Practice report: Folklore traditions of the Vologda region. Practice Report: Folk Art

Municipal preschool educational institution
« Kindergarten No. 14 "Ivushka"
city of Zelenokumsk, Sovetsky district.
self-education report
Topic: "The role of oral folk art
in the development of children's speech "
teacher Lapaeva Tatyana Aleksandrovna
2017
"The role of oral folk art in the development of children's speech"
In the 2016-2017 academic year, I continued the topic of self-education, which was started in the 2015-2016 academic year "The role of oral folk art in the development of children's speech." Age from 3 to 4 years is of particular importance for the speech development of the child. The main task of a teacher in the field of speech development of children of primary preschool age is to help them master spoken language, their native language.
Relevance. The most important source for the development of the expressiveness of children's speech is the works of oral folk art, including small folklore forms (riddles, chants, nursery rhymes, jokes, songs, tongue twisters, proverbs, sayings, counting rhymes, lullabies). The educational, cognitive and aesthetic value of folklore is enormous, as it expands the child's knowledge of the surrounding reality, develops the ability to feel the artistic form, melody and rhythm of the native language, contributes to the development of figurative thinking, enriches the speech of children. Children perceive folklore works well due to their gentle humor, unobtrusive didacticism and familiar life situations. With the help of folk songs, nursery rhymes, children are brought up with a positive attitude towards routine moments: washing, combing, eating, dressing, going to bed. Fairy tales develop the child's personality, they awaken his imagination, teach him to dream.
So that children, as best as possible, can master the means of communication and ways of interacting with adults and peers, I set the following goal:
"Development of speech, cognitive and creative abilities of children on the basis of oral folk art"
The main tasks of my direction are:
1. Increase your own level of knowledge by studying articles in journals and methodological literature;
2. Reveal the importance of oral folk art in the system of raising children;
3. Introduce children to Russian folklore
4. Enrich the speech of children, form an attitude to the world around
5. To develop free communication between an adult and children about what they have read, practical mastery of the norms of Russian speech.
6. Cultivate love for Russian folklore.
To solve the tasks, I used the following methods and techniques:
Visual method: demonstration and illustration of paintings, showing methods of action.
Verbal method: collective reading, memorizing poems and nursery rhymes with children, telling Russian folk tales with elements of dramatization, acting out.
Game method: dramatization games, dramatization games, didactic games, board games.
In my work I used the following didactic aids:
table theater;
finger games based on Russian folk rhymes and fairy tales;
puppet show;
illustrative material on fairy tales;
illustration albums on fairy tales and works.
At the first stage of my work on the topic of self-education, I made
1. Analysis of diagnostics in order to identify children's knowledge of Russian folklore.
2. Studied advanced pedagogical experience and literature on this topic.
3. Developed a long-term plan to introduce children to oral folk art.
4. Studied the influence of oral folk art on the development of a child's speech.
Therefore, at the second stage of my work on the topic of self-education, I began to study, collect, and then independently create the necessary material for further work, for applying the acquired knowledge in practice.
I collected a card index of finger games based on oral folk art.
I collected a card file of riddles, incantations, pestles, nursery rhymes, which I successfully used both in the classroom and in various regime moments.
As a result of the work done, by the end of the year, most children are able to speak slowly, talk about what they see, and answer simple questions. The children's speech activity increased, the vocabulary corresponding to their age was enriched. Kids are interested in others, freely communicate with peers and adults, actively use the forms of speech etiquette (with a request, greeting, farewell). They show kindness and responsiveness to the heroes of the works, to the people around them. Children know a lot of poems, nursery rhymes, songs and tell them with pleasure.
It is very important to work with parents. I recommend parents to use samples of oral folk art more widely in their own speech, and in individual conversations I show how this can be done. I designed folders for them - movements on the topic:
- "Parents - book - child",
- "Oral folk art in the development of children's speech",
- “Raising a talker”,
prepared a consultation on the topic “Recommendations for parents on the development of the speech of children of the fourth year of life”, “Nursery rhymes will help to cope with child disobedience”, “Russian folk tales in the development of the speech of a child of the fourth year of life”, booklets “Lay your heart on reading” and much more.
I pay much attention to modern approaches to the upbringing of children, I create conditions that provide the child with psychological comfort, his comprehensive development. I focus on new approaches to the problems of education, on innovative methods and novelties in methodological literature, the literature taken from the Internet helped me a lot in this:
“Preschooler: education and development, features of communication. Junior preschool age: 3-4 years old, Prosveshchenie Publishing House, 10.2015;
"FGOS on the game as a special type of activity of a preschooler" - publishing house Uchitel September 2015;
"Speech development of preschoolers in the introduction to fiction" publishing house Uchitel 02.2016.
CONTENT OF SELF-EDUCATIONAL WORK
for 2016-2017 academic year
Stages of work on self-education Activity
1. Formation of the need for self-education, self-assessment of readiness, awareness of the need for knowledge, setting goals and objectives. The purpose of the work on self-education: to unite the efforts of teachers and parents in raising children with the help of works of Russian folklore, to develop the creative, cognitive, communicative abilities of children on the basis of oral folk art.
2. Planning work on self-education. Planning work for the following sections:
- study of methodical literature;
-work with children;
- work with family;
- self-realization.
3. Theoretical study of the problem. The study of literature on the topic:
1. Baburina G.I., Kuzina T.F. Folk pedagogy in the education of preschoolers. M., 1995.
2. Dal V.I. Proverbs and sayings of the Russian people. M., 2009.
3. Larks: Songs, sentences, nursery rhymes, jokes, counting rhymes / Comp. G. Naumenko. M., 1998.
4. Knyazeva O.L., Makhaneva M.D. Familiarization of children with the origins of Russian culture: Textbook-method. allowance 2nd ed., revised. and additional St. Petersburg,. 2008.
5. Russian folklore / Comp. V. Anikin. M., 1985
4. Practical activities Leisure "Evening of riddles according to Russian folk tales" "Tales of the grandmother Riddle."
Dramatization of the Russian folk tale "Teremok", "Zayushkin's hut".
Entertainment "Wide Shrovetide"
Game activity "Let's play with fingers."
Leisure "Sun, dress up, red, show yourself!"
"Gatherings" (a creative evening with the participation of parents)
Family contest "Guess the riddle - draw a riddle"
Consultation for educators "The influence of Russian folk art on the development of speech of children 3-4 years old", "Do not forget folk games."
Final open lesson with elements of folklore "In search of spring"
Master class for educators on the studied topic "Girls' gatherings."
Report on the topic of self-education.
5. Summing up the results of self-education. As a result of work on the topic of self-education
- the majority of children have increased interest in oral folk art;
enriched oral speech, fantasy and imagination;
- parents have expanded their ideas about the influence of oral folk art on the development of a child's speech.
Conclusion: In my teaching activities, I plan to continue the work of implementing the principle “from simple to complex”. Conduct direct educational activities with children in an unusual environment, introduce integration into all types of activities with children in various areas of educational work. In the future, I see the need to continue working on the development of children's speech by means of oral folk art, as well as to develop children's speech through theatrical games.

Plan

1. Oral folk art

1.1 Folk poetry

1.2 Folk music

2. Characteristics of calendar holidays

Literature

1. Oral folk art

Artistic, folk art, folklore, artistic creative activity of the working people; poetry, music, theater, dance, architecture, fine and decorative arts created by the people and existing among the masses. In the collective arts, creativity, the people reflect their labor activity, societies, and everyday way of life, knowledge of life and nature, cults and beliefs. In folk art, which has developed in the course of societies, labor practices, the views, ideals and aspirations of the people, their poetic fantasy, the richest world of thoughts, feelings, experiences, protest against exploitation and oppression, dreams of justice and happiness are embodied. Having absorbed the centuries-old experience of the masses, folk art is distinguished by the depth of art, the assimilation of reality, the truthfulness of images, and the power of creative generalization.

The richest images, themes, motifs, forms of folk art arise in the complex dialectical unity of individual (though, as a rule, anonymous) creativity and collective art, consciousness. The folk collective has been selecting, improving and enriching the found departments for centuries. solution masters. Continuity, sustainability of artistic traditions (within which, in turn, personal creativity is manifested) are combined with variability, the diverse implementation of these traditions into separate. works.

The collective nature of folk art, which constitutes its permanent basis and undying tradition, manifests itself in the course of the entire process of the formation of works or their types. This process, including improvisation, its consolidation by tradition, subsequent improvement, enrichment and sometimes renewal of the tradition, turns out to be extremely long in time. It is characteristic of all types of folk art that the creators of a work are at the same time its performers, and the performance, in turn, can be the creation of variants that enrich the tradition; also important is the closest contact between performers and people who perceive art, who themselves can act as participants in the creative process. The main features of folk art also include the long-lasting indivisibility, the highly artistic unity of its types: poetry, music, dance, theater, and decorative arts merged in folk ritual actions; in the folk dwelling, architecture, carving, painting, ceramics, embroidery created an inseparable whole; folk poetry is closely related to music and its rhythm, musicality, and the nature of the performance of most works, while musical genres are usually associated with poetry, labor movements, and dances. The works and skills of folk art are directly passed down from generation to generation.

Folk art was the historical basis of the entire world artistic culture. Its original principles, the most traditional forms, types and partly images originated in ancient times in a pre-class society, when all art was the creation and property of the people. With the social development of mankind, the formation of a class society, the division of labor, a professionalized “high”, “scientific " art. Folk art also forms a special layer of world artistic culture. It distinguishes layers of different social content associated with the class differentiation of society, but by the beginning of the capitalist period, folk art is everywhere defined as the collective traditional art of the working masses of the countryside, and then the city. The limited connection with the fundamental principles of the people's worldview, the poetic wholeness of the attitude towards the world, the incessant polishing determine the high level of art, the level of folk art. In addition, folk art has developed special forms of specialization, continuity of skill and teaching it.

The folk art of various, often far from each other, peoples has many common features and motifs that arose under similar conditions or inherited from a common source. At the same time, folk art has absorbed the peculiarities of the national life and culture of each nation for centuries. It retained its life-giving labor base, remained a treasure trove of national culture, an expression of national self-consciousness. This determined the strength and fruitfulness of the impact of folk art on all world art, as evidenced by the works of F. Rabelais and W. Shakespeare, A. S. Pushkin and N. A. Nekrasov, P. Brueghel and F. Goya, M. I. Glinka and M.P. Mussorgsky. Folk art has preserved valuable evidence of the revolutionary mood of the people, their struggle for their happiness.

Under capitalism, having fallen into the sphere of bourgeois socio-economic relations, folk art develops extremely unevenly. Many of its branches are degrading, disappearing completely or are in danger of being forced out; others lose their valuable traits by industrializing or adapting to the demands of the market. In the 19th century the growth of national consciousness, democratic and national - liberation movement, the development of romanticism arouse interest in folk art. At the end of 19-20 centuries. the influence of folklore on world culture is increasing, some lost branches of folk art are being restored, museums and societies for its protection are being organized. At the same time, the state and private philanthropy often subjugate folk art to commercial goals, the interests of the "tourism industry", for which they cultivate in it the most archaic features and religious-patriarchal remnants.

Conditions have been created in socialist society for the preservation and development of folk art; inheriting and asserting national folk traditions, it is imbued with the ideas of socialism, the pathos of reflecting a new, transformed reality; folk art enjoys the dental support of the state and societies, organizations, its masters are awarded prizes and honorary titles. A network of folk art institutions has been created - institutions and museums that study the experience of folk art and contribute to its development. Many traditional genres of folk art are dying off, but others are finding a new place in life. New forms of arts and cultures of the masses are also born. Intensively developing amateur performance (choirs, choreographic groups, folk theaters, etc.), which has a different nature than folk art, but partly uses its heritage. Created for many centuries, high examples of folk art retain the value of an ever-living cultural heritage, a treasury of arts, and the experience of the masses.

1.1 Folk poetry

Folk poetry- mass verbal artistic creativity of this or that people; the totality of its types and forms, denoted in modern science by this term, has other names - folk literature, oral literature, folk poetry, folklore. Verbal artistic creativity arose in the process of the formation of human speech. In a pre-class society, it is closely connected with other types of human activity, reflecting the beginnings of his knowledge and religious - mythological ideas. In the process of social differentiation of society, various types and forms of oral verbal creativity arose, expressing the interests of different social groups and strata. The most important role in its development was played by the creativity of the working masses. With the advent of writing, literature arose, historically associated with oral folk art.

The collective nature of oral folk art (meaning not only the expression of the thoughts and feelings of the collective, but, above all, the process of collective creation and distribution) determines the variability, i.e., the variability of texts in the process of their existence. At the same time, the changes could be very different - from minor stylistic variations to a significant revision of the idea. In memorization, as well as in varying texts, a significant role is played by peculiar stereotyped formulas - the so-called. common places associated with certain plot situations, passing from text to text (for example, in epics - the formula for saddling a horse, etc.).

In the process of existence, the genres of verbal folk art experience "productive" and "unproductive" periods ("ages") of their history (emergence, distribution, entry into the mass repertoire, aging, extinction), and this is ultimately connected with social and cultural domestic changes in society. The stability of the existence of folklore texts in folk life is explained not only by their artistic value, but also by the slowness of changes in the way of life, worldview, tastes of their main creators and keepers - the peasants. The texts of folklore works of various genres are changeable (albeit to varying degrees). However, in general, traditionalism has an immeasurably greater power in folk art than in professional literary work.

The collectivity of verbal folk art does not mean its impersonality: talented masters actively influenced not only the creation, but also the distribution, improvement or adaptation of texts to the needs of the collective. Under the conditions of the division of labor, peculiar professions of performers of works of folk art arose. In some countries of the Middle East and Central Asia, in the Caucasus, transitional forms of verbal folk art developed: works created by certain individuals were distributed orally, but the text changed relatively little, the author's name was usually known and often entered into the text (for example, Toktogul Satylganov in Kyrgyzstan, Sayat-Nova in Armenia).

The wealth of genres, themes, images, and poetics of verbal N. t. storytelling, acting out, dialogue, etc.). In the course of history, some genres underwent creatures, changes, disappeared, new ones appeared. In the most ancient period, most peoples had tribal traditions, labor and ritual songs, and incantations. Later, magical, everyday tales, tales about animals, pre-state (archaic) forms epic . During the formation of statehood, a classical heroic epos developed, then historical songs, ballads . Even later, an extra-ceremonial lyric song was formed, romance, ditty and other small lyrical genres and, finally, working folklore (revolutionary songs, oral stories, etc.).

Despite the bright national coloring of the works of verbal folk art of different peoples, many motives, images and even plots are similar in them. For example, about two-thirds of the plots of the tales of European peoples have parallels in the tales of other peoples, which is caused either by development from one source, or by cultural interaction, or by the emergence of similar phenomena on the basis of general patterns of social development.

Until the late feudal era and the period of capitalism, verbal folk art developed relatively independently of written literature. Later, literary works more actively than before penetrate into the people's environment (for example, "Prisoner" and "Black Shawl" by A. S. Pushkin, "Pedlars" by N. A. Nekrasov; see also about this in Art. Free Russian poetry, Lubok literature). On the other hand, the work of folk storytellers acquires some features of literature (individualization of characters, psychologism, etc.). In a socialist society, the availability of education provides an equal opportunity for the development of talents and creative professionalization of the most gifted people. Various forms of mass verbal and artistic culture (the creation of songwriters, chastushechniks, the composition of interludes and satirical skits, etc.) are developing in close contact with professional socialist art; among them, the traditional forms of verbal folk art continue to play a certain role. tastes, lifestyle This is also the reason for the profound influence of verbal folk art on the development of literature. M. Gorky said: "... The beginning of the art of the word is in folklore." On the recording of folk art, its study and methodological principles of study

1.2 Folk music

Musical folklore - vocal (predominantly song), exists, as a rule, in non-written form and is transmitted through performing traditions. Being the property of the whole people, folk music exists mainly thanks to the performing arts of talented nuggets. Such are the different nations kobzar , harpist , buffoon, ashug, akyn, kuishi , bakhshi, gusan, hafiz, olonkhosut , juggler, minstrel, spielman and the ancient origins of folk music, like other arts, go back to the prehistoric past. The musical traditions of different societies and formations are exceptionally stable and tenacious. In each historical epoch, large or small ancient and transformed works coexist, as well as newly created works based on them. Together they form the so-called. traditional musical folklore. It is based on the music of the peasantry, which for a long time retains the features of relative independence and, on the whole, differs from the music associated with younger, written traditions. The main types of musical folk art - songs , epic tales , dance tunes , dance choruses , instrumental pieces and tunes (signals, dances). Each work of musical folklore is represented by a whole system of stylistically and semantically related variants that characterize the changes in folk music in the process of its performance.

The genre richness of folk music is the result of the diversity of its vital functions. Music accompanied the whole working and family life of the peasant: calendar holidays of the annual agricultural cycle (carols, stoneflies, Shrovetide, Kupala songs), field work (mowing, reaping songs), birth, wedding (lullabies and wedding songs), death (funeral lamentations). Among pastoral peoples, songs were associated with the domestication of a horse, driving cattle, etc. Later, lyrical genres received the greatest development in the folklore of all peoples, where simple, short tunes of labor, ritual, dance and epic songs or instruments of tunes are replaced by detailed and sometimes complex musical improvisations - vocal and instrumental

In various genres of folk music, various types of melos - from recitative to richly ornamental (lyrical songs of near - and middle - oriental musical cultures), rhythmics , fret-series systems (from primitive narrow-volume modes to the developed diatonic "free melodic system"). The forms of the stanzas, the couplet (paired, symmetrical, asymmetric, etc.), and the works as a whole are also varied. Musical folk art exists in monophonic (solo), antiphonal ensemble, choral and orchestral forms. The types of choral and instrumental polyphony are diverse - from heterophony and bourdon (continuously sounding bass background) to complex polyphonic and chordal formations. Each national folk musical culture, which includes a system of musical-folklore dialects, forms a musical-stylistic whole and at the same time combines with other cultures into larger folklore-ethnographic communities.

The fixation of folk music (in the 20th century with the help of sound recording equipment) is dealt with by a special scientific discipline - musical ethnography , and its study - ethnomusicology (musical folklore).

On the basis of folk music, almost all national professional schools arose, each of which contains samples of various uses of folklore heritage - from the simplest arrangements of folk melodies to individual creativity, freely implementing folklore musical thinking, laws specific to a particular folk musical tradition. In modern musical practice, folk art is a fertilizing force both professionally and for various forms of amateur art.

2. Characteristics of calendar holidays

Since the appearance of a person on earth, he constantly comes into contact with the outside world and masters it. For centuries, labor skills have been created and developed, which become especially important in the era of agriculture. It was then that "the rhythm of life turned out to be even more dependent on the alternation of seasons and production cycles, the harvest - in direct proportion to the vagaries of nature, from the impact of natural elements."

Not only his life, but also the life of his entire family depended on the ability of the farmer to predict the weather in order to sow, preserve and harvest crops in time. Therefore, researchers believe that the annual cycle was initially formed on signs of the weather . A large number of signs have been preserved in the form of proverbs, sayings and sayings, as well as direct indications of the timing of various agricultural activities. Some signs are common to all regions of Russia. Others, and most of them, reflect only local climatic features.

The second even less reliable way to recognize the weather and crop prospects is divination . Although, unlike signs, fortune-telling is based solely on superstition - and they “have a certain well-known psychological effect: favorable fortune-telling increases ... mental energy, self-confidence, confidence in success, and unfavorable, on the contrary, can have a depressing effect on the psyche; therefore, we can assume that favorable fortune-telling helps the desired “come true”.

But man was not limited to contemplating the natural world and predicting certain processes in it that have a positive or negative effect on earthly life. He has long sought to actively influence nature, including through numerous magical rituals.

These rites were to be repeated from year to year without any change in words, melodies and body movements. Only under this condition would the surrounding world remain unchanged, and, consequently, the harvest would be no worse than last year.

Thousands of years has evolved folk agricultural calendar , which reflected the practical experience of the tiller, his meteorological and astronomical observations, as well as superstitious customs that arose as a result of his peculiar understanding of causal relationships in natural phenomena. "The calendar marked the start and end dates of work in the field and in the house, days of obligatory cult rituals were allocated.

« food and offspring- wrote the famous English ethnographer J. Fraser, - this is what people sought to provide for themselves, performing magical rites designed to regulate and control the seasons". The main goal of the farmer - to feed his family - was easier to achieve with a large number of household helpers. That is why in the Russian village for a long time the large family prevailed, in which, to the best of their ability, everyone worked, from young to old. The main burden of peasant work fell on the shoulders of the owner and his eldest sons. Ultimately, the life of the entire peasant community depended on the well-being of an individual family. Therefore, family and marriage motives are so important in agricultural customs and holidays throughout the entire annual cycle.

occupies a special place in the life of the farmer sun . « The sun- A. V. Lunacharsky pointed out, this is the god who gives both heat and light and food, who fights night every day and, in addition, fights winter every year. Winter deprives him of his rays, deprives him of his fertilizing power. Therefore, during the winter, God is defeated, God suffers. In winter, the sun descends under the earth, into the underworld, the death of the sun, and in spring there is a rebirth. Every year in the spring the sun rises, the god returns in a radiant radiance. However, this god is impossible. Think like an omnipotent god. No, he is not omnipotent, he fights darkness and cold, and then he, then the enemy wins. You can cry when he is defeated and rejoice when he has won.". Therefore, four astronomical dates associated with the phases of the earth's movement around the sun played an important role in the folk calendar: the winter and summer solstices, the spring and autumn equinoxes. The winter solstice (December 25) was celebrated as the "turn" of the sun for summer, as a day after which the daytime begins to gradually but inevitably arrive, and the night to shorten. December 25 is the holiday of the rebirth of the sun, the beginning of the struggle between heat and cold, light and darkness. On the summer solstice (June 22), the sun reaches its highest point in the sky. The longest day and the shortest night - the time of the most rapid flowering of all vegetation. After the summer solstice, the sun begins to decline towards the earth, day after day, yielding to the forces of darkness. The dates of the spring and autumn equinoxes (March 21 and September 23) marked the arrival of spring and autumn.

All the main cycles of peasant customs and holidays, timed to coincide with the four moments of the solar year, are usually divided into winter, spring, summer and autumn. Of course, this classification is somewhat arbitrary. For example, the transition from spring to summer is usually imperceptible. In addition, the time of arrival of spring in different climatic zones is not the same. The meeting of spring is stretched in the folk calendar from the very beginning of March (in the south) to the end of March - the beginning of April (in the north and in Siberia). And the terms for carrying out the main peasant work are also extended - plowing the fields, the first pasture of cattle, sowing, haymaking, and harvesting. Finally, in a number of cases the holidays themselves are celebrated, as it were, in the off-season. So, Shrovetide in time is a winter holiday, and in content it is spring.

Calendar rites could be timed to coincide with the beginning of some agricultural work or, as independent festivities, stretched in some cases for several days. winter holidays were celebrated for two weeks (from December 25 to January 6), Shrovetide was celebrated for a week (usually the second half of February - the first half of March) and semik "green Christmas time" (most often in June).

So far, the pre-Christian basis of the folk calendar has been considered. But it also reflected the centuries-old struggle between Christianity and paganism. The Orthodox Church acted not only by strict prohibitions and punishments of adherents of grandfather's customs. She sought to transform the pagan essence of the festivities by introducing church calendars or calendars (in which the days of commemoration of Christian saints or events from the history of the church were arranged in calendar order), coinciding with the dates of the main pagan holidays. But in this struggle, it was not the church that won, but the traditional pre-Christian worldview. Rejecting the abstractness of Christian teaching, the peasantry created its own "domestic Orthodoxy". Both biblical saints and biblical events received concreteness characteristic of the peasant worldview in it. The images of Christian saints took on the functions of deities of fertility, assistants in the work of the farmer. Even their names were subjected to everyday rethinking among the people. Various nicknames were attached to them, reflecting long-term observations of the weather these days, especially seasonal work. So, March 1 - the day of the martyr Evdokia had several nicknames: Avdotya Vesnovka, Avdotya (Evdokia) Plyushchikha (snow "flattens"), Evdokia Zamochi Podol or Avdotya Podmochi Threshold (the snow begins to melt), Avdotya Kaplyuzhnitsa (the beginning of the drop). May 8 - the day of the Apostle John the Theologian had the name Ivan Pshenichnik (wheat was sown from that day on).

Thus, in the oral tradition, production and household "saints" (a transformed folk calendar) arose, in which pagan and Christian elements were whimsically mixed. The Church Menologion significantly increased the number of holidays, introduced two types of festivities: stable, or “non-transitory” and unstable, or “transitory”. The first are strictly attached to certain dates of the month, the second from year to year change their place in the calendar. All "transitional" holidays occur mainly in spring - early summer and are associated with Easter, the day of celebration of which is calculated according to the eastern lunar calendar.

As a result of the imposition of the church calendar on the annual cycle of pre-Christian holidays, some of them have lost their former name, while retaining their original meaning. For example, a number of customs dedicated to the Great Lent - " sredokrestye" , « Palm Sunday », « Maundy Thursday », Easter ritual . Other holidays, in spite of everything, retained their former name (Shrovetide, Semik). Orthodoxy also ousted all pagan mythology from the people's memory, replacing the names of pagan gods with the names of Christian saints. The Church managed to introduce Christian symbols into folk calendar rites. Borrowed from the church cult (prayer formulas, a cross, prosphora, “holy” water, etc.) joined the “ancient methods of magical influence and objects to which a special power was attributed”1. The folk calendar also included certain Christian rites, for example, bathing in an ice-hole for baptism.

The fate of calendar holidays and rituals was different. Yule , Shrovetide rites already in the middle of the 19th century, they take on the character of a kind of folk festival with songs, games, dances, in which all villagers participate, regardless of age and property status, but the main role belongs to young people. The rituals that accompanied specific labor processes (sowing, harvesting), up to the 20s of the XX century, retained their religious and magical meaning. Understanding the importance of labor rites in the life of the peasantry, the clergy illuminates them with their participation. So, just before sowing, priests sprinkled holy water on the fields, seeds, women rolled a fat priest or deacon across the field, believing that this would make the sowing fat and controversial.

With help spells - one of the oldest folklore genres, people sought to enlist the support of the supernatural forces of nature (spring, frost), carols or Shrovetide, and at a later time of God. This purely practical essence of the songs influenced their poetics. They are usually small in size (10-15 lines), uncomplicated in melody and simple in means of poetic expression2. Spells are addressed (more often in an imperative form, less often in the form of a request or a prayer) to the personified image of carols, carnival, spring - and list what is desired. The main compositional form of the incantations is a monologue, in some stoneflies there is a form of dialogue: the choir, as it were, exchanges remarks with the spring. Of the entire rich arsenal of poetic means of song folklore, incantations only use a metaphor in the form of personification and hyperbole when describing what is desired (“from an ear - osmin, from a half-grain - a pie”). Diminutive suffixes are often found in these songs when referring to natural phenomena, bread, animals, which once again emphasizes the unity of man with nature, his love for her.

There are few "purely" incantatory songs in Russian calendar folklore (following songs, vesnyanka, some Maslenitsa and stubble songs). More often, spell elements appear in songs in unity with other poetic motifs.

Spells are genetically linked laudatory songs , performed during rounds of yards in winter (carols, oats and grapes) or in spring - summer (vyunishny, Egoryev songs). They also called into the house a rich harvest, happiness, health and well-being, but in them, unlike spells, both performers and listeners were attracted by the beauty of words and melody. The main character of laudatory songs is a person who is praised and to whom different wishes are expressed: any, the poorest peasant, became a “prince”, “red sun”, his house turned into a “terem”, “palace”, his family was also idealized. The two main parts of laudatory songs - magnificence and wish - use the brightest and most colorful artistic means in all Russian folklore: various symbols of wealth and happiness that adorn epithets, almost all types of metaphors and hyperbole.

Magnificent songs are inherent in the character of descriptions, but in the folk calendar there was also a special type of songs-descriptions, which " were timed to coincide with certain moments of the rite, as if they commented on them and at the same time organized the entire ritual action, fastened its individual parts, indicated their sequence". It is believed that descriptive songs are the latest type of ritual poetry. This is evidenced by the great similarity of their poetics with the poetics of non-ritual lyrical songs.

Literature

1. Great Soviet Encyclopedia. T. 17. - M. 1974

2. Great Russian Encyclopedia. T.1. - M. 2004.

3. All year round. M. Pravda, 1991

4. Ritual poetry. M. Sovremennik, 1989.

5. Russian folk poetry. M., 1978.

Oksana Bukharin
The experience of the teacher on the topic "The role of oral folk art in the development of the child's speech"

"The role of oral folk art in the development of speech of preschoolers"

experience.

Artworks folklore are priceless. They have life itself. They are instructive in purity and immediacy. Acquaintance with folklore works always enriches and ennobles. The sooner he comes into contact child, all the better.

Work on this topic I started two years ago. Before starting, we studied the methodological literature, psychological features speech development children - preschoolers, and started work.

For every successful work requires consistency and consistency. To plan work, it was necessary to identify the initial level of knowledge of children. At the beginning of the school year, we conducted monitoring in order to determine whether children had an interest in this topic. Monitoring was carried out according to the following issues:

1. Level speech development of children.

2. Children's knowledge of small folklore forms.

3. Children's understanding of the content of the work oral folk art.

4. Use of folklore in everyday conversation speeches.

During the monitoring, we used the following methods:

Observation of the communication of children in independent activities.

Conversation with children.

Word games.

I would like to note that despite the fact that at the time of the beginning work children were 3 years old, they already had a sufficient level of knowledge. However, according to the indicators of the initial diagnosis, it turned out that 70% of children have a low level of speech development.67% of children use little in their speeches folklore or do not use it at all. Only 40% of children understand the content of the works oral folk art. Based on the results of the monitoring, a table was compiled, which reflects the children's knowledge of topic at the start of work(see Attachment). Based on the monitoring, a further perspective was drawn up work.

Started work with the joint activities of children in sensitive moments. Complexes of morning gymnastics based on folklore were compiled, as well as complexes of hardening gymnastics after daytime sleep for children of the 2nd junior group, which were based on folklore nursery rhymes and fables and are used every day to strengthen and maintain the health of children, as well as to increase interest in physical activities. exercises. The following exercises were used "We raise our hands to the sun", "Trees have grown", "Butterflies are flying" etc. as well as finger games "Fingers will stand up", "The cuckoo walked past the forest" etc. (see Attachment). Performing exercises, the children not only performed physical exercises, eliminated lethargy, drowsiness, but also recited poems, nursery rhymes, songs for teacher. What contributed speech development of children ability to correlate speech and movement.

By performing hygiene procedures, we not only took care of the health of children, but also contributed to the interest in oral folk art. When we washed our hands, we sentenced “Oh okay, okay, we are not afraid of water”, “Open the faucet, wash your nose. etc. These seemingly small rhymes conceal a huge layer of Russian language resources and provide children with the opportunity to get acquainted with the rich linguistic culture of the Russian people.

Noticing that children like this shape work and that there are positive results (children have become more attentive, more disciplined, they try to pronounce many words for teacher) we continued work in this direction.

Folklore was used in such sensitive moments as dressing for a walk, lunch, when putting children to bed.

But not everyone succeeded right away, recognizing the fairy tale, the children only called its characters. Little use was made of familiar nursery rhymes and songs in games, which significantly slowed down vocabulary development making their speech inexpressive. Such children as Mark, Andrey L., Alena, Angelina, Yaroslav, David were not active, they just followed the instructions of an adult, they did not feel self-confident. We set ourselves the goal of liberating children, introducing materials oral folk art and contribute to this development speech activity of children. We expressively read works so that it would be more interesting for children to stage them, for example, read a fairy tale "Zayushkina's hut" then I asked the children to show what hare to tell about him, then what kind of fox to tell about her (of course, we in this work illustrations for fairy tales helped a lot) the children saw the picture, listened to the emotional speech teacher and tried to repeat the same. Not all children could convey the nature of the character, his features, and then, in order to liberate the children, we began to use desktop theaters: "Teremok", "Masha and the Bear", "Turnip", "Ryaba Hen", "Zayushkina's hut", "Swan geese". The children were very interested in our little theater, and soon irreplaceable artists appeared in it. Nobody stood aside, they could play any role and show any character. To dramatize familiar nursery rhymes, songs, fairy tales, she suggested using a disguise corner. This will help the children in the future. develop their own aesthetic taste, to get used to a certain image.

For development children have the ability to listen carefully, remember the sequence of events, freely navigate in the text, we use special exercises, problem situations type: Do you agree with that? For example, reading an excerpt from a fairy tale "The wolf and the seven Young goats", I I ask: "Do you agree that this song belongs to the wolf?" or show an illustration to a fairy tale "Zayushkina's hut" Do you agree that this is a fox from a fairy tale? Why did you decide so? Answering these questions and explaining why they think this way, children pronounce the text, thereby develop their speech.

In order for children to better understand the meaning of nursery rhymes, we introduced them to household items that are often used in folklore: clay pot, stove, poker, tong, cast iron pot, bucket, trough. For this, classes were "There is a hut made of bricks, then cold, then hot", "Master's Helpers". "Funny Spoons", have been read fairy tales: "Turnip", "The wolf and the seven Young goats", "Kolobok", "Three Bears", "Masha and the Bear", "Cat, Fox and Rooster", "Ryaba Hen". One of the effective forms work with children there were various leisure activities and entertainment, For example: "Journey to a fairy tale", "Good mood", "Visiting grandmother" etc. Children really like to participate in them.

After analyzing the methodological literature, we selected didactic games: "Wonderful chest", "Who's hiding?", "Praise Lisa". These games in their didactic tasks correspond to the age of children. (see Attachment)

Having systematized all work, we have identified the following pedagogical principles on the topic:

1. The principle of consistency and visibility.

Due to the fact that the content of the program to familiarize oral folk art for all age groups, the repetition of many nursery rhymes, songs, poems, fairy tales teacher it is necessary to remember the most important principles of construction work.

So, the principle of systematicity and consistency requires the correct determination of the amount of knowledge and the complication of works at each age stage. We need to choose the most effective pedagogical methods and techniques for specific conditions. Introducing children to oral folk art, you should show all the beauty and variety of songs, poems, nursery rhymes, fairy tales, so that children receive specific information in accordance with their age capabilities.

2. Principle developmental learning.

important in teaching children about oral folk art is based on this principle, since it is important to evoke the joy of learning, to maintain an active interest. At the same time, it is necessary to correctly highlight the most significant information, not only from the point of view of aesthetic mental child development but also play activities.

3. The principle of perspective.

Allows children to prepare for the assimilation of more complex material. The thematic planning of learning and gaming activities is aimed at implementing the principle of perspective, which helps to find the best ways to include information about oral folk art into the upbringing and educational process, prepare children for their perception, ensure successive ties in work at all age levels.

4. The principle of visibility.

Features of mental development young children require extensive use of this principle. Therefore, the educator makes extensive use of toys, pictures, illustrations, flannelgraph, music and other material.

These principles have helped us work they greatly facilitated the conduct of directly educational activities.

Conducting directly educational activities required a lot of preparation in terms of equipment and didactic materials. On the basis of folklore, a card index was compiled in Russian folk games: « Cucumber - cucumber» , "At the bear in the forest", "The Fox and the Chickens", "White Bunny", "Father Frost", etc. These games are often used for walks, physical education classes. Playing the game « Cucumber - cucumber» children got to know oral folk art, activated speech, repeating the nursery rhyme for teacher completely, with the help of folklore developed children's play activities (imitation of nursery rhyme characters). A game like "At the bear in the forest" allows you to introduce children to Russian folk game; learn the text, pronounce the words in chorus at the same pace. Develop patience in children, the skill of collective movement at a certain pace. All folk The games have been chosen specifically for the purpose. development and enrichment of children's speech.

Based on the studied material, consultations were prepared and held for teachers and parents reflecting current issues development of the child's speech in the preschool educational institution and the family: « The role of play in a child's life» , "Speech and Communication", How to read nursery rhymes to children, "On Riddles", "Physical minutes based on folklore"(see Attachment) We think this will help a lot. teachers working with children, and will give parents skills on how to properly tell nursery rhymes to children, sing songs, read fairy tales.

A dressing corner was created and sewn; it became a favorite place for children to play. We made a theater on a flannelograph, with its help the children were shown their favorite fairy tales: "Three Bears", "Swan geese", "Zayushkina's hut", "Turnip", "Ryaba Hen". teacher not only acted out fairy tales himself, but also offered the children to come up with a plot or action of the characters on their own. Of course, the children could not help but like it, they were happy to act out excerpts from the fairy tale or come up with something of their own.

My Job« The role of oral folk art in the development of a child's speech» would not be so complete if there were no unified partnerships with parents. The materials of the parent corner were constantly updated. In them, parents could find advice and recommendations. This topic much attention was paid at parent meetings, the importance of oral folk art in the development of a child's speech. Carried out together with parents leisure: "Visiting grandmother", "Journey to a fairy tale", "Good mood". Our mothers took part in them: taught roles, creatively involved in making costumes. And they also offered to help in the manufacture of desktop theaters: "Masha and the Bear", "Teremok", "Swan geese", "Zayushkina's hut", "Turnip", "Ryaba Hen". Together with the parents in the group, a library of Russians was collected folk tales. Only in close cooperation with parents we have achieved good results.

In order to evaluate the results of the work was monitored at the end of the year. Analyzing the data obtained, it can be noted that as a result of the work done work there has been a steady improvement in children's knowledge of oral folk art. Dynamics development is:

By the end of the year, 60% of children had improved their level speech development. 40% of children began to use in their speech folklore

75% of children understand the content of folklore works. Based on the monitoring results, a table of surveys of children at the end of the year was compiled. (see Attachment).Based on the work done work summed up and made findings:

By the end of the year, the children already had a fairly large stock of knowledge of nursery rhymes, songs, teasers, and counting rhymes. The children were familiar with many fairy tales and learned to expressively retell excerpts from their favorite works. Through riddles, we set ourselves the task of forming and expanding the vocabulary of children. The decision was made further work with children on speech development. Because familiarization of children with folklore and its everyday use both in sensitive moments and in play activities develops the child's speech, his fantasy and imagination, affects the spiritual development, teaches certain moral norms and rules of behavior, and also interests him, thereby quietly teaching him correct Russian speeches.

We have created a vision for the new academic year to continue and deepen our work. (See Attachment)

From what we have done work, we have drawn conclusions: to folk culture should be taught from early childhood. Folklore is a unique medium for the transmission folk wisdom and education of children at the initial stage of their development. baby creation based on imitation, which serves as an important factor child development, his speeches. Gradually, the kids develop an internal readiness for a deeper perception of the works of Russian folk literature, vocabulary is enriched and expanded, the ability to master native speech.

early life child he is dependent on the adults who are raising the children. It's great if the parents teacher fill the life of the child the light of kindness and affection, if they are able to spiritually enrich the environment in which it grows, bloom with all the colors of the rainbow, lay the foundations for high human principles.

And what can spiritually enrich the environment?

Folk poetic word, an example of spiritual service to people. It is like a spring, like a pure spring, gushing from the bowels of the earth, to which generations fall, being filled with vitality. And transmits folk word past, the pace of the present and the future. And mother's lullabies, fairy tales, nursery rhymes, fables, sayings, fables sound from generation to generation!

Volgograd State Pedagogical University

Department of Literature

FOLKLORE PRACTICE

Compiled by: A.Kh. Goldenberg, Dr.

Philological Sciences, Professor of the Department of Literature

Volgograd 2012

Introduction…………………………………………………………………….

Explanatory note……………………………………………………..

Bibliography…………………………………………………………..

Explanatory note

Russian folklore - the science of oral folk poetry of the Russian people - is an obligatory academic discipline in the system of professional training of a language teacher.

The study of folklore plays an important role in understanding the historical roots of verbal art, its figurative system, genre traditions and national specifics. Without knowledge of folklore, it is impossible to study the poetics of Russian literature, to master the theory and history of verbal creativity. Practical knowledge and skills of collecting folklore are necessary for a future language teacher for successful pedagogical activity in the face of the loss of genuine traditions of folk culture and the growing influence on students of various forms of mass culture, often acting under the guise of folklore. Collecting the folklore of the native land can become the basis for the joint activities of the teacher and his students in the study and preservation of local cultural traditions, instilling a sense of patriotism.

Folklore practice completes the study of the course "Oral Folk Poetry". It is held in the summer after the end of the 1st course. The duration of practice for inpatient students is 2 weeks, OZO - 1 week. Based on the results of the practice, offset.

Practice objectives:

educational - deepening and expanding knowledge about oral folk art;

professional - the acquisition of collecting skills, the ability to evaluate and systematize the collected material from the point of view of the future profession;

scientific - examination of the folklore repertoire of a certain

locality, the development of students' interest in scientific

research work to study the traditions of folk

culture, modern forms of existence of folklore.

Folklore practice is not only a continuation of the educational process in the field. It is designed to play an important role in the study by students of the existence of various genres of oral folk art, both traditional and modern. Practice allows you to see folklore texts in the cultural and everyday environment that is organic for them and evaluate them as phenomena of folk culture.

In the process of internship, students should directly get acquainted with the folklore wealth of their native land, hear live performances of song and prose works of oral folk art, consolidate their knowledge of the classification and analysis of folklore texts, acquired by them in the main course classes. Practice also prepares students for local history work at school, enriches them with new life experiences, experience of communicating with people.

Conducting practice involves three stages of work: preparatory, field and final.

Preparatory stage

Preparation for practice is carried out in the process of studying the course "Oral Folklore" in the first semester and during special classes conducted by the leaders of practice before or during practice. Particular attention of students is drawn to the specifics of individual folklore genres and the development of the ability to give correct genre definitions. The plans of seminars include questions and practical tasks on the analysis of specific folklore texts from the point of view of their genre originality. When compiling a dictionary of terms for folklore, students are required to give extremely precise definitions of genres, highlighting their main genre features.

The lecture course includes the topic “Basic principles of the work of a folklorist-collector”. As part of its study, the basic principles of the scientific collection of folklore are formulated,

the method of collecting work is described. For the exam, students are encouraged to make trial notes of folklore texts, using relatives, neighbors, acquaintances, etc. as informants.

In preparation for practice, students should get acquainted with questionnaires, methodological manuals, practice manual and tape recording of oral texts, carefully study the rules for formatting recorded materials.

field stage

Practice can be carried out in two forms: group and individual. In the first case, the program is determined by the head of the group, in the second, the student receives an individual task, which takes into account the specifics of the area, the degree of knowledge of the folklore repertoire of the area, and the conditions for gathering. However, the principles of collecting work remain the same for any form of practice.

Recording of folklore can be done anywhere: in a village, in a city, in your district, in the yard of your house, in a summer children's or youth camp, in a kindergarten or school. People of any age can be informants (performers and connoisseurs of folklore texts).

General principles of collecting work

Gathering information before recording.

Immediately after arriving at the place, the leader of the group must introduce himself to the local authorities and explain the goals and objectives of the folklore practice. If possible, it is necessary to obtain from them primary information about famous performers and connoisseurs of folklore works. At the same time, students use the method of a public survey to identify potential informants. Great help in this they can be provided by teachers and students of the local school, cultural workers.

When collecting information, the following questions should be asked:

Who is known here as a songwriter or songwriter;

What song groups exist in the village;

Who likes to sing at weddings;

Who knows the wedding ceremony well (are there professional matchmakers);

Who plays the role of mummers at weddings or other holidays;

Which of the old-timers knows well the history of the settlement, local traditions and legends;

Are there famous chastushechniks or chastushechniks here;

Musicians (harmonist, balalaika player, guitarist);

Are there local (different from official) names of streets, groves, forests, ravines, swamps, lakes, etc.?

II. Collection of information during recording.

During recording, it is necessary to ask the performers about other experts in the given genre or text living in the area, about famous performers who are no longer alive and from whom the repertoire recorded today was perceived.

III. The ethics of collecting work.

Respect for each informant;

A necessary condition for work is to establish a trusting relationship with him;

Patiently and easily explain the goals and objectives of their work, avoid pressure, the desire to get results at any cost;

Choose for conversation and recording the time free from economic affairs, the most convenient not for the collector, but for the informant;

Do not abuse the time and physical capabilities of the performer;

Do not turn a conversation with an informant into a protocol survey, find an individual approach to it, stimulating the desire to tell about yourself, about your life, about the role of folklore in it.

IV. Principles of recording folklore texts.

It is better to start direct recording of folklore with a request to the performers to tell or sing their favorite works.

Recording should only be at the time of execution and not from memory.

You cannot interrupt an informant during execution. All questions about the text are asked after the performance. You can read your entry to the performer for clarifications and corrections.

The entry must be accurate word by word, including particles and interjections.

In dialect words and words that differ in their pronunciation from the literary norm, one should fix accents.

It is necessary to record not only the text itself, but also the replicas of the performer, fixing the attitude towards the work or its characters, the level of understanding of the text.

The entire repertoire of the performer should be recorded, not just rare texts. Including versions of works of book origin.

Each text must be certified.

v. Rules for formatting texts after recording.

The full draft text is checked against the tape recording (if available).

The text is copied white without abbreviations in notebook No. 2 "White Report". The records are made only on the front each sheet. Volume recorded texts should be at least 400 lines at the hospital, 200 - at the OZO.

The text can be attached artist notes or comments collector on the following points:

As the performer himself determines the genre of the work;

From whom and where adopted;

When and in what everyday circumstances is it usually performed

work;

Recorded as a memory or actively exists.

5. Passport each text is drawn up according to a single model:

Surname, name, patronymic of the performer. Ivanov Petr Sergeevich

Year of birth. 1947

Profession(if retired, who used to work). tractor driver

Recording place(farm/village/settlement/city, district, region).

Khutor Kruzhilin, Danilovsky district, Volgograd region

Surname, name, patronymic of the collector. Petrova Maria Ivanovna

Note

If there are several texts written down from one performer in a white notebook, you can give them a common passport indicating which texts it refers to. In these cases, the passport precedes the first text and has, for example, the following title: Passport to №№ 3-7.

The final stage.

On the basis of field records, a white report on folklore practice is drawn up. It is a notebook with numbered pages, in which all texts rewritten in white have continuous numbering, a passport and, if any, notes and comments. All entries are made only on the front side of each sheet. After the recordings, two final tables are compiled: by genre and by performers.

Examples of filling tables.

Table 1.

Genre!! No. of texts!! No. of pages!! Number of performers

Chastushka!! 3-8, 12-15, 27!! 2-4, 8, 14!! 3

Joke!! 9.22!! 6, 12!! 2

Table 2.

Name of artist!! Genres!! No. of texts!! No. of pages

Petrova S.I. !! lyric song, !! 2,3, 16, 21, !! 2, 9, 13, 19,

Chastushka, bylichka!! 23!! 20

Concludes a white notebook text report, which gives a general description of the settlement in terms of the existence of folklore traditions in it, the diversity of the repertoire, the predominance of certain folklore genres. The report may contain creative portraits of the most talented performers, drawings of collectors and photographic documents.

Attached to the white paper file cabinet. The student maps each entry according to the genre-plot principle.

Genre-plot card

Year entries Genre

Text number, Text title

number and page of the notebook Content of the text

FULL NAME. performer,

his age, Full text for small genres and

education, ditties.

profession. First lines followed by

Place of entry with a brief retelling and citation

Recording date for other song genres.

FULL NAME. collector Retelling the plot for prose

Epics, parables, anecdotes, tongue twisters, riddles, and much more. oral folk creation gives brightness and expressiveness. For example, with the help of proverbs, phraseological units, you can tactfully hint to a person at his mistakes, without offending him.

Folklore works are anonymous. They do not have a specific author. It is something created by a group of people. oral folk creation reflects their way of life, traditions, customs, ideas about life. Each nationality has its own folklore, which has its own characteristics and character.

oral folk creation influenced the activities of many poets, writers and other artists. So, some experts believe that some of the tales of Charles Perrault, published in the collection "Tales of My Mother Goose", are folklore. And the writer simply processed them and presented them to the reader in a new light. That is why they are literary tales. In Russian, A.S. folklore was actively used in their work. Pushkin, N.A. Nekrasov, N.V. Gogol, A.N. Tolstoy, M.E. Saltykov-Shchedrin.

Of course, folklore works have survived to this day, having lost their originality to a certain extent. But the meaning at the same time remained the same - to convey to the subsequent traditions and customs of their people.

Advice 3: What is Saltykov Shchedrin's fairy tale "The Wise Gudgeon" about

The writing work of the satirist Saltykov-Shchedrin at all stages was aimed at opening the eyes of contemporaries to the ignorance, stupidity, bureaucracy and lawlessness that flourished in Russia at that time.

Fairy tales for "children of a fair age"

In the most difficult years of reaction and strict censorship, which created simply unbearable conditions for the continuation of his literary activity, Saltykov-Shchedrin found a brilliant way out of this situation. It was at that time that he began to write his works in the form of fairy tales, which allowed him to continue to castigate the vices of Russian society despite the rampage of censorship.

Fairy tales became for the satirist a kind of economical form that allowed him to continue the themes of his past. Hiding the true meaning of what was written from censorship, the writer used Aesopian language, grotesque, hyperbole and antithesis. In fairy tales for a "fair age" Saltykov-Shchedrin, as before, spoke about the hard fate of the people and ridiculed their oppressors. Bureaucrats, pompadour mayors and other impartial characters appear in fairy tales in the form of animals - an eagle, a wolf, a bear, etc.

"Lived - trembled, and died - trembled"

According to the spelling norms of the 19th century, the word "minnow" was written through "and" - "piskar".

One of these works is the tale "The Wise Scribbler", written by Saltykov-Shchedrin in 1883, which has become a textbook. The plot of the tale, which tells about the life of the most ordinary minnow, is known to any educated person. Having a cowardly character, the gudgeon leads a secluded life, tries not to stick out of his hole, shudders at every rustle and a flashing shadow. So he lives until his death, and only at the end of his life does he realize the worthlessness of his miserable existence. Before his death, questions arise in his mind concerning his whole life: “Who did he pity, whom did he help, what did he do good and useful?”. The answers to these questions lead the minnow to rather sad conclusions: that no one knows him, no one needs him, and hardly anyone will remember him at all.

In this plot, the satirist in a caricature form clearly reflects the mores of modern petty-bourgeois Russia. The image of a minnow has absorbed all the unpleasant qualities of a cowardly, self-contained man in the street, constantly shaking for his own skin. “He lived - trembled, and died - trembled” - such is the moral of this satirical tale.

The expression "wise minnow" was used as a common noun, in particular, by V. I. Lenin in the fight against liberals, the former "left Octobrists", who switched to supporting the right-liberal model of constitutional democracy.

Reading the fairy tales of Saltykov-Shchedrin is quite difficult, some people still cannot understand the deep meaning that the writer puts into his works. The thoughts that are set forth in the tales of this talented satirist are still relevant in Russia, mired in a series of social problems.

Sources:

wise scribbler

Portal for the student. Self-training

Advice 3: What is Saltykov Shchedrin's fairy tale "The Wise Gudgeon" about

Fairy tales for "children of a fair age"

"Lived - trembled, and died - trembled"

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