Abstract of the problem of modern children's literature in Russia. Features of modern poetry Characteristics of the current state of children's poetry

GOU SPO "Nakhodka State

Humanitarian and Polytechnic College"

Correspondence department

Nakhodka. St. Dzerzhinsky, 9a

Test

Subject: Children's literature with workshop on expressive reading

Topic: Contemporary children's poetry

StudentVcourse, group 851

Speciality: Preschool education

Ishimova Oksana Vladimirovna

S. Vladimiro-Alexandrovskoe

st. 50 years of district, no. 10

The test was received by the correspondence department:

“_____”______________________200__g.

Job evaluation: ____________________

Date of inspection: _____________________

Teacher: Yangurazova S.V.

Plan

Introduction

1. Biographies of modern poets.

Main part.

2. Creativity for children.

Conclusion

3. Literature for children.

Introduction

1. Biographies of modern poets

V. V. Mayakovsky

When V.V. Mayakovsky (1893-1930) organized his literary exhibition “Twenty Years of Work,” books addressed to children occupied a significant place in it, along with works for adults. Thus, the poet emphasized the equal status of that part of the poetic work that was carried out, as he put it, “for children.” The first collection, conceived in 1918 but never realized, would have been called “For Children.” Mayakovsky sought to create new revolutionary art for children.

In 1927, during a conversation with employees of a Czechoslovak newspaper, Mayakovsky said: “My latest hobby is children’s literature: we need to give children new ideas and new concepts about the things around them.”

In the article “Uncle Mayakovsky Made” M. Petrovsky rightly noted that “the main time in his poems is the future adult.” Hence the constant correlation of today’s actions, today’s character traits with what will be useful to the child as a person of the future. This feature makes Mayakovsky’s works relevant for children today, when there are no Nepmen, bourgeois and Burzhuychikovs. These characters belong to history in socio-political terms, and to today – in moral and aesthetic terms. This aspect is becoming more and more effective.

K.I. Chukovsky.

In Russian literature, only two writers received the unofficial but honorary title of “grandfather” among the people: Ivan Andreevich Krylov and Korney Ivanovich Chukovsky (1882-1969). Moreover, Korney Ivanovich was called “grandfather Chukovsky” during his lifetime. However, Korney Chukovsky did not like being called “Grandfather Chukovsky”: after all, only a small part of what he did in literature fit into the understanding: fairy tales, songs, riddles, nursery rhymes, translations and retellings for the little ones. And yet, no matter how significant the rest, most of his work is for older children and especially for adults, Chukovsky is still the most original - a storyteller, Chukovsky - a children's poet. His poetic tales with no less justification can be called poems for children, and the writer and philologist Yu. Tynyanov - also not without reason - called them “children’s comic epic.”

S. Ya. Marshak.

“Love Marshak, learn from him!” - these words, as L. Panteleev recalls, were said to him by A. M. Gorky back in the 20s. Indeed, S. Ya. Marshak (1887-1964) was a wise friend and mentor to many poets. Working in literature. His talent was multifaceted, and his poetic energy was inexhaustible throughout more than half a century of creative activity.

Samuil Yakovlevich Marshak was born in 1887 in Voronezh, in the family of a master chemist. He spent his childhood and early high school years in the small town of Ostrogozhsk, Voronezh province. Early, as a child, he began to write poetry, which was published in pre-revolutionary magazines since 1904. Two events had a decisive influence on Marshak’s literary activity and his attitude towards art. The first of them was meeting the famous critic V.V. Stasov in 1902 during Marshak’s visit to St. Petersburg for the summer holidays. The second was meeting Gorky in Stasov’s house in 1904, when Marshak was already studying at the III classical St. Petersburg gymnasium. M. Gorky took an ardent part in the fate of the talented young man. This meeting determined a lot in the poet’s entire future creative destiny. In 1904-1906. Marshak lives with Gorky’s family in Yalta, studies at the Yalta gymnasium, and his works, lyrical and feuilleton, original and translated, are systematically published in various periodicals. In 1906, when Gorky went abroad, Marshak returned from Yalta to St. Petersburg, and then his professional literary and journalistic activities began in different cities of Russia. In 1912 he travels to England. There Marshak studies at the University of London, travels a lot around the country, acquiring genuine knowledge not only of the language, but also of the life of the English people, their literature and art. In the summer of 1914, shortly before the start of the First World War, Marshak returned to Russia. Before the revolution, he continued to publish in various periodicals and made translations of English ballads.

S. V. Mikhalkov.

Sergei Vladimirovich Mikhalkov was born in 1913 in Moscow in the family of poultry scientist V. A. Mikhalkov.

Fairy tales by Pushkin, fables by Krylov, poems by Lermontov, Nekrasov were the first favorite books of the future poet. Later, his father introduced him to the poems of Mayakovsky, Yesenin, Demyan Bedny, which influenced great influence on the first poetic experiments of Sergei Mikhalkov.

In 1928, Mikhalkov’s poem “The Road” appeared in the magazine “On the Rise” (Rostov-on-Don). During these same years, he was published in the regional newspaper Terek. The young poet is included in the active membership of the Terek Association of Proletarian Poets.

In 1930, seventeen-year-old Mikhalkov came to Moscow. But his literary earnings did not give him the opportunity to exist independently, and until he was twenty, the young man changed several professions: a laborer at the Moskvoretsk weaving and finishing factory, an assistant topographer on a geological exploration expedition in Kazakhstan, and others.

For special services in the development of children's literature, S. V. Mikhalkov was awarded an Honorary Diploma of the International Jury for the Hans Christian Andersen Prize (1972) and the Alex Wedding Medal (1973).

Inimitable intonations of innocence and childish charm are heard in Mikhalkov’s poems. Children see life simply and joyfully. Maybe poetry for children is a simple art? The words are used in their original meaning, the images are simple, like a reflection in a mirror. It would seem nothing mysterious, nothing magical. But isn’t this magic - poems in which the most difficult things are spoken of with boyish enthusiasm and amazement? Isn’t it magic to masterfully wield a pen and see and feel as you did in childhood?!

A. L. Barto.

Addressing Agnia Lvovna Barto, A. Fadeev wrote in 1955 that she brought a lot of joy and benefit to “the children of our country and simply our children with her creativity, full of love for life, clear, sunny, courageous, kind!”

In fact, generation after generation, kids easily remember clear, sonorous verses:

Dropped the teddy bear on the floor

They tore off the bear's paw

I still won't leave him,

Because he's good.

And the older guys repeat the crafty lines:

What chatterbox Lida, they say,

Vovka invented this

When should I chat?

I have no time to chat!

Agnia Lvovna Barto (18906-1982) was born in Moscow in the family of a veterinarian. Studying in secondary school, she simultaneously attended drama school. I wanted to become an actress. Barto began writing poetry early: these were mischievous fragments on teachers and friends, lyrical naive imitations of A. Akhmatova. In 1925, A. Barto brought the poem “Chinese Little Wang Li” to Gosizdat. A.V. Lunacharsky became interested in her poems: having invited the aspiring poetess to his place, he advised her to write for children. This is how the young poetess began her creative journey with a very important and almost undeveloped theme in the 20s - international.

I. P. Tokmakova.

Irina Petrovna Tokmakova (born in 1929) belongs to the generation of poets that came to children's literature in the 50s. There was a well-known pattern: both in the fact that she turned to this area of ​​​​literature, and in the fact that she chose one of the most difficult areas - literature for preschoolers.

Even during her school years, the future poetess had to participate in working with children. Her mother ran a distribution center for children left without parents.

“At home we talk about children: getting sick, getting better. One has whooping cough, the other has outstanding abilities,” Tokmakova writes about her childhood. “All this explains why I became a children’s writer.”

Creativity for children

“What is good and what is bad?”

The poem belongs to the genre of didactic story in verse. This genre was widespread in pre-revolutionary children's literature. It was usually represented by weak, listless poems filled with teachings. Mayakovsky finds new techniques for creating a conversation - teaching. Firstly, the initiative for the conversation comes not from the adult, but from the child:

Baby son

came to my father

and the little one asked:

What's happened

and what is

Secondly, the eldest father is depicted as an interested and enthusiastic person. He not only gives a didactic assessment of this or that fact, but also reacts emotionally to each situation:

If it hits

trashy brawler

weak boy

insert into the book -

(Article revised and expanded)
Modern poetry is multifaceted: mass and elite; virtual and traditional; normative and non-normative; religious and anti-religious; poetry of Russian and foreign “Russian world”. And separately – Orthodox, separately – children’s.
Why separately – Orthodox? This question is very easy for me to answer. This is a fact that has taken place and objectively exists in the existing world, and you can’t get away from stating such a fact: you have to accept such a situation as not depending on anyone’s will. Only by the will of the Lord. And discuss why Orthodox poetry stands out, and not Islamic, or Jewish, or poetry of branches of Christianity. There is absolutely no desire to look for reasons for this. But I can’t help but notice that the first known literary sources of poetics were identified in historical homeland the emergence of Orthodoxy. This is Greece. Orthodoxy came to Russia from Greece as a result of the communication of peoples. And our classical poetry, Russian poetry in Russian, even in godless times - and it goes beyond the Soviet period of history, always reflected the original search, and was clearly not devoid of postulates that affirm the basic Christian truths and commandments.
After the 30s of the 20th century, it should be mentioned - and this is very important - that poetry for children of preschool and primary school age began to develop. S. Marshak and K. Chukovsky, S. Mikhalkov and A. Barto,... Who hasn’t read “Mister Twister”, “Cockroach”, “Doctor Aibolit”, “Fedorino’s Grief”, “Uncle Styopa”, “Foma”, “Our Tanya” " and other "baby" poems? Can or cannot this be considered poetry? But how can it be impossible, if it was on the poems of these children’s poets that several generations of Russian-speaking people grew up on the planet? During this period, so much was written for children, because the country was fighting for universal literacy of the population; books entered homes and became an integral part of everyone’s life. Soviet man. Separately standing timeless poetic creativity - creations for children. This children's classic continues to educate new members of society to this day. I cannot help but touch upon this phenomenon - because I am looking for the reasons for those phenomena in poetry that I observe at the present time.
To understand what is happening in modern poetry, what kind of phenomenon this is - modern poetry, and whether such a phenomenon exists at all, it is necessary to remember the continuity of generations in the history of poetic creativity. So, the first and main feature of modern Russian poetry is continuity.
The heyday of classical poetry is considered to be the beginning of the 19th century - the Golden Age of Poetry. Researchers classify various poets as poets of the Golden Age. But undoubtedly this list includes Pushkin, V.A. Zhukovsky, A.S. Griboyedov, M.Yu. Lermontov, K.N. Batyushkov, D.V. Davydov, F.N. Glinka, V.F. Raevsky, K.F. Ryleev, A.A. Bestuzhev, V.K. Kuchelbecker, A.I. Odoevsky, P.A. Vyazemsky, A.A. Delvig, E.A. Baratynsky, D.V. Venediktov, I.I. Kozlov, F.I. Tyutchev, A.A. Fet et al.

You can argue for a long time and to no avail about whose work is of higher quality, more interesting and useful for the reader, who is “more classic” - it is impossible to come to a common opinion. If we, with the name Pushkin, pronounce our first words in Russian - regardless of whether it is the baby’s native language or not - what does it mean to think about its rhyme? First of all, in his works I see interweaving of rhymed lines and such sound writing in a verse (as in a separate line), which, willingly or not, but attracts and stays with you, is remembered easily and freely, most importantly, once and for all. The poetry of the Golden Age is characterized by patriotism.

The beginning of the next century - XX, is designated as the Silver Age of Poetry. They say that if there had not been a Golden Age, there would have been no Silver Age. The continuity of generations of Russian poets takes place, and, above all, in their patriotic spirit. The theme of the homeland is the most important for Russian poetry. It is generally accepted that the Silver Age ended in 1930. Researchers classify about 40 authors as poets of the Silver Age. We know that at the beginning of the century they “clustered” around M. Voloshin in his Crimean patrimony - Koktebel. Which of the poets of that period did not visit there... Wasn’t it the exchange of information, mutual communication on the basis of Voloshin’s Koktebel that allowed such an important backbone of poets of the Silver Age to form?
It is no coincidence that Voloshin readings and the annual Voloshin poetry competition are taking place these days. There is a Voloshin trail with different routes to it - you can choose the simpler one and come to the end point of the path even with kids. You can choose a more complex, romantic path - and decide on your life partner: is he the friend who “suddenly turned out to be.”
For me, of the poets of the Silver Age, the most significant is the work of N.S. Gumilyov, for various reasons, but the main thing is that in his work Light, Love, and eternal truths are in the foreground. Poets of the Silver Age: I.F. Annensky, A.A. Akhmatova (Gorenko), A. Bely (B.N. Bugaev), A.A. Blok, V.Ya. Bryusov, I.A. Bunin, M.A. Voloshin, S.A. Yesenin, V.V. Mayakovsky, V.I. Ivanov, B.L. Pasternak, I.V. Severyanin, D.S. Merezhkovsky, M.I. Tsvetaeva, Cherny (A.M. Glikberg), etc.

It was during this historical period of time that poets either became adherents of socialist realism in full or not in full. In any case, they became Soviet poets. Or they did not become Soviet poets, but chose a different fate: creativity in exile. And one more thing. There were poets who became neither Soviet nor emigrant. But they exist - poets of the Russian word. These are those who were repressed. Undoubtedly, among them the most prominent figure in poetry is O. Mandelstam.
Many attribute this entire period of development of poetry - from 1930 to 2000 - to modern poetry. This is far from true. This is not true at all. I am not one of those who deny their own history, the history of their state, the history of our Russian poetry, which I highlighted in literary creativity and loved. She loved to read poetry out loud and “to herself,” publicly from the stage, and in a narrow circle of like-minded people. Read everything that came to hand in poetic form: even now I love reading poetry. And it doesn’t matter to me who wrote them. I never look at the name to see who the author is. It is important to feel the rhythm, the music of the verse, to “catch the wave” of the author and rise with your soul along with him on his wave, as surfers do on a water board. I do not accept rough versification or profanity in the works of poets.
The Soviet period of poetry should have its own characteristics: temporal and territorial, qualitative and quantitative, ideological and some other important ones that are important as a whole, as a characteristic of a certain period historical development of humanity, attempts to escape from God, to turn aside from the destined path, to become independent in this huge information-wave space. It is necessary to write separate and extensive studies on this topic from the perspective of a modern person who has lived through the beginning of the new millennium, who has felt the novelty of modern poetry and its highest Olympic level. Many poets attracted my attention during the Soviet period - this was the period of my youth and my growing up. And there, in my youth, everything was good, bright and clean. Special for me is the work of K. Simonov - the embodiment of philanthropy and faith. Simonov readings have been held in memory of this poet since the 80s of the last century.
A special page is the famous poets of the Soviet era: A. Tvardovsky, Y. Smelyakov, O. Bergolts, V. Inber, S. Kirsanov, E. Asadov, E. Bagritsky, Yu. Drunina, K. Paustovsky, I. Brodsky, A. Yashin, Arseny Tarkovsky, Yu. Levitansky, P. Komarov, R. Kazakova and others.

Worth highlighting separate line the work of poet-bards, both significant for all lovers of art songs (B. Okudzhava, V. Vysotsky, V. Tsoi), and those who created at their local level, but were remembered and left a certain mark on the soul of the common man (in Kurgan in the Urals - people like L. Tumanova, in Khabarovsk in the Far East - people like M. Zhuravlev). But all this, although good and bright, is an irretrievably gone past.

In literary criticism, countless creative works various authors and poets. Modern poetry includes everyone: I. Brodsky, Yu. Levitansky, A. Tarkovsky, R. Kazakova, and other poets. The work of many has not become widely known or, at least, universally recognized. But in order to analyze precisely modern poetry and its modern level, it is necessary to find the very watershed from which it originates. How much we wrote in the second half of the 21st century about the arrival of the age of cybernetics. Can we say that the age of cybernetics had a special impact on the development of poetic creativity? More likely yes than no. And the second world war? Did she play any special role in the history of Russian (Soviet) poetry? What is important now: Russian poetry, Russian poetry, poetry in the post-Soviet space, the Russian poetic world?
How many questions immediately arise if you seriously think about what is included in the concept of modern Russian poetry, the poetry of those authors who write in Russian.
I believe that the poetry of the Soviet period faded into the background and lost its leading position in the territorial space where it once reigned since the 30s of the 20th century. But when did this period of hers end? Many poets, whitened with gray hair, worked during the period of Soviet power and continue to create and publish their poems, as an example of poetry, during the present period. I believe it would be more correct to designate a kind of watershed in poetry at the beginning of the 21st century - the century of universal computerization, changes in the nature of information technology, the emergence of modern means of communication and information, primarily electronic media, the development of Internet technologies, the emergence of social networks, simplification of the procedure for preparing materials for publishing, that is, further technical development and reducing the importance of the human factor in book publishing.
With the emergence and development of new information technologies at the beginning of the new 21st century, a new period of modern poetry emerged. And the age of the authors, the period of their intellectual formation (in the USSR, in the Russian Federation or in another post-Soviet space, in Russian far and near abroad) now does not matter at all for the development of poetry in modern stage. Thick magazines, printed books, literary periodicals - all this only catches up with the far-reaching technologies of creative activity, the ability of authors to realize themselves and be heard. The latter does not depend on the editor of any thick magazine or newspaper, subject or republican publishing house. The layout of the material itself has been simplified technically to the point of ideal, when in a minimum period of time: 1-2 months, you can create and publish your book. Poets create their own websites, post their works for discussion, and participate in communication through social media, have their own supporters and their own support group.
Someday this explosion of the poetic gift of our Russian-speaking authors writing in Russian beginning of the XXI century, their creative cohort will be called some special word, the elite of our time, and modern age poetry will be called Platinum or Diamond. Or quite simply, they will say that there was an age of online poetry. And this word will no longer have a negative, mocking connotation. At the very least, it is now impossible to talk about modern poetry without characterizing the poetic work of world-famous authors who have received worldwide recognition thanks to network resources. There are special programs to help the poet in his work: they will find a suitable rhyme, and a word, synonym or antonym, will help determine the size of the poem. But not a single program will replace the human soul, will not come up with a bright word, will not create the necessary mood for a poetic text. A poet is, first of all, a person, a person who is interesting to the reader, a person who is interesting to communicate with his comrade-in-arms.
Who stands out among the poets of our time since the beginning of this new 21st century? And not only the beginning of a new century - the beginning of a new millennium. Are they not those who in their childhood read and automatically memorized: “The fly-fly Tsokotukha, gilded belly, the fly walked across the field, the fly found the money,” or “What is it, what happened, why did everything spin around, spin and go head over heels?” “... Good Soviet childhood... We read from the stage at reading competitions the poems of K. Simonov, S. Kirsanov, E. Asadov, R. Kazakova, O. Bergolts, V. Inber, R. Gamzatov, and many other Soviet poets.
The century of Soviet poetry cannot be consigned to oblivion; this poetry stands apart from all previously known and modern poetry. I would divide Soviet poetry into three periods: pre-war lyrics, when poems were created under the slogan: “And if the hour of war comes and our homeland sends us to attack”; military poetics before 1953 - “Get up, huge country” and “This Victory Day”, which can include all military topics and subsequent ones Soviet years; poetry of 60-90 years - the rise and fall of socialist realism. In these periods there were geniuses, classics of socialist realism, geniuses and classics from among its opponents, and religious lyrics always existed.
The purpose of my work is to characterize modern poetry. She is the successor to Russian poetry of past years, including Russian classical poetry early XIX century, Russian classicism and modernism of the early 20th century, heterogeneous poetry of the Soviet period. Those who claim that there are no classics in modern poetry are mistaken. A classic of poetry always promotes poetry vertically, to those peaks that previously seemed unattainable. It's like at the Olympics: every year a person's achievements in classical sports are higher and higher - and where does the strength come from? New Olympic sports are appearing - like snowboarding. Beautiful for us and incredible for a person of the “pre-snowboard era”.
Someone claims that all rhymes have been sorted out, “love-blood-carrots” - humanity cannot go further than this, and it is impossible to get out of the circle of well-known, if not hackneyed, rhymes. There are boundaries, boundaries of what is possible. On the one hand, yes. But there is a phrase that has become a saying: there is no limit to perfection. This phrase precisely characterizes modern Russian poetry, both in Russia and in general in the Russian world of the near and far abroad. And it brought us closer, gave us the opportunity to meet, get to know and read each other, support and help - the era modern technologies, a completely new state of man and his information field, which does not know such barriers as distances, other countries, continents. Only one thing is important for everyone - knowledge of the Russian language. And yet - something from above that makes you take up every day not the pen, no, the next great invention of man - the “mouse” and hit the keys with all ten or just two fingers, but with tremendous speed. And one cannot help but draw an analogy: in the Golden Age, poets were united by the printed word, thick literary publications - it was there, in the editorial offices of magazines, that they gathered, communicated, and exchanged information. They created. In the Silver Age, Crimea became such a unifying principle. And again the poets communicated, informed each other, argued and admired, even had duels... They created.
In Soviet times, there were Houses of Creativity of Writers' Unions, where a very special creative atmosphere arose, poets organized meetings and discussions, debates and festivals. They created. And now, at the present stage, it is the information field created by new technologies that is the platform for communication of all the poets of the world who speak the Russian word. That’s why thick magazines are so concerned about their fate: in order to stay afloat, a thick magazine must have its own electronic counterpart and must create a platform for feedback and communication. Poetry and music merge together. The creation of playcasts is widespread - absolutely new form creativity. Poets prepare clips for literary meetings, when the voiceover of a poem performed by an author or an artist is accompanied by a demonstration of images on an interactive screen, and, often, music. In addition to virtual communication and as a result of such communication, literary platforms are being created, including at large libraries, as a new form of recognition of each other by modern poets and an incentive for personal growth in the work of each of them. The topic of modern poetry is inexhaustible. But classics are classics. They adhere to their own special theme, preserving the continuity of generations - the theme of patriotism.
An accomplished harbinger of the Golden Age of poetry, G. Derzhavin wrote his last poem three days before his death:

The river of times in its rush
Takes away all people's affairs
And drowns in the abyss of oblivion
Nations, kingdoms and kings.
And if anything remains
Through the sounds of the lyre and trumpet,
Then it will be devoured by the mouth of eternity
And the common fate will not go away!

In the modern crater of eternity, a few hours before being burned alive in the House of Trade Unions in the city of Odessa on May 2, 2014, the well-known online poet Victor Gunn (Stepanov) wrote:

The skies opened with rain,
Attacks of the torrential hordes,
Through the veil before my eyes
No raindrops are visible.

Floods of the Indus Bengals,
Brazil Amazonian rivers,
In the presence of all kinds of regalia
May God make his raid.

It's not a sin to hide somewhere
And survive the bad weather...
I'm walking in the rain! To pray!
Like an ancient barbarian prophet!

After the same events, the Orthodox poet V. Negaturov, who was burned in this House, died with burns in agony in intensive care. Ready to give and gave his life for Orthodoxy and the Russian world, V. Negaturov, known to many as an online poet, wrote four years before his tragic death, predicting events in Ukraine:

Friend is enemy
V. Negaturov

Snow, rain, snow... -
- A sad circle!...
There is no more terrible enemy
Than a former friend...

Either a smooth move, then suddenly -
- Zigzag jerk!
Who's to blame, my friend?
What are you my enemy?...

And how I. Tsarev echoes him in his poem “Evil Snow Falls from the Sky” several years before the events in Odessa, he does not ask - he states:

And the darkness makes it difficult to understand,
Outlining a circle in the snow,
Who is who's enemy today?
Who is someone's friend today?
Under the foot of icy darkness
Unreliable crusty crust.
And we were left alone -
Who hasn't forgotten us yet?

There are several resources where poetic works of authors are published. The largest of them: “Poems-ru” - where more than 800 thousand authors are registered. At the beginning of 2012 there were about 500 thousand of them, and in 2006 - only 100 thousand. The largest competition, “Poet of the Year,” has been held annually by this resource since 2011. If we analyze the work of the poets who became the winners and laureates of this competition, then there is no doubt that their work deserves high praise and attracts attention with a certain novelty, depth and quality of versification. Not all of them were published in literary magazines, but, as a rule, such a peak is reached gradually and only by those poets who have passed certain milestones in their work.

Orthodox poetry has become a special phenomenon of modernity in the 21st century. The poems of Orthodox poets, deep in meaning and vivid in sensations, cannot fail to touch the most subtle strings of the soul of an Orthodox person or someone simply living with faith. The poetry of Archpriest A. Zaitsev seems to be the most striking. You can get acquainted with his work not only on the portal “Poems-ru”, but on the portal of the International Club of Orthodox Writers “Omilia”.
Without keeping myself pure,
Many fall into the web of forgery -
They do not accept truth from God,
Covering the path of vice with laurels:
They call “Life” the fervor of passions,
“Joy” - spiritual decline,
“By courage” - there is doubt in the words of the Creator,
“By grace” - the bliss of idle days;
They are not ashamed to pour lies into their eyes,
They ruin the heart in the spell of lush flattery...

Worldly poets turn to the Almighty, with Faith in their hearts, Hope for understanding:

PRAYER
A. Kryuchkova

Lord, in an unkind fate
I will remove adversity with my hand,
Don't leave me in prayer
After all, the seeds must sprout,
Everything turns out upside down -
Sorry for being in physical form
I write and cry about earthly things,
My soul longing for heavenly things,
Leave me in the worldly garden
Until the hour of harvest,
So that on the day when I come to You,
I was able to bear fruit...

Modern poetry is at the peak of another upsurge. As one would expect, this is happening at the beginning of the next century - the 21st century, and moreover, which is important - at the beginning of the new millennium. What name will literary scholars give to this new for us, modern period of the heyday of poetry? Information age? Virtual? Or like this: The Diamond Age of Poetry. Why Diamond? Not polished, but precious and the most expensive stone. On the one side. On the other hand, modern technology in the age of information technology uses both diamond and graphite elements, without which their appearance would be impossible. It was new technologies that simplified the process of working with texts, even very lazy but naturally gifted people, that inspired them to make their sometimes not entirely polished poetic works public. But among the shaft of poetic interweavings there are large diamond stones that require almost no polishing. All they want is cutting - printed books that will preserve the diamonds for future generations. To identify and support is the task of patrons who care public figures. What standards should be used to compile a list of contemporary poets? What is good for one is unacceptable for others.
A few more thoughts about the work of I. Tsarev. He achieved worldwide recognition. Literary critics and literary scholars pay attention to the ideal unity of meter, rhythm and rhyme in his work. (L. Sushko) Igor Tsarev confidently came in his work to the classical form of versification, while he did not become an imitator, but was able to advance poetry vertically to a more perfect form, a delightful individual style and content, rich in subtext and additional information. His poems cannot simply be read - every name, denomination, phrase mentioned in them must be rethought, turn to encyclopedias and dictionaries in order to understand and see the full depth of the Word, which he applied using his internal resources and knowledge, thanks to inspiration and intuition.

His poetic creativity has become perfect and significant specifically for modern poetry. Studying his style, we can confidently say: none of the modern poets writes like this now. Literary critics unanimously and unanimously note the ideal unity of size, rhythm, rhyme in Tsarev’s poems, and the musicality of his creations. Fully agreeing with these conclusions, we note that Tsarev is a classic of modern poetry, Russian poetry in general. Born and raised in a family of a physicist (father is a professor of physics) and a lyricist (mother is a professional philologist), the poet already in his youth acquired encyclopedic training in various areas human knowledge. Coupled with enormous life and social experience, professional experience as a journalist of a large and important official publication, Tsarev is able to recognize, see and apply the consonance of words, as parts of speech, in a poetic line, at the end of a line (rhyme) so much in accordance with the meaning and content of the text poem, that its poetic harmony is perceived by the Word sent from above:
“In all eras, poets listen only to God
And they are looking for the Word to return the Beginning to this world.”

It is amazing that in none of his poems the poet does not use names, titles, phrases just like that (for rhythm, rhyme and meter): behind every word used there is a huge meaning and content, subtext and special meaning. The most obvious example is the poem “A Grain of Barley.” Why barley? How is this phrase related to the content and subtext of the poem? When you begin to understand and delve into the essence, you understand all the greatness of his poetic thought, the significance of the poet’s personality. Barley is the oldest plant crop on earth. Christ fed the entire flock with five loaves made from barley. Used by I. Tsarev in the poem “City of Ha” as a starting point geographical name The Stanovoy ridge is in the first quatrain, and in the penultimate quatrain he already has Khekhtsir and Dzhugjur. Why? What's behind this? And when you begin to go deeper and understand the subtext of the poem, respect for the poet grows exponentially. And the distant history of the formation of Russian statehood in the Far East becomes close to you, and the poem becomes clear and accessible in content.
Let me return to his sound recording of poetic lines, which, like a scale, musically flow from one word to another, to consonance when he uses the Word. An example of his rhyme is from just one half-joking poem:
until evening - trusting; copper i - comedy; emotions - Mozart; Bah I - ahaya; Johanna I - organ; accordion I - charm.
I can’t even apply the usual trivial assessments to the characteristics of his sound recording, he simply doesn’t need them. Undoubtedly, the poet Tsarev has an individual style that distinguishes him from all other authors. The first to draw attention to this side of I. Tsarev’s poetry was linguist, candidate of philological sciences E. Kradozhen-Mazurova.
Recently in one of the TV programs I heard the phrase: “A poet is someone whose personality is present in poetry.” The personality of I. Tsarev is present in each of his poems: powerful, intellectual with encyclopedic knowledge, and at the same time – defenseless, soft, unobtrusive...
When in the Elabuga wilderness,
In her offensive silence,
On a thin thread-like pulse
The button of the soul hung,
Just a bitch howl in the wastelands
Interspersed with bird cries...
And the world boasted of indifference
And he was militantly stubborn...
Lord palm at night
Blindly traced faces
And did not allow suicides
That he forgave their executioners...
Will he count a handful of candles,
Prayer with a drop of stearin?
My God, her name is Marina,
Forgive me, immortal, forgive me.
The work of modern poets attracts with its individuality, freshness, perfection of forms, sense of the pulse, rhythm of modern life, rich information technology. True poetry is always illuminated by a special Light in all centuries and glorifies the simple and hard work of the creator and the common man, emphasizing how much there is in common in any activity for the benefit of the World. Characteristic feature the twenty-first century in poetry has become a unification of creativity: the sculptor conveys the peculiarities of the perception of his own work through poetry (I. Luksht); the musician strives to combine poetry and music not only within the framework of a musical work, but also in a completely unusual way for past times through a playcast (A. Istomina); the artist comes up with the idea of ​​combining verses and strokes in a drawing, revealing sticography for us (I. Orkin); The phrase discography has also become familiar to the ear, when an inspired person combines poetry and music (Yu. Berezova).
“Let the songs that are dear to my soul become bright moments for you, my dear listeners,” Yulia Berezova addresses us. And her soul lives with us through the Word and the sounds of her spiritual singing.
And there is no limit to perfection - modern poetry confirms.

The first third of the 20th century was a time of searching for something new in Russian literature and in children’s poetry in particular: it was assigned a new role in the education of the younger generation and each individual individual. It is safe to say that the best Soviet poems for children were written precisely in the 20-30s of the 20th century. It was at this time that Samuil Marshak, Korney Chukovsky, Agnia Barto, and Daniil Kharms came up with their wonderful poems for children. Children's poetry is a genre that seems to be specially created to emphasize the intrinsic value of the personality of each child and childhood in general, to appeal to the feelings, thoughts, and inner world of a little person. All these verses have a number of common features. Firstly, in these verses there are no “direct” teachings, all didactics is contained in humor or irony, it stops in fun game. In general, the playful principle is a striking feature of children's poetry of that time, but it manifests itself differently in different poets. For example, a children's game can form the basis of the plot, as in Agnia Barto's poem “I Forgot My Mittens.”

There is a snow fight on the boulevard. Here I am, of course! Oh, what happened! Oh, what happened! There was so much laughter! I forgot my mittens, that’s what was bad!

A poem can not only outline some kind of game situation, but also recreate a special game rhythm, as, for example, in S. Marshak’s poem “Ball”: My Cheerful, Sounding Ball, Where Did You Jump Off? And paradoxical poetry - for example, the poetry of Kharms - uses a play on words and sound: Do you know that ON? Do you know what NOT? Do you know what BE is? What's in the sky Instead of the sun Will there be a wheel soon? Or the “picture, basket, cardboard and little dog” that everyone knows from childhood, which one cannot help but fall in love with: the situation is comical precisely thanks to the composition of the poem and the means of expression - the discovery of Samuil Yakovlevich Marshak. Poets of that time drew the attention of young readers to different aspects of life: some poems carry new, entertaining information about the world around them, others teach reasonable, kind, eternal things, while others develop imagination and creative thinking. Thanks to game form the distance between the poem and the reader is reduced, an artistic space is created in which the child literally feels like a fish in water. Children's poets try to look at the world around us through the eyes of the children themselves, expressing themselves in their language, worrying like children, touching on children's problems, like, for example, Agnia Barto: I put the cat out the door, I said that I wouldn’t let him in. I've been looking for her all day now, I'm looking for her everywhere. Because of her, the Second Night Everything repeats itself, exactly the same, In a dream, as in reality: I chase the cat away, I chase the cat away, Then I call again. Special mention should also be made of works on the subject of the Great Patriotic War, such as, for example, “Zvenigorod” by Barto or “Military Post” by Marshak. The authors remind young readers that life is not just a game, there are more serious things, and one should never forget about friendship, devotion, honesty, love for loved ones and for the homeland.

“First Snow” by G. Sapgir: Snow fell early on. The man was surprised: “Is it snow? It can’t be! In the yard? It can’t be! On the grass? It can’t be! In October?! It can’t be!!! Is it really snow?” - The man didn’t believe it. A poem is a game, poets use the most different techniques: changes in rhythm, repetitions, form of dialogue, variability in plot lines. Such “game” poems create a feeling of celebration.

In general, children's poets of that time are trying to understand what is happening in the soul of their reader, trying to look at the world through the eyes of a child. This property is manifested both in the poetic cycle of S. Marshak “Children in a Cage” and in the early poems of A. Barto, written in the first person:

In general, it can be said without exaggeration that children's poetry of the 20-30s of the twentieth century opens a new page in the history of children's literature: in an accessible poetic language it tells children about themselves, about those emotions that are familiar to every child, about the life of a child's soul.

27. Fairy tale alphabet. Artistic Features their creation.

A special genre form is the alphabet: poetic, prose, alphabet in drawings. The genre of poetic alphabet was developed by K. Istomin in the 17th century. and still exists, having become widespread in late XIX- early 20th century (K. Ldov, Sasha Cherny, S. Marshak, V. Berestov, B. Zakhoder, V. Lunin, etc.).

The main artistic techniques of the poetic alphabet are alliteration (repetition of the same consonant sounds): The woodpecker lived in an empty hollow, the oak tree chiseled like a chisel. (S. Marshak) and assonance - repetition of the same vowel sounds: August. The sunset is falling behind the forest. Scarlet storks are flying to the forest... (V. Lunin)

With the help of these techniques, the main task for the author is solved - to introduce the child to the letter, to create its image in the child’s mind, to establish associative connections between the letter, sound and the world embodied in them. Prose alphabets are more extensive and rich in information, but are less widespread. Among them, as an example, we can name: “The ABC of Grandfather Nikifor” by A. Potapova, “The Alphabet” by G. Yudin, “The ABC” by L. Petrushevskaya.

The plot of A. Potapova's ABC is simple: preschooler Panteley comes to his grandfather Nikifor for the summer and stays with him for 33 days. At this time, the grandfather teaches his grandson to read and write, and the boy learns not only letters. He understands how much his life will change when he begins to read and is able to “turn over” the interesting pages of human history, master various types of information, and reflect on concepts hitherto unknown to him. The author’s principle of presenting material is playful; it corresponds to the leading activity of a preschool child; with its help, learning organically enters a child’s life.

The prosaic “ABC from Grigory Oster” is an entertaining work, actors which are the author and the reader. This is a primer and methodological manual for parents at the same time. The book combines the traditions of K. Istomin, who created the first Russian illustrated primer, and a new look at what the modern alphabet should be, where the child is not an object of learning, but an interlocutor. The creator of the alphabet talks to the child as if this were not happening on the pages of a book, but in real life, asking the child, in the process of learning a letter, to either slap himself on the head, or shout with different intonations and strength of voice, or draw a letter, or solve riddles. Memorizing a letter “according to Oster” is an emotional, not a rational process. Moving from simple to complex, from entertaining to serious, the author gradually leads the child to understand sounds and letters, teaches him to add syllables and words.

“The ABC from Grigory Oster” presents original texts for reading, exercises for child development and material for communication between children and adults. It has developed an original methodological system for teaching a child to read and write, which distinguishes this alphabet from others that are contemporary to it. In addition to poetic and prose alphabets, there are alphabets in pictures, where there is no text as such, but “the picture itself is a kind of story in the drawing.”

The tradition of such alphabets also comes from the “Facebook” by K. Istomin. The most artistically perfect book of this kind is “The ABC in Pictures” by A. Benois, published in 1904. "A. Benoit believed that the perception of the spiritual riches of humanity begins with the alphabet, and the child’s artistic thinking develops.” The ABC can be a unifying work. This includes other genres: counting rhymes, tongue twisters, lullabies and even molestation (M. Yasnov “Feast of the Primer”)

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TOPIC "The role of children's poetry in the development of preschool children."

From work experience

Educator

Oslopova O.A.

2015

Reading aloud plays an important role in the development of a child, his intellectual abilities and sense of language. Child from the very early age is able to determine intonation and has a good sense of the rhythm of speech.

And here children’s poems play a huge role in his development.

Poetic speech differs significantly from ordinary speech. It is rhythmically clearly organized, and this is especially important in poems for children. Children's poetry, as a rule, has clear, sonorous, easy-to-guess rhymes that are easy to remember. This helps you learn them by heart.

Memorizing poetry is a great brain workout. In memorization, not only one hemisphere is active, but the entire brain. Scientists have long proven that a child who knows a lot of poetry in childhood demonstrates better indicators of intellectual development in later life.

On the other hand, any nursery rhyme includes words that we rarely use in everyday life: metaphors, vivid epithets, comparisons and images. And the structure of the poem differs from the speech structure of our ordinary speech. A child repeating these phrases while memorizing a poem. Remembers them, enriching his own speech and vocabulary. Poems teach a child to listen to the sound of words. They give knowledge that there are words with similar sounds. But with different content and vice versa, different words can contain and mean the same thing. Poems also develop articulation and pronunciation of sounds and words, the sound composition of a word; develop a sense of rhythm, rhyme, creative imagination, humor.

The most favorable period for memorizing poems is the age of 4-5 years. It is at this age that a child’s memory begins to develop rapidly. After four years, it is necessary to purposefully teach the child to memorize the text by heart.

In senior preschool age The ability to clearly, meaningfully, clearly and expressively read poetry by heart is improved, showing initiative and independence. For memorization, it is recommended that they be quite complex in content and artistic means poems (A.S. Pushkin “The Spruce Grows in Front of the Palace”, I. Surikov “Winter”, E. Blaginin “Let’s Sit in Silence”, S. Yesenin “White Birch”), etc.

While working with older and older children preparatory group, I came to the conclusion that for children to develop a sense of rhyme and rhythm, memorizing poems and exercises to develop these feelings play a huge role.

For example, the exercise “Listen to the heart beat” introduces children to the rhythm of the heart, because they tap it or clap it with their palms.

“Knock as many times as there are dots on the card”, “Knock as I say.”

Thus, taking into account that the group of children is of different ages, the results of the work on memorizing poems indicate: High level development -20%, medium -50% and low level -30%. This means that

Memorizing poetry by heart is the most effective method learning and is superior to other types of activities.

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