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Scientific and educational literature for younger students. Development of cognitive interest through the involvement of children in reading scientific and educational literature Reference and scientific and educational literature for children

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Ministry of Education and Science of the Russian Federation

Department of Education of the Administration of the Vladimir Region

State educational budgetary institution of secondary vocational education of the Vladimir region

"Yuriev-Polish Industrial and Humanitarian College"

FINAL QUALIFICATION WORK

Topic: Methods and techniques for working with scientific and educational literature in literary reading lessons

Kiosa Alexander Sergeevich

Scientific adviser:

Russian language teacher

Panteleeva Tatyana Anatolyevna

Yuriev-Polsky 2013

Introduction

ChapterI. Ttheoretical substantiation

2. History of the development of scientific and educational literature

3. Genres of scientific and educational literature

4. Psychological characteristics of younger students

5. Methods of working with scientific and educational literature in the lessons of literary reading in elementary school

6. Formation of interest in reading among younger students through the use of scientific and educational literature in the lessons of literary reading

ChapterII. ABOUTexperimental and practical work on the research topic

Conclusion

Bibliography

Applications

Introduction

The world that has changed around us, the changing social priorities and the range of interests of the modern child have posed a number of questions for the methodology of teaching literature at school, one of which is the question of the place and role of scientific and educational literature in the system of literary education in primary school. In many ways, such attention to scientific and educational literature, which was auxiliary and, of course, optional for study, is explained by the focus of today's school on the comprehensive development of students and, above all, on the development of independent, critical and research thinking. However, scientific and educational literature itself has changed dramatically over the past two decades, has firmly entered the lives of adults and children, and has penetrated into the process of schooling. Thus, the time has come for a theoretical substantiation of the methodology for studying this literature at school.

In educational and methodological manuals, the content of the section "Methods of working with scientific and educational literature in elementary school" is not covered enough. However, a modern primary school teacher needs to understand what place scientific and educational literature occupies and what role it plays in the system of literary education in primary school.

There is almost no mention of the orientation of the junior schoolchild as a reader in the world of scientific and educational literature. This literature Rarely listed on recommended reading lists. However, the development of a modern student reader is impossible without him turning to scientific and educational literature, since reading it expands the student's horizons in various areas of scientific and social knowledge. Thus, the relevance of the problem of teaching younger students to work with scientific and educational literature becomes obvious.

Relevance:

The relevance of the topic of our study lies in the fact that today's schoolchildren do not want to read books. In order to introduce children to reading, methodologists believe that it is necessary to introduce children to scientific and educational literature. Which in turn will arouse interest in reading in general.

Object of study:

The process of forming interest in reading among younger students through the use of scientific and educational literature in literary reading lessons.

Subject of study:

Methods of working with scientific and educational literature at the lessons of literary reading in elementary grades.

Target:

Determine effective methods and techniques for working with scientific and educational literature aimed at creating interest in reading in the lessons of literary reading.

Tasks:

· Study the scientific and methodological literature on the research problem;

To study the specifics of scientific and educational literature for children;

To study the features of working with scientific and educational literature in elementary school;

· to study the experience of teachers-innovators on the problem of research;

test the learned methods and techniques in the practice of working with students lower grades during the period of pedagogical practice;

· Conduct an analysis of the attitude of primary school students to scientific and educational literature;

Research methods:

1) theoretical:

analysis of methodological literature on the problem under study;

Generalization and systematization;

2) Empirical:

observation;

Questioning;

· conversation;

educational school elementary literature

ChapterI. Theoretical substantiationmain research topic

Definition of scientific and educational literature

Scientific and educational book - a book, content and illustrative material revealing to the reader in an accessible form the depth of a particular area of scientific knowledge.

Scientific - educational literature - a specific area of the art of the word, seeking in an accessible and figurative form to reflect certain facts of science, history, the development of society and human thought, and on the basis of this broadens the reader's horizons. NOT. Kuteinikov.

Scientific and educational literature - This:

A certain direction in the development of all literature

(for both children and adults) - functional direction;

A specific area of the art of the word, that is, Literature with a capital letter.

The difference between fiction and nscientific and educational literature

Scientific and educational literature	Fiction
- a specific area of the art of the word, striving to reflect certain facts of science, history, the development of society and human thought in an accessible and figurative form and, on the basis of this, expanding the reader's horizons	An art form that uses the words and constructions of natural language as its sole material. The specificity of fiction is revealed in comparison, on the one hand, with art forms that use other material instead of verbal-linguistic (music, art) or along with it (theater, cinema, song, visual poetry), on the other hand, with other types of verbal text: philosophical, journalistic, scientific, etc. In addition, fiction, like other types of art, combines copyright ( including anonymous) works, in contrast to works of folklore fundamentally without an author.

The great Russian writer and critic N. G. Chernyshevsky defined the difference between fiction and scientific literature as follows: belles-lettres- in that they act on the imagination and should arouse noble concepts and feelings in the reader. Another difference lies in the fact that learned writings describe events that actually happened and describe objects that also actually exist or existed, while works of belles-lettres describe and tell us in living examples how people feel and how people act in various circumstances, and these examples are for the most part created by the imagination of the writer himself. Briefly, this difference can be expressed in the following words: a learned essay tells what exactly was or is, and a work of elegant literature tells how it always or usually happens in the world. A work of art gives pictures of life, reflects it in a figurative form. The writer creates images that seem to come to life under his pen, and we see how alive his heroes are.

Reading a work of art, we are transported into the life depicted by the writer, we take the side of some heroes who arouse our sympathy or love, and treat others with hatred or mockery.

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2. History of the development of scientific and educational literature

Scientific and educational literature for children arose on the territory of present-day Russia already in the 15th century, because. "... the first works for children... were created to popularize grammatical information as the main science of that time..." (F.I. Setin). Textbooks in Rus' in the XV-XVII centuries. were an organic combination of elements of a textbook and books for reading, both cognitive and artistic.

The first printed books were alphabets, primers, alphabet books, amusing sheets, amusing books of the 16th-17th centuries.

Specific features of children's literature and children's books of this period:

encyclopedic;

visibility;

combination of image and text.

These features were inherent in absolutely all books: educational, cognitive, and artistic.

“... one feature that is directly related to the literary significance of the cognitive works of Ancient Rus': entertaining. Science, knowledge was not limited in the Middle Ages to what we call erudition, or to the direct benefit that knowledge could bring in practical activities. Knowledge must be interesting and morally valuable. (D.S. Likhachev ).

“The first printed book for children was published by Ivan Fedorov in Lvov in 1574. It was called the ABC, but had a characteristic subtitle “Elementary education for children who want to understand writing.” The ABC was a three-part book. This division into three parts was also preserved in subsequent alphabets belonging to other authors. The parts were:

part I - alphabet and exercises in mastering reading skills;

part II - grammar;

3. Genres of scientific and educational literature

Genres of scientific literature Genres of scientific literature are historically established stable types of scientific works. literature with functional and stylistic specificity and stereotyped compositional and semantic structure. Scientific the style of speech is realized in large and small Zh.n.l. The former include a monograph (individual and collective), dissertation, encyclopedia, dictionary, reference book, textbook, study guide; to the second - an article in a periodical or non-periodical publication, abstract, annotation, theses, review, review, chronicle, etc. Small Zh.n.l. distinguished not only quantitatively. Usually they do not have separateness: articles, reviews, chronicles, abstracts are placed in journals and collections.

Types of scientific and educational literaturefor younger students

All books and works that make up this part of the circle of children's reading are usually presented in the form of two parts inextricably linked with the formation of a young reader: part one - scientific and artistic literature; part two - literature proper cognitive, or popular science.

Scientific literature is defined as a special kind of literature addressed primarily to the human aspect of science, to the spiritual image of its creators, to the psychology of scientific creativity, to the "drama of ideas" in science, to the philosophical origins and consequences of scientific discoveries. Combines "general interest" with scientific authenticity, imagery of narration with documentary accuracy. Born at the junction of fiction, documentary-journalism and popular science literature.

Let's define the differences between scientific and artistic literature and fiction. We will rely on the study of N.M. Druzhinina.

1.In the scientific and artistic work always in stock scientific causation. In the absence of these connections, it cannot carry out the task of familiarizing the reader with the elements of scientific thinking.

2.For art book characterized by a brightly written hero - a man. In a scientific and artistic work man as the hero of events in the background.

3. The difference in the use of the landscape by the authors of artistic and scientific works is significant. In a work of art, the landscape sets off state of mind hero and is connected with him. In a scientific and artistic work landscape always works on the cognitive theme of the work. For example, the winter landscape in V. Bianchi's story is associated with the problem of identifying, finding animals in their tracks, and in A. Tolstoy's story "Nikita's Childhood" - with the creation of a certain emotional mood in the reader, with the disclosure internal state the protagonist of the story is a constant feeling of happiness.

4. The main content of a scientific and artistic work - searches, discoveries, researches or just communication of any knowledge. Question: What is this book about? - allows you to determine whether it belongs to scientific-fiction or fiction.

5. The elements of cognitive knowledge included in a work of art do not imply their application. The task of the author of a scientific and educational story is to show how cognitive content can be used. It becomes a guide to work.

Scientific literature includes fiction biographies of scientists and historical figures, works about nature, in which scientific information is presented in a figurative form. Scientific literature has not only intellectual and cognitive, but also aesthetic value. Some genres of didactic literature can be considered early examples of scientific literature: “Works and Days” by Hesiod, “The Visible World in Pictures” by Jan Amos Comenius, “Worm” by V.F. Odoevsky. Scientific and artistic works of domestic and foreign authors M. Prishvin, V. Bianchi, I. Akimushkin, N. Sladkov, G. Skrebitsky, E. Shim, A. Bram, E. Seton-Thompson, D. Kerwood , Gray Owl, etc. Basically, children in the lessons of literary reading get acquainted with scientific and artistic works.

Next, consider the differences between scientific fiction and popular science literature. N.M. Druzhinina gives a number of signs that make it possible to distinguish between the works of children's literature into the two above-mentioned sections. These signs relate mainly to the form and volume of scientific and cognitive information offered to children 6-9 years old, namely:

1. In a scientific and artistic children's book, the child's attention is drawn to a separate fact or a rather narrow area of human knowledge; it is this fact or area, presented as a special world by the artistic word, that must be mastered by the child. In a popular science book, the child will be presented with either the entire body of knowledge on a given issue, or the entire process of discovering the knowledge that interests the child - from beginning to end.

You can compare, for example, the popular science material of the encyclopedia for younger students “What is. Who is this” and a scientific and artistic text of fairy tales by V. Bianchi and Y. Dmitriev, dedicated to the conversation about the ability of insects and birds to adapt to their environment.

Thus, a children's popular science book, choosing a message topic that is of interest to children, provides in it the maximum material that the reader can master. A children's scientific and artistic book takes any one problem as the basis of its content, but reveals it using a whole arsenal of artistic means.

2. A scientific and artistic children's book is designed to form curiosity in a young reader as a personality trait, to teach him the accuracy of thinking and to acquaint him in a descriptive form with the scientific knowledge possessed by mankind.

Popular science literature is designed to communicate to children the very knowledge that humanity has thought of, to teach them to use reference literature, where this knowledge is presented, and to communicate the concepts and terms used by specialists in the field of knowledge that interests the child.

Jr school age complicated by the fact that he still has a strong interest in individual facts and at the same time a persistent desire to master laws.

The interest of a younger student in specific facts of reality is embodied in a children's scientific and fiction book: here, as a rule, we are talking about specific characters and specific events. Therefore, in a children's science and fiction book, the narration is often conducted in the first person, and the focus is on specific characters with their specific names or nicknames: the spider Charlie, the Peak mouse, the partridge Orange Neck, etc. The cognitive value of a science fiction book is in particular, that this particular hero never seems random. Both he himself and the events connected with him always lead the reader to some generalizations. For example, in the scientific and artistic fairy tale by V. Bianchi “Whose legs are these?” the main characters are Lark and Copperhead. Their conversation leads the reader to think about the connection of a living organism with the environment, about the ability of a living being to adapt to the living conditions surrounding it.

If a scientific and artistic children's book is characterized by the depiction of the general in the particular, then popular science works are characterized by the disclosure of the general in the general, the typical in the typical.

The desire of the younger schoolchild to master the laws is realized here to a greater extent: an abstract hero against the background of events characteristic of him, but also abstract. The cognitive material read in a scientific and artistic work, a small reader may sometimes not realize. This is understandable: the fascinating plot of the work can direct the reader's attention not to the cognitive material itself, but to the eventful side of the content. Work on a comprehensive understanding of scientific and artistic works by children requires additional attention from the teacher, specific techniques and methods of work in the classroom.

Science fiction and popular science literature face different tasks: science literature teaches to compare events, draw conclusions independently, i.e. develops the creative curiosity of the reader. Popular science literature is designed to directly communicate certain knowledge to children. Therefore, popular science works written for children always involve the disclosure of a certain system of knowledge. Scientific works of art do not pretend to do this, since their content most often does not include the disclosure of the cognitive topic "from and to", but the comprehension of one or more cognitive elements that make up a particular scientific topic. Scientific and artistic works, as it were, concretize the material given in a popular scientific work.

For example, in a popular science book by G. Skrebitsky and D. Gorlov, children are explained who a wolf is: “Wolves live everywhere: in the forest, and in the steppe, and in the mountains. In the very wilderness, where it is difficult for a person to get through, they arrange a lair for themselves - there, in the spring, wolf cubs will be born to a she-wolf. There are seven of them and eight at the mother happens. It is not easy to feed such a family for animal parents; This is where they start to piss off.

The shepherds will drive out the cattle to graze, and the wolves are right there. They lie down somewhere in the bushes and guard. Sheep scatter, nibbling grass and not smelling the enemy. They will come closer, and the wolf will jump out, grab the sheep, throw it on its back and run! He will drag his prey into a ravine or into a forest thicket, eat himself and bring food to the cubs. That's how they rob all summer."

The scientific and artistic story of M. Kane is intended to captivate the reader with the process of “recognizing” this predator: “In 1963, near the town of Colombe-les-Deux” Eglise in France, two watchmen shot a wolf, which turned out to be a butcher’s dog. An unforgivable mistake! After all, distinguishing a wolf from a dog is - a trifling matter, at least in the manner of drinking. Seeing a creature suspicious of the wolf part, immediately put a saucer of water in front of it. If the creature starts to lap noisily, it means that it is a dog. maybe, in his nasty wolf habit, he will thank you with a bite on the thigh. Fine - another excellent test: the dog bites with incisors, and the wolf with fangs. And, I must say, there is nothing more painful than the bite of a wolf. Only the bite of two wolves ".

The tasks that go directly beyond the scope of the work are also different for these books: the task of a scientific and artistic book is to instill in schoolchildren the skills of scientific thinking, to develop their cognitive interest. The task of popular science literature is to instill the skill and desire to use an accessible reference book.

3. The forms of presentation of material for popular science and science fiction children's books are different. In a popular science work there are no plot nodes (outset, climax, denouement). This is because the content that is given in a popular science work is accessible and fascinating information about an event or phenomenon. Scientific and artistic works are built along a certain storyline.

The forms of presentation of material in popular science and science fiction children's books are also different.

The popular science children's book focused mainly on educational and pedagogical tasks. All possible artistic means are subordinated to the main thing - accessibility and fascination of presentation.

A significant difference from just fiction is that in a popular science work there are no plot nodes (outset, climax, denouement). This happens because the content that is given in a popular science work is accessible and preferably fascinating information about an event or phenomenon.

Scientific and artistic works are built along a certain storyline, the main stages of which are always easy to identify.

4. Authors of popular science and science fiction books treat terms differently. A popular science children's book, avoiding terms, widely uses names. Scientific and artistic children's literature tries to resort only to the very disclosure of the name, which is customary to use in popular literature.

5. A scientific and artistic book differs from a popular science book in its design. So, for example, the above excerpt from M. Kane's scientific and artistic story about a wolf is provided with a comic drawing by V. Chizhikov. In G. Skrebitsky's popular science essay about the wolf, of course, a drawing like V. Chizhikov's illustration would be inappropriate, here the wolf is depicted by the animal painter D. Gorlov.

It should be emphasized that it would be formalism to consider that popular science children's books and scientific fiction are two types of children's literature parallel to each other, separated from each other by a partition. The boundary separating these concepts is extremely fluid, easily passing in each individual work to one side or the other an innumerable number of times.

Moreover, this relationship exists not only “within” the very content of these groups of books, but also in their relation to the reader: the qualified reading of popular science books by elementary school students, of course, is based on a certain level of their familiarity with the book of science and fiction. On the other hand, the ability to use a popular science book cannot but affect the level of understanding of a science fiction book.

Popular science can be called the articles contained in textbooks on literary reading about writers, theoretical and literary concepts and terms. In them, information is presented at the level of representations, with examples, in a language accessible to the younger student, since he is not yet ready to comprehend the concept at the scientific level.

Popular science publications can be combined into a series (for example, "Eureka"), while each publication contains information from one field of knowledge: history, biology, physics, etc. In the event that this literature is addressed to a reader who is just starting to get acquainted with a certain scientific field, the author seeks to present new information as much as possible. interesting form. Hence the titles of such books, for example, "Entertaining Physics". In addition, this information is systematized: the publication is usually divided into thematic chapters and provided with an alphabetical index, so that the reader can easily find the information of interest to him. Peculiar ways of organizing the text can also be used, for example, the form of questions and answers, as in I. Akimushkin's book “Whims of Nature”. The dialogical form and lively language of presentation facilitate the perception of the material and attract the attention of the reader. There are other ways: popular science texts, unlike actual scientific ones, do not operate with dry facts and figures, but offer the reader fascinating information. These books tell about the history of discoveries, point out the unusual properties of ordinary things, focus on unknown phenomena and give various versions that explain these phenomena. Vivid examples and illustrations become an obligatory attribute of such publications, since younger schoolchildren turn to such literature. At the same time, popular science literature strives for accuracy, objectivity, conciseness of presentation, so as not to load the reader with secondary information, but to tell him in an accessible way about the very essence of things and phenomena of the surrounding world.

Popular science books include all children's encyclopedias. Reference and encyclopedic publications pursue a slightly different goal: without pretending to be detailed and entertaining, they are mainly designed to give a short but accurate reference to the issue of interest to the reader. Reference publications are often associated with the school curriculum in a particular subject and, based on the knowledge gained at school, expand or supplement it, help to independently master topics or clarify incomprehensible points. All this contributes to an in-depth study of the subject and consolidation of the acquired knowledge. Children's encyclopedias cover the widest areas of knowledge and can be universal or sectoral. The latter offer schoolchildren fundamental information from a certain area, for example, the Young Artist's Encyclopedia introduces the reader to basic concepts from the history and theory of painting, the Young Philologist's Encyclopedia explains the main literary and linguistic terms, etc. On the whole, the publications of one series form a systematic idea of reality, for example, the books of the series “I Know the World” acquaint the youngest reader with the history of human civilization and culture. The Universal Encyclopedia includes information from various branches of knowledge, but the articles in it are arranged in alphabetical order to make it easier for the reader to find the information they need. Such articles, as a rule, are small in volume, but rich in information: they give a definition of the concept, give examples, refer to other articles, research or fiction, and thus encourage the child to search for everything new and new information. Therefore, turning to reference literature often does not end with getting an answer to one question, the scope of the search expands, and with it the horizons of a small person expands, his ability to think independently and navigate in a huge mass of knowledge accumulated by mankind develops.

4. Psychological hacharacterization of younger students

Primary school age is a special period in the life of a child, which stood out historically relatively recently. It was not for those children who did not attend school at all and for those for whom elementary school was the first and last stage of education. The emergence of this age is associated with the introduction of a system of universal and compulsory incomplete and complete secondary education.

At school, the “child-adult” system is differentiated: “child-teacher”, “child-adult”, “child-parents”, “child-children”. The “child-teacher” system becomes the center of a child’s life; the totality of all favorable conditions for life depends on it: “child-teacher”, “child-parents”, “child-peers”. For the first time, the child-teacher relationship becomes a child-society relationship. Within

relations in the family there is an inequality of relations, in kindergarten an adult acts as an individual, and at school the principle “everyone is equal before the law” applies.

Educational activity is an activity directly aimed at the assimilation of science and culture accumulated by mankind.

The structure of educational activities includes:

1. Learning task ~ this is what the student must master.

2. Learning action ~ is change educational material required for student learning.

3. The control action is an indication of whether the student correctly performs the action corresponding to the model.

4. Evaluation action ~ determining whether the student has achieved the result or not.

In early school age, great changes occur in the cognitive sphere of the child. Memory acquires a pronounced arbitrary character. Changes in the field of memory are connected with the fact that the child, firstly, begins to realize a special mnemonic task. This task at preschool age is either not emphasized at all, or is allocated with great difficulty. Secondly, at primary school age there is an intensive

formation of memorization techniques. From the most primitive methods at an older age, the child moves on to grouping, comprehending the connections of different parts of the material. Educational activities contribute to the development of the cognitive abilities of the child. In kindergarten, the child's activity is limited to acquaintance with the environment, the child is not given a system of scientific concepts. At school, in a relatively short period of time, the child must master the system of scientific concepts - the basis of the sciences. The child needs to develop

mental operations. In the process of schooling, not only the assimilation of individual knowledge and skills takes place, but also their generalization and, at the same time, the formation of intellectual operations.

Thus, primary school age is the age of intensive intellectual development.

Intelligence mediates the development of all other functions, there is an intellectualization of all mental processes, their awareness and arbitrariness.

Educational activity is the leading activity of a younger student. The essence of learning activity is the appropriation of scientific knowledge. The child, under the guidance of a teacher, begins to operate with scientific concepts.

The purpose of educational activity: enrichment, "restructuring" of the child's personality.

These changes are:

* changes in the level of knowledge, skills, training;

* changes in the level of formation of certain aspects of educational activity;

* changes in mental operations, personality traits, i.e., in the level of general and

* mental development.

Learning activity is a specific form of individual activity. It is complex in its structure and requires special formation. Educational activity is characterized by goals, motives. The student must know what to do, why to do it, how to do it, to see his mistakes, to control and evaluate himself. In the process of educational activity, a junior student not only acquires knowledge, skills and abilities. but also learns to set learning objectives (goals), find ways to assimilate and apply knowledge, control and evaluate their actions.

D. B. Elkonin and V. V. Davydov consider learning activity in the unity of several of its components: learning task, learning actions, self-control and self-assessment actions.

Primary school age (from 7 to 11 years old) is called the pinnacle of childhood. The child retains many childish qualities - frivolity, naivety, looking at an adult from the bottom up. But he is already beginning to lose his childish spontaneity in behavior, he has a different logic of thinking. Teaching for him is a significant activity. Enrolling a child in school is associated with huge changes in all areas of his life. These changes relate primarily to the structure of relationships and the place of the child in society. The social situation of development is changing, play activity is increasingly giving way to educational activity, the motives of the cognitive activity of the younger student are changing, the child is becoming more and more a social being in the sense that he is now directly included in the new social institution- school. Those. at school, he acquires not only new knowledge and skills, but also a certain social status. The child has permanent responsibilities associated with educational activities. Close adults, the teacher, even strangers communicate with the child not only as a unique person, but also as a person who has committed to learning, like all children at his age.

Change occurs at all levels of development. The strengthening of the physical and psychological health of the child continues. Significant changes are noted in all organs and tissues of the body, the formation of the spine continues. Attention to the formation of posture is especially important, since for the first time the child is forced to carry a heavy briefcase with school supplies. The motor skills of the child's hand are imperfect, since the bone system of the phalanges of the fingers has not formed. The role of adults is to pay attention to these important aspects of development and help the child take care of his own health.

It is at the early school age that a child moves from one stage of cognitive development (according to J. Piaget) to another stage of specific operations.

At this age, a significant achievement in the development of the child's personality is the predominance of the motive "I must" over the motive "I want."

One of the most important outcomes of mental development during preschool childhood is the child's psychological readiness for schooling. And it lies in the fact that by the time of entering the school, the child develops psychological properties inherent in the student himself. The complex of readiness for schooling indicates that the task of the previous stage in development has been completed, the social situation of knowing the adult world through playing roles, the action "pretend" begins to collapse. The child is ready for real independent action in the real world, where he will continue cognition, but already for real, being the subject of cognition. The position of the student has already been formed, there is a need for learning, but even when he comes to school, the child is not immediately involved in the process of mastering new knowledge, it takes time, a new system of relations, to subjectify a new position. So, the social situation, in the words of L.S. Vygotsky, explodes from within, conditions arise for the creation new system relations, another age crisis begins.

The younger student has the flexibility of thinking - an important condition for successful learning, for the formation of the most effective way knowledge. Flexibility of thinking is an approach to a task as a problem; as a result of this approach, various methods of action and solutions are varied. The flexibility of thinking contributes to the ease of restructuring knowledge, skills and their systems in accordance with changing conditions. The flexibility of thinking contributes to the emergence of the ability to switch from one mode of action to another. Flexibility is closely related to various mental operations such as analysis. Synthesis, abstraction, generalization. This is one of the manifestations of learning properties in general, since it is integral part general abilities, it is part of the cognitive style of activity. The general mental development of a person also depends on learning ability, it should, as a rule, outstrip learning ability.

5. Methods of working with scientific and educational literature

The concept of scientific and educational literature

The first concept that is needed to discuss the topic is "Reading circle for younger students". In the studies of N.N. Svetlovskaya, the circle of reading is called a systemic, closed grouping of a part of the book wealth accumulated by mankind that is possible for a given reader. The circle of reading is limited by the age (as in our example), profession, social status of the reader.

The reading circle of a modern junior schoolchild can be delimited according to a number of signs. From the point of view of the problem posed, the basis for systematization is the sign "the priority of figurativeness or conceptuality in understanding the phenomena of the surrounding world". On this basis, literature is divided into artistic and scientific-cognitive.

Let's determine what features scientific and educational literature.

Scientific and educational literature is a specific area of the art of the word, striving to reflect certain facts of science, history, the development of society and human thought in an accessible and figurative form, and on the basis of this broadens the reader's horizons. Without reading such literature, it is impossible both the formation of a child reader, its further literary development, and the expansion of the horizons of any student in various fields of scientific and social knowledge.

Throughout its development and maturation, the child needs the most various information about the world around him, and his interest in various fields of knowledge is largely satisfied by scientific and educational literature. This type of literature has its own goals, its own means to achieve them, its own language of communication with the reader. Not being in the full sense of the word either educational texts or works of art, scientific and educational publications occupy an intermediate position and perform several functions: on the one hand, they provide the reader with the necessary knowledge about the world and streamline this knowledge, on the other hand, they make it accessible. form, facilitating the understanding of complex phenomena and patterns.

Professor N.M. Druzhinina formulated the main goal of a scientific and educational children's book - "to educate the reader's mental activity, to introduce him to the great world of science." A good scientific and educational book is impossible without a clear moral direction, and the assimilation of new knowledge is always associated with the education of the reader of certain points of view and human qualities.

Scientific and educational literature is works about science and its creators. It includes works on the foundations and individual problems of fundamental and applied sciences, biographies of scientists, descriptions of travels, etc., written in various genres. The problems of science and technology are considered in them from historical positions, in interrelation and development.

The first popular work in Europe about science "On the Nature of Things" by Lucretius Cara and "Letter on the Benefits of Glass" by M. Lomonosov were written in poetic form. From the conversations, “The History of the Candle” by M. Faraday and “The Life of the Plant” by K. Timiryazev arose. Known works written in the form of a calendar of nature, sketches, essays, "intellectual adventures".

The works of science fiction also contribute to the popularization of scientific knowledge.

The specifics of scientific and educational literature for children

Referring to the section "Specifics of scientific and educational literature", we formulate the following questions:

1. What is scientific and educational literature?

2. Are there varieties of scientific and educational literature? What is their specificity?

3. What is the difference between scientific and educational literature from fiction?

4. How did the scientific and educational book for children develop?

5. What functions does scientific and educational literature for children perform?

Techniques for presenting cognitive material in children's scientific and educational literature

There are two criteria for the quality of a children's book: accessibility and mastery of presentation. In a children's book, the question of what is written is extremely closely related to the question of how it is written.

The artistry of a children's scientific and educational book is the organization of the following components in it: the comprehensibility of what is read, interest in such works, the memorability of the main cognitive material and the impact on the mental activity of one's reader.

What ensures the comprehensibility of the read cognitive material in a scientific and educational children's book, i.e. mastery of the essential?

1. Attraction personal experience the reader himself. Using the life experience of a reader of a children's scientific and educational book can proceed along different channels. Sometimes the author of a scientific and educational book begins the development of a concept by referring to the child's system of ideas. This technique provides emotional coloring and clarity of the material being read. For example, in A. Dorokhov’s book “About Yourself”: “If you look carefully at the hand of an old man, you will see how some dark, bluish “laces” stand out under the skin on it. The same swollen "laces" are visible in old people and on the legs, and sometimes on the temples and even on the face. These are veins. This is the name of the blood vessels through which spoiled blood runs through the body.

The thinking of the younger schoolchild still largely retains its visual nature, therefore, a scientific and educational children's book often resorts to secondary, verbal visualization: visualization-description, auditory visualization, visualization associated with the game. Sometimes the visibility of the description of something is an independent cognitive material. For example, in the book Legless Cephalopods, St. Sakharnov gives a description of the octopus, cuttlefish, and squid. With the appearance of these living creatures, which have legs on their heads, most readers get acquainted for the first time.

2. The presentation of cognitive material is constructed in such a way that the reader, following the writer, performs mental operations of an analytical-synthetic nature. The more fully and in detail the author reveals the parts of the whole, the more deeply it is known. So, in the scientific and artistic fairy tale by V. Blanca “Whose nose is better?” in a number of examples it turns out that in each bird the structure of the beak corresponds to its way of life.

Synthesis is often used in a scientific and educational children's book. In the process of synthesis, the connections between objects and phenomena depicted in a scientific and educational children's book for younger students are predominantly of a causal nature.

3. Applied whole line artistic techniques that also contribute to a better reading comprehension. For example, the use of landscape is designed both for greater emotional content and for greater accuracy of presentation.

The description of something is based on highlighting a small number of important details that immediately catch the eye. This is explained by the fact that the reader, for whom children's scientific and educational books are written, can first notice only some of the most important features, and only then pay attention to everything else.

Widely scientific and educational children's book uses tropes: comparisons, personifications, metaphors. Comparison of objects, their individual aspects, indications of similarities and differences between them contribute not only to understanding what is read, but also to the development of students' perception. An example is I. Belyshev's fairy tale "Stubborn Kitten".

Sometimes the comparison technique is used to introduce children to a new phenomenon for them: something new is compared with what is already known. This is how B. Zhitkov's scientific and educational book "What I saw" was built.

In order to better understand the cognitive material in a children's scientific and educational book, parallel comparisons are most often used: “The Sahara is the largest desert on earth. Not a sea of sand, but an ocean-ocean! Seven million square kilometers! A quarter of all of Africa and almost the whole of Australia!” (V. Malt "The Devil's Sea").

4. The language of a scientific and educational book is characterized by simplicity, expressiveness, economical use of figurative means, and clarity of presentation. Acquaintance of the reader with a new word for him is carried out carefully; paired concepts are almost never used.

There are almost no terms that go beyond everyday ones, but often there is an appeal to proverbs as a form of generalization.

Syntactic constructions are always simple.

Basic literary style- a style of conversation, a conversation in which the author argues with the reader, asks, convinces, jokes, talks about something. In other words, the author of a scientific and educational children's book never leaves the feeling of his reader.

All of the above artistic techniques, methods and methods of presentation of the material provide an understanding of the cognitive content of the read work by younger students.

In the course of reading a scientific and educational work, the reader remembers a lot involuntarily. Most often, a younger student remembers the material that seems surprising to him. But a scientific-cognitive book has to be cautious about the method of surprise: human emotions are dulled by the monotony of the stimulus, it is impossible to be constantly surprised. Therefore, the author of a scientific and educational children's book has to keep in mind a special task - to ensure that the reader memorizes the most essential cognitive material.

1. Memorization of scientific material read in a book largely depends on the attitude of the reader to this material. For memorization, it is extremely important that already with initial reading schoolchildren had a clear setting for memorization. In this case, memorization becomes a conscious, deliberate act.

Turning to this technique in their works, writers find various literary embodiments for it. Some authors include tasks in their books: "Try to answer the questions without looking into the book." Others offer riddles to the reader, which can only be guessed by memorizing the cognitive material of what has been read, for example, in the book by B. Dizhur "From the foot to the top", V. Malt "The Devil's Sea".

Sometimes the focus on memorization is carried out by emphasizing the practical significance of the knowledge gained, for example, in N. Sladkov's story "Whisper of the Fishes".

2. A certain place for the purpose of lasting assimilation of cognitive content in a scientific and educational children's book is given to repetition. Moreover, repetition in a children's educational book also, as a rule, also has an educational character. This technique, for example, underlies the book by N. Sladkov "Planet of Wonders".

Sometimes the authors of scientific and educational children's books use artistic generalization in terms of repetition of cognitive material. For example, the Australian writer Fred Lord in the book “The Word Has a Kangaroo” tells children about the life, habits, structural features of the body of a kangaroo, bat, spiders, grasshoppers, penguins, etc. There is a lot of material, and, of course, there is no need for the guys to memorize everything. In addition, younger schoolchildren still have little life experience and they do not always distinguish the main from the secondary when reading scientific and educational works, they miss important details, they are distracted by accidents. What exit does Fred Lord find? He ends his book with a small chapter, where in an extremely concise but fascinating form he summarizes all the previous cognitive material.

3. Sometimes the most cognitively significant in the work is highlighted by the composition: the situations are chosen so that the main emotional core coincides with the main cognitive message. This is how, for example, the story of F. Leo “We got lost”, the story-tale by N. Nadezhdina “How Vitya quarreled with the forest”, etc.

4. It is not only difficult for elementary school students to distinguish the main from the secondary in a scientific and educational book without the help of the author, but it is even more difficult for them to single out the essential connections between various aspects of reality. The analysis and synthesis of perception is still weak in a younger student: in a book he is reading, he may not be able to single out significant connections and phenomena on his own. In order to make it easier for children to memorize the main relationships in the read cognitive material, the authors use a variety of techniques.

Bianchi, for example, takes only one phenomenon for the youngest readers, revealing its cognitive essence in a whole series of examples. B. Rzhevsky in the fairy tale "Whose eyes are better?" highlights the relationship of phenomena only once, leaving the rest of the material simply at the level of fact.

In a small book of stories "Amazing pantries" V. Bragin takes one hero and one relationship, telling about it in detail and in a fascinating way.

N. Plavilshchikov most often gives the main cognitive material about the interconnection of phenomena in the first and last paragraphs of the story, thus creating a kind of literary frame.

One of the methods of memorization, which is often used in children's scientific and educational literature, is the variety of forms of presentation of cognitive material. Monotony in the presentation of material quickly tires the little reader, and fatigue in any of its manifestations is the main enemy of both attention and memory. For example, V. Bianchi in the "Forest Newspaper" refers to stories, and fairy tales, and essays, and telegrams, etc. N. Sladkov's "Land of Solar Fire" was built according to the same principle of diversity of genres.

B. Rzhevsky in the book “The mistake of the king of zoos” uses the change of direct speech to indirect speech for a variety of forms of presenting cognitive material; M. Ilyin, for the same purpose, combines the form of a conversation with the form of a business message.

The variety of presentation of educational material in a children's scientific and educational book includes not only a variety literary genres and forms, but also diversity in the structure of the arrangement of the material itself. In this regard, the book by Yu. Dmitriev "If you look around" is an excellent example. The book has a preface, which already creates a certain setting for memorization. The originality of the construction of the presentation of the material lies in the fact that the cognitive material is constantly and very skillfully supported by moral and didactic conclusions from the life of the reader's peers.

5. It should be borne in mind that, no matter how well the memorization of cognitive material is organized in a children's scientific and educational work (creating a setting for memorization, repetition with highlighting the main thing, a variety of forms of presentation of material, etc.), plays a huge role in perception of this material and the emotional side.

...

Functions of scientific and educational literature

Scientific and educationalliterature- a special phenomenon, and some researchers do not even consider it in the general context of children's literature, explaining this by the fact that it is devoid of an aesthetic beginning, performs only a teaching function and is addressed only to the mind of the child, and not to his whole personality. However, such literature significant place in the circle of children's reading and coexists in it on an equal footing with works of art. Throughout its development and maturation, a child needs a wide variety of information about the world around him, and his interest in various fields of knowledge is largely satisfied by scientific and educational literature. It really solves primarily the educational problem, adjoining the educational literature, and does not have many characteristic features artistic works. However, scientific and educational literature has its own goals, its own means to achieve them, its own language of communication with the reader. Not being in the full sense of the word either educational texts or works of art, scientific and educational publications occupy an intermediate position and perform several functions: on the one hand, they provide the reader with the necessary knowledge about the world and streamline this knowledge, on the other hand, they do it in an accessible form, facilitating the understanding of complex phenomena and patterns. Such literature, first of all, develops the logical thinking of the young reader, helps him to realize the connections between objects and events.

In addition, such publications contain not only theoretical information, but also descriptions of all kinds of experiences and experiments, thereby stimulating active knowledge of reality. Of course, scientific and educational literature is not addressed to the feelings of the child, however, it also performs a pedagogical function, namely, it educates the way of thinking, teaches the reader to set certain tasks for himself and solve them.

Depending on the specific goals that this or that scientific and educational publication sets for itself, they can be divided into popular science, reference and encyclopedic. (46)

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

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

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

History of developmentscientific and educational literaturefor younger students

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Scientific and artistic literature is defined as a special kind of literature addressed primarily to the human aspect of science, to the spiritual image of its creators, to the psychology of scientific creativity, to the "drama of ideas" in science, to the philosophical origins and consequences of scientific discoveries. Combines "general interest" with scientific authenticity, imagery of narration with documentary accuracy. Born at the junction of fiction, documentary-journalism and popular science literature.

Let's define the differences between scientific and artistic literature and fiction. We will rely on the study of N.M. Druzhinina.

1. In a scientific and artistic work, there are always causal relationships of a scientific nature. In the absence of these connections, it cannot carry out the task of familiarizing the reader with the elements of scientific thinking.

2. A fictional book is characterized by a brightly drawn hero - a man. In a scientific and artistic work, a person as a hero of events is in the background.

3. The difference in the use of the landscape by the authors of artistic and scientific works is significant. In a work of art, the landscape sets off the state of mind of the hero and is associated with him. In a scientific and artistic work, the landscape always works on the cognitive theme of the work. For example, the winter landscape in V. Bianchi's story is associated with the problem of identifying, finding animals in their tracks, and in A. Tolstoy's story "Nikita's Childhood" - with the creation of a certain emotional mood in the reader, with the disclosure of the inner state of the protagonist of the story - a constant feeling of happiness .

4. The main content of a scientific and artistic work is searches, discoveries, research, or simply the communication of any knowledge. Question: What is this book about? - allows you to determine whether it belongs to scientific-fiction or fiction.

Scientific and fiction literature includes artistic biographies of scientists and historical figures, works about nature, in which scientific information is presented in a figurative form. Scientific literature has not only intellectual and cognitive, but also aesthetic value. Some genres of didactic literature can be considered early examples of scientific literature: “Works and Days” by Hesiod, “The Visible World in Pictures” by Jan Amos Comenius, “Worm” by V.F. Odoevsky. Scientific and artistic works of domestic and foreign authors M. Prishvin, V. Bianchi, I. Akimushkin, N. Sladkov, G. Skrebitsky, E. Shim, A. Bram, E. Seton-Thompson, D. Kerwood , Gray Owl, etc. Basically, children in the lessons of literary reading get acquainted with scientific and artistic works.

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

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

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

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

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

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

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

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

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

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

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

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

However, in the 19th century works for children of a low artistic level were also distributed. Poetry and prose, scientific and educational and historical books by B. Fedorov, V. Buryanov, P. Furman were distinguished by utilitarian moralization, unreliability and compilation, and a conservative view of history. This kind of children's literature was opposed by democratic criticism, which formulated the aesthetic requirements for children's literature and the tasks of its pedagogical influence. Criticizing books that were "badly glued" stories sprinkled with maxims, Belinsky emphasized the value of literature addressed primarily to the feelings of the child, where instead of abstract ideas and instructive conclusions, images, colors, sounds will dominate. Pointing out the need for the development of the child’s imagination and fantasy by artistic means, A. I. Herzen, N. G. Chernyshevsky, N. A. Dobrolyubov recommended for reading to children and adolescents the fables of I. A. Krylov, poetry and prose of V. A. Zhukovsky, M. Yu. Lermontov, N. V. Gogol, the fairy tale "Humpbacked Horse" by P. P. Ershov. Circle of children's reading in the 19th century. expanded through translations R. E. Raspe, the Brothers Grimm, E. T. A. Hoffmann, H. K. Andersen, C. Dickens, W. Scott, F. Cooper, J. Sand, V. Hugo and others.

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

In Russian poetry for children, a fundamentally new stage was opened by the work of N. A. Nekrasov. The poet continued the traditional form of a conversation between an adult and a child, but filled it with dramatic vital content("Railway"). In Nekrasov's poems, for the first time, a peasant child appeared as a lyrical hero, full of charm, opposing an idle existence as a way of life. The range of children's reading included many of the poet's works. motives native nature, peasant labor are also characteristic of the children's poetry of I. S. Nikitin, I. 3. Surikov, A. N. Pleshcheev, Ya. P. Polonsky. In the poems of A. A. Fet ("The cat sings, squinting his eyes", "Mom! Look out the window ..."), A. N. Maikov ("Haymaking", "Lullaby") adults, as it were, were personified, began to be portrayed not as "elder", "parents", whom children feared and revered, but as close people, evoking feelings of love and affection. The objects and toys surrounding the child came to life, laughter sounded, children's sorrows and joys were revealed.

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

The instructive stories of K. D. Ushinsky ("Four Wishes", Children in the Grove, etc.) gained popularity. native word", repeatedly reprinted a kind of children's encyclopedia, designed for the initial education of the child, he attracted L. N. Modzalevsky, whose poems "Invitation to School" ("Children! Get ready for school!") had a special reader success. Multiple reprints withstood the collection of philosophical parables for children "Tales of Purring Cat" by N. P. Wagner, central theme which is the relationship of reason and feelings in the human soul.

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

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

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

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

In 1901-17, at different times, there were about 70 magazines for children of all ages, in which many works were published for the first time, which received recognition: "Ryzhik" by A. I. Svirsky, poems by I. A. Bunin, K. D. Balmont, S M. Gorodetsky, A. A. Blok, R. A. Kudasheva ("A Christmas tree was born in the forest"), S. A. Yesenin, Sasha Cherny. Young readers were fond of the novels of L. A. Charskaya; in the best of them - "Princess Javakha", "Brave Life" (about N. Durova) - they found an artistic expression of the ideas of friendship, selflessness, compassion. However, during this period, a lot of "light" writings were in demand among readers (for example, serials about the detective Nate Pinkerton).

In con. 19 - beg. 20th century serious scientific, artistic and popular science books for children and youth were created, in the work of which prominent scientists A. N. Beketov, A. A. Kizevetter, M. N. Bogdanov, P. N. Sakulin and others took part. D. N. Kaigorodov, A. A. Cheglok, J. Tsinger withstood multiple reprints. The theme of science and technology was presented in the works of N. A. Rubakin, V. Lunkevich, V. Ryumin, Ya. I. Perelman, who created the book series "Entertaining Sciences" (continued by V. A. Obruchev). The amusing biographies of classical writers P. V. Avenarius ("Pushkin's Adolescence", " Youth years Pushkin", "Gogol's student years", etc.).

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

A. V. Lunacharsky became an opponent of the “severe pedants of realism”. Outlining the prospects for the development of children's literature, he pointed to talented writers (S. T. Grigoriev, Bianki, Marshak, D. I. Kharms, Yu. K. Olesha) who were able to write in a new way for children.

A significant role in the course of these discussions was played by M. Gorky's articles "A Man Whose Ears Are Plugged with Cotton Wool", "About Irresponsible People and a Children's Book of Our Days", "About Fairy Tales". He defended the right of the child to a fairy tale, convinced of its beneficial effect on the upbringing of a person. Drawing the attention of writers to modern material, he argued that the book would be able to influence the child if it spoke to him "talented, skillfully, in forms that are easily digestible."

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

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

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

Overcoming schematic representations of the child, children's literature became more attentive to him and, consequently, more diverse both in thematic and artistic terms. The ability to peer closely into the life of a growing person, starting from his first step, the first toys and the first psychological problems, distinguishes the poetry of A. L. Barto. In a lyrical manner, E. A. Blaginina painted the childhood life: in her poems, the feelings, actions, deeds of the child are full of meaning, children are connected with the elders by deep affection ("That's what a mother", "Let's sit in silence"). The image of a little man, mastering the world as a kind of miracle, became the main one in the cheerful lyrical verses of Heb. poet L. M. Kvitko (included in Russian poetry in the translations of Marshak, S. V. Mikhalkov, M. A. Svetlov, Blaginina, etc.).

A penchant for eccentric jokes, improbability, and a shifter were characteristic of the authors of the magazines. "Hedgehog" and "Siskin" by D. Kharms ("Squad", "Liar", "Game", "Ivan Ivanovich Samovar"), Yu. D. Vladimirov ("Eccentrics", "Orchestra", "Evsey"), N A. Zabolotsky ("How the mice fought with the cat", "The Tale of the Crooked Man"). A. I. Vvedensky, the author of journalistic poems for older children, poetic stories, lyrical miniatures for kids (collections "On the River", "Journey to the Crimea", "Summer", a poem with an edifying basis " Who?"). New paths in poetry for children were opened by the work of S. V. Mikhalkov, who combined the humorous beginning with the lyrical and journalistic ("Uncle Styopa", "What about you?", "My friend and I").

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

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

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

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

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

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

One of the most significant in literature is the topic of the Great Patriotic War of 1941 - 1945. From fiction and documentary books, the reader learned about his peers, participants and heroes of the war ("The Fourth Height" by E. Ya. Ilyina, "The Tale of Zoya and Shura" by L. T. Kosmodemyanskaya, "Partisan Lenya Golikov" by Yu. M. Korolkov, "Street of the Youngest Son" by Kassil and M. L. Polyanovsky, etc.). A lot of attention in these books was paid to the pre-war period, the story of how the character and spiritual image of the hero developed.

The writers sought to convey to the young reader the harsh truth of the life of people in the war and in the rear (the book "Son of the Regiment" by V.P. Kataev, "On the Skiff", "Marinka" by Panteleev, "My Dear Boys" by Kassil, "Ivan" by V. O. Bogomolova).

In the literature for children and youth of the post-war period, conflicting trends were active. Like all art, children's literature of the 40s is the 1st floor. 50s experienced a period of non-conflict and falsification of reality. Indispensable features of many works on the military-patriotic theme were pioneering romance, poster imagery and sentimentality. The so-called. school stories, where the life of children appeared to be extremely embellished, and artistic tasks were supplanted by primitive didactics. However, at the same time, works of a different direction were created, more in line with the reality and needs of the young reader. In this sense, the official pedagogical setting for the formation of a harmonious, highly moral personality oriented children's literature towards general humanistic values, the development of curiosity and the expansion of the horizons of youth. Democratic changes in the public life of the country in the mid-1950s and 1960s. opened new creative possibilities for writers. Many writers turned to the experience of Russian classics and folklore. Reflecting in books the difficulties and contradictions of their time, they sought to penetrate into the inner world of the child, to understand his true needs, joys, sorrows. The external, eventful plot either lost its meaning altogether, or became a means of revealing spiritual conflicts in everyday life. The unfamiliar art form seemed psychologically too difficult for the perception of a child or teenager to literary and pedagogical criticism. But the works of F. A. Vigdorova, V. V. Golyavkin, M. S. Bremener, V. K. Arro, S. M. Georgievskaya, A. I. Musatov were designed for a reader ready for an effort of thought and tension of feelings. They helped him grow up. With an uncompromising look, he assessed modern reality in his books N. I. Dubov ("A Boy by the Sea", "The Orphan", "Woe to One", "The Fugitive"). His young heroes go through a difficult path of development, but they are not alone, next to them are the elders, living according to the laws of conscience, ready to help in word and deed. In a different manner - funny about the serious - wrote their books H. N. Nosov ("Vitya Maleev at school and at home", "The Adventures of Dunno and his friends", etc.), Yu. V. Sotnik ("White rat", "About our affairs "), Yu. Khazanov ("My marathon"), V. Medvedev ("Barankin, be a man!"), V. Yu. Dragunsky ("Deniska's stories"). The humor of the situation did not become an end in itself here, but helped to explore the diversity of life, to reveal the character of the hero.

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

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

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

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

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

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

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

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

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

The Children's Fund publishes the magazines "Tram" for young children and "We" for teenagers, which attracted the reader with their brightness and originality. The literary almanacs "Boy" and "Girl" are popular, the creators of which set themselves the task of helping the moral development of growing men and women, to form a good aesthetic taste in them.

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

The books of the Swedish writer A. Lindgren "The Kid and Carlson, who lives on the roof", "Pippi long stocking"," Mio, my Mio! ". Cheerful adventures of heroes, soft humor of Lindgren's works reveal the fullness of life, create instructive characters.

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

The works of the world children's classics of the 2nd floor became an organic part of the national children's literature. 20th century - philosophical tales "The Lord of the Rings" by J. R. Tolkien, "The Threshold" and "The Mage of the Earth" by W. Le Guin, books by T. Janson, etc.

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