Scientific and educational children's book. Scientific and educational story - what is it? Scientific and educational literature Classics of scientific and educational literature

A significant place in children's literature is occupied by works that are devoted to the popularization of information from various fields of knowledge - natural science, history, technology, physics and many others. There are several names for such literature: popular science, scientific and artistic, cognitive. Composed, as a rule, of two concepts, these titles are intended to reflect the dual nature of cognitive literature: by means of a literary word, to give the reader an idea of ​​individual scientific facts or phenomena. Thus, cognitive literature occupies an intermediate place among scientific and artistic books, differing markedly from both. In scientific or educational books, the authors strive for maximum objectivity in the presentation of material, while the authors of educational works present the same material through the prism of a personal, subjective attitude. Subjectivity is manifested in the emotional coloring of the narrative, imagery, and the presence of fiction. Even purely practical books that popularize knowledge for children can express a subjective-poetic vision of the world. Here is an example from a book by a popular scientist A. Fersman "Memories of Stone" . In the story "Alabaster" one of the heroes (an Italian by nationality) describes this stone as follows:

White-white, like your Siberian bread, like sugar or Russian flour for pasta, this is how alabaster should be.

The extraction of alabaster is told in fascinating stories that take the reader both to medieval Italy and to the modern Urals. Compare the artistic narrative with the characterization of a stone from a textbook on mineralogy: “Alabaster is a fine-grained variety of gypsum of different colors, mostly pure white, found in Italy, on the western slope of the Urals and in many other places. It is used as a soft decorative stone. Academician A. Fersman was the author of strict scientific works, but in cognitive literature he became a passionate storyteller, endowed with a vivid imagination and a poetic warehouse.

The position of the author in an educational book can be different. In one case, he adheres to the role of a popularizing scientist, telling the reader about a topic or problem that concerns him. Then it is not uncommon to refer to one's own research experience, stories about the activities of other scientists. In another case, the author leaves behind the scenes his scientific activity, often hiding under the guise of a fictional narrator. He gives free rein to imagination and fantasy, invents characters and an entertaining plot. The choice of the form of presentation depends on what tasks the writer first of all sets for himself: to present the material in a popular way, to give it a moral and philosophical understanding, to express an emotional assessment, or to offer practical recommendations.

But no matter what position the author chooses, he remains true to the scientific fact, on the basis of which an artistic image is born, a moral-philosophical idea or a publicistic theme develops. All works of cognitive literature are based on exact facts, expeditionary materials, documentary observations, and laboratory research. The writer does not allow himself, in the name of an interesting fiction, to distort the real relations that reign in the natural world, and this is a prerequisite for all educational books, regardless of topic and genre. In the story of a famous zoologist N. Plavilshchikova "Toothpick for a crocodile" talks about the "friendship" of a crocodile and a small bird. The mutual assistance that these animals provide to each other in nature has long been overgrown with legends. As much as the author would like to amuse the reader with a beautiful story, he adheres to the biological truth: the bird and the beast “do not seek to provide mutual services. They just live side by side and have adapted to each other.” This preference for scientific fact distinguishes educational literature from other types of children's literature.

But in works that popularize knowledge, a scientific fact performs not only an informational function. It is considered by the author in connection with the existing ideas about the purpose of science and its role in human life. These ideas are subject to change depending on the development of public views. Thus, the ideas of conquering nature, popular in Soviet society and literature in the 30s of the 20th century, were replaced three decades later by calls for a careful attitude towards it. There is no "pure science" on the pages of children's educational books.

Genres and styles educational literature very varied. Thus, the natural history topic, in addition to the tasks of a popular science nature, opens up great opportunities for posing moral and philosophical problems. Therefore, observation of the natural world is reflected in stories, descriptions, fairy tales. Historical themes often underlie novels or stories from the historical past. Biographical genres are dedicated to the fate of a personality famous in history or science. Geographic information is often clothed in the form of travel. The popularization of scientific and technical knowledge gravitates toward the genre of informative conversations with vivid examples and an accessible manner of presentation.

The types of publications of cognitive literature are just as diverse: from picture books, books with stickers, toy books, collections of stories and fairy tales to reference books and multi-volume encyclopedias. The methods and types of literature that popularize knowledge for children are constantly updated, some of them are born before our eyes, others have a long history.

The history of educational literature for children began almost earlier than children's literature itself: the authors of the first children's books of the 17th-18th centuries took up the pen in search of ways to popularize knowledge. So there were conversations and conversations on educational topics, geographical travel, historical stories. Sometimes writers were let down by ignorance of science, but books written by talented popularizing scientists had all the advantages of good cognitive literature. For example, the famous naturalist of the 19th century M. Bogdanov was not only a luminary of science, but also had a brilliant command of the literary style.

But the real possibilities of cognitive literature were revealed in the first decades of the 20th century, and the impetus for this was drastic changes in social life countries after the 1917 revolution. The popularization of knowledge has become the slogan of the Soviet era, as well as the idea of ​​active exploration of nature by man. Writing about science and technology in those years was for the reader who did not have elementary knowledge. The new readership and new educational tasks pushed not to repeat literary forms, but to experiments. They sometimes led away from utilitarian goals into the world of real literary discoveries. Therefore, many educational books of the 1920s and 1930s retain their artistic significance to this day.

Forms and techniques popular in children's literature were taken as a basis, based on an action-packed narration, lively conversation, and a fascinating story. For example, the travel genre appeared in a new quality. The heroes of educational books went to the world of science and technology, and it opened not in exotic countries, but in familiar forests and fields, working workshops and laboratories of scientists. Even an ordinary room could become the object of a cognitive journey if a scientist-engineer talks about the objects in it. In the book M. Ilyina "One Hundred Thousand Whys" (1929), which introduces the reader to information from the field of physical and technical sciences, there is a section "Journey around the room". It opens with an intriguing introduction:

We read with interest about travels to distant, unexplored countries and do not realize that a stone’s throw from us, or even closer, lies an unfamiliar, amazing, mysterious country called “our room”.

The impetus for a cognitive journey is riddle questions (“Are there walls made of air?”, “Why doesn’t water burn?”). Answers to them require scientific knowledge, in search of which the reader goes with the author on an imaginary journey.

Such a journey often turns out to be a journey into the past, where the popularizer finds the background of some invention or scientific and technical discovery. Yes, the book E. Danko "Chinese secret" (1925), dedicated to the history of the china cup, is a series of fascinating stories from the distant past.

But history itself is also a science with its own characteristics of scientific and historical research. They are introduced to the child by popular works written by historians. As a rule, they are talking about the discovery of a historical document. in the famous book S. Lurie "Letter from a Greek Boy" (1930) tells how scientists were able to read a letter written in ancient Greek on a piece of ancient papyrus.

Such popular genres in children's literature as fairy tales, short stories, novellas and even fantasy novels were put at the service of cognitive goals. Created by writers and completely original works. For example, an educational book B. Zhitkova"What I saw"(1939) written from the point of view of a child, or "Forest Newspaper" V. Bianchi(1928), written as an annual newspaper issue.

The tradition of cognitive literature, created at the beginning of the 20th century, continued in the second half of the century, now students and followers of famous popularizers took up the pen. An example of such an apprenticeship is the school of naturalist writers inspired by Vitaliy Bianchi. In general, in the 50-80s of the XX century, natural history literature noticeably came to the fore. It was no coincidence. The joy of the triumph of man over conquered nature has been replaced by concern for the current state of the world.

characteristic feature cognitive literature for children in the second half of the 20th century is the complexity of the scientific material that it presents. It is designed for a literate and erudite reader, which is a modern child. He is introduced to technology, the basics of chemistry, physics and electronics. Popular information from Russian and Soviet history is presented in the genre of a historical story. The most published books in the second half of the 20th century were S. Alekseeva devoted mainly to the heroic pages of national history ( One Hundred Stories of War ", 1982). Historical figures in them turned out to be next to fictional characters - people from the people, who, according to the writer, are the main engines of the historical process.

IN recent decades there has been an interest in works that tell about the Slavic past and the Orthodox roots of the Russian people (for example, G. Yudin Sirin bird and rider on a white horse , 1993). Biographies of Russian religious figures appeared. In the newest cognitive literature for children, interest in national antiquities and relics is increasingly increasing.

In the modern educational book for children, the tendency towards encyclopedia is growing. Hence the popularity children's encyclopedias , reference books. The famous children's encyclopedia "Why", which was published in 1988 and reprinted more than once, is a brilliant example of domestic educational literature. Fairy tales, conversations, stories, riddles, poetic stories, its components, introduce the child into the world of various knowledge.

In recent years, there has been a noticeable desire to publish cognitive literature of a reference nature. The story, conversation, description are replaced by a short reference article, the content of which is little understood by the child and requires an explanation from the adult. Will "children's" reference books replace cognitive literature? I think not, because good educational literature has a clear advantage over reference and educational literature: it not only provides the necessary information, but also serves as a full-fledged book for the child to read.

Modern printing allows publishing colorful, richly illustrated books. These can be picture books for the little ones, and photo albums for older children. They are also examples of cognitive literature.

Questions and tasks

1. What is the difference between educational literature and educational and fiction?

2. How did domestic educational literature develop and what distinguishes modern editions of educational books for children?

10.2. Natural literature for children and its features

Natural history literature includes the works of different nature. These are informative conversations on zoology and biology, stories and stories about animals, descriptions of natural phenomena, natural history tales, practical recommendations for young nature lovers. The popularity of natural history topics is not difficult to explain - a child meets animals and plants at every step, and interest in them remains throughout all childhood years. With the explanation of the phenomena of nature, the path to the scientific knowledge of the world begins for the child. But the natural history topic is rarely limited to explanations, quite often it goes into the field of spiritual and moral ideas. They are connected with understanding the place of man in the world and cultivating in him a careful attitude to all living things. Undoubtedly, the patriotic sound of such literature: it instills love for one's country and native land. By reading the books of talented naturalist writers, we not only get to know the world around us, but also begin to better understand life. Vitaly Bianchi insisted on this meaning of natural history literature:

The task of works of art is not at all to give the reader a certain complex of scientific (“objective”) knowledge about certain animals, plants, etc., but to give the image of an animal, plant, even an inanimate object ...

Then the reader will discover "the purest 'truth', a profoundly true image of reality...". And we are talking not only about the "truth" from the world of animals or plants. Compare two short stories Gennady Snegirev. The note "Raven" from the book "Birds of Our Forests" describes the life of ravens:

Forest crows live in pairs. And they live for two hundred years or more. A pair of crows flies over the taiga and carefully examines every clearing, every stream. If they notice the prey: the remains of a deer that was bitten by a bear, or a dead fish on the shore, they will immediately let other crows know. “Kruk-krruk-krruk,” the cry of a raven rushes over the taiga, it notifies other ravens that it has found prey.

The picture is very expressive, and besides, it is enlivened by the sound game. Now the preschool reader will be able to distinguish the crow among the birds of our forests. The raven is described in a completely different way in another story by Snegirev. A black lone bird circles the earth in search of prey, causing fear and dislike in everyone.

The raven returns with nothing: he is very old. He sits on a rock and warms his sick wing. The raven froze him a hundred years, maybe two hundred years ago. Spring is all around, and he is all alone.

A sick wing and an unsuccessful hunt are not only a sketch from nature, but also an image of a sad lonely old age, which evokes in the reader associations with human life and the emotions and thoughts associated with it.

The humanistic pathos characteristic of natural history books sets them apart from the rest of the cognitive literature. Writers often openly address the young reader, urging him to take good care of nature. But the power of literature is not in appeals. Love for nature begins with a keen interest in it, and the task of the naturalist writer is to arouse this interest by means of literature. A significant role here is played by interesting facts and observations from the natural world that can capture the reader's imagination. The writer takes them from scientific books on biology, but more often he relies on his own observations obtained on expeditions and travels. But the facts alone cannot constitute the content of a natural history book. More important is how the writer talks about them.

The authors of many natural history books write in the form of an informative conversation, using all the advantages of this genre: colloquial manner, emotional tone, vivid comparisons, playful remarks. The books are especially different. Igor Akimushkin. They are full of expressions “interesting to know”, “amazing discovery”, which accompany the story of scientific facts. The writer seems to urge the reader to share with him admiring surprise at the wonders of nature. One of Akimushkin's books for kids is called "Nature is a magician" (1990), and every description in it is full of emotions, for example, it is said about cuttlefish:

She lives in the sea, and swims - a wonderful marvel! - vice versa. Not like all animals. Head not forward, but back!

In books for teenagers, the writer resorts to another technique: he witty compares the habits of animals with the life of a modern person. Therefore, kangaroo ("Animal World", 1971):

they communicate with their relatives by wireless telegraph, of the same type as that of rabbits and hares - they tap their paws on the ground.

To arouse the reader's interest in the world of nature, such tried-and-true techniques in literature as riddles, secrets, and intrigues also help. The author knows how to arrange the material in such a way that it arouses the interest of the reader, intrigues him. At the same time, scientific logic and objectivity are not lost sight of. Many of Akimushkin's books introduce the classification of animals. But the writer constantly plays with scientific logic, surprising the reader with the fact that animals so dissimilar in appearance turn out to be together. This is especially noticeable in books for children. Their names sound intriguing - "These are all cats" (1975), "These are all dogs" (1976), "These are all antelopes" (1977). Species classification turns into an exciting puzzle game - try and guess the relationship of such different animals. The composition of the book can follow another principle - to show the difference in the habits of animals, which are explained by different habitats. In the book Yuri Dmitriev "Hello squirrel! How are you, crocodile? (1986) stories are devoted to how different animals hear, feel, move. Sometimes it seems that all these techniques are designed to amuse the reader, to “sweeten” the bitter root of the doctrine. But this is far from true. No less interesting is the personality of the writer-naturalist, a man in love with nature. We turn to the books of I. Akimushkin, Yu. Dmitriev, V. Bianchi or N. Sladkov not only to learn something new about nature, but also to experience with them the feeling of joy from meeting with the amazing and wonderful world. Of course, this applies not only to the authors of Russian natural history literature, but also to remarkable foreign writers such as Ernest de Seton-Thompson or Gerald Durrell.

Questions and tasks

1. What are the challenges facing natural history literature for children and how does it solve them? Show this on the example of books by I. Akimushkin and Y. Dmitriev.

2. By what means do naturalist writers solve these problems?

Tales of V. Bianchi

The fairy tale is the most popular genre in children's reading, and attempts to use its advantages in natural history literature for children have been made more than once. However, this is not easy to do, since fairy tale fiction should not distort the facts of science. They should not be distorted by moral ideas about good and evil, which do not correspond to the laws reigning in nature. Therefore, the traditional type of fairy tale containing “a lesson for good fellows” is not very suitable for natural history topics. This tale is about “lessons” of a different kind, and the animals in them do not turn into allegories. human dignity and shortcomings, as happens in fables.

The creator of the natural history tale is rightfully considered Vitalia Bianchi(1894-1959). Under his pen, a fairy tale ceased to be only a bearer of moral and ethical ideas, it was filled with natural science knowledge (therefore, Bianchi called his works “fairy tales-non-tales”). Fairy tale fiction was not just an entertaining device for the writer; in Bianchi's understanding, the artistic and poetic form of knowing the world is no less important than scientific and realistic.

in the story "Silly questions" (1944) describes a conversation between a scientist father and his young daughter. The point of contention between them was different perception nature: the father learns the world around him in terms of objective scientific knowledge and teaches this to his daughter. But the girl does not have enough exact definitions and scientific classifications. Asking about birds, she asks her father questions that reflect a poetic view of the world (“Why is the plover bowing, and the plover nodding its tail? Are they saying hello?”). Such an unscientific approach seems stupid to the father (“What nonsense! Do birds greet?”). And only when the father catches himself thinking that his daughter's "stupid" questions prompted him to interesting discoveries, he recognizes the importance of a poetic view of the world. This view allows you to know nature in all its depths. That is why the fairy tale, according to Bianchi, is "the deepest kind of literature."

Bianchi considered an important advantage of the fairy tale to be its action-packed, emotional richness and closeness to live colloquial speech - the legacy of the folk fairy tale tradition. The writer turned to her in his own work, calling "emotions, plot, simplicity of language" the three pillars of his poetics.

The connection with the folk tale in the works of Bianchi was not straightforward, because he faced other, cognitive tasks. But, talking about the laws of the natural world, the writer more than once turned to individual motives and techniques of a folk tale, and also used colloquial speech with a well-aimed word characteristic of it. But this is not the only difference between Bianchi's tales. They have a tense narrative rhythm, art game with sound and word, vivid imagery - all this is characteristic of the poetic culture of the early 20th century, on which Bianchi was brought up and formed as a writer. The tradition of two cultures - folk and literary - determined the originality of Bianchi's natural history tales.

The material for them was observations of the life of various animals. Bianchi wrote especially a lot about birds (his father was a famous ornithologist, and in his scientific interests the writer followed in his father's footsteps). But whatever Bianchi wrote about, he adhered to the rule: to depict the life of animals not in the form of separate isolated facts, but in deep interconnection with the general laws of nature. The appearance and habits of the animal depend on this, and the task of the writer is to show the effect of these general laws on the example of specific representatives from the world of birds and animals. By preserving the commonality in his characters, the writer avoids the facelessness that is alien to the very nature of a literary hero.

Personality begins with the fact that the character gets a name. Bianchi does not have random names, each name speaks of the character's belonging to one or another type of animal, and at the same time characterizes him. Sometimes a capital letter (Swallow Beregovushka) or a slight change in the word (Ant) is enough for a name. Bianchi often has names that play on appearance animal (partridge Orange neck). Not uncommon for Bianchi and onomatopoeic names (mouse Peak, sparrow Chick). As for the character traits of the characters, they are only outlined by the writer. It is much more important that they are small, and such closeness to the world of childhood always evokes a lively response from readers.

Fairy tale "Forest houses" (1924) is one of Bianchi's most popular works. The writer associated the reason for such success with the image of the main character of the tale - the swallow Beregovushka.

From everywhere I hear that “Forest Houses” is the favorite book of preschool children. What is in it for the little ones? It seems to me - great comfort: all the houses, and one another is better, more comfortable. The little hero is still "stupid", knowing nothing in the big world, poking his nose everywhere, like the readers themselves. Maybe the kindness that meets Beregovushka, weak and helpless in this vast, but no longer alien world.

Indeed, the story of Beregovushka's wanderings in search of a house for the night is similar to the story of a lost child. The similarity with the world of childhood is found already in the first words of the tale:

High above the river, over a steep cliff, young shore swallows swam. They chased each other with a squeal and a squeak: they played tag.

Why not child's play? But the game continues later, when the swallow visits the bird's nests, each of which is somewhat similar to a toy house. The little wanderer does not like any of them, and only having reached her home, Shoreline sweetly falls asleep in her bed.

Children's play in small houses does not exhaust the content of the tale. The plot about the wanderings of Beregovushka allows Bianchi to unfold a broad picture of the life of birds using the example of a story about bird nests. Their descriptions are accurate and reliable, but each time the observation of an ornithologist is complemented by the gaze of the artist. Here is one of the descriptions:

Hanging on a birch branch is a tiny, light house. Such a cozy house looks like a rose made from thin sheets of gray paper.

Each word is emotionally colored and close to the children's vision of the world. Therefore, bird nests are sometimes called "air cradle", then "hut", then "floating island". None of these cute houses attracts Beregovushka - why isn't the choosy from the fairy tale "Geese Swans"? But Bianchi gradually leads readers to the fact that it is not the capricious nature that prevents Beregovushka from finding a suitable house, but the dependence of each bird on a certain habitat. This is indicated by the facts that are in the descriptions of all fairy-tale houses.

There are childlike traits in the hero of the fairy tale "Mouse Peak" (1927). His adventures are described in the spirit of Robinsonades, popular in children's reading. Hence the intriguing titles of the chapters (“How a Little Mouse Became a Sailor”, “Shipwreck”), which are reminiscent of dangerous sea adventures. Despite the fact that the comparison of the mouse with Robinson is comical, the story of his misadventures does not turn into a joke or a parody. We are talking about real relationships in the natural world, in which the hero of Bianchi is a participant. These relationships are quite severe, and the tale serves as an illustration of the struggle for life that exists in nature. So, the terrible nightingale-robber is a shrike-shrike, a thunderstorm of mice, which "although a songbird, trades in robbery." The mouse itself is a representative of a certain biological species. Therefore, he builds the house in the way “as all the mice of his breed were built”, and it is not a miracle that saves him from certain death, but “yellow-brown fur, exactly the same color as the earth.” Telling mouse robinsonade, Bianchi does not go beyond natural laws. This does not prevent the reader from seeing the fearless navigator in the mouse and worrying about the outcome of his adventures. They end with a chapter titled "A Good End", and such an end is an important condition for a children's book.

The same closeness to the world of childhood is in the fairy tale "The Adventures of the Ant" (1936). Her hero must be in time for the anthill before sunset - a fact from the life of ants. At the same time, the hero's behavior bears a clear resemblance to a child who hurries home before dark and pitifully asks adults for help. By this, he arouses sympathy among all the characters in the fairy tale who are ready to help the kid in trouble. In addition, the Ant is similar to the tricksters of folk tales about animals: with the help of dexterity and cunning, they invariably win, and the hero of Bianchi resorts to such tricks at the right time. But the description of how each of the characters walks or flies has nothing to do with the tradition of a folk tale: Bianchi is talking about the structure of insects and how they move. But, talking about them, the writer does not break with the fairy tale - all descriptions are from the world of artistic imagery. Therefore, the wings of the beetle are “exactly two inverted troughs”, it buzzes, “like starting a motor”, and on the thread that the caterpillar gave, you can swing merrily, like on a real swing. The comparisons that Bianchi often uses not only correlate the unknown with the known to the child, but also introduce an element of play into the narrative. The game continues in onomatopoeia, as well as in the use of metaphorical expressions and sayings. About the sunset it is said: “The sun has already touched the edge of the earth”, and about the experiences of the hero: “Though throw yourself upside down.” All this makes it possible to preserve the atmosphere of a real fairy tale in the narrative on a cognitive theme.

Bianchi took the type of a braggart hero from the folk fairy tale tradition. Such a braggart - a puppy in a fairy tale "First Hunt" (1924). He is ashamed that all the animals and birds managed to hide from him. The story of how animals hide from enemies in nature is similar to the description of a children's game of hide and seek, only it is played not by children, but by animals. And they “play” according to the rules suggested by nature itself. It is told about these rules in figurative comparisons.

The hoopoe crouched to the ground, spread its wings, opened its tail, raised its beak up. The Puppy looks: there is no bird, but a motley patch lies on the ground, and a crooked needle sticks out of it.

A completely different bouncer in a fairy tale Rosyanka - mosquito death (1925). This is a typical fairy-tale hero boastfully singing a song about his invulnerability. And if the author took pity on the stupid puppy (there is too much childish in him), then the boastful mosquito is punished, but in a completely natural way - he became a victim of a swamp plant.

More than once Bianchi turned to the characteristic device of a folk tale - a riddle. Sometimes the riddle sounds already in the title (“Who sings with what?”, “Whose legs are these?”). Solving them is not easy, because the riddle is complicated by the game of paradoxes. Fairy tale "Who sings what?" (1923) begins with a paradox: "Here, listen to what and how the voiceless sing." Can the voiceless sing? Thus a new mystery arises. “Heard from the ground: as if in the heights a lamb sang, bleated.” A lamb singing in the sky is a snipe. But then a new mystery: what does he sing with? And a new paradox - tail. A whole choir of voices falls upon the reader, which Bianchi reproduces by means of sound play and the rhythmic construction of a phrase. “Now quieter, then louder, then less often, then more often a wooden ratchet crackles” (this is about a stork). “It circles around the flower in the meadow, buzzes with veiny hard wings, as if a string is buzzing” (this is about a bumblebee). But the sound game also has an independent meaning. "Prumb-boo-boo-boom" - who is this? It is not necessary to immediately look for a realistic explanation, this is the wonderful world of nature that speaks its own language. The transmission of animal sounds in Bianchi's tales is not reduced to naturalistic onomatopoeia (although it is based on this). No less important for the writer is the poetic and playful transformation of the world. In a fairy tale "Bird talk "(1940) the sounds of bird voices easily turn into rhymes and jokes, with which the narrative is densely sprinkled.

Many folk tales about animals tell about the disputes of animals for superiority, and they look like a continuous dialogue between the debaters. There are many such disputes in the tales of Bianchi. The arguments in them are natural laws (“Whose nose is better?”, 1924).

Bianchi talks about these patterns in many fairy tales. One of them - "Teremok "(1929) - written in the tradition of folk cumulative tales. This variety of fairy tales is characterized by the addition of identical links, ending in a grotesque finale. However, Bianchi's tale does not repeat the folk "Teremok". The writer frankly plays with tradition: his “teremok” turns out to be a hollow of a forest oak, in which the inhabitants of the forest find temporary shelter. So the folk tale in the presentation of Bianchi becomes an illustration of natural patterns. Like a fairy tale "Owl" (1927), which tells of a man's unreasonable desire to drive away an owl. As if in a cumulative fairy tale, a chain is being built here, but there is an objective logic in connecting its links: after all, we are talking about a food chain. So the fabulous paradox (owls fly away - there will be no milk) receives quite scientific confirmation.

Bianchi has fairy tales in which this or that natural phenomenon is given not a scientific, but a mythological explanation. The tradition of such tales goes back to mythological stories. Some of them Bianchi heard and recorded himself during his trips. In a loop "Trapper's Tales" (1935) reflected the recordings of fairy-tale folklore that Bianchi made from the Ostyaks living in the Far North. The fairy tale "Lyulya" tells why this bird, which lives in the north, has red eyes and a beak. Folk mythology linked the appearance of the bird to the origin of land. A small fearless bird, diving to great depths, took out a pinch of earth from the bottom of the sea and thereby saved all life.

Some of Bianchi's tales are devoted to the description of the annual natural cycle. The picture of the annual cycle is in the fabulous "novel" "Orange Neck" (1941), which tells about the life of partridges. Bianchi called this work "a little hymn to the Motherland", closely linking the knowledge of nature with a feeling of love for the native land.

Questions and tasks

1. How do the traditions of folk tales live in the tales of V. Bianchi?

2. What is the originality of the heroes of the fairy tales of V. Bianchi?

3. Give examples of a word game from the fairy tales of V. Bianchi.

Stories about animals

Stories about animals are very popular in children's reading. Among their authors are not only children's writers, but also recognized classics of Russian literature. The themes of most of the works are connected with the ideas of the humane attitude of man to the "smaller brothers", which is why the hero of many stories about animals is a man. In his communication with animals, the true properties of character are revealed. Writers love to cite examples of people caring for animals, especially in stories about the friendship between children and animals. Communication with an animal means a lot for an adult who sees in him a faithful and devoted friend. But even if the writer-naturalist is attracted to the world of animals exclusively by cognitive interest, then in this case we learn quite a lot about a person who observes nature.

But the presence of man does not obscure the animals themselves in the stories about animals, be it a giant elephant or a small forest bird. Such an exaggerated attention in the literature to "little things" has its own explanation - each of the animals reflects the world of nature, and this gives significance to the incidents associated with them. In stories for children, this significance is spoken of straightforwardly - cases are described in which animals or birds show quick wit and resourcefulness. "Reasonable" can be both domestic animals and wild ones that a person met in their natural environment or observed them in a zoo. Stories written by famous trainers (for example, V. Durov) about their four-legged pupils also tell about the abilities of animals.

Many stories about animals are close to documentary literature (the use of photographs in their design is not uncommon), but even those that belong to the literature of fiction are distinguished by the reliability of the description of animals and their habits. As a rule, writers rely on real observations and their own life experience. Let's look at evidence V. Bianchi about him "Little Stories" (1937).

Municipal district cultural institution

"Salsk inter-settlement central library"

Series

"Methodological consultations"

Development of cognitive interest through the involvement of children in reading

scientific and educational literature

Methodological advice for librarians

Salsk, 2011

Development of cognitive interest through the involvement of children in reading scientific and educational literature: methodological advice for librarians / SMCB; comp. : . - Salsk, 2011. - 30 p.

Methodological consultation will introduce the librarian to the methods of activating the reading of cognitive literature for children and adolescents.

Rep. Issue: Director of MRUK "SMTSB"

1. A systematic approach to organizing the reading of cognitive literature by readers - children.

Methodical consultation.

2. Star son of the planet Earth.

"Functional" (business) reading skills instill library lessons. Especially important are the topics of the lessons on the preparation of reports, abstracts, on instilling the skills of a broad search and selection of sources with the help of SBA, computer technology.

Interactive exhibitions

Exhibition-survey . If you were to meet a scientist who knows everything in the world, what would you like to ask him? Design options: drawing paper or flower-shaped leaves - botany questions, rockets - about space ... etc.)

Exhibition-vernissage of technical books and crafts

Exhibition "Scientific Calendar". Matrices are being prepared (to think over specific dates from the history of Russian discoveries and inventions), children fill them out. Then everything is stitched into a common calendar, it remains for work.

Exhibition-gallery "Great scientists". Each paper is dedicated to a particular scientist. On whatman paper, children fill in the columns: biography, discoveries, illustrations on the topic (portrait, about the invention, etc.).

In conclusion - an exhibition of books, magazines and posters in the library.

Techniques for activating reading cognitive literature for children and adolescents

The sequence of actions of the reader when working with popular science works

3) Find the answer to this question - that is, determine the main idea.

4) Highlight new information in each part, write out new terms.

5) To comprehend why the facts and evidence are given in such a sequence, how they are interconnected.

6) Comprehend the whole, prove the main idea of ​​the text.

Memo to the reader for writing a message on the topic

1. Choose a topic for your story;

2. Determine what thought you will prove.

3. Choose an art form for your story (dialogue, fairy tale,);

4. Pick up scientific material on the chosen topic using the reference apparatus of the library, the recommended list of literature, Internet search.

5. Choose from the found material the most important and interesting, arrange the material in a logical sequence.

6. Think about how to translate scientific material into an artistic form: in what situation this scientific information may be needed, how and with whom an event could happen in which the characters could receive this information; what did they need them for?

7. Plan your story

8. Determine the main idea of ​​each part, correlate it with the main idea of ​​the story.

9. Read what you got and make corrections if necessary.

These tips will be available and useful to readers if they are placed in the "Reader's Corner", arranged as a bookmark, memo.

Useful sites for the librarian and reader

Great Soviet Encyclopedia (BSE) http://bse. /

Science on TV channel culture http://www. tvkultura. en/page. html? cid=576

Popular mechanics: a portal about how the world works http://www. popmech. en/rubric/theme/science/

Portal based on the electronic version of the journal "Science and Life" http://www. nkj. en/

Russian Academy of Sciences http://www. ras. ru/index. aspx

Network encyclopedia "Scientists of Russia" http://www. famous-scientists. en/about/

"Chemist": site about chemistry http://www. xumuk. en/organika/11.html

Electronic library "Science and technology" http://n-t. en/

Elements: a popular site about fundamental science http://elementy. en/

Thus, systematic and purposeful work to involve children in reading cognitive literature helps to discern a spark of curiosity in children, significantly expand the horizons of children, develop thinking and speech, and most importantly, make the process of self-education creative, vivid and unforgettable.

Literature

Belokolenko, reading children in the library: a systematic approach // Bibliotekovedenie. - 2001. - No. 4. - S. 64 - 70.

Golubeva, to work with printed publications // School Library. - 2004. - No. 1. - S. 24 - 28.

Mazuryak, Gagarin. Space. Century XX. // School library. - 2006. - No. 4. - S. 72 - 75.

Selezneva, literature in the education of curiosity in children of primary school age // Bibliotekovedenie. - 2007. - No. 5. - P.67 - 71.

Shevchenko, L. Who should be a pilot in a magazine flood? : from the experience of working with periodicals // Library. - 2007. - No. 10. - S. 59 - 62.

Star son of the planet Earth

(to the 50th anniversary of space flight)

A Conversation for Middle School Readers

, lead librarian

Innovative-methodical

Department of MRUK "SMTSB"

The dream of space is perhaps one of the very first that was born among mankind. And people carefully carried it through the millennia. The mysterious world of the stars attracted astronomers and philosophers ancient rome and Ancient Greece, the Renaissance and the Age of Discovery. The dream of flying to the stars has always been with man.

Today we are justly proud that the first artificial satellite of the Earth was created by scientists of our country, that our automatic stations were launched to the near and far worlds - the Moon, Mars, Venus, and our compatriot Yuri Alekseevich Gagarin became the first person in the Universe.

On April 12, 1961, a message was transmitted on all radios : “Moscow speaks! All radio stations of the Soviet Union are working! Moscow time 10 hours 2 minutes. We are transmitting a TASS message about the world's first manned space flight. April 12, 1961 in the Soviet Union launched into orbit around the earth for the first time the world spaceship - satellite "Vostok" with a man on board. Pilot - cosmonaut of the spaceship - satellite "Vostok" is a citizen of the Soviet Union, pilot Yuri Alekseevich Gagarin.

The future cosmonaut Gagarin was born on March 9, 1934 in the village of Klushino, Gzhatsky district, Smolensk region. Father and mother were peasants. Yuri Alekseevich laughed heartily when a rumor spread abroad that he came from a noble family of princes Gagarins, who owned palaces and serfs before the revolution.

After leaving school, Yuri entered the Lyubertsy vocational school. Then there was study at the Saratov Industrial College. He took teaching seriously, wanted to know as much as possible, to learn everything as quickly as possible. He graduated from high school and college with honors.

Yuri Alekseevich read the works of Jack London, Jules Verne, Alexander Belyaev. There was a queue for fantasy novels in the library. Books were passed from hand to hand, retold to friends. The young man was struck by the foresight of Tsiolkovsky's scientific views on the imminent appearance of not only jet aircraft, but also space rockets. Yuri Alekseevich himself said that his "space" biography began with a report on the work of Tsiolkovsky.

October 25, 1954 a significant event took place in the life of a young man - for the first time he came to the Saratov flying club. “I remember the day of the first jump from parachute, - recalls Yuri Alekseevich, - it was noisy on the plane, I was very worried. I did not hear the instructor's command, I only saw his gesture - it's time! I looked down, down there, my friends from the flying club were waiting for their turn. It was necessary to show your skill, but not your fear.”

A year later, Yuri Gagarin made the first solo flight on a Yak-40 aircraft. After graduating from the Saratov Technical School and studying at the flying club, Yuri Gagarin continued his studies at the Orenburg Aviation School.

The years of study in Orenburg coincided with the first Soviet successes in the conquest of space - the first and second artificial satellites of the Earth. On the second unmanned satellite, the dogs Belka and Strelka, 28 mice, 2 rats, insects, plants, some microbes, a container with trays of human skin went into orbit. People were shocked: it means that a person can fly ...

On December 9, 1959, Yuri Gagarin wrote an application with a request to enroll him in the cosmonaut training group. Out of more than three thousand candidates, 20 people were selected, who were included in the Cosmonaut Training Center.

The first detachment of astronauts included six people:,.

By decision of the State Commission, the first commander of the Vostok spacecraft for the first flight into space in the history of mankind was appointed pilot - Senior Lieutenant Yuri Alekseevich Gagarin.

Why did he become the cosmonaut number 1 exactly? Here is how Yuri Alekseevich himself spoke about this: "I was young, healthy, I felt good during flights and skydiving." And Nikolai Petrovich Kamarin, the first flight director, gave a more specific description: handsome, smart, sweet, charming, athlete, pilot, brave, has a princely surname, from ordinary peasants.

The cosmonauts were settled near Moscow, in a place that is now commonly called "Star City". There was a lot to work and learn. A lot of time was spent on physical training. The future cosmonauts experienced the state of weightlessness in the isolation chamber, in a thermal chamber with scalding air.

Nine months before launch, in the summer of 1960, I saw the Vostok spacecraft for the first time. Imagine how surprised he was that the shell of the ship should heat up to several thousand degrees when entering the dense layers of the atmosphere.

The spacecraft consisted of two compartments. The first is "living". This is the cockpit with working equipment. The second compartment - with a brake installation, which ensured the landing of the ship. The largest item in the cockpit is the chair. It has a catapult built into it. On command, the seat with the man was separated from the ship. The seat also included a rescue boat, a supply of provisions, a walkie-talkie for communication in the event of an emergency landing on water, and a supply of medicines. For what was done outside the ship, the pilot watched through the windows, the glass of which was not inferior in strength to steel. Curtains provided protection from bright, not like on Earth, sunlight. To ensure normal living conditions, devices and systems are installed in the cabin of the ship.

The ship was launched into space by a multi-stage rocket. As soon as the ship reached a predetermined altitude, it separated from the launch vehicle and continued flying on its own at a speed of about eight kilometers per second.

The day before the launch, the chief designer of the spacecraft, Sergei Pavlovich Korolev, once again reminded Yuri Alekseevich about the huge risk, about overloads and weightlessness, and possibly about something else unknown. But the twenty-seven-year-old cosmonaut had great faith in the chief designer and his mentor.

Gagarin's flight began with his famous phrase: "Go!". Movie footage of this historical event conveyed to us a smile illuminating Gagarin's face at the moment of launch. From the memoirs of German Titov: “At the moment the rocket was launched, there was a monstrous roar, fire and smoke. The rocket terrifyingly slowly broke away from the launch pad, then its speed began to increase, Now it is already rushing like a brilliant comet ... Now it has disappeared from the eyes.

Here is how Yuri Gagarin himself describes his flight: “The rocket engines were turned on at 09:07. The load immediately began to increase. I was literally pushed into a chair. As soon as the "Vostok" broke through the dense layers of the atmosphere, he saw the Earth. The ship flew over a wide Siberian river. The most beautiful sight was the horizon, a rainbow-colored band separating the Earth in the light of the sun's rays from the black sky. The bulge, roundness of the Earth was noticeable. It seemed that the whole Earth was surrounded by a pale blue halo, which, through turquoise, blue and purple, turns to blue-black ... ".

Only occasionally did the speaker report Yuri Gagarin's report on all stages of the flight:

"Resetting the head fairing. I see the earth. The flight is successful. Feeling good. All devices, all systems work well. Solar orientation turned on. Attention! I see the horizon of the Earth! Such a beautiful halo. First, a rainbow from the very surface of the Earth. Very beautiful…"

At 10:55, 108 minutes after the launch, the Vostok landed safely in the Saratov region near the village of Smelovka.

In a bright orange spacesuit, the astronaut looked strange to the locals, who were afraid to get close to him.

The spacecraft descended near a deep ravine. According to the memoirs, the ship turned black, burned, but it seemed to him more beautiful and dear than before the flight.

The first flight into space was short by today's standards, but it was a big step for humanity into the future. Its main result: "It is possible to live and work in space!". Yuri Gagarin, with his courage, diligence, determination, proved that the possibilities of a person are inexhaustible. A new profession has appeared on Earth - an astronaut.

Yu. Gagarin was hourly ahead of the time in which he lived ... The news of his tragic death in a plane crash during a training flight shocked the whole world. To become on a par with him, to everyone who stepped into adulthood, it is not enough to admire Cosmonaut No. 1. We have a lesson from his life as a legacy. Streets and squares of many cities of the world, a small planet and one of the largest craters on the far side of the Moon are named after him.

Let's remember the important events in the life of the first cosmonaut and answer the quiz questions.

1. When and where was Yuri Gagarin born?

2. Where did Yuri Gagarin study?

(vocational school in Lyubertsy, industrial college in Saratov, flying club in Saratov, Flight Aviation School in Orenburg, Military Academy named after in Moscow)

3. When did the first space flight take place?

4. Who, besides man, managed to visit space?

(dogs Laika, Belka and Strelka, rats, mice, flies)

5. From which cosmodrome did the first manned spacecraft take to the skies? (Baikonur Cosmodrome)

6. What was the name of the ship on which Yuri Gagarin took to the skies?

("Vostok-1")

7. How long did Yuri Gagarin's space flight around the Earth last?

(1 hour 48 minutes)

8. Name cosmonaut No. 2 - understudy Yu. Gagarin. ()

Literature

1. Dokuchaev, V. Gagarin's lesson. - M., 1985. - 144 p.

2. Ivanova, Gagarina: an hour of messages // Class teacher. - 2006. - No. 2. - P. 110 - 118.

3. Solovieva, the son of the planet Earth: literary and musical composition // Books, notes and toys ... - 2007. - No. 2. - P. 34 - 37.

Educational and educational literature for children during this period made a big step forward compared to the 18th century. Its diversity is truly amazing. Books on history, natural science and geography, technology and medicine, books on the culture and life of the Russian and other peoples of Russia, etc. were published for children. Most of these publications were carried out with the participation of scientists and talented popularizers, so they combined strict scientific character with liveliness and entertaining presentation.

At the same time, genres of popular science literature and types of publications are being developed and approved for many years to come. There are biographies of prominent people, picture alphabets, anthologies, almanacs, lotto and other games with pictures, picture books, albums with engravings and text, etc. Encyclopedias for young readers are becoming especially popular.

The encyclopedic orientation of children's books was so strong at that time that even primers and alphabet books acquired an encyclopedic, all-encompassing character. Such universality marked the book published in 1818 "A precious gift for children, or a complete new encyclopedic alphabet". It was composed of small popular scientific articles about history, natural science, and art.

A few years earlier, in 1814, an illustrated alphabet by I. Terebenev appeared - "Gift for children in memory of 1812". It was intended for the smallest and was widely distributed in Russia.

Her humor contributed to this. French lessons were given in it, accompanied by caricatures of Napoleon, with poetic captions. In one of these pictures, the French emperor danced to the tune of a Russian peasant, and the text under it read: “He wanted to school us at his whistle. But no, it didn’t work, dance to our tune.” In total, there were 34 such caricatures (cards engraved on copper, enclosed in a folder) - for each letter of the alphabet.

Great artists come to the children's book, often acting as co-authors of popular writers, and sometimes on their own. They laid down the tradition of illustrating children's publications. Richly illustrated editions began as early as the 18th century. Then, for example, the encyclopedia of the 17th-century Czech humanist thinker Jan Amos Comenius "The World in Pictures" was reprinted more than once, as well as another translated book of this type, "The Visible Light in Faces." There are also original encyclopedias. So, in 1820, young readers could get acquainted with domestic book "School of Arts, Arts and Crafts"; the material in it was arranged according to the principle of complication - from simple things that surround the child to those that he does not yet know about. A little earlier, in 1815, he began to publish "Children's Museum", in which encyclopedic information was given both in Russian and in two foreign languages.

By 1808, the beginning of the release of a ten-volume edition "Plutarch for Youth". The name arose from the "Comparative Lives" of the ancient historian Plutarch translated into Russian many times. "Plutarchs" then called books that contain biographies of prominent people from different times and peoples. The followers of Plutarch in modern times were the French Pierre Blanchard and Catherine Joseph Propiak. Their books were translated into Russian, adding biographies of domestic figures - the Grand Dukes of Kiev and Moscow, Peter the Great, Feofan Prokopovich, M.V. Lomonosov, A.V. Suvorov, M. I. Kutuzov. These books were very popular. Interest in such publications especially increased after the Patriotic War of 1812 and the publication of N.M. Karamzin's capital work "History of the Russian State".

Writer and historian Nikolai Alekseevich Polevoy(1796-1846) created in the 30s "Russian history for initial reading". It was an original popular science work, in which the author in many cases expressed his disagreement with the views of Karamzin, which, as you know, were of a conciliatory-monarchist nature.

For the first time in children's historical literature, the grandiose role of Peter I was described by Polevoy. In a more objective and brighter light, such historical figures as Patriarch Nikon, Kuzma Minin, who led the people's militia in 1611, and Prince Dimitry Pozharsky appeared in a more objective and bright light.

A.S. Pushkin, devoting two articles to "Russian History for Initial Reading", noted the writer's ability to preserve "the precious colors of antiquity", but scolded him for his disrespectful attitude towards Karamzin. Belinsky did not agree with all of Polevoy's statements, but on the whole he considered the book "an excellent work", since it "has a look, there is a thought, there is a conviction."

It is possible to mention here once again about A. O. Ishimova. She revised her "History of Russia in Stories for Children" for younger children and published it under the title "Grandmother's Lessons, or Russian History for Young Children". The writer remained true to the views of Karamzin.

In 1847 the historian Sergei Mikhailovich Solovyov(1820-1879) published in the New Library for Education his

work intended for children - "Russian chronicle for initial reading." He was able to retell in simple colloquial language "The Tale of Bygone Years" - an annals compiled at the beginning of the 12th century by Nestor. Solovyov highlights the idea of ​​Russian statehood and the struggle of the people for their independence embedded in the annals.

SECOND HALF OF THE XIX CENTURY

During the period of time from the Crimean War (1853-1856) and the reforms of the 60s to the beginning of the revolutionary events (1905), children's literature passed the stage of its final approval in Russian culture. Creativity for children began to be perceived by most writers as an honorable and responsible business. The attitude towards childhood was also affirmed as a sovereign world with its own spiritual and ethical principles, its own way of life. The variety of pedagogical systems testified to the formulation of new questions concerning childhood and the relationship between adults and children.

The era demanded from children's literature the actual content and modern art form. The contradictions generated by the reforms could only be resolved by future generations, so young readers were offered books of modern sound - healthy spiritual food for the proper development of the individual.

The flourishing of realistic art had a decisive influence on children's literature, qualitatively changed prose and poetry for children (without, however, giving a noticeable impetus to children's drama).

The problem of nationality began to be understood more broadly: the simple expression "folk spirit" was already recognized as insufficient - it was necessary that the work serve as a link between the reader and the people, meet the interests of all honest and thinking readers. In other words, the concept of nationality has acquired a more ideological character, associated with the ideals of democracy and citizenship.

The revolutionary democratic trend in literature and criticism had a great influence on children's literature. This direction was headed by critics and writers N.G. Chernyshevsky and N.A. Dobrolyubov, poet and editor of the Sovremennik magazine N.A. Nekrasov. Revolutionary democrats formed a new public consciousness, appealing to a civil conscience and materialistic views, leading the struggle for the happiness of the people.

The confrontation between two old tendencies in children's literature is intensifying.

On the one hand, children's literature is moving closer to contemporary "adult" literature: writers of a democratic trend strive to introduce into works for children the artistic principles and ideas that are accepted in the "adult" part of their work. With unprecedented frankness and at the same time moral tact, they depict a world of real contradictions. The danger of early maturation of the child's soul seems to them a lesser evil than the danger of spiritual hibernation.

On the other hand, adherents of "protective" pedagogy and literature preach the protection of the children's world from cruel reality: in works on modern topics there should not be a complete picture of life, insoluble contradictions and unpunished evil. Thus, the tragic inevitability of death is moderated by religious belief in the immortality of the soul, social ulcers are treated by charity, the eternal confrontation between man and nature is reduced to the ennobling effect of the beauties of nature on the young soul.

The confrontation between the two ideological tendencies is fully reflected in children's magazines. The magazines of A. O. Ishimova, which have become familiar to society, retain their popularity. There are other children's magazines of a sentimental-protective nature. There are new magazines, already of a democratic orientation. They affirm the values ​​of populist ideology and explain the ideas of materialism and Darwinism.

The development of poetry for children follows two paths, which have received the conditional name of "poetry of pure art" and "Nekrasov's school" (that is, people's democratic poetry). In addition to landscape lyrics, civic lyrics are becoming widespread. Satire begins to penetrate poetry for children. In verse, the voice of an adult lyrical hero still sounds mainly, but a child hero is already appearing, which will be characteristic of children's poetry of the 20th century. Dialogue with the child, memories of childhood feelings are steps towards this transition.

Childhood as lyrical theme, discovered in the works of Shishkov, Zhukovsky, Pushkin, Lermontov, received its final approval in the poetry of the second half of the century. At the same time, the divine, angelic features in the image of the child are replaced by purely realistic features, although the image of the child does not lose its ideality. If the poets of the first half of the century saw in the child the ideal of their contemporary era, which fades away as they grow older, then in the perception of their later successors, the child is ideal in the sense of his future deeds for the benefit of society.

Poetry for children (especially in the "Nekrasov school") develops in close connection with folklore, the poetic language itself is close to the language of folk poetry.

A stronger position in children's prose is now occupied by the genre of the story. Along with the traditional moralistic and artistic-cognitive stories, social, everyday, heroic-adventure, and historical stories are being developed. Their common features are realism, deepening of subtext, departure from unambiguousness in resolving the conflict, complication of the general idea.

By the end of the century, stories about orphans, the poor, and little workers were singled out as a separate thematic direction. Writers seek to draw attention to the catastrophic condition of children who are dying spiritually and physically in the grip of the bourgeois-capitalist age. This theme is heard in the works of such writers as Mamin-Sibiryak, Chekhov, Kuprin, Korolenko, Serafimovich, M. Gorky, L. Andreev. The theme of a difficult childhood also penetrates popular Christmas stories, either submitting to the sentimental idea of ​​charity, or refuting it (for example, Dostoevsky's story "The Boy at Christ on the Christmas Tree").

The attention of writers is also drawn to the psychological problems of children growing up in so-called "decent" families. Leo Tolstoy, Dostoevsky, Chekhov, Korolenko, Kuprin in their works spend detailed analysis age psychology of children, factors of educational influence, the environment surrounding the child, and sometimes come to conclusions that are unexpected, alarming. Literature about children is being formed, addressed to parents and teachers.

The literary fairy tale is becoming more and more like a realistic story. Miracles and transformations, moments of magical fiction are no longer the defining features of a fairy tale. Writers prefer to stick to the laws of reality, not even resorting to direct allegory. Animals, plants, objects can speak, express their feelings and thoughts, but a person no longer enters into a dialogue with them. The magical world has closed itself off from man, people exist somewhere on the other side of it. Thus the two worlds of a romantic fairy tale are replaced by the two worlds of a realistic fairy tale.

The search continues for bringing “eternal” books to children, in particular the New Testament and the Old Testament, Christian parables, apocrypha, lives. The Church meets new demands, issuing lighter transcriptions, however, carefully weighed on the scales of state interests. Leo Tolstoy proposes to free ancient works from elements of fantasy, religious mysticism, leaving a pure moral basis, i.e. proposes to apply the laws of realism to works that have arisen outside of literary movements. N.S. Leskov in the 80-90s creates a number of stories, fairy tales, stories on Christian subjects, subordinating the mystical beginning of the tales to the truth of relations between people.

The achievements of the literature of the second half of the 19th century were a powerful basis for the renewal of children's literature at the beginning of the next century and fed its further development.

POETRY IN CHILDREN'S READING (REVIEW)

By the beginning of the 60s, the best examples of Russian classical poetry were already widely and firmly included in the circle of children's reading, represented by such names as I.A. Krylov, V.A. Zhukovsky, A.S. Pushkin, A.V. Koltsov, M.Yu.Lermontov, P.P.Ershov. Yes, and contemporary poets for young readers, who also later became classics, found their way to them: these are F.I. Tyutchev, A.A. Fet, A.K. Tolstoy, A.N. Maikov. Of particular interest to critics, publishers, teachers who shared democratic ideas were those poets who sought to tell children about the people and their needs, about the life of peasants, about their native nature: N.A. Nekrasov, I.Z. Surikov, I.S. Nikitin, A. N. Pleshcheev. Lyric poets were many authors whose works in the 60-70s entered the circle of children's reading. Russian lyrics found in their work an unprecedented depth of psychological and socio-philosophical overtones, mastered new, previously considered "non-poetic" themes.

However, representatives of the brilliant galaxy of Russian lyricists of the 60s and 70s differed greatly in their social positions, in their views on poetry, its role and purpose.

The poets grouped around N. A. Nekrasov, such as I. S. Nikitin, A. N. Pleshcheev, I. Z. Surikov, were closest to the traditions of realism; they shared the idea of ​​open citizenship and democracy, and gravitated toward social issues. They were eminently sympathetic to the fate of the people, to the hard lot of the peasants. They used colloquial vocabulary to bring their works closer to the common man. This was especially important for them, because they sought to form an active life position, lofty civic ideals.

Under the sign of "pure poetry", "pure art" were those who developed the romantic traditions of Russian literature and its philosophical, universal orientation. These are the poets F.I. Tyutchev, A.A. Fet and others.

The integrity of the personality, lost by contemporaries, the immediacy and brightness of feelings were often seen in antiquity. Therefore, interest in ancient literature is growing, Hellenic simplicity and naturalness, clarity and transparency of verse are recognized as an aesthetic norm. Such poetry is called anthological. The serene contemplation that the Hellenistic poets, for example, A.N. Maikov, opposed to the everyday life, was warmed by their sincerity and warmth.

Fyodor Ivanovich Tyutchev (1803-1873) developed as a poet in the late 20s and early 30s. His fate was not quite usual: he began to publish at the age of 15, but for many years remained almost unknown. It was only in 1850 that Nekrasov's judgment about him as a remarkable Russian poet was published in the Sovremennik magazine. In 1854, the first collection of Tyutchev's poems appeared. Such masterpieces from this collection as “I met you ...”, “There are in the initial autumn ...”, “Summer evening”, “Quietly flows in the lake ...”, “How good you are, O night sea. ..” and others, entered the golden fund of Russian lyrics, including the circle of children's reading.

Tyutchev's work is filled with deep philosophical content. His lofty lyrical reflections are always closely connected with real life, they express its general pathos, its main conflicts. The poet sees a person not only in the full breadth of talents and aspirations, but also in the tragic impossibility of their implementation.

Tyutchev is infinitely free in his poetic language and imagery: he easily and harmoniously brings together words of a different lexical range; metaphor combines phenomena far from each other into solid and vivid pictures.

The main thing in Tyutchev's lyrics is the passionate impulse of the human soul and consciousness to master the infinite world. Such an impulse is especially in tune with a young, developing soul. Close to children are those verses where the poet refers to the images of nature:

I love a thunderstorm in early May, When the first spring thunder, As if frolicking and playing, Rumbles in the blue sky ...

From the very rhythm of such a poem, a feeling of belonging to the life-giving forces of nature arises.

Reluctantly and timidly, the Sun looks at the fields. Chu, behind the cloud thundered, The earth frowned.

The life of nature in the poet appears dramatically, sometimes in a violent clash of elemental forces, and sometimes only as a threat of a storm. So, in the poem "Reluctantly and timidly ..." the conflict did not unfold, the thunderstorm left and the sun shone again; tranquility has come in nature, as it comes in man after spiritual storms:

The sun once again glanced sullenly at the fields - And the whole troubled earth drowned in the radiance.

The ability to convey the "soul of nature" with amazing warmth and attention brings Tyutchev's poems closer to children's perception. The personification of nature sometimes becomes fabulous for him, as, for example, in the poem “Winter is not without reason angry ...”.

In the poem "Quiet night, late summer ...", a seemingly motionless picture of the July night in the field is drawn - the time of growth and ripening of bread. But the main meaning in it is carried by verb words - they convey the underlying, invisible, non-stop action that occurs in nature. Man is also indirectly included in the poeticized picture of nature: after all, the bread on the field is the work of his hands. Poems, thus, sound like a lyrical hymn to nature and human labor.

The feeling of oneness with nature is also characteristic of such a poet as Afanasy Afanasyevich Fet (1820-1892). Many of his poems are pictures of nature unsurpassed in beauty. The lyrical hero Fet is full of romantic feelings that color his landscape lyrics. It conveys admiration for nature, then light sadness, inspired by communication with her.

I came to you with greetings To tell you that the sun has risen, That it is a hot light Fluttering across the sheets ...

When Fet wrote this poem, he was only 23 years old; the young, ardent force of life, so in tune with the spring awakening of nature, found its expression both in the vocabulary of the poem and in its rhythm. The reader is conveyed the jubilation possessing by the poet because “that the forest has woken up. / All woke up, each branch ... ".

It is quite legitimate that Fet's poems are included in children's anthologies and collections: it is the kids who tend to feel a joyful comprehension of the world. And in such poems as “The cat sings, squinting his eyes ...”, “Mom! look out the window...”, the children themselves are also present - with their worries, their perception of the environment:

Mother! look out the window - Know that yesterday it was not for nothing that the cat

I washed my nose: There is no dirt, the whole yard was dressed. Brightened, whitened -

Apparently it's cold...

Not prickly, light blue Frost is hung on the branches - Look at least you!

Joyful is the world of nature in the verses of Apollon Nikolayevich Maikov (1821 - 1897). Harmony, a bright attitude were characteristic of Hellenistic poetry. The poet felt closeness to her so strongly that he looked at Russian nature, in the words of Belinsky, "with the eyes of a Greek." Maikov traveled a lot, and the impressions of foreign wanderings were reflected in his work. He enthusiastically translated poems from other languages, and in 1870 he translated The Tale of Igor's Campaign from Old Slavonic. His translation is still considered one of the best (1856).

Maikov's personal acquaintance with Belinsky was of great importance. The progressive ideas of the critic, his desire to improve society prompted the poet to turn to contemporary topics. It was then that poems were written with clearly expressed civic motives - "Two Fates" and "Mashenka". This was a kind of answer to the hope of the great critic that "beautiful nature" would not obscure from the eyes of the poet "the phenomena of the higher world - the moral world, the world of the fate of man, peoples and mankind ...".

Children's reading includes those poems by Maykov, which, according to Belinsky, are marked by a beneficial seal of simplicity and draw "plastic, fragrant, graceful images." Here is Maikov's little poem "Summer Rain" (1856):

"Gold, gold is falling from the sky!" - The children are screaming and running after the rain... - Come on, children, we'll take it down. Let's just gather golden grain In full barns of fragrant bread!

An idyllic view of the world is also manifested in another of his textbook poems - "Haymaking" (1856):

It smells of hay over the meadows... In the song, rejoicing the soul, Women with rakes in rows Walk, stirring the hay.

Even such a sad stanza does not violate this blissful picture:

In anticipation, the wretched horse, As if rooted to the spot, stands ... Ears apart, arched legs And as if standing asleep ...

All this is the everyday life of a peasant, as the poet says; it flows in the midst of harmonious nature and is based on true values ​​and joys - on work and the reward for this work: a rich harvest, a well-deserved rest after its harvest, when the barns are filled with "golden grain".

The lines of another poem also sound symbolically - "The swallow rushed ...":

No matter how angry February is, How you, March, no frown, Be at least snow, at least rain - Everything smells like spring!

Here is not just a belief in the inevitability of the change of seasons, but also an expression of his poetic program based on a hedonistic, joyful feeling of being. This perception of the world also appears in the "Lullaby", where the forces of nature - the wind, the sun and the eagle - are called upon to inspire a sweet dream to the baby.

Maikov saw his place among those poets who proclaimed the goal of art to immerse a person in the bright world of joy. For Maikov, poetry is a beautiful form in which ideas and observations are clothed; these are eternal highly artistic creations, containing the “divine mystery”, the “harmony of the verse”.

Alexey Nikolaevich Pleshcheev(1825-1893), poet of the Nekrasov school, professed an inseparable fusion of life and poetry. Participation in the revolutionary movement, in the circle of Petrashevsky, arrest and exile in Siberia - all this determined the main motives of his work. Maikov called Pleshcheev's poems, placed in the collection of 1846, "Cry of the soul" called. Their civic pathos is enhanced by the intensity of intonations, the abundance of expressive means. The poems are permeated with a tragic perception of injustice, anger at the inertness of the environment, despair from unfulfilled hopes. “I'm sad! An unaccountable longing lies in the heart, ”Pleshcheev wrote in one of his first poems. And then in his poems the image of a poet-prophet and a fighter appears more and more often, criticism of reality merges with faith in the triumph of humanity, in the achievement of freedom and social equality.

In the 60s Pleshcheev persistently worked on a new, public and effective form. To do this, he turns to folk vocabulary, uses journalistic and even newspaper language.

The search for new ways led him to literature for children. The children were for the poet the future builders of "Russian life", and with all his heart he strove to teach them "to love goodness, their homeland, to remember their duty to the people." The creation of children's poems expanded the thematic range of the poet, introduced concreteness and free colloquial intonation into his work. All this is characteristic of his poems such as "A boring picture! ..", "Beggars", "Children", "Native", "Old people", "Spring", "Childhood", "Grandmother and granddaughters".

In 1861 Pleshcheev published a collection "Children's book", and in 1878 he combined his works for children into a collection "Snowdrop". The poet's striving for vitality and simplicity is fully embodied in these books. Most of the poems are plot-based, the content of many is the conversations of old people with children:

Many of them ran to their grandfather in the evening; They chirped like birds before going to bed: "Grandfather, my dear, make me a whistle." "Grandpa, find me a little white fungus." "You wanted to tell me a fairy tale today." "You promised a squirrel, grandfather, to catch." - “Okay, okay, kids, just give me a deadline, You will have a squirrel, there will be a whistle!”

In the poem "Grandmother and Granddaughters", the kid convinces the old woman that he can already go to school. Grandmother replies: “Where are you, sit down better, I’ll tell you a fairy tale ...” But the boy wants to know “what really happened.” And the grandmother agrees: “Be your way, my dear; I know that light is learning.

Pleshcheev is highly inherent in the ability to reflect child psychology in his poems, to convey the child's attitude to the surrounding reality. For this, the poet chose a simple line, often consisting only of a noun and a verb:

The grass is green. The sun is shining, Swallow with spring In the canopy flies to us.

In the poems of the poet, as well as in folklore, there are many diminutive suffixes and repetitions. He often has direct speech in which children's intonations sound.

In the 60-70s, Pleshcheev created a number of wonderful landscape poems: “A boring picture! ..”, “Summer songs”, “Native”, “Spring night”, etc. Some of them were included in children's collections and anthologies for many years . However, in principle, the poet - following Nekrasov - sought to merge landscape lyrics with civil. Speaking about nature, he usually came to the story of those "whose life is only hard work and grief." So, in the poem "A boring picture! .." an appeal to early autumn, whose "dull appearance / Woe and adversity / promises the poor", is replaced by a sad picture of human life:

He hears in advance the Scream and crying of the children; He sees how they do not sleep from the cold of the night ...

And the arrival of spring evokes pictures painted with a sunny, purely childish perception of nature, as, for example, in the poem "The grass is turning green ...". The feelings of adults also find their response here: the time is coming for new hopes, the rebirth of life after a long icy winter.

Ivan Savvich Nikitin(1824-1861) also filled up the circle of children's reading with his poems. In the work of this poet, the traditions of A.V. Koltsov clearly appear. Nikitin first of all turned to the life of the people, drew themes and images from it, considered it the main source of poetry. His poems often sound with an epic scale, solemnly and smoothly:

You are wide, Rus', On the face of the earth In royal beauty Unfolded.

Orientation to the folk-song beginning and the echo with Nekrasov's poems is especially noticeable in such poems of the 50s as “A merchant was driving from the fair ...”, “The song of the bean”. "Noisy, cleared up ...", "Get rid of melancholy ...".

The broad song element is combined in Nikitin's poetry with thoughts about the fate of the people, about their natural optimism and vitality. The poet's landscape lyrics also serve to express these feelings and thoughts. In collections for children, which included Nikitin's poems, most often excerpts were used, for example, from the poems "Time moves slowly ...", "Meeting winter", "Admire, spring is coming ...":

Time moves slowly, - Believe, hope and wait... Zrey, our young tribe! Your path is wide ahead.

This approach of the compilers of children's collections to the poems of Nikitin (and other poets) has survived to this day. It can hardly be called fruitful. It is probably more expedient, perhaps, to hope that the entire poem will not be comprehended by the children immediately, but will be preserved in memory in its full form.

The poet also joined the Nekrasov circle Ivan Zakharovich Surikov(1841 - 1880). His work, like the work of all poets close to Nekrasov, contributed to the creation of poetry for children, awakening the mind and heart of the child for a real perception of the surrounding reality.

He wrote poems familiar to everyone since childhood, in which a picture of children's amusements, sparkling with fun, is visibly recreated:

Here is my village, Here is my home. Here I am rolling in a sled On a steep mountain.

Here the sled curled up, And I'm on my side - bang! I roll head over heels Downhill into a snowdrift.

The deeply national images of Surikov's works, the poetic beauty of the verse allowed him to leave a noticeable mark in Russian lyrics. And the organic melodiousness of his works firmly fixed some of the poems in the song life of the people:

What are you making noise, swinging, How would I wish

Thin rowan, To get over to the oak;

Knocking low I would not have become then

Head to the tyn? - Bend and swing.

Such poems by Surikov as “In the steppe” (“As in the steppe the coachman died deaf ...”), “I grew up as an orphan ...”, “Just like the sea at the hour of the surf ...” (about Stepan Razin) also became songs. .

The stinginess of poetic means with which the poet manages to achieve such significant artistic results is striking: brevity in descriptions, laconism in expressing feelings, rare metaphors and comparisons. Probably, these features of Surikov's verse, which brought it closer to folklore, made it accessible to children, they willingly listened and sang the poet's poems that became songs, read it in anthologies and collections.

Alexey Konstantinovich Tolstoy(1817-1875) - a poet who belonged to a direction other than Surikov - romantic, to "pure art". However, many of his works became songs and gained wide popularity. His poems such as "My bells ...", "The sun descends over the steppes", "Oh. If only the Mother Volga would run back, ”shortly after publication, in fact, they lost their authorship, they sang like folk works. They especially manifested the originality that arises when the writer masters the wealth of folklore, and interest in folklore, as already mentioned, was huge at that time.

Tolstoy was also attracted by the problems of national history: he is the author of the well-known novel The Silver Prince (1863) and the dramatic trilogy The Death of Ivan the Terrible (1865), Tsar Fyodor Ioannovich (1868) and Tsar Boris (1870), poems and ballads on historical themes ("Kurgan", "Ilya

Muromets"). He also had a brilliant satirical talent - together with the Zhemchuzhnikov brothers, under the common pseudonym Kozma Prutkov, he wrote parodic satirical works that are still very popular today.

Tolstoy's poems, included in the circle of children's reading, are dedicated to nature. He felt her beauty extraordinarily deeply and penetratingly, in harmony with the mood of a person - sometimes sad, sometimes major-happy. At the same time, he, like every truly lyrical poet, had an absolute ear for music and the rhythm of speech, and he conveyed his spiritual mood to the reader so organically that it seemed that he already existed in him from the very beginning. Children, as you know, are extremely sensitive to the musical, rhythmic side of poetry. And such qualities of A. Tolstoy as a talented ability to highlight the most striking feature of the subject, accuracy in part descriptions, clarity of vocabulary, firmly fixed his name among the poets who entered the circle of children's reading.

Content

Introduction

Chapter II. Methodical bases of work with the scientific - cognitive book of children of senior preschool age

§ 1. How to form the skills of working with scientific and cognitive text

1.1 Requirements for the organization of work with a scientific and educational book as a type of fiction

§ 2. Possible forms of work with a scientific and educational book for children of senior preschool age

Conclusion

Bibliography

Applications

Introduction

"A child by nature is an inquisitive explorer, a discoverer of the world. So let a wonderful world open before him in living colors, bright and quivering sounds, in a fairy tale, in a game." (V.A. Sukhomlinsky).

We know from school that literature is an academic subject, the content of which is the study of a certain range of works. Inexorable time is changing us, many foundations are losing their steadfastness. And now the unified state program of education and training in kindergarten has become a thing of the past. Children's institutions have acquired independence in choosing the content and methods of work with children. One of the generally accepted principles of education and training has become inalienable - this is the transition to a humanistic understanding of childhood. The idea of ​​the intrinsic value of childhood, the need to ensure its full living is brought to the fore.

The self-worth attitude implies the absence of any kind of violence against the child, but in no way excludes any kind of education. In domestic psychology, thanks to the works of L.S. Vygotsky and D.B. Elkonin, the idea of ​​the importance of childhood as a period of formation of universal mental qualities was firmly rooted. Children are inquisitive explorers of the world. This feature is inherent in them by nature. The search for knowledge, the inquisitiveness of the mind is revealed more fully when this or that phenomenon arouses interest, nourishes feelings. Every year, the field of cognizable objects and phenomena expands for children, it becomes necessary to constantly involve the child in cognitive activity, pushing him with questions, a problem so that he himself wants to learn as much as possible interesting and necessary. One of the possible means of educating cognitive activity is to familiarize children with scientific and educational literature. It is scientific and educational literature that is able to penetrate into the surrounding world, nature, into life that boils around a person regardless of him.

N.M. Druzhinina believes that all children's literature consists of works of art and scientific and educational, written for children. She highlights the main the purpose of the scientific book- is to educate the mental activity of your reader, to introduce him to the great world of science (1). In the post-revolutionary years, many educational children's books were created by the efforts of scientists and popularizers. Their authors relied on the experience accumulated by pre-revolutionary popularizers of scientific knowledge, such as D. Kaigorodov, Ya. Perelman, A. Cheglok, N. Rubakin. In 1919, the popular science magazine "In the workshop of nature" was founded, which set itself the task of "cultivating the spirit of curiosity, arousing interest in the active study of nature." In 1924, the first works of B. Zhitkov, V. Bianchi, and M. Ilyin were published in the journal Vorobey (later New Robinson).

Quite characteristic of that time was M. Ilyin's path into children's scientific and educational literature (real name - Ilya Yakovlevich Marshak; 1895-1953). In the same years and later, N. Sladkov, S. Sakharnov, G. Snegirev and others actively published their works for children. The scientist A. Formozov "Six days in the forests", V. Durov "Animals of grandfather Durov" and a number of other authors . The spirit of "fighting with nature" permeated all literature at that time; it was not only besieged by the official authorities, but was quite sincerely supported by many writers. In scientific and educational children's literature, this "spirit of struggle" was embodied in the idea of ​​the indispensable conquest of nature by man (recall the well-known poems by S. Marshak: "A man said to the Dnieper: - I will lock you up with a wall." Books that taught to overcome difficulties in comprehending secrets of nature, which is characteristic of science. The way to introduce a child to the natural world should be simple.: you need to tell the baby about what surrounds him, about the most ordinary and everyday.

V.G. Belinsky repeatedly pointed out what a children's natural history book should be like: it is a "picture book", with "a simple explanatory text about how beautiful nature is", a text that presents "scientific systematization of what is presented."

Note that in the 40s of the 19th century - the time of active development of children's literature - it is said about the scientific and educational book. No art book. In the 60s of the 19th century, there were so many popular scientific and scientific-educational books that D.N. Mamin - Sibiryak testifies to them as a "bright sign of the times." Since the works were created to a greater extent as educational ones, the authors did not forget about communicating new knowledge to children, useful information suitable for real life. During this period, scientific and educational books containing natural history works were actively in demand by both readers and compilers of anthologies.

Teachers and methodologists say that teaching a child should begin with stories about the seasons, the person himself, domestic and wild animals, etc. Modern living conditions, the demands of society formed by them determine the relevance and importance of finding the most effective methods for developing speech and teaching reading. And it is already indisputable that these tasks should be successfully solved precisely in the conditions of home education. And it does not matter if the child attends any educational institution. The main role in the development of speech and the formation of skills in reading fiction is played by the family, i.e. the conditions under which a child's personality is formed. N.N. Svetlovskaya, T.S. Piche-ool, N.A. Vinogradova, L.I. Kozlova, Z.A. Gritsenko, N.M. Druzhinina, I.N. Timofeev.

A children's book of whatever nature it is, it is good and useful when it is equally interesting to both the child and the adult: "Good and useful is only an essay for children that can occupy adults and please them not like children's essay but as a literary work written for everyone."

Problem of our graduation research: how to organize the work of children of senior preschool age with a scientific and educational book in modern conditions.

Object of study : scientific - educational book for children of preschool age.

Subject of study : methodical bases of work with the scientific - cognitive book of children of the senior preschool age.

Purpose of the study : to identify the work of children's libraries to attract children to reading scientific and educational literature.

Achieving this goal involves solving the following tasks:

To study scientific and educational literature for children of senior preschool age in terms of the topic.

To study the methodological foundations of working with a scientific and educational book.

Analyze the circle of children's reading in terms of the topic.

Make an analysis of the programs of modern education and training in preschool educational institutions.

To identify possible forms of work with the scientific - educational book of children of senior preschool age.

The purpose of the study is realized with the help of research methods:

1.The method of indirect and direct observation.

2.Method for diagnosing the organization of reading.

Chapter I. Scientific and educational book for children of senior preschool age

§ 1. The history of the emergence and development of scientific and educational literature for children and youth

Scientific - educational literature for children and youth in the circle of children's reading and the context of literary education (XV - XX centuries)

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. V. were an organic combination of elements of a textbook and books for reading, both cognitive and artistic.

History of origin and development:

Domestic children's fictionon the territory of Rus' arose on the basis of educational literature already in the 16th - 17th centuries. And at that time she dissociated herself from it, becoming an independent field of the art of the word.

Domestic educational literatureuntil the 17th century It was either scattered, single publications (often translated from German or French), or fragmentary information in textbooks on Russian literature or in reference publications.

History of development : "... one feature that is directly related to the literary value of cognitive works Ancient Rus': entertainment.Science, knowledge was not limited in the Middle Ages to what we call erudition, or to the direct benefit that knowledge could bring to practical activities. Knowledge must be interesting and morally valuable."(D.S. Likhachev) (52).

Origindomestic How a specific type of literature in the context of the entire cultural process began under the influence of Peter's reforms, when they began to publish " ... books on mechanics, geodesy, mathematics and other applied sciences, not only for adults, but also for youth and children "(F.I. Setin).

18th century

Under the patronage of Peter I and mainly by the forces of the "Scientific Squad" (Feofan Prokopovich, V.N. Tatishchev, A.D. Kantemir), textbooks, teachings, instructions, translations of foreign literature, designed for the perception of children and youth, were created. Between the end of the 17th and the middle of the 18th centuries. primers and "business books" were also widely published: "A Brief and Useful Guide to Arithmetic" (1669), "Slovenian Primer" by Feofan Prokopovich (1724), "Atlas composed for the benefit and use of youth" (1737), "A short guide to mathematical and natural geography" (1739) and others.

Scientific - cognitive and scientific - educational books of the XVIII century. Distinguished" harmony, clarity and logical presentation of the material.

Scientific and educational literature gave readers a clear idea about the world, about this or that science, about the system of scientific knowledge, while there was " an attempt ... to reconcile science and religion with a clear preference for science "(A.P. Babushkina) (53).

In order to popularize new knowledge, authors and translators scientific - educational literature(at that time for all age categories) often used the techniques of journalism in their scientific - educational and scientific - educational books, resorted to the methods of figurative literature. That is why the scientific and cognitive literature of the beginning - the middle of the 18th century did not yet have its own "canonical" form, its own specific methods of presenting material, but at the same time it differed sharply from encyclopedic literature. The only thing that can already be noted in this period is the division of scientific-cognitive and scientific-educational books (educational-cognitive - in the terminology of I.G. Mineralova). (41)

The mutual influence and interpenetration of the traditions of creating a domestic scientific and educational (educational) book and the traditions of structuring scientific literature of foreign origin, as well as its content, subsequently gave rise to the original scientific and educational literature of the Russian Empire.

Composition of children's literature of the 18th century:

moral literature;

Scientific - educational literature;

Scientific and educational literature.

The results of the XVIII century - can be distinguished " two lines emerging in children's literature in the second half of the 18th century:

a) a line of scientific and educational and genuinely fiction created by enlighteners and progressive figures;

b) the line of moral teachers of literature, planted by the educators of the children of the aristocracy.

Element penetration moral literature into progressive children's literature" (A.P. Babushkina).

Composition of children's literature of the 19th century:

Children's fiction;

moral literature;

Scientific - cognitive literature;

Mass Literature.

The emergence of functional areas of Russian children's literature: I.N. Arzamastseva and S.A. Nikolaev has been distinguished since the middle of the 19th century, the following functional types of children's literature: "includes school textbooks and manuals, dictionaries, reference books, encyclopedias, etc. So-calledethical literature - stories, short stories, poems, poems, affirming the system of moral values. It, in turn, is divided into fabulous-fantastic, adventure, artistic-historical, journalistic literature, as well as their derivatives. Moreover, there is a pureentertainment literature ... Entertainment literature is in opposition to other types of children's literature and is closest to children's folklore. "(4)

In the middle - end of the XIX century in connection with the development of science and public relations in Europe and in North America there was a need for a clean educational literaturefor children. And then the question arose: In what form should scientific and historical facts be presented in such a way that it would be really interesting for children of different ages?

The question did not remain unanswered: many foreign and Russian scientists specializing in various fields of scientific knowledge, teachers and writers began to create new literature for children, in demand by the time - scientific and educational literature. And now, for almost two centuries, it, along with fiction, has been helping children to learn and understand the world around them (52).

The works of M. Ilyin, B. Zhitkov, V. Bianchi, K. Paustovsky, D.S. Valley, O.N. Pisarzhevsky, Ya.K. Golovanova, V.L. Levy. Since 1960, the collections "Ways into the Unknown" have been published annually. (38).

1.1 Scientific and educational book: concept, specifics

A scientific and educational children's book is a book that draws the child's attention to real phenomena, processes, secrets and mysteries of the world around, i.e. tells the child about what he does not notice or does not know about animals, plants, birds, insects; about metal, fire, water; about professions related to the knowledge and transformation of the world.

Encyclopedic literary dictionary: scientific and educational literature is a special kind of literature, addressed mainly to the human aspect of science, to the spiritual image of its creators, to the philosophical origins and consequences scientific discoveries.

Scientific and educational literature of the XVIII century. - gave readers a clear idea about the world, about this or that science, about the system of scientific knowledge, while there was " an attempt ... to reconcile science and religion with a clear preference for the first "(A.P. Babushkina).

The specifics of scientific and educational literature of the XVIII century:

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. main goalscientific - educational book is the formation and development of cognitive activity of the reader (N.E. Kuteynikova).

The composition of scientific and educational literature of the XVIII - XIX centuries. V.:

Scientific - educational literature;

Scientific - cognitive literature;

encyclopedic literature

Scientific and educational literature of the XIX century. - 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 horizons of the reader.

The specifics of scientific and educational literature of the 19th century:

Scientific - educational literaturedoes not give references - it expands the reader's horizons, captivates him into a certain field of knowledge, and "captivates" him both with the help of fiction literature, and thanks to a detailed story about scientific facts, and using a number of popularization techniques, methods and elements that are more characteristic of mass literature .

main goalscientific - educational book is the formation and development of cognitive activity of the reader;

Her tasks include:

§ popularization of scientific knowledge and scientific thinking;

§ deepening the already existing knowledge of the student reader;

§ expanding the horizons of young and adult readers.

§ scientific - educational literature:

This literature purposefully implements mainly one function of art and, accordingly, universal literature- cognitive.

However, certain groups of readers, when reading this kind of literature, get real pleasure, bordering on pleasure, and when reading its variety - scientific and artistic literature- aesthetic pleasure (hedonistic function).

It is forbiddenin addition, to exclude the educational function of cognitive literature: scientific and artistic, popular scientific and encyclopedic publications are laid in the soul of a young reader and the type of behavior in society, and the system of moral and aesthetic assessments, and even a look at a particular religion, sometimes - the arrival to one belief or another. (68) inet

The specifics of scientific - educational and educational literature

Scientific - educational literature- This:

.a certain direction in the development of all literature (both children's and adult)

2.functional direction;

.a specific area of ​​the art of the word, i.e. Literature with a capital letter.

scientific educational book preschool

Educational literatureis created in a certain discipline, taking into account the basic knowledge of students (if any).

primary goal- give basic information on this scientific discipline, lay the foundation for further education, form specific skills and abilities.

The composition of scientific - educational literature of the XX century.

Scientific - fiction;

Scientific - popular literature;

Encyclopedic Literature.

The specifics of scientific - educational literature of the XX century.

It should satisfy the following needs of people: the desire of readers who are completely different both in education and in worldview to broaden their horizons in an accessible form, to acquire scientific knowledge not from special literature, for reading and studying which, as a rule, they are not yet ready, but from books understandable and accessible to the perception of a person with initial knowledge in a particular field of science. The child most often looks for answers to his many questions in this kind of literature, the reader - the student - additional material to what was studied at school, to a report or message. At the same time, according to the words of the doctor of physical and mathematical sciences A. Kitaygorodsky, both in reality and in the scientific and educational literature " there is no rivalry between science and art, since they have the same goal - to make people happy. "(68)

1.2 Functions of scientific and educational literature

Scientific and educational literature- a special phenomenon, and some researchers do not even consider it in general context 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 holistic personality. Nevertheless, such literature occupies a 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 an educational problem, adjoining educational literature, and does not have many of the characteristic features of works of art. 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 fulfills pedagogical function, namely, it brings up a 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)

§ 2. Scientific and educational book in preschool education and upbringing

2.2 Scientific and educational and scientific and artistic book

Of these two parts, the most studied scientific - artistic book. This is how this part of the circle of children's reading is defined in the "Literary Encyclopedic Dictionary" (38) where this definition equally applies to literary works for children and adults. "Science and fiction is a special kind of literature, addressed primarily to the human aspect of science, to the spiritual image of its creators, the psychology of scientific creativity, to the" drama of ideas "in science, to the philosophical origins and consequences of scientific discoveries.

It combines "general interest" with scientific authenticity, imagery of narration with documentary accuracy. It is born at the junction of fiction, documentary-journalistic and scientific-popular literature.

At the same time, she immediately warns that "this characteristic refers precisely to the main goal, because elements of scientific knowledge can be included in any children's fiction book. On the other hand, a good scientific and educational book is impossible without a clear moral orientation, and the assimilation of new knowledge always associated with the education of the reader of certain points of view and human qualities. "N. M Druzhinina, without offering, however, like all other researchers, at least a descriptive definition of the actual popular scientific children's literature and books, gives us a number of signs, focusing on which we can practically distinguish works of children's literature into the two above named sections. These signs mainly relate to the form and volume of scientific and cognitive information offered to children 6-9 years old, namely: in a scientific and artistic children's book, the child's attention is drawn to a separate fact or a rather narrow area human knowledge; it is this fact or this area, presented as a special world by the artistic word, that must be mastered by the child. (1)

In a popular science book, the child will be presented with either the entire amount of knowledge on this issue (of course, in a generalized way, as a whole), or the entire process of discovering the knowledge that interests the child - from beginning to end. Thus, a scientific and artistic 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 that mankind possesses.

And popular science books are designed to communicate to children the very knowledge that mankind 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.

The world of scientific and educational children's books can be represented as a circle in which approximately the following parts or sectors will be distinguished: scientific and artistic books about nature; historical and heroic-patriotic children's literature; books about cars; things; professions; reference literature and, finally, applied books of the "know and be able" type. In addition, from the point of view of the ratio of artistry and reliability of the content presented in them, all books conditionally included in each named sector will turn out to be very heterogeneous, because depending on the level of the child’s reading readiness for the perception of scientific knowledge, which is not very fair, but still traditionally is associated by publishers with the age of the child, artistry in them will gradually change its character and decrease, and the reliability and detail of scientific information will increase. And this will apply to both text and illustrations. It will be much more difficult to notice these changes in the text than in illustrations, because the visual range changes clearly: "pictures" will increasingly be replaced by diagrams and photographs.

In terms of volume, the children's scientific and artistic book in the period of the 50-80s of the XX century in Russia was also heterogeneous: from picture books of 18 pages, to A. Mityaev's "Book of Future Commanders" of more than 300 pages, "Forest Newspaper" .Bianchi approximately 500 pages. Exactly the same variety was noted in relation to the format of the publication: these were large-format and non-standard books, and books - toys with cutting along the contour, and the so-called square books, etc. And all this wealth was divided into series, branches of knowledge and the nature of the relationship between illustrations and text. So, from fairy tales - non-tales of V. Bianchi, E. Shim, N. Sladkov, which are, as it were, at the turn of fiction and scientific literature - to books about man and nature, starting from small encyclopedic dictionaries such as "In water and near water "N. Osipova, or "The Devil's Sea" by V. Malt, "Who lives in the forest and what grows in the forest" by Y. Dmitriev (all these books include, as a rule, about 100 articles, which, together with illustrations, occupy a third of the large format page , and there are no more than 65 pages in the books of this series, together with illustrations) - up to the two-volume "Man and Animals", where Yu. Dmitriev talks about the relationship between people and animals, wild and domestic, throughout the history of mankind, and even before it five-volume "Neighbors on the Planet" (Insects. M., 1977; Amphibians and reptiles. M., 1978; Mammals - M. 1981; Birds - M., 1984; Pets: cats, dogs, horses, cows - M., 1990). This could be the case with a child interested in natural history issues.

The choice of types of books and the way of accumulating experience: from conditional knowledge about the world to unconditional, i.e. from the perception of the world and its inhabitants, about the phenomena of the environment, answering the principles - from close to far, from simple to complex, from particular to general.

In a science fiction bookwe are talking about specific heroes and events, it is characterized by the artistic image of the hero (fairy tales by V. Bianchi). It helps to instill in children the skills of scientific thinking, develops cognitive interest.

It should not be considered scientific - artistic and scientific - popular books for two types of children's literature parallel to each other, separated by a partition. The boundary separating them is fluid to a high degree; it easily passes to one side or another in any work.

A child of 5-7 years old can easily deal with the information received from a popular science book, and not realize what is important in a science and fiction book, easily leaving behind the plot, directing his attention to the eventful side of the content (1).

A scientific and educational book gives children a maximum of material that interests them. This is accessible and fascinating information about the event and phenomenon. It helps to instill in children the skill and desire to use the available reference literature (encyclopedia "What is it? Who is it?"). Scientific - educational book avoids terms, uses names. The main goal of a scientific and educational book is to give certain ideas to children, to open the world before them, to educate mental activity, to introduce a small person to the big world (1).

In books "about everything", as in an applied book like "Know and be able", the reliability of scientific information comes to the fore. And for a small reader with a very limited experience of ideas and experiences, this information turns out to be feasible only when he has accumulated the necessary experience of sensory perceptions and emotions, which fills the "dry" facts and supports, and often develops a cognitive interest in what the child turned his attention to. attention.

The trouble with modern editions of scientific and educational books for children is precisely that the publishers, offering the unprepared reader the popular science book "ABOUT EVERYTHING", do not form, but kill the nascent cognitive interests in it with the very abundance of "colorless", i.e. not filled with sensory experience and personal attitude, overwhelming information. And no "pedagogical tricks", as A.S. Makarenko, even in the form of games "Where? What? Why?", will not help to arouse in the mass of children an interest in reading popular science literature, in systematic communication with reference books and the use of scientific and applied books, if publishers and society do not change purely a commercial approach to bottom politics, i.e. they will not observe the elementary pedagogical requirements of familiarizing the child with new knowledge of reprinting children's scientific and educational books.

How to distinguish a scientific and educational story from a work of art?Knowing the features of working with artistic and popular science texts, the student must first of all be able to see their differences. The most rational way to develop this skill is to compare two types of texts: scientific and cognitive and artistic (you can take them from a textbook or offer new ones on cards). We compared works on the theme "The Coming of Spring".

The sun is shining brighter and brighter

The sun shines brighter and brighter over the fields and forest. Roads darkened in the fields, ice turned blue on the river. White-nosed rooks have arrived, in a hurry to fix their old disheveled nests. Streams rang on the slopes. Resinous odorous buds puffed out on the trees.

I. Sokolov - Mikitov describes the signs of spring: the sun is shining brighter and brighter; the roads darkened, the ice turned blue; the birds have flown; streams rang, buds swelled on the trees.

When analyzing the text, one should pay attention to the fact that the message is calm, the author does not show any feelings and does not seek to evoke them in us. This is a neutral message. The writer also does not draw pictures with the help of "figurative pictorial" means. It is advisable that the following story be read aloud to the children.

I. Sokolov-Mikitov

Artist - spring (excerpt from the book "Four Artists")

... Another artist started to work - Spring - Krasna. She didn't get down to business right away. At first I thought: what kind of picture would she draw? Here is a forest in front of her - gloomy, dull. "And let me decorate it in my own way, in spring." She took thin, delicate brushes. She slightly touched the birch branches with greenery, and hung long pink and silver earrings on aspens and poplars. Day after day, Spring paints her picture more and more elegantly. On a wide forest glade, with blue paint, she brought out a large spring puddle. And around her scattered the first flowers of the snowdrop, lungwort. Everything draws a day and another. Here on the slope of the ravine are bushes of bird cherry, their branches are covered by Spring with shaggy clusters of white flowers. And on the edge of the forest, too, white, as if in snow, wild apple trees, pears ...

G. Skrebitsky

Together with the children it turns out: what does the writer call Spring? Why? What colors did Spring use? Underline these words.

To activate the creative imagination of children, you can offer an Educator - a teacher. Let's join the artist - In the spring we will enter the forest and see what colors she took with her and what pictures she painted. Let's look at the first picture. Find its description. (Children read). What did Spring do?

The child is a student. She took thin, delicate brushes, a little

Teacher, underline the words that denote these colors (name if there is no text). Try to imagine this picture. What do we see?

Student. I see how Spring is walking through the forest and gently touching the trees with a thin brush. And immediately the birch twigs became soft green, and long pink and silver earrings hung very beautifully on the aspens.

Teacher. Do you like this picture?

Student. Yes, it became very beautiful in the forest, dark trees became light, it became more fun in the forest.

In the same way, another picture is considered - a spring puddle surrounded by snowdrops, then a flowering bird cherry is depicted.

Teacher. What did Spring do? See what words the author chose to describe her actions.

Student. Decorated, touched, hung, brought out, scattered, draws, covered.

Teacher. What are they telling us?

Student. Spring, like a real artist: at first she thought what to draw, then she took paints and began to draw very beautiful pictures. Teacher. Read these stories silently (to yourself) again and say why we call the first description a scientific and educational article, and the second an artistic story.

Student. In the scientific and educational article (story), the signs of the coming spring are only named. The story describes pictures, images of spring that can be imagined.

It is necessary to focus on the fact that these pictures are figurative, created with the help of artistic means. The author portrays spring as a living being and uses words that help us present an artistic image, and not just convey a fact. In addition, this work evokes certain feelings in us: we like spring, it is very beautiful, and when we read a scientific and educational article, we highlight signs, facts, identify the most important and draw a conclusion. (45)

2.3 Analysis of children's reading circle. Principles of its formation

The formation of the KCH as a problem has existed for a long time. Also in ancient era In his development, man was concerned about what children could and should not read. The subject of attention of adults in the first place was the content of books read younger generation. Even then, there was a strong idea that children and adults have a different circle of reading. At all times of its existence, humanity has shown attention to the moral problems of works for children, considering them the fundamental basis for the formation of a person in a child. A special concern of adults was historical reading, since without knowledge of the history of the country it is impossible to become a worthy citizen. There were constant disputes about what is considered a children's work, what criteria it should meet.

In Russia, the issues of the KCH were raised in the 18th century. (I. Pososhkov, N. Novikov) and developed in detail in the 19th century. in the works of V. Belinsky, N. Chernyshevsky, N. Dobrolyubov, L. Tolstoy, K. Ushinsky. But until now, this problem remains difficult in the methodology of children's reading due to its multidimensionality:a person dealing with issues of children's reading should have equally deep and versatile knowledge in the field of Russian and foreign folklore, Russian and foreign children's literature and children's reading.

One can hope for an effective result only in the case of joint efforts, purposeful actions from three sides: families, teachers, libraries.

V.G. Belinsky, who was the first to undertake a comprehensive study of this problem, was a philologist, therefore, first of all, he demanded from children's writers a high-quality literary text that should not be sacrificed to didactics. But it was V. Belinsky who was one of the first to understand that children have a special perception of the work, thus pointing to the psychological side of the problem of the formation of the KCH. He discussed the role of books in the upbringing of a child and emphasized the dependence of bad education, the "moral deformity" of a person on the selection of books for children to read. Keeping the position of Belinsky V.G., it is important to understand: the process of formation of the KCH is complex, in which philologists, teachers, psychologists should participate. Based on the definition of the principle given by S.I. Ozhegov, - "the basic, initial position of some theory, doctrine, science", let's consider the principles of the formation of the KCH. (6)

Remember:the circle of children's reading is the circle of those works that children read (listen to reading) and perceive. These works were both specially written for them, and passed from adults, were accepted and understood by children. The KDH includesfolklore, children's literature, scientific and educational books that have passed into children's reading, children's creativity, periodicals (children's newspapers and magazines). Until recently, the creativity of the children themselves was not included in the KCH, for the first time this tradition was abandoned by I.N. Arzamastseva and S.A. Nikolaev (1). Subsequently, the legitimacy of the existence of this section in the KCH was confirmed by the publishing attention to what children create (To Russia.: A book of poems and graphics. - M .: RIF-ROI, 2000; Wyman G. Dunno in a stone city. - M .: Publishing House "Yusticinform", 2000; etc.).

Psychological, pedagogical, literary, historical and literary approaches or principles are the starting points for the formation of the KCH.

Psychological principles:

1. taking into account the age characteristics of children;
2. taking into account the peculiarities of children's perception.

1. When reading, you should pay attention to the child’s rapid fatigue during a long, monotonous lesson, poor concentration and switching, insufficient memory, lack of personal experience, which will not contribute to independent deep comprehension of the text. We should not forget about such a psychophysiological feature as the insufficient development of phonemic hearing.

The perception of a work of art is a deep understanding of the meaning of the text and its impact on the reader (hearer).

A preschool child is a kind of reader, i.e. child - listener until he learns to read. But, even having mastered the technique of reading, he retains age-related features of perception for a long time. A preschool child perceives the event side of the work more deeply, pays less attention to descriptions and details of the text. He perceives poetry more lively, more emotionally, more difficult prose.

Researchers (V. Belinsky, L. Vygotsky, O. Nikiforova and others) distinguish several stages in the process of perception. The first, according to V. Belinsky, is the stage of "delight" - direct, emotional, cordial perception of the text. It is followed by the stage of "true pleasure", when the work is perceived rationally, when the analysis and generalization of what has been read takes place, i.e. artistic emotions, as L. Vygotsky said, become "intelligent" emotions. The last stage is the impact of the text on the personality, its transformation.

At the first stage of perception of a work, the leading mental process is imagination. At the stage of deliberative perception - thinking. It deepens the initial emotional comprehension of the text, transforms it into an intellectual one. And then these processes seem to merge together: imagining, imagining and thinking about what is happening in the book, the reader transforms the text in relation to himself, becomes a co-author, co-creator of the book's artistic world. An adult who has set himself the goal of educating a literate reader needs to know: literature as an art form is better perceived when a special emotional atmosphere, special mood of the child to read the book. (12)

In the daily routine of the baby should be a special time for reading. You can’t read on the go, while eating, in transport, you can’t read in the name of something. You can’t constantly read the same book, the same genre (for example, fairy tales). The child should read slowly, clearly pronouncing the sounds of speech, it is necessary to choose those works whose linguistic basis will be accessible to a small listener, and the content will be interesting.

It is forbiddento force the child to listen to the reading of the book when he is tired, wants a change of activity. At night or before an afternoon nap in a preschool institution, one cannot read works that excite the child's psyche.

Pedagogical principles:

1) availability;

) visibility;

) entertaining, dynamic plot;

) educational value of works.

concept availability often interpreted one-sidedly: accessible means clear, understandable. But in the modern methodology of children's reading, such a work is considered accessible, "which creates conditions for the emergence of active work of the reader-child's thoughts, intense feelings, experiences, imagination, which leads to the solution of a literary problem - penetration into the writer's intention" 1.

visibility due to the need to deepen the perception of children who do not know how to read the text on their own.

The requirements for book visibility are clarity, simplicity, expressiveness, the absence of details and details that impede perception. Books for preschoolers must be illustrated. Konashevich said, " " that an illustration can act as a “text commentator, explaining or supplementing the plot”, introducing details, etc.

But I.N. Timofeeva observed and described the child's interest in black and white illustrations, after which she concluded: "color itself, regardless of what is depicted with its help, has tremendous power of emotional unconscious impact. - white - to reason " 2. Another type of visualization in a children's book is a portrait of a writer or poet. (61)

Plot intrigue - one of the essential principles for selecting books for children's reading, closely related to such a principle as dynamism.He needs a quick change of events that will attract him with their sharpness, unusualness, occupy his attention with some kind of mystery, tension of the story.

Educational value of works as a principle (in the traditional methodology - a criterion) - this is a question, at the turn of the XX - XXI centuries. without a unique solution. In traditional methods of speech development and teaching aids for introducing children to fiction (V. Fedyaevskaya, N. Karpinskaya, V. Gerbova, M. Alekseeva, V. Yashin, etc.), the educational value of works is understood as their ideological orientation, positive impact on the child in the formation of the moral qualities of a person, the presence of didactics in a literary text.

In some methods (for example, M. Alekseev, V. Yashin), the ideological orientation of a children's book is the primary criterion for selecting books for children's reading, while the skill of the writer, the artistic value of the work is given second place. (15)

Literary principles:

1. the presence in the KCH of all types of literature: prose (epos), poetry (lyrics), drama;
2. the presence of different types of art: folklore (oral art of the word), fiction (written, fixed on paper, in the book the art of the word);
3. a variety of genres, both folklore (folk tales, lullabies, pestles, nursery rhymes, incantations, sentences, fables-shifters, folk children's songs, scary stories), and literary (author's tales, poems and poetic cycles, miniatures, stories, novels, fairy tale novel, encyclopedia and other popular science genres).

Historical and literary principles:

1) indispensable presence in the KDCH works of both Russian literature and literature of the peoples of the world.Be sure to pay attention not only to the history of literature, to works that have passed the reader's selection, but also to modern literature, i.e. literature that is being created in front of the eyes of the current generation;

2) thematic variety of works: A.S. Makarenko spoke about the thematic omnivorousness of children's literature. She carries on a conversation with the reader about everything, and all topics must be in children's reading: the theme of children's games and toys; the theme of nature, wildlife; the theme of the relationship between children and adults, relationships in the children's team, the theme of friendship; the theme of the family, debt to parents, relatives; the theme of kinship; international theme; theme of childhood the theme of honor and duty; the theme of the war; historical theme; man and the technogenic world, etc. All these and other topics should be presented to the child both as eternal, and so sharply modern. (44), (66).

Criteria for selecting books for children:

CriterionIt is a measure, a mark. Initial provisions (principles) must be fundamental, signs may change. IN different time different criteria for evaluating the text were proposed.

.The gender of the child, an adult should take into account that girls should not forget to read those books that talk about women's virtues, about housekeeping, about women's destiny (V. Odoevsky "Handmade song"; B. Potter "Uhti-tukhti"; E. Blaginina "That's what kind of mother", etc.). Boys will be interested in literature about strong, courageous people, about travel, inventions, human behavior in emergency situations, etc. (B. Zhitkov "On the Water"; "Aryan Stone" and other works of the sailor and writer S. Sakharnov; N. Suryaninov "Wonders of Iron: a work about blacksmithing masters", etc.).

2. For V. Belinsky, this is artistry, accessibility, knowledge of child psychology by those who write books for children.

3. For N. Dobrolyubov, this is nationality, realism, deep ideological content, accessibility of the art form.

K. Ushinsky spoke about the diversity of topics.

L. Tolstoy put forward only one criterion - artistry.

V. Fedyaevskaya supplemented the classics, drawing attention to the need to give children works related to their personal experience.

In methodological manuals created in the 20th century, the authors do not distinguish between the principles and criteria for selecting books for children's reading, considering the ideological orientation and pedagogical (educational) value of the work to be the most important.

Important criterion for selecting works for reading to children is quality text: content,which reflects universal values human life and artistic performance,which testifies to the skill and talent of the writers, understanding of the nature of childhood.

The current state of the methodology of the circle of children's reading - reading to preschoolers at the present stage (80s of the 20th century - the beginning of the 21st century) attracts the attention of researchers from various fields of knowledge: teachers, psychologists, specialists in children's literature, library scientists, sociologists, culturologists, researchers children's speech problems. He has never received so much attention, and never has this attention been as versatile as it is now. Problems of children's reading are now an integral part of the complex, extensive problems of childhood.

characteristic featureThis period should be called the study of the nature and image of childhood, manifested at all levels. When addressing the problems of childhood, including children's reading, today one cannot do without knowledge pedagogical anthropology,which makes it possible not only to get to know the child better, but also to educate in an adult the need to see in his pet and realize his individuality and self-worth (B.M. Bim-Bad, O.E. Kosheleva). The material for the study of those involved in pedagogical anthropology are memories, diaries, notes of people in which life is comprehended, including reading experienceperson. The formation of the reader in each individual personality, described in the memoirs, makes it possible not only to understand, but also to feel the process of perception, reflection, and the influence of the book on the child, to see how the selection of literature, which later became. A classic, what parameters should it meet in order to enter the circle of reading of many generations of children, whether the artistic skill of the writer will always be decisive in this process.

The nature of childhood, the image of childhood and the individual child have always been studied in fiction. Modern world childhood should be studied by those whose profession is communication with children, therefore both psychology as a science and the psychology of childhood presented in fiction are equally important here. 1. An interesting and practically unexplored is the image in children's literature of the perception and impact of the book on the reader (V. Dragunsky "Quiet Ukrainian Night", "No bang, no bang"; Y. Sotnik "All hope is on you"). Over the past twenty years, children's literature has changed radically. New themes, names, genres, new artistic approaches to the depiction of childhood require reflection not only in historical and literary terms. The methodology of children's reading cannot exist outside the modern literary context.

A brief review of the work of writers who worked in the genre of scientific and educational literature for children.Soviet scientific and educational literature was created, on the one hand, in the struggle against the old (anti-scientific, reactionary and religious book), and on the other hand, in the development of the best traditions of this genre, represented before the revolution by the works of D. Kaygorodov, V. Lunkevich, Y. Perelman, N. Rubakin and others. Its formation as a genre is connected, first of all, with the work of B. Zhitkov, V. Bianchi, M. Ilyin.

The genre of scientific and educational literature continued to develop. Tales, stories of naturalists, travelers, scientific tales appear. Writes about nature M. Zverev: many works on this topic after the war: "The Reserve of the Motley Mountains", "Stories about animals and birds", "Who runs faster", etc.

I. Sokolov - Mikitovwrites stories, essays, lyrical notes about nature, the fairy tale "Salt of the Earth", "Hunter's Tales" (1949), "Spring in the Forest" (1952), etc. G. Skrebitsky wrote the first book for children "In Troubled Days" in 1942 and since that time he has been writing stories, novels, essays about nature: "Wolf", "Crow and Raven", "Bear", "Squirrel", "Amphibians".

Corresponding Member Academician of Pedagogical Sciences of the RSFSR, Doctor of Biological Sciences N. Verzilinin 1943 he wrote a book for children, "The Clinic in the Forest", later "In the Footsteps of Robinson", "How to Make a Herbarium", "Plants in Human Life" (1952).

Stories and tales about nature writes N.M. Pavlova"The Treasure of January", "Yellow, White, Spruce", etc. The writers set themselves not only cognitive, but also educational tasks, referring to the mind, feeling and imagination of the reader. Books by M. Ilyin, telling about science "The sun is on the table", "What time is it", "The story of the great plan" is a truly ideological book. His works have great ideological - aesthetic and pedagogical significance. "In science there is life and poetry, you just need to be able to see and show them," he said and knew how to do it, he was a true poet of science. In natural history literature N. Romanovawrites "about the smallest and smallest species, Y. Linnik- about mimicry, Y. Dmitriev- about those living beings that are next to a person and are his neighbors on the planet. These are all aspects of the same big, modern-sounding and the child needs themes of nature. This literature gives the child knowledge, affirms him in his thoughts: talking about love for nature in the absence of knowledge about it is empty and meaningless.

For books M. Ilyina, B. Zhitkovacharacteristically of great cognitive value, they convey the beating of scientific thought, combined with a fascinating, sparkling humor. A true masterpiece of a scientific and artistic book was the work B. Zhitkovafor 4-year-old citizens "What I saw", where the author gives answers to the questions of little "why". Introduction to the artistic fabric of works of elementary scientific knowledge is an important, but not the only advantage of the book "What I saw" - not just an encyclopedia, but a story about the life of a small Soviet child, Soviet people. Wrote about nature and drew animals E.I. Charushin.E. Charushin - the writer is closest to V. Bianchi and Prishvin.V. bianchihe has an interest in the scientific observation of nature and the exact explanation of the habits of animals. The desire to convey to the little reader the beauty of the surrounding world makes E. Charushin related to M. Prishvin, who tirelessly preached the idea of ​​the unity of man and nature, the necessary "kindred" attention of man to the world around him.

With short lyrical stories about nature, N.I. Sladkov, his collection "Silver Tail", "Bear Hill".

Determination of the circle of home reading. Many parents are interested in how to “correctly” choose the time for reading, what should be the emotional coloring of the work and other methodological aspects, but there is no such literature in stores. How do adults get out of the situation?

In children's libraries, leisure activities and meetings with writers (if possible) and other interesting people are often organized, which also makes an important contribution to the development of the child as a future reader. A visit to the library for a little man is always a holiday, because it is a meeting with a huge number of books, a mental meeting with many heroes of your favorite works at once. Getting into this magical land books, the child will probably want to learn to read faster on his own, so that he can come here alone, without mom and dad, choose, take a book and read it.

In the 1990s, in the Estonian city of Sillamäe, the director of the city library developed a special program for schoolchildren primary school. The program was a huge success. It also talked about preschoolers aged 6-7. However, such recommendations must necessarily go in parallel with the program of education and training in the kindergarten, which cannot be done without the help of the staff of the preschool educational institution.

Therefore, the senior teacher of the preschool educational institution can offer the school library staff to unite with the teachers in creative microgroups and develop methodological recommendations for organizing home reading in each age group of preschoolers, and then bring up work experience within the framework of continuity for discussion.

In determining the circle of home reading, educators and parents can be helped by special publications called bibliographic reference books. Here is a short list of them:

. Timofeev I.N.What and how to read to your child from one to ten: An encyclopedia for parents on the guidance of children's reading. St. Petersburg: RNB, 2000.

Writers of our childhood. 100 names: Bibliographic dictionary. At 3 o'clock / Under the editorship of S.I. Samsonova: Comp. N.P. Ilchuk. Moscow: Liberia, 1998-2000.

I know the world: Det. encyclo.: Literature / Avt. comp. N.V. Chudakov. Under total ed. O.G. Hinn. M.: AST-LTD, 1997.

4. Swimming to distant shores: books for family reading / Ed. N.P. Michalskaya. M., 1997.

2.4 Scientific and educational book for children and youth

And to a certain extent we will be right if we give such a definition. A scientific and educational children's book is a book that draws the child's attention to real phenomena, processes, secrets and mysteries of the world around, i.e. tells the child about what he does not notice or does not know about animals, plants, birds, insects; about metal, fire, water; about professions related to the knowledge and transformation of the world. But only to a certain extent, since in the above, almost exhaustive content of scientific and educational books, a very important point is descriptively missed in the definition, namely, that we are talking about the circle of children's reading, about a scientific and educational children's book, and all children's books , as you know, are written for education (this is firstly) and are written in such a way that the presentation material is accessible and interesting to the child. And accessibility and interest is already a field of psychology directly and directly related to the formation of the personality properties of a young reader, namely, the focus on ensuring that even when reading about the most real and seemingly "boring" objects and matters, do not leave care about the soul of the reader, those. about the moral and aesthetic development of his individuality

When it comes to the spiritual development of the reader - a child (and we already know this), the writer cannot ignore the sensual side of education, which is transmitted in the way of fiction and perception in reality with the help of artistic speech, i.e. creating those ideas and images that will certainly evoke a moral and aesthetic reaction in the reader and a corresponding emotional assessment. That is why, although this issue of a scientific and educational children's book is still extremely poorly studied by science, 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: fiction, part 2 - scientific and educational literature, or popular science.

Modern children have an incomparably great interest in a scientific and educational book. The atmosphere of abundant information surprisingly contributes to the rapid awakening of cognitive abilities (24). The child has an unrelenting interest in what came from what, how it appeared, etc.

The child, therefore, looks at the root, but looks in his own way. Scientific and educational literature, children's encyclopedias, encyclopedic dictionaries are of great help in this. It is wonderful when the emotional side is the most important in a scientific and educational book, because, according to A. Sukhomlinsky: "Senior preschool and junior school age is a period of emotional awakening of the mind" (61). After all, the child gets the opportunity not only to learn, but also to feel the meaning of each phenomenon, his connection with a person, his knowledge receives a moral basis (1). As D.I. Pisarev: "It is not only knowledge that ennobles, but love and the desire for truth, awakening in a person when he begins to acquire knowledge. In whom feelings have not awakened, neither the university, nor extensive knowledge, nor diplomas will ennoble" (1).

L.M. Gurovich notes that the problem of selecting books for children's reading is one of the most important and complex problems of literary criticism. For a long time there have been debates about what is preferable to read to children. The significance of a thoughtful selection of books for children's reading is determined by the fact that it inevitably affects the literary development of the child, the formation of his experience, and the development of an attitude towards the book (15).

Interest in the scientific and educational book, which arose in childhood, will help him in the future, when he will master at school. various items and will be glad to overcome difficulties in order to experience the joy of discovering something new. The variety of books to read allows children to discover the versatility of the world. Educational books about labor, things, technology, nature entered the children's literature and became its integral part. They are interesting modern child. In a figurative measure, they show him the essence of phenomena, form his thinking, prepare a scientific worldview, teach him to take care of things, love and protect the surrounding nature (43).

Scientific and educational literature is characterized by a significant variety of genres - these are novels, short stories, fairy tales and essays.

Tales about work by E. Permyak "How fire took water in marriage", "How a samovar was harnessed", "About grandfather Samo" and others. V. Levshin ventured merrily, with an amusing invention, to introduce young heroes into the wonderful country of mathematics "Journey to Dwarfism". E. Veltistov creates a fairy tale "Electronics - a boy from a suitcase", "Gum-Gum" was influenced by writers - contemporaries.

V. Arseniev "Meetings in the Taiga", stories by G. Skrebitsky.V. Sakharnov "Journey on the Trigle", the stories of E. Shim, G. Snegirev, N. Sladkov unfold before readers pictures of life in different parts of the Earth.

The special nature of children's perception, its setting for activity, caused the emergence of a new type of book - an encyclopedia. In this case, we mean not reference publications, but literary works for children, which are distinguished by a special thematic breadth. One of the first children's encyclopedias is the "Forest Newspaper" by V. Bianchi.

This experience continues N. Sladkov "Underwater newspaper". There are many photographs in it, they provide visual confirmation of the text.

Small alphabetical encyclopedias of the publishing house "Children's Literature" are being created. Each of them is an independent thematic whole, but consisting of short stories, essays, and notes. They cover various areas of knowledge: biology (Yu. Dmitriev "Who lives in the forest and what grows in the forest"), Earth science (B. Dizhur "From the foot to the top"), technology (A. Ivich "70 heroes") and etc. new features from the standpoint of a scientific - educational book acquired an essay. S. Baruzdin's book "The Country Where We Live" is the pages of journalism, where the writer helps the reader in the knowledge of the Motherland.

The books "What the telescope told about", "To other planets" by K. Klumantsev give the first ideas about the Earth and stars. In the book by E. Mara "The ocean begins with a drop" the reader learns about many aspects of the concept of "water".

Companion of the inquisitive in 3 volumes "What is it? Who is it?" - a reference book that explains terms and at the same time an entertaining book that is useful for children to read based on their questions - these are, first of all, entertaining stories, skillfully constructed, with clearly defined educational goals (44). At the end of the 80s, the publishing house "Malysh" saw the light of the series "Why Books", in which the authors - naturalists N. Sladkov, I. Akimushkin, Yu. Arakcheev, A. Tambiliev and others write small but capacious stories about birds and animals, about plants and fish, about beetles and insects.

The multi-volume "Children's Encyclopedia" of the APS, which is based on a systematic principle, is designed for certain interests and needs of the child in a particular area of ​​life. This is a scientific reference book that should be consulted as needed (44).

Thus, we see that the possibilities of a scientific and educational book are great. Proper use of a scientific and educational book gives children:

.New knowledge.

2.Broadens the mind.

.Teaches you to see a smart interlocutor in a book.

.Cultivates cognitive abilities.

Here it would be appropriate to quote the words of D.I. Pisarev: he said: "It is not only knowledge that ennobles, but love and the desire for truth, which awakens in a person when he begins to acquire knowledge" (1).

§ 3. Analysis of modern programs for the upbringing and education of children of senior preschool age

Program "Childhood" Loginova V.I.

Child in the world of fiction.

L.M. Gurovich, N.A. Kurochkina, A.G. Gogoberidze, G.V. kurilo

child and book

Senior preschool age- a qualitatively new stage in the literary development of preschoolers. In contrast to the previous period, when the perception of literature was still inseparable from other types of activity, and above all from play, children are moving on to the stages of a proper artistic attitude to art, to literature in particular. This is manifested in the close attention of children to the content of the work, the ability and desire to comprehend its inner meaning. There is a steady interest in books, an attraction to constant communication with them, a desire to get acquainted with new works.

Cognitive and speech skills. To establish, when listening to a literary work, various connections in the text (the logic of events, the causes and consequences of conflicts, the motives for the behavior of the characters, the role of the artistic detail, etc.). Perceive a literary hero in his various manifestations (appearance, actions, experiences, thoughts), evaluate the actions and deeds of the characters.

To show attention to the language, to feel and realize some means of speech expressiveness (polysemy of a word, comparison, etc.), to realize some types of comic in works, to penetrate into a poetic mood, to convey one's emotional attitude in expressive reading.

Reading attitude in older preschoolers it is not as pronounced outwardly as in toddlers, but at the same time it acquires much greater awareness, depth and stability. The emotional response evoked by books Enriches spiritual world children, prepares them for real life, strengthening the interest inherent in this age in the inner world of people, helping to see the dramatic and comic In life, to treat some everyday situations with humor.

Literary experience activelyused by children in their creative speech activity, when creating their own stories, fairy tales, poems, riddles, games.

Use techniques in your own compositions that correspond to the features of the chosen genre:

when writing fairy tales, for example, traditional beginnings, endings, constant characteristics of heroes: “chanterelle-sister”, “good fellow”, “frog frog”, etc.

when creating a riddle - comparisons, epithets, metaphors, the rhythmic structure of the text, etc.), give your story a comic or dramatic color, find an accurate, expressive word.

The program "Childhood" presents levels,its development, with the help of which educators and parents can determine the appropriate for each child:

Short,The child prefers other activities to listening to reading. When perceiving a literary work, he establishes connections between individual facts without penetrating into the subtext. The emotional response to the reading is weakly expressed. The child is passive when discussing the book, in dramatizations and other types of artistic activity. He responds positively to the suggestion of the educator to listen to reading or storytelling, but does not feel the inclination to communicate with the book.

Average.The child is able to establish the most significant connections in texts with dynamic content, has difficulty listening to more complex types of works (cognitive book, lyric poem, fable, etc.). Draws attention to the actions and deeds of the characters, but ignores their inner experiences. He willingly takes part in games, dramatizations, literary entertainments as a performer, but does not show creative initiative.

High.The child shows a desire for constant communication with the book, experiences a clear pleasure when listening to literary works. Detects a selective attitude towards works of a certain subject or genre. Able to establish the most significant connections in the work, to penetrate its emotional overtones. He truly understands the motives of the actions of the characters, sees their experiences, thoughts, feelings. Shows attention to the language of a literary work. He actively manifests himself in various types of artistic activity, is creatively active.

The program "Pre-school time" Vinogradova N.F.

This position defines the two most important goals of this comprehensive program:

social goal-ensuring the possibility of a single start for six-year-old first-graders;

pedagogical goal -development of the personality of a child of older "school age", the formation of his readiness for systematic learning.

In connection with the earlier start of systematic education, special attention is required to address multiple tasks :

organization of the process of education, upbringing and development of children at the stage of pre-school education, taking into account the needs and capabilities of children of this age;

strengthening;

development of the child's emotionally positive attitude towards school, the desire to learn;

the formation of social personality traits of the future student, necessary for successful adaptation to school.

Thus, the choice of content, methods and forms of organizing the education of children aged 5-6 should be determined primarily by the fact that they are preschoolers, i.e. just getting ready for systematic training.

The authors of the project paid special attention to the development of those personality traits, those features of mental processes and those types of activities that determine the formation of stable cognitive interests of children and their successful education at school.

Based on this, the program "Pre-School Time" is built not according to areas of knowledge (as is usually accepted in existing preschool program documents) and not according to academic subjects (as in school programs), but in accordance with the logic mental development preschoolers: thinking, imagination, attention, explanatory speech; arbitrariness of processes; value attitude to the world around and to oneself, etc.

The program of education and development of children of the sixth year of lifebuilt on the basis of the following principles:

real consideration of the features and values ​​of the preschool period of development, the relevance for the child of sensory impressions, knowledge, skills, etc.; personal orientation of the process of education and upbringing;

taking into account the needs of a given age, relying on; game activity - leading for this period of development;

preservation and development of the individuality of each child;

ensuring the necessary level of formation of the mental and social qualities of the child, the main activities, readiness to interact with the outside world;

ensuring progress in the development of the child, his readiness for schooling; to the adoption of new activities; creating conditions for a unified start of children in the first grade, providing pedagogical assistance to children Withlagging behind in development;

development of erudition and individual culture of perception and activity of the child, his acquaintance with the accessible areas of culture (art, literature, history, etc.).

To implement the program, manuals from the "Preschool Time" series can be used:

Vinogradova N.F. "Stories-riddles about nature ": Salmina N.G., Glebova A.O. "Learning to draw"; Salmina N.G., Sil'nova O.V., Filimonova O.G. "Traveling through fairy tales";

Zlatopolsky D.S. "Amazing transformations"; Shcherbakova E.I. "Getting to know math Kulikova T.A. "What, where, why?"; Kozlova S.A. "Let's go on a trip."

Subjects of scientific - cognitive literature: "Professions", "Furniture", "Animals", "Insects", "Birds", etc. Stories, fairy tales, counting rhymes.

Didactic material: subject pictures with images, soft toys, posters - schemes, sets of toys "Animals", "Insects", "Birds", etc.

Program "From childhood to adolescence" Gritsenko Z.A.

The program "From Childhood to Adolescence" is comprehensive and covers the age from 4 to 7 years. Created in order for educators of preschool educational institutions to be able to interact with parents, the program "From childhood to adolescence" was created.

First direction- "Health" - ensures the protection and strengthening of the physical and mental health of children, their development and emotional well-being.

Parents are given the opportunity, together with teachers and medical workers of the kindergarten, to first study and evaluate the health of each child, and then choose individual tactics for its formation.

Second direction- "Development" - aimed at:

development of the child's personality (competence, initiative, independence, curiosity, ability for creative self-expression);

introducing children to universal values.

Each direction has an introductory and main part. The introductory part is of a journalistic nature. Its purpose is to draw the attention of parents and teachers to the problems associated with the upbringing, health and development of children, and to justify the need to use a certain content of education. In this part of the program, only those psychological and pedagogical conditions that are necessary for the implementation of lifelong education, i.e. smooth, painless transition of the child from preschool to school.

The main part presents the tasks that need to be solved in the family and preschool educational institution in order to ensure the formation of health, upbringing and full development of the child at the stage of preschool childhood.

A set was created to implement the program teaching materials for parents and teachers, ensuring the integrity of the pedagogical process, allowing for a coordinated approach in all areas of interaction between an adult and a child. It gives annual planning of work with children, but the sequence of planning by the teacher of the material is determined depending on the individual characteristics of the children, their health, the intensity and pace of their progress, regardless of the level of initial preparedness.

It is well known that childhood - is a unique period in a person's life, during which healthand carried out personal development.From childhood, the child takes out what is stored later for life.

adolescence consolidates the achievements of childhood and uses them. At the same time, teachers and psychologists rightly insist that adults who raise a child both in childhood and in adolescence, first of all, determine how his development will proceed in the most difficult adolescence. It is difficult, and often impossible, to build relationships with a teenager correctly if they did not develop much earlier - in childhood.

The path from childhood to adolescence the child passes with parents, educatorsAnd teacherselementary school.

Criteria for achieving a positive result in the work on the program, parents and teachers need to:

Realize that only through the joint efforts of the family and kindergarten can a child be helped; treat each other with respect and understanding;

Remember that the child is an individual personality (individuality);

To know that in parents and teachers the child should always see people who are ready to provide him with personal support and come to the rescue;

Parents should inspire the child to trust teachers and actively participate in the affairs of the group;

Teachers should take into account the wishes and suggestions of parents;

All participants in the pedagogical process carefully study the program and a set of manuals for it.

Fiction,communication of a child with a book is organized as a process that gives pleasure, arouses interest, helps to acquire knowledge, stimulates the work of the mind and soul. The development of interest in the book should be a priority in the education of preschoolers.

According to the program, acquaintance with children's literature takes place in class (one lesson per week) and daily in a free form. Home reading has only a free form and should also be daily.

Four main activities offered:

) thematic,where it is supposed to introduce preschoolers to the leading topics of children's literature, the closest and most understandable to children, taken from their childhood life;

) theoreticalwhere children get acquainted with the theoretical concepts accessible to their age, necessary to identify the artistic features of the text;

) creative,the main purpose of which is to develop the creative potential of preschoolers;

) analytical,where the text is analyzed at a level accessible to children in order to penetrate deeper into its meaning and artistic essence.

It is necessary to change the attitude that still exists towards children's literature and children's reading, as a material for solving psychological and pedagogical problems, and to perceive children's literature as an independent specific art form,specially created for the child, having its own artistic system of influence on the reader and not requiring other means, techniques and methods of working with the text, except for thoughtful expressive reading of a literary work and its analysis. It is necessary from early childhood to teach a child, first of all, to find something interesting in the text, and not in various additions to it (games, dramatization, quizzes, contests, etc.), which replace the art of the word and often devalue it.

conclusions. Making an analysis of modern programs for the development and education of children in kindergarten. We have identified for each program separately:

The program "Childhood" is a comprehensive educational program. Its use requires a developed pedagogical reflection from the teacher, the ability to build the pedagogical process according to the model of subject-subject interaction with the child on the basis of pedagogical diagnostics.

In the "Child and book" section, i.e. fiction has a task, the skills with which it is solved. It presents the levels of learning of the program, with the help of which parents and caregivers can determine the level of learning of each child. It has a recommended list of literature and collections for reading to children. Aimed at the joint work of parents and teachers.

The program "Pre-School Time" is designed to prepare children for school who have not attended (do not attend) a pre-school institution.

The program has: two goals, a number of tasks that are solved in it.

The program of education and development of children of the sixth year of life built on principles.

It includes: a training and development program (for groups preparing for school children from 5 years old); teaching aids for preschoolers (workbooks, study books), teaching aids and recommendations for the teacher for each section.

The program "From Childhood to Adolescence" is comprehensive and covers the age from 4 to 7 years.

The program defines the tasks that must be solved in a family and kindergarten in two areas - "Health" and "Development".

Each direction has a specific goal. The program provides a set of methodological materials for parents and teachers. The definition of "childhood" and "the period of adolescence" is given. It also has criteria for achieving positive results.

In the Fiction section, activities with a book are organized as a process that gives pleasure to children in the first place.

Acquaintance with children's literature passes through classes, the main types of classes are presented.

Natalya Evgenievna Kuteynikova (1961) - Candidate of Pedagogical Sciences, Associate Professor of the Moscow City Pedagogical University.

Scientific and educational literature for children in the classroom in grades 5–6

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 grades 5–6. In many ways, such attention to scientific and educational literature, which was auxiliary and, of course, optional for study, is explained by the installation of today's school on comprehensive development students and, above all, 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, 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 the methodology of teaching literature at school, the opinion has long been entrenched that qualified reader- this is a reader who is well versed in the world of books, a reader with established interests and preferences, able to distinguish good literature from mediocre literature, that is, artistic from mass literature.

At the same time, there was almost no mention of orientation in the world of scientific and educational literature, moreover, this literature was very rarely included in the lists of recommended reading for a particular age, except for individual scientific and artistic works for children aged 7–10 years (elementary school), with that the development of the modern school reader is unthinkable without his turning to scientific and educational literature.

Firstly, because scientific and educational literature- this is a specific area of ​​the art of the word, which seeks 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 expands 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.

Secondly, already at the end of the twentieth century, literary critics noted that scientific literature as a kind of scientific and educational literature - “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. It combines “general interest” with scientific authenticity, imagery of narration with documentary accuracy”. The language of fiction, its techniques and methods, simply and intelligibly, scientific literature reveals to its reader the beauty and logic of science, the incomprehensible flights of human imagination and the depth of thought, the suffering of the human soul and the secrets of art, awakens cognitive interest and thirst for life.

Of course, the awakening, formation and development of the child's cognitive activity occurs not only and not so much when reading various kinds of books - all educational and educational activities of the family and school are aimed at this, but to help develop the thinking of the young reader, to intensify all his activities in the world around him in many ways. scientific and educational literature is capable, since its purpose is precisely the formation and development of the cognitive activity of the reader.

It is possible to involve scientific and educational literature of various types in a lesson in the middle classes both in individual lessons - in the main lessons of extracurricular reading, and when studying any topic in the system of lessons (humanitarian or natural science cycles), and only as illustrative material. However, purposeful and systematic work with a scientific and educational book is possible in grades 5–7 only in the system of integrated lessons, since with integrated learning the similarity of ideas and principles can be traced better than with teaching individual subjects, because in this case it becomes possible to apply the knowledge gained simultaneously in various fields. It is this point of view that is held by modern psychologists who study the learning process in primary and high school.

Integrated lessons differ from the traditional use of interdisciplinary connections in that the latter provide only occasional inclusion of material from other subjects in the lessons of a certain course. “In integrated lessons, blocks of knowledge in different subjects are combined, subordinated to one goal”, which is why it is extremely important to initially determine the main goal of the integrated lesson . As a rule, it is indicated either by the topic (title) of this lesson, or by an epigraph to it, or by both. Exists two approaches to the integration of knowledge in literature lessons :

• immersion in the era, the ability to perceive it through the eyes of a historian;
• the ability to perceive the era through the eyes of contemporaries of events, “through the dialogue of times”, with the involvement of information from different areas of science and life.

In grades 5–6 of a secondary general education school, in order to form a sustainable interest in a book, in various types of literature, in the history of mankind, one can conduct a number of extracurricular reading lessons based on scientific and educational literature of the twentieth century, more precisely - literature scientific and artistic, because its purpose is to form a literary recreative imagination, fantasy, as well as the cognitive interest of readers, to expand their horizons and literary preferences.

So, in the literature program for the 5th grade, ed. G.I. Belenky and Yu.I. Lyssky, such lessons fit into the context of the topic "Myths and Legends", after studying the myths of Ancient Greece and Slavic mythology - this will help the teacher expand the fifth graders' ideas about ancient civilizations, their culture and mythology.

In the Literary Education Program. Grades 5–11” edited by V.Ya. Korovina, these lessons can be conducted both in the 5th grade (after the topic "Slavic myths"), and in the 6th grade (in the context of the topic "Myths of the peoples of the world").

And, for example, in the "Program on literature (grades 5-11)" edited by T.F. Kurdyumova in the 6th grade announced the topic "The Distant Past of Mankind", within which the authors offer an overview of works of historical subjects, consider the works of Roni Sr. "Fight for Fire" and D'Hervily's "The Adventures of a Prehistoric Boy", read either in history lessons, or independently.

Of course, this is a successful methodological move that allows, on the one hand, to deepen students' knowledge of history, their ideas about the prehistoric past, ancient civilizations and the Middle Ages (at the choice of the teacher and students), on the other hand, taking into account the interests of younger teenagers, instill in them a craving for to reading as such, to develop various reading skills.

Within the framework of this topic, one can consider not only the historical prose of foreign and domestic authors, but also the scientific and artistic work of S. Lurie "Letter of a Greek Boy", repeat and consolidate the historical and cultural information obtained by students earlier and while reading this book, - to consolidate the knowledge of sixth graders on the history of Ancient Egypt, knowledge of the ancient alphabets and the specifics of the ancient Egyptian alphabet, to reveal to the students the difference between the alphabets: ancient Egyptian - ancient Greek - modern Greek - Russian (Cyrillic), to show their role in human life and culture. At the same time, a map of Ancient Egypt, a map of Egypt at the end of the 20th - beginning of the 21st century, a map of the Mediterranean Sea should be posted in the classroom - for the orientation of students in geographic space.

Here it is also necessary to deepen the ideas of schoolchildren about the ethno-cultural originality of education and the universal significance of the heritage of ancient civilizations, to cultivate a respectful attitude towards the culture of different peoples.

Lesson “What lies behind the text of a letter written almost two thousand years ago?”(1 hour) you can start with opening speech of the teacher with elements of conversation.

“People express their thoughts and feelings in words; scientists believe that any thought is formed in the human brain in verbal form. Already in ancient times, a person, thinking about some thing or a natural phenomenon, gave them names - verbally expressed his thought, gradually the words formed into certain images, images - into a harmonious mythological system. Beautiful and slender mythological pictures of the world of different peoples began to appear, from them grew epic. Thus, thoughts about the world around us were reflected in the myths and legends, traditions and tales of our distant ancestors.”

Myth- it is an attempt by a people or a person to understand, generalize, explain and express verbally various phenomena of nature, as well as the society surrounding a person. Often this attempt is fantasy reflection of reality, over the centuries, formed into a single epic of the people.

Language, oral and written speech of the people- is a part people's culture, this or that civilization. Together they create the image of the people, its “face” in the gallery of other faces of different countries, races and peoples. Modern scientists, including Dmitry Sergeevich Likhachev known to you, argue that as soon as the language begins to be simplified, clogged with swear words, as soon as written speech becomes primitive, similar to the speech of an uneducated person, society begins to self-destruct.

With the destruction of society, it loses its “face” and the state, it also loses its citizens: they leave for other countries, learn other languages, their descendants forget their people, their culture.

Languages ​​often disappear along with the people who died during the plague or other no less terrible disease, as well as at the hands of foreign conquerors.

Sometimes, however, the conquest can be “peaceful”: foreigners come to power in the country, who outwardly put up with the customs, beliefs and culture of the local population, but gradually build their own architectural structures, erect their temples, open their schools, make their language the state language - and after a few generations it is already a different country, different people, a completely different language.

Is it so?

You have just read a very interesting scientific and artistic book by S. Lurie "A Letter from a Greek Boy". Remember what it says. Is it only about the little crafty Theon, a Greek boy who lived in the Nile River valley? What does this book say about the ancient Egyptian language? What is he? Has it survived to this day? Why?

Remember what else you read about Ancient Egypt? What attracts people to this day ancient civilization?

• The ancient Egyptian civilization existed almost from the 3rd millennium BC. to 640 AD, twice survived the Persian conquest, submitted to Alexander the Great and “disappeared”, but left behind many mysteries. For example, ancient writings were deciphered only at the beginning of the 19th century (this was done by the French scientist Jacques Francois Champollion / 1790–1832 /), but many hieroglyphs are still not understood, many texts on the walls of the tombs in the Valley of the Dead have not been translated into modern languages. What are they about? To whom were they intended? What did the inhabitants of ancient Egypt want to pass on to their descendants? Scientists from different countries have been struggling with these riddles for more than two centuries.

Once Ancient Egypt was called “the birthplace of wisdom”, but, having left us significant information on astronomy, chemistry, geography, history and other sciences, it has practically disappeared without a trace. Why?

Why do you think the language of this civilization disappeared? Bring your versions.

• Perhaps the language disappeared because the people of Ancient Egypt gradually died out. The Egyptians, especially the nobility, never married or married strangers, and “new” blood is always needed to continue life. Moreover, the pharaohs and the nobility entered into closely related marriages: the pharaoh was always married to his own sister, firstly, so that power and wealth “did not leave” the family, and secondly, because the pharaohs were considered “living gods” on earth, and gods cannot marry mere mortals. Such marriages were often fruitless, or very sick, unviable children were born. The cult of the "living gods" was doomed.
• Some researchers of the Ancient World believe that each civilization has its own “temporal O th segment”, during which it arises, develops, and then either suddenly dies or gradually dies out. According to this theory, the “time” of Ancient Egypt is over, and, accordingly, no one needs its language.
• Other scientists are inclined to adhere to the version that the Ptolemaic dynasty, which seized the supreme power in the country, gradually turned the powerful state into one of the provinces of Ancient Greece, and its common people into wordless impoverished workers in a semi-slave position. The nobility of Egypt mastered the language and traditions of the Hellenes, began to marry representatives of other peoples and renounce their gods - “living” and “dead”. In the II century AD. ordinary Egyptians still spoke their own language, to know - in two languages: ancient Egyptian and ancient Greek, - but the peoples surrounding Ancient Egypt no longer understood the ancient Egyptian language and did not learn it, since the language of immigrants from the Balkan Peninsula became the state language.

What version does the “investigator” from the 20th century, the scientist and writer Solomon Yakovlevich Lurie (1891–1964) give?

• S.Ya. Lurie adhered to the latest version, which is figuratively displayed in his story "A Letter from a Greek Boy" (1930): the country is ruled by the Ptolemaic dynasty - immigrants from the Balkan Peninsula; own lands and noble Egyptians, and Hellenes; trade is carried out mainly by the Greeks, Phoenicians and other peoples who have been engaged in this business since ancient times; ordinary Egyptians work in the fields, in craft workshops and in the homes of the nobility. The stratification of society is emphasized both by the knowledge of the Greek language, the traditions and customs of the ancient Hellenes, and by clothing - Greek and Egyptian, simpler, more comfortable, but worn mainly by commoners.

Have you heard about other versions of the disappearance of the ancient Egyptian civilization and its language? If yes, please tell us about it.

What language do modern Egyptians speak? Do you think it is similar to the ancient Egyptian language? Prove your point.

• The ancient civilization disappeared, its material heritage was covered with desert sand, the achievements of culture have sunk into oblivion - and the ancient Egyptian language has become unnecessary. The modern Egyptian language is the language of a completely different people, who inherited from the past only the name of the country and the great river Nile, the names of hills, deserts and cities, legends and fairy tales. Even the religion of modern Egyptians is different - the majority of the population professes Islam.

After conversations with the class on the history of ancient Egypt, about which they read both in elementary school and in the lessons of history and the MHC, it is appropriate to go to work with the text of the work.

Questions and tasks

Tell us what interested you in the first minutes of reading S.Ya. Lurie "Letter from a Greek Boy"

Why do you think Professor Lurie tells in such detail about how the ancient papyrus came to him? What is this backstory for?

Did you like Papyrus chapter? Why? Why is it placed in the text of a scientific and artistic story?

Why did Solomon Yakovlevich Lurie immediately ask himself the question: in what language is the text written? Professor Knight was a famous explorer of ancient Egypt, while Lurie thought about different languages. What does it say?

• S.Ya. Lurie knew the history of Egypt well, and accordingly, he knew about the Persian invasions, and about the Macedonian period of development of this state, and about the Ptolemaic dynasty, and about the last centuries of the existence of the ancient Egyptian civilization. Many nations passed through this country in different centuries and they spoke in different languages.

Is it possible to call Knight's letter, stretching over three chapters ("Knight's letter", "In the tomb", "What was found in the garbage?"), An introduction to the whole story? Justify your answer.

• These chapters, rather, are the beginning of the action in this story, the introduction is the chapters "Professor Knight", "What is it?", "Papyrus".

Did the process of deciphering an ancient papyrus attract you? Why? Try to explain it.

What new and interesting things did you learn while working with Professor Lurie on deciphering the letter of the Greek boy Theon?

What was the ancient Greek alphabet? How does it resemble the Russian alphabet? Who knows why?

What are "hieroglyphs"? How did they differ from ancient Greek letters?

What did the papyrus letters say?

What cities were the capitals of ancient Egypt before the new era? Why did another capital appear in the 3rd century AD? What was her name? In honor of whom?

Who knows who Alexander the Great was? Tell about it.

How did life in Egypt change after the conquests of Alexander the Great?

How do you imagine little Theon? Describe the boy.

Why does the Greek boy Theon live in Egypt, and not in his historical homeland - in Greece?

Did you think his life was different from the life of Greek boys from wealthy families in the Peloponnese? Prove it.

What clothes does he wear: Greek or Egyptian? Why?

Why do you think the Greeks, who lived in conquered Egypt for many generations, strictly observed their traditions, studied their native language, and even differed in clothing from the indigenous population? What did they want to highlight?

Try to explain in your own words why the language of the ancient Egyptians disappeared, although in the 2nd century AD. was it still spoken by the population of Egypt? Why did the descendants of a mighty civilization begin to master the traditions and language of the Hellenes?

After such careful work with the text, students can be offered to complete in class entertaining task, which, on the one hand, will help students repeat and consolidate their knowledge, on the other hand, will motivate them to further read scientific and educational literature and to perform this kind of work - a crossword puzzle "Letter from a Greek Boy".

Exercise: solve the crossword puzzle and identify the keyword

1. One of the sacred animals in ancient Egypt, which was forbidden to kill. 2. The capital of Ancient Egypt in the II century. AD 3. The name of the teacher in the Greek school where Theon studied. 4. State-civilization, the secrets of which are still unraveled by scientists. 5. King in one of the most ancient states of the Mediterranean. 6. The name of the letters of the ancient Egyptian alphabet. 7. Diminutive name of the protagonist. 8. The name of the character of the work, about which the author says that we will never know who he is and what he did.

Answers to the crossword

1. Crocodile. 2. Alexandria. 3. Lamprisk. 4. Egypt. 5. Pharaoh. 6. Hieroglyphs. 7. Feonat. 8. Archelaus.

Keyword- Oxyrhynchus.

As homework in the 6th grade, students can be offered to read the scientific and artistic work of S.Ya. Lurie and M.N. Botvinnik's "Journey of Democritus" (or M.E. Mathieu "The Day of the Egyptian Boy") and prepare a detailed retelling of it.

Individual tasks at the choice of students I can be:

1) illustrating both the entire work and the episode you like;

2) a written answer to the question: “What did ancient Egyptian hieroglyphs tell people about?”

For the curious

1. Bulychev Kir. Secrets of the ancient world. M., 2001.
2. Bulychev Kir. Secrets ancient world. M., 2001.
3. Butromeev V.P. The Ancient World: A History Reading Book. M., 1996.
4. Golovina V.A. Egypt: Gods and Heroes. Tver, 1997.
5. Lurie S. Talking signs. M., 2002.
6. Lurie S. Letter from a Greek boy // Journey of Democritus. M., 2002.
7. Mathieu M.E. Egyptian Boy's Day. M., 2002.
8. Matyushin G.N. Three million years BC: Book. for students. M., 1986.
9. Myths of the peoples of the world: Encyclopedia: In 2 volumes / Ch. ed. S.A. Tokarev. M., 1994.
10. Cancer I. In the realm of fiery Ra. L., 1991 (2002).
11. Ranov V.A. The oldest pages of human history: A book for students. M., 1988.
12. The kingdom of people: Clothing, utensils, customs, weapons, decorations of the peoples of ancient and modern times // Encyclopedia for kids and everyone, everyone, everyone. Moscow: Rolan Bykov Foundation. 1990, 1994.
13. The World History// Encyclopedia for children. T. 1. M.: Avanta +, 1993.
14. Religions of the World // Encyclopedia for Children. T. 6. Part 1. M.: Avanta +, 1996.
15. I know the world: Literature lessons: Encyclopedia / S.V. Volkov. M., 2003.

And use in literature lessons scientific and artistic works led to conclusions.

• Scientific literature attracts students, on the one hand, with its accessibility for perception - a dynamic plot, an active hero, adventures and riddles at the core. storyline, bright characters, game function, the ability to “fantasize” the plot; on the other hand, from a pragmatic point of view: modern children are accustomed to “obtaining information”, most of them brought up with an orientation towards the practical application of this information, and in the scientific and educational literature it is clearly indicated why this or that information is needed, where it can be used ; the outward ease of assimilation of "educational" material also impresses many teenagers;
• improvement of the speech activity of children aged 10–12 years in integrated lessons is more successful, faster and more productive;
• As practice has shown, the following combination of subjects provides good grounds for conducting integrated lessons in grades 5–6: literature - Russian language, history, Moscow Art Theater, drawing, music, local history, life safety.

Scientific and educational literature, the share of which in the educational process of the modern school and the circle of children's reading has increased significantly at the turn of the XX-XXI centuries, on the one hand, helps to organize and structure integrated lessons in grades 5-6, on the other hand, contributes to the emotional- moral comprehension of reality by students and the active improvement of their speech, the development of the ability to create their own written texts in the form of reasoning essays, mini-reports, notes and essays - observations of natural phenomena and the surrounding reality.

Studies of recent years and the practice of working at school have shown that against the background of a total unwillingness to “read in general”, many children of 8–13 years old today read scientific and educational literature with interest, preferring its two varieties - encyclopedic literature And scientific and artistic. That is why it is necessary to introduce scientific and educational books into the context of schooling.

Notes

See about it, for example: Druzhinina N.M. Lessons to guide independent reading of children in the lower grades of the school (out-of-class reading). Part I: Proc. allowance. Leningrad: LGPI im. A.I. Herzen, 1976, pp. 3–4.

Literary Encyclopedic Dictionary / Under the general. ed. V.M. Kozhevnikova, P.A. Nikolaev. M., 1987. S. 239.

Cm.: Podlasy I.P. Pedagogy of elementary school: Textbook for students. ped. colleges. M.: GITs VLADOS, 2000. S. 232–233.

There. S. 233.

Programs of educational institutions. Literature. 1–11 cells / Ed. G.I. Belenky and Yu.I. Lyssogo. 2nd ed., rev. M.: Mnemozina, 2001. S. 22.

Literary Education Program. 5–11 cells / Ed. V.Ya. Korovina. M .: Education, 2002. S. 8.

There. S. 15.

Program-methodical materials. Literature. 5–11 cells / Comp. T.A. Kalganov. 3rd ed., revised. M.: Drofa, 2000. S. 71; Literature: Literature program for general education. inst. 5–11 cells / T.F. Kurdyumova and others; Ed. T.F. Kurdyumova. M.: Drofa, 2003. S. 29.

Lurie S. Letter from a Greek boy // Journey of Democritus. M.: CJSC "MK-Periodika", 2002.