Philosophical fairy tales, their role in the development of a child’s personality.

In the literary reading program in elementary school, much attention is paid to the study of fairy tales, both folk and original (Russian and foreign writers).

A fairy tale that conveys the experience of a generation is a short path that helps to reveal the inner world of a child. A child, becoming aware of himself and exploring the world around him, begins to ask many questions to adults, sometimes perplexing them. Observing the fate of the heroes of fairy tales, perceiving the language of fairy-tale images, the child puts together his own picture of the World, on the basis of which he perceives various situations and acts in a certain way. Adult language and logic are not always understandable to a child, and therefore it is easier for him to find his little problems and questions in fairy-tale situations, providing the opportunity to play out and “live” them as much as possible, so that the child is adapted to the conditions of the world around him. It is important to teach a child to think independently, to learn to listen to the Word, its music, its secret meanings.

Of course, all the fairy tales included in the program teach wisdom. But their study is carried out according to traditional methods: positive and negative characters, the beginning and ending of a fairy tale, and fairy-tale elements are identified. We are accustomed to the fact that at the end of a fairy tale, good triumphs over evil, that in the teacher’s final word at the end of the lesson, everything will be put in its place. We teach children to think conventionally.

But at the present time, I believe, we must develop creative individuals in children who are capable of thinking independently, thinking in an original way, and being able to argue with reason if their position does not coincide with the views of their peers or even the teacher. I decided to break out of this traditional circle of presenting and studying the material and structure the lessons in such a way as to liberate the child’s thoughts and create an atmosphere of creative freedom in the lesson.

In the traditional system, roles are distributed between students and students as follows: one teaches, the other learns. Well, what if it’s different? In my opinion, a teacher should treat the student as an equal. Students can and should independently construct knowledge using a critical approach to existing information.

There should be a diversity of opinions in the classroom.

Based on all of the above, I am working on the topic “Philosophical fairy tales, their role in the development of a child’s personality.”

Philosophical tales raise eternal themes: Man, Good, Freedom, Morality. These fairy tales teach us to see not a traditional goal that must be achieved, but a natural and obligatory condition of life. These fairy tales are for those who want and can learn to love themselves and love people. These fairy tales teach not only literary concepts, but also raise the development of a philosophical sense of the world to a new level.

First of all, when studying a particular fairy tale, I “turn on my feelings.” The goal is to create an emotional mood, to connect the subconscious. This could be the use of music (both classical and modern), or any subject that evokes associations. Then I “let go” the student’s thought into “free flight”, trying to rely on his own experience, on his own awareness of previous knowledge. “Well-directed freedom” - in these words, I think, there is a huge potential for methodological discoveries. I am sure that the formation of a child will depend on the environment that we create for him. During the lessons I try to provide the child with the opportunity to make his own decisions and act independently.

Research by V. Propp, psychotherapeutic tales and ideas of L.D. Korotkova and L.B. Fesyukova, philosophical tales of S. Kozlov, Leonardo da Vinci, allow me to organize work with a fairy tale, understand the idea and figurative meaning of forms of small folklore, soften behavioral negativism at the child.

In my work I use the experience offered by my French colleagues - the French Group of New Education (GFEN) - a movement for new education that arose in France 70 years ago at the behest of psychologists, writers, and philosophers.

For me, the most important task in the lesson is for the student to come up with a cognitive situation himself. Therefore, I do not invent for the student the path along which his thought will lead to discovery.

I believe that this approach to teaching children is socially significant. My pedagogical credo: belief in the uniqueness of each student and his talent. Everyone is capable, everyone can. This self-confidence helps my students believe, even in those moments when they are plagued by failures, that everything will finally succeed.

Very interesting, in my opinion, is the “publication” of thoughts in the lesson. The goal is to discuss all opinions, consider all hypotheses, hear everyone. This is facilitated by the preliminary stage in the lesson, when everyone must make an individual decision, based on their own experience, to understand previous knowledge.

As a rule, in a lesson, when working on a philosophical fairy tale, a “gap” arises - an internal emotional conflict when the child experiences a feeling, an internal awareness of the incompleteness of his knowledge. It is at this moment that painstaking work on the text of the philosophical fairy tale begins. In these fairy tales there is no obvious division into positive and negative heroes, and the student must choose his own position in relation to the hero or the problem. Since one cannot study alone, the knowledge of one student is naturally enriched by the knowledge of others.

In the traditional system, the teacher acts as a master who knows everything; he owns the information. And with the new approach, the sequence of tasks stimulates the student’s thought and the search is carried out with their discoveries individually and in a team.

Is this approach labor intensive? In my opinion, it is no more labor-intensive than other methods, although, of course, it requires diverse knowledge and interests from the teacher. Sometimes children pose problems that are difficult to answer right away, but together we find answers to seemingly insoluble questions. I believe that anyone can master the technique. A teacher’s erudition, desire to create and collaborate with his students, and accept a diversity of opinions are the main aspects of success.

In my opinion, the effectiveness of this pedagogical experience is obvious.

I believe that in the classroom there must be reflection - self-analysis. The goal is to analyze the movement of your own thoughts, feelings, knowledge, and attitudes. And therefore, in lessons when studying philosophical fairy tales, there should be such reflection. Students, in their answers - reflections, sum up the results, share opinions about their feelings, and this helps them look into their own inner world and think about the good and eternal.

In my lessons, I give the child the opportunity to express everything he thinks. The child must clearly know, this is my deep conviction, that none of his statements will be subject to condemnation.

And I also believe that the effectiveness of a teacher’s work will be directly dependent on the attitude towards children. The basis for communication with children should be naturalness, sincerity, respect for the point of view of others and acceptance of them as individuals. You don’t need to adapt to them – you just need to be yourself.

References.

Brocket Z., Schreiber G. "The healing power of fairy tales." FGUIPPV, 2003.

Vygotsky L.S. Imagination and creativity in childhood. St. Petersburg, 1997.

Korotkova L. D. Fairytale therapy for preschoolers and primary school age // Methodological recommendations for pedagogical and psychocorrectional work. M., 2003.

Lerner I.Ya. Didactic foundations of teaching methods. M.: Pedagogy, 1981.

Luk A. N. Psychology of creativity. M., 1978.

Lvov M. R . School of creative thinking. M., 1993.

Propp V. Ya. Historical roots of fairy tales. Leningrad State University, 1986.

Propp V. Ya. Morphology of a fairy tale. M., 1969.

Fesyukova L. B. “Education with a fairy tale”, M., 2000.

Uvarina N.V. Development of creative abilities in primary schoolchildren. Chelyabinsk, 1999.

Nikolai Ivanovich Kozlov

Philosophical tales

This book was born

under the star of my dear Miracle.

It is dedicated to her with love.

To the second edition

The biggest surprise for me after the book was published were the letters from readers: a huge flow of letters with sincere warmth and gratitude. I couldn’t believe it: gratitude - for all these harsh words, for the prickly, borderline foul, humor and injections on every page!

But, apparently, the reader had enough wisdom to see behind the thorns an invitation to smile together, and behind the backhand wording - trust in him and sincere pain for our common human stupidities.

You saw it. Thank you.

True, I also received reliable information that one of the readers demanded to buy up the entire circulation - precisely in order to destroy it. All.

As a form of showing attention, this is nice too.

However, most often the letters arrived were different.

For example, things like this:

Good afternoon, Nikolai Ivanovich!

Until what? clear, understandable, simple, complex, exciting, witty, fun, talented- And unexpected for me personally. I was looking for something for my soul in the most serious teachings, which have everything: colossal experience - knowledge - wisdom - love- path to the Light; but for some reason this path was always strained and at the limit of human capabilities...

You also have a path to the Light and it is also not easy. But your path is through joy!

Towards the Light – through Joy, and not through Suffering, that’s what shocked me!

But my soul feels so good! This book came to me on time, thank you, life!

Natalya G.

And also drawings flew to me. Light ones!

They were sent by a tired housewife and a concerned mother of three wonderful children. And thus the book got an artist:

Irinushka, thank you for the smiles and Sunny!

And also drawings flew to me. So bright!

To the third edition

Like any serious philosophical work, this book was originally intended for a very select circle of readers, namely those intelligent and cheerful in humor and spirit. The fact that hundreds of thousands of copies of the book are quickly sold out is a major compliment to our readership.

This means that living people have not yet died out.

Moreover, there are all the pleasant reasons to recognize oneself as a trendsetter in printing fashion, since now a variety of authors are releasing their books with covers “like Kozlov” and even with covers designed like this

comments. With such indents and font.

The flow of reader letters continues unabated; I apologize in advance for the rare replies. I can answer half the letters wholesale, because every second letter repeats the refrain: “Thank you from the bottom of my heart for your wonderful book, I really liked it, although I don’t agree with many things in it.” I answer: “From the bottom of my heart, please, I also don’t agree with many things in this book, but I still like it.”

Women write a lot. I already understood that if a feminist movement develops in Russia, then its founder will undoubtedly be Kozlov. But what about it? Many calmly dozing women, having read his Books, were so outraged that they began to write large articles and small books refuting him. The destiny of a Woman demanding respect became their destiny. And all thanks to what?

Books by Kozlov.

Well, good. Taking this opportunity, I heartily hug all my readers and writers, regretting that it was only in absentia. I am always ready to reproach harmful men with them, especially since I know that women’s letters are combative, but personal meetings are sincere.

See you!

Preface

It is better to do and repent than

don't do it and repent.

Glorious Boccaccio

What is this book like? Like my previous one, “How to treat yourself and people, or Practical psychology for every day,” apparently, for nothing. That's why she's beautiful. But if that book was written with the reader in mind and was done largely for him, this one was written by me for myself. And practically without internal censorship.

Well, maybe also for friends. And with my wife's gentle censorship.

This is definitely not Science, although the book was based on science and the density of its own and borrowed scientific material used in it significantly exceeds the statistical average. Rather, it is Literature, in its best places becoming Poetry.

Indeed, if poetry, according to Akhmatova, grows from both garbage and weeds, then why shouldn’t it grow from science?

The first, which is also the working title of this book, is “How to Treat Yourself and the World: Practical Philosophy for Every Day.” Accordingly, both the first and second books are very similar: the only formal difference is that in the latter the emphasis is moved from “people” to “the world” and the scale of the view is changed – not “psychology”, but “philosophy”.

Philosophy and psychology are simply languages ​​of different levels. A psychologist is a wise practitioner who, without flying high, chews on philosophy in relation to everyday reality. And a philosopher is a sage who, regarding a variety of everyday problems, without delving into the specifics, says the same things - those that solve these problems. Philosophy literally translated is the love of wisdom.

Do not confuse it with metaphysics - the doctrine of the structure of the world. I don’t like these teachings: they are easy to believe in, but impossible to verify, and, most importantly, why should I care about all these problems? If the soul hurts, you need something about the soul, and not about matter, space and time.

The philosophy of this book, like the psychology of the previous one, is applied. It is for everyday life, for a living and feeling person from morning to evening of his day and life, in the familiar environment of near and far, for work and holidays, illnesses and television.

Philosophy, like the psychology of the first book, is practical.

If you consider these books to be children, then my first child was born an extrovert and a cute-to-everyone, although not without depth and with a twist. The second child is a deep introvert and a sage from birth, but just as mischievous and sociable.

In general, later children, as a rule, in all respects find themselves much further from the statistical mean: more often deviations towards both genius and pathology. Let's consider this child lucky.

The child, however, is very mocking, ironic, and even simply malicious, although in general he is bursting with health and optimism. His rare anger, I think, should be forgiven - it is bitter and is generated, apparently, by sentimentality that has not yet been completely overcome. This charming child perceives his stories exclusively as Fairy Tales and does not understand the question: “Is this True?”

His answer: “I don’t care at all. What I tell are Tales, and all I need from them is for them to work. Ordinary fairy tales should put children to sleep, but mine should wake them up. But are they true? Who cares if everything that should happen happens to the children listening to them?”

I happily and completely sincerely admit: these “Fairy Tales” are my favorite book. No matter how I open it, no matter how I start reading, I admire both the style and the content. This must be written so well!

Oh yes Pushkin! Oh yes...!

You always read with pleasure what was written with great pleasure.

By the way, about Pushkin and me. Many people accuse me of cynicism, but this is a misunderstanding. Any realism in relation to people gives rise to nothing but sadness, and when this already sad realism is presented against a cheerful background, yes, it is called cynicism. But your author, doing this - and the author did it with undisguised pleasure! - only continued the tradition of great Russian literature.

Only those who have not read him for a long time can deny Pushkin’s cynicism. But what else gives “Eugene Onegin” such charm?

Many people compare this book with the works of Nietzsche - if this flatters me, then insofar as it is. I read Nietzsche, and some things quite carefully. But my book is more interesting for me to read. Nietzsche, as an improviser, spreads out with brilliance - but spreads out, and I am laconic. He suffered painfully from stomach, eyes, headaches and depression, and his cheerful exuberance against this background was sometimes unstable and sometimes painful. My health is in perfect order, and I write more cheerfully. As a pioneer, he was still cautious - but I was already bolder and tougher. But, oddly enough, kinder.

It was difficult for Nietzsche to imagine that his superman would be so mentally rich and strong that he would gladly allow himself care, warmth and tenderness. There are many things that separate us, but there is also something that unites us: sincerity and unconditional concern for humanity.

Philosophical tale

Terminological dictionary-thesaurus on literary criticism. From allegory to iambic. - M.: Flinta, Science. N.Yu. Rusova. 2004.

See what a “philosophical tale” is in other dictionaries:

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Saint-Exupéry Antoine de- (Saint Exupéry) (1900 1944), French writer. Moral pathos, faith in the possibility of understanding and unity of people are distinguished by the novels “Southern Post Office” (1929), “Land of People” (1939), and the philosophical lyrical fairy tale “The Little Prince” (1943).... ... Encyclopedic Dictionary

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JANACEK Leos- (3 VII 1854, Hukvaldy, Moravia 12 VIII 1928, Moravska Ostrava, now Ostrava) L. Janacek ranks in the history of Czech music of the 20th century. the same place of honor as in the 19th century. his compatriots B. Smetana and A. Dvorak. These are the largest... Musical dictionary

MEDVEDKIN- Alexander Ivanovich (1900 89), film director, People's Artist of the USSR (1979). Satirical film comedies fairy tales: Poleshko, Stop the Thief (both 1930), etc., philosophical fairy tale Happiness (1935); documentary films pamphlets: Reason against madness (1960), Shadow... ... Russian history

Gaidar- (real name Golikov) Arkady Petrovich (1904, Lgov, Kursk province - 1941, village of Leplyava, Kanevsky district in Cherkasy region, Ukraine; buried in Kanev), Russian writer. A.P. Gaidar The son of a teacher - a native of a peasant-soldier family - and... ... Literary encyclopedia

LEGEND (1985)- “LEGEND” (Legend) UK USA, 1985, 109 min. Aesthetic fantasy melodrama. Ridley Scott's philosophical tale about the eternal struggle between Light and Darkness, Good and Evil caused surprisingly poorly hidden irritation among Americans. A copy of the film in their... ... Encyclopedia of Cinema

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Philosophical tales for those pondering life or a funny book about freedom and morality Nikolai Ivanovich Kozlov

TALES OF LOVE

TALES OF LOVE