek O.L. A teenager as a reader: a psychologist's view [Text] / O.L. Zucchini // We are the same age: method. Recommendations / State. rep. det. library of the RSFSR; Comp. O. Andreeva.- M., 1991.- 30 p.

Kadyntsena Z.I. Rural librarian and teenager: problems of communication [Text] / Z.I. Kadyntseva, N.F. Voropaeva // Sov. Library science. - 1987. - No. 2. - P. 29-32.

Questions about children's literature

1. The concepts of "children's literature" and "children's reading": their relationship and difference. The specifics of children's literature. The author's position in the works of children's literature. Functions of children's literature. Criteria for systematics and options for the classification of children's literature. The concept of literary genre. Leading types and genres of children's literature.

2. Oral folk art for children and in children's reading. Children's folklore in terms of genre. Poetic originality of small folklore genres.

3. Folk tale and its genre specificity. Varieties of folk tales and their specific features. Moral and ethical motives of fairy tales. Typological commonality and national originality of fairy tales of the peoples of the world. The role of fairy tale fiction in the development of children's creative imagination.

4. The concept of “literary fairy tale”, its genesis and genre originality. Poetics of the literary fairy tale. The place of the folk tale in the process of evolution of the literary fairy tale genre. Varieties of literary fairy tales.

5. The place of a fairy tale in the aesthetics of romanticism. The genre of literary fairy tale in the work of foreign and domestic romantics. The role of Western romantics (G.-H. Andersen, E.T.A. Hoffmann, the Brothers Grimm, etc.) in the development of the genre of Russian literary fairy tales. Artistic features of the tales of A. Pogorelsky, V.F. Odoevsky.

6. Artistic originality of the fairy tales of A.S. Pushkin. The place of folklore themes and motifs in Pushkin's fairy tales. The value of the poet's work in the formation of Russian children's literature.

7. The concept of “literary fairy tale”, its genesis and genre originality. Poetics of the literary fairy tale. Artistic originality of the short story-fairy tale and its representatives.

8. The concept of “literary fairy tale”, its genesis and genre originality. Poetics of the literary fairy tale. Artistic originality of the story-fairy tale and its representatives.

9. The concept of “literary fairy tale”, its genesis and genre originality. Poetics of the literary fairy tale. Genre of a fairy tale in foreign literature.

10. The concept of “literary fairy tale”, its genesis and genre originality. Poetics of the literary fairy tale. The artistic originality of the poetic tale and its representatives. The development of the genre variety in Russia (on the example of fairy tales by V.A. Zhukovsky, A.S. Pushkin, P.P. Ershov, K.I. Chukovsky, S.Ya. Marshak).

11. The concept of the "fabulous cycle". Ways and factors of the literary fairy tale cycling.

12. The concept of “literary fairy tale”, its genesis and genre originality. Poetics of the literary fairy tale. Artistic features of the fairy tale play: composition, nature of the conflict, system of characters. The development of the genre variety in domestic and foreign literature.

13. Creativity of K.I. Chukovsky as a translator, researcher of child psychology, children's poet. "Commandments for children's poets" and their reflection in Chukovsky's "comic epic".

14. Tale as a genre. Tale and fairy tale: similarities and differences. The place of the tale in children's literature.

15. Genres of scientific prose for children. Functional-style specificity and compositional-semantic structure of the educational book for children. Didactic genres in Russia, their ethical and aesthetic significance. The contribution of LN Tolstoy and KD Ushinsky to the development of pedagogy, children's literature and children's reading.

16. Genres of historical prose and poetry for children. Functions of historical literature in children's reading.

17. Scientific, artistic and educational literature for children. Thematic structure, functions, representatives.

18. Nature and animalistic literature in children's reading. Its ideological and artistic originality, domestic and foreign representatives.

19. Autobiographical literature for children. Goals and objectives of a literary autobiography about childhood. The specificity of the hero, the degree of the documentary component, the role and functions of the reader in autobiographical literature, the features of children's perception.

20. Place and functions of literature on socially disadvantaged children in children's reading. Features of the disclosure of the theme in the works of Russian and foreign authors.

21. The concept of psychologism in literature. Psychological prose for children. The discovery of character and the deepening of psychological observations in the genre of the school story of the twentieth century.

22. Artistic originality of adventure literature for children. Adventure genres in the artistic system of romanticism and neo-romanticism and their transformation in children's literature. Plots, conflicts and heroes of adventure literature.

23. Fiction in children's reading. Artistic specificity of fantastic literature for children.

24. The concept of humor, irony and satire. The place of humor in children's literature. Satirical and humorous literature for children, its genres, goals and objectives, representatives.

25. The role of illustration in a children's book. Classic book illustration for children.

Artistic criteria for children's literature. World children's classics in the interpretation of Russian artists, playwrights, film directors. Fairy tale as a genre of children's folklore. Small folklore genres. A. Chekhov's stories for children. Features of V. Garshin's prose.

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1. Children's literature is literature specially intended for children up to 15-16 years of age and carrying out the tasks of raising and educating children in the language of artistic images. At the same time, the scope of children's reading includes works written originally for adults, such as the famous fairy tales of A. S. Pushkin, Charles Perrault, V. Hauff, Hans Christian Andersen, the brothers J. and V. Grimm, as well as Robinson » Daniel Defoe, Don Quixote by M. Cervantes, Gulliver's Travels by Jonathan Swift and many others. In this regard, the concept of "children's reading" arises.

The material embodiment of literary works for children are children's books.

Children's literature is usually called all the works that children read. However, in this case, it is more correct to speak of a “circle of children's reading”. Three groups of works are distinguished in its structure. The first group includes works directly addressed to children (for example, the fairy tales of Pogorelsky, Mamin-Sibiryak). The second group - works written for adult readers, but resonated with children (for example, the fairy tales of Pushkin, Ershov). Finally, the third group consists of works composed by the children themselves, i.e., children's literary creativity.

The circle of children's reading changes with each era. Its composition and breadth depend on many factors. Social conditions are changing, and with them are changes in the social, religious and family traditions of children's reading. In addition, upbringing and education programs are updated, publishers select certain works for mass release. As a result, the reading circle of each person from an early age develops in its own way. Lyceum student Pushkin, for example, read ancient authors, French enlighteners, Russian poetry and prose of the previous period. And the next young generation already read the works of Pushkin himself, as well as Zhukovsky, Ershov, Gogol ... The history of changes in the circle of children's reading is part of the general literary process. Strictly speaking, only literature for children can be called children's literature. Not all writers who tried to create works for children achieved noticeable success. The explanation lies not in the level of writing talent, but in its special quality. For example, Alexander Blok wrote a number of poems for children, but they did not leave a truly noticeable mark in children's literature, and meanwhile, many of Sergei Yesenin's poems easily moved from children's magazines to children's readers.

Literature for children goes its own way of development, consistent with the general literary process, although not with absolute accuracy: it either lags behind for a long time, then suddenly ahead of adult literature. In the history of literature for children, the same periods and directions are distinguished as in the general literary process - the medieval Renaissance, enlightenment classicism, baroque, sentimentalism, romanticism, realism, modernism, etc. At the same time, it was precisely its own path of development, the purpose of which is to create literature that meets the needs of children. The selection of specific forms and techniques was long and difficult. As a result, any reader can easily distinguish for whom this work was created - for children or for adults.

2. Classification - the distribution of any objects (objects, phenomena, processes, concepts) into classes in accordance with certain characteristics. As a classification feature (characteristics, bases of division), a property of an object is taken, which determines its difference or commonality with other objects. Essential (objective, natural) is a sign that expresses the fundamental nature of an object and thereby distinguishes it from objects of other types and genera. Classification is a general scientific and general methodological concept, meaning such a form of systematization of knowledge, when the entire area of ​​the objects under study is presented as a system of classes, or groups, into which these objects are distributed based on their similarity in certain properties. Literature for adults and children's literature are divided according to age. But it should be clarified that there are no exact age limits. Because it happens that literature written for children becomes readable by adults, for example, “Alice in Wonderland” by L. Carroll; or vice versa: a work for adults is read by children, for example, “The Adventures of Gulliver” by J. Swift. But also of particular value is literature written specifically for children, taking into account the psychological characteristics of the corresponding age. The standard for publications for children and adolescents sets the following limits: senior preschool age (from 4 to 6 years old inclusive), junior school age (from 7 to 10 years old inclusive), middle school age (from 11 to 14 years old inclusive), senior school age (from 15 to 17 years old inclusive).

In children's literature, as a rule, a distinction is made between fiction and scientific and cognitive. As for other types of children's literature allocated for social purposes, additional research is needed. As varieties of scientific and educational literature, they called journalistic, reference, "business" (transformed industrial and practical - practical advice to help amateur creativity). Currently, there are popular science publications for children, publications for leisure, educational publications for preschool age (for developing learning). Apparently, in children's literature there are also such types of literature as mass-information and entertainment, religious-popular and liturgical. Educational literature for a secondary general education school in the existing classifications does not apply to children's literature.

3. Types (genres) of children's literature

* Fairy tale - a genre of literary creativity:

1) Folk tale - an epic genre of written and oral folk art: a prose oral story about fictional events in the folklore of different peoples. A type of narrative, mostly prose folklore (fairy tale prose), which includes works of different genres, the texts of which are based on fiction. Fairytale folklore opposes "reliable" folklore narrative (non-fairytale prose) (see myth, epic, historical song, spiritual poetry, legend, demonological stories, tale, tradition, bylichka).

2) A literary fairy tale is an epic genre: a work oriented towards fiction, closely related to a folk tale, but, unlike it, belonging to a specific author, which did not exist before publication in oral form and had no options. A literary fairy tale either imitates a folklore one (a literary fairy tale written in a folk poetic style) or creates a didactic work (see didactic literature) based on non-folklore plots. The folk tale historically precedes the literary one.

The word "fairy tale" is attested in written sources no earlier than the 17th century. From the word "kazamt". It mattered: a list, a list, an exact description. It acquires modern significance from the 17th-19th centuries. Previously, the word fable was used, until the 11th century - blasphemer.

The word "fairy tale" suggests that they learn about it, "what it is" and find out "what" it, a fairy tale, is needed for. A fairy tale with a purpose is needed for the subconscious or conscious teaching of a child in the family the rules and purpose of life, the need to protect their "area" and a worthy attitude towards other communities. It is noteworthy that both the saga and the fairy tale carry a colossal informational component, passed down from generation to generation, faith in which is based on respect for one's ancestors.

* Poem- (other Greek? ufYachpt - row, system), a poetic term used in several meanings:

artistic speech, organized by division into rhythmically commensurate segments; poetry in the narrow sense; in particular, it implies the properties of versification of a particular tradition (“antique verse”, “Akhmatova's verse”, etc.);

a line of poetic text organized according to a certain rhythmic pattern ("My uncle of the most honest rules").

* The story is a prose genre that does not have a stable volume and occupies an intermediate position between the novel, on the one hand, and the short story and short story, on the other, gravitating towards a chronicle plot that reproduces the natural course of life. This definition of genre is characteristic only of the Russian literary tradition. In Western literary criticism, for prose works of this kind, the terms "novel" or "short novel" are used. In Russian literary criticism, the genre definition of “story” originates from the Old Russian attitude of the narrator to the events described: the word “story” comes from the verb “to tell”. The ancient meaning of the term - "the news of some event" - indicates that this genre has absorbed oral stories, events that the narrator personally saw or heard about. An important source of such "tales" are chronicles ("The Tale of Bygone Years", etc.). In ancient Russian literature, a “tale” was any narrative about any actual events (“The Tale of Batu’s Invasion of Ryazan”, “The Tale of the Battle of Kalka”, “The Tale of Peter and Fevronia”, etc.), whose reliability and actual significance ( value dominant) did not raise doubts among contemporaries.

* Poem (ballad) - (ancient Greek rpYazmb), a large poetic work with a narrative or lyrical plot. A poem is also called an ancient and medieval epic (see also Epos), nameless and authorial, which was composed either through the cyclization of lyrical-epic songs and legends (the point of view of A. N. Veselovsky), or by "swelling" (A. Heusler) of one or several folk legends, or with the help of complex modifications of the most ancient plots in the process of the historical existence of folklore (A. Lord, M. Parry). The poem developed from an epic depicting an event of national historical significance (the Iliad, the Mahabharata, the Song of Roland, the Elder Edda, etc.). In general, this is not entirely true.

* A story is a large literary form of written information in literary and artistic design and a relatively large volume of the text of an epic (narrative) work in prose, while maintaining it in the form of any printed publication. In contrast to the story, a shorter form of presentation. It goes back to the folklore genres of oral retelling in the form of legends or instructive allegory and parable. As an independent genre, it became isolated in written literature when recording oral retellings. Distinguishable from short stories and/or fairy tales. It is close to foreign short stories, and since the 18th century - to essays. Sometimes short stories and essays are considered in the form of polar varieties of the story.

* Novel (adventure, historical, family, fairy tales) - a literary genre, as a rule, prose, which involves a detailed narrative about the life and development of the personality of the protagonist (heroes) in a crisis, non-standard period of his life.

* Fantasy - (from the English fantasy - "fantasy") - a genre of fantasy literature based on the use of mythological and fairy tale motifs. In its modern form, it was formed at the beginning of the 20th century. Since the middle of the century, John Ronald Reuel Tolkien has had a huge influence on the formation of the modern look of fantasy.

Fantasy works most often resemble a historical adventure novel, the action of which takes place in a fictional world close to the real Middle Ages, whose characters encounter supernatural phenomena and creatures. Often fantasy is built on the basis of archetypal plots.

Unlike science fiction, fantasy does not seek to explain the world in which the work takes place in terms of science. This world itself exists hypothetically, often its location relative to our reality is not specified in any way: whether it is a parallel world, or another planet, and its physical laws may differ from earthly ones. In such a world, the existence of gods, witchcraft, mythical creatures (dragons, elves, gnomes, trolls), ghosts and any other fantastic creatures can be real. At the same time, the fundamental difference between fantasy miracles and their fairy-tale counterparts is that they are the norm of the described world and operate systematically, like the laws of nature.

Fantasy is also a genre of cinema, painting, computer and board games. Such genre versatility is especially characteristic of Chinese fantasy with elements of martial arts.

fairy tale genre story prose

4. Artistic criteria for children's literature

In The Commandments for Children's Poets, Korney Chukovsky listed the rules by which children's poems and poems should be created. Imagery seemed important to him in combination with effectiveness (that is, a quick change of images), musicality, saturation with verbs with minimal use of adjectives, proximity to children's folklore, to the game, an abundance of humor. The last commandment is this: "Do not forget that poetry for little ones should be poetry for adults." It is known that children have increased speech talent, gradually decreasing by the age of seven or eight. It manifests itself in memory for words and grammatical constructions, in sensitivity to the sound and meaning of words. The language of a children's book should be especially rich, because if a child learns a poor, inexpressive language, then it will be very difficult for him to overcome this shortcoming in later life. However, the language must be accessible. These qualities of speech style are achieved by careful selection of each word, strictly verified grammatical structure of each sentence. Ideally, even prose works should be easy to memorize by heart, become part of the baby's speech experience (as, for example, "Ryaba the Hen").

In the work of today's young writers, one can trace a tendency towards the emancipation of linguistic means, which were recently still fettered by strict regulatory requirements for children's books. This process is natural, since the language of a children's book must remain alive for all its literary character.

Little children unconditionally believe everything that is written in the book, and this faith makes the task of the writer extremely responsible. He must be truthful with his reader, but the truth here is of a special kind - artistic, which means the persuasiveness of fiction with moral purity and integrity of the idea. Only in this case, a children's book can fulfill its main task - to educate a moral person. For a writer, the question “how to write for kids?” is essentially a question of how to communicate with the child. Deep spiritual interaction between an adult author and a small reader is the most important condition for success. In both adult and children's books, the main thing is the artistic image. As far as the writer succeeds in creating an image (in particular, a hero, real or fabulous, but certainly full-blooded), to the extent that his work will reach the mind and heart of the child. Another feature of the baby book is maximum concreteness. As the Czech poet Jan Olbracht said, “for children, one should not write “a bird was sitting on a tree”, but “oatmeal was sitting on a tree”.

The child most easily responds to simple stories about people close to him and familiar things, about nature. He can also perceive works with more complex content, even some psychological subtleties in the subtext. However, questions arise: what is the role and possible limits of subtext in a children's book? The fact that a work should be “for growth” has been written for a long time, but to what extent should it exceed the level of child development? Psychologists have found that if an adult helps to read a book, a child can understand a lot and go far enough beyond what he is capable of on his own. Therefore, you should not be afraid that the child does not meet in the book with something to which he seems to have not matured. When children are protected from the incomprehensible, they have nothing to comprehend, nowhere to reach out, and there is a danger that such readers will not learn to think and cognize, they will grow up infantile.

The characteristic features of literature for kids include a dynamic plot and humor. True, the simplest forms of the comic are accessible to them. Unlike adults, it is difficult for them to feel the funny in themselves, but it is easy to imagine the ridiculous situation that other heroes of books find themselves in. And of course, a sharp plot is always attractive to a child. The masters of such a story were, for example, Boris Zhitkov, Nikolai Nosov, Viktor Dragunsky.

Psychological studies have shown that the little reader, more than an adult, is characterized by an effective imagination, which encourages not only to contemplate what is being read, but also to mentally participate in it. Among the literary heroes, he makes friends, and he himself often reincarnates in them. From its very origins, children's literature is focused on eternal, unshakable humanistic values, it teaches to distinguish between good and evil, truth and lies. At the same time, a children's writer cannot be completely free from the social ideas of his time, and his individual artistic style corresponds to the style of the era. Each writer develops his own way of talking with kids. He can come to lyrical-epic intonations (like Chukovsky), use folklore narrative techniques (like Bazhov), get as close as possible to the fresh and poetic worldview of a child (like Tokmakova). As children's literature matures, psychologism in the depiction of characters increases, rapidly changing plot events gradually give way to reflections and descriptions (for example, a reflective hero is typical for the stories of Radiy Pogodin, Viktor Golyavkin). Let us especially note that in a baby book there is always a full-fledged co-author of the writer - an artist. A small reader can hardly be captivated by a solid alphabetic text without pictures. The topic of illustrating children's books is covered in a separate section at the end of the textbook.

5. Review of a new work (Prose)

Lyudmila Petrushevskaya stands apart among contemporary writers. Her plays and stories cannot but make a person think about life, about the meaning and purpose of existence. She writes primarily about the problems that concern people, about the most important issues that interest a person. In the story “The New Robinsons,” the writer paints a picture of the flight, the flight of the main characters from reality, from the world in which millions of people live and suffer.

Life is impossible in such an inhuman civilization. Cruelty, hunger, the meaninglessness of existence - all this becomes the reason for fleeing from such a life. A person does not want to be responsible for everything that is happening in the world, does not want to be responsible for the deaths of people, for blood and dirt. This is how an ordinary city family ended up in an abandoned and remote village. They fled, could no longer endure that regime, that system in which they were: “My mom and dad decided to be the most cunning and at the beginning of all things, they left with me and a load of collected food to a village, deaf and abandoned, somewhere across the river More." Arriving at this godforsaken place, they immediately set to work: “Father dug a garden, planted potatoes.” A new life began. Here everything had to be started anew, to build a new, different, not like that cruel, better life. “There were three old women in the whole village”

And only one of them had a family who sometimes came for pickles, cabbage and potatoes. Loneliness has become a habitual way of life. They have no other age. They are already accustomed to living in hunger, cold and poverty, they have come to terms with such a life. Marfutka, one of the old women, did not even go out into the garden, she “survived another winter” and, apparently, “was about to die of hunger.” The situation in which all the villagers find themselves is hopeless.

Someone is trying to survive, and someone is tired of the constant struggle for a meaningless existence. The family, who had just arrived here, found, as it were, their “island of happiness”. They themselves chose this path for themselves, they could no longer be victims. And I think they did the right thing. Why endure a life that is bad when you can make it better yourself. The protagonist of the story is the father, the head of the family. It was he who decided that real life is life in isolation.

He hopes for himself, for his strength, for the fact that he will be able to provide for the existence of his wife and daughter. Also important in the story is the image of the little girl Lena, whose mother, the shepherd Verka, hanged herself in the forest from lack of money for pills, “without which she could not.” Lena is a symbol of the future. A little girl with her whole life ahead of her. She just has to learn and maybe even survive this life.

Together with her, the representative of the future generation is a boy, a baby, abandoned by refugees. They found him on the porch and called him Found. These children will understand only in the future how it is necessary to fight for existence, for the best, for the light. What fate awaits them? Will they, too, become victims? The heroes of the story, a young family, have everything: children, bread, water, love, in the end. Life is not over yet, it still goes on, you just have to fight for it, resist everything that gets in the way. We must hope for the best and never think about the bad. In such a difficult and cruel life, one cannot be weak, one cannot be pessimists, otherwise one can pay a lot for it. Life teaches everything, it hits many so hard that its lessons remain forever in the memory. You have to have great willpower to resist it. You can't stop even for a minute. The main character ran away, he surrendered.

I couldn't deal with the difficulties. On the one hand, of course, he did the right thing. There was no other way out. Only isolation. On the other hand, he is just a weak person. He is incapable of fighting. He was left alone with himself, with his misfortune, but it seems that he is pleased with this. Recall, for example, the episode with the receiver: “Once my father turned on the receiver and fumbled on the air for a long time. Ether was silent. Either the batteries ran out, or we really were left alone in the world.

My father's eyes sparkled: he managed to escape again! He seems to be content to be left alone at the "end of the world." Now he does not depend on anyone but himself. He would never again see what was going on outside the village. He is grateful to fate for his salvation. They broke out of the iron cage, flew away to nowhere, broke away from what destroys both a person and everything good in a person. They have everything and at the same time they have nothing. They do not have the most important thing - the future. This is the tragedy of the story. The development of society is suspended, they are isolated from the outside world, from other people. You can't live like that either. Nothing good will come of this. The future depends only on ourselves, how we make it, so it will be. The world depicted in the story is inhuman. And I think that Petrushevskaya is trying to show that it was we who made him so. We are to blame. And we have to redo it. To do this, the author tells us about a family, although not capable of fighting, but still abandoned such a worthless life. In my opinion, Petrushevskaya expressed her dream of building a new, different life. She meant that we should not run, we should not give up.

We do not need a life without meaning, we do not need only existence. We must all strive for the best, all together, only then will something change.

6. D. literature - a subject that studies the history of literature, which was originally addressed to children, as well as literature, which, not being intended for children, is included in the circle of children's reading over time. For children - Aibolit K. Chukovsky, and in the circle of children. reading Robinson Crusoe D. Defoe (there is a fascinating adventure story). D. l. as a collection of written works addressed to children appeared. in Russia in the 16th century. to teach children to read. The basis of D. L. is UNT, as an integral part of folk culture, and Christianity. The first printed books in Russia - the ABC and the Gospel. The specifics of yavl. its addressing (age and psychologist.) to children for decomp. stages of their personality development.

Children's literature - literary works created especially for young readers, as well as included in the circle of their reading from oral-poetic folk art and literature for adults. For children from 3 to 4 years old.

Children's literature has the same qualities that fiction has. But still it is art of a specific orientation. D.l. associated with pedagogy., designed to take into account the age characteristics, capabilities and needs of young readers. The organic fusion of the laws of art and pedagogical needs is the main feature of the d.l.

D. l. as a tool for the knowledge of life, it pushes the boundaries of the world before young readers, helps to master it, i.e. literature enriches spiritually, promotes self-knowledge, self-improvement, helps to understand one's destiny in the world.

The task is detailed: Each historical epoch sets its own tasks. Old Russian literature: "for the sake of learning", as soon as possible to educate people in the religious spirit, obedient to princely power. Early 18th century: to educate young people who support the reforms of Peter 1. 19th century: to educate active fighters against the feudal system (according to Chernyshevsky and Dobrolyubov).

The plot is tense and dynamic, many interesting events, adventures, a lot of everything mysterious. The younger the reader, the less his interest in describing the nature and psychology of the hero. The hero is the engine of the story. The main character is the same age as the reader, this character draws this world as the child imagines it. A peer hero deserves more empathy from the child.

The language is grammatically correct, without archaisms, provincialisms, simple sentences. Sentimental style is excluded. An example is a folk Russian fairy tale that speaks to the reader on an equal footing. Barbaric style is not allowed.

One of the features of DL is its intermediate position between narrow local literatures and classical, "high" literature. Another feature is the specifics of the dialogue, the writer builds a dialogue with an imaginary reader, taking into account the difference in the levels of ethical and aesthetic perception. D.l. conservative, the discipline of the creative process determines the canonical way of artistic thinking.

7. The main functions of children's literature as art of the word

Children's literature is a part of general literature, which has all its inherent properties, while being focused on the interests of child readers and therefore distinguished by artistic specificity, adequate to child psychology. Functional types of children's literature include educational, educational, ethical, entertaining works.

Children's literature as part of general literature is the art of the word. A. M. Gorky called children's literature the "sovereign" area of ​​all our literature. And although the principles, tasks, artistic method of literature for adults and children's literature are the same, the latter is characterized only by its inherent features, which can conditionally be called the specifics of children's literature.

Its features are determined by educational tasks and the age of readers. Its main distinguishing feature is the organic fusion of art with the requirements of pedagogy. Pedagogical requirements mean, in particular, taking into account the interests, cognitive abilities and age characteristics of children.

8. Origins of children's literature

The world origins of children's literature must be sought in the same place where all world literature begins - in archaic civilizations and the era of antiquity, in the early stages of the development of world religions, as well as in the boundless ocean of world folklore.

Thus, the Mesopotamian civilization, known for the birth of writing in the 3rd millennium BC, left behind the ruins of temple and palace schools of scribes - “tablet houses”. Children began to learn the craft of a scribe from about the age of six. Among several tens of thousands of so-called "school" tablets1 there are teaching aids, tablets with educational exercises in various branches of knowledge (mathematics, language, jurisprudence), literary works (epics, lamentations, hymns), works of "wisdom literature", which included teachings , fables, proverbs, sayings, as well as texts describing the daily life of the school with its cruel "bursat morals".

The scribes preserved folklore "knowledge", of course, of a magical nature, and folklore works (from lamentations and prayers to epic songs), and also created models of literature. The scribe, fixing the oral text, transformed it, and taking into account the educational purposes, most likely, he simplified and shortened it.

In the initial period of its history, literature as a whole showed truly infantile features: blood relationship with oral folk art, orientation towards the “naive” reader, who had not yet achieved all wisdom. One should not confuse the ancient "school" writing with children's literature in its modern sense, but one cannot ignore the union of writing and school - two components of literature.

The date of the appearance of children's literature in Russia is not known. She appeared in the depths of folk literature. In the X-XI centuries. there were songs, fables, fairy tales, legends, epics, legends. Researchers believe that folk and children's literature existed earlier, and only later materials have come down to us. Old women storytellers were kept in the houses for children, and mothers and grandmothers also told fairy tales and sang songs.

Old Russian literature. "For the sake of learning", as soon as possible to educate a religious person, obedient to princely power. Early 18th century: to educate young people who support the reforms of Peter 1. 19th century: to educate active fighters against the feudal system (according to Chernyshevsky and Dobrolyubov). In the 18th century, Tatishchev identified 4 age groups: 1) the camp of infancy (birth-12 years); 2) youth camp (12-25 years old); 3) courage (25-50 years); 4) old age (after 50 years). Dal: 1) childhood (up to 14 years old) 2) youth (14-15 years old) 3) adolescence. Modern pedagogy: 1) preschool age (3-7 years); 2) primary school age (7-12 years); 3) adolescence (12-16 years); 4) youthful age (15-18 years).

Genre system: almost all genres of fiction. 17th century - adaptation of ancient literature, Aesop's fables, myths, historical stories about the capture of Azov were processed. 18th century - fairy tales, sentimental stories.

Thematic focus. The topic was determined by the state. One of the main themes of the children's book is religion. 16-17 century - the emergence of secular motifs. Topics - the glorification of letters, education of interest in knowledge, the heroic traits of the Russian people. 18th century - there are thematic barriers between adult and children's literature. The beginning of the 19th century - romantics brought in d.l. literature for children, focused on a folklore children's fairy tale. The end of the 19th century - Dobrolyubov approved of the acquaintance of children with the problems that concern society (serfdom). The 20th century is an abundance of various irregularities, neologisms, etc. Another component of DL is the creativity of children. "Old" d.l. developed on the basis of the handle of classical culture, "new" - its beginning refers to the pre-October period. D.l. goes its own way of development, consistent with the general literary process. In the history of literature for children, the medieval Renaissance, the Baroque, etc., also stand out. At the same time, this is a special path of development, the purpose of which is to create literature that meets the needs of readers.

For d.l. there is a selection of topics. The following are taken into account: 1) how relevant the topic is for a given time; 2) whether the topic is accessible to a child at this age; 3) whether the topic meets the solution of educational tasks.

9. The date of the appearance of children's literature in Russia is not known. She appeared in the depths of folk literature. In the X-XI centuries. there were songs, fables, fairy tales, legends, epics, legends. Researchers believe that folk and children's literature existed earlier, and only later materials have come down to us. Old women storytellers were kept in the houses for children, and mothers and grandmothers also told fairy tales and sang songs.

At the end of the XII century. fairy tales began to be recorded in handwritten collections. In the first handwritten collections, there is already a fairy tale about Ilya Muromets.

In the middle of the 9th century, as a result of a long historical development and struggle, an ancient Russian state was formed in Eastern Europe, which finally took shape after the merger of Kyiv and Novgorod. In 988 Christianity was adopted as the official religion, which served as an impetus for a wider spread of writing and Russian culture. Competent people were needed to create, disseminate and develop culture, to strengthen power. And perhaps the first condition and initial step in the development of this culture was teaching children to read and write.

Information about the beginning of the education of children in Kyiv came to us from the "Tale of Bygone Years". Following Kiev, similar education for children was organized in Novgorod, Pereslavl, Suzdal, Chernigov, Murom, Smolensk, Galicia, Rostov, Vladimir, Nizhny Novgorod and other places. In 1143 A literacy school was opened in Polotsk, which was led by the daughter of Prince Svyatoslav Vsevolodovich Efrosinia of Polotsk. At school, she organized a book-writing workshop. The princes and their entourage took care of the spread of literacy and book writing in different ways. For his passion for books, Vladimir's son Yaroslav received a second name - Wise, and Prince Galitsky - Yaroslav-Osmomysl. Book writing gained wide scope in Kievan Rus. In the XIII-XIV centuries, Moscow became the center of book writing.

The first information about children's reading that has come down to us dates back to the end of the 10th - the beginning of the 11th century. One of the first original works of Russian literature - "The Tale of Boris and Gleb" tells about the interest with which the young sons of Prince Vladimir Boris and Gleb read books. We find a lot of information about books, reading, and the spread of letters in Novgorod birch bark letters. The largest number of birch bark letters remained and came down to us from the boy Onfim, who, according to scientists, was no more than five years old. From them one can judge in what way children were taught to read and write, what books they were given to read.

Almost all hagiographic stories tell about how heroes read books with enthusiasm in early childhood. However, there were no special books either for Boris and Gleb, or for Onfim and other children for a long time. Children read the same books as adults. As a result of a long selection, the reading circle of children began to include works that to some extent satisfied them, met their age characteristics and interests. Such were the Teachings, Lives, chronicle tales and legends.

10. Since the advent of writing and until the first half of the 15th century, inclusive, there were no special works for children in Russia. Children of that era read the same works as adults. But educators were forced to select from the available books the closest and most accessible to children both in content and in the form of presentation. These works were not for children, although they were included in the circle of children's reading. Therefore, the era from the end of the 10th to the first half of the 15th century is considered the prehistory of children's literature. Its real history begins with the advent of special works for children. This happened in the second half of the 15th century.

The first works for children appeared in Russia in the second half of the 15th century. The very first steps of Russian children's literature give grounds to draw some conclusions:

The first works for children appeared in Russia in a critical era, they grew up on a national basis, rose on a wave of patriotism and met the needs of education; they had not only educational, but also educational value. 2. The very first works created in Russia for children were educational in nature. 3. The most ancient method of popularizing knowledge among children was a dialogue between a child and an adult.

The first handwritten book for children was created in 1491. Russian diplomat and translator Dmitry Gerasimov. He decided to make the dry food of science easy for children to understand. Its grammar is written in the form of questions and answers. The title emphasizes that this book is addressed to children, that it is given to those who have already overcome the alphabet, can read, write and want to learn further. From Gerasimov, the very first recordings of Russian folk tales, interesting for children, have come down to us. This gives reason to consider him the first figure in Russian culture who took part in the creation of children's literature, and his thoughts are the very first statements about the essence of children's literature.

With the advent of printing, books for children began to be published. In the second half of the 16th century, 12 children's books were published (or rather, so many have come down to us). Although all of them were intended for educational purposes, they went far beyond the textbook, as they often served as books for reading. They were called alphabets or grammars, but not primers, since until the middle of the 17th century this word was called a teacher, a literate, well-read person.

The first printed children's book is the ABC, compiled by the Russian printing pioneer, Muscovite Ivan Fedorov, published by him in Lvov in 1574. In the history of East Slavic printing, this was the first book for secular purposes. In the textbook part of the alphabet, works were placed that can be considered as the beginnings of poetry, prose, journalism and educational literature for children. These include a poetic (Virsh) work - the so-called acrostic alphabet. Each of its lines begins with the next letter of the alphabet, and all the first letters together make up the alphabet.

The author asks to remember the words of wisdom, to spread them among people, not to create violence against the poor, not to offend the poor, widows and orphans, to be honest, obedient, hardworking, to honor father and mother. The ABC of Fedorov is the first printed book for children, which was used not only in Slavic countries, but also abroad: in Italy, Austria, Germany, Denmark, England.

Thus, educational, secular motives and many other phenomena in the history of our culture and social thought originated for the first time in children's literature.

This is the general cultural significance of the first printed books for children.

11. Since the 17th century, schools of various types have appeared (private, public, state). Much more widespread is the education of children at home. At the end of the century, the first higher educational institution was opened - the Slavic-Greek-Latin Academy. Throughout the 17th century, children's literature became more diverse in thematic and genre terms, enriched with artistic techniques, more and more separated from educational literature and turned into an independent field of verbal creativity. During the century, about 50 children's books were published, most of which were still educational in nature. The presentation of cognitive material is becoming more vivid, figurative, as a result, the process of convergence of pedagogy with art is accelerating, their organic merging occurs, which is one of the main features of children's literature. A children's book acquires a holistic character, it is better and richer in design. A variety of decorations appear in the book: graceful endings, headpieces, initial letters, ornaments, engravings.

The first Russian poet for children should be considered Savvaty, the director of the Moscow printing house. On the recommendation of Patriarch Filaret, father of Tsar Mikhail Romanov, in September 1634. Savvaty was admitted to the printing house as an informer (the most educated and reliable people were appointed to this position). In his messages, Savvaty acts as a patriot who sincerely loves Russia and wishes her well, but at the same time is critical of the highest nobility and sympathetic to ordinary people. It is no coincidence that these works were included in the children's book: they brought up patriotic feelings.

In a short preface to the first section of the ABC Teaching, Savvaty compares the book with sunlight. The ideas expressed by him reached the pinnacle in the work of Karion Istomin.

One of the first poets for children was Simeon of Polotsk. He is an outstanding Russian poet of the 17th century, an active figure in the field of education. His vast literary heritage is permeated with pedagogical ideas. And this is not accidental, because all his life he was engaged in pedagogical work. Therefore, it is quite natural for him to participate in the creation of children's literature. Under his leadership, Princess Sophia and the future Tsar Peter I were brought up. Simeon wrote, published or prepared for printing 14 books, half of which are educational or children's books. His largest creations are the poetic books "Rhymologion" and "Multicolored Vertograd". The poetry of Simeon of Polotsk is full of hymns to the book, literacy, and reading. The book, according to him, is of great benefit: it develops the mind, expands education. It makes a person wise. But he considered the real sages to be those who, having knowledge, generously share it with others and apply it in everyday life with great benefit. Simeon took part in the preparation for the publication of the primer of 1664, for which he wrote ten greetings addressed to children, their parents and benefactors. Ten years later, in 1679, Simeon compiled and published a new primer. For the history of children's literature, two poems contained in it are of the greatest interest. These are "Foreword to young men, who are willing to learn" and "Exhortation".

In the "Foreword" S. Polotsky calls on children to work constantly, for those who work from youth will live in peace in old age. Literacy, according to him, is a great gift, the focus of wisdom. "Exhortation" is placed at the end of the book and is not intended for everyone, but only for the lazy and violent. The poet convinces the little reader: if he wants to be educated and smart, he must constantly work, fulfill certain requirements.

All this gives us the right to consider Simeon Polotsky an outstanding Russian teacher, figure of education and children's poet of the 17th century. He, as it were, summed up the achievements of Russian children's literature and pedagogy for all previous centuries of their development and prepared the ground for the figures of subsequent eras. In the last two decades of the 17th century, his work was continued by associates and students, of whom Karion Istomin did the most for children's literature.

The work of Karion Istomin, the most important Russian poet of the late 17th century, is entirely dedicated to children. In all the works of Karion Istomin, the main theme for him is touched upon - education and science. He wanted to teach everyone: children and adults, men and women, slaves and servants, Orthodox and non-Christians. He considered the school to be the main conductor of education. Therefore, he ardently urged everyone to open schools to teach children from an early age. Along with the school, he considered the book to be a powerful means of spreading education.

The central place in the philosophical views of Karion is occupied by moral education, the formation of positive spiritual qualities, the instillation of kindness, spiritual purity, and philanthropy. In this he is close to the figures of humanism and the Enlightenment. At the same time, Karion did not bypass the issues of labor education, since he considered diligence to be an integral part of the moral code. An important place in the work of Istomin is occupied by the ideas of humanism and patriotism. He admires the abilities of man, his mind and strength. Propaganda of education, sciences, ideas of humanism and patriotism, the struggle for moral ideals in the spirit of the progressive views of the era Karion Istomin stands out from among his contemporaries. This puts him in the ranks of the leading figures of the era, who made a significant contribution to Russian culture. The practical implementation of the educational, humanistic and patriotic ideas of Karion Istomin are the educational and children's books he created, his poems addressed to young readers.

During his lifetime, Karion published three books, and all of them were for children: "Face Primer" (1694), "Primer of the Slovene language" (1696) and "The Tale of Ivan the Warrior" (1696). Karion owns the creation of a chronicler for children (history textbook). He is credited with the first textbook of arithmetic. Thus, Istomin compiled a complete set of textbooks, which completed the entire previous period in the development of educational literature, starting from Ivan Fedorov. He approached the creation of textbooks not only as a teacher, but also as a poet and thinker. In addition, Karion wrote a large number of poetry books and individual poems for children, imbued with advanced ideas.

"Face Book" is an illustrated encyclopedia for children, the only richly designed book of the Moscow Printing Yard of the 17th century; it has no equal among later editions. The subject of the primer is the most diverse - it also talks about work, science, teaching, books, games and children's amusements, and poses the moral problems of good and evil. In the "Big Primer" ("Primer of the Slovene language") the author tries to tell about the seasons, about people, to fill the poems with lyrical feelings and specific everyday details. The Big Primer continues the traditions of Russian educational literature. Karion Istomin achieved an organic synthesis of pedagogy and art, which 170 years later was brought to perfection by K.D. Ushinsky and L.N. Tolstoy.

The literary talent of Karion Istomin was most clearly manifested in his poetry books: “Polis”, “Domostroy”, “The book of admonishment in poetic words”, “Smart Paradise”, in the poems “A gift from students to children in their youth”, “For the contraction of morals”, in prose story about Ivan the Warrior. The rules of decency, according to the author, should be combined with the internal culture of a person, his education, supported by high moral qualities. Istomin speaks about children with respect, provides them with relative freedom and independence, recognizes their right to games and fun, which should be allowed to them “for the sake of joy”.

One of the significant works of Karion Istomin is the "Book of admonition in poetic words", dedicated to Tsarevich Peter and presented on the day of his 11th birthday. In its content and ideological direction, this is a kind of program for the future king, a program that has an educational and humanistic character. God, then the Mother of God, or the mother of the prince, Natalia Kirillovna, turn to the prince with great monologues. The prince carefully listens to each of them and adequately answers each one. It turns out a poetic dialogue between Peter and his three imaginary mentors and well-wishers. Propaganda of enlightenment, glorification of the sciences, calls to learn and teach everyone as the only way leading to the happiness and power of Russia - this is the main ideological meaning of this work. It must be assumed that the work played an important role in the education of the future reformer tsar, aroused in him a thirst for knowledge.

With his multifaceted work, Karion Istomin completed more than two centuries of history of ancient Russian literature for children. Istomin made his works a means of promoting science, enlightenment, and book veneration. Knowledge and enlightenment in his work and worldview are inseparable from moral problems, from the progressive views of the era. He understood the nature of children, took into account their age characteristics, enriched children's literature with new genres, and raised its ideological and artistic level. With his educational and humanistic views, technique and rhythm of verse, Istomin paved the way for the development of children's literature in the 18th century.

12. The development of Russian children's literature in the 17th century took place against the backdrop of great changes. Muscovite Rus united and pushed back the borders to Siberia and the southern steppes. The reforms of Patriarch Nikon split the church and believers. The influence of foreigners on the capital society increased. Gained strength secular culture.

The literary process went in the direction from educational and educational literature to works of art and scientific and cognitive. The educational book gave the child ready-made information that had only to be memorized. Such a book was focused on the one-sided thinking of the reader, accustomed him to someone else's monologue.

Books for learning to read and write were intended for younger children. They were of two types: alphabet-books for reading, written in semi-charter and bound, and alphabet-books, written in cursive on sheets glued into a scroll. ABCs-books were needed at the first stage of training, ABCs-copybooks - at the second, when the student already knew how to read and write semi-characteristically.

In total, more than 300 thousand alphabets and primers were printed in the 17th century (the first primer was published in Moscow in 1657).

Among the fifty books for children that have survived from those times, there are those that are not related to educational tasks, but are intended, rather, for entertainment and teaching. They were read by middle-aged children who had mastered literacy.

In the 30s-40s of the 17th century, poetry for children was born. The first children's poet was Savvaty, the director of the Moscow Seal of the court.

Prose for children begins its formation. Russian military stories are being revised and shortened (adapted): “The Tale of the Battle of Mamaev” (about the Battle of Kulikovo), “The Tale of the Siege of the Don Cossacks”, the family-household “The Tale of Peter and Fevronia”. The rudiments of the genre of the story also appear. One of the stories tells how a criminal son, on the way to execution, bit off his mother's ear, explaining the evil deed by the fact that his mother was the culprit of his death, because she did not punish him for the first theft.

Historical literature itself is also developing for novice readers: there are often revised articles with historical information - from the beginning of The Tale of Bygone Years, as well as the book Synopsis - a brief review of Russian history.

Forewords to books, the genres of "words", "messages" were the beginnings of journalism addressed to children.

Children and adults interested in questions of the universe read translated cosmographies with descriptions of countries and peoples. As an example, let us cite a commendable description of Muscovite Rus in the compilation cosmography of 1670.

The course of natural science could be obtained by reading translated six-day books - works commenting on the Old Testament story about the creation of the world in six days. Nature in the six days is a "school of theology." The data of modern science - about the spherical shape of the Earth, the movement of stars and planets, about atmospheric phenomena, about the structure of ears of corn, the vine or lily, the classification of flogged fish and reptiles, etc. - are cited as proof of the greatness of the Creator of the world, "Wonderworker and Artist."

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