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COURSE WORK
EDUCATION AND FORMATION OF THE CHILD'S PERSONALITY IN ART LITERATURE
Introduction
Conclusion
Introduction
Most of the children in modern times grow up with health problems, the number of children who use drugs and alcohol has increased, and juvenile delinquency is on the rise. One of the reasons for the emergence of all these negative manifestations is the decline in spirituality, the disappearance of moral guidelines. The child is deprived of the right to vote, he needs to protect his rights and interests.
The development of morality, intelligence, aesthetics in a child is directly related to the spiritual food he receives.
A particularly significant place in the process of socialization of the child's personality is played by the media and books. Children enter the book universe first of all with the help of fiction for children. Children's literature nourishes the mind and imagination of children, opens up new worlds, images and patterns of behavior for the child, is the strongest means of spiritual development of the individual.
Particular attention should be paid to the child's exposure to the book at an early age, access to books, support and encouragement of reading.
One of the most important factors that affects a child's reading is access to a book. It is important that the child's interest in reading does not go out, so the reading process must be supported. Books should be accessible to children, and the reading repertoire should be wide and varied.
Children as readers have their own specifics: unlike adults, children cannot "postpone" reading, because during childhood, the child's interests change intensively. If the child does not receive the necessary books on time, then he either begins to read other books, or does not read at all.
The publishing activity of literature for children requires much more than other types of expenses, and children's literature begins to rise in price, becomes inaccessible to the population. Financial difficulties and the decline in the standard of living of the majority of the population led to a reduction in the ability to fulfill the purchasing needs of books. The only free source of introducing a child to reading is the library.
Small funding has led to a deterioration in the acquisition of literature for children in libraries. A situation of "book hunger" has arisen for the majority of children who are deprived of the opportunity to exercise their right to read.
The significance and importance of fiction in the development of a child's personality determines relevance our work.
Target term paper- to explore the issues of the influence of works of fiction on the formation and development of the child's personality.
In accordance with the goal, the tasks works:
To study the literature on the research topic;
Taking into account the psychological and pedagogical foundations, to study the features of the influence of fiction, including modern literature, on the child's personality.
Course work contains an introduction, four chapters, a conclusion and a list of references.
1. Book and reading in a child's life
The decline in children's interest in reading books in their free time is of great concern. There is an impoverishment of the emotional and intellectual spheres of the child's development, which affects the formation of the child's personality, relationships with other people. There is an increase in the imbalance of topics in the reading repertoire: children are practically not interested in books on "career guidance" and "art", they are dominated by books on fantasy, mysticism and "horror", detective stories. Most of such literature cannot have a positive impact on the formation of morality and ethics, correct aesthetic assessments and the development of the child's vocabulary.
The existence of a direct relationship between the skill of systematic reading in free time and intensive reading outside of school books has an indirect effect on the academic performance and the formation of a child's culture.
Most children do not like to read. Sociologists note a decrease in children's interest in reading and the movement of reading to one of the last places in their free time. The formation of attitudes towards reading, the formation of a child's reading culture largely depend on those patterns of reader behavior that are offered to the child by adults. fiction personality child
In general, we can talk about a reduction in the proportion of reading in their free time by the younger generation. Reading is not one of the favorite activities for most children of all ages. Namely, in our time, the development of a reading culture, information literacy, the ability to find and critically evaluate the information offered, becomes especially important (Dmitrieva, 2007).
A negative process that is currently taking place in children's reading is the rapid penetration into the child's repertoire of modern products. mass culture west of low artistic merit - "kitsch", "pulp fiction", "paraliterature". These are thrillers, detectives, science fiction, adventures, horrors and mysticism.
The child is characterized by the emergence of interest in everything unusual, mysterious. Therefore, this interest is satisfied by children in more not scientific and educational, but literature on astrology, magic, religion. The child very often shows interest in adult literature, and most of this literature has dubious content.
In the process of socialization of the child's personality, the influence of the media increases. A culture called "visual", "video culture", "electronic culture" begins to develop. There is a change in the home environment in which children grow up, and a music library, a video library, a computer game library are added to the home library. In Russia, the “reading crisis” is rapidly gaining momentum.
The emergence of anxiety in the world community is associated with a decrease in children's reading and an increase in television watching. All this contributes to the emergence of a "mosaic culture", that is, an unsystematic set of fragments of knowledge about the surrounding world, to the generation of passive consciousness. The negative effect on the reading of children by the media is also increasing.
The leading motives for turning to television in children are cognitive and recreational and entertainment interests. Television causes a child's interest in the surrounding reality and this can stimulate the reading of fiction books by children. But television also causes the generation of superficial perception of information. In the process, this child's ability to concentrate for a long time while reading begins to be lost. The child does not divide programs into children's and adults, they watch everything. As a result, the specific film interests and preferences of children are leveled out, and there is a convergence and coincidence of them with adults. Schoolchildren begin to watch films containing erotica, violence and murders on an equal basis with adults. Children begin to subconsciously be imbued with the opinion that true values are not so much truth and goodness, but rather brutal violence, supernatural strength and weapons, and knowledge of martial arts (Golovanova, 2011).
Therefore, the reading of positive fiction by children is the main national problem, and the spiritual health and future of the nation will depend on its solution.
2. Perception of fiction as a factor in the development of the child's personality
The development of the problem of the influence of literary works on the development of a child's personality is of great importance within the framework of the triune task of teaching, educating and developing, which faces the modern general education school.
The development of the personality of children is one of the sides educational process At school. Works of fiction are an important factor that has a developing character both for the whole personality of the child as a whole and for its individual aspects (in particular, the emotional sphere).
Broad coverage of theoretical issues of the role of fiction in the process of becoming a child's personality is reflected in the works of many psychologists, including L. S. Vygotsky, A. V. Zaporozhets, V. P. Zinchenko, R. A. Zobov, L. N. Rozhina, V. M. Rozin, B. S. Meilakh, A. M. Mostapenko, G. G. Shpet and many others. The possibilities of using works of fiction for the development of a child's personality are enormous.
Reading fiction performs informational, relaxation, aesthetic, meaning-forming and emotional functions.
Works of fiction appeal primarily to emotional sphere child's personality. IN scientific literature to denote emotions arising from the perception of artistic literary work, the concepts of “aesthetic emotions”, “aesthetic experience”, “artistic experiences”, “catharsis”, “artistic emotions” are used (L. S. Vygotsky, S. L. Rubinshtein, N. B. Berkhin and others). This type of emotion enriches the inner world of the child's personality (Semanova, 1987).
Children's appeal to fiction, contributes to a more complete formation artistic picture world, subjective in its meaning, since it expresses in a figuratively emotional form the inner world of a person, the relationship of people to each other, to nature, to the world as a whole, the aesthetic properties of reality. The scientific picture of the world, which gives a holistic image of the world on the basis of scientific methods of cognition, misses the questions of figuratively - emotional, value, aesthetic exploration of reality.
Works of fiction as a tool of art are both a cognitive standard and a means for the formation of artistic emotion - empathy artistic image. Literary works are a source of knowledge about a person.
The idea of the psychological content inherent in literature originates in the works of L. S. Vygotsky, B. G. Ananiev, I. V. Strakhov, B. M. Teplov. Fiction acts as a carrier of psychological knowledge, thus being not only an object, but also a subject of psychology (Yakobson, 1971).
The impact of fiction books on a child is expressed in stimulating the manifestation of emotions and feelings; transformation of the core of the personality (semantic formations), familiarization with universal human meanings and values.
L. N. Rozhina introduces the concept of "artistic perception" to refer to the process of perception, understanding and evaluation of a person who is the object of fiction. Literary texts were used to study artistic perception and its influence on the development of a child's personality in the studies of L. N. Rozhina. L. N. Rozhina emphasizes that a specially organized educational activity makes it possible to simultaneously diagnose and form in students the ability to distinguish the author's meanings and assessments expressed through the system of artistic means and the emotional atmosphere of the work. The deeper and more accurate the reader's artistic perception, the easier it is for him to enter into a dialogue with the writer.
In the study by LN Rozhina, it was experimentally proved that artistic perception is included in many connections and relationships with various phenomena of the development of a child's personality. The characteristics of a person, who is the main object of the image in books, reflected by the recipient, are added to a certain system of knowledge and ideas about a person whose artistic knowledge is a complex process of interpreting a literary text. The content and structure of the image of a person, formed in the process of artistic perception, are ambiguous. It includes an analysis of the description of his actions and non-verbal behavior, diverse attitudes towards himself, other people, nature, works of art, motives for behavior and activity, the determination of his character, the complexity of his inner world(Rozhina, 1976).
Artistic knowledge of a person ensures the development of the emotional and semantic sphere of the student's personality, the restructuring of such structural components of the personality as sensitivity and aesthetic impressionability, forms an aesthetic position when evaluating works of art, as well as phenomena and objects of the surrounding world.
A high level of psychological analysis of a literary character ensures the disclosure of the diversity, multivariance of its inherent sides and properties, complexity, ambiguity, and possible inconsistency of its inherent qualities and motives.
OI Leinova concludes that the enrichment of students' ideas about a person as a subject of labor has become possible through the active use of information contained in his artistic depiction in books.
In the work of A. M. Gadiliya, a close relationship is determined between the perception of fiction by schoolchildren and the development of their emotional sphere. In particular, there is a close relationship between the perception of a poetic work and the expansion of the verbal representation of emotions in high school students.
The conducted research indicates that high school students do not have sufficient skills in the psychological analysis of a poetic text. The lack of formation of these skills is the reason for their insufficiently complete and comprehensive perception of the image-experience.
According to A. M. Gadiliya, specially oriented work aimed at mastering the skills of literary and psychological analysis of the image-experience by students ensures its perception in all its diversity and versatility.
Students develop an understanding of a wide range of feelings and experiences, human, which leads to the expansion of their verbal representation of emotions. This found its expression in the variety of terms used by the students of the experimental classes to describe the perceived image-experience, as well as their own emotional sphere; semantic content of these terms; seeing the diverse forms of manifestation of the described experience; variety of characteristics of the perceived experience; adequate understanding of one's own emotions; subtle differentiation and nuance of feelings and experiences inherent in the personality.
The perception of a literary text by schoolchildren depends on the ability to extract information from all the elements of a sentence and reunite it with their own life experience. As well as in the works of L. N. Rozhina, the necessity and importance of dialogue with the author, the text is emphasized. Real reading is co-creation as a dialogue between the text and the reader.
Ability to adequately express their emotions and feelings verbally and non-verbally, to control and understand the causes emotional states, read the emotions and feelings of other people, the richness of the emotional vocabulary are necessary for a wide range of personal manifestations of the student as a subject of the educational process.
Diagnostics and development of the emotional sphere are necessary to stimulate the self-improvement of the child, to increase the effectiveness of his interaction with peers and adults. Especially important is the appeal to the older adolescence, which in the emotional sphere is considered the most controversial and complex.
The process of perception by a child of works of fiction is a complex creative activity mediated by all the vital, aesthetic, reading and emotional knowledge of the child.
The child's perception of fiction should not take place in isolation from the main tasks of education, the formation of the personality, the perception of the world, the spiritual world.
The relationship between the initial perception of a literary work and its further deepening in the process of analysis is a particularly topical issue.
The perception of works of fiction has its own characteristics, which are characteristic of a person's perception of the surrounding reality in all its complexity, the perception of works of any kind of art. These features are integrity, activity and creativity (Neverov, 1983).
In the perception of works of fiction, the main thing is to understand that literature gives the reader a complete picture of the world, the writer's judgment about the surrounding reality. Knowing the picture contained in a literary work human life the reader knows himself. Expanding the scope of a child's spiritual life, fiction teaches independence of thought.
The perception of fiction is not simply the reception of information. It is an active activity in which positive motivation, need and interest play a huge role.
The purpose of this activity is to create an adequate picture of the reality surrounding a person, both given to him directly and refracted in the minds of the authors of the works. Knowledge of the surrounding world and mastery of the values of spiritual culture are necessary for each person not only in themselves, but also for practical use, for interaction with the environment and, finally, to satisfy their needs.
The child is interested in a person as a carrier of certain personality traits. From "inclusion" in the life of the work, he gradually moves to his objective perception, the circle of perceived moral properties of a person's personality grows among schoolchildren, there is an interest in the formation of his character, the motives of his behavior.
However, the child is not always able to assess the personality of a literary hero as a whole, to take into account and weigh the various circumstances and motives of his behavior. But at the same time, many children show interest in the complex inner world of the hero, seek to know the creative worldview of the author.
Most students are able to appreciate artistic value works, using generalizations of an aesthetic nature in their assessments.
The question of the nature of the perception of the reader-student has another aspect related to the clarification of not only the age, but also the individual capabilities of the students.
A number of psychologists have come to the conclusion about 3 main types of perception of schoolchildren:
1) In the first type, there is a predominance of visual and figurative elements.
2) In the second - the predominance of verbal and logical moments of perception.
3) The third type is mixed.
Each of the three types of perception is characterized, in addition, by a greater or lesser ability of students to adequately perceive a work with minimal or constant guiding work by the teacher.
In all cases, it is important to preserve in the student's perception an element of pleasure that cannot be replaced by anything else, which is mediated by the amount of knowledge and erudition of the student, his emotionality, as well as his need to perceive works of art.
The perception of an individual work should be thought of as part of the whole, as an element of students' literary education, as an indicator of their mental development, social maturity, and emotional and aesthetic susceptibility.
The study of student perception in methodological science has the main goal of improving the school analysis of a literary work.
It is necessary to take into account the peculiarities of the reader's perception of various types of literature, which will help to more clearly reveal the nature of the initial perception and its subsequent deepening.
The main feature of the perception of lyrics is the power of direct emotional impression. Students in grades 5-8 are more receptive to lyric poetry than students in grades 8-9, when many teenagers have a temporary "deafness" to lyric poetry. In grades 10-11, interest in lyrics returns, but in a new, higher quality. The greatest difficulty is the perception of not only a specific, but also a generalized meaning. poetic images, as well as the emotional and semantic role of poetic form.
The student reader most often and most of all communicates with the artistic world prose work. The experience of studying prose works in grades 7-9 is the basis of all subsequent work in high school (Marantsman, 1974).
The students' comprehension of love for man and nature should help to form the activity qualities of the individual, the desire to bring beauty into the attitude towards comrades, into the style of behavior, into relationships with family members, into the perception of nature, cultural monuments, and everyday life.
It is not only a matter of saturating schoolchildren with the most highly significant artistic and aesthetic information. The formation of the spiritual world of the individual involves the expansion of various fields of activity, including artistic and aesthetic. It is in independent activity that the reader's perception of schoolchildren is most revealed.
The world of the writer’s ideas, his aesthetic principles are not immediately revealed to the student reader, however, the lack of purposeful joint activity of the teacher and students in this direction gives rise to an inferior, fragmented perception, when students do not combine the meaning of individual scenes and episodes into a single picture, do not feel the meaningful function of the composition and genre, think means of poetic expression out of touch with the very essence of the work.
The choice of books for independent reading, the assimilation of the moral potential of the best works of fiction, the perception of the aesthetic diversity of world literature - these are the main issues that concern the language teacher and which can only be resolved in the general system of school literary education.
3. Features of modern fiction for children
Fiction is an integral part of a person's life, his kind of photography, which describes everything in the best possible way. internal states as well as social laws and rules of conduct.
Like history, as well as social groups, literature develops, changes, becomes qualitatively new. It makes no sense to say that modern children's fiction - poetry and prose - is better or worse than the one that was earlier. She's just different.
Literature for children is a relatively late phenomenon in our national culture and the culture of humanity as a whole.
Children's literature has remained a peripheral phenomenon, there is no attention to its problems, there are no attempts at a modern interpretation of its phenomenon.
The question of the specifics of literature for children is still reduced to the repetition of truths about dynamic plot, accessibility, clarity.
One of the functions of children's fiction is the entertaining function. Without it, all the rest are inconceivable: if a child is not interested, it is impossible to develop or educate him.
Fiction contains the “alphabet of morality”, from which the child learns in many respects “what is good and what is bad”.
The aesthetic function of children's fiction is very important: the book should instill a true artistic taste, the child should be introduced to the best examples of the art of the word. The role of an adult is enormous in the child's comprehension of the treasures of world and domestic fiction.
Childhood impressions are the strongest, the most important.
There is no doubt about the cognitive function of children's fiction. In relation to fiction, the cognitive function is divided into two aspects: firstly, there is a special genre of scientific and artistic prose, where certain knowledge is presented to children in literary form (for example, the natural history tale of V. Bianchi). Secondly, works that do not even have a cognitive orientation contribute to expanding the child's circle of knowledge about the world, nature and man.
The role of illustrations in a children's art book is huge. One of the leading types of memory is visual, and the appearance of a book from childhood is firmly connected with its content. Even an adult reader, not to mention children, begins to get acquainted with a book precisely from its external design.
It is impossible not to take into account the psychological characteristics of the child's perception of fiction:
1) Identification - identification of oneself with a literary hero. This is especially true for adolescence.
2) Escapism - withdrawal into the imaginary world of the book. By adding to his real world the world of books read by the child, he thereby enriches his life, his spiritual experience.
A huge role in the selection and perception of fiction is played by its compensatory function. By what kind of books a person prefers, it is perfectly clear what he lacks in reality.
Children, and then teenagers and youth, trying to overcome the everyday life of the surrounding life, longing for a miracle, choose first fairy tales, then fantasy and science fiction (Podrugina, 1994).
The main feature of adolescence is the formation of a unique personality, awareness of one's place in the world. A teenager is no longer just getting information about the world, he is trying to determine his attitude towards it.
Fiction for teenagers puts before the reader a number of global questions about the nature of man and the meaning of his life, and by answering these questions, he learns to live in the world of people. Human relations come to the fore in works for teenagers, the plot is based not only on travel and adventure, but also on conflicts. The images of heroes become more complex, psychological characteristics appear. The evaluative component, instructiveness and edification fades into the background: a teenager learns to think independently, he is not inclined to trust ready-made truths, preferring to check them on his own mistakes. Therefore, books and their characters at this age no longer become teachers and advisers, but interlocutors helping the grown reader to understand their own thoughts, feelings and experiences (Zagvyazinsky, 2011).
So, we can talk about the specifics of children's fiction on the basis that it deals with the emerging consciousness and accompanies the reader during his period of intensive spiritual growth.
Among the main features of children's fiction, one can note informational and emotional richness, entertaining form and a peculiar combination of instructive and artistic components.
4. Stylistic originality of modern fiction for children
At the end of the 20th century, as at the turn of the 19th - 20th centuries, society is undergoing great upheavals, and the process of social transformation has not yet been completed. Certain shifts are taking place in the public consciousness, which cannot but influence the course of the entire literary process.
Children's literature, like literature in general, tries to master new reality, which means it inevitably turns to new topics and looks for new artistic means to reflect the changing reality. But at the same time, modern fiction for children continues to develop in the direction that took shape throughout the twentieth century, and modern children's writers rely on the achievements of their predecessors.
As has been noted more than once, the main discovery of children's fiction of the twentieth century was the depiction of the child's inner life in all its complexity and completeness. Throughout the century, the idea of the child as a full-fledged independent personality, thinking, feeling, evaluating the world. For modern authors, such an understanding of personality little man becomes a starting point and does not require proof, so psychologism is no longer innovative, but an integral feature of children's literature. At the same time, the didactic principle is weakened, the conversation with the reader goes on an equal footing (Borytko, 2009).
Like many generations of children's writers, modern authors also rely on folk traditions. Still one of the most popular genres of children's fiction remains literary tale, in which folklore plots and images are played out.
The main characters of children's books are still the children themselves. The themes that entered children's literature in the 20th century are also preserved, primarily the theme of the relationship of children with adults and with peers.
However, in our time, children's literature not only preserves the traditions of the twentieth century, but also acquires features that were not at all characteristic of works for children in the last century.
The changes in the life of society that have taken place in the last decade have significantly changed the situation in literature. It can be said without exaggeration that the 1990s became a crisis for literature in general, and for children's fiction in particular. The circulation of books for children has fallen significantly, some children's magazines have closed, and children's libraries have been emptied. Only in the last few years has the situation begun to change.
In addition, the tradition of literary competitions is being revived, revealing more and more new names of authors writing for children.
However, another problem arises here - children stop reading books, the culture of reading, the level of reading is falling. Various factors contribute to this, including the development of new information technologies and the revolution in telecommunications (Zhabitskaya, 1994).
A noticeable decrease in interest in reading could not but affect the literary process, and one of the trends in the development of children's fiction in our time is the predominance of entertainment over all other merits of the work.
It is no coincidence that such genres as detectives and thrillers are so widespread. In an effort to attract the attention of the reader at any cost, the authors use a variety of means, including those that are not at all childish.
However, there are also examples of a successful combination of entertainment and artistic merit, when writers are looking for new ways to convey to the child ideas about eternal values and moral standards.
On the whole, modern children's fiction is a mobile, contradictory phenomenon in the process of formation, and it will be possible to draw conclusions about which trends will prevail only after some time, when the situation stabilizes.
Conclusion
Fiction develops many abilities of children: it teaches them to seek, understand, love - all those qualities that a person should possess.
It is books that form the inner world of a child. Largely thanks to them, children dream, fantasize and invent.
Without interesting fascinating books it is impossible to imagine a real childhood. However, problems today children's reading, publications of books and periodicals for children and adolescents have become even sharper.
Introducing a child to the "world of beauty" expands the horizons of vision of the world around, creates new needs, improves taste.
The formation of a child's ability to fully perceive, deeply feel and understand beauty in art, in nature, in the actions of people, in everyday life is the most important task of education.
Initiation to the beautiful in any form is the upbringing of enthusiasm, the awakening of an active, creative attitude to the world.
The main means of familiarization with the “world of beauty” is the artistic activity of a person, acting both as an assimilation and as the creation of aesthetic values (Bordovskaya, 2011).
The artistic activity of a person is an active process that requires the creative forces of the individual, certain knowledge and skills, which are acquired and manifested in this activity.
The formation of a full-fledged personality of a child is unthinkable without the influence of fiction.
Instilling in a child a love of reading is especially important in adolescence, when there is a new level of development of self-awareness, brightness of feelings, a constant desire for new experiences, for communication and self-expression.
Fiction is incompatible with indifference, idleness, dullness and boredom, which are so dangerous at this age.
Satisfaction and development of the child's artistic interests creates favorable conditions for the formation of his personality, makes his leisure time, his favorite activities meaningful.
The formation of artistic interests depends on the individuality of the child, his abilities, the living conditions of the family.
The perception of fiction as the appropriation of artistic values is impossible without the ability to look and see, listen and hear. It is a complex process with its own specifics and subtleties.
Perceiving a work of fiction, children can limit themselves only to attention to the development of the plot, the dynamics of the action.
Deep moral ideas, relationships between literary characters, their experiences will remain beyond the perception of children. Such a limited, inferior perception is often determined by the influence of peers, their reaction.
In order for a work of fiction to fulfill its educational role, it must be appropriately perceived.
This implies an important psychological task - to understand how works of art are perceived by children of different ages, what is the specificity of this perception (Moldavskaya, 1976).
Therefore, the study of the problem of perception of fiction is of undoubted interest. The commercialization of the book market has had a negative impact on the production of children's fiction and the picture of children's reading in general: there has been a sharp decline in the publication of children's fiction; with the expansion of the subject of children's books, the improvement of their quality, the prices for children's books, which are inaccessible to the population, have increased significantly.
List of used literature
1. Analysis artwork: Works of Art in the Context of the Writer's Creativity / Ed. M.L. Semanova. M.: Publishing house "Enlightenment", 1987. - 175 p.
2. Bogdanova O.Yu. The development of thinking of high school students in literature lessons. M .: Publishing house "Pedagogy", 1979. - p. 2 - 24.
3. Bordovskaya N.V. Pedagogy. M.: Publishing house "Peter", 2011. -304 p.
4. Borytko N. M. Pedagogy. M.: Publishing house "Academy", 2009. - 496 p.
5. Education of a creative reader: Problems of extracurricular and extracurricular work in literature / Ed. S.V. Mikhalkova, T.D. Polozova. M.: Publishing house "Enlightenment", 1981. - 240 p.
6. Golovanova N. F. Pedagogy. M.: Publishing house "Academy", 2011. - 240 p.
7. Dmitrieva I.A. Pedagogy. Rostov-on-Don: Phoenix Publishing House, 2007. - 192 p.
8. Zagvyazinsky V. I. Pedagogy. M.: Publishing house "Academy", 2011. - 352 p.
9. Zhabitskaya L.G. Perception of fiction and personality. Chisinau: Publishing house "Shtiintsa" 1994. - 134 p.
10. Leontiev A.N. Activity, consciousness, personality. M .: Publishing house "Academy", 2005. - 352 p.
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12. Marantsman V.G., Chirkovskaya T.V. Problematic study of a literary work at school. M.: Publishing house "Enlightenment", 1977. - 208 p.
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14. Moldavskaya N.D. Independent work students over the language of a work of art. M.: Publishing house "Enlightenment", 1964. - 144 p.
15. Neverov V.V. Conversations about fiction. L .: Publishing house "Enlightenment", 1983. - 162 p.
16. Nikiforova O.I. Psychology of perception of fiction. M .: Publishing house "Book", 1972. - 152 p.
17. Podrugina I.A. Review analysis of literary text in senior classes. M.: Publishing house "Enlightenment", 1994. - 78 p.
18. Rozhina L.N. Psychology of perception of fiction. M.: Publishing house "Enlightenment", 1977. - 176 p.
19. Tikhomirova I.I. Psychology of children's reading from A to Z: Methodical dictionary-reference book for librarians. M.: School Library Publishing House, 2004. - 248 p.
20. Ushinsky K.D. Selected pedagogical works. M.: Publishing house "Enlightenment", 1968. - 557 p.
21. Yakobson P.M. Psychology of artistic perception. M .: Publishing house "Art", 1971. - 85 p.
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One of the main characters of N. A. Nekrasov’s poem “Who Lives Well in Russia” - Grisha Dobrosklonov - a bright personality, standing out from other characters. Like Danko, the hero of the poem does not live for himself, but lives for others, lives by the struggle for the happiness of the people.
Gregory does not agree to submit to fate and lead the same sad and miserable life that is characteristic of most people around him. Grisha chooses a different path for himself, becomes a people's intercessor. He is not afraid that his life will not be easy.
Fate prepared for him
The path is glorious, the name is loud
people's protector,
Consumption and Siberia.
From childhood, Grisha lived among poor, unfortunate, despised and helpless people. He absorbed all the troubles of the people with his mother's milk, therefore he does not want and cannot live for the sake of his selfish interests. He is very smart and has a strong character. And it leads him to a new road, does not allow him to remain indifferent to national disasters. Grigory's reflections on the fate of the people testify to the liveliest compassion that makes Grisha choose such a difficult path for himself. In the soul of Grisha Dobrosklonov, confidence is gradually growing that his homeland will not perish, despite all the suffering and sorrows that have befallen it. Nekrasov created his hero, focusing on the fate of N. A. Dobrolyubov.
The image of Grigory Dobrosklonov in Nekrasov's poem "Who Lives Well in Russia" inspires hope in the moral and political revival of Russia, in changes in the consciousness of the simple Russian people.
The end of the poem shows that people's happiness is possible. And even if it is still far from the moment when a simple person can call himself happy. But time will pass and everything will change. And far from the last role in this will be played by Grigory Dobrosklonov and his ideas. Like Danko, the hero of the poem does not live for himself, but lives for others, lives in the struggle for the happiness of the people.
But there are bright, strong personalities in Russian literature, but they could not find application for their abilities, their “immense forces”. For example, Grigory Alexandrovich Pechorin, the hero of M. Yu. Lermontov's work "The Hero of Our Time." Already in the title itself it is emphasized that we are talking about a strong, outstanding person. Pechorin is a deep character. "A sharp chilled mind" is combined with him, with a thirst for activity and with willpower. He feels immense strength in himself, but wastes them on trifles, on love adventures, without doing anything useful. Pechorin makes the people around him unhappy. So he interferes in the life of smugglers, takes revenge on everyone indiscriminately, plays with the fate of Bela, the love of Vera. He defeats Grushnitsky in a duel and becomes a hero of the society he despises. He is above the environment, smart, educated. But internally devastated, disappointed. He lives “out of curiosity”, on the one hand, and on the other, he has an indestructible thirst for life. The character of Pechorin is very contradictory. He says: “For a long time I have been living not with my heart, but with my head.” He painfully looks for a way out, thinks about the role of fate, seeks understanding among people of a different circle. And he does not find a sphere of activity, application of his forces.
Virtual Journey Review
Renowned specialist in the development of reading skills in children Irina Ivanovna Tikhomirova, Candidate of Pedagogical Sciences, Associate Professor of the Department of Children's Literature of St. Petersburg State University culture and arts established the names of the characters - children and adolescents, the main heroes of children's literature included in its golden fund. She counted about 30 such heroes in the scientific publication "Encyclopedia of Literary Heroes" (M., Agraf, 1997) and the book "1000 Great Literary Heroes" (M., Veche, 2009). She unearthed about the same number of monuments to literary heroes-children. Who are these heroes, how to explain their immortality and the ability to help children become human beings?
The virtual journey will acquaint you with the literary heroes-children, who were made immortal by the classics and grateful readers erected monuments in their honor.
ALICE- smart, kind, funny and at the same time sad heroine of two fairy tales by Lewis Carroll "Alice's Adventures in Wonderland" and "Alice Through the Looking-Glass" (1875). The author is a professor of mathematics from Oxford and a non-trivial thinker, and his fairy tales are deep works, outwardly filled with laughter and playing “nonsense”. They reflect the author's ability to look at the world with a fresh look of a child, moralizing, boring morality, school wisdom and colloquial cliches are parodied. Monuments to Alice are installed in the English city of Golford and in New York's Central Park.
BURATINO- the hero of the story by Alexei Nikolayevich Tolstoy "The Golden Key, or the Adventures of Pinocchio" (1936), a favorite wooden toy with a long nose, carved from a log by dad Carlo. He is a Russified version of the wooden man Pinocchio, created by the Italian writer Carlo Collodi. Pinocchio has gained great popularity in Russia: he is the hero of many songs, cartoons, films and performances. Children admire his curiosity, independence, kind heart, fidelity in friendship. People carry the image of this hero in their hearts throughout their lives. Pinocchio is an unusual positive character. He has many shortcomings: he often gets into trouble, he is easy to deceive, he does not obey the rules. But readers believe him and recognize themselves in him. Thanks to the incredible adventures Pinocchio changes and begins to better understand life. The path he has traveled is the path of knowing the realities of life and overcoming selfishness. The monument to the hero was erected in the Russian city of Samara, Chisinau (Moldova), Gomel (Belarus).
THUMILE- the heroine of the fairy tale by Hans Christian Andersen (1836). She was born from a beautiful flower. Everything that happens to her depends on the will of others. She is threatened with marriage with the son of a toad, with a May bug, a mole and live in an alien environment. But it so happened that she saved the swallow from death, and then the swallow saved her. Thumbelina became the wife of an elf, the queen of flowers. This heroine is the embodiment of goodness, but she herself is defenseless and fragile, causing sympathy in the reader. A monument to her was erected in Denmark in the homeland of Andersen - in the city of Odense. There is a monument in Russia, in the city of Kaliningrad. And in Kyiv (Ukraine) a musical fountain "Thumbelina" was built.
UGLY DUCK- the hero of the fairy tale of the same name by Hans Christian Andersen (1843). The fate of the hero is close to the parable of the eternal clash of good and evil. The transformation of an ugly chick into a beautiful swan is only the outer side of the plot. The essence of the image is in the original nobility of the chick, generously rewarded by nature with kindness and open love. Persecuted by everyone who tried to "remake" him, he did not become embittered. The reader is captivated by the original purity and humility of this image. A monument to the hero of the fairy tale and its author was erected in New York.
LITTLE RED RIDING HOOD- the heroine of the fairy tale of the same name by Charles Perrault (1697). Over the past centuries since its creation, the image of Little Red Riding Hood in criticism and among the people has noticeably transformed. From the original religious interpretation - the goddess of the sky - in the modern sense, he turned into the image of a positive character - a naive and helpful girl. Monuments to Little Red Riding Hood can be found in different countries: in Munich (Germany), in Barcelona (Spain), in Buenos Aires (Argentina). In Russia, a monument to Little Red Riding Hood is installed in Yalta in the Park of Fairy Tales.
A LITTLE PRINCE- the hero of the fairy tale of the same name by the French pilot Antoine de Saint-Exupery, created at the height of the Second World War. This is a symbol of honor, disinterestedness, naturalness and purity, the bearer of childhood, living according to the "dictation of the heart." At the Little Prince kind heart and intelligent view of the world. He is faithful to love and friendship. It is interpreted as an image of childhood in the soul of an adult. This also applies to the author of the story. Monument little prince installed in different cities - in the French city of Lyon, in Georgian Tbilisi. In Russia, there are monuments in Abakan, in the Kaluga region in the Etnomir park.
MALCHISH-KIBALCHISH- the hero of the epic tale created by Arkady Petrovich Gaidar in 1935 about little boy with the soul of a true warrior, true to his ideals and heroically steadfast in their service. Natka tells this tale about the sacrificial feat of Malchish to children in a pioneer camp. A large red flag was placed over the grave of the deceased Malchish. The pathos of the tale rises to epic generalizations, interpreting the eternal theme of the struggle between good and evil. Evil in the fairy tale is personified by Plokhish - a coward and a traitor, through whose fault Malchish-Kibalchish dies. At the end of the tale, passing trains, passing steamships and flying planes salute in memory of Malchish. The monument to the hero was erected in Moscow, on Sparrow Hills, next to the Palace of Youth Creativity.
MOWGLI- a character in Rudyard Kipling's novels The Jungle Book and The Second Jungle Book (1894-95). This is a boy lost in the jungle, fed by a she-wolf and became a member of the pack. Mowgli is one of the characters who are called "the eternal companions of mankind." Such are the other heroes of Kipling – the brave mongoose Rikki-Tikki-Tavi, the curious Baby Elephant… moral lessons. In the image of Mowgli, the writer convincingly showed that a person can live on planet Earth only in harmony with nature. The monument to Mowgli was erected in Ukraine in the city of Nikolaev, at the entrance to the zoo. In Russia, there is a monument to this hero in the city of Priozersk, Leningrad Region.
NAKHALYONOK- eight-year-old Mishka, the hero of a tragic and at the same time life-affirming story by Mikhail Aleksandrovich Sholokhov (1925). The story reflected the theme of the formation of Soviet power in the Kuban, in which Mishka also took part, following the example of his deceased father. It was said about the story: "Conciseness is full of life, tension and truth." His hero, a native of the common people, stands up for people, even if he cannot change anything. He cannot get past evil. Reading the story, the child forgets that Mishka is a figment of the writer's fantasy, he perceives him as real, like a living boy. The monument to Nakhalyonok was erected in the city of Rostov-on-Don, where the writer often visited.
DON'T KNOW- the hero of the fairy-tale trilogy by Nikolai Nikolaevich Nosov "The Adventures of Dunno and His Friends" (1954), "Dunno in the Sunny City (1958)," Dunno on the Moon "(1965). This is the most famous shorty of the Flower City, who is said to know nothing. He fills his ignorance with imagination, creating fables and telling them to others. Dunno is a dreamer and a braggart, a fidget and a bully who loves to roam the streets. As a person, he is more attractive than the correct Znayka and other inhabitants of the city. It continues the traditions of the famous fairytale heroes- Chipollino, Murzilki, Pinocchio, but does not copy them. The monument to Dunno was created in the city of Prokopyevsk, Kemerovo Region.
NILS HOLGERSON- the hero of the fairy tale by the Swedish writer Selma Lagerlöf "The Amazing Journey of Niels Holgerson in Sweden" (1906). Nils is a fourteen-year-old boy, an ordinary child, placed by the author in extraordinary conditions. He, reduced by a gnome for laziness and rudeness, makes one of the most incredible journeys in the history of a fairy tale - on a domestic goose, together with a flock of wild geese, he circles all over Sweden. During the journey, Niels penetrates the worlds that were previously closed to him: forests, fields, cities and villages, comes into contact with the world of myths and folklore. He learns the history and geography of his country. The fairy tale of wanderings turns into a fairy tale of education for Niels. By the end of the journey, he is internally transformed. A monument to Nils was erected in the city of Karlskrona (Sweden).
PETER PAN- the hero of the story-tale of James M. Barry "Peter Pan and Wendy" (1912). It is a symbol of unsurpassed childhood. Peter Pan was once a bird and turned into a boy. When he was 7 days old, he remembered that he could fly, fluttered out the window and flew to Bird Island in Kensington Park. This is a sad story about a white bird turning back into a boy. But Peter did not leave his beloved Park and began to prance on the goat in its most distant nooks and crannies and call the children who got lost there with the melody of his flute. Every night he patrols all the paths of the garden in search of lost babies and takes them to the Magic House, where it is warm and cozy. He is sure: real boys never leave the weak in trouble. James Barry himself erected a monument to his hero on the tenth anniversary of the book's release. It is in the same park.
THE STEADFAST TIN SOLDIER- the hero of the fairy tale of the same name by Hans Christian Andersen (1838). This small one-legged toy soldier made from a tin spoon is a symbol of unbending courage. He lives in the world of people, animals and toys. There were many wonderful things in the toy world where he and his brothers ended up, but what attracted the Soldier the most was the paper dancer, who also stood on one leg. The soldier decided that they were friends in misfortune. The fate of the Tin Soldier was extremely surprising, although he lived short life and died along with the dancer. A monument to him was erected in Andersen's homeland - in the Danish city of Odense.
TIMUR- the hero of the story by Arkady Petrovich Gaidar "Timur and his team" (1940). The work reflects Gaidar's ability to touch the hidden strings of the soul of a teenager, an amazing understanding of the spiritual needs and abilities of children. Gaidar was sure that any teenager, if treated kindly, strives to participate in a truly useful work. Timur became the personification of readiness for active romance. The concept of "Timurovites" has become firmly established in everyday life. Millions of boy readers began to imitate Timur, and millions of girls began to imitate Zhenya. The book marked the beginning of the Timurov movement in our country and abroad. Currently, it has grown into a movement of volunteers - volunteers. The writer himself was sure: "If there are few Timurs now, then there will be many of them." And so it happened. The best monument to the hero was life itself.
TOM SAWYER and HUCKLEBERRY FINN- the heroes of the novels of Mark Twain (1876, 1884). These boys are dreamers, playmates and fun. Tom Sawyer is an orphan living with Aunt Polly, a master at playing pranks on friends, fooling around, inventing fables, playing Indians, pirates, robbers. The humor inherent in the writer gives the teenage reader warmth and joy. He is attracted by a true reflection of the inner world of a character who has not lost his spiritual purity and poetic charm. A somewhat different mood is inherent in the book about Huck Finn. The writer denounces evil and sings of the spiritual beauty of the hero who challenges injustice. Huck appears before the reader as a man who is ready to sacrifice himself in the name of the freedom of the oppressed Negro Jim. A monument to friends was erected in the city of Hannibal (Missouri, USA).
CHIK- the hero of a series of stories by Fazil Abdulovich Iskander. The stories about Chika were created by the writer at different times, and you can find them in different collections of the author. Chick has long been loved by teen readers. This is a funny boy, and "everything funny has an undeniable dignity: it is always true," as F. Iskander himself said. Chick's adventures are mundane - for example, gaining and holding the lead in a yard fight and winning. The boy has a strong instinct for spiritual self-preservation, something that is higher than the mind. An ordinary fight appears as a jousting tournament, as a fitting for future tests of the soul. Amid the general disharmony, the writer established a school of happiness. He unobtrusively let the children-readers understand why a person is born and lives on Earth. A monument to Chik was erected in the writer's homeland - in Abkhazia, in the city of Sukhumi.
CIPOLLINO- the hero of the story-tale Gianni Rodari "The Adventures of Cipollino" (1951). This is a brave onion boy who knows how to make friends. He attracts the reader with his spontaneity, touching, good nature. He firmly keeps his word and always acts as a protector of the weak. He Chipollino is not afraid of the formidable Signor Tomato and boldly stands up for the offended godfather Pumpkin. The image of Cipollino, for all his fabulousness, is very truthful, all his actions are psychologically reliable, his ability to come to the aid of others is convincing and contagious. Before us is a living boy from a simple family, endowed with the best human qualities. At the same time, Chipollino is a symbol of friendship, courage and devotion. Monuments to him were erected in Italy and in Russia (Myachino, Kolomna, Voskresensk).
This concludes our review of child characters reflected in classical children's literature and immortalized in monuments. Of course, this list is not exhaustive.
It would be possible to tell in a similar way about other child characters from domestic literature- for example, about Artyomka from D. Vasilenko's story "The Magic Box", whose bronze monument adorns the city of Taganrog, or about Vanka Zhukov from the story of A.P. Chekhov (a monument to Vanka was erected in Perm). Vanya Solntsev from V. Kataev's story "The Son of the Regiment", whose monument was erected in Minsk (Belarus), also deserved to be immortalized.
There is a monument to Petya and Gavrik from the story of the same author "The lonely sail turns white." Together you can see two more in bronze - the demobilized soldier Andrei Sokolov and Vanyushka, adopted by him, a little ragamuffin "with little eyes like stars" from the story of M.A. Sholokhov "The Fate of Man", a monument to them was erected in the city of Uryupinsk, Volgograd Region.
And many other characters, no less significant for children's development, could be told. Who will join them, time will tell. It is known, for example, that Harry Potter, created by the writer JK Rowling quite recently, has already been erected a monument in London.
The task of the librarian is to suggest to young readers the titles of works. And then you can arrange Days of Good Heroes and Books in the library and watch how young readers become brighter and more humane from book to book. It is necessary to point to books, after reading which the child will want to become a real person - to the delight of himself and others. So that when asked how you became like that, he could say: “It means that I read the necessary books as a child.” And he did not just read, but put them into his heart forever, in order to pass them on to his children and grandchildren later.
SOURCE
Tikhomirova, I.I. ABOUT literary heroes, humanizing childhood / I.I. Tikhomirov. - School library. - 2018. - No. 2. - P. 35-43.
head of the information and bibliographic department
Zulfiya Elistratova
"E.M. Remarque
The novel `Three Comrades` by the famous German writer E.M. Remarque tells about tragic fate German soldiers who returned from the fields of the First World War, about the so-called `lost generation`, disappointed in bourgeois values and seeking to find support in front-line camaraderie, strong male friendship and true love.
2. "" Boris Vasiliev
One of the most sincere and heartfelt works about the Great Patriotic war. The story of five female anti-aircraft gunners, led by their commander - foreman Vaskov - who entered into an unequal and mortal battle with German saboteurs, is distinguished by psychological authenticity and expressive brevity of the author's style, which turn the front-line episode told in the story into a high tragedy.
3. "" Ruben David Gonzalez Gallego
A Russian writer living in Madrid, Rubén David González Gallego, grandson of the general secretary of the Communist Party of Spain, has fully experienced the meaning of the words "communist morality" in his own experience. About this experience, his brilliant literary debut - an autobiographical novel in the stories "White on Black", which became a sensation already in a magazine publication.
The book may seem sad to some, funny to others. One thing is certain: Ruben gave us all a unique opportunity to look at our terrible, cruel and beautiful world a little kinder, brighter and more joyful.
4. "" Maygull Axelsson
This girl didn't have a name. Actually, there were two. Her father called her Mary. Mother - Mary. Friends geeks - winners of the national competition for the best essay on the theme "Democracy and the Future" - solved the problem, christening it Mary Marie. But neither these promising teenagers, each of whom later went on to a brilliant career, nor all the others understood that Mary Marie had more than just a double name. That she really lives a double life. In one of her incarnations, she is a brilliant secular lady who holds the post of minister in the government, in another she is a criminal serving a prison sentence for the murder of her husband. And all this time she is looking for herself and her love.
5. "" Ken Kesey
Like many high-profile events associated with the name of the "jolly prankster" Ken Kesey, his first book "Over the Cuckoo's Nest" (1962) made a lot of noise in literary life America. Kesey was recognized as a talented writer, and the novel became one of the main works for beatniks and hippies.
"Over the Cuckoo's Nest" is a raw and devastatingly honest depiction of the boundaries between sanity and insanity. "If anyone wants to feel the pulse of our time, let Kesey read. And if all goes well and the order of things does not change, it will be read in the next century," the Los Angeles Times wrote. Indeed, even today the book continues to live and does not lose its crazy popularity.
6. "" O. Henry
Wonderful short story O "Henry. It can be called a paper antidepressant for any age.
The main characters are a loving married couple. On the eve of Christmas, they have no money for gifts at all. Then Della sells her luxurious hair and buys her husband a chain for his gold watch. And Jim sells his watch and buys his beloved a set of combs.
But this does not spoil their holiday at all and, on the contrary, shows their devotion and love to each other!
7. "" Daniel Keyes
Forty years ago this was considered science fiction.
Forty years ago, this read like science fiction. Exploring and expanding the boundaries of the genre, greedily absorbing all sorts of new trends, trying on a universal face, bravely ignoring the Cain stamp of the "genre ghetto".
Now it is perceived as one of the most humane works of modern times, as a novel of piercing psychological power, as a filigree development of the theme of love and responsibility.
8. "" Colin McCullough
Colleen McCullough created this book - and forever inscribed her name in the "golden fund" of high love story. Nora Gal translated this book into Russian and made the readers of our country an invaluable gift.
To readers who began to sew foxtrot and ash rose dresses for themselves.
To readers who sincerely experienced the joy, passion and pain of the love story of Maggie Cleary and Ralph de Bricassard. A love story unparalleled!..
9. "" Gabriel Garcia Marquez
"One Hundred Years of Solitude" - a cult novel that, according to contemporaries, caused a "literary earthquake", brought its author extraordinary popularity all over the world.
The evil of hardened souls, the loss of spiritual connection with people and nature, despotism, bureaucracy are gradually destroying our planet. The author sees the salvation of mankind only in love, kindness and mercy. "Love is my only ideology," says one of the most famous writers of our time, laureate Nobel Prize Gabriel Garcia Marquez.
10. "" Erich Maria Remarque
Borrowed life. Life, when nothing is regretted, because, in essence, there is nothing to lose.
This is love on the verge of doom.
This is a luxury on the verge of ruin.
It is fun on the verge of grief and risk on the verge of death.
The future is not. Death is not a word, but a reality.
Life goes on. Life is Beautiful!..
We publish an excerpt from the thesis “Features of the image of a child in expectant mothers receiving various specialties”, author M.Yu. Gumilyovskaya, graduate:
As we said in the first paragraph of the thesis, the study of the image of a child is not limited to any one discipline, it runs like a thread through many sciences and is found in art, religion and other areas. public consciousness. In order to understand it more fully, let us consider literature as a separate area in which this image is reflected.
We will try, analyzing the literature, to touch upon several periods. In the literature of classicism, one can see that childhood is perceived as a deviation from the norm of “non-maturity”. At this time, they are interested in exemplary behavior of people.
Enlighteners have an interest in childhood, along with this, it is rather educational. Literature for children is published, where serious and scientific thoughts of the world of adults are trying to be explained to children. Books are built in an accessible didactic, illustrated form. Between 1750 and 1814, about 2400 titles of such books were published in England. Childhood and adolescence occupy more and more space in educational autobiographies and "novels of education", portrayed as a period of formation, formation of the personality of the hero. And only in the era of romanticism, childhood is seen as a "precious world in itself."
The romantics' attitude is reversed. As N.Ya. Berkovsky, “romanticism established the cult of the child and the cult of childhood. The 18th century understood the child as an adult of a small size, they even dressed children in the same camisoles, slapping them on top with wigs with a pigtail and slipping a skewer under their arm. Children's children begin with romantics, they are valued for themselves, and not as candidates for future adults. The “children's children” of the romantics are in fact not children at all, but the same conditional symbols of some ideal world, like the “happy savages” of the 18th century. Childish innocence and spontaneity are opposed to the "perverted" and cold world of rational adulthood. In W. Blake's Songs of Innocence, the child is a "joy-child", a "bird born for joy", which a cage-like school awaits in Songs of Experience. The self-worth of childhood is emphasized in every possible way. According to the definition of W. Wordsworth, "the child is the father of a man." S. Coleridge emphasizes that a child can teach an adult a lot. But in romantic works appears, not a real, living child, but an abstract symbol of innocence, closeness to nature and sensitivity, which adults lack.
In Russia, the image of childhood is endowed with deep significance by M.Yu. Lermontov. He expresses the idea that childhood seems to be a shaky flowering island in the middle of a deserted sea of life. Pushkin, in turn, refers to childhood as well as to old age, as simply to a moment in the cycle of time.
The theme of childhood entered Russian literature as a sign of the intense self-awareness of the individual and society as a whole. Writers before L.N. Tolstoy, as a rule, were guided by the type of an adult with his stable, formed personality. L.N. Tolstoy was the first who turned his attention to childhood, in this period of the development of literature. His thoughts on the image of the child L.N. Tolstoy reflected in the work “Childhood. Adolescence. Youth". He shows the inner mobility of feelings, abrupt transitions from denial to affirmation, from the whole to the particular, which are a typical feature of the child in his mind. Childhood, and after it the child himself, does not obey certain rules and one line, it lives multidimensionally, in different directions, biting into everything with which it comes into contact. Childhood and a child are “an ocean, on the surface of which islands of adult consciousness float.” L.N. Tolstoy depicts the development of reflection and moral consciousness of the child.
In B. Pasternak's "Childhood of Luvers", things appear before the reader as some kind of blurred lines that penetrate each other. Here we see that everything is in everything, without limitation. Childhood gap is aggravated by illness and dreams. B. Pasternak's child enters as a defenseless, gentle creature, striving to be constantly under someone's care and care. This creature wants to stay in this position for as long as possible, because his world allows him to live without thinking about adult problems.
Already in the 19th century, the concept of romanticism began to fade into the background, giving preference to a different image, it is most pronounced in F.M. Dostoevsky. The image of an innocent, sinless child is becoming more and more a thing of the past. The image of a child in F.M. Dostoevsky is built on the dual nature of the child. On the one hand, this is a unique childish purity, on the other, cruelty in all its manifestations. This is a traditional Christian image and a demonic being, ready to destroy all the commandments. At M.F. Dostoevsky is the highest ideal, which is already an adult with the innocence and spontaneity of a child and the experience of moral consciousness.
In the 20th century, some Western writers have such a position of M.F. Dostoevsky in relation to the child is sharpened towards the anti-morality of childhood. For example, W. Golding in "Lords of the Flies" expresses the idea that a child easily stops behaving as adults taught him, and turns into a wild, unbridled creature. Children themselves degrade to such a state. The child is not originally a higher person, as the writers of romanticism imagined him to be, and not a person, some kind of alien and even hostile entity to humanity. Such an example can be seen in the work of R. Bradbury "Veld", "The Lesson Hour". He expresses a very interesting thought and idea in which he wants to show that a child can be the worst thing. On the one hand, he is completely dependent on an adult, he is completely defenseless, on the other hand, he is impervious to adults in terms of his internal structure. The child speaks his own language, plays his own games, all this remains a mystery to an adult. As a result, aliens can penetrate our civilization thanks to children, given their image and characteristics. Then they will be just as mysterious and unpredictable in their designs and just as cunning and ruthless in their deeds.
Contrasting the English image, Russian literature has developed its own image of a child, for whom an interest in the world of nature and things can be considered specific. If L.N. Tolstoy, we saw a focus on people, then Aksakov’s nature and the child’s relationship with it come to the fore. Aksakov believes that a child is a person before the fall, the person who gave names to all things and animals that came to him. The image of a child includes enthusiasm and involvement in the process of communication with nature, interest in everything around. According to Aksakov, the predominant interest in things, and not in people, arises only during infancy.
In the 19th century, images of poor, destitute children, deprived of a home, victims of family and especially school tyranny, appear, but the children themselves remain one-dimensionally naive and innocent. Then, the family “nest” is subjected to artistic research and it turns out that cruel slavery, oppression and hypocrisy, crippling a child, are often hidden under a warm shell. As the psychological analysis deepens, the children's images themselves also lose their former clarity and one-dimensionality. Oliver Twist is a small, pathetic little man, poked from all sides by adults, bruised from physical and moral bruises; little man, squeezed by a huge mass of strangers, non-native people, among whom he was lost. I would like to immediately bring the opposite image of the child and childhood. J.-P. Sartre's child lives in full bourgeois prosperity, he is deprived of support in the real world, everything is done for him by others, he is artificially fenced off from reality. Before us are two different images: one is unfortunate and persecuted, the other is secure and constantly living in care - at the same time they are both defenseless, each in their own way.
M. Twain shows a child who loves the romance of travel and adventure, the joy of homelessness. And if Dickens, the child does not love, even hates his home, because he has lost the warmth of kinship, then Huckleberry Finn hates his home, because it is a limited space, and he needs breadth and space. If Oliver cannot remember his mother without tears, then Finn fiercely hates his father. The childhood of Finn and Tom Sawyer is as happy as that of Nikolenka L.N. Tolstoy and Serezha Aksakov, only they are happy in different ways. The first is complete freedom of action and fantasy, the second is in the unity of oneself and the earth, a deep sense of the earth.
In Hemingway, Folker, T. Wolfe, Salinger, the image of a child is built on the naturalness of a child, intolerant of falsehood, rejecting conformism.
Only in the 20th century did the image of a child of the Twain type appear in Russian literature. These are tomboy boys, daring, brave, uninhibited - this is Timur A. Gaidar. These guys are ready for combat actions, they crave the unknown, they are ready for any trials.
In the 40s - 50s. In the 20th century, Prishvin and Paustovsky have a sentimental image of a child, where the child is surrounded by the reality of nature and the atmosphere of a fairy tale, it has features of naivety, high simplicity, and childishness.
But every new image child is not just a stage of deepening the artistic knowledge of childhood, but also a specific type of social projection, a reflection of the aspirations and disappointments of adults.
The multidimensionality and diversity of children's images in literature or portrait painting reflect not only the progress of artistic knowledge and the differences in the personalities of the authors, but also changes in the real content of childhood and its symbolization in culture.
S. Zweig wrote: “... Our spiritual world it is formed, as from millions of monads, from individual impressions, of which the smallest part is personally seen and experienced, and we owe everything else - the bulk - to books, read, perceived, studied.
The system of ideas reflected in the book really actively forms both the image of the world and the image of the child. The image in the book itself becomes a second reality, sometimes more real than reality itself. And since the book is an indefinite expansion of the ties of the subject of social action with the world, the more the book opens up for the individual, the richer her personal image of the world becomes.
Lomov B.F. singled out the role of the word in the construction of the image and determined its formative role through fiction. With the help of the word, the writer paints a living picture, which is then recreated by the reader. So, for example, when reading the descriptions of the steppe in the works of M.A. Sholokhov, not only vivid visual images arise, but also sounds and smells are recreated.
Building his image of the world, a person cannot, at least to a minimal extent, not be included in the process of learning the image of the world that is characteristic of his society, because the book is a materialized need for adequate inclusion in normative social and personal moral relations. The book is a significant factor not only in structuring, but also in the nature of creating the image of the world and the image of the child and their features.
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