Collection

speech games based on children's folklore

For children

junior preschool age

Explanatory note....................................................................................3

Section 1:Lullabies

“Kitten-Kitten”…………………………………………………………………..4

“Oh, Lyuli, Lyuli, Lyulenki”……………………………………………………...4

“Bye-bye………”……………………………………………………………………5

“Bayu, bayu, bainki”………………………………………………………………..5

“Sleep, my son, sleep”………………………………………………………….5

Section 2:nursery rhymes

“The cat went to the market ...”……………………………………………………….6

“Vodichka, some water, wash my face…”…………………………………………6

“Our ducks in the morning…..”…………………………………………………………..7

“Cockerel, cockerel ....”…………………………………………………………….7

“Shadow-shadow-sweat”…………………………………………………………….8

Section 3:invocations

"The Sun"……………………………………………………………………....9

"Larks - larks"……………………………………………………….9

“Rain, rain, more fun…”……………………………………………………...9

"Rainbow - arc"…………………………………………………………………...10

“Ladybug”………………………………………………………………………………………………………10

Section 4:Rhymes

Rhyming Counts…………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………….

Abstruse rhymes……………………………………………………………….....11

Plot rhymes………………………………………………………………..11

Section 5:Tongue Twisters ………………………………………………………...13

Section 6:Puzzles ………………………………………………………………..14

Section 7:jokes …………………………………………………………...15

Section 8:sentences …………………………………………………………...16

Explanatory note

Speech is a great gift of nature, thanks to which people get ample opportunities to communicate with each other. However, nature gives a person very little time for the appearance and formation of speech - early and preschool age. During this period, favorable conditions are created for the development of speech, the foundation is laid for written forms of speech - reading and writing, and the subsequent speech and language development of the child.

One of the means speech development is children's folklore. Children's folklore helps children to better assimilate the sound system of the language, to master the basic grammatical forms, complex forms of sentences begin to appear in children, they master the skills of colloquial speech. The use of various genres of children's folklore contributes to the development of the articulatory and vocal apparatus of children, improves speech breathing, auditory perception. Folklore helps in the development of various means of intonational expressiveness; children accumulate and enrich an active vocabulary.

The collection is intended for educators of preschool educational institutions working with younger children. preschool age.

The use of various genres of children's folklore in working with children will contribute to the formation of their correct speech and the prevention of speech defects.

This material can also be used by parents, engaging with children of primary preschool age in the development of speech at home.

3Section 1: Lullabies

"Kitten - Kitten"

Target: To learn to form diminutive - affectionate names of baby animals, to correlate the name of baby animals in the singular and plural.

Stroke: The children sit in a semicircle, the teacher puts the doll down, shakes it and softly sings a lullaby.

“You are already a kitten - a cat,

Kitty - gray pubis!

You come to spend the night with us

Download our baby.

How do I like you, cat,

I will pay for the work:

ladies jug of milk

And a piece of the pie.

You eat, do not crumble,

Don't ask for more, kitty

"Oh, lyuli, lyuli, lyulenki"

Target: Cultivate an emotional response to the words of a lullaby. Enrich children's speech with affectionate words.

Stroke: The teacher invites the children to imagine that they have their favorite toy in their hands and they shake it.

"Oh, lyuli, lyuli, lyulenki,

The gulls have arrived

The gulls have arrived

They began to coo

Put my baby to sleep"

"Bye Bye………"

Target: To develop in children an interest and love for folk song art, to enrich the vocabulary of children.

Stroke: Children sing along with the teacher and repeat the movements for the text.

"Ay, bye, bye, bye, ( shake their heads)

You are a dog, don't bark! ( threaten with a finger)

You cow, don't moo! ( show "horns")

You rooster, don't cry! ( threaten with a finger)

And our boy will sleep, ( palms folded together under the cheek)

He will close his eyes" close their eyes)

"Bayu, bayu, bayu"

Target: To consolidate in children the idea of ​​​​the genre of a lullaby and its variety through the development of speech.

Stroke: The teacher in a Russian folk costume, shaking the cradle, sings a song. Children stand in a circle, join hands, sing with the teacher, swaying to the beat of the song.

"Bayu, bayu, bainki,

Let's buy Vanya felt boots,

Let's put on the legs

Let's go down the road

Will Vanechka walk

New felt boots to wear!

"Sleep, my son, sleep"

Target: Give children an idea of ​​the meaning of unfamiliar words in the song.

Stroke: The teacher reads and explains to the children what the song is about.

"Sleep, my son, sleep

Lyuli, lyushenki, lyuli

Soon the night will pass

The red sun will rise.

Fresh rosushki will fall,

Flowers will grow in the field

The spring garden will bloom

The free bird will sing.

Lyuli, lyushenki, lyuli,

Sleep tight son"

Section 2: Rhymes

“The cat went to the market ...”

Target: Enrich vocabulary. Develop communication skills.

Stroke: Expressive reading of nursery rhymes by the educator. Performance of nursery rhymes by children.

"The cat went to the market,

I bought a cat pie

The cat went to the street

I bought a bun for a cat.

Do you have yourself

Or take down Katya?

I'll bite myself

Yes, I’ll bring Katya too ”

"Water, water, wash my face..."

Target: Micromotor development, vocabulary enrichment.

Stroke: The teacher reads the nursery rhyme and, together with the children, makes movements.

"Vodichka, Vodichka ( children imitate shaking water from their palms),

Wash my face show how to wash your face)

To make the eyes sparkle one finger is bent on each line on both hands),

To make cheeks burn

To laugh mouth,

To bite a tooth"

“Our ducks in the morning…..”

Target: The development of the articulatory apparatus and the formation of the correct sound pronunciation, the enrichment of the dictionary.

Stroke: The teacher reads a nursery rhyme, the children pronounce onomatopoeia.

"Our ducks in the morning:

“Quack-quack-quack! Quack-quack-quack!”

Our geese by the pond:

“Ha-ha-ha! Ha-ha-ha!”

Our buns above:

“Gru-gru-gru-gru!”

Our chickens in the window:

“Ko-ko-ko! Ko-ko-ko!”

How about Petya the Cockerel?

early in the morning

We will sing: “Ku-ka-re-ku!”

“Cock, cock….”

Target: Clarify and consolidate the correct pronunciation of the sound. U in words and phrases. Develop the ability to pronounce the end of sentences in a nursery rhyme.

move: The teacher reads the first words of the sentence, the children finish saying:

"Cock, cock,

golden scallop,

butter head,

silk beard,

Don't let the kids sleep

"Shadow - shadow - sweat"

Target: To teach with the help of a teacher to stage not big jokes.

move: The teacher reads a nursery rhyme, children in masks depict animals and pronounce the words.

"Shadow - shadow - sweat,

Above the city is a wattle fence.

The animals sat under the wattle fence,

Boasted all day.

The fox boasted:

I am beautiful to the whole world!

Bunny boasted:

Come on, catch up!

Hedgehogs boasted:

Our coats are good!

The bear boasted:

I can sing songs!

The goat surprised them:

My eyes are the best!"

Section 3:invocations

"Sun"

Target: Learn by heart the nickname "Sun". Develop intonation expressiveness of speech.

Stroke: The teacher shows the children a picture where the sun is almost completely covered by a cloud. Invites children to look at the picture and try to call the sun.

Sun-bucket,

Look out the window!

Sunshine, dress up!

Red, show yourself!

The kids are playing

You are expected!

"Larks - larks"

Target: To develop children's speech with the help of calls, encourage them to use different intonations: loudly, quietly, cheerfully, affectionately.

Stroke: Children sit in a semicircle, the teacher talks about what chants are, how and why they were used. Then he invites the children to listen and repeat the call together with different intonations.

Larks-larks!
Quail quails!
Fly to us, bring us:
Spring is warm, summer is fertile,
Spring with rain, summer with herbs.
Spring with the sun, summer with grain.

"Rain, rain, more fun ...".

Target: Introduce the content of the Russian folk nickname "Rain, rain, more fun ...". Continue to teach to understand the teacher's questions and answer them.

Stroke: The teacher reads the call to the children, then asks the children questions about the content, the children answer.

Rain, rain, more fun

Drip, drip don't be sorry!

Just don't get us wet!

Don't knock on the window in vain -

Spray into the field more:

The grass will get thicker!

"Rainbow-arc"

Target: Enrich children's speech, expand vocabulary, develop imagination.

Stroke: On a walk after the rain, children with a teacher watch the rainbow and pronounce a nickname.

Hey, rainbow-arc.
Don't let it rain
Come on sunshine
Red bucket -
To us at the window!

"Ladybug"

Target: To develop coherent speech when memorizing a call, to expand interaction with children in order to activate their speech.

Stroke: The teacher expressively reads the call, talks with the children about the content. Reads repeatedly with the installation of memorization.

"Ladybug,
Fly to the sky
There are your children
They eat meatballs.
All one by one
And you don't have one"

Section 4:Rhymes

Number counting

Target: To develop in children the ability to count, to apply the formed skills in different types activities.

Stroke: The teacher offers the children to choose a “cat” for the outdoor game “Cat and Mice” using a counting rhyme. First, the children say the counting rhyme together with the teacher, then the teacher offers to say the counting rhyme to one of the children.

"One two three four five.

And life is hard without a friend

Come out of the circle soon"

Abstruse rhymes

Target: To develop in children an interest in games with unusual words.

Stroke: The teacher clearly, distinctly pronounces each word and encourages children to repeat.

"Eni-bene-rets,

Quinter minter zhets,

Eni-beni-slave,

Quinter-Minter-Toad"

Story counting rhymes

Target: Develop children's imagination, memory and sense of rhythm.

Stroke: The teacher invites the children to memorize a new, interesting rhyme.

"Under the mountain by the river

Gnomes live - old people.

They have a bell

Gilded calls:

Digi don, digi don

Target: Development of memory and sense of rhythm.

Stroke: The teacher, saying a counting rhyme, points to the participants, and who will fall on the last word, he drives.

"I am an animal

And you are a beast

I am a mouse

You are a ferret

You are cunning

Who is smart

He got out!"

Unit 5: Patter

Target: Develop a clear and intelligible pronunciation of words and phrases. Develop auditory attention, speech hearing, voice apparatus.

Stroke: The teacher pronounces a tongue twister - gives a speech sample, the child repeats.

The jackdaw sat on the fence,

Rook started a conversation with her.

In the garden at Fedora - tomatoes,

Behind the fence at Fedora are fly agarics.

Bought a cuttlefish

Lace dress.

cuttlefish walks,

Shows off the dress.

The stove is baking

And the river is flowing.

The oven is silent

And the river murmurs.

Ivashka has a shirt

The shirt has pockets.

Good pockets

On Ivashka's shirt.

Section 6: Riddles

Target: Learn to guess descriptive riddles, consolidate knowledge about the characteristic features of wild animals.

Stroke: The teacher lays out pictures of animals in front of the child, offers to listen carefully and guess which animal he is talking about. To do this, the child must take and show the corresponding picture to the adult.

He makes friends with the fox,

For others, terribly evil.

All teeth click and click,

Very scary grey.... (Wolf)

cunning cheat,

red head,

Fluffy tail - beauty!

What is her name? (Fox)

Who is the biggest in the forest

Who is rich wears fur

Who is in the den until spring

Dreaming day and night? (Bear)

small, white,

Jump-jump through the woods

On the snow poke-poke. (Hare) Red, fluffy

Lives on a tree.

strong teeth

Nibbles nuts. (Squirrel)

Section 7: Jokes

Target: Introduce children to oral folk art.

Stroke: The teacher reads jokes to children, making various movements corresponding to the joke. Shows toys to children: animals, birds, which are discussed in the joke.

"Ay, alright, alright, alright,

Bear scooped water

whole trough,

Wanted to take a shower!

Gotta, gotta be clean

Walk clean in the forest!

"Pig Nenila

Son praised:

Something pretty

Something pretty:

walks sideways,

ears up,

crochet ponytail,

Piglet nose!

"Cow cow,

She gets up before the sun

He chews grass in a field,

Milk brings home!

Girls and boys -

Pour everyone into glasses:

"Drink, drink, drink,

And pour some more!”

"Petya-Petya-Cockerel,

Petya - red comb,

He went down the path

And I found a penny

Bought my boots

And the chicken - earrings!

Section 8: Sentences

Target: The development of children's speech by means of introducing them to the folklore genre: sentences.

Stroke: The teacher, using colorful illustrations, reads sentences to children, explains the meaning of new words, based on the experience and knowledge of children.

"Bee, bee, give us honey,

So that the deck is full!

We will eat honey, say:

"Oh, what a hard-working bee we have!"

"Bird-bird - nightingale,

Come visit us soon!

Tirli-tirli-tirli-ley,

Life will become more fun for us!”

“You, zainka, skok-skok,

You little white tail!

Don't touch, don't tear our tree,

Our apple tree, our girl!

It will bloom in the spring more beautifully than all of them,

Let's reap a big harvest!"

"Beautiful Butterfly,

What don't you like?

Spin around, don't sit down

What are you afraid of?

Here's your palm

Get some rest!"

"Grass-ant,

Green, odorous - there is no better you!

In the meadow and in the forest

Don't blunt my braid

Hay stock for the winter

And I'll bring the cow!"

Anastasia Mashnova
Article "Folk children's folklore"

Folk children's folklore

A child's first exposure to oral popular creativity starts with folklore works. Lullabies are the first to enter the life of a little person, and then other forms folklore. As a rule, at the beginning of life, the child gets acquainted with small genres. folklore available to his perception. Fairy tales, songs, proverbs, rhymes, nursery rhymes, tongue twisters have always been inextricably linked with experience folk pedagogy.

Acquaintance of a person with works of art, with the best examples of oral popular creativity should begin from the first years of his life, since the period of early and preschool childhood- a defining stage in the development of the human personality. The age of up to five years is the richest in the ability of a child to quickly and eagerly learn about the world around him, to absorb a huge amount of impressions. It is during this period that children with amazing speed and activity begin to adopt the norms of behavior of others, and most importantly, to master the means of human communication - speech.

Folklore influences the formation of moral feelings and assessments, norms of behavior, the education of aesthetic perception and aesthetic feelings, promotes the development of speech, gives samples of the Russian literary language, enriches the vocabulary with new words, figurative expressions, helps the child express his attitude to what he heard using ready-made language forms .

Thus, folklore- this is an important means of shaping the personality of the child and the development of speech, a means of aesthetic and moral education of children.

The richness of the Russian language opens up before a preschooler in the works of oral folk art. Its samples - proverbs, riddles, fairy tales and others - the child not only hears, but repeats and assimilates. Genres enter the language of children in accessible content. Living spoken language and spoken works popular creativity - are closely intertwined in influencing the child's speech.

Works of oral popular creativity is part of children's folklore.

Children's folklore are works of traditional adult folklore, transferred to children's repertoire; works created by adults especially for children and assimilated by tradition. common generic trait children's folklore- correlation of the literary text with the game.

Folklore gives children the opportunity to get acquainted with the rich creative heritage peoples. Each folklore form, whether it is a riddle, a proverb, a joke, a counting rhyme, an incantation, a fairy tale or a fable - an amazing example of creativity, fertile material for imitation, memorization and reproduction in children's speech. These samples develop figurative children's speech broaden the horizons of children.

Ancestral roots of many forms children's folklore go deep into history. Among them, invocations and sentences are perhaps the most ancient. They are born of faith in the forces of nature and are called upon to use the magic of the word in order to evoke the beneficial influence of natural elements or prevent their destructive power.

Calls are small songs designed to be sung by a group of children. Many of them are accompanied by game actions.

The invocation is not just an appeal to the natural elements, but feelings expressed in the word, rhythm, intonation - experience, admiration, tenderness, delight.

Oh you rainbow-arc.

You are tall and tight!

Like rain, rain

We have been waiting for you for a long time.

Sentences - communication with nature one on one. Sentences are addressed to home life, to everyday activities. In fact, all living things that surround the child are not ignored.

Ladybug, fly away to the sky!

There your children eat meatballs!

A sentence built on the principle of a request-wishes sets the child up for a respectful attitude towards every plant in the forest, field, garden.

Sentences during games are a kind of request to nature in complicity, in kind help. They face the wind, water, stream. They contain the rules of the game necessary for all players, often preventing an accident. For example, do not choke when diving, do not get water in your ears. They teach children to be attentive to their actions, to check the actions by the rules, to strictly observe them.

In the system of genres children's folklore occupies a special place "poetry of nurturing", or "mother's poetry". This includes lullabies, nursery rhymes, rhymes, jokes, fairy tales and songs created for the little ones.

Lullabies: adults noticed under what words and tunes children fall asleep better, repeated them, memorized, passed them on to the next generations. The words were usually gentle, melodious. In such songs, most often there are cooing ghouls, homely killer whales, a purring cat, they talk about silence and peace. Some living beings are mentioned in ancient lullabies, each of them has its own duties.

To the sounds of their affectionate, melodious words, the baby will wake up easier, allow himself to be washed or feed:

Water, water,

Wash my face

To make the eyes sparkle

To make cheeks blush

To laugh mouth,

To bite a tooth.

Pestushki (from the word "nurturing"- educate) are associated with the earliest periods of child development.

Love, kindness are heard in pestles. They are foldable and beautiful. And they also teach the baby, he listens and looks where he has a leg, where is his mouth.

Then the very first games begin, nursery rhymes: There is a horned goat, Magpie-crow cooked porridge, Ladushki. Here, along with pleasure, the child receives benefits.

TO popular Creativity also includes tongue twisters, but they basically were and remain a favorite game of senior preschool age.

Tongue twisters are the rapid repetition of words that are difficult to pronounce. Mistakes in pronunciation make children laugh. While playing, children simultaneously develop the organs of articulation. Especially popular are tongue twisters with a complex and rich sound design. Tongue twisters, or tongue twisters, teach to pronounce sounds, develop speech organs, memory.

Four turtles have four baby turtles.

In everyday life, communication with a child is often accompanied by jokes. These are small funny works or statements, often in poetic form. Just like many other small folklore joke genres accompany games. Often jokes have a dialogical form, which also emphasizes their proximity to live colloquial speech. As a rule, they describe a short funny situation full of action. In general, jokes develop a child's creative imagination and, by involving him in a word game with a quick change of events, teach him to think quickly and figuratively.

Petya-Petya-Cockerel,

Petya - red comb,

He went down the path

And I found a penny

Bought my boots

And the chicken - earrings!

The growing child becomes not only the object of all kinds of games, but also their active participant. At this time, he meets another folklore genre - counting rhymes. Opening the game and distributing certain roles to all its participants, the rhyme organizes the process of the game itself and teaches children to communicate with each other in a given situation, to obey the established rules. In addition, counting rhymes develop a sense of rhythm.

The bees flew into the field

Buzzed, buzzed,

The bees sat on the flowers

We play - you drive!

Riddles are becoming a new way of mastering the world - brief allegorical descriptions of objects or phenomena. The riddle is a question that the child has to answer, and hardly anything so stimulates the mental activity of a small person as this small work of verbal art. At the heart of the riddle lies one of the most expressive artistic techniques - a metaphor.

Glass house on the window

With clear water

With stones and sand at the bottom,

And with a goldfish.

(Aquarium)

Solving the riddle, the child discovers new properties of familiar objects, learns to compare objects and phenomena with each other, find similarities and differences between them. Thus, he organizes his knowledge about the world.

With the help of small forms folklore it is possible to solve almost all the tasks of the methodology for the development of speech, and along with the main methods and techniques of speech development of preschoolers, this richest material of verbal creativity can and should be used people.

Thus, thanks to popular creativity, the child enters the world around him more easily, more fully feels the charm of his native nature, assimilates ideas people about beauty, morality, gets acquainted with the customs and rituals of his people. With amazing pedagogical talent leads people a child from simple play nursery rhymes, riddles, sayings, etc. to complex poetic images of fairy tales; from amusing, soothing lines to situations that require the tension of all mental strength from a small listener.

Folklore is oral folk art: folk wisdom, knowledge about the world, expressed in specific forms of art. Verbal folklore is a specific art. The collective played an important role in the creation, storage, and sometimes even the performance of folklore. The problem of authorship, and even more so of attribution, has never been raised.

The word "folklore" literally translated from English means folk wisdom. Folklore is the works created by the people and existing among the masses, in which it reflects its labor activity, social and everyday life, knowledge of life, nature, cults and beliefs. Folklore embodies the views, ideals and aspirations of the people, their poetic fantasy, richest world thoughts, feelings, experiences, protest against exploitation and oppression, dreams of justice and happiness. This is an oral, verbal artistic creativity that arose in the process of the formation of human speech.

In a pre-class society, folklore is closely connected with other types of human activity, reflecting the rudiments of his knowledge and religious and mythological ideas. In the process of development of society, various types and forms of oral verbal creativity arose. Some genres and types of folklore have lived a long life. Their originality can be traced only on the basis of indirect evidence: on the texts of later times, which retained the archaic features of content and poetic structure, and on ethnographic information about peoples that are at the pre-class stages of historical development. Only from the 18th century and later are authentic texts of folk poetry known. Very few records survive from the 17th century.

The question of the origin of many works of folk poetry is much more complicated than that of literary works. Not only the name and biography of the author - the creator of this or that text are unknown, but also the social environment in which the fairy tale, epic, song, time and place of their composition was formed is unknown. The ideological intention of the author can only be judged by the surviving text, often written down many years later.

Folk art permeates the collective principle. It is present in the appearance and perception by listeners of newly created works, in their subsequent existence and processing. Collectivity is manifested not only externally, but also internally - in the folk poetic system itself, in the nature of the generalization of reality, in images, etc. In the portrait characteristics of heroes, in certain situations and images of folklore works, there are few individual features that occupy such a prominent place in fiction.

The images of folk heroes express the best features of the Russian national character; the content of folklore works reflects the most typical circumstances of folk life. At the same time, pre-revolutionary folk poetry could not but reflect the historical limitations and contradictions of the peasant ideology. Living in oral transmission, the texts of folk poetry could change significantly. However, having reached complete ideological and artistic completeness, the works often remained for a long time almost unchanged as a poetic legacy of the past, as a cultural wealth of enduring value.

On the chronological interval from ancient times to the present day, folklore occupies an intermediate position, being a link in the cultural space of centuries. Perhaps folklore has become a kind of filter for the mythological plots of the entire totality of the Earth's society, letting the universal, humanistically significant, and most viable plots into literature.

Children's folklore is formed under the influence of many factors. Among them are the influence of various social and age groups, their folklore; mass culture; existing ideas and much more.

The concept of "children's folklore" fully refers to those works that are created by adults for children. In addition, this includes works composed by the children themselves, as well as passed on to children from the oral creativity of adults. That is, the structure of children's folklore is no different from the structure of children's literature. Many genres are associated with the game, in which the life and work of the elders are reproduced, therefore, the moral attitudes of the people, their national traits, and the peculiarities of economic activity are reflected here.

In the system of genres of children's folklore, a special place is occupied by "nurturing poetry", or "mother's poetry". These include lullabies, pestles, nursery rhymes, jokes, fairy tales and songs created for the little ones.

Lullabies. At the center of all "maternal poetry" is the child. He is admired, he is cherished and cherished, decorated and amused. Gentle, monotonous songs are necessary for the transition of the child from wakefulness to sleep. From this experience, a lullaby was born. Often a lullaby was a kind of spell, a conspiracy against evil forces. One can hear in this lullaby echoes of both ancient myths and the Christian faith in the Guardian Angel. A lullaby has its own system of expressive means, its own vocabulary, its own compositional structure. Short adjectives are frequent, complex epithets are rare, there are many transfers of stress from one syllable to another. Prepositions, pronouns, comparisons, whole phrases are repeated. The most common type of repetition in a lullaby is alliteration, that is, the repetition of identical or consonant consonants.

Sleep, sleep

Hurry up to harrow

We'll buy those skewers

We will sew a zipun;

We will sew a zipun;

We will send harrowing

In clean fields

In green meadows.

Pestushki, nursery rhymes, jokes. Like lullabies, these works contain elements of the original folk pedagogy, the simplest lessons in behavior and relationships with the outside world. Pestushki (from the word "nurture" - educate) are associated with the earliest period of a child's development. Pestlets accompany the physical procedures necessary for the child. Their content is associated with specific physical actions. The set of poetic means in pestles is also determined by their functionality. Pestushki are concise. “The owl is flying, the owl is flying,” they say, for example, when they wave the child’s hands. “The birds flew, sat on their heads,” the child’s arms fly up to their heads. Not always in pestles there is a rhyme, and if there is, then most often a steam room. The organization of the text of pestles as a poetic work is also achieved by repeated repetition of the same word.

Nursery rhymes are a more developed play form than pestles. Rhymes entertain the baby, create a cheerful mood for him. Like pestles, they are characterized by rhythm. Sometimes nursery rhymes only entertain, and sometimes they instruct, give the simplest knowledge about the world.

The nursery rhymes tell how "a white-sided magpie cooked porridge", "a young blackbird went for some water."

A joke is a small funny work, statement or just a separate expression, most often rhymed. Entertaining rhymes and jokes exist outside the game, unlike nursery rhymes. The joke is always dynamic, filled with energetic actions of the characters. In the joke, the basis of the figurative system is precisely the movement: “Knocks, strums along the street, Foma rides a chicken, Timoshka rides a cat - there along the path.” Often jokes are built in the form of questions and answers - in the form of a dialogue. So it is easier for the baby to perceive the switching of action from one scene to another, to follow the rapid changes in the relationships of the characters.

Goat grinds flour

The goat falls asleep

And the little goats

The flour is raked out.

Ryaba hen

All oats pushed

sowed millet,

Peas winnowed.

Fables, shifters, absurdities. These are varieties of the joke genre. Chukovsky devoted a special work to this type of folklore, calling it "Stupid absurdities." He considered this genre extremely important for stimulating the child's cognitive attitude to the world and very well substantiated why children like absurdity so much. A changeling in a playful way helps the child to establish himself in the already acquired knowledge, when familiar images are combined, familiar pictures are presented in a ridiculous mess.

Rhymes. This is another small genre of children's folklore. Rhythms are called funny and rhythmic rhymes, under which they choose a leader, start the game or some stage of it. Rhyming rhymes were born in the game and are inextricably linked with it. In the works of this genre, nursery rhymes, pestles, and sometimes elements of adult folklore are often used. The rhyme is often a chain of rhyming couplets.

an apple rolled

Past the garden

Past the garden

Past the city.

Who will raise

That one will come out.

Three four,

hitched

Five six,

carry hay;

Seven eight,

We mow hay;

Nine ten,

Money weighs.

Tongue Twisters. They belong to the genre of amusing, entertaining. The roots of these works of oral art also lie in ancient times. This is a word game, which was an integral part of the fun festive entertainment of the people. Tongue twisters always include a deliberate accumulation of hard-to-pronounce words, an abundance of alliterations (“There was a white-faced ram, he re-white-faced all the sheep”). This genre is indispensable as a means of developing articulation and is widely used by educators and physicians.

Undershirts, teasers, sentences, refrains, chants. All these are works of small genres, organic for children's folklore. They serve the development of speech, ingenuity, attention: "Say two hundred. Two hundred. Head in the dough!" ear - a bump. ”(Teaser.) Invocations in their origin are connected with the folk calendar.

Game songs. Of particular note is the cycle of children's play songs and sentences. Even before the 20th century, collectors and researchers of folklore considered children's play as a primitive drama, which has its own scene (one or another setting), its own strictly defined order, live action and peculiar stage roles. The playing child must convey the psychological type of the depicted face of an old woman, a robber, a wolf, a fox, a bear, a hare, endowed with human qualities).

Children's games were a reworking of adult games and therefore reproduced in a figurative form the everyday and labor activities of the people. Imitating the work of adults, the children stood in a circle, walked in one direction and the other, and sang:

And we soared the earth, soared.

And we plowed the land, plowed.

And we sowed millet, sowed.

And we weeded millet, weeded.

And we mowed millet, mowed.

And we millet demolished, demolished.

And we winnowed millet, winnowed.

And we dried millet, dried it.

And we cooked porridge, cooked.

At present, among children there are traditional games of "burners", "geese-geese", "hide and seek", "baskets".

Most of the verbal game forms have been preserved in the repertoire of children of rhymes-rhymes performed before the game instead of drawing lots. They are not associated with specific texts of oral dramatizations and can serve any game.

Puzzles. Riddles belong to the small genres of Russian folklore.

Riddles have much in common with proverbs and sayings in content and in artistic form. However, they also have specific features and represent an independent genre of folklore.

The term "mystery" is of ancient origin. In the Old Russian language, the word guess meant "to think, to ponder." This is where the word "mystery" comes from. In a riddle, a subject description of some phenomenon is given, the recognition of which requires considerable thought.

Most often, riddles are allegorical in nature. As a rule, the proposed object is not named, but its metaphorical equivalent is given instead.

Every riddle is inherently a trick question. However, this interrogativeness of hers can have an external form of expression and not have it. Riddles can be directly formulated as a question. For example: “What is more beautiful than white light?” (Sun); “What do we have more often than a forest?” (stars). However, most often in riddles the question is not outwardly expressed and they have a metaphorical-descriptive character. For example: “A plate is floating on the blue sea” (Month); “Three brothers lived: one loves winter, the other summer, and the third doesn’t care” (sleigh, cart, man).

Riddles, like all genres of folklore, are created on the basis of a living spoken language. The language of riddles, like the language of all folklore genres, is distinguished by accuracy, colorfulness and expressiveness. Common folklore epithets are widely used in them, such as “damp land”, “clear field”, “dark forest”, “green garden”, “good fellow”, “red maiden”, “native mother”, etc., as well as some general folklore comparisons, tautological expressions, etc.

However, the poetic style of riddles also has its own pronounced genre specifics; riddles are characterized by a high degree of metaphor, which permeates all of its stylistic means. Let us give examples of metaphorical (mysterious) epithets "blue field" (sky), "water bridge" (ice), "golden stump" (thimble), etc. Sometimes, the riddle is built on metaphorical epithets. For example: “Steel horse, linen tail” (needle with an eye), “Meat oven, iron attacks” (horseshoes). “The flowers are angelic, and the marigolds are devilish” (rosehip).

Many fairy tales are based on fairy-tale images: For example: “Baba Yaga, short leg” (plow), “The horse runs - the earth trembles” (thunder), “The eagle bird flies, carries fire in its teeth, in the middle of it is human death” (lightning ). And here is a riddle that uses the saying: “On the sea, on the ocean, there is an oak with deaths, devilish shoots, suitcase leaves” (burdock).

In turn, riddles are often included in fairy tales.

DEFINITION OF CHILDREN'S FOLKLORE

Children's folklore is a specific area of ​​oral art, which, unlike the folklore of adults, has its own poetics, its own forms of existence and its carriers. A common, generic feature of children's folklore is the correlation of a literary text with a game.

For the first time, the well-known teacher K. D. Ushinsky paid serious attention to children's folklore. In the 60s. 19th century in the journal Uchitel, publications of works of children's folklore and their analysis from the point of view of the physiology and psychology of the child appeared. At the same time, the systematic collection of folk works for children began. The first collection of children's works - P. Bessonov "Children's Songs" - was published in 1868 and contained 19 games with songs and 23 counting rhymes. Then came the collections of children's folklore by E. A. Pokrovsky and P. V. Shein, which formed the foundation of subsequent theoretical works.

In 1921, a commission on children's folklore, everyday life and language was established in the Russian Geographical Society (RGS). In the 1920s the first studies of children's folklore and the term itself, proposed by G. S. Vinogradov, appeared. Since the 1960s Russian children's folklore of Siberia was studied by M. N. Melnikov. In the modern science of children's folklore, two problematic aspects have been identified: folklore and the inner world of the developing personality of the child; folklore as a regulator of the child's social behavior in the children's team. Researchers seek to consider the works in a natural context, in those situations in the communication of children in which their folklore spreads and functions.

Children's folklore is the works of the children themselves, assimilated by tradition; works of traditional adult folklore that have passed into the children's repertoire; works created by adults especially for children and assimilated by tradition. G. S. Vinogradov emphasized that "children's folklore is not a random collection of incoherent phenomena and facts, which is a "small province" of folklore, interesting for a psychologist and a representative of scientific pedagogical

thoughts or teacher-practitioner and educator; children's folklore is a full-fledged member among other, long-recognized departments of folklore."

Children's folklore is a part of folk pedagogy, its genres are intuitively based on taking into account the physical and mental characteristics of children of different age groups (infants, children, adolescents). Folk pedagogy is an ancient, complex, developing phenomenon that does not lose its relevance. She always took into account the role of the word in the formation of personality. Children's folklore has preserved traces of the worldview of different eras and expressed the trends of our time.

The artistic form of children's folklore is specific: it is characterized by its own figurative system, gravitation towards rhythmic speech and play. Play is an element that is psychologically necessary for children.

Children's folklore is multifunctional. It combines different functions: utilitarian-practical, cognitive, educational, mnemonic, aesthetic. It helps to instill in the child the skills of behavior in the children's team, and also naturally introduces each new generation to the national tradition. There are different ways and ways of transmitting traditional children's folklore: conscious transmission by adults to children; spontaneous adoption from adults, peers or older children.

Classification of works of children's folklore can be made according to their functional role, ways of origin and existence, artistic form, methods of performance. It should be noted the unity of the system of genres of children's folklore, the originality of which is determined by the difference in the worldview of the child and the adult.

Works of children's folklore are performed by adults for children (mother's folklore) and by children themselves (actually children's folklore). Maternal folklore includes works created by adults to play with very young children (up to 5-6 years old). They encourage the child to wakefulness and physical actions (certain movements), arouse interest in the word. Folklore, performed by the children themselves, reflects their own creative activity in the word, organizes the play activities of the children's team. It includes works by adults, passed on to children, and works composed by themselves.

children. It is not always possible to draw a line between maternal and children's folklore, since from the age of 4-5, children begin to imitate adults, repeating game texts.

MOTHER FOLKLORE

lullaby songs, expressing tenderness and love for the child, they had a very specific goal - to put him to sleep. This was facilitated by a calm, measured rhythm and a monotonous chant. The singing was accompanied by the rocking of the cradle (cradle), and onomatopoeia could appear in the songs:

Berezonka hid- squeaks,

And my son is sleeping.

The roots of lullabies go back to antiquity. V.P. Anikin believes that their general evolution consisted in the loss of ritual and incantatory functions. Probably the vestige of such ancient ideas is a small group of songs in which the mother wishes the child to die. ("Bai, bai and lyuli! At least now die ..."). The meaning of the wish is to deceive the diseases that torment the child: if he is dead, then they will leave him.

In lullabies, the role of improvisation is great: they were sung until the child fell asleep. At the same time, traditional, stable texts were of great importance.

A. N. Martynova singled out imperative and narrative ones among them. "Imperative songs are a monologue addressed to a child, or to other people, or to creatures (real or mythological). A child is addressed with a wish for sleep, health, growth, or a demand for obedience: do not lie down on the edge, do not raise your head, do not Birds, animals, mythological characters are asked to give sleep to a child, not to interfere with his sleep, not to frighten him. Narrative songs "do not carry a pronounced expressive, emotional load. They report some facts, contain everyday sketches or a short story about animals, which brings them somewhat closer to fairy tales. There is no direct appeal to the child, although his image is directly or reflected present in the song: it's about his future, gifts for him, about the animals and birds that take care of him."

In the figurative world of lullabies, there are such personifications as Dream, Dream, Ugomon. There are appeals to Jesus Christ, the Mother of God and the saints. Popular songs with images of doves ("Ay, lyuli, lyulenki, gulenki flew in ...") and especially the cat. The cat must rock the child, for this he will receive jug of milk And a piece of cake. In addition, the grateful mother promises the cat:

I'll gild my ears

I will silver my paws.

A sleeping, contented cat is a kind of parallel to the image of a sleeping child.

The image of a wonderful cradle appears in the songs (cradle of gold) which not only idealized the situation of peasant life, but, according to A. N. Martynova, was associated with the impression of luxurious cradles in rich houses and royal chambers - after all, peasant women were nannies and breadwinners.

Pestushki, nursery rhymes, jumping encouraged the child to stay awake, taught him to move his arms, legs, head, fingers. As in lullabies, rhythm played an important role here, but its character is different - cheerful, cheerful:

Tra-ta-ta, tra-ta-t.

A cat married a cat..

The pestle amuses itself with the rhythm, changing it:

Big feet

We walked along the road:

Top top top

Top-top-top.

small feet

We ran along the path: Top-top-top-top-top,

Top-top-top-top-top!

Pestlets are associated with stroking a child, with his first movements; jumping - with jumping on your knees

adult; nursery rhymes - with plot elements, games ( "Paladushki, patty...", "A horned goat is coming..."). Enumerations and dialogues appear in them.

jokes- these are songs or rhymes that captivate the child with their content. The plots of jokes are very simple (single-motive or cumulative), reminiscent of "little fairy tales in verse" (V.P. Anikin). Indeed, children's fairy tales sometimes became jokes (see. "There was a chicken rya-benka ..."), and vice versa: how fairy tales could tell jokes ( "The goat went for nuts ..."). The content of the jokes is bright and dynamic: everyone runs to fill in the lit cat house; bring to life worn out in the bath a flea (or a mouse); mourn over the broken testicle that she laid ryabenka chicken \ going to an owl's wedding white moon... Very expressive images of animals: A goat in a blue sundress, in linen trousers, in woolen stockings. The jokes contain the first admonitions: the stubborn goat is eaten by wolves; little pussies she didn’t leave butter to treat another ... However, the main role of jokes is cognitive. The child learns about people, animals, phenomena, objects, about their typical properties. Often this is served by cumulative plots: fire burns the forest, water extinguishes the fire, bulls drink water, etc.

Among the jokes, a special place is occupied by bogus tales, also known in adult entertainment folklore. Their aim is to create comic situations by deliberately mixing real objects and properties. If this makes the child laugh, then he correctly understands the relationship between things and phenomena. Characters of fables behave inconsistently with reality, which can be directly indicated:

Where is it seen.

Where is it heard

For a hen to give birth to a bull.

Piglet laid an egg... etc.

OWN CHILDREN'S FOLKLORE

Genres of children's folklore proper, depending on the degree of their use or inclusion in the game, can be divided

pour on the poetry of outdoor games (associated with plot-organized motor actions) and the poetry of verbal games (in which the word plays the main role).

Poetry of outdoor games

Draws(or "collusions") determine the division of the players into two teams, establish the order in the game. These are concise works, sometimes rhymed, containing an appeal to uterus(representatives from each group) and a question, or only one question that offers a choice. Creating lots, children often improvised on the basis of fairy tales, songs, proverbs, sayings, riddles, fables. (A black horse or a daring Cossack?; A pouring apple or a golden saucer?). Many of the draws were humorous (Did you get lost on the stove or drowned in a tavern? A fox in flowers or a bear in pants?).

Rhymes are used to distribute roles in the game, while rhythm is crucial. The host pronounces the rhyme rhythmically, monotonously, successively touching each participant in the game with his hand. Rhyming rhymes have a short verse (from 1 to 4 syllables) and usually have a choreic meter.

The roots of counting rhymes go back to antiquity. Researchers discover the connection of children's counting rhymes with ancient forms of divination (choosing the leader by chance), with archaic faith in numbers, and with conditional speech that arose on the basis of the taboo of numbers. Distorted forms of words were born in the language of adults as a result of the ancient prohibition to consider what was supposed to ensure good luck in hunting, abundance in the peasant economy. At a later time, the secret account of representatives of various social groups had a special meaning: gamblers, itinerant tailors, and so on. Picking up their incomprehensible vocabulary, the children created their own abstruse rhymes. They themselves were engaged in word creation: they changed the meaning of words, inserted suffixes that were not characteristic of them (firstborns, friends), used incomprehensible foreign words with a distortion of their sound structure, came up with word-like combinations of sounds, added rhythmic particles (Eni-beni three kateni...). Abstruse rhymes, the meaning of which is not clear to either adults or children, retain the main artistic feature of the genre - a distinct rhythm.

In addition to the abstruse ones, counting rhymes-numbers and plot rhymes, especially popular among children, are known. Numbers can be plotless, cumulative and with the beginnings of a plot ( "One, two- lace..."). Plot rhymes borrow passages from

lullabies, songs and ditties of the adult repertoire, from children's games, teasers, from popular children's poems (S. Mikhalkov, K. Chukovsky, etc.) - Some texts are very stable. For example, in the 19th and 20th centuries folklorists wrote down versions of the rhyme in different places "A sack rolled from a high hump ...".

Game sentences and refrains were included in the game action and contributed to its organization. The content of these works was determined by the game itself.

In games, children portrayed family life and labor activities in the village, which prepared them for adulthood. In children's games, echoes of ancient pagan games have been preserved ( "Kostromush-ka"), traces of veneration of fire ( "Smoking room"), sun ( "Golden Gate") and other objects. The round dance games of adult youth sometimes passed to children. Some games of younger children arose as dramatizations of jokes. Rhymes introduced a cumulative composition into the game, and rhythm, onomatopoeia, and so on into the verbal series accompanying it.

Poetry of word games

Invocations and sentences- genetically the most ancient forms of children's word games. By origin, they are associated with the calendar rites of adults, as well as with ancient conspiracies and spells.

Calls are songs addressed to nature (sun, rain, rainbow) and expressing a call or request. The content of the invocations was close to the concerns and aspirations of farmers: the need for rain or, on the contrary, the sun. Children turned to the forces of nature as mythological creatures, tried to propitiate them, promised a sacrifice:

Rain, rain, more!

I'll take out the thick.

Bread loaf.

Pink salmon pie.

The calls were shouted out in chorus, in a singsong voice. Unlike them, sentences were pronounced individually and quietly. They contained a request-conspiracy addressed to a snail, a ladybug, a mouse ... The request consisted in showing horns, flying up, exchanging a fallen tooth for a new one ... Sentences were also pronounced before diving into the river; in order to get rid of water that got into the ear during bathing; when baited

worms on a hook, etc. In their sentence, the children could make a request to Christian saints. So, going for mushrooms, they said:

Nikola, Mykola,

Fill the bowl.

Haystack on top

Changeling.

The favorite word game of older children was and remains Tongue Twisters- Rapid repetition of hard-to-pronounce words. Mistakes in pronunciation cause laughter. While playing, children simultaneously develop the organs of articulation.

A kind of verbal exercises were silent women- a poetic agreement to be silent, as well as golosyanki(option: "hairs") - a competition in pulling out a vowel sound at the end of a rhyme in one breath.

The verbal games of children include fairy tales and riddles performed in their environment (they were discussed in the relevant chapters).

Children's satire

Like adults, children created their own satirical folklore, in which the verbal play began to manifest itself. Genres of children's satire teasing and ridicule, and tricks, miril-ki, excuses. They are short, mostly poetic texts, designed for the listener to whom they are addressed individually.

Satirical genres regulate the social behavior of the child, determine his place in the children's team. Teasers make fun of what children perceive as negative. Their objects are fat, toothless, oblique, bald, red-haired, greedy, sneak, thief, crybaby, imaginary, beggar, "bride and groom", and also himself teased (Teased - dog snout). Taunting, unlike teasing, is usually unmotivated. They arise from nicknames, that is, rhyming additions to the name (Alyoshka-flat cake, Andrey-sparrow...); from repetitions different forms child's name (Vanya-Vanya-Vanerok, Vaska-Vasyuk, Katya-Katya-Katerina...). Tricks teach to be on the alert, designed to deceive the interlocutor, put him in a mess and demand retribution for stupidity or oversight:

- Tanya, Sanya, Lizavetpa

We went by boat.

Tanya and Sanya drowned.

Who is left on the boat?

- Lizaveta.

- Clap you for it!

The child who has become the subject of ridicule receives the first life lesson and tries to learn it. If the criticism is fair, then it must be accepted and try to improve. In this case, you can use mirilka ( "Make up, make up, make up..."). Other - when the mockery is unfair, insulting. The offender is dealt with with his own "weapon" - an excuse:

Call all year round

You are still a hippo.

Call names for a century.

I don't care Human.

An excuse can also be used against an obsessive beggar:

- Will you give it to me?

- Give something went to Paris,

And buy one left.

4. MODERN CHILDREN'S MYTHOLOGY ("SCARY STORIES")

The content and form of children's folklore was influenced by changing social conditions. In the second half of the XX century. most of the children became city dwellers. Meanwhile, in the mental development of children, the need to go through the stage of vivid experiences of the inexplicably miraculous, which gives rise to a feeling of fear, and to overcome this fear, has remained unchanged. In the feudal village, such a need was satisfied by a nationwide folklore tradition (children listened and themselves told bylichki, legends, fairy tales). Today's children have a different outlook. It is formed by urban life, literature, cinema, radio, television. However, the form of the spoken word retains its meaning.

Once G. S. Vinogradov noted in children "the only type of oral literature represented by prose" - a fairy tale. The spontaneous flow of modern children's narrative creativity - "scary stories" (as children call them) or "horror stories" (as researchers began to call them) - has become the subject of study by folklorists, psychologists and educators since the 1960s. Apparently, the beginning of the mass existence of children's scary stories dates back to this time. Horror stories function according to all the rules of folklore: they are fixed by tradition, passed "by word of mouth". They are told by children of all ages, from 5 to 15 years old, but the most characteristic age limits are from 8 to 12 years old.

It is known that the leading creative activity of younger children - drawing - is gradually replaced by verbal creativity. In the repertoire of children, poetic genres are the first to appear (which is facilitated by their small volume, rhythm, connection with the game). At the age of 6-7, an important restructuring of the principles of thinking takes place: the child begins to realize causal relationships, is able to preserve and convey the plot of the story as a logical structure. The unconscious egocentrism of the child-narrator (confidence that the listeners initially know everything) is replaced by a focus on the listener, the need to correctly convey the content of the story, to achieve understanding and reaction from the listener.

Plastic images generated by children's fantasy have "psychic energy" that goes back to the collective unconscious (according to C. Jung). Fetishism, animism are manifested in children's narrative creativity, such universal signs of culture as a spot, a curtain, a hand, an eye, a voice, a look, a color, a size, chthonic characters, the ability to reincarnate, the idea of ​​death, and so on. This allows us to consider scary stories as modern children's mythology.

In terms of genre, scary stories are a diffuse and heterogeneous phenomenon. Unlike traditional folklore prose, they have not one, but two dominant centers: narrative and play.

The original genre of the so-called "terrible summons". In it, the ritual-playing principle completely replaced the verbal side. Here's an example:

"How call Baba Yaga. "We must go to the toilet at 12 o'clock at night. Write a circle there with black chalk and sit and wait. Come early in the morning. If there is a cross on the circle, it means. Baba Yaga flew in.(Emelina Vika, 11 years old, Moscow region).

Children "calling" Queen of spades, moon men and so on. The purpose of scary callers is to experience a sense of fear and satisfaction from defeating it, which can be considered as one of the forms of self-affirmation of the individual.

In scary stories, one can find all types of folklore narrative structures, from cumulative to a closed chain of motifs of different content (similar to fairy tales). Epic triplings, fabulous compositional formulas are used (Lived once...), happy ending tradition. A good ending is peculiarly manifested in game stories with the last phrase being shouted out: "Give me my heart!" (black dead man); "Meat ate!"(woman vampire). The stronger the fear, the more fun you can laugh at him.

In scary stories, signs of myth and many folklore genres are transformed or typologically manifested: conspiracy, fairy tale, animal epic, bylichka, anecdote. They also reveal traces of literary genres: fantasy and detective story, essay.

The system of images of children's horror stories is divided into three groups: the main character, his assistants and opponents. The most typical protagonist - girl or boy; he is usually the youngest in the family. There are other images: one man, one woman, a student, a taxi driver, an old man and an old woman, Sharik the dog, a prince, one journalist... Helpers, unlike fairy tales, are not fantastic, but real: policeman (police), Sherlock Holmes. The plot requires to defeat evil, to restore the essence of things, corresponding to their nature. The protagonist (a child) hunts down evil, and his assistant (police) carries out his physical destruction.

Unlike fairy tales, scary stories usually have only one pole of the fantastic - evil. Associated with him endlessly

Certainly various types of pests: either simply fantastic images, or fantastic images insidiously hiding under the guise of familiar people and objects (from a spot on the wall to mom). The pest may have a warning external sign, most often the color: black, red, white or some other. The color also appears in the names of children's horror stories: "Black Curtains", "Red Spot", "Blue Rose" etc. The action of the pest is expressed in one of three functions (or in their combination): abduction, murder, desire to eat the victim. The images of pests become more complex depending on the age of the performers. In the youngest children, inanimate objects act as if they were alive, which manifests a childish fetishism. For example, red lace ringing the doorbell, trying to strangle mom. his dad tore it up and threw it out the window but Lace continues to terrorize the family. His doused with kerosene, burned, and threw the dust out the window. But the doorbell rings again. A column of red dust bursts in and blinds everyone. (Smirnova Varya, 7 years old, Zagorsk). In older children, the connection of the object with a living pest appears, which may mean representations similar to animistic ones. Behind the curtains, the stain, the picture is hidden black hairy hands, white (red, black) human, skeleton, dwarf, Quasimomode, devil, vampire... Often the pest item is a werewolf. Ribbons, earrings, bracelet, chain, climbing plants turn into snakes; at night, red (or black) flowers become vampire people; the doll (or statue) turns into a woman; becomes a man image in the picture ( "About a black lady with blue eyes"). Werewolf extends to parts of the human body that behave like a whole person, to the dead rising from the coffin, etc. Undoubtedly, werewolf came into the modern narrative folklore of children from the national traditional folklore.

The complication of the image of the pest occurs as a development, deepening of its portrait characteristics. Let's show it on a group of witches.

The first portrait step is a color signal connected to the feminine principle: red witch, beautiful woman in black, a yellow, crouched old woman, very beautiful girl in a long white dress, a very beautiful green-eyed woman in a velvet green "trestle. Then there are more complex images in which the transformation of the witch from the bylichka is visible. She appears in her True Form late at night when she thinks everyone is asleep: The girl opened her eyes and sees that her stepmother is wearing black dress, disbanded

long black hair, put a frog on her chest and went somewhere quietly.(Golovko Lena, 11 years old, Kokchetav); she looked through the crack and saw that the flower had turned into the woman who was selling the flowers. and this woman goes to her daughter's bed, and her claws are long, very long, her eyes are green and fangs are in her mouth.(Kiselyova Lena, 9 years old, Gorky).

Another category of witches develops on the basis of the fabulous image of Baba Yaga. Such an interpretation appears in the plots with the abduction. A witch of this type is surrounded by a characteristic "interior": a forest, an oak tree, a lonely house or a hut. There might also be something like this: And human heads stuck out on stakes on the sides. The policeman recognized a lot of them - they were his comrades.(Alyosha Kondratov, 13 years old, Moscow). Typically fabulous is the portrait of such a witch: hook-nosed witch with a crutch instead of a leg(Kondratov Serezha, 8 years old, Moscow); as well as the purpose for which children are abducted: She lured to her children, fattened them with nuts and ate them ten days later.(Kazakov Dima, 8 years old, Novomoskovsk, Tula region).

Witch of "literary origin" can be considered queen of spades(Tsyganova Marina, 11 years old, Syktyvkar). Finally, the everyday impressions of the child could be correlated with the image of the witch: Once, my mother bought tulips at the Tishinsky market from an old woman who, by the way, had no teeth, but a false jaw.(Isaev Sasha, 10 years old, Moscow).

Complicating the image of the pest, the children turned to the experience of traditional folk prose. I was able to destroy the vampire dwarf one old man old-old; for this he used a magic circle, fire, aspen stakes. (Alyosha Bunin, 12 years old, Moscow). The traditional methods of exposing a pest are: by a severed hand, by a familiar ring, by hooves, fangs, due to penetration into a forbidden room, etc. instead of a child, they put a doll on him).

The psychology of the pest is naively refracted through the inner world of the children themselves. For example: in the dark hall of the theater during the performance enter terrible bloodsuckers, they kill all people. The ticket attendants notice this and ask a question, why so many dead. They started lying. They were not believed because they blushed(Waiman Natasha, 10 years old, Zelenograd). Adults experience fear like children: All the people were frightened, rushed home and began to plug all the cracks. After

they climbed all under the covers and took the children with them.(Garshina Olya, 10 years old, Kovrov, Vladimir region).

The last stage in the evolution of the image of the enemy (according to the age levels of the performers) is the absence of a pest object and the development of artistic signs of a living (or humanoid) carrier of evil - a kind of overcoming of children's animistic ideas. Here, a rapprochement with traditional folklore is especially evident: fantastic characters of fairy tales are reborn, connecting in a peculiar way with the scientific and technical knowledge of the modern child. At the age of 13-15, children experience a crisis in the category of the miraculous, they come to the denial of unmotivated horrors. Horror stories unfold. Children begin to transmit stories about real crimes, emphasizing their authenticity ( "A story that actually happened in Moscow" - Rtishcheva Lena, 14 years old, Moscow). They are trying to come up with a materialistic clue to the fantastic essence of the pest: abduction with the help of hypnosis, the disappearance of ships in the "black hole" of the ocean... Fiction can be analogous to the incredible coincidence of a novelistic fairy tale. For example, in one story it is told that if the light is turned off in the room, then in the wall appear two scary glowing eyes. But then the police find out that Before the new owners, an old woman lived in the house, and her son had once been severely irradiated and died. And the old woman took his eyes, put them in a jar and walled them up in the wall. And when the lights went out, they glowed.(Kiselyova Lena, 9 years old, Gorky).

Particularly intense decomposition of horror stories occurs through the creation of numerous parodies in which the themes of prohibition, abduction and images of fantastic pests (objects, dead people, vampires, witches) are ridiculed.

For example, the image of a witch appears in a very common parody of the violation of the ban: a woman drove into new apartment, in which a nail was sticking out of the floor, but she was forbidden to pull it out. Once she tore her favorite dress on this nail, got very angry and ripped him off. A few minutes later there was a knock on her door. The woman opened and saw a terrible witch. The witch said: “And I can’t sleep like that, and then the chandelier fell on me!”(Shenina Tanya, 10 years old, Moscow).

The irony of the parodies captures the older children's awareness of their intellectual superiority over the little ones.

So, in the system of images of scary stories, wonderful opponents occupy a central place. A terrible story can do without an assistant and even without a main character, but the image of a pest is always present in it. He may be the only one. For example:

In a black room - a black table,

on the table is a black coffin,

in the coffin - a black old woman,

she has a black hand.

"Give me back my hands!"

(narrator grabs nearest listener)

In the structure of the image of the pest, the evil inclination manifests itself as a miraculous force. Children may take it without justification; can develop a variety of motivations, from the most primitive to the most detailed; they can deny it by parody - but in any case they express their attitude towards this wonderful evil force.

Through all the works of modern children's mythology, an intuitively expressed idea of ​​two worlds passes: they have a real world ("home") and a fantastic world ("non-home"). The real world is always perceived as an undoubted reality, as an existent. The attitude of children to the fantastic world as a sphere of manifestation of miraculous power appears differently. In younger children (5-7 years old), the real and unreal worlds are modally identical: they both act as an objective entity. The attitude of the narrator and listeners towards them is equivalent: here a literal belief in the miraculous is revealed, which typologically brings this group closer to the traditional genre of non-fairy-tale prose - the bylichka. The second group, belonging to the middle age group (children aged 8-12), reveals a more complex relationship between the two worlds. It is no longer possible to speak of their identity, but faith in the miraculous still remains. A modality similar to that of a fairy tale arises: a conditional belief in the miraculous. As a result, two trends are developing. On the one hand, genre signs of fairy tales begin to emerge in scary stories, and on the other hand, the game moment is enhanced. There is a separation between the narrator and the listeners: the first does not believe in the miraculous content, but seeks to hide it and make the listeners believe, so that later they can laugh with them. In this one can see the initial signs of the decomposition of terrible stories, the approach to their satirical comprehension. In the third

In the age group (children 13-15 years old), the narrator and listeners unite again, but on the basis of a conscious denial of the miraculous by parodying it or revealing its illusory nature through the development of materialistic motivations. This includes features of literary genres and anecdote. Interestingly, a number of parodies end with the phrase "Have you listened to a Russian folk tale", which emphasizes the groundlessness of belief in fantastic horrors and expresses the attitude towards the fairy tale as fiction.

Scary stories are a fact of modern children's folklore and a significant psychological and pedagogical problem. They reveal age patterns in the development of consciousness. The study of this material will help open the way for a positive impact on the development of the child's personality.

LITERATURE TO THE TOPIC

Texts.

Pokrovsky E. A. Children's games, mostly Russian. - SPb., 1994. (Reprint. reproduced, ed. 1895).

Shet P.V. Collection of folk children's songs, games and riddles / Comp. A.E. Gruzinsky based on Shane's materials. - M., 1898.

Kapitsa O. I. Children's folklore: Songs, nursery rhymes, teasers, fairy tales, games. - L., 1928.

Kapitsa O. I. Children's folk calendar. (Introduction and preparation of the publication by F. S. Kapitsa) // Poetry and ritual: Interuniversity. Sat. scientific works / Responsible. ed. B. P. Kirdan. - M., 1989. - S. 127-146. (Publication of archival materials).

Folk wisdom: Human life in Russian folklore. - Issue. 1: Infancy. Childhood / Compiled, prepared. texts, intro. Art. and comment. V. P. Anikina. - M., 1991.

Russian children's folklore of Karelia / Compiled, prepared. texts, intro. st., foreword. S. M. Loiter. - Petrozavodsk, 1991.

One, two, three, four, five, we are going to play with you: Russian children's game folklore: Book. for teachers and students / Comp. M. Yu. Novitskaya, G. M. Naumenko. - M., 1995.

Children's poetic folklore: Anthology / Comp. A. N. Martynova. - St. Petersburg, 1997.

Research.

Vinogradov G.S. Children's folklore. (Publ. A. N. Martynova) // From the history of Russian folklore / Ed. ed. A. A. Gorelov. - L., 1978. -S. 158-188.

Anikin V.P. Russian folk proverbs, sayings, riddles and Children's folklore: A guide for the teacher. - M., 1957. - S. 87-125.

Melnikov M. N. Russian children's folklore of Siberia. - Novosibirsk, 1970.

Melnikov M. N. Russian children's folklore: Proc. allowance for students ped. in-comrade. - M., 1987.

School life and folklore: Proc. material on Russian folklore: In 2 hours * / Comp. A. F. Belousov. - Tallinn, 1992.

World of childhood and traditional culture: Sat. scientific works and materials / Comp. S. G. Ayvazyan. - M., 1994.

Cherednikova M.P. Modern Russian children's mythology in the context of the facts of traditional culture and children's

It is customary to call children's folklore both works that are performed by adults for children, and those composed by the children themselves. Children's folklore includes lullabies, pestles, nursery rhymes, tongue twisters and incantations, teasers, rhymes, absurdities, etc. Children's folklore is formed under the influence of many factors. Among them - the influence of various social and age groups, their folklore; mass culture; existing ideas and much more.

Contemporary children's folklore

Modern children's folklore has been enriched with new genres. These are horror stories, mischievous rhymes and songs (funny alterations of famous songs and poems), anecdotes. Modern children's folklore is now represented by a very wide range of genres. The oral repertoire contains both works of historically established genres of oral folk art (lullabies, songs, nursery rhymes, incantations, sentences, etc.), as well as texts of later origin (horror stories, anecdotes, "sadistic rhymes", alterations-parodies, " evoking", etc.).

Sat on the golden porch

Mickey Mouse, Tom and Jerry,

Uncle Scrooge and three ducklings

And Ponka will drive!

Returning to the analysis of the current state of the traditional genres of children's folklore, it should be noted that the existence of such genres of calendar folklore as incantations and sentences remains almost unchanged in terms of text. The most popular are still appeals to the rain (“Rain, rain, stop ...”), to the sun (“Sun, sun, look out the window ...”), to ladybug and snail. The half-belief traditional for these works is preserved in combination with the playful beginning. At the same time, the frequency of use of incantations and sentences by modern children is decreasing, there are practically no new texts, which also allows us to talk about the regression of the genre. Riddles and teasers turned out to be more viable. Remaining popular in the children's environment, they exist both in traditional forms (“I went underground, I found the little red cap”, “Lenka-foam”), and in new versions and varieties (“In winter and summer in one color” - Negro , dollar, soldier, dining room menu, alcoholic's nose, etc.). Such an unusual variety of the genre as riddles with drawings is rapidly developing. Folklore records of recent years contain a fairly large block of ditties. Gradually dying out in the adult repertoire, this type of oral folk art is rather readily picked up by children (this happened at one time with works of calendar folklore). Ditty texts heard from adults are usually not sung, but recited or chanted in communication with peers. Sometimes they "adapt" to the age of the performers, for example:

Girls hate me

They say that he is small in stature,

And I'm in the kindergarten Irinka

Kissed me ten times.

Such historically established genres as pestles, nursery rhymes, jokes, etc., almost completely disappear from oral use. Firmly fixed in textbooks, manuals and anthologies, they have now become part of the book culture and are actively used by teachers, educators, are included in the programs as a source of folk wisdom, filtered for centuries, as a sure means of developing and educating a child. But modern parents and children in oral practice use them very rarely, and if they reproduce, then as works familiar from books, and not transmitted by word of mouth, which, as you know, is one of the main distinctive features folklore.