Literature for children has its own specifics, but is also subject to the laws that apply to literature in general. Multifunctionality is inherent in the very nature of the word, but different cultural and historical eras, out of many functions, put first one or the other. The peculiarity of our era, which over time will be called the era of the turn of the 20th-21st centuries, is that literature, as one of the oldest arts, is placed in very difficult, almost unbearable conditions of survival by such extremely powerful information systems as television and computers. their seemingly unlimited possibilities of “machine” creativity. Teachers and leaders of children's reading, due to their social role, put in first place the educational and educational functions, which are the fundamental basis of all teaching. “Study with pleasure” often seems to be nonsense, a combination of incompatible things, since next to the concept of “study” the concept of “work” appears by association, and with the concept of “pleasure” - “rest”, “idleness”. In fact, “learning with pleasure” is a synonym for “learning with passion.” The modern era also forces teachers to “castle” obvious and secret goals. The time of imaginary overload with communication systems forces us to introduce an interlocutor, a co-author, a seer of human thoughts into a fiction book for a child. Updating the communicative function will attract the young reader to the book, help him better understand himself, and teach him to express his thoughts and feelings (and here the computer is not a rival). Undoubtedly, the education of aesthetic taste, a sense of beauty, and an understanding of the true in literary literature is the task of classical children's literature. This is especially important today with the influx of pseudo-fiction. The aesthetic function reveals the properties of literature as the art of words. The hedonic function (pleasure, pleasure) enhances each of the above functions. Isolating it as independent also forces reading leaders to record “components” in a work of art that allow them to achieve a “heuristic” effect. Without taking into account the function of pleasure, the young reader becomes a forced reader and over time turns away from this activity. In connection with the above, one more function of children's literature should be mentioned - rhetorical. When a child reads, he learns to enjoy the word and the work; he still unwittingly finds himself in the role of the writer’s co-author. The history of literature knows many examples of how impressions from reading received in childhood aroused the gift of writing in future classicists. It is no coincidence that great teachers found a mutual dependence between the process of learning to read and write and children's writing. On the way from a read work to one’s own composition, colossal invisible work is done. Thus, we can distinguish three main stages of getting to know the book. 1. Reading and reproduction, reproduction. 2. Reading and production according to the model. 3. Reading and creating original work. Composition, writing is another motive for reading. The main goal of children's literature is to provide a decent upbringing and education, to prepare for adult life. According to K. D. Ushinsky, it is necessary to prepare a child not for happiness, but for the work of life; the child, by reading, must learn the basic rules of adult life and pacify his unbridled desires. (“A happy person is brought up by restrictions” - Arthur Schopenhauer.) When it comes to education, it should be noted that when forming a circle of children's reading for boys and girls, a dominant that is natural and different for both should be designated. We are not talking about creating two mutually exclusive lists of literature, but parents, educators, and literature teachers should form reading tastes and develop reading preferences, taking into account the future “adult life” of a young person. “For women, wax is what copper is for a man: / We only get the lot in battles, / And they are given the opportunity to die, guessing” (O. Mandelstam) - the poet once aphoristically concluded. Boys prefer adventures, fantasy, historical stories, fictional battles, and girls prefer lyrical poems, fairy tales, melodramatic stories with a good ending. And this is natural. Literature is called upon to educate in a boy a man, strong and courageous, a defender of his loved ones and the Fatherland, and in a girl - a wise woman, a mother, a keeper of the family hearth. The multifunctionality of children's literary literature forces us to coordinate the goals of teaching this subject at a pedagogical university, and then project these goals onto the guidance of children's and youth reading in the family, preschool institutions, primary schools, middle schools and graduate classes. In addition, the oblivion of all components of literature as the art of words sometimes leads to “reinventing the wheel”, when one of the functions, taken out of their integral complex, determines the genre principle in fiction for children. Children's literature at the university not only introduces the history of an extremely important department of world literature addressed to childhood (from early infancy to adolescence). It is also intended to give an idea of the evolution of the most characteristic genre-style formations, thus outlining the linear-concentric principle of reading in general. A person turns to the same works as a preschooler, a schoolchild, and a young man, but the level of his reading abilities grows with him. Thus, when he is little, he recognizes R. Kipling’s work as a fascinating children’s book called “MauGyi”, but then he repeatedly encounters it as “The Jungle Book” and begins to pay attention to places in the text that said little to his mind in childhood , when he focused and enthusiastically followed the amazing adventures of Mowgli. Here are a number of fragments from the text. “He grew up with the cubs, although they, of course, became full-grown wolves long before he was out of infancy, and Father Wolf taught him his trade and explained everything that happened in the jungle. And therefore, every rustle in the grass, every blow of the warm night breeze, every cry of an owl overhead, every movement of a bat, catching its claws on a tree branch in flight, every splash of a small fish in the pond meant a lot to Mowgli. When he did not learn anything, he dozed, sitting in the sun, ate and fell asleep again. When he was hot and wanted to cool off, he swam in forest lakes; and when he wanted honey (from Baloo he learned that honey and nuts are as tasty as raw meat), he climbed a tree for it - Bagheera showed him how to do it. Bagheera stretched out on the branch and called: “Come here, Little Brother!” At first Mowgli clung to the branches like a sloth animal, and then he learned to jump from branch to branch almost as boldly as a gray monkey. On the Council Rock, when the Flock gathered, he also had his place. There he noticed that not a single wolf could withstand his gaze and lowered his eyes in front of him, and then, for fun, he began to stare at the wolves.” Here Kipling makes one of those observations that should be truly noticed and appreciated by an adult (or already growing up) reader, and not a child who loves and understands the event-adventure side of the story. Then, for some time, this is again a “narration for everyone”: “It happened that he pulled splinters out of his friends’ paws - wolves suffer greatly from thorns and burrs that dig into their skin. At night he went down from the hills to the cultivated fields and watched the people in the huts with curiosity, but did not feel trust in them. Bagheera showed him a square box with a drain door, so skillfully hidden in the thicket that Mowgli himself almost fell into it, and said that it was a trap. Most of all, he loved to go with Bagheera into the dark, hot depths of the forest, fall asleep there all day, and at night watch Bagheera hunt. She killed left and right when she was hungry. Mowgli did the same." Then again follows a stroke, the symbolic depth of which the child cannot yet understand, but the teenager or young man is already able to think about it. “But when the boy grew up and began to understand everything, Bagheera told him not to dare touch the livestock, because they paid a ransom to the Pack for him by killing a buffalo. “The whole jungle is yours,” said Bagheera. “You can hunt any game that you can, but for the sake of that buffalo who bought you, you must not touch any cattle, neither young nor old.” This is the Law of the Jungle. And Mowgli obeyed unquestioningly. He grew and grew - strong, as a boy should grow, who learns everything he needs to know in passing, without even thinking that he is learning, and cares only about getting food for himself. It is precisely in such places of a long-familiar book that a young man and an adult discover something new, beginning to see in the interesting also the wise. But already in childhood, such a linear-concentric approach, repeated reading of one text, allows the child for the first time to draw an extremely important conclusion: a literary word, like a work, is a living organism, growing, opening to sensitive perception. An artistic pedagogical book is a concept, on the one hand, basically synonymous with the concept of “children's literature” (it is difficult to imagine a work written for a child and devoid of pedagogical - educational and educational - tendencies). At the same time, the concept of “pedagogical book” is narrower than the concept of “children’s literature”, and broader, since a pedagogical book, even if it is fiction, is addressed to two subjects of the pedagogical process - both the teacher and the child, is aimed at two sides - education and training, and at the head The corner is set by the pedagogical meaning of the artistic whole. To what has been said above, it is necessary to add that children's literature strives to awaken in the child a sense of native speech, which is perceived not only as something that allows one to satisfy one's most pressing needs, as a means of achieving everyday comfort, but also as the Divine Verb, as a path to the soul, as a word , possessing strength, energy, preserving the wisdom of the ancestors and revealing the incomprehensible secrets of the future contained in it.
Literature for children has its own specifics, but it is also subject to the laws that apply to literature in general. Polyfunctionality is inherent in the very nature of the word, however, different cultural and historical eras, out of many functions, put first one or the other. The peculiarity of our era, which is already called the era of the XX-XXI centuries, is that literature, as one of the oldest arts, is placed in extremely difficult conditions of survival by such powerful information systems as television and the computer with their seemingly unlimited capabilities of “machine”, mechanical creativity.
Teachers and leaders of children's reading, due to their social role, place first place educational And educational functions that have always been considered the fundamental basis of all teachings.“Study with pleasure” often seems to be nonsense, a combination of incompatible things, since next to the concept of “study” the word “work” appears by association, and with the word “pleasure” - “rest”, “idleness”. At the same time, those who insist on the paramount importance of the named functions believe that a teacher who defines priorities in this way takes care of the development in children of such properties as hard work. However, industriousness is also industrious because it presupposes a love of work. Is it possible a priori, without having “tried” a business, to love it? Love abstractly, theoretically? To kid? You can really want to learn what others already have access to. And become cold about it, because neither the process nor the result brings that pleasure which is expected. In fact, “learning with pleasure” is synonymous with “learning with passion.” The modern era forces teachers to reshuffle obvious and secret goals.
Let's ask ourselves a simple question: do we like being raised? Do they teach persistently? Almost such people do not occur in nature. Why then do we, writers, teachers and leaders of children’s reading in general, prioritize what is at least unpleasant for us, and at most causes rejection. It's not that the functions are outdated, that cannot be. It’s just that, when turning to reading with a child or teenager, we must take care of the conditions of psychological comfort, which is determined by age, psychophysical data, degree of social preparedness, inclinations, etc. The book, of course, teaches and educates, but this does not happen because the leader of the reading declares that why teaches and What educates - this happens organically and naturally, without special efforts from the teacher.
The time of imaginary overload of communication systems forces us to open in a fiction book for children interlocutor, co-author, seer of human thoughts. Update communicative functions will attract the child to the book, help him better understand himself, teach him to express his thoughts and feelings (and here the computer is not a rival). A teenager reading “Ivanhoe” by Walter Scott invariably experiences pleasure because he finds in the book answers to questions that sound in him, but in ordinary life he cannot find the answer to them. Someone, reading the stories of Lydia Charskaya or Anatoly Aleksin, will undergo psychological training in understanding oneself in difficult family circumstances, and having delved into the story “Barankin, be a man!” Valeria Medvedev, will begin to educate himself, without relying on others and without torturing them with his disobedience.
Undoubtedly, with the abundance of low-quality literature, the education of aesthetic taste, a sense of beauty, and an understanding of the true in literary literature is the task of classical children's literature. Aesthetic the function reveals the properties of literature as the art of words. The beauty of the world, the beauty and precision of the word that captures the surroundings, especially the awareness of the artistic value of the work, no matter what aspect of life it concerns, a syncretic value that is recognized by the mind, the heart, the feeling. The aesthetic inherent in the work resonates in the reader if this aesthetic feeling is developed in him, otherwise he is deprived of one of the possibilities of spiritual, emotional, moral and aesthetic pleasure.
Function hedonistic(pleasure, pleasure) enhances each of the above functions. Isolating it as independent forces reading leaders to fix in a work of art the components that make it possible to achieve a “heuristic” effect. Without taking into account the function of pleasure, the young reader becomes enslaved and over time turns away from this activity. French educator and writer Daniel Pennac explains to today's parents, teachers and children themselves how to love reading. If we prioritize the reader’s enjoyment of reading (which has nothing to do with the satisfaction of exclusively physiological instincts, which is often called for by the media) - and it is expressed both in the pleasure of the very process of reading and receiving answers to pressing questions, and in creating joyful acceptance of the world, and on the path to oneself, the best, together with the author and the heroes of the work, we will be able to solve almost all problems, regardless of what the director of children's reading would like to present as exclusively determining.
In connection with the above, one more function should be kept in mind - rhetorical, separating it from a communicative function into an independent one. When a child reads, he learns to enjoy the word and the work; he still unwittingly finds himself in the role of a co-author, a co-writer. The history of literature knows many examples of how impressions from reading in childhood aroused the gift of writing in future classicists. It is no coincidence that great teachers made the process of teaching literacy interdependent with children's writing. On the way from a read work to one’s own composition, colossal invisible work is done.
To summarize, we note that, like literary fiction that is not addressed to children, children's literature performs the following functions:
Mastering the content of a literary-artistic, or popular-science, or scientific-artistic work does not happen at once. The content of a work of art is complex: it contains socio-moral, socio-psychological, possibly legal or philosophical content; it can touch on private issues of the internal life of the individual and society, relationships between adults and children, teachers and students. However, these individual “contents” are not yet artistic content. A teacher, a policeman, a student can tell about the same life collision, but this story is not identical and not synonymous with what was written, for example, by A. A. Likhanov or V. II. Krapivin. Reading technically does not mean understanding the work in all its versatility and multifunctionality.
Thus, we can distinguish four main stages of getting to know the book.
Composition, writing is another motive for reading.
the main objective children's literature - to give the child a decent upbringing and education, to prepare him for adult life. K. D. Ushinsky believed that “education itself, if it wishes happiness to a person, should educate him not for happiness, but to prepare for the work of life,” that a child, by reading, must learn the basic rules of adult life and pacify his unbridled desires. A. Schopenhauer argued that a happy person is brought up by restrictions.
When it comes to education with books, it should be noted that when forming a reading circle for boys and girls, the natural dominant for them should be designated, which is different for both. We are not talking about creating two mutually exclusive lists of literature, but parents, educators, and literature teachers should cultivate reading taste and develop reading preferences, taking into account the coming “adult” life. “For women, wax is what copper is for a man: / We only get the lot in battles, / And they are given the opportunity to die, guessing,” Osip Mandelstam once concluded aphoristically. Boys prefer adventures, fantasy, historical stories, fictional battles, and girls prefer lyrical poems, fairy tales, melodramatic stories with a good ending. And this is natural. Literature is designed to educate a man to be strong and courageous, a defender of his loved ones and the Fatherland, and to educate a girl to be a wise woman, a mother, and a keeper of the family hearth.
The multifunctionality of children's literary literature makes it necessary to coordinate the goals of teaching this subject at a pedagogical university, and then project these goals onto the guidance of children's and youth's reading at home, in preschool institutions, primary schools, secondary schools and at graduation, in grades 10-11. In addition, the oblivion of all components of literature as the art of words sometimes leads to the “reinvention of the wheel”, when the genre principle in fiction for children is determined by one of the functions, taken out of the entire complex.
Children's literature at a university not only gives an idea of the history of an extremely important department of world literature addressed to childhood (from early infancy to adolescence), it is also intended to give an idea of the evolution of the most characteristic genre-style formations, thus outlining linear-concentric reading principle at all. A child turns to the same works as a preschooler, a schoolchild, and a young man, but the level of his reading abilities grows with him. Thus, as a child, he recognizes the famous work of R. Kipling as a fascinating children's book called "Mowgli", but then he repeatedly encounters it in the form of "The Jungle Book" and begins to pay attention to places in the text that said little to his mind in the past. childhood, when he was completely absorbed in the amazing adventures of Mowgli. For example, this:
He grew up with the cubs, although they, of course, became full-grown wolves long before he was out of his infancy, and Father Wolf taught him his trade and explained everything that happened in the jungle. And therefore, every rustle in the grass, every blow of the warm night breeze, every cry of an owl overhead, every movement of a bat, catching its claws on a tree branch in flight, every splash of a small fish in the pond meant a lot to Mowgli. When he was not learning anything, he dozed, sitting in the sun, ate and fell asleep again. When he was hot and wanted to cool off, he swam in forest lakes; and when he wanted honey (from Baloo he learned that honey and nuts are as tasty as raw meat), he climbed a tree for it - Bagheera showed him how to do it. Bagheera stretched out on the branch and called:
Come here, Little Brother!
At first Mowgli clung to the branches like a sloth animal, and then he learned to jump from branch to branch almost as boldly as a gray monkey. On the Council Rock, when the Flock gathered, he also had his place. There he noticed that not a single wolf could withstand his gaze and lowered his eyes in front of him, and then, for fun, he began to stare at the wolves.
Here R. Kipling makes one of those observations that should be truly noticed and appreciated by an adult (or already growing up) reader, and not a child who loves and understands the event-adventure side of his narrative. Then for a while - again “narration for everyone”:
It happened that he pulled splinters out of the paws of his friends - wolves suffer greatly from thorns and burrs that dig into their skin. At night he went down from the hills to the cultivated fields and watched the people in the huts with curiosity, but did not feel trust in them. Bagheera showed him a square box with a drain door, so skillfully hidden in the thicket that Mowgli himself almost fell into it, and said that it was a trap. Most of all, he loved to go with Bagheera into the dark, hot depths of the forest, fall asleep there all day, and at night watch Bagheera hunt. She killed left and right when she was hungry. Mowgli did the same.
Then again follows a stroke, the symbolic depth of which the child may not yet realize, but the teenager or young man is already able to think about it:
But when the boy grew up and began to understand everything, Bagheera told him not to dare touch the livestock, because they paid a ransom to the Pack for him by killing a buffalo.
“The whole jungle is yours,” said Bagheera. “You can hunt any game that you can, but for the sake of that buffalo who bought you, you must not touch any cattle, neither young nor old.” This is the Law of the Jungle.
And Mowgli obeyed unquestioningly.
He grew and grew - strong, as a boy should grow, who learns everything he needs to know in passing, without even thinking that he is learning, and cares only about getting food for himself.
It is in places like these in a long-familiar book that a young man and an adult discover something new, beginning to see interesting also wise.
But already in childhood, such a linear-concentric approach, repeated reading of one text allows the child for the first time to draw an extremely important conclusion: a literary word, like a work, is a living organism, growing, opening to sensitive perception.
An artistic pedagogical book is a concept, on the one hand, basically synonymous with the concept of “children’s literature” (it is difficult to imagine a work written for a child, addressed to him and devoid of pedagogical - educational and educational - tendencies), but this concept and already the concept of “children’s literature” ", and broader, since a pedagogical book, albeit an artistic one, is addressed to two subjects of the pedagogical process: both the teacher and the child, both sides of upbringing and teaching, and puts the pedagogical meaning of the artistic whole at the forefront.
Without canceling what was said above, we add that children's literature cannot but strive to awaken in the child a thirst for discovering the vast world outside and, perhaps, the same cosmos within himself - moreover, it is called upon to awaken sense of native speech, which is perceived not only as something that allows you to satisfy the most primitive, or even not primitive, but pragmatic needs, as a means of achieving everyday comfort, but also as the Divine Verb, the path to the soul, word, possessing power, energy, a precious word that preserves the wisdom of the ancestors and reveals the incomprehensible secrets of the future hidden in it.
Children's literature as an academic discipline. The main stages in the development of children's literature. Goals and objectives of the study. Teaching aids.
Children's literature- one of the most significant courses in the philological training of future primary school teachers and preschool teachers, both in terms of the volume of factual material included in it, and in terms of its aesthetic and educational potential.
The program determines the content of the children's literature course, which is acquired by students in the process of lectures, practical classes and in the process of independent study of texts, textbooks and additional literature. D. l. - an academic subject that studies the history of literature, which is initially addressed to children, as well as literature, which, although not intended for children, over time is included in the circle of children's reading. For children - Aibolit by K. Chukovsky, and in the children's circle. reading Robinson Crusoe by D. Defoe (there is a fascinating adventure story there). D. l. as a collection of written works addressed to children appearing. in Russia in the 16th century. for teaching children to read and write. The basis of D.L. is CNT, as an integral part of folk culture, and Christianism. The first printed books in Rus' are the ABC and the Gospel. The specificity of the phenomenon its targeting (age and psychological) to children for different stages of their personality development.
The concept of children's literature as an organic part of general literature. Specific features of text perception by a student reader. The concept of a children's book as a special form of publication. The concept of children's reading range, its components and most important characteristics.
In the process of its development, literature enters into very complex connections and relationships: contact and typological. Contact connections are direct interactions and influences (for example: Pushkin and the poets of his time). Typological connections unite works of art by certain components according to similarity and likeness. These similar properties are manifested in genre-specific and other forms, stylistic features, borrowings and imitations.
The disclosure of contact and typological connections gives a vivid picture of the historical and literary process.
From the above, specific goals and objectives for mastering the course material follow:
Gain a holistic understanding of children's literature as an independent historical and literary phenomenon, reflecting general trends in the development of domestic and world literature, as well as pedagogical thought;
Monographically study the works of outstanding children's Russian and foreign authors;
Develop skills in an analytical approach to a literary text addressed to a child reader;
Demonstrate in practice mastery of key literary critical written genres: annotation, review, review of a children's literary publication.
Development of children's literature in the 11th-11th centuries.
The first children's educational books (primers, alphabet books, alphabet books), funny sheets. Works of ancient Russian literature, adapted for children's reading: lives, walks, military and everyday stories. The first translated works for children.
The secular nature of book printing in the era of Peter the Great's reforms, the reform of the Cyrillic alphabet. The appearance of children's books directly addressed to child readers (1717 - “An Honest Mirror of Youth, or Indications for Everyday Conduct”; “Atlas”, “Guide to Geography”).
The tendency to include the works of Russian classic writers in children's reading. Development of an encyclopedic book for children; “The World in Pictures” by J.A. Komensky.
The formation of children's journalism: educational and publishing activities of N.I.Novikov.
Children's literature 1st half. 19th century.
Moralism as a distinctive feature of literature for children: Fables (Aesop, Lafontaine, I.A. Krylov). Classics of children's literature: fairy tales by V.A. Zhukovsky, A.S. Pushkin, A.A. Ershov, poems and fairy tales by M.Yu. Lermontov, historical stories by A.O. Ishimova for children.
Autobiographical story in the works of writers of the 19th century. (S.T. Aksakov, L.N. Tolstoy, A.I. Svirsky, etc.).
V.G. Belinsky as the founder of the theory of children's fiction. V.G. Belinsky on identifying the classical range of children's reading.
Children's literature of the 2nd half of the 19th century.
Themes, genres, characters and specific features of children's books by Russian classic writers (N.A. Nekrasov, L.N. Tolstoy, K.M. Stanyukovich, D.N. Mamin-Sibiryak, V.M. Garshin, A.P. .Chekhov, N.D. Teleshov). Lyric poets - A.V. Koltsov, I.S. Nikitin, A.K. Tolstoy, F.I. Tyutchev, A.A. Fet and others. Writers and teachers: K.D. Ushinsky, L.N. Tolstoy. New types of educational books.
Fundamental works on the bibliography of children's literature (V.I. Vodovozov, F.G. Toll) and first studies (O. Rogova, N.V. Chekhov).
Children's literature of the Soviet era.
The first Soviet books for children included in the golden fund of children's literature:
Prose: P. Blyakhin “Little Red Devils”, Y. Olesha “Three Fat Men”, B. Zhitkov “Sea Stories”, V. Bianki “Forest Houses”, M. Ilyin “What Time Is It?”
Poetry: S.Ya.Marshak, V.V.Mayakovsky, K.I.Chukovsky.
Question about a possible classification of children's literature of the Soviet era:
Fiction stories and stories: L. Kassil, V. Kataev, N. Bogdanov, Y. Koval and others.
Poetry for children: E. Blaginina, D. Kharms, A. Barto, B. Zakhoder and others.
Literary fairy tale, adventures: A. Tolstoy, A. Nekrasov, A. Volkov, E. Shvarts, V. Gubarev, etc.
4. Scientific and artistic prose: E. Charushin, I. Sokolov-Mikitov, G. Skrebitsky and others.
5. Historical book: V. Panova, E. Ozeretskaya, Y. Gordin, O. Tikhomirov.
Creation of a new system for the design of children's books: V. Mayakovsky, N. Tyrsa, V. Lebedev, Yu. Vasnetsov, V. Kanashevich and others.
Contemporary children's literature.
General characteristics of the state of modern children's literature: types, genres, themes, types of publications.
Development of professional criticism of children's literature.
History of the development of foreign children's literature.
Works of European folklore in children's reading. Translations of S. Marshak of English children's poetry. Collections of fairy tales in the author's adaptation (V. and Ya. Grimm, C. Perrault, etc.).
English children's literature: O. Wilde, L. Carroll, R. Kipling, J. Barry, R.R. Tolkien.
German children's literature: br. Grimm, E. Hoffman, V. Gauf et al.
French children's literature: V. Hugo, A. de Saint-Exupéry, etc.
Literature of Scandinavian writers: G.-H. Andersen, S. Topelius, T. Janson, S. Lagerlöf, A. Lindgren.
American children's literature: F. Baum, A. Milne, M. Twain, J. Harris and others .
The purpose of children's literature is to promote the literary development of the child, to raise a qualified reader, and through him a morally and aesthetically developed personality.
No. 2. Specifics of children’s perception of literary text at different stages of their development. The concept of “Literary development”. Methodological techniques of literary development.
In the works of methodologists (M. G. Kachurin, N. I. Kudryashev, V. G. Marantsman, N. D. Moldavskaya), the age specificity of perception comes to the fore. It is natural that methodologists take into account the achievements of psychologists on the problem under consideration. According to the observations of psychologists, a child goes through a number of stages in his development: preschool age - up to 6 years; junior school – 6-9 years; younger adolescence – 10-12 years; 3 older adolescence – 13-14 years; period of early adolescence – 15-17 years. The writer Korney Ivanovich Chukovsky called the preschooler a “tireless researcher.” The baby constantly puzzles adults with questions like “why?”, “why?”. In the wonderful book “From Two to Five,” Chukovsky noticed the special observation skills of children of this age: “the bald man has a barefoot head, there is a draft in his mouth from mint cakes, the caterpillar is the wife of the goose, and the husband of the dragonfly is the dragonfly.” A preschooler opens up to a huge world in which there is so much interesting. However, the child's life experience is limited. At the same time, reading by adults attracts children, develops their imagination, they begin to fantasize and compose their own “stories.” At this age, an internal sense of the expressiveness of the artistic word is revealed. If a child has heard a fairy tale many times, then any replacement of a word causes bewilderment, since the new word carries some other shade of meaning. These observations of preschool children allow us to talk about the development of observation, attention to words, memory, and reconstructive imagination as elements of reading culture. Reading a book gives many children real pleasure; they “immerse” themselves in a fictional world, sometimes without separating it from the real one.
Method of creative reading and creative tasks. Reading a work of fiction is qualitatively different from reading a scientific, journalistic, educational text. It requires more attention to the word, phrase, rhythm, it evokes the living work of the reproducing and creative imagination, imaginative thinking. It is necessary to teach schoolchildren to hear and listen to the artistic word, appreciate it, enjoy it, and learn to speak a good literary language themselves. The method of creative reading and creative tasks is most specific to literature as an academic subject, since its most important is the art of words, a literary work. It is in the activation of artistic perception and artistic experiences that the specificity of this method lies. Since the goal of literary development should be the development of mental processes that determine the quality of such complex mental activity as artistic perception: observation, reconstructive imagination, ability to empathize, emotional and figurative memory, sense of the poetic word
Functions of children's literature: communicative, modeling, cognitive, hedonistic, rhetorical.
The communicative function is the transfer of information or encouragement to action.
Modeling - transmission of genuine folk speech; provides in thin lit. realistic method.
Hedonistic (pleasure) without getting the child interested, we will not be able to develop or educate him. Therefore hedonistic. f. enhances every function. Without taking into account the function of pleasure, the young reader becomes a forced reader and over time turns away from this knowledge.
Rhetorical function. Speech develops. When a child reads, he learns to enjoy the word and the work; he still unwittingly finds himself in the role of the writer’s co-author. The history of literature knows many examples of how the impressions of reading received in childhood aroused the gift of writing in future classicists.
CHILDREN'S LITERATURE
INTRODUCTION
Lecture 1. The concept of children's literature. Its specificity.
Children's literature is a unique area of general literature. Principles. Specifics of children's literature.
Children's literature is part of general literature, possessing 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 and cognitive, ethical, and entertaining works.
Children's literature, as part of general literature, is the art of words. A.M. Gorky called children's literature " sovereign"the area of all our literature. And although the principles, objectives, and artistic method of literature for adults and children’s literature are the same, the latter is characterized only by its inherent features, which can conventionally be called the specificity of children’s literature.
Her peculiarities determined by educational objectives and the age of the readers. Main distinguishing feature her - 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.
The founders of the theory of children's literature - outstanding writers, critics and teachers - once spoke about the features of children's literature as the art of words. They understood that Children's literature is true art, and not a means of didactics. According to V. G. Belinsky, literature for children must be distinguished by the “artistic truth of creation,” that is, to be a phenomenon of art, A children's book authors must be widely educated people standing at the level of advanced science of their time and having an “enlightened view of objects.”
The purpose of children's literature is to be artistic and educational reading for a child.. This purpose determines the important functions that it is called upon to perform in society:
1. Children's literature, like literature in general, belongs to the field of the art of words. This determines its aesthetic function. It is associated with a special kind of emotions that arise when reading literary works. Children are capable of experiencing aesthetic pleasure from what they read no less than adults. The child happily immerses himself in the fantasy world of fairy tales and adventures, empathizes with the characters, feels the poetic rhythm, and enjoys sound and verbal play. Children understand humor and jokes well. Not realizing the conventions of the artistic world created by the author, children fervently believe in what is happening, but such faith is the true triumph of literary fiction. We enter the world of the game, where we are simultaneously aware of its conventions and believe in its reality.
2. Cognitive(epistemological) function literature is to introduce the reader to the world of people and phenomena. Even in those cases when the writer takes a child into the world of the impossible, he talks about the laws of human life, about people and their characters. This is done through artistic images that have a high degree of generalization. They allow the reader to see the natural, typical, universal in a single fact, event or character.
3. Moral(educational) function inherent in all literature, since literature comprehends and illuminates the world in accordance with certain values. We are talking about both universal and universal values, and local ones associated with a specific time and specific culture.
4. Since its inception, children's literature has served didactic function. The purpose of literature is to introduce the reader to the universal values of human existence.
The functions of children's literature determine its importance role in society - develop and educate children through the means of artistic expression. This means that literature for children largely depends on the ideological, religious, and pedagogical attitudes existing in society.
Talking about age specificity of children's literature Several groups can be distinguished based on the age of the reader. The classification of literature for children follows the generally accepted age stages of human personality development:
1) nursery, junior preschool age, when children, listening and looking at books, master various works of literature;
2) pre-preschool age, when children begin to master literacy and reading techniques, but, as a rule, for the most part remain listeners to works of literature, willingly looking at and commenting on drawings and text;
3) younger schoolchildren - 6-8, 9-10 years old;
4) younger teenagers - 10-13 years old; 5) teenagers (adolescence) - 13-16 years old;
6) youth - 16-19 years old.
Books addressed to each of these groups have their own characteristics.
Specifics of literature for children is determined by the fact that it is dealing with a person who knows almost nothing about the world around him and is not yet able to perceive complex information. For children of this age, there are picture books, toy books, folding books, panorama books, coloring books... Literary material for children - poems and fairy tales, riddles, jokes, songs, tongue twisters.
The “Reading with Mom” series, for example, is designed for children aged 1 year and older and includes cardboard books with bright illustrations depicting animals unfamiliar to the child. Such a picture is accompanied either simply by the name of the animal, which the child gradually remembers, or by a short poem that gives an idea of who is depicted in the picture. In a small volume- often only one quatrain - you need to fit maximum knowledge, wherein words must be extremely specific, simple, offers- short and correct, because listening to these poems, child learns to speak. At the same time, the poem should give the little reader bright image, indicate on characteristic features described object or phenomenon.
Therefore, writing such, at first glance, extremely simple poems, requires the author to have almost masterful command of words, so that poems for the little ones can solve all these difficult problems. It is no coincidence that the best children's poems, heard by a person at a very early age, often remain in memory for a lifetime and become the first experience of communication with the art of words for his children. As an example, we can name the poems of S. Ya. Marshak “Children in a Cage”, the poems of A. Barto and K. Chukovsky.
Another characteristic feature of literature for children - predominance of poetic works. This is no coincidence: the child’s mind is already familiar with rhythm and rhyme - let’s remember lullabies and nursery rhymes - and therefore it is easier to perceive information in this form. In addition, a rhythmically organized text gives the little reader a holistic, complete image and appeals to his syncretic perception of the world, characteristic of early forms of thinking.
According to A.M. Gorky, children's literature is an independent branch of literature as a whole. Despite the similarity and unity of the tasks and principles of children's and adult literature, children's literature is characterized by special features that are unique to it, which allow us to raise the question of the specifics of this type of literature. This issue has been highly controversial for a long time. There were two main points of view that postulated opposite positions: firstly, that children's literature is only an educational tool, and secondly, that the specificity of children's literature is absent as such. Alekseeva M.I. Editing children's literature: A manual for students. // http://www.detlitlab.ru/?cat=8&article=31 (Date of access: 11/22/12). The first approach is reflected in the fact that literature for children, which appeared in Rus' in the 13th century and became actively widespread in the 18th century, was mainly fairy tales, including borrowed ones, as well as works originally intended for adults, and was mainly didactic in nature, while being quite difficult for a child to understand. Children's literature / Wikipedia, the free encyclopedia // http://ru.wikipedia.org/wiki/%C4%E5%F2%F1%EA%E0%FF_%EB%E8%F2%E5%F0%E0%F2% F3%F0%E0 (Date of access: 11/22/12.)
As it turned out later, both approaches turned out to be completely wrong. Children's literature should be, first of all, a bearer of artistic value, he wrote back in the 19th century. V.G. Belinsky, touching on this problem in his works. Alekseeva M.I. Editing children's literature: A manual for students.// http://www.detlitlab.ru/?cat=8&article=31 (Date of access: 11/22/12). In the twentieth century, we can observe the active development of his idea: authors are becoming more and more professional, multifaceted, and educated; they are aimed specifically at working with young readers.
The main feature of children's literature is that the younger the reader, the more specific factors of his perception must be taken into account when creating and editing a book (visibility, simplicity, brevity), and the older he gets, the wider the subject matter of works can become with a gradual complication of content. Children's literature researcher A.S. spoke about the topic. Makarenko: “it is impossible to indicate any serious and fundamental restrictions on children’s topics” Makarenko A. S. About children’s literature and children’s reading. - M., 1955. - P. 95., but it is always necessary to remember that a child, due to the lack of sufficient life experience, is not able to understand, comprehend the texts of “adult” works with deep philosophical overtones or those describing those events and experiences that the child has not yet experienced.
This does not mean that in children's books the author is silent about the hero's feelings: he tries to write about them in a form accessible to the young reader. The editor’s task in this case is to eliminate abstract, abstract concepts, to make the text more figurative, lively, subjective and vibrant.
The main theme, of course, remains the life of their peers that is closest to children and adolescents: therefore, stories about childhood, including autobiographical ones, are extremely popular (L. N. Tolstoy, A. M. Gorky, A. N. Tolstoy, A. P. . Gaidar, L. Kassil, M. Twain and others).
The writer who counted specifically on children when creating certain works is L.N. Tolstoy: most of his stories and novellas meet the above requirements of fascination, imagery, and accessibility. The writer added interesting details and “entertainment techniques” that enliven the narrative. An example of such means is an unexpected ending, like the episode with a doll in the story “Fire Dogs” See Alekseeva, M.I. Editing children's literature: A manual for students.// http://www.detlitlab.ru/?cat=8&article=31 (Date of access: 11.22.12)., as well as secrets, adventures, exploits.
Thus, the main thing in a children's book, according to many editors, scientists and writers, is a form that is attractive to the child. The educational component, morality, of course, as in any other literature, should be present, but without occupying a dominant position. First of all, the purpose of such literature is to awaken any associations in the child, fill his consciousness with vivid images, form an attitude towards positive and negative characters and actions on a subconscious level, provide a set of templates so that the child can be guided by the actions and decisions of book characters in similar life situation; develop imagination with the help of a fascinating plot, enrich your vocabulary, and ultimately instill a love for adult, serious, more philosophical literature.
Marshak himself wrote beautifully about what children’s books should be like: “If the book has a clear and complete plot, if the author is not an indifferent recorder of events, but a supporter of some heroes of the story and an enemy of others, if the book has a rhythmic movement and not a dry rational consistency, if the moral conclusion from the book is not a free addition, but a natural consequence of the entire course of events, and even if, in addition to all this, the book can be played out in your imagination, like a play, or turned into an endless epic, inventing more and more continuations for it , - this means that the book is written in a real children's language” Marshak S. Sobr. Op. T. 6. M., 1971. P. 20..
So, having studied here what aspects need to be taken into account when creating and editing children's literature, in the following chapters we will move on to a direct examination of how S.Ya. Marshak, as an editor, brought these ideas and principles to life.
