Fairy tale in Russian fine art. The role of Russian folk tales in the formation of a child’s personality. Research and study of fairy tales

Role folk tale in raising children

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

Fairy tales are not made-up stories to entertain children; they carry deep meaning. Many centuries ago, when there was no written language yet, oral folk art arose, fulfilling the same role that literature later played. People have created wonderful fairy tales, songs, riddles, and sayings for children. Works of folk art have not lost their impact on children today.

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

The action of the folk tale unfolds against the backdrop of native nature. The child sees an open field, a dense forest, and a fast river. Nature seems to sympathize with the positive hero: an apple tree and a river shelter the girl from being chased by swan geese, animals and birds help her overcome obstacles. Pictures of nature help enhance the emotional impact of the work. The fairy tale helps to cultivate love for native nature, for the Motherland.

The great Russian teacher K. D. Ushinsky highly valued folk tales. He wrote about the fairy tale: “These are the first and brilliant attempts of Russian folk pedagogy, and I don’t think that anyone would be able to compete in this case with the pedagogical genius of the people.”

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

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

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

A fairy tale creates favorable conditions for children to empathize with the hero; some of them have one listen literary text does not yet cause corresponding emotional experiences. In order to better understand and more deeply feel the meaning of a fairy tale, children need to reproduce the plot of the work and the relationships of its characters in a detailed external form. good soil in in this case is the richness of the tale with dialogues, the dynamism of the action, and the characteristic mask roles.

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

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

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

Children need fairy tales, especially folk tales. Young children intuitively feel this, but parents need to remember that the fairy tale must be age-appropriate.

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

Federal Agency for Culture and Cinematography

Oryol Regional College of Culture and Arts

Course work

by discipline

"Folk art"

Subject « Fairy tales and their meaning »

Prepared by: student

IV course of folk

choir department

Nabatova V.

Teacher: Vasilyeva N.I.

Eagle – 2005

Plan

1. Research and study of fairy tales

2. What is a fairy tale?

3. Basic principles of fairy tales

4. The meaning of fairy tales in human life.

Introduction

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

Writer, poet, translator and ethnographer I. F. Kallinikov, a native of Orel / 1890 - 1934 /, was a continuer of the traditions of his fellow countrymen P. V. Kireevsky and P. I. Yakushkin in the collection of oral poetic creativity native land.

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

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

The first trips around the Oryol region to collect ethnography and folklore were carried out by P. I. Yakushkin at the beginning of the 19th century; the few fairy tales he collected were included in the collections of A. N. Afanasyev. In the future, the richest fairy-tale folklore of the Oryol region was not purposefully collected and studied. “Collect fairy tales in the village,” was Shakhmatov’s answer.

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

Kalinnikov's tales and his reports made at meetings of the fairy-tale commission of the Russian Geographical Society were published in the magazine “Living Antiquity” / 1913. -1915/, and the main works - “On collecting fairy tales in the Oryol province” and “Storytellers and their tales” - were released in separate prints. The work of the young ethnographer was appreciated by Academician A. A. Shakhmatov, who gave feedback for Kallinikov’s nomination for a silver medal.

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

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

Kallinikov himself highly appreciated the importance of folklore expeditions in the Oryol province for further literary activity. In his autobiography /1932/ he wrote: “Every little thing in the village hut was imprinted in my memory. Folklore is a school of life for a writer. Records and conversations deepened knowledge of the language and enriched the stock of expressions. The source of my research was the Oryol province, where my fellow countrymen Yakushkin and the Kireevsky brothers, who gave Oryol fairy tales to Pushkin, collected folklore materials. Turgenev, Leskov, Andreev, Bunin and other fellow countrymen writers drew their reserves of language from the same source... This was the Russia of Gogol, Zamyatin, Leskov and partly Pechersky, the Russia of landowners, feudal petty bourgeois and monastic.” In a letter to his Oryol classmate E. Sokol, Kallinikov admitted in the last years of his life: “... If it weren’t for Russia, the village, its free-spirited songs and what she breathed into me when I wandered behind fairy tales, behind her songs, it wouldn’t have been worth it.” I wish I could live."

With all the variety of techniques and approaches, the word has always been powerful and all-determining in folk art. Its action, which knows no barriers, is noticeable even in the simplest types of fairy tales! The child is introduced to them as soon as he gains the ability to understand words, to connect concepts with pleasure, the role of fairy tales in the child’s life increases until the peak of his attraction to it reaches such a point that adults even feel uncomfortable with children’s demands to tell new fairy tales or endlessly repeat already known ones. . “Parents often tell their children non-children’s fairy tales, when

There is no fairy tale without fiction. This applies equally to any fairy tale - adult fairy tales and children's fairy tales, but in a children's fairy tale, fiction exists only for the sake of didactics, instruction, even the most valuable. The fiction of a children's fairy tale has a different meaning.? A fairy tale, first of all, recreates in the imagination pictures and scenes, which in themselves make the child an empathizer of everything that is about we're talking about. The child follows the progress of the action in the fairy tale and joyfully accepts the happy ending. The most important value of fairy-tale fiction, especially magical fiction, lies in the emotional experience of sympathy for the characters, in introducing the child to the struggle for victory.

1. Research and study of fairy tales

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

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

Fairy-tale fiction is evidence of the mighty scope of the living thought of a person who, back in ancient times, tried to go beyond the limits of practice, severely limited opportunity historical time.

There are several types of magic: partial magic is also characteristic of the fairy-tale narrative about the death of Koshchei. The death of Koshchei, the fairy tale says, is at the end of a needle, a needle in an egg, an egg in a duck, a duck in a hare, a hare in a chest, a chest on a tall oak tree. The hero fells an oak tree, breaks a chest, catches a hare, and then a duck that has fluttered out of the hare, gets the egg hidden in it and, finally, takes a needle in his hands, breaks the tip - and so “no matter how Koschey fought, no matter how much he rushed in all directions, but he had to die."

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

There are various types of verbal, i.e. verbal, magic in fairy tales. With a word, dungeons open - just say: “Doors, doors, open!” Ivan whistled and barked with a valiant whistle, a heroic cry: “Sivka-burka, prophetic kaurka! Stand before me like a leaf before the grass.”

The fairy tale reproduces a miracle as a phenomenon that occurs as a result of performing ritual and magical actions.

A flying carpet, a self-assembled tablecloth, walking boots, a wonderful hoop, a magic mill, a wooden eagle, some wonderful box in which is hidden the whole city with palaces, settlements and surrounding villages, do not contain anything magical. This fiction. Fairy-tale fiction associated with ancient economic magic has been preserved only as an echo of some customs to which primitive people attributed magical consequences.

The fairy tale conveys well the various types of love magic.

Love magic knows “spoken” drinks and food, after tasting which a person will be “bewitched”.

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

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

The nature of magical actions in the fairy tale coincides with the types and types of folk magic. Science has identified the following types of magic: healing, harmful (damage), love, economic. Among the secondary types of magical rituals, it is necessary to pay special attention to the magic of pregnancy and birth. All types of these magical ritual actions are found in fairy tales.

2. What is a fairy tale?

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

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

Each of the animal tales recreates everyday stories rich in details. The speech of animals and birds, the internal motives of their actions, actions, the very everyday environment - everything testifies to the ordinary and familiar. Fairytale characters live life ordinary people.

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

I'm walking in boots, in gold earrings,

I’m carrying a scythe - I’ll cut off your head up to your shoulders,

Get off the stove!

The goat rushed out of the hut. There is no end to the hare's joys. It’s fun for the listener too (“Goat Dereza”).

It is not always easy to distinguish a fairy tale from other types. There was an attempt to accept as the main thing in fairy tales that the “central subject of the narrative” in them is a person, and not an animal. But it turned out to be difficult to use this feature as a criterion, since the specifics of fairy tales have not been identified. Not a single fairy tale is complete without a miraculous action: sometimes an evil and destructive, sometimes a good and beneficial supernatural force intervenes in a person’s life. A fairy tale is replete with miracles. There are also terrible monsters: Baba Yaga, Koschey, the fiery serpent; and wonderful objects: a flying carpet, an invisible hat, walking boots; miraculous events: resurrection from the dead, the transformation of a person into an animal, a bird, into some object, a journey to another, distant kingdom. Wonderful fiction lies at the basis of this type of fairy tale.

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

Fairy tales invariably condemn violence, robbery, deceit, and black deeds. A fairy tale helps to strengthen oneself in the most important concepts about how to live, on what to base one’s attitude towards one’s own and others’ actions. Fairytale fiction affirms a person in a bright acceptance of life, full of worries and accomplishments. Chasing social evil, overcoming life's obstacles,

Scientists have interpreted the tale in different ways. Some of them, with absolute clarity, sought to characterize fairy-tale fiction as independent of reality, while others wanted to understand how the attitude of folk storytellers to the surrounding reality was refracted in the fantasy of fairy tales. Should any fairy tale be considered a fairy tale? fantastic story or to single out its other types in oral folk prose - non-fairy tale prose? How to understand fantastic fiction, without which none of the fairy tales can do? These are the problems that have been bothering us for a long time

Without fantasy, not a single fairy tale is unthinkable. This understanding is close to our everyday concepts of a fairy tale. Even today, wanting to point out the discrepancy between some speech and the truth, we say that it is a fairy tale.

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

A folk tale has all the features of folklore. The storyteller depends on traditions, in the form of which the collective artwork other storytellers reach him. Traditions seem to dictate to the storyteller the content and form of his creation, the basic poetic techniques, and the special fairy-tale style developed and developed over the centuries. These traditions powerfully interfere with creative process folk master storyteller. Oral tales recorded from storytellers are the creations of many generations of people, not just these individual masters.

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

3. Basic principles of fairy tales

The fairy tale has its own varieties. There are fairy tales about animals, magical ones, novelistic ones. Each genre type of fairy tale has its own characteristics, but also specific features, distinguishing one type of fairy tale from another, were formed as a result of the creativity of the masses and their centuries-old artistic practice.

The fairy tale as a genre of folklore is characterized by the features of art traditionally created jointly by the people. This is what a fairy tale has in common with any type of folklore.

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

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

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

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

A lesson to good fellows.

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

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

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

The general ironic concept of the tale is sometimes accompanied by rhythmic narration. These are “Ruff Ershevich”, “The Ruffed Hen”, “Kolobok”, the fairy tale “The Bean Seed” about how a rooster choked on grain, the fairy tale “There is no goat with nuts”. The ironic style of such tales is expressed in deliberately emphasized rhymes and consonances of words throughout the story. Simple rhymes sound mockingly and comically: “In the old years, in the old days, in the red spring, in the warm summers, there was such a mess, a burden in the world: mosquitoes and midges began to appear, bite people, hot blood skip” (“Mizgir”).

Most fairy tales make use of the wealth of imagery hidden in spoken language. After all, a fairy tale is, first of all, prose. In fairy tales, there are also stylistic rhythmic clichés: beginnings like “once upon a time,” endings like “they began to live and live well and make good things,” typical formulas with characteristic inversions: “A fox came running and said”; “Here comes the fox and says to the man,” etc. True, these properties of the fairy-tale style are in the nature of narrative speech.

The speech accurately conveys the emotional and psychological condition speaker.

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

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

4. The meaning of fairy tales in human life

A large number of images of fairy tales developed in ancient times, in the very era when man’s first ideas and concepts about the world arose. Of course, this does not mean that every magical fantasy originates from the depths of centuries. Many images of fairy tales developed in the relatively recent past. In each new era, a fairy tale had certain fantastic material, which generations passed on from old people, preserving and developing previous oral and poetic traditions.

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

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

Fairy tales as individual phenomena of art can be compared only according to significant historical, folklore, ideological and figurative characteristics.

The people understood that they do not achieve justice through miracles, that real action is necessary, but the question is - what kind? Fairy tales do not answer this question. Storytellers wanted to support the very desire of the people for justice with magical storytelling. The successful outcome of fairy tales is undoubtedly utopian in nature. He testified to the time when the people were painfully searching for a way out of tragic social conditions.

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

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

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

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

The fantasy of fairy tales was created by the collective creative efforts of the people. Like a mirror, it reflected the life of the people, their character. Through a fairy tale, his thousand-year history.

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

Having developed over centuries in close connection with the everyday life and life of the people, fairy-tale fiction is original and unique. This originality and uniqueness are explained by the qualities of the people to whom the fiction belongs, the circumstances of its origin and the role that the fairy tale plays in people's life.

So what is a fairy tale?

Fairy tales are collectively created and traditionally preserved by the people oral prose artistic narratives of such real content, which necessarily require the use of techniques of implausible depiction of reality. They are not repeated in any other genre of folklore.

The difference between fairy tale fiction and fiction that is found in other folklore works, - original, genetic. The difference is expressed in the special function and extent of the use of fiction.

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

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

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

Mythological and fairy-tale characters have become heroes of works of Russian art, primarily folk art, since ancient times. Folk art– one of the bearers of national memory. It is here that the images of Slavic mythology are preserved. Often these images have been so transformed over time that it is difficult for us to understand what is depicted in a particular work. But many of the characters are recognizable. These are mermaid pharaohs who decorated houses in the Nizhny Novgorod province, and images of the Mother Damp Earth in northern red and white embroideries, and the fabulous birds Sirin and Alkonost, appearing in many types of folk art - embroidery, wood painting, as well as in popular prints, and many others. IN folk toy - clay (Dymkovskaya and Kargopolskaya) and wooden (Bogorodskaya) - many were also depicted fairy tale characters– the heroes of Pushkin’s fairy tales were and remain especially popular.

At Peter I there was an active involvement in the achievements of centuries-old European, including ancient, art, and therefore in the 18th - first half of the 19th centuries. in the works of graduates and teachers of the Academy of Arts in St. Petersburg (painters I. Akimova, A. Losenko, P. Sokolova, K. Bryullova, P. Basina, A.Ivanova, sculptors I. Prokofieva, F. Gordeeva, F.Shchedrina, M. Kozlovsky, B. Orlovsky, I.Vitali and many others) heroes appear ancient mythology– Zeus and Thetis, Narcissus and Hymen, Paris and Mercury, Apollo and Venus, Diana and Prometheus). By order Peter I were ordered in Italy and installed in Summer Garden about 90 sculptures, including mythological subjects (Apollo and Diana, Rock and Nemesis, nymphs, muses Thalia and Terpsichore, Vertumnus and Pomona and many others).

A special page of Russian art during this period was the decoration of the interiors of buildings, including palaces that are now part of the Russian Museum complex, with paintings and sculptures based on subjects from ancient mythology. These are lampshades S. Torelli, G. Valeriani And E. Lipgart in the Marble and Stroganov palaces, and reliefs A.Adamson in the Academic Halls of the Mikhailovsky Palace, and paintings on scenes from Homer’s “Iliad” and “Odyssey” A. Vigi on the walls of the White Hall of the Mikhailovsky Palace.

In the second half of the 19th century, interest in Russian history, folklore, and folk art awakened. In the works of professional artists (primarily V.M. Vasnetsova) includes heroes of epics (heroes Ilya Muromets, Alyosha Popovich, Dobrynya Nikitich) and fairy tales (Alyonushka, Ivan Tsarevich, Koschey). At the turn of the XIX-XX centuries N.K.Roerich addresses the theme of epics in a series of monumental panels “The Heroic Frieze”, which he executed for one of the St. Petersburg mansions. M.A.Vrubel creates his own “Bogatyr”, as well as a series of majolica sculptures based on the themes of the fairy tale operas “Sadko” and “Snow Maiden”. I.Ya.Bilibin finds his own style of book design, the basis of which is the motifs of Russian folk and medieval art. Many artists turned to ancient mythology during this period: A.N. Benois, V.A. Serov, E.E. Lansere, N.D. Milioti, N.K. Kalmakov, M.F. Larionov.

In 1933, the Academia publishing house published the collection “Kalevala” with original illustrations by a group of “masters of analytical art” of the school P.N. Filonova: T.N.Glebova, A.I.Poret, M.P.Tsybasova and others. Other artists also addressed the theme of this world-famous Karelian-Finnish epic - N. Kochergin, V. Kurdov, M. Mechev, G. Stronk, T. Yufa.

In the 20th century, fairy-tale images live primarily in folk art and book illustration. A special role in shaping the appearance of Soviet children's books belongs to publishing house "Detgiz", created in Leningrad in 1933. This publishing house was called a “university” for children’s book illustrators. The artistic editorial team was headed by V. Lebedev, under whose leadership they worked V. Konashevich, V. Kurdov, Y. Vasnetsov, N. Tyrsa, A. Pakhomov, E. Charushin, A. Yakobson and many others.

Designed more than 200 books T. Mavrina, the only one Soviet artist, awarded the H.H. Andersen Prize for his contribution to the illustration of children's books.

Nowadays fairy tale themes most often appear in folk art - in miniature paintings of Palekh, Kholuy, Mstera, in Bogorodskaya, Dymkovo and Kargopol toys.

We invite you to participate in virtual exhibition museums participating in our project!

Topic: The role of Russian folk tales in the formation of a child’s personality.

3. Reflection of the moral ideals of the people in the content of fairy tales.

4. Poetry, expressiveness of language.

5. Favorite heroes of Russian folk tales.

6. Russian writers about fairy tales.

7. The role of fairy tales in the formation of a child’s ideas about the world, the creation of moral and aesthetic values, and the development of speech.

1. Genre features Russian folk tales: tales about animals; fairy tales; everyday tales.

There is probably not a single family that can do without fairy tales. They contain that popular thought, which has been honed over centuries and millennia, acquiring brevity, sharpness and wisdom.

Fairy tales contain primordially Russian traditions, customs and morals. Russian fairy tales clearly express the images of their favorite heroes, whose example children happily follow in their games.

The typology of fairy tales is simple and concise. Few people know this, but everyone subconsciously feels it - fairy tales are divided into three types:

1. Tales about animals

2. Fairy tales

3. Everyday tales.

Folk tales about animals are intended for the youngest children. The heroes of these fairy tales are animals, each of which is assigned a certain functional image. For example, the Fox is always cunning, the Hare is cowardly, the Wolf is stupid, the Bear is kind, the Cockerel is brave, etc. Although all the characters are animals, the characters of people can easily be guessed behind them. That is why illustrators “dress” the heroes of these fairy tales in human clothing. Fairy tales about animals teach young children the triumph of justice and goodness. For example, the Cockerel expels the Fox from the Bunny's hut. The stupid Wolf remains stupid when he obediently catches fish with his tail. The Crane turns out to be smarter than the Fox when he invites her to taste the treat from the jug. Little children love fairy tales about animals; they quickly learn them and tell them themselves, giving their parents a lot of pleasure.

Folk fairy tales are a category of fairy tales intended for preschoolers and primary schoolchildren. This type of fairy tale has a clear structure, which, as a rule, fits into such a scheme. Evil forces harm people by taking away something or someone from them. The hero goes on a search. Along the way, he meets a magical Giver who gives the Hero a Magical gift. With the help of a Magic Gift, the Hero defeats Evil, frees the prisoner and returns to his homeland, where his reward awaits him - marriage to the beautiful Vasilisa the Beautiful and half a kingdom into the bargain. This is how fairy tales celebrate the victory of Good over Evil. The Evil here is Baba Yaga, the Serpent Gorynych or Koschey the Immortal. The hero is Ivan the Tsarevich or Ivan the Fool. The Giver is the Old Forest Man, the Wanderer or the Traveler, and in some fairy tales - Baba Yaga. A magical gift - a treasure sword, a golden-maned horse, an invisible hat, a flying carpet, etc. Preschool children are very fond of fairy tales for the victory of Good over Evil, for the courage and bravery of the main character, for his extraordinary adventures, for the beautiful image of the princess.

Everyday folk tales are read with pleasure by primary and secondary schoolchildren. These tales are the most modern. They describe the Russian village and its inhabitants: the Old Man and the Old Woman, Grandfather and Baba, Barin and the Village Boy. In some fairy tales there is a Soldier returning home after the war. In everyday fairy tales, human vices are ridiculed and moral human qualities are praised. Thus, the soldier’s ingenuity triumphs over the old woman’s stinginess. And the greedy and stingy Master is deceived by a simple peasant boy. Everyday tales are similar to jokes. They make even an adult smile.

Russian folk tales are wisdom honed over centuries. They were passed down from mouth to mouth by many generations of the Russian people. There is not a single extra word, not a single empty thought. Therefore, fairy tales do not require clarification at all. As they say: “To teach a scientist is only to spoil him.”

2. Theme, plot and compositional features.

Fairy tales are one of the main types of oral folk poetry. “The word “fairy tale” is used to describe moralizing stories about animals, fairy tales full of miracles, intricate adventurous stories, and satirical anecdotes. Each of these types of oral folk prose has its own distinctive features: its own content, its own themes, its own system of images, its own language. These tales differ not only thematically, but in the entire character of their images, compositional features, artistic techniques... in their entire style.” A characteristic feature of a fairy tale is poetic fiction, and an obligatory element is fantasticality. This is especially evident in fairy tales. The tale does not claim to be authentic in its narrative. The action in it is often transferred to the vague “far away kingdom, thirtieth state.” This is emphasized by the remarks of the storytellers themselves, who perceive the fairy tale as a fiction, with all its fantastic images: a flying carpet, an invisible hat, running boots, a self-assembled tablecloth, etc. The storyteller takes the listener into a fairy-tale world that lives by its own laws. Fairy tales depict not only fantastic faces and objects, but also real phenomena are presented in fantastic lighting. At the same time, moralizing, propaganda of goodness, justice, and truth are constantly present in fairy tales. Fairy tales are distinguished by their national characteristics, but at the same time they have an international origin. The same fairy tales appear in folklore different countries, which partly brings them together, but they are also different, since they reflect the national characteristics of the life of a particular people. Like any genre of folklore, a fairy tale retains the features of individual creativity, and at the same time is the result of the collective creativity of the people who have carried the fairy tale through the centuries. The fairy tales of each people specifically reflect the reality on the basis of which they existed. Fairy tales of the peoples of the world reflect common themes, plots, images, stylistic and compositional techniques. They are characterized by a general democratic orientation. Fairy tales express people's aspirations, the desire for happiness, the struggle for truth and justice, and love for the homeland. Therefore, fairy tales of the peoples of the world have much in common. At the same time, each nation creates its own unique and original fairy-tale epic. Russian fairy tales are usually divided into the following types: about animals, magical and everyday ones. The plot is the main feature of a fairy tale, in which dream and reality are contrasted. The characters are contrastingly opposite. They express good and evil (beautiful and ugly). But good always wins in a fairy tale. In many proverbs, fairy tales are compared with songs: “a fairy tale is a twist, but a song is reality,” “a fairy tale is a lie, but a song is the truth.” This suggests that the fairy tale tells about events that cannot happen in life. The origin of the term “fairy tale” is interesting. In Ancient Rus', the word “fable”, “fable”, from the verb “bayat” was used to denote the genre of fairy tale, and storytellers were called “bakhars”. The earliest information about Russian fairy tales dates back to XII century. In the monument of ancient Russian writing “The Lay of the Rich and the Wretched,” in the description of a rich man going to bed, among the servants around him, those who “butt” and “blaspheme” are mentioned, i.e. tell tales. This first mention of the fairy tale fully reflected the contradictory attitude towards it. On the one hand, a fairy tale is a favorite entertainment and amusement, on the other hand, it is branded and persecuted as something demonic, shaking the foundations of ancient Russian life. Already in Ancient Rus', the main features of the poetics of fairy tales were formed, which influenced the ancient Russian scribes. In Russian chronicles you can find many fairy-tale phrases and images.

Undoubtedly, the influence of the fairy tale on the famous 13th-century monument “The Prayer of Daniel the Imprisoner”, in which the author, along with book quotations, uses fairy-tale elements. In the historical and memoir literature of the 16th–17th centuries, one can find a number of references to the fairy tale, proving that at that time the fairy tale was widespread among various segments of the population. “Tsar Ivan IV could not sleep without the stories of the bakhar. Three blind elders were usually waiting for him in the bedchamber, who took turns telling him fairy tales and fables. Famous storytellers include Vasily Shuisky, Mikhail and Alexei Romanov. As is clear from the “Notes on Fools, Fools and Others” cited by I. Zabelin, storytellers were rewarded for the fables that they told, “according to the sovereign, the Tsar and the Grand Duke of this Rus' named order”, either with azure cloth, or with veal boots, or English cherry caftan." One of the oldest types of Russian fairy tales is tales about animals. The animal world in fairy tales is perceived as an allegorical image of the human. Animals personify the real carriers of human vices in everyday life (greed, stupidity, cowardice, boasting, trickery, cruelty, flattery, hypocrisy, etc.). The most popular fairy tales about animals are the tales of the fox and the wolf. The image of the fox is stable. She is portrayed as a lying, cunning deceiver: she deceives a man by pretending to be dead (“The Fox steals fish from a sleigh”); deceives the wolf (“The Fox and the Wolf”); deceives the rooster (“The Cat, the Rooster and the Fox”); drives the hare out of the bast hut (“The Fox and the Hare”); exchanges a goose for a lamb, a lamb for a bull, steals honey (“The Bear and the Fox”). In all fairy tales, she is flattering, vengeful, cunning, calculating. Another hero that the fox often encounters is the wolf. He is stupid, which is expressed in the attitude of the people towards him, he devours kids (“Wolf and Goat”), is going to tear apart a sheep (“Sheep, Fox and Wolf”), fattens a hungry dog ​​in order to eat it, is left without a tail (“Fox and wolf"). Another hero of fairy tales about animals is the bear. He personifies brute strength and has power over other animals. In fairy tales he is often called “the oppressor of everyone.” The bear is also stupid. Persuading with the peasant to harvest the harvest, he is left with nothing each time (“The Man and the Bear”). The hare, frog, mouse, and thrush appear in fairy tales as weak ones. They perform an auxiliary role and are often in the service of “large” animals. Only the cat and the rooster act as positive heroes. They help the offended and are faithful to friendship. Allegory is manifested in the characterization of the characters: the depiction of the habits of animals and the peculiarities of their behavior resembles the depiction of human behavior and introduces critical principles into the narrative, which are expressed in the use of various techniques of satirical and humorous depiction of reality. The humor is based on the reproduction of absurd situations in which the characters find themselves (a wolf puts its tail into an ice hole and believes that it will catch a fish). The language of fairy tales is figurative, reproducing everyday speech; some fairy tales consist entirely of dialogues (“The Fox and the Grouse,” “The Bean Seed”). In them, dialogue dominates the narrative. The text includes small songs (“Kolobok”, “Goat-Dereza”). The composition of fairy tales is simple, based on the repetition of situations. The plot of the fairy tales unfolds rapidly (“The Bean Seed”, “Beasts in the Pit”). Tales about animals are highly artistic, their images are expressive. In a fairy tale, a special, mysterious world appears before the listener than in fairy tales about animals. It features extraordinary fantastic heroes, good and truth defeat darkness, evil and lies. “This is a world where Ivan Tsarevich rushes through the dark forest on a gray wolf, where the deceived Alyonushka suffers, where Vasilisa the Beautiful brings scorching fire from Baba Yaga, where the brave hero finds the death of Kashchei the Immortal.” Some of the fairy tales are closely related to mythological ideas. Such images as Frost, Water, Sun, Wind are associated with the elemental forces of nature. The most popular of Russian fairy tales are: “Three Kingdoms”, “The Magic Ring”, “Finist’s Feather – the Clear Falcon”, “The Frog Princess”, “Kashchei the Immortal”, “Marya Morevna”, “The Sea King and Vasilisa the Wise”, “ Sivka-Burka”, “Morozko”, etc. The hero of a fairy tale is courageous, fearless. He overcomes all obstacles in his path, wins victories, and wins his happiness. And if at the beginning of the fairy tale he can act as Ivan the Fool, Emelya the Fool, then at the end he certainly turns into the handsome and well done Ivan Tsarevich. A.M. drew attention to this at one time. Gorky: “The hero of folklore is a “fool”, despised even by his father and brothers, always turns out to be smarter than them, always the winner of all everyday adversities.” A positive hero is always helped by other fairy-tale characters. Thus, in the fairy tale “Three Kingdoms” the hero is chosen into the world with the help of a wonderful bird. In other fairy tales, both Sivka-Burka and Gray wolf, and Elena the Beautiful. Even such characters as Morozko and Baba Yaga help the heroes for their hard work and good manners. All this expresses popular ideas about human morality and morality. Next to the main characters in a fairy tale there are always wonderful helpers: Gray Wolf, Sivka-Burka, Obedalo, Opivalo, Dubynya and Usynya, etc. They have wonderful means: a flying carpet, walking boots, a self-assembled tablecloth, an invisible hat. Images of positive heroes in fairy tales, helpers and wonderful objects express people's dreams.

The images of female heroines of fairy tales in the popular imagination are unusually beautiful. They say about them: “Neither to tell in a fairy tale, nor to describe with a pen.” They are wise, possess witchcraft powers, have remarkable intelligence and resourcefulness (Elena the Beautiful, Vasilisa the Wise, Marya Morevna). Opponents of goodies - dark forces, terrible monsters (Kashchei the Immortal, Baba Yaga, Dashing One-Eyed, Serpent Gorynych). They are cruel, treacherous and greedy. This is how the people’s idea of ​​violence and evil is expressed. Their appearance sets off the image positive hero, his feat. Storytellers spared no expense in color to emphasize the struggle between the light and dark principles. In its content and in its form, a fairy tale contains elements of the wonderful and unusual. The composition of fairy tales is different from the composition of fairy tales about animals. Some fairy tales begin with a saying - a humorous joke that is not related to the plot. The purpose of the saying is to attract the attention of listeners. It is followed by a beginning that begins the story. It takes listeners into a fairy-tale world, designates the time and place of action, the setting, and the characters. The fairy tale ends with an ending. The narrative develops sequentially, the action is given in dynamics. The structure of the tale reproduces dramatically tense situations. In fairy tales, episodes are repeated three times (with three snakes beating on Kalinov Bridge Ivan Tsarevich, three beautiful princesses are saved by Ivan in underground kingdom). They use traditional artistic means of expression: epithets (good horse, brave horse, green meadow, silk grass, azure flowers, blue sea, dense forests), similes, metaphors, words with diminutive suffixes. These features of fairy tales echo the epics and emphasize the vividness of the narrative. An example of such a tale is the tale “Two Ivans - Soldiers’ Sons.” The beginning of the fairy tale is replete with everyday pictures and little reminds of magical circumstances. It conveys ordinary everyday information: there lived a man, the time came - he joined the soldiers, in his absence twin boys were born, who were named Ivan - “soldier’s sons”. Thus, there are two main characters in this tale. Nothing miraculous or magical is happening in her yet. It tells about how children study, how they master literacy, “they put the children of lords and merchants in their belts.” In the development of the action, a plot is planned when the fellows go to the city to buy horses. This scene is filled with elements of a fairy tale: the brothers tame the stallions as fairy-tale heroes have heroic strength. With a “valiant whistle” and a loud voice, the stallions that ran away into the field are returned. The horses obey them: “The stallions came running and stood in place, as if rooted to the spot.” The main characters of the fairy tale are surrounded by special objects that emphasize their heroism (heroic horses, sabers worth three hundred pounds). It is also miraculous that they received these items from a gray-haired old man who led them out the horses, opening a cast-iron door in a large mountain. He brought them two heroic sabers. This is how peasant children turn into heroes. Sat down good fellows got on our horses and rode off. The fairy tale includes images of crossroads, pillars with inscriptions that determine the choice of path and the fate of the brothers. The objects accompanying the brothers turn out to be miraculous, for example, the handkerchiefs symbolizing death that they exchanged. The narrative is framed by stable fairy-tale formulas. One brother reached the glorious kingdom, married Nastasya the Beautiful and became a prince. “Ivan Tsarevich lives in joy, admires his wife, gives order to the kingdom and amuses himself with animal hunting.” And the other brother “jumps tirelessly day and night, and a month, and another, and a third.” Then Ivan unexpectedly finds himself in an unfamiliar state. In the city he sees great sadness. “The houses are covered with black cloth, people seem to be staggering sleepily.” The twelve-headed serpent that comes out of blue sea , because of the gray stone, eats a person at a time. Even the king's daughter is taken with a snake to be eaten. The snake personifies the dark forces of the world with which the hero fights. Ivan rushes to help. He is brave, knows no fear and always wins in battle. Ivan chops off all the heads of the snake. The magical-fairy-tale element is enhanced by the description of nature, against the background of which a snake appears: “Suddenly a cloud moved in, the wind rustled, the sea shook - a snake emerges from the blue sea, rises up the mountain...”. Ivan's duel with the snake is described laconically. Repeated verbs add speed to the action: “Ivan drew his sharp saber, swung, struck and cut off all twelve heads of the snake; picked up a gray stone, put the heads under the stone, threw the body into the sea, and returned home, went to bed and slept for three days.” It would seem that the fairy tale should end here, the plot has been exhausted, but suddenly new circumstances are woven into it with the introduction of a character from the royal entourage - a water carrier, whose thoughts are vile and base. The situation is getting worse. The climax comes. The water carrier acts as the “savior” of the princess, who, under pain of death, forced her to recognize him as a savior. The episode is repeated two more times with two other daughters of the king. The Tsar made the water carrier a colonel, then a general, and finally married his youngest daughter. And Ivan fights the monster three times, three times the water carrier threatens to kill the king’s daughters. However, the story ends with the victory of the hero, evil is punished, the water carrier is hanged, truth triumphs, the youngest daughter is married to Ivan. This episode of the fairy tale ends with the well-known saying: “The young people began to live and live well and make good money.” The narrative in the fairy tale returns again to another brother - Ivan Tsarevich. It is told how he got lost while hunting and met an ugly monster - a red maiden, the sister of a twelve-headed serpent, who turned into a terrible lioness. She opens her mouth and swallows the prince whole. The fairy tale reveals an element of reincarnation. A wonderful object comes to the hero’s aid - his brother’s handkerchief, notifying him of what has happened. The search for my brother begins. The tale repeats the description of the hunt and the actions of the hero. Ivan the peasant son finds himself in the same situation as Ivan Tsarevich, but remains alive thanks to a wonderful helper - a magic horse. The red maiden puffed up like a terrible lioness and wanted to swallow the good fellow, but a magic horse came running, “clasped her with heroic legs,” and Ivan forced the lioness to throw Ivan Tsarevich out of her, threatening to chop her into pieces. An extraordinary miracle in a fairy tale and living water, saving, reviving Ivan Tsarevich. The tale ends with the ending: Ivan Tsarevich remained in his state, and Ivan the soldier’s son went to his wife and began to live with her in love and harmony. The fairy tale “Two Ivans - Soldiers’ Sons” combines all the elements of a fairy tale: composition, three-fold repetition of episodes and actions of the heroes, development of the plot, positive heroes and the opposition of negative monsters to them, miraculous transformations and objects, the use of visual and expressive means (constant epithets, stable folklore formulas). The fairy tale affirms good and debunks evil. It is interesting to note that the text of the tale has a continuation (Russian folk tales by A.N. Afanasyev). Here is the text: “At some time, Ivan, the soldier’s son, went out into the open field for a walk; a small child comes across him and asks for alms. The good fellow felt sorry, took a gold piece out of his pocket and gave it to the boy; the boy accepts alms, but he sulks - he turns into a lion and tears the hero into small pieces. A few days later the same thing happened to Ivan Tsarevich: he went out into the garden for a walk, and an old man met him, bowed low and asked for alms; the prince gives him gold. The old man accepts alms, but he sulks. He turned into a lion, grabbed Tsarevich Ivan and tore him into pieces. And so the mighty heroes perished, and their serpentine sister tormented them.” The good feelings of Ivan, a peasant son who took pity on his snake sister, a beautiful maiden, and let her go, were punished by the death of his brothers. Although such a tragic ending is generally not typical for fairy tales.

Everyday fairy tales are different from fairy tales. They are based on the events of everyday life. There are no miracles or fantastic images, there are real heroes: husband, wife, soldier, merchant, master, priest, etc. These are tales about the marriage of heroes and heroines, the correction of obstinate wives, inept, lazy housewives, gentlemen and servants, about the fooled master, a rich owner, a lady deceived by a cunning owner, clever thieves, a cunning and savvy soldier, etc. These are fairy tales on family and everyday themes. They express an accusatory orientation; the self-interest of the clergy, who does not follow the sacred commandments, and the greed and envy of its representatives are condemned; cruelty, ignorance, rudeness of the bar-serfs.

These tales sympathetically depict a seasoned soldier who knows how to make things and tell tales, cooks soup from an ax, and can outwit anyone. He is able to deceive the devil, the master, the stupid old woman. The servant skillfully achieves his goal, despite the absurdity of the situations. And this reveals the irony.

Everyday tales are short. The plot is usually centered on one episode, the action develops quickly, there is no repetition of episodes, the events in them can be defined as absurd, funny, strange. In these tales, comedy is widely developed, which is determined by their satirical, humorous, ironic character. They are not horror, they are funny, witty, everything is focused on action and narrative features that reveal the images of the characters.

“They,” wrote Belinsky, “reflect the life of the people, their home life, his moral concepts and this crafty Russian mind, so inclined to irony, so simple-minded in its craftiness.”

One of the everyday fairy tales is the fairy tale “The Proving Wife.” It has all the features of an everyday fairy tale. It begins with the beginning: “There lived an old man with an old woman.” The tale tells about ordinary events in the life of peasants. Its plot develops quickly. A large place in the fairy tale is given to dialogues (conversation between an old woman and an old man, an old woman and a master). Her heroes - everyday characters. It reflects the family life of the peasants: the heroes “hook” (i.e. pick up) peas in the field, set up equipment for fishing (“hooks”), and fishing gear in the form of a net (“muzzle”). The heroes are surrounded by everyday things: the old man puts a pike in a “pesterek” (birch bark basket), etc. At the same time, the fairy tale condemns human vices: the talkativeness of the old man’s wife, who, having found the treasure, told everyone about it; the cruelty of the master who ordered a peasant woman to be flogged with rods. The tale contains elements of the unusual: a pike in a field, a hare in the water. But they are connected with the real actions of the old man, who in a witty way decided to play a joke on the old woman, teach her a lesson, punish her for her talkativeness. “He took a pike, put it in the hare’s face instead, and took the fish to the field and put it in peas.” The old woman believed everything. When the master began to inquire about the treasure, the old man wanted to remain silent, and his talkative old woman told the master about everything. She argued that the pike was in peas, the hare was hit in the face, and the devil tore the master’s skin. It is no coincidence that the fairy tale is called “The Proving Wife.” And even when she is punished with rods: “they stretched her, heartfelt, and began to treat her; “You know, she says the same thing under the rod.” The master spat and drove the old man and old woman away. The fairy tale punishes and condemns the talkative and stubborn old woman and treats the old man with sympathy, glorifying resourcefulness, intelligence, and ingenuity. The fairy tale reflects the elements of folk speech.

Description of work

Folk tales about animals are intended for the youngest children. The heroes of these fairy tales are animals, each of which is assigned a certain functional image. For example, the Fox is always cunning, the Hare is cowardly, the Wolf is stupid, the Bear is kind, the Cockerel is brave, etc. Although all the characters are animals, the characters of people can easily be guessed behind them. That is why illustrators “dress” the heroes of these fairy tales in human clothing. Fairy tales about animals teach young children the triumph of justice and goodness. For example, the Cockerel expels the Fox from the Bunny's hut. The stupid Wolf remains stupid when he obediently catches fish with his tail. The Crane turns out to be smarter than the Fox when he invites her to taste the treat from the jug. Little children love fairy tales about animals; they quickly learn them and tell them themselves, giving their parents a lot of pleasure.

The content of the work

1. Genre features of Russian folk tales: tales about animals; fairy tales; everyday tales.
2. Theme, plot and compositional features.
3. Reflection moral ideals people in the content of fairy tales.
4. Poetry, expressiveness of language.
5. Favorite heroes of Russian folk tales.
6. Russian writers about fairy tales.
7. The role of fairy tales in the formation of a child’s ideas about the world, the creation of moral and aesthetic values, and the development of speech.

Savchenko Daria Sergeevna

V year student

crafts

Making a children's kit on the topic:

"Fly Tsokotukha"

Interdisciplinary coursework

by discipline Performing Arts and Composition,

Theory and history of culture.

Supervisor:

Turbasov D.V.

Introduction……………………………………………3

Chapter 1. Fairy tale in art………...………....5

1.1 Classification of fairy tales by genre ………..7

Fairy tale in creativity

porcelain artists….……………….17

Chapter 2. Design and creation

artistic product on porcelain………..19

Progress on creation

compositions……………………………………….20

Conclusion ……………………………………….21

Bibliography………………………………22

Application……………………………………… 23

Introduction.

The art of creating porcelain products occupies a special place in our artistic culture. It brings to today’s generations an understanding of beauty that has been formed over centuries.

Among the many problems of contemporary art, the problems of tradition are perhaps the most significant and complex. They cause long-term debates, at times turning into organized discussions. However, even today this topic cannot be considered inexhaustible; rather, on the contrary, the further art develops, the greater relevance it acquires.

The problem of style in porcelain decoration is associated with the creative development of the traditions of Russian porcelain art, preserving and using the wealth of artistic techniques that previous generations possessed and establishing them in modern times.

Porcelain is a material that is sensitive to any changes in style and fashion, however, it is not subject to them.

The Imperial Porcelain Factory is one of the pinnacles of Russian national culture.

Porcelain has a number of amazing properties: it can express the monumentality of architecture and the plasticity of sculpture and can reflect on its snow-white surface all the colorfulness of painting.

Preserving traditions, enriched by modern technologies, allows the Imperial Porcelain Factory today not only to recreate masterpieces of past centuries from the Hermitage collection.

Using this wealth of experience, talented contemporary artists create new unique works that support every reputation of the art of Russian artistic porcelain and allow them to carry out important orders at the highest level.

Subject is a plot, compositional, coloristic solution fairy tales in products decorative and applied art.

Object is a fairy tale plot in applied art.

Target: based on the studied material, create a project for painting porcelain products and complete it in the material.

Tasks: study of text and illustrative material on the topic,

reveal the topic, talk about the history of this topic in art, write a text, compile a bibliography, make sketches, describe the practical part, do work in the material, prepare a presentation on the topic.

Chapter 1. Fairy tale in art

A fairy tale is the oldest genre oral folk poetry, epic, mostly prosaic, work of a magical, adventurous or everyday nature. Like all folk art, fairy tales are deeply national, but at the same time, most fairy tale plots are found among many peoples of the world.

The most important characteristic The essence of a fairy tale is that it contains a mandatory orientation toward fiction, which also determines the poetics of the fairy tale. The main features of a fairy tale include “inconsistency with the surrounding reality” and “extraordinary... events that are narrated” (this is the difference between a fairy tale and a literary narrative).

Fairy tales (whose classification is used in this section) “are distinguished not by their magic or wonder... but by their absolutely clear composition.” At the heart of a fairy tale (an idea that a variety of researchers have come to, independently of each other) is the image of initiation (initiation is a type of rite of passage, the initiation of young men into the ranks of adult men) - hence the “other kingdom” where the hero must go in order to acquire bride or fabulous values, after which he must return home. The narrative is “taken entirely beyond the boundaries of real life.” Characteristic features of a fairy tale: verbal ornament, sayings, endings, stable formulas.

Cumulative fairy tales are built on the repeated repetition of some link, as a result of which either a “pile up” (Terem of the Fly), or a “chain” (Turnip), or a “consecutive series of meetings” (Kolobok) or “references” (Cockerel Choked) arises. There are few cumulative tales in Russian folklore. In addition to the compositional features, they are distinguished by style, richness of language, often gravitating towards rhyme and rhythm. The remaining fairy tales are distinguished into special genres not on the basis of composition, which has not yet been sufficiently studied, but on other grounds, in particular, on the character of the characters. In addition, in non-magical fairy tales, the “extraordinary” or “wonderful” “is not taken outside the boundaries of reality, but is shown against the background of it. In this way, the unusualness takes on a comic character.” The supernatural (wonderful objects, circumstances) is absent here, and if it occurs, it is comically colored.

Tales about animals, plants (war of mushrooms, etc.), about inanimate nature(wind, frost, sun) and objects (bast shoe, straw, bubble, coal) make up a small part of Russian and Western European fairy tales, while among the peoples of the North, North America and African tales about animals are widespread (most popular heroes- clever deceivers - tricksters (jesters) hare, spider, fox, coyote).

Everyday (novelistic) fairy tales are divided by types of characters (about clever and clever guessers, about wise advisers, about clever thieves, about evil wives, etc.).

Fables tell “about completely impossible events in life” (for example, about how wolves, having driven a person into a tree, stand on each other’s backs to get him out of there).

Boring fairy tales are, rather, “jokes or nursery rhymes”, with the help of which they want to calm down children who demand to tell fairy tales (About the white bull).

The variety of folk tales in this classification is by no means exhausted; for example, in the Slavic tradition, tales of heroes, soldiers, etc. can also be distinguished.

Mythological and fairy-tale characters have become heroes of works of Russian art, primarily folk art, since ancient times. Folk art is one of the bearers of national memory. It is here that the images of Slavic mythology are preserved. Often these images have been so transformed over time that it is difficult for us to understand what is depicted in a particular work. But many of the characters are recognizable. These are mermaid pharaohs who decorated houses in the Nizhny Novgorod province, and images of the Mother of the Raw Earth in northern red and white embroideries, and the fabulous birds Sirin and Alkonost, appearing in many types of folk art - embroidery, wood painting, as well as in popular prints, and many others. Folk toys - clay (Dymkovskaya and Kargopolskaya) and wooden (Bogorodskaya) - also depicted many fairy-tale characters - the heroes of Pushkin's fairy tales were and remain especially popular.

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