Project: “Folk art as a means of introducing children of middle preschool age to the origins of Russian folk culture. Introducing preschool children to Russian folk art
Russian folk art. Small folklore forms
I: ((1)) TOR 1.1. CT =A; T =;
S: The word "folklore" is borrowed from
-: Greek
-: latin
+: English
-: Russian
I: ((2)) TOR 1.1. CT =A; T =;
S: Sign distinguishes folklore from literature:
-: relevance
- anonymity
-: historicism
- handwriting
+: syncretism
I:((3 }} TK 1.1. CT=A;T =;
S: The sign is related to folklore and ancient Russian literature
-: relevance
+: anonymity
-: historicism
- handwriting
-: syncretism
I:((4 }} TK 1.1. CT=A;T =;
S: The term "anthromorphism" means:
-: inspiration
+: humanization
- related to animals
- related to insects
- related to birds
I: ((5)) TOR 1.1. CT =A; T =;
S: The festive and ritual period is full of fortune-telling - these are:
-: Maslenitsa
-: Mermaids
-: Kupala Day
I: ((6)) TOR 1.1. CT =A; T =;
S: The cult tree of the rite is a birch - it is:
-: Shrovetide
-: funeral
-: maternity
+: Trinity-Semitsky
I: ((7)) TOR 1.1. CT =A; T =;
S: The artistic technique lies in the composition of the proverb. Ours are playing, and yours are crying:
+: antithesis
-: metonymy
-: oxymoron
-: parallelism
-: tautology
I: ((8)) TOR 1.1. CT =A; T =;
S: The following text is a saying:
-: A pear is hanging - you can’t eat it.
-: There was not a penny, but suddenly Altyn.
+: Like water off a duck's back
-: The pipe is lower, the smoke is thinner.
-: We wanted the best, it turned out as always.
I: ((9)) TK 1.1. CT =A; T =;
S: Artistic technique is essential in creating puzzles
-: antithesis
+: metaphor
-: metonymy
-: comparison
I: ((10)) TK 1.1. CT =A; T =;
S: Introductory article by V.I. Dalia to the collection of proverbs is called:
-: "Treasured"
- "Instructive"
+: Naputnoye
- "Instruction"
-: "Advice to a folklorist"
I: ((11)) TK 1.1. CT =A; T =;
S: Folklore genres are studied by the section of folklore "paremiology" - this
- non-fairytale prose
- ritual poetry
-: Proverbs and sayings
-: proverbs, sayings, riddles, songs
+: proverbs, sayings, riddles
I: ((12)) TOR 1.1. CT =A; T =;
S: The difference between proverbs and sayings:
-: in the accuracy and figurativeness of the statement
-: proverbs are based on metaphor, and sayings are based on comparison
+: a proverb is a complete judgment, a saying is a part of a judgment
- proverb and proverb do not differ from each other
I: ((13)) TK 1.1. CT =A; T =;
S: Folk genre
-:legend
+: proverb
-:story
-:ballad
I: ((14)) TK 1.1. CT =A; T =;
S: The definition of folklore seems to you the most complete - it is:
+: a special kind of creativity that has retained a connection with ancient thinking and understanding of the word
-: art created by the people and existing among the broad masses of the people
-: folklore
- a set of works on various topics
I: ((15)) TZ1.1 K=A; T=60
S: Genre related to nurturing poetry:
+: lullaby songs
-: sentences
-: undergarments
- teasers
I: ((16)) TZ-1.1 K=A; T=60
S: Accompany the first conscious movements of the child, a kind of exercise with sentences:
-: jokes
-: jokes
+: pestle
-: lullabies
I: ((17)) TK 1.1 K=A; T=60
S: Tell the child the first information about the multiplicity of objects of the world:
-: puzzles
-: Russian folk songs
+: nursery rhymes
-: invocations
I: ((18)) TZ-1.1 K=A; T=60
S: A genre of small folklore, the favorite technique of which was an oxymoron:
-: joke
-: call
+: Fable-shifter
-: pestle
I: ((19)) TZ-1.1 K=A; T=60
S: Genre of small folklore, which includes nursery rhymes, pestles, elements of adult folklore:
-: proverb
+: rhyme
-: nonsense
-: Russian folk song
I: ((20)) TZ-1.1 K=A; T=60
S: A word game that was part of the festive entertainment:
+: call
-: patter
-: folk song
-: Lullaby
I: ((21)) TZ-1.1 K=A; T=60
S: Genre of small folklore intended for children and adults:
+: tongue twisters
-: counters
-: jokes
-: jokes
I: ((22)) TZ-1.1 K=A; T=60
S: "Kolya, Kolya, Nikolai,
Stay at home, don't play
Clean the potatoes
Eat a little" is:
-: nonsense
+: teaser
-: undershirt
-: call
-: draw
I: ((23)) TK-1.1. K=A; T=60
S: Peculiar wordplay
You have been sent a tribute
Which Masha?
The pig is ours
Say "noodle"
You are the daughter of an alcoholic
-: patter
+: undergarment
-: teaser
-: call
I: ((24)) TK 1.1 K=A; T=60
S: Genres of small folklore associated with the folk calendar:
-: Fables-shifters
-: Russian folk songs
-: legends
+: invocations
I: ((25)) TK 1.1 K=A; T=60
S: Riddles are used in the folk tale:
-: "Sister Alyonushka and brother Ivanushka"
+: "Seven Year Plan"
-: "Frost"
-: "Princess Frog"
I: ((26)) TK 1.1 K=A; T=60
S: A proverb is
- figurative combination of words
- part of a judgment giving an accurate assessment of an event or person
Aphoristically concise, figurative, logically complete saying of an instructive nature
-: figurative expression, aptly defining and evaluating any phenomenon of life
I: ((27)) TK 1.1 K=A; T=60
S:Literary devices that underlie the riddle
- hyperbole, litote
- epithet, personification
+: comparison, metaphor
- oxymoron, litote
I: ((28)) TZ-1.1 K=A; T=60
S: Appeals to the forces of nature contain:
+: invocations
-: sentences
-: folk songs
-: nonsense
-: silent
I: ((29)) TK-1.1. K=A; T=60
S: "Ladybug! Fly to the sky! I will give you bread! " - This:
-: patter
+: sentence
-: call
I: ((30)) TK 1.1. CT =A; T =;
S: Art forms in which elements of folklore can be used are:
-: architecture
-: painting
+: literature
I: ((31)) TK 1.1. CT =A; T =;
- chronicler
- singer-songwriter
I: ((32)) TK 1.1. CT =A; T =;
S: Folklore genres are different from each other:
-: volume
+: plot features
epics
I: ((33)) TK 1.2. CT =A; T =;
S: The term "Russian heroic epic" refers to the genre
-:fairy tale
-:songs
-:ballad
I: ((34)) TK 1.2. CT =A; T =;
S: The epic hero had the ability to transform - these are:
+: Volkh Vseslavievich
-: Mikula Selyaninovich
-: Mikhailo Potykh
-: Svyatogor
I: ((35)) TK 1.2. CT =A; T =;
S: The main tasks of epics are:
-: describe the exploits of heroes;
-: to give documentary evidence of historical events;
+: glorify, glorify Rus';
-: describe household items that were used in Rus'.
I: ((36)) TK 1.2. CT =A; T =;
S: The image of the Kyiv cycle of epics is official and collective - it is:
-: Alesha Popovich
-: Nikitich
-: Ilya Muromets
-: Kalin-king
+: Prince Vladimir
I: ((37)) TK 1.2. CT =A; T =;
S: The epic hero received the status of a rebel - this is:
+: Vasily Buslaev
-: Nikitich
-: Mikhailo Potykh
-: Svyatogor
I: ((38)) TK 1.2. CT =A; T =;
S: The epic hero falls into the surreal realm of the antagonist - this is:
-: Alesha Popovich
-: Vasily Buslaev
-: Volkh Vseslavevich
-: Nikitich
I: ((39)) TK 1.2. CT =A; T =;
S: The semantics of the name of an epic hero is associated with metamorphism - this is:
+: Volkh Vseslavievich
-: Mikhailo Potykh
-: Svyatogor
I: ((40)) TK 1.2. CT =A; T =;
S: The epic hero did not believe "neither in a dream, nor in a choh, nor in a bird's play":
-: Alesha Popovich
-: Nikitich
+: Vasily Buslaev
- Duke Stepanovich
-: Ilya Muromets
I: ((41)) TK 1.2. CT =A; T =;
S: Epic hero disarmed and captured is:
-: Vasily Buslaev
+: Ilya Muromets
-: Mikhailo Potykh
I:((42 }} TK 1. 2 . CT=A;T =;
S: The epic hero was a dandy (dandy, schap) - this is:
-: Alesha Popovich
-: Nikitich
-: Vasily Buslaev
+: Duke Stepanovich
-: Ilya Muromets
I: ((43)) TK - 1.2. K=A; T=60
S: Place of origin of the first epics:
+: Kievan Rus
-: Velikiy Novgorod
-: Nizhny Novgorod
I: ((44)) TK-1.2. K=A; T=60
S: The time of the first epics (how many thousands of years ago):
- more than three
-: one and a half
+: more than a thousand
- less than a thousand
I: ((45)) TK-1.2. K=A; T=60
S: Heroes of epics are:
-: simple people
+: mighty heroes
- fictional characters
- More often females
I: ((46)) TK-1.2. K=A; T=60
S: Epics performed:
+: folk poets - singer-storytellers
- male choir
- storytellers
-: courtiers
I: ((47)) TK-1.2. K=A; T=60
S: An important part of the epic “Here Ilya and glory are sung:
-: main part
+: ending
-: hint
I: ((48)) TK 1.2. CT =A; T =;
S: Bylina usually starts with
- epilogue
-: exposure
- descriptions of the scenery
I: ((49)) TK 1.2. CT =A; T =;
S: Volga and Mikula Selyaninovich set off on their journey with the goal of:
- to see the world
- to go to war
+: for tribute
-: visiting Prince Vladimir
I: ((50)) TK 1.2. CT=A;T =;
S: Diligence, skill, kindness, self-esteem distinguish the epic hero:
-: Alyosha Popovich
I: ((51)) TK 1.2. CT =A; T =;
S: Volga Svyatoslavovich is attributed to Prince Vladimir:
-: nephew
I: ((52)) TK 1.2. CT =A; T =;
S: Epics were created in the historical period:
-: V - VIII centuries.
-: XI - XV centuries.
+: IX - XIII centuries.
-: XIV - XVII centuries.
I:((5 3}} TK 1.2. CT=A;T =;
S: The action of epics is often slowed down in order to:
-: deeper disclosure of the image of heroes
- creating a friendlier environment among listeners
-: description of nature
+: this was a traditional feature of epics
I: ((54)) TK 1.2. CT =A; T =;
S: Epics are characterized by:
+: hyperbole
-: allegory
-: moralizing
-: allegory
I: ((55)) TK-1.3. K=A; T=60
S: There was a scientific interest in fairy tales at times - this is:
I: ((56)) TK-1.3. K=A; T=60
S: Characteristic cumulative (chain) structure for fairy tales:
+: fairy tales about animals
- magical
-: household
- satirical
I: ((57)) TK-1.3. K=A; T=60
S: “We all got up to live together, live ...; They played a wedding, feasted for a long time ... ”is:
-: hint
+: ending
-: story transition
I: ((58)) TK 1.3. K=A; T=60
S: What type of heroines does Marya Morevna belong to:
+: female warrior, hero, powerful queen
-: wise maiden, written beauty
- modest and industrious orphan
-: offended by fate stepdaughter
I: ((59)) TK 1.3. CT =A; T =;
S: The type of fairy tales goes back to the totem myth - these are:
- adventurous
-: household
-: magical
-: novelistic
+: fairy tales about animals
I: ((60)) TK 1.3. CT =A; T =;
S: A fairy tale can be classified as a cumulative one - these are:
+: "Kolobok"
-: "Fox and Grouse"
-: "Marya Morevna"
-: "Bear on a fake leg"
-: "Feather Finist - clear falcon"
I: ((61)) TK 1.3. CT =A; T =;
S: A variation of the tale of later origin:
+: adventurous
-: household
-: magical
-: about animals
-: novelistic
I: ((62)) TK 1.3. CT =A; T =;
S: The exposition of the fairy tale was popularly called:
-: tie
-: preamble
I: ((63)) TK 1.3. CT =A; T =;
S: The main character of fairy tales was a pop - this is:
- adventurous
+: anti-clerical
- magical
- fairy tales about animals
-: novelistic
I:((64 }} TK 1.3. CT=A;T =;
S: The genre contains a setting for fiction - this is:
-: past
-: bylichka
-: legend
I:((65 }} TK 1.3. CT =A; T =;
S: Story maker:
- story writer
- chronicler
-: ancient singer Bayan
I: ((66)) TK 1.3. CT =A; T =;
S: The artistic device most often used in fairy tales is:
+: constant epithet
-: comparison
- monologue
I: ((67)) TK 1.3. CT =A; T =;
S: Fairy tales are:
-: Sister fox and wolf
- Fox, hare and rooster
+: frosty
+: Frog Princess
I: ((68)) TK 1.3. CT =A; T =;
S: Fairy tales are divided into types:
-: adventure
-: historical
- biographical
+: social
I: ((69)) TK 1.3. CT =A; T =;
- historical story
-: legend
I: ((70)) TK 1.3. CT =A; T =;
S: Fairy tales use magical items:
+: treasure sword
I: ((71)) TK 1.3. CT =A; T =;
S: Artistic devices most often used in fairy tales are:
+: constant epithet
-: comparison
- monologue
I: ((72)) TK 1.3. CT =A; T =;
S: The compositional part of the tale is called:
“Began to live - to live
and make good"
+: ending
-: interchange
-: cumulation
I: ((73)) TK 1.3. CT =A; T =;
S: The part of the tale below is called:
"Once upon a time, under King Peas ..."
+: hint
I: ((74)) TK 1.3. CT =A; T =;
S: Russian folk tale is:
- action-packed story with fantastic content
- historical story
+: genre of oral folk art
-: legend
Children's literatureXV- XVIIIV.
I: ((75)) TK 1.4. CT =A; T =;
S: Folklore was formed at the time of:
I: ((76)) TK-1.4. K=A; T=60
S: "ABC" I. Fedorov saw the light of day (indicate the year):
I: ((77)) TK-1.4. K=A; T=60
S:D. Gerasimov translated and revised for children:
+: "Donatus"
-: "The Tale of the Seven Free Wisdoms"
-: "The first teaching to the youths"
-: "Writer"
I: ((78)) TK 1.4. K=A; T=60
S: The first Russian children's writer was:
-: Savvaty
-: Dmitry Gerasimov
+: Karion Istomin
-: Andrey Bolotov
I: ((79)) TK 1.4. K=A; T=60
S: Russia's first children's magazine
-: "A new library for education"
-: "New children's reading"
-: "Northern lights"
I: ((80)) TK 1.4. K=A; T=60
-: St. Petersburg
I: ((81)) TK 1.4. K=A; T=60
S: ABC created "for the sake of early infant learning" created and printed
-: Karion Istomin
-: Dmitriev Gerasimov
+: Ivan Fedorov
-: Vasily Burtsov
I: ((82)) TK 1.4. K=A; T=60
S: The alphabet created "for the sake of early infant learning" was created and printed in
I: ((83)) TK 1.4. K=A; T=60
S: Fables I.A. Krylova are written in size - these are:
-: anapaest
+: diversified iambic
-: dactyl
I: ((84)) TK 1.4. K=A; T=60
S: A children's magazine that was published in Russia during the early years of Soviet power
-: "Friend of youth and all years"
-: "New children's reading"
+: Northern Lights
- "For youth"
I:((85)) TK-1.4. K=A; T=60
S: The first children's poet was:
+: Savvaty
-: Simeon of Polotsk
-: Karion Istomin
-: Dm. Gerasimov
I: ((86)) TZ-1.4 K=A; T=60
S: M. Lomonosov will call this book “the gates of his scholarship”:
-: "Domostroy"
+: "Rhyming Psalter"
-: "Youth honest mirror"
-: "Facial primer"
I: ((87)) TZ-1.4 K=A; T=60
S: The case of Simeon of Polotsk, a writer, theologian, educator and educator, continued the poet and educator:
-: Savvaty
-: Mikhail Lomonosov
+: Karion Istomin
-: Dmitry Gerasimov
I: ((88)) TZ-1.4 K=A; T=60
S: The most famous secular book of the time of Peter the Great:
+: "An honest mirror of youth"
-: "Brief Russian history"
-: "The first teaching to the youths"
-: "Primer" by V. Burtsev
I: ((89)) ТЗ 1.4 К=В; T=120
S: A big role in the development of children's literature was played by:
-: M. Lomonosov
-: V. Burtsev
+: N. Novikov
-: N. Karamzin
I: ((90)) TK 1.4. K=A; T=60
S: The first book of an encyclopedic nature "Russian Universal Grammar" ("Writer") was created by:
-: N. Novikov
-: A. Bolotov
+: N. Kurganov
-: M. Lomonosov
I: ((91)) TK 1.4. K=A; T=60
S: The organization of the first magazine for children in Russia belongs to:
+: N. Novikov
-: N. Karamzin
-: M. Lomonosov
-: A. Bolotov
I: ((92)) TK 1.4. CT =A; T =;
S: The genres that were favorite among the classicists are:
+: Ode, tragedy, high comedy
- short story, short story, novel
-: elegy, madrigal, lyrical miniature
- fable, fairy tale, parable
I: ((93)) TK 1.4. CT =A; T =;
S: Imitation of antique samples required aesthetics:
+: classicism
- sentimentalism
- romanticism
- critical realism
I: ((94)) TK 1.4. CT =A; T =;
S: The representative of classicism in Russian literature was:
-: N.M. Karamzin
-: K.N. Batyushkov
+: D.I. Fonvizin
-: V.A. Zhukovsky
I: ((95)) TK 1.4. CT =A; T =;
S: The following genre belongs to the era of classicism - these are:
-: ballad
I: ((96)) TK 1.4. K=A; T=60
S: The first magazine for children in Russia was called:
-: "Moscow Gazette for Children"
+: "Children's reading for the heart and mind"
-: "Writer"
I: ((97)) TK 1.4. K=A; T=60
S: Advice to young people on how they should behave in society:
“A pure maiden should not only have a clean body and keep her honor, but she should also have a clean and chaste face, eyes, ears and heart”
“Often sneezing, blowing your nose and coughing is not good”
“Near your plate, do not make a fence of bones, crusts of bread, and other things ...”
given in the book:
-: "Domostroye"
-: "The initial teaching of a person who wants to understand the divine scriptures"
-: "Facial primer"
-: "Mirror"
I: ((98)) TK 1.4. K=A; T=60
S: Russia's first children's writer:
-: Dmitry Gerasimov
+: Karion Istomin
-: Vasily Burtsev
- Nikolai Karamzin
I: ((99)) TK 1.4. K=A; T=60
S: The book "An honest mirror of youth, or an indication for worldly behavior" is published in:
I: ((100)) TK 1.4. K=A; T=60
S: The head of Russian sentimentalism is:
+: N. Karamzin
-: V. Zhukovsky
-: I. Krylov
-: M. Lomonosov
I: ((101)) TK 1.4. K=A; T=60
S: The "father" of Russian romanticism is called:
-: M. Lermontov
+: V. Zhukovsky
-: D. Poor
Children's literatureXIXcentury. Fables I.A. Krylova
I: ((102)) TK 2.1. CT =A; T =;
S: Compositional parts can be distinguished in a fable - these are:
I: ((103)) TK 2.1. CT =A; T =;
S: These lines are taken from the fable of I.A. Krylova is:
And people also say:
-: "Dog Friendship"
- "The lion and the leopard"
- "The wolf and the lamb"
+: "Sea of Beasts"
I: ((104)) TK 2.1. CT =A; T =;
S: The moral from I. Krylov's fable is:
Unfortunately, the same thing happens to people:
No matter how useful a thing is, without knowing the price,
And if the ignorant is more knowledgeable,
So he still drives.
-: "Donkey";
+: "Monkey and glasses";
-: "A Crow and a fox";
-: "Chervonets";
I: ((105)) TK 2.1. CT =A; T =;
S: Artistic techniques used by I.A. Krylov in his work:
- antithesis, personification, grotesque, hyperbole
-: litote, irony, metonymy, sarcasm, oxymoron, inversion, metaphor, different types of sound writing (euphonies)
-: allegory, rhetorical question, thematic parallelism, satire
+: All answers are correct.
I: ((106)) TK 2.1. CT =A; T =;
S: The fable below by I.A. Krylova is dedicated to the Patriotic War of 1812 - this is
-: "Elephant and Pug"
-: "A Crow and a fox"
+: "The cat and the cook"
-: "Demyanova's ear"
I: ((107)) TK 2.1. CT =A; T =;
S: The fable below by I.A. Krylova is dedicated to the Patriotic War of 1812 - this is:
-: "Quartet"
+: "Wolf in the kennel"
- "Wolf and Lamb"
-: "Elephant and Pug"
I: ((108)) TK 2.1. CT =A; T =;
S: The following definition refers to the characterization of the fable genre - it is:
-: The epic genre, based on the artistic method, which is the description of one small completed event and its author's assessment at the end of the test
I: ((109)) TK 2.1. CT =A; T =;
S: Fables I.A. Krylova are written in size:
-: anapaest
-: dactyl
+: diversified iambic
I: ((110)) TK 2.1. CT =A; T =;
S: The following definition refers to the characterization of the fable genre:
-: a lyrical poem of a playful or amorous nature, the content of which is usually an exaggeratedly flattering description of the person addressed by the poet
+: a small work of a narrative kind in verse or prose with a moralizing, satirical or ironic content
-: one of the types of satirical poetry, a small poem, evilly ridiculing a person
-: poetic transcription of ancient instructive stories, stories
I: ((111)) TK 2.1. CT =A; T =;
S: The fable genre in the era of classicism belonged to the style - this is:
-: high
-: average
-: neutral
I: ((112)) TK 2.1. CT =A; T =;
S: These lines are taken from the fable of I.A. Krylova is:
Who is more humble, so he is to blame ...
-: "Dog Friendship"
-: "Lion and Leopard"
- "The wolf and the lamb"
+: "Sea of Beasts"
I: ((113)) TK 2.1. CT =A; T =;
S: Fable is a genre:
+: epic
-: lyrical
-: lyrical-epic
- dramatic
I: ((114)) TK 2.1. CT =A; T =;
S: The literary direction that influenced the formation of I.A. Krylova is:
- romanticism
-: sentimentalism
+: classicism
-: realism
I: ((115)) TK 2.1. CT =A; T =;
S: The fable below by I.A. Krylova is dedicated to the Patriotic War of 1812?
-: "Elephant and Pug"
-: "A Crow and a fox"
-: "The cat and the cook"
I: ((116)) TK 2.1. K=A; T=60
S: In form, most of the fables of I. Krylov:
- narration about some bright adventure
+: a miniature play with all the features of a dramatic action
- story poem
I: ((117)) TK 2.1. K=A; T=60
- help contrast characters
+: reminiscent of stage directions explaining the course of action
- organize the sequence of the story
- create a sharp contrast effect
I: ((118)) TK 2.1. CT =A; T =;
S: The main property of the fables of I.A. Krylova is:
-: the ability to show the character of the hero from different angles
-: the ability to reveal the inner essence hidden under the outer mask
+: nationality
- psychologism
A.S. Pushkin
I: ((119)) TK 2.2. K=A; T=60
S: Feature of A. Pushkin's fairy tales:
+: created on folklore material
- were too long
-: became a new word in Russian literature of the XIX century
-: created on the folklore material of other countries
I: ((120)) TK 2.2. K=A; T=60
S: The poems of A. Pushkin are entirely devoted to the theme of childhood:
-: "Winter morning", "Winter evening"
+: "To the baby", "Epitaph to the baby"
-: "Romance", "Mermaid"
-: "Monument", "Caucasus"
I: ((121)) TK 2.2. K=A; T=60
S: Tales of A. Pushkin are divided into:
- works with happy and unhappy endings
+: fairy tale novels and fairy tale poems
- prose and poetry
I: ((122)) TK 2.2. CT =A; T =;
S: A.S. Pushkin was born in:
-: Petersburg
I: ((123)) TK 2.2. CT =A; T =;
S: The date associated with the Lyceum will occur more than once in the lyrics of A.S. Pushkin is:
I: ((124)) TK 2.2. CT =A; T =;
S: The publisher and editor of the periodical was A. S. Pushkin - this is:
-: "Northern bee" (1825-1864)
-: "Library for reading" (1834-1865)
-: "Northern Archive" (1822)
+: "Contemporary" (1836-1866)
I: ((125)) TK 2.2. CT =A; T =;
S:A.S. Pushkin, when he became a lyceum student, was years old:
I: ((126)) TK 2.2. CT =A; T =;
S: Poems by A.S. Pushkin, which reflected the theme of "the liberties of the saint" are:
+: "Licinius", "Village", "Arion", "Anchar", "Monument"
-: "To Friends", "Separation", "Mermaid", "Conversation of a bookseller with a poet", "Desire of Glory"
-: “Recollection in Tsarskoye Selo”, “To Kaverin”, “Caucasus”, “Demons”, “Answer”
-: "Ruslan Lyudmila", "Delvig", "To Yazykov"
I: ((127)) TK 2.2. CT =A; T =;
S: Influenced the ideas of enlightenment of the poets of the eighteenth century on the creation of A.S. Pushkin "Liberty" is:
-: Sumarokov
-: Lomonosov
+: Radishchev
-: Trediakovsky
I: ((128)) TK 2.2. CT =A; T =;
S: The literary direction was close to A.S. Pushkin at the beginning of his career is:
-: sentimentalism
-: realism
+: classicism
- romanticism
I: ((129)) TK 2.2. CT =A; T =;
S:A.S. Pushkin lived in the reign of:
-: Catherine II, Paul I, Alexander I
+: Paul I, Alexander I, Nicholas I
-: Nicholas I and Alexander II
-: Alexander II and Alexander III
I: ((130)) TK 2.2. CT =A; T =;
S: A. Pushkin used a technique in the poem "Arion" and "Anchar", written after the defeat of the Decembrist uprising:
-: hyperbole
+: allegory
-: antitheses
-: grotesque
I: ((131)) TK 2.2. CT =A; T =;
S: Genre of the poem "Liberty" by A. S. Pushkin:
-: madrigal
-: ballad
I: ((132)) TK 2.2. CT =A; T =;
S: A trope symbol, a poetic image that expresses the essence of a phenomenon, there is always a hidden comparison in the symbol (find the extra one) - this is:
- allegorical
-: innuendo
-: inexhaustibility
+: calculation on the receptivity of the reader
I: ((133)) TK 2.2. CT =A; T =;
S: The poem “K…” (“I remember a wonderful moment…”) is dedicated to:
-: M.N. Raevskaya
-: E.N. Karamzina
+: A.P. Kern
-: E.P. Bakunina
I: ((134)) TK 2.2. CT =A; T =;
S: The event basis of a work of art is called:
- composition
+: plot
-: exposure
- flashback
I: ((135)) TK 2.2. CT =A; T =;
S: The genres that were favored in the aesthetic system of Romanticism were:
- ode, tragedy, high comedy
+: elegy, short stories, messages
- fable, aphorism, parable
- fairy tale, fable, madrigal
I: ((136)) TK 2.2. CT =A; T =;
S:A.S. Pushkin wrote all the fairy tales - these are:
I: ((137)) TK 2.2. CT =A; T =;
S: Aesopian language is
- artistic exaggeration
+: allegory
-: artistic comparison
-: sarcasm
I: ((138)) TK 2.2. CT =A; T =;
S: The following words about young Pushkin belong to the poet -
“This is the hope of our literature… Do we really need to unite to help grow this future giant who will outgrow all of us?” - This:
+: V.A. Zhukovsky
-: K.N. Batyushkov
-: P.P. Vyazemsky
-: E.A. Baratynsky
Children's writers XIX century (1 half)
I: ((139)) TK 2.3. CT =A; T =;
S: The following statement is not typical for the poetry of V.A. Zhukovsky
-: one of the favorite genres of elegy
-: the lyrical hero moves away from reality into the world of dreams
+: works quite accurately reflect historical events
-: folk traditions, customs were reflected in the ballads
I: ((140)) TK 2.3. CT =A; T =;
S: Poet of the 19th century, who took advantage of the achievements of I.A. Krylov the fabulist and created the first realistic drama - these are:
+: Griboyedov
-: Ostrovsky
I: ((141)) TK 2.3 K=A; T=60
S: The originality of the creative manner of Zhukovsky the storyteller:
+: close association of the traditions of Russian folklore and foreign folklore
+: outstanding ability to be a teacher
- wrote only for the little ones
- aptitude for mythology
I: ((142)) TK 2.3. K=A; T=60
S: A distinctive feature of P. Ershov's "Humpbacked Horse" is:
+: connecting the three main types of fairy tales
- based on folklore material
-: rapprochement with folk speech culture
I: ((143)) TK 2.3. K=A; T=60
S: In "The Black Hen, or Underground Inhabitants" A. Pogorelsky:
-: mixed features of different centuries - from the 17th to the 19th centuries.
- created a fairy tale story based on folklore material
+: connected two narrative plans
- combined different styles of storytelling
I: ((144)) TK 2.3. K=A; T=60
S: The image of Alyosha ("The Black Hen, or Underground Dwellers" by A. Pogorelsky):
-: continues the gallery of folk heroes
+: opens up a whole gallery of images of children in autobiographical stories
-: written from a real prototype
- solves many pedagogical problems
I: ((145)) TK 2.3. K=A; T=60
S: The merit of A. Pogorelsky is that he:
+: connected the world of fantasy and reality
- used literary tradition
- introduced the narrator into the story
- used folklore tradition
I: ((146)) TK 2.3. K=A; T=60
S: "Grandfather Iriney" - pseudonym:
-: A. Pogorelsky
-: I. Krylova
+: V. Odoevsky
-: L. Tolstoy
I: ((147)) TK 2.3. K=A; T=60
S: The main principle of V. Odoevsky - children's writer:
- educating a moral person
+: learning should have a close connection with reality
-: the main character is a living image of a child
- upbringing on the principle of labor
I: ((148)) TK 2.3. K=A; T=60
S: "Town in a snuffbox" - sample:
-: a philosophical story for children
-: a moralizing story for children
+: artistic and educational fairy tale for children
- an autobiographical story about childhood
I: ((149)) TK 2.3 K=A; T=60
S: Fairy tale "The Scarlet Flower" by S.T. Aksakov refers to:
-: household
+: magical
-: cumulative
- to fairy tales about animals
I: ((150)) TK 2.3 K=A; T=60
S: The genre of A. Pogorelsky's work "Black Hen", or underground inhabitants" (1829).
- fairy tale
+: magical fantasy story
-: story
- fantastic story
I: ((151)) TK 2.3 K=A; T=60
S: 19th century poet took advantage of the achievements of Krylov I.A. - a fabulist in his work and created the first realistic drama - this
+: Griboyedov
-: Ostrovsky
I: ((152)) TK-2.3. K=A; T=60
S: Among the artistic genres for children, the greatest flourishing was experienced in the 19th century:
-: story
+: literary fairy tale
-: short story
I: ((153)) TK 2.3. K=A; T=60
S: The most important achievement of children's literature in the first half of the 19th century should be considered:
-: the formation of lyrics
+: finding your own language
- a large number of translated books
-: the formation of dramaturgy
I: ((154)) TK 2.3. K=A; T=60
S: The great achievement of children's literature of the first half of the 19th century should be considered:
-: a step towards the creation of fiction
-: wide distribution of children's popular science publications
+: the emergence of the theory and criticism of children's literature
-: the emergence of fiction
I: ((155)) TK 2.3. K=A; T=60
S: With the participation of this writer (XIX century (1st half)) a new genre appeared in children's literature (scientific, cognitive fairy tale):
-: L. Tolstoy
-: P. Ershov
-: V. Zhukovsky
+: V. Odoevsky
I: ((156)) TK 2.3. K=A; T=60
S: "A fairy tale should be purely a fairy tale, without any other purpose" - he believed:
-: A. Pushkin
-: P. Ershov
+: V. Zhukovsky
-: K. Ushinskaya
I: ((157)) TK 2.3. CT =A; T =;
S: The lyrical-epic genre of poetic narration with a detailed plot and a pronounced assessment of what is being narrated is:
+: ballad
I: ((158)) TK 2.3. CT =A; T =;
S: The above statement is about a Russian writer
... Russian children have such a writer in their grandfather Iriney,
which the children of all nations would envy ... is:
-: A. Pogorelsky
-: I.A. Krylov
+: V.F. Odoevsky
-: L.N. Tolstoy
I: ((159)) TK 2.3. CT =A; T =;
S: This characteristic applies:
""Your fairy tale is a real treasure trove of the Russian language! you have chosen
the right way ... and publish your fairy tale for the people. A million books!
With pictures and at the cheapest price…"" is:
-: A.S. Pushkin
+: P.P. Ershov
-: A. Pogorelsky
-: V.A. Zhukovsky
I: ((160)) TK 2.3. CT =A; T =;
S: This characteristic refers to the writer:
"" Accidentally opened your story and involuntarily read it. Here's how to write ... "" is:
-: N.M. Karamzin
+: A.I. Ishimova
-: A.S. Pushkin
-: V.A. Zhukovsky
I: ((161)) TK 2.3. CT =A; T =;
S: Says is:
"" I decided to learn from children ... I decided to "" go to the kids "", as they once went to the people: I almost broke with the society of adults and began to hang out only with three-year-old children ... ""
-: S.V. Mikhalkov
-: S.Ya. Marshak
+: K. I. Chukovsky
-: B.S. Zhitkov
I: ((162)) TK 2.3. CT =A; T =;
S: You have to be born to be a children's writer. They cannot become ... Children's books are written for education, and education is a great thing: it decides the fate of a person, ”said:
-: L.N. Tolstoy
-: N.G. Chernyshevsky
+: V.G. Belinsky
-: K.D. Ushinsky
I: ((163)) TK 2.3. CT =A; T =;
“... I am walking somehow through the forest and treat myself to sweet, juicy cherries,
bought along the way. And suddenly, right in front of me - a deer! Slender, beautiful, with huge branched horns! And, as luck would have it, I didn't have a single bullet! The deer stands and calmly looks at me, as if he knows that my gun is not loaded ... "
-: A. Lindgren
+: E. Raspe
Children's literature of the middle XI10th century
I: ((164)) TK 2.4. CT =A; T =;
“I came to you with greetings, to tell you that the sun has risen ...?”
-: P.P. Vyazemsky
-: E.A. Baratynsky
+: A.A. Fet
-: A. Maykov
I: ((165)) TK 2.4. CT =A; T =;
Is in the autumn of the original
Short but wonderful time
The whole day stands as if crystal,
And radiant evenings ...
-: A.S. Pushkin
-: A.A. Fet
+: F.I. Tyutchev
- Some of the Romantic poets
I: ((166)) TK 2.4. CT =A; T =;
S:These lines belong
Snow is still whitening in the fields,
And the waters are already rustling in the spring -
They run and wake up the sleepy shore,
They run, and shine, and say ... - this is:
-: A.N. Maikov
-: A.A. Fet
+: F.I. Tyutchev
-: A.K. Tolstoy
I: ((167)) TK 2.4. CT =A; T =;
S: The poet's Peru owns a poem beginning with the words
The swallow rushed
Because of the white sea
She sat down and sang:
No matter how angry February is,
How are you, March, don't frown,
Be it snow, be it rain,
Everything smells like spring! - This:
-: F.M. Tyutchev
-: A.N. Tolstoy
+: A.N. Maykov
-: A.A. Fet
I: ((168)) TK 2.4. CT =A; T =;
Autumn. All our poor garden is sprinkled,
Yellowed leaves fly in the wind;
Only in the distance they flaunt, there, on for the valleys,
Brushes of bright red withering mountain ash
-: A.A. Fet
+: A.K. Tolstoy
-: F.I. Tyutchev
-: ON THE. Nekrasov
I: ((169)) TK 2.4. CT =A; T =;
S: The writer who owns the following lines:
“I don’t know how to write for children at all, I write for them once every ten years and so on
I don’t like and don’t recognize the called children’s literature ... I must not write
for children, but to be able to choose from what has already been written for adults, i.e. from
real works of art ... "" is:
-: A.M. Bitter
-: Yu.K. Olesha
+: A.P. Chekhov
-: A.I. Kuprin
I: ((170)) TK 2.4. CT =A; T =;
S: L.N. Tolstoy wrote an autobiographical work:
+: "Adolescence"
-: "Childhood of Bagrov - grandson"
-: "Nikita's childhood"
-: "Childhood Themes"
I: ((171)) TK 2.4. K=B; T=60
S: "The Poetry of Pure Art" was represented by:
-: N. Nekrasov
+: F. Tyutchev
-: A. Pleshcheev
-: I. Surikov
I: ((172)) TK 2.4. K=B; T=120
S: "People's Democratic Poetry" - Nekrasov - was represented by:
+: I. Nikitin
-: A. Maykov.
-: A.K. Tolstoy
I: ((173)) TK 2.4. K=A; T=60
S: The work of N. Nekrasov is fanned with light poetry of childhood:
-: "Grandfather Mazai and hares"
+: "Peasant children"
- "Uncle Jacob"
-: "Nightingales"
Features of children's literature ХI10th century
I: ((174)) TK 2.5. K=A; T=60
S: A characteristic feature of the poetry of the XIX century. becomes:
-: dialogue form
-: increase in the number of poets
+: the appearance of a child hero
- internal monologue
I: ((175)) TK 2.5. K=A; T=60
S:19th century poetry:
+: develops in close connection with folklore
- takes the form of a monologue, dialogue, polylogue
-: returns to the traditions of the XVII-XVIII centuries.
- This question cannot be answered unambiguously.
I: ((176)) TK 2.5. K=A; T=60
S: The poetic language of the works of children's writers of the 19th century:
- becomes more perfect
- based on religious motives
+: approaches the language of folk poetry
- strictly rhyming
I: ((177)) TK 2.5. K=A; T=60
S: I discovered a specific village and a specific peasant in children's poetry:
+: N. Nekrasov
-: A. Maykov
-: F. Tyutchev
I: ((178)) TK 2.5. K=A; T=60
S: Contributed to the creation of new realistic poetry for children:
-: I. Nikitin
-: A. Maykov
+: N. Nekrasov
I: ((179)) TK 2.5. K=A; T=60
S: The "terrible secrets of the adult world" are revealed in the work:
-: A. Fet “You are right: we are getting old. Winter is coming…”
-: "The Tale of the Bear" by A. Pushkin
+: “Railway” by N. Nekrasov
-: N. Nekrasov "Grandfather Mazai and hares"
Children's writers XIX century (2nd half)
I: ((180)) TK 2.6. K=A; T=60
S: Strong positions by the second half of the 19th century. occupies:
-: story
+: story
I: ((181)) TK 2.6. K=A; T=60
S: In the second half of the XIX century. the confrontation between two trends in children's literature is intensifying:
+: rapprochement with the "adult" - protecting children from the cruelties of reality
-: realistic type of creativity - adaptation of religious works
-: finding one's own language - moralizing
-: poetic genres - fiction
I: ((182)) TK 2.6. K=A; T=60
S: The ABC by L. Tolstoy is characterized by the genre:
+: short story
- lyrical works
- dramatic works
- action-packed novel
I: ((183)) TK 2.6. K=A; T=60
S: "The New ABC" of L. Tolstoy differs from the "ABC":
+: taking into account the age characteristics of children
+: the appearance of "Russian books for reading"
-: inclusion of fantasy elements
- the desire of the writer to cover more information
+: year of publication
-: volume
-new psychological techniques
I: ((184)) TK 2.6. K=A; T=60
S: Fables of L. Tolstoy for children:
-: original
- were translated
+: created on the basis of Aesop's
I: ((185)) TK 2.6. K=A; T=60
S: Tales of L. Tolstoy, included in the "Russian Books for Reading":
+: as close as possible to Russian reality
-: translated
I: ((186)) TK 2.6. K=A; T=60
S: In "Russian Books for Reading" L. Tolstoy for the first time:
- influenced children with moral maxims
+: introduced miniature stories and scientific and educational stories
-: freed the works from didactics and moralizing
-: brought the works closer to folk poetic speech
I: ((187)) TK 2.6. K=A; T=60
S: The founder of the zoobelletic story is considered to be:
+: D. Mamin-Sibiryak
-: L. Tolstoy
-: I. Kuprin
-: A. Chekhov
I: ((188)) TK 2.6. K=A; T=60
S: "Tales of life" D. Mamin-Sibiryak can be called:
-: a series of fairy tales "About the glorious king Peas"
-: a group of "Tales of nature"
+: cycle "Alyonushka's Tales"
- individual pieces
I: ((189)) TK 2.6. K=A; T=60
S: By the end of the 19th century, the following are distinguished as a separate thematic direction:
-: fairy tales with allegorical meaning, parables
-: military poems, odes
+: stories about orphans, little workers
- dramas for children
I: ((190)) TK 2.6. K=A; T=60
S: Writers of the II half of the XIX century. attract attention:
+: psychological problems of children
- communication between children
- children's relationship to the environment
I: ((191)) TK 2.6. K=A; T=60
S: Literature of the second half of the 19th century:
+: addressed to parents and teachers
- is educational
- Designed for young children
-: moral and didactic
I: ((192)) TK 2.6. K=A; T=60
S: Literary tale of the second half of the 19th century:
- ceases to exist as a genre
+: becomes more and more like a realistic story
-: acquires the features of a fable according to similar moralistic conclusions
- becomes only prosaic
I: ((193)) TK 2.6. K=A; T=60
S: In children's literature of the second half of the XIX century:
- increased influence of sentimentalism
- dominated by romanticism
+: realism developed
- increased influence of classicism
I: ((194)) TK 2.6. K=B; T=120
S: The revolutionary-democratic trend in children's literature was headed (second half of the 19th century):
-: F. Tyutchev
-: D. Mamin-Sibiryak
+: N. Nekrasov
Children's writers of the twentieth century (1st half)
I: ((195)) TK 3.1. CT =A; T =;
S: Here are the lines of the most famous work. The author is:
“A small glade opens in front of the girl, in the middle of which it is hot
blazing high fire. Twelve brothers are sitting around the fire.
-: A. Volkov
+: S Marshak
-: Yu. Olesha
I: ((196)) TK 3.1. CT =A; T =;
“A little old man with a long gray beard was sitting on a bench and drawing something in the sand with an umbrella.
Move over - Pavlik told him and sat down on the edge. The old man moved over and, looking at the red, angry face of the boy, said ... "- this is:
-: V. Oseeva
-: A. Barto
-: Yu. Olesha
+: A. Gaidar
I: ((197)) TK 3.1. CT =A; T =;
S: Author of the work
Kitten Vaska sat on the floor near the chest of drawers and caught flies. And on the chest of drawers, on the very edge, lay a hat. And then Vaska saw that one fly had landed on his hat. He seemed to jump up - and clung to his hat with his claws. The hat slipped off the chest of drawers, Vaska fell off and how he would fly to the floor! And the hat - bang - and covered him from above. - This:
-: MM. Prishvin
+: N.N. Nosov
-: B. Zhitkov
-: A.P. Gaidar
I: ((198)) TK 3.1. CT =A; T =;
“In the midst of the vast Kansas steppe lived a girl, Ellie. Her father, farmer John, worked in the field all day, and her mother, Anna, took care of the housework. They lived in a small van, removed from the wheels and put on the ground. The furnishings of the house were poor: an iron stove, a wardrobe, a table, three chairs and two beds. Next to the house, at the very door, a "hurricane cellar" was dug out. - This:
-: Lewis Carroll
+: Alan Alexander Milne
-: N.N. Nosov
-: A.M. Volkov
I: ((199)) TK 3.1. CT =A; T =;
A long time ago, in a town on the Mediterranean coast, there lived an old carpenter, Giuseppe, nicknamed Gray Nose. - This:
-: Lewis Carroll
+: A.N. Tolstoy
-: Alan Alexander Milne
-: A.M. Volkov
I: ((200)) TK 3.1. CT =A; T =;
There lived a man in a forest near the Blue Mountains. He worked hard, but the work did not decrease, and he could not go home on vacation. Finally, when winter came, he became completely bored, asked permission from his superiors and sent a letter to his wife to come and visit him with the children. He had two children ... - these are:
-: A.N. Tolstoy
+: A.P. Gaidar
-: IN AND. Dragoon
-: E.N. Uspensky
I: ((201)) TK 3.1. CT =A; T =;
S: The fairy tale "The Little Prince" by A. de Saint-Exupery is addressed:
-: adults
- for both children and adults
I: ((202)) TK 3.1. K=A; T=60
S: The founders of Soviet children's literature are called:
+: M. Gorky
+: S. Marshak
-: A. Tolstoy
-: B. Zhitkova
+: K. Chukovsky
-: A. Gaidar
-: S. Mikhalkov
I: ((203)) TK 3.1. K=A; T=60
S: The entertaining-playing branch in the poetry of the twentieth century is represented by the names:
-: A. Barto
-: S. Mikhalkov
+: "OBERIUTov"
-: V. Mayakovsky
-: B. Zakhoder
+: K. Chukovsky
-: Yu. Vladimirova
I: ((204)) TK 3.1. K=A; T=60
S: The moral and didactic direction in the poetry of the twentieth century is represented by the names:
-: "OBERIUT"
-: A. Barto
+: V. Mayakovsky
-: K. Chukovsky
I: ((205)) TK 3.1. K=A; T=60
S: The development of children's dramaturgy was facilitated by:
-: increase in the number of new writers
+: the emergence of theaters for children
- fascination with cinema
- development of literature in general
I: ((206)) TK 3.1. K=A; T=60
S: Works written for adult readers but resonated with children are owned by:
-: P. Bazhov
+: A.P. Chekhov
-: V. Garshin
-: S. Aksakov
I: ((207)) TK 3.1. K=A; T=60
S: Fairy tales directly addressed to children belong to:
-: A.S. Pushkin
-: P. Ershov
+: K.I. Chukovsky
-: P. Bazhov
I: ((208)) TK 3.1. K=A; T=60
S: A cardinal renewal of the circle of children's reading has taken place:
+: 20-40s of the XX century
-: 40-50s.
-: 60-80s
- at the end of the twentieth century.
I: ((209)) TK 3.1 K=A; T=60
S: Books created outside of literary trends have disappeared from the libraries:
+: 20-40s of the XX century
-: 40-50s.
-: 60-80s
- at the end of the twentieth century.
I: ((210)) TK 3.1 K=A; T=60
S: They create their own schools of translation and transcription of books for children:
-: B. Zakhoder
-: A. Barto
+: S. Marshak
-: A. Gaidar
I: ((211)) TK 3.1. K=A; T=60
S: The children's writer proved that any child has great creative abilities - these are:
-: S. Marshak
-: B. Zakhoder
-: A. Kuprin
+: K. Chukovsky
I: ((212)) TK 3.1. K=A; T=60
S: How many commandments are included in the "Commandments for Children's Poets" by K. Chukovsky:
I: ((213)) TK 3.1. K=A; T=60
S: “Crocodiliad” by K. Chukovsky is:
+: poems and fairy tales
I: ((214)) TK 3.1. K=A; T=60
S: Dilogy on the topic of hygiene can be considered:
+: "Moydodyr" and "Fedorino grief" by K. Chukovsky
-: "Tuchkin things" and "Who to be?" V. Mayakovsky
-: "Terem-Teremok" and "Cat's House" by S. Marshak
-: "Million" and "Smart Masha and her grandmother" by D. Kharms
I: ((215)) TK 3.1. K=A; T=60
S: In the poems of K. Chukovsky:
- too many fairy tales
- exclusively adventure stories
+: used folk children's poetry
-: included foreign language vocabulary
I: ((216)) TK 3.1. K=A; T=60
S:B. Mayakovsky is a representative of the literary trend (trend):
-: egofuturism
+: cubo-futurism
- sentimentalism
-: realism
I: ((217)) TK 3.1. K=A; T=60
S: For children's poems by V. Mayakovsky, it is characteristic:
- many metaphors
An abundance of non-traditional rhymes that update the word
-: they are entirely built on images-symbols
- the presence of beginnings and endings
I: ((218)) TK 3.1. K=A; T=60
S: Children's poems by V. Mayakovsky are written:
+: in the size of a children's rhyme
- iambic and trochee
I: ((219)) TK 3.1. K=A; T=60
S: The plot of the fairy tale by V. Mayakovsky is hyperbolic:
-: "Tuchkin things"
-: "What is good and what is bad"
+: "The tale of Petya, the fat child, and Sim, who is thin"
-: “Whatever the page, then the elephant, then the lioness”
I: ((220)) TK 3.1. K=A; T=60
S: Formed as a poet under the direct influence of V. Mayakovsky:
-: I. Tokmakova
-: E. Blaginina
+: A. Barto
-: N. Konchalovskaya
I: ((221)) TK 3.1. K=A; T=60
S: "Big literature for little ones" - the motto:
-: A. Pushkin
+: S. Marshak
-: B. Zakhoder
-: K. Chukovsky
I: ((222)) TK 3.1. K=A; T=60
S: The first stage of entry into children's literature by S. Marshak:
-: poems
+: dramaturgy
-: translations
I: ((223)) TK 3.1. K=A; T=60
S: The first plays by S. Marshak:
-: translated
+: grew out of folklore
-: Borrowed from folk theater
I: ((224)) TK 3.1. K=A; T=60
S: The play "Twelve Months" by S. Marshak:
+: prosaic
-: poetic
-: poetry, alternating with prose remarks
-: prose, alternating with poetic remarks
I: ((225)) TK 3.1. K=A; T=60
S: Special merit of S. Marshak in the creation of:
-: cycle of dramas for children
-: a cycle of a poem for children
+: journalistic poetry for children
-: translated works for children
I: ((226)) TK 3.1. K=A; T=60
S: The first political pamphlet for preschoolers is the work of S. Marshak:
- "Where did armadillos come from"
+: Mister Twister»
-: "Here's how absent-minded"
-: "Baggage"
I: ((227)) TK 3.1. K=A; T=60
S: OBERIU is:
-: Moscow literary group of poets
-: Smolensk literary and artistic group
-: Petersburg literary group of prose writers
+: Leningrad literary and philosophical group
I: ((228)) TK 3.1. K=A; T=60
S:OBERIUTs were attracted by art:
-: futurists
-: realists
+: buffoons and folk theater
- sentimentalists
I: ((229)) TK 3.1. K=B; T=120
S: The OBERIUTs did not include:
+: D. Kharms
+: Yu. Vladimirov
+: N. Zabolotsky
-: V. Mayakovsky
I: ((230)) TK 3.1. K=A; T=60
S: Not everything coincided with the Oberiut concept of poetry creativity:
-: D. Harms
-: A. Vvedensky
-: Yu. Vladimirova
+: N. Zabolotsky
I: ((231)) TK 3.1. K=A; T=60
S: Years of existence of the OBERIU group:
I: ((232)) TK 3.1. K=A; T=60
S: Credit for developing the theme of the children's book - the social behavior of the child belongs to:
-: I. Tokmakova
-: E. Blaginina
+: A. Barto
-: N. Konchalovskaya
I: ((233)) TK 3.1. K=A; T=60
S: Lyrical hero A. Barto:
- only a boy
- only girl
-: adults
+: specific child
I: ((234)) TK 3.1. K=A; T=60
S: A. Barto's poetry is characterized by:
+: realism of the internal content of the image
-: realism of external details
- romanticism
-: romanticism combined with realism
I: ((235)) TK 3.1. K=A; T=60
S: In the psychological characteristics of the child A. Barto:
- only laughed at the child
+: noticed age-related features
- did not offer to engage in self-education
-: bored moralizing over children
I: ((236)) TK 3.1. K=A; T=60
S: A. Barto's poems for kids have the form:
- songs with verse and chorus
+: lyrical miniature
I: ((237)) TK 3.1. K=A; T=60
S: The cycles of A. Barto are devoted to the formation of the younger generation:
-: "Toys", "Vovka - a kind soul"
-: “Above the sea of stars”, “I am with you”
+: “Urals fight great”, “Teens”
-: "Name", "Poems for children"
I: ((238)) TK 3.1. K=A; T=60
S: The theme of protecting childhood from the troubles of the adult world in the verses of A. Barto sounds:
-: "Vovka is a kind soul"
-: "Teenagers"
- "Under our wings"
+: "Zvenigorod"
I: ((239)) TK 3.1. K=A; T=60
S:Roman "Three Fat Men" wrote:
Y. Olesha
-: S. Pisakhov
-: B. Shergin
-: E. Charushin
I: ((240)) TK 3.1. K=A; T=60
S: The peculiarity of the Three Fat Men genre is that it:
-: written based on Russian folklore
-: created based on the folklore of other peoples
+: written like a big feuilleton
I: ((241)) TK 3.1. K=A; T=60
S: Master of Scientific and Educational Literature for Children:
-: B. Shergin
-: E. Uspensky
-: N. Nosov
+: B. Zhitkov
I: ((242)) TK 3.1. K=A; T=60
S: An encyclopedic work for the little ones:
-: "The Adventures of Dunno" N. Nosov
-: "25 professions of Masha Filippenko" by E. Uspensky
-: "Legends of Shisha" B. Shergin
+: “What did I see? Stories about things "B. Zhitkov
I: ((243)) TK 3.1. K=A; T=60
S: The peculiarity of the works of B. Zhitkov is that he:
+: entrusts narration to children
- narrates in 3rd person
- introduces the image of the narrator
- avoids dialogue
I: ((244)) TK 3.1. K=A; T=60
S: Comprehension of the alluring world of nature is the main theme of the works:
+: V. Bianchi;
-: B. Zhitkova;
-: K. Paustovsky;
-: S. Aksakova.
I: ((245)) TK 3.1. K=A; T=60
S: Avoided anthropomorphism in the description of animals, insects, fish, birds:
-: K. Paustovsky;
-: B. Zhitkov;
+: V. Bianchi;
-: S. Aksakov.
I: ((246)) TK 3.1. K=A; T=60
S: The story "Childhood of Nikita" by A. N. Tolstoy:
-: based on folklore material;
-: romantic;
+: realistic, but there is a place for fantasy in it;
-: written according to the laws of sentimentalism.
I: ((247)) TK 3.1. K=A; T=60
S: A novel for children and adults, according to A.N. Tolstoy is:
-: the story "Childhood of Nikita";
+: the fairy tale "The Golden Key, or the Adventure of the Wooden Doll";
-: the novel "Walking through the torments";
-: five-volume "Code of Russian folklore".
I: ((248)) TK 3.1. K=A; T=60
S: "Golden Key" A.N. Tolstoy is a translation:
+: C. Collodi "Pinocchio";
-: Brothers Grimm "The Rosehip Princess";
-: Ch. Perrault "Beauty sleeping in the forest";
Children's writers of the twentieth century (2nd half)
I: ((249)) TK 3.2. K=A; T=60
S: Labor education is recognized as the most important means of moral formation of a person:
-: 20-40s of the twentieth century
+: 40-60s
-: 70-90s
-: after the 90s of the twentieth century
I: ((250)) TK 3.2. K=A; T=60
S: Journalism for children was developing especially actively:
-: 20-40s of the twentieth century
+: 40-60s
-: 70-80s
- at the end of the twentieth century.
I: ((251)) TK 3.2. K=A; T=60
S: "Work, family and school" are the leading themes in children's literature:
-: 30-40s of the twentieth century
+: in the 40-60s.
-: 70-80s
- at the end of the twentieth century.
I: ((252)) TK 3.2. K=A; T=60
S: A separate branch of literary criticism - the scientific study of children's literature - is being formed:
-: 20-40s of the twentieth century
-: 40-60s.
+: 70-90s
- at the end of the twentieth century.
I: ((253)) TK 3.2. K=A; T=60
S: The generation of the "sixties" includes:
+: V. Dragunsky
-: V. Kataev
-: N. Nosov
-: E. Uspensky
I: ((254)) TK 3.2. K=A; T=60
S: The merit of A. Gaidar in children's literature is that he:
-: based on the works put the detective
Solved the most difficult problem of the "positive" hero
-: the basis of the work has always been a mystery
I: ((255)) TK 3.2. K=A; T=60
S:A. Gaidar, writer:
+: with a military mindset
-: lyrical direction
-: romantic direction
-: sentimentalist direction
I: ((256)) TK 3.2. K=A; T=60
S: In the works of A. Gaidar, there are two states of the country and the people:
+: war and peace as a respite between wars
-: war and post-war construction
-: post-war years and years of repression
-: peace and pre-war times
I: ((257)) TK 3.2. K=A; T=60
S: The main theme of all the works of A. Gaidar:
-: the world
+: children and war
- children's relationships
- relationship between children and adults
I: ((258)) TK 3.2. K=A; T=60
S: The heroes of the works of A. Gaidar are:
-: only girls
- bad boys
+: children preparing to replace adults at a combat post
- old men and women
I: ((259)) TK 3.2. K=A; T=60
S: Artistic testament of A. Gaidar to children:
-: "Timur and his team"
-: "Chuk and Gek"
-: "Blue cup"
+: "Hot Stone"
I: ((260)) TK 3.2. K=A; T=60
S: The main book of the pioneers for many decades is:
-: "Zvenigorod" A. Barto
-: “Three fat men” by Y. Olesha
+: "Timur and his team" by A. Gaidar
-: “The lonely sail turns white” by V. Kataev
I: ((261)) TK 3.2. K=A; T=60
S: Heroes of poems by E. Blaginina:
-: adults and children
- boys and girls
- boys only
+: girls only
I: ((262)) TK 3.2. K=A; T=60
S: Genre forms of poems by E. Blaginina are:
+: songs, counting rhymes, riddles, ditties
- romantic epic
-: ode poems
- civic poems
I: ((263)) TK 3.2. K=A; T=60
S: In the creative development of S. Mikhalkov, a big role was played by:
-: odes by M. Lomonosov, Trediakovsky
-: Russian folklore
- folklore of other peoples
+: fables by I. Krylov, fairy tales by A. Pushkin
I: ((264)) TK 3.2. K=A; T=60
S: Professional recognition of S. Mikhalkov began with:
- "Songs of friends"
+: poems "Uncle Styopa"
-: plays-tales "Merry dream"
- plays "Tom Canty"
I: ((265)) TK 3.2. K=A; T=60
S: In his poems S. Mikhalkov:
- tried to be independent in everything
-: relied on CNT shapes
+: made a great emphasis on poetic journalism
- didn't write poetry
I: ((266)) TK 3.2. K=A; T=60
S:B. Zakhoder is known as:
- playwright
+: children's poet and translator of foreign literature
-: fabulist
-: CNT researcher
I: ((267)) TK 3.2. K=A; T=60
S: The poetic work of B. Zakhoder is usually called:
-: "Fairy tales-non-tales"
- "Lyrical comedy"
+: "Merry verses"
-: "Poems for adults and children"
I: ((268)) TK 3.2. K=A; T=60
S: In his work B. Zakhoder:
- did not use humor
- used sarcasm to describe people
+: used the whole palette of the comic - from humor to satire
-: created grotesque and allegorical images
I: ((269)) TK 3.2. K=A; T=60
S: The merit of N. Nosov in children's literature:
+: psychologically accurately showed the formation of a child's character
- felt his young reader
-: the basis of the works took a humorous character
- addressed his works only to children
I: ((270)) TK 3.2. K=A; T=60
S: The main creative principle of N. Nosov was:
- gentle sympathetic humor
+: respect for the personality of the child
-: isolating children's problems from their adult reality
-: the many-sided "I" of the child
I: ((271)) TK 3.2. K=A; T=60
S: A feature of N. Nosov's prose was:
- equal status of children and adults
- primacy of adults
- no children at all
+: focus on children
I: ((272)) TK 3.2. K=A; T=60
S: Heroes of the "Adventures of Dunno and his friends" by N. Nosov:
-: Small children
- normal adults
+: children performing social functions of adults in the game
-: adults and children
I: ((273)) TK 3.2. K=A; T=60
S: The main technique used by N. Nosov in "The Adventures of Dunno and His Friends":
-: hyperbole
-: anthropomorphism
-: allegory
I: ((274)) TK 3.2. K=A; T=60
S: The basis of N. Nosov's comedy in:
-: using buffoon, fair folklore
- sarcasm at the characters
+: playing out a complex of funny age traits of a child
- ridicule only adults
I: ((275)) TK 3.2. K=A; T=60
S: The first book of V. Dragunsky:
- "Today and daily"
-: "Deniska's stories"
+: "He's alive and glowing"
- "He fell on the grass"
I: ((276)) TK 3.2. K=A; T=60
S: Gives a special color to the works of V. Dragunsky:
-: connection with CNT
+: a combination of lyrical and comic beginnings
-: use of inserted novels in narration
-: the use of rhythmic rhymes in the description of the characters
I: ((277)) TK 3.2. K=A; T=60
S: Pedagogy of E. Uspensky is in conflict with the generally accepted system, because:
- is based on the postulate of public duty
- justifies the extravagant actions of the heroes
+: based on the postulate of personal freedom
- divided by gender.
I: ((278)) TK 3.2. K=A; T=60
S: E. Uspensky's favorite genre:
+: funny story-fairy tale
I: ((279)) TK 3.2. K=A; T=60
S: E. Uspensky called his 10-volume collected works:
-: "E. Uspensky. The best"
+: General Gathering of Heroes
-: "Uncle Fedor and everything, everything, everything"
-: "Crocodile Gena and his friends"
I: ((280)) TK 3.2. K=A; T=60
S: G. Oster's books refer to literature:
-: scientific and educational
-: ethical
+: entertaining
-: adventurous
I: ((281)) TK 3.2. K=A; T=60
S: The first collection of G. Oster was called:
-: "Divination by hands, feet, ears, back and neck"
+: “How good it is to give gifts”
-: "Kitten named Woof"
-: "Bad advice"
Translation of children's literature of the XVII-XIX centuries.
I: ((282)) TK 4.1. CT =A; T =;
S: Is the first creator of a literary (author's) fairy tale - this is:
- The Brothers Grimm
-: G.H. Andersen
-: THIS. Hoffman
I: ((283)) TK 4.1. CT =A; T =;
“Once upon a time there lived a woodcutter with his wife, and they had seven children. All seven are little boys: three pairs of twins and one more, the youngest. This kid was barely seven years old. And how small he was! He was born quite tiny. Right, no more than a little finger. And he grew up badly.
- The Brothers Grimm
-: G.H. Andersen
-: THIS. Hoffman
I: ((284)) TK 4.1. CT =A; T =;
“It was good out of town! It was summer, the rye turned yellow, the oats turned green, the hay was swept into haystacks; a stork on long red legs walked across the green meadow and chatted in Egyptian, the language his mother had taught him. Behind the fields and meadows was a large forest, in the thicket of which deep lakes hid. Yes, it was good outside the city!”
- The Brothers Grimm
-: G.H. Andersen
-: THIS. Hoffman
I: ((285)) TK 4.1. CT =A; T =;
“There lived a king and a queen. They did not have children, and this upset them, which cannot be said. Well, no matter what vows they made, they went to the pilgrimage and to the healing waters. And finally, when the king and queen lost all hope, they
suddenly a daughter was born.
- The Brothers Grimm
+: Ch. Perrault
-: H.K. Andersen
-: A. Lindgren
I: ((286)) TK 4.1. CT =A; T =;
S: Heroes of fairy tales H.K. Andersen. The Steadfast Tin Soldier had brothers:
I: ((287)) TK 4.1. CT =A; T =;
S: Robinson Crusoe spent on the Desert Island … years:
I: ((288)) TK 4.1. CT =A; T =;
“It’s not my fault if strange things happen to me that have never happened to anyone else. This is because I love to travel and am always looking for adventure, and you sit at home and see nothing but the four walls of your room. Once, for example, I went on a long voyage on a large Dutch ship. Suddenly, in the open ocean, a hurricane came upon us, which in an instant tore off all our hulls and broke all our masts. One mast fell on the compass and smashed it to pieces ... We lost our way and did not know where we were going ... "
+: E. Raspe
-: J. Swift
-: R. Kipling
I: ((289)) TK 4.1. CT =A; T =;
S: H.K. Andersen in one of the tales tells about the nightingale. How many sons of petty shopkeepers were named after the nightingale:
I: ((290)) TK 4.1. CT =A; T =;
S: The author of the famous fairy tale "The Nutcracker and the Mouse King" is:
- Wilhelm Hauff
- Hans Christian Andersen
+: Ernst Theodor Amadeus Hoffmann
- Wilhelm Hauff
I: ((291)) TK 4.1. CT =A; T =;
S: The children called (character) ober - non-commissioned officer - general - commissar - sergeant - Goatman in the fairy tale by H.K. Andersen.
-: Mermaid
+: Shepherdess and Chimney Sweep
-: Ole Lukoye
I: ((292)) TK 4.1. CT =A; T =;
S: Lemuel Gulliver, the hero of Jonathan Swift's book was by profession:
-: writer
-: military
-: merchant
+: surgeon
I: ((293)) TK 4.1. CT =A; T =;
"Once upon a time..."
"King!" my little readers will immediately exclaim
No, kids, you guessed it wrong. There lived a piece of wood.
It was not some noble tree, but the most ordinary log, one of those with which stoves and fireplaces are heated in winter to heat the room.
-: A.N. Tolstoy
-: C. Collodi
+: H.K. Andersen
-: L. Carroll
I: ((294)) TK 4.1. CT =A; T =;
S: The lines ""Whoever is good, something good will always come out of it"" are taken from the fairy tales of H.K. Andersen:
-: Wild Swans
-: swineherd
+: Darning needle
I: ((295)) TK 4.1. CT =A; T =;
S: Gulliver, the hero of Jonathan Swift's book, made a journey - this is:
I: ((296)) TK 4.1. CT =A; T =;
“I went to Russia on horseback. It was winter. It was snowing. The horse was tired and began to stumble. I really wanted to sleep. I nearly fell off my seat from exhaustion. But in vain I searched for a lodging for the night, I did not come across a single village on the way. What was to be done?
I had to spend the night in an open field.
There is no bush or tree around. Only a small column stuck out from under the snow. I somehow tied a chilled horse to this post, and I myself lay down right there by the snow, and fell asleep ... "
-: D. Swift
+: E. Raspe
I: ((297)) TK 4.1. CT =A; T =;
S: The character of the fairy tale H.K. Andersen - the boy to whom Ole-Lukoye told 7 fairy tales, was called - this is:
I: ((298)) TK 4.1. CT =A; T =;
S: The portrait of the hero is given in the book:
“He was a handsome fellow, tall, impeccably built, with
straight and long arms and legs, small feet and hands
hands In appearance, he could have been twenty-six years old (...). His hair was black, long and straight, and did not curl like sheep's wool, his forehead was high and open, his skin color was not black, but swarthy (...).
His face is round and rather plump. In addition to all this, he had quick, brilliant eyes, a well-defined mouth with thin lips and regular shape, white as ivory, excellent teeth. - This:
-: M. Twain "The Adventures of Tom Sawyer"
+: D. Defoe "Robinson Crusoe"
-: J. Swift "The Adventures of Gulliver"
-: A. de Saint-Exupery "The Little Prince"
I: ((299))TK 4. 1 . CT=A;T =;
S: A new genre of adventure literature created by D. Defoe was called:
-: gulliveriada
-: fantasy
-: historical and detective genre
+: robinsonade
I: ((300)) TK4. 1 . K=A; T=60
S: The most important element of Ch. Perrault's fairy tales:
+: morality, so he ended each tale with a poetic moralizing
- good manners of his heroines
- secular nature of the story
-: correlated with a certain virtue, which constituted a set of aesthetic norms
I: ((301)) TK4. 1 . K=A; T=60
S: "The Adventures of Baron Munchausen" by R. Raspe and G. Burger:
+: tell about a real person
-: do not have a real prototype
- autobiographical
I: ((302)) TK4. 1 . K=A; T=60
S: The peculiarity of the work "The Adventures of Baron Munchausen" by R. Raspe and G. Burger is that young readers:
- do not distinguish between truth and lies
+: easily distinguish lies from truth, perceiving Munchausen's stories as a fun game
-: dream and fantasize, inventing their own exploits
I: ((303)) TK4. 1 . K=A; T=60
S: Known as the founders of German studies - the science of the history, culture and language of Germany:
-: Walter Scott
+: Brothers Grimm
-: Daniel Defoe
- Francois Rabelais
I: ((304)) TK4. 1 . K=A; T=60
S: Tales of the Brothers Grimm:
-: translated
+: collected and processed
-: compared by plot with Indian fairy tales
I: ((305)) TK4. 1 . K=A; T=60
S: In the fairy tales of the Brothers Grimm:
-: a lot of attention is paid to monologues
- no narrator
-: no dialogue speech
+: there is always a narrator or narrator
I: ((306)) TK4. 1 . K=A; T=60
S: The work of V. Gauf was influenced by:
+: oriental tales "Thousand and one nights"
- Fairy tales by the Brothers Grimm
-: fairy tales by Ch. Perrault
-: Tales of H. Andersen
I: ((307)) TK4. 1 . K=A; T=60
S: In the tales of V. Gauf:
-: there is always an interested narrator
+: no narrator
-: no dialogue speech
- the narrator is not interested in what is happening
I: ((308)) TK4. 1 . K=A; T=60
S: German fairy tales by W. Hauff:
-: conveyed the national flavor without changes
+: found the oriental splendor of descriptions
-: became a parody of the countries of the East
-: not included in the children's reading circle
I: ((309)) TK4. 1 . K=A; T=60
S: "King of fairy tales" is:
- Jacob Grimm
- Wilhelm Grimm
+: H. Andersen
I: ((310)) TK4. 1 . K=A; T=60
S: H. Andersen signed his first fairy tales:
-: own name
- did not sign
+: pseudonym William Christian Walter
-: Great Storyteller
I: ((311)) TK4. 1 . K=A; T=60
S: "Tales told to children" by H. Andersen are based on:
+: rethinking Danish folk motifs
-: rethinking history and modern reality
-: real events
I: ((312)) TK4. 1 . K=A; T=60
S: "Stories told to children" by H. Andersen are based on:
-: Danish folk motifs
+: rethinking history and modern reality
-: real events
-: folklore material of other countries
I: ((313)) TK4. 1 . K=A; T=60
S: The peculiarity of H. Andersen's fairy tales is that he:
+: did not resort to fantastic fiction too often
- always resorted to fantastic fiction
- introduced moralistic conclusions into fairy tales
- connected stories of fairy tales with real events
I: ((314)) TK4. 1 . K=A; T=60
S: Tales of H. Andersen are divided into:
-: fairy tales-poems and fairy tales short stories
-: fairy tales-non-tales and fairy tales proper
+: fairy tales with happy endings and fairy tales with unhappy endings
- Poetic and prose tales
I: ((315)) TK4. 1 . K=A; T=60
S: A characteristic feature of H. Andersen's fairy tales is that:
-: they are written according to the plots of children's lives
+: fairy tales are written according to the plots of adult life
I: ((316)) TK4. 1 . K=A; T=60
S: In 1958, the International Gold Medal "Small Nobel Prize" was established, named after:
+: H. Andersen
- The Brothers Grimm
-: V. Gaufa
-: C. Perrault
I: ((317)) TK4. 1 . K=A; T=60
+: H. Andersen
- The Brothers Grimm
-: V. Gaufa
-: C. Perrault
Translation of children's literatureXXV.
I:((318 }} TK 4.2. CT =A; T =;
S: The book about the famous bear cub Winnie the Pooh was written by:
-: Antoine de Saint-Exupery
- Selma Lagerlöf
- Lewis Carroll
+: Alan Alexander Milne
I: ((319)) TK 4.2. K=A; T=60
S: "Alice in Wonderland" by L. Carroll:
- fictional character
+: has a prototype - ten-year-old Alice
- writer's daughter
- writer's niece
I: ((320)) TK 4.2. K=A; T=60
S: L. Carroll's books are called:
-: "childish" - they tell about the life of children
+: "adults" - written in the language of allegories and subtext
-: "child-adult" - they are about the relationship between children and adults
-: "comic", because filled with humor
I: ((321)) TK 4.2. K=A; T=60
S: L. Carroll's books gave rise to a new type of literature by combining:
-: books "writers for writers" and children's
-: artistic text with a picture
-: memoir-autobiographical and naturalistic
+: fantasy with mathematics and logic
I: ((322)) TK4.2. K=A; T=60
S: Lewis Carroll is known to us as:
+: scientist who made a number of major discoveries in mathematics
- traveler-discoverer
-: musician
I: ((323)) TK 4.2. K=A; T=60
S: The creative method of L. Carroll is based on:
- use of personifications
-: reliance on CNT
+: word play
-: using the language and style of other peoples
I: ((324)) TK 4.2. K=A; T=60
S: Dynamic and action-packed action of "Alice ..." by L. Carroll is given by:
+: dialogues
-: monologues
- internal monologues
-: repeats
I: ((325)) TK 4.2. K=A; T=60
S: The peculiarity of L. Carroll's Wonderland and Through the Looking-Glass is:
- Strange situations in which the characters find themselves
-: influence on the text of the laws of literary criticism
-: inclusion in the text of the laws of other sciences
+: changing all the rules and conflicts "on the go" that the heroine is not able to understand
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Educator, MBDOU "DSOV "SEVERYANOCHKA", urban settlement Priobye, Oktyabrsky district, Tyumen region, Khanty-Mansi Autonomous Okrug - YUGRA
Berezovskaya T.N. Oral folk art as a means of developing the speech of children of middle preschool age in the context of the implementation of the Federal State Educational Standard for Education // Sovushka. 2017. N4(10)..02.2019).
Order No. 47525
Annotation. The approaches, principles, methods and conditions that contribute to the development of children's speech are considered.middle preschool age by means of oral folk art in the context of the implementation of the Federal State Educational Standard.
Keywords. GEF DO, children of middle preschool age, oral folk art, small forms of folklore,integrative, communicative and system-activity approaches, principles, methods of working with children.
Relevance of the research topic due to the fact that today there is a social order of society for the upbringing of a child with a well-developed speech. This is due to its social significance and role in the formation of personality. It is generally recognized that communication is one of the main conditions for the development of the child, the most important component in the formation of his personality, behavior, emotional and volitional processes.
Speech is included in all activities of the child. The change in the tasks facing the preschooler, the emergence of new activities, the complication of communication with adults and peers, the expansion of the circle of life connections and relationships in which the child is included, leads to the intensive development of all aspects of speech (vocabulary, grammatical structure, expressiveness), its forms (situational , contextual and explanatory) and functions (generalizing, communicative, planning, regulating and symbolic).
The provisions on the leading role of activity and communication in the development of personality, the theory of speech activity, formulated in the works of famous domestic psychologists and teachers L.S. Vygotsky,
S.L. Rubinstein, A.N. Leontiev, A.A. Leontiev, in the concept of speech development of preschoolers, developed by F.A. Sokhin and O.S. Ushakova and others.
In the Federal State Educational Standard for Preschool Education, the educational areas "Social and communicative development" and "Speech development" are highlighted. Socio-communicative development is aimed at "development of communication and interaction of the child with adults and peers", which cannot be achieved without a sufficient volume of the child's active vocabulary. With speech development, a set of tasks is solved for mastering children's speech as a means of communication and culture, enriching the dictionary, developing coherent speech (dialogical and monologue) and means of its expressiveness, acquaintance with children's literature (children's folklore).
One of the effective means of developing the speech of children of middle preschool age is folklore - oral folk art. This is due to the fact that, in connection with the requirements of the Federal State Educational Standard, the educational activities of a preschool organization are focused on the development of the child's personality, his spiritual and moral individual characteristics and interests, therefore, the actual goals of the educator's activity are to activate, awaken interest in works of oral folk art - fables, jokes , incantations, fables, fairy tales, folk songs and games, to traditional national customs, rituals, folk culture. The teacher is required to know well and be able to use the educational and developmental potential of oral folk art in order to develop the speech of pupils.
The problem is to create conditions for the development of speech of children of middle preschool age by means of oral folk art.
In the works of some scientists (V.I. Vasilenko, E.E. Zubareva,
O.L. Knyazeva, M.D. Makhaneva, M.N. Melnikov, E.V. Pomerantsev, etc.), there is a definition of "children's folklore". These are “such folk works that enter the life of a child very early. M.N. Melnikov notes that children's folklore includes the so-called small genres of folklore - these are "folklore works of small volume: calendar and ritual songs, proverbs and sayings, nursery rhymes, jokes, counting rhymes, tongue twisters, fables, riddles, fairy tales".
Oral folk art is an effective means of developing the speech of preschoolers, since its works reveal to the child the beauty and accuracy of the Russian language and, according to K. D. Ushinsky, "bring to life the seeds of the native word, enrich children's speech".
When using oral folk art as a means of developing the speech of children of middle preschool age, three approaches are optimal: integrative, communicative and system-activity.
With an integrative approach, the solution of the problems of the educational areas "Social and communicative" and "Speech development" is carried out:
In all other areas of the educational program of the preschool organization;
In all forms of organizing children's activities - directly educational, joint activities of children and educators, independent activities of children;
In different types of children's activities (playing, cognitive, labor, productive, musical, etc.) and in sensitive moments.
The use of jokes, nursery rhymes, proverbs, sayings and other small genres of folklore in joint activities with children gives them great joy. Accompanying the actions of the child with words contributes to the involuntary learning of his ability to listen to the sounds of speech, to catch its rhythm, individual sound combinations and gradually penetrate into their meaning.
With the communicative approach, works of oral folk art are used to communicate between an adult and a child, for example, when reading and discussing works of art, conducting aesthetic conversations, and finger games. This expands the vocabulary, forms the grammatical structure of speech, its sound culture.
In the process of a system-activity approach, small forms of folklore are used purposefully and systematically (in all types and forms of children's activities, in regime moments) and it is taken into account that most of the works of oral folk art were created with the aim of developing children's motor activity, which positively affects speech activity . With this approach, educators organize outdoor folk games, round dances, folklore holidays, etc. for children.
For the development of speech of children of middle preschool age, educators can use different genres of small folklore.
Nursery rhymes - songs and rhymes - attract children, cause a desire to repeat, remember, which contributes to the development of colloquial speech. Children easily remember nursery rhymes. They start introducing nursery rhyme words into their games. To memorize nursery rhymes, a selection of various materials is used - these are colorful books with nursery rhymes, visual and didactic aids that lie in a place accessible to children.
Riddles are very close to the game form, they have humor and bold images, which is so close to the children's imagination. Especially useful for the development of visual-figurative, associative thinking. Riddles contribute to the formation of the imagery of children's speech, since they use epithets, personifications, ambiguous words, comparisons to create a metaphorical image).
Tongue twisters are a small form of folklore that is used to improve diction and eliminate violations in pronunciation. In my work, I followed the methodology of A.M. Borodich. At first, the teacher recited the new tongue twister by heart at a slow pace, clearly, highlighting sounds that are difficult for children. Then the children spoke it out on their own in an undertone. To repeat the tongue twister, she first asked children with good memory and diction to repeat it. Before their answer, she repeated the instruction: speak slowly, clearly. Then the tongue twister was pronounced in chorus, by all the children or in small groups. The total duration of such exercises is 3-5 minutes. Gradually, these exercises were diversified by the following techniques. They repeated tongue twisters "at the request" of the children, the role of the leader was entrusted to different children. They repeated the tongue twister in parts in rows: the first row: “Because of the forest, because of the mountains ...”; second row: "Grandfather Egor is coming!". If the tongue twister consists of several phrases, it is interesting to repeat it in roles - in groups. The first group: "Tell me about the purchases." The second group: "About what about purchases?". All together: “About purchases, about purchases, about my purchases!” All these techniques have activated children, develops their voluntary attention.
Staging, theatrical games based on the plots of Russian folk tales contribute to the development of the skills of dialogic and monologue speech of children of middle preschool age.
With the help of folk songs, phonemic hearing develops, as they use sound combinations - tunes that are repeated several times at different tempos, with different intonations.
To form the sound culture of speech of children of middle preschool age, we developed a set of exercises, the speech material for which were works of small forms of folklore. The complex includes 5 groups of exercises:
1. Exercises for practicing diction - memorizing tongue twisters; use of mnemonics.
2. Exercises that help improve the power of the voice - lullabies, nursery rhymes, jokes.
3. Exercises to improve the pace of speech - nursery rhymes, sayings, tongue twisters, counting rhymes, folk games, nursery rhymes.
4. Exercises to improve the timbre of the voice - jokes, proverbs, sayings, incantations, nursery rhymes.
5. Exercises to improve the melody of speech, its intonational expressiveness - proverbs, fables.
When pronouncing all folklore works, the teacher provides an understanding of the content of his children, thanks to the emotional coloring of speech, a change in the timbre of the voice. Thus, speech interaction with the child is established, aimed at developing the sound culture of speech.
Pedagogical work on the development of speech of children of middle preschool age by means of oral folk art formed the following didactic principles:
1) the integration of folklore with various forms of children's activities (directly educational activities, games, leisure, walks, certain regime moments);
2) active inclusion of children in a variety of activities: gaming, motor, speech, artistic and creative, musical, theatrical);
3) the principle of an individual approach to children, taking into account their preferences, inclinations, interests, level of speech development;
4) the principle of visibility (the use of bright, entertaining and understandable visual material for children - illustrations and pictures for works of oral folk art, mnemonic tables - for memorizing them, attributes of theatrical games).
In the work on the development of speech of children of middle preschool age by means of oral folk art, various methods are used:
Visual (looking at picture books, illustrations, photographs, etc.);
Verbal methods: expressive reading (telling), explanation, conversation, explanation;
Game methods;
Finger games;
Rhythmic movements to the music and text of a folklore work;
Imitation exercises (imitation of the behavior of animals, birds, heroes of folklore works);
The method of associations when using riddles;
All these methods make it possible to develop all aspects of speech, constructive ways and means of free communication of children with people around them.
Thus, the following conditions contribute to the successful development of the speech of children of middle preschool age:
Use in a complex of three approaches: integrative, communicative and system-activity;
Selection of works of oral folk art, their genres in accordance with the age interests of children;
Following didactic principles in pedagogical work on the development of speech of children of middle preschool age by means of oral folk art;
The use of a complex of various methods and special exercises, in which the speech material is the works of small forms of folklore.
As a result of this work, we were convinced that oral folk art is an effective means of developing the speech of children of middle preschool age. Folklore works arouse keen interest and attract the attention of children with their brief form, vivid poetic images and artistic means, evoke positive emotions in children. All this together increases the efficiency of work on the speech and socio-communicative development of children, makes the speech of children more correct, expressive, vivid, melodic.
Listliterature
- Vasilenko, V.I. Children's folklore. Russian folk poetry [Text] / V.I. Vasilenko. M.: Detstvo-press, 2013. 345 p.
- Zubareva, E.E. Children's literature [Text] / E.E. Zubareva, Z.P. Pakhomov. Moscow: Education, 2014. 312 p.
- Knyazeva, O.L. Introducing children to the origins of Russian folk culture [Text] / O.L. Knyazeva, M.D. Makhanev. St. Petersburg: Speech, 2014. - 145 p.
- Melnikov, M.N. Russian children's folklore [Text] / M.N. Melnikov. M.: Education, 2015. 272 p.
- Pomerantseva, E.V. Children's folklore. Russian folklore [Text] / E.V. Pomerantsev. Moscow: Education, 2013. 268 p.
- Ushakova O.S. Theory and practice of the development of speech of a preschooler [Text] / O.S. Ushakov. M.: TC Sphere, 2015. 240 p.
- Ushinsky, K.D. Sobr. op. in 2 volumes [Text] / K.D. Ushinsky. Moscow: Enlightenment, 1999. Vol. 1. 374 p.
- Federal state educational standard for preschool education, approved. by order of the Ministry of Education and Science of the Russian Federation dated October 17, 2013 No. 1155 [Text]. M.: Education, 2017. 42 p.
- Batskikh Alla Viktorovna
Keywords
FORMATION / CREATIVITY / FOLKLORE / GENRE IMAGEannotation scientific article on public education and pedagogy, author of scientific work - Batskikh Alla Viktorovna
The relevance of research. One of the most important tasks in the development of the personality of a child of preschool age is the development of spiritual wealth, the cultural and historical experience of the people, created over the centuries by a huge number of generations. Changes in the economic and social spheres of life require the preparation of the younger generation, capable of adapting to a changing environment, able to make a decision, make an independent choice, take the initiative, possessing a fairly high level of general and national culture. Only thinking, creative individuals are able to carry out the development of the country, its movement along the path of progress. In this regard, there is a need to search for new approaches to determining the content of upbringing and education, to the creation of a personality-oriented model of upbringing and education of preschool children. One of the effective means of educating such a person is Russian oral folk art. The possibility of using oral folk art in a preschool institution to develop the creative activity of preschool children is due to the specifics of the content and forms of the works of verbal creativity of the Russian people, the nature of acquaintance with them and the speech development of preschoolers. Children perceive folklore works well due to their gentle humor, unobtrusive didacticism and familiar life situations. Oral folk art is an invaluable wealth of every nation, a view of life, society, nature developed over the centuries, an indicator of its abilities and talent. Through oral folk art, the child not only masters his native language, but also, mastering its beauty, conciseness, joins the culture of his people, gets the first impressions about it. In addition, the verbal creativity of the people is a special kind of art, that is, a kind of spiritual assimilation of reality by a person with the aim of creatively transforming the surrounding world "according to the laws of beauty." Works of Russian folk art, through a special form of expressing attitudes towards perceived reality, through rich themes, content, have a versatile effect on the child, teach to think figuratively, to see the unusual in an ordinary object or phenomenon, lay the foundations of aesthetic culture, form respect for the results of the activities of many generations and the ability to be creative. apply the experience gained in non-standard situations. Therefore, the range of studies on the problems of upbringing and education devoted to oral folk art is wide. Based on research on various aspects of the consideration of oral folk art, allowed us to choose it as a means of developing the creative activity of preschool children. In general, studies devoted to oral folk art as a means of moral and aesthetic education contain an indication that oral folk art is fraught with enormous opportunities for shaping the creative orientation of the personality of a preschool child. But the conditions, ways, content, forms and methods of work on the development of children's creativity, and in particular, creative activity, are not disclosed. However, in the scientific and pedagogical literature there are studies that consider the problem of developing the creative activity of children of preschool and primary school age in various activities. The formation of the creative activity of older preschoolers through Russian oral folk art presupposes, first of all, the emotional and aesthetic perception of folklore works by children; the presence of initial knowledge about the genre specifics of works of oral folk art, their figurative nature; encouraging children to express their impressions from fairy tales, folk songs, nursery rhymes, proverbs, etc. in various types of artistic and creative activities. The essence of the creative activity of preschool children is the realization of the need for new knowledge and receiving positive emotions from them, as well as the ability to transform, change the acquired new knowledge and express the new in various types of artistic and creative activities. The criteria for forcing creative activity in preschoolers of five or six years old under the influence of oral folk art are: the amount of knowledge about oral folk art; the desire and ability to express the impressions received in their own writings (fairy tales, riddles, fables, counting rhymes, etc.), in expressive reading, retelling, staged oral poetic works; transferring the images of Russian folklore to a new situation for the child in the practice of everyday verbal communication and combining different types of artistic and creative activities. The effectiveness of the formation of creative activity in children of senior preschool age in the process of familiarization with Russian oral folk art is ensured by its wide inclusion in the life of children and the pedagogical process of the kindergarten, the use of works of different genres; integration of various types of artistic and creative activities; the formation of knowledge about oral folk art, its genre specificity and figurative character; development of aesthetic perception of folklore; implementation in educational work of the relationship of folklore with other types of folk art; using a variety of forms and methods for the development of children's artistic and creative abilities. CONCLUSIONS The possibility of using oral folk art as a means of shaping the creative activity of children of older preschool age has been established, and its positive impact on the process of creative development of children has been revealed. The optimal conditions that ensure the success of the formation of creative activity by means of oral folk art are: wide inclusion in the life of preschool children and the versatile use of works of verbal creativity of the Russian people of different genres in the pedagogical process of the kindergarten; the formation in children of the rudiments of knowledge about the genre specifics of folklore works, the initial knowledge of oral folk art as a special kind of art that allows you to see the image through a comparison of objects of reality; implementation of the relationship between the perception of the poetic creativity of the Russian people and productive activities, that is, strengthening the integrity and artistry of the child's picture of the world, providing children with the opportunity to apply their knowledge in various types of artistic and creative activities; an integrated approach to the organization of content and the development of artistic activities. Criteria for the effective formation of creative activity have been developed. These include: a positive emotional attitude to oral folk art, the translation of images of oral poetry into images of dramatizations, fine arts, the transfer of folklore images to a new situation for the child, independence and initiative in inventing their own fairy tales, riddles, proverbs and sayings on a folk basis . They manifested themselves in the following indicators: a feeling of joy in the process of perception, manifested in facial expressions, gestures, exclamations of approval, remarks, questions, attentive listening to a folk work, interest in it, which was expressed in questions, a desire to hear it again, tell a peer or an adult; retention in memory of the content of the work, figurative expressions, means of artistic expression of various folklore genres; the desire and ability to characterize the heroes and characters of folklore works; the desire, the desire to reflect the content of the work of folk poetry or part of it in different types of artistic activity (graphic, gaming, artistic and speech); the desire to use in everyday speech communication apt expressions, bright turns of the language of folklore works; the ability to convey the content of the work expressively.
Related Topics scientific papers on public education and pedagogy, the author of scientific work - Batskikh Alla Viktorovna,
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The text of the scientific work on the topic "Russian oral folk art in the formation of the development of the personality of a child of preschool age"
Russian oral folk art in the formation of the development of the child's personality
preschool age
Batskikh Alla Viktorovna
GBOU hym. No. 402 named after. Aliya Moldagulova Moscow
Keywords:
Formation, creativity, folklore, genre image.
The relevance of research. One of the most important tasks in the development of the personality of a child of preschool age is the development of spiritual wealth, the cultural and historical experience of the people, created over the centuries by a huge number of generations.
Changes in the economic and social spheres of life require the preparation of the younger generation, capable of adapting to a changing environment, able to make a decision, make an independent choice, take the initiative, possessing a fairly high level of general and national culture.
Only thinking, creative individuals are able to carry out the development of the country, its movement along the path of progress. In this regard, there is a need to search for new approaches to determining the content of upbringing and education, to the creation of a personality-oriented model of upbringing and education of preschool children.
One of the effective means of educating such a person is Russian oral folk art.
The possibility of using oral folk art in a preschool institution to develop the creative activity of preschool children is due to the specifics of the content and forms of the works of verbal creativity of the Russian people, the nature of acquaintance with them and the speech development of preschoolers. Children perceive folklore works well due to their gentle humor, unobtrusive didacticism and familiar life situations.
Oral folk art is an invaluable wealth of every nation, a view of life, society, nature developed over the centuries, an indicator of its abilities and talent.
Through oral folk art, the child not only masters his native language, but also, mastering its beauty, conciseness, joins the culture of his people, gets the first impressions about it. In addition, the verbal creativity of the people is a special kind of art, that is, a kind of spiritual assimilation of reality by a person with the aim of creatively transforming the surrounding world "according to the laws of beauty." Works of Russian folk art, through a special form of expressing attitudes towards perceived reality, through rich themes, content, have a versatile effect on the child, teach to think figuratively, to see the unusual in an ordinary object or phenomenon, lay the foundations of aesthetic culture, form respect for the results of the activities of many generations and the ability to be creative. apply the experience gained in non-standard situations. Therefore, a wide range of studies on the problems of upbringing and education, devoted to oral folk art.
The reliance on research on various aspects of the consideration of oral folk art allowed us to choose it as a means of developing the creative activity of preschool children.
In general, studies devoted to oral folk art as a means of moral and aesthetic education contain an indication that oral folk art is fraught with enormous opportunities for the formation of a creative direction.
personality of the preschool child. But the conditions, ways, content, forms and methods of work on the development of children's creativity, and in particular, creative activity, are not disclosed. However, in the scientific and pedagogical literature there are studies that consider the problem of developing the creative activity of children of preschool and primary school age in various activities.
The formation of the creative activity of older preschoolers through Russian oral folk art presupposes, first of all, the emotional and aesthetic perception of folklore works by children; the presence of initial knowledge about the genre specifics of works of oral folk art, their figurative nature; encouraging children to express their impressions from fairy tales, folk songs, nursery rhymes, proverbs, etc. in various types of artistic and creative activities.
The essence of the creative activity of preschool children is the realization of the need for new knowledge and receiving positive emotions from them, as well as the ability to transform, change the acquired new knowledge and express the new in various types of artistic and creative activities. The criteria for forcing creative activity in preschool children of five or six years old under the influence of oral folk art are: the amount of knowledge about oral folk art; the desire and ability to express the impressions received in their own writings (fairy tales, riddles, fables, counting rhymes, etc.), in expressive reading, retelling, staged oral poetic works; transferring the images of Russian folklore to a new situation for the child in the practice of everyday verbal communication and combining different types of artistic and creative activities.
The effectiveness of the formation of creative activity in children of senior preschool age in the process of familiarization with Russian oral folk art is ensured by its wide inclusion in the life of children and the pedagogical process of the kindergarten, the use of works of different genres; integration of various types of artistic and creative activities; the formation of knowledge about oral folk art, its genre specificity and figurative character; development of aesthetic perception of folklore; implementation in educational work of the relationship of folklore with other types of folk art; using a variety of forms and methods for the development of children's artistic and creative abilities.
The possibility of using oral folk art as a means of forming the creative activity of children of senior preschool age has been established, and its positive influence on the process of creative development of children has been revealed.
The optimal conditions that ensure the success of the formation of creative activity by means of oral folk art are: widespread inclusion in the life of preschool children and the versatile use of works of verbal creativity of the Russian people of various genres in the pedagogical process of the kindergarten; the formation in children of the rudiments of knowledge about the genre specifics of folklore works, the initial knowledge of oral folk art as a special kind of art that allows you to see the image through a comparison of objects of reality; implementation of the relationship between the perception of the poetic creativity of the Russian people and productive activities, that is, strengthening the integrity and artistry of the child's picture of the world, providing children with the opportunity to apply their knowledge in various types of artistic and creative activities; an integrated approach to the organization of content and the development of artistic and creative activities.
Criteria for the effective formation of creative activity have been developed. These include: a positive emotional attitude to oral folk art, the translation of images of oral poetry into images of dramatizations, fine arts, the transfer of images of folklore to a new situation for the child, independence and initiative in inventing their own fairy tales, riddles, proverbs and sayings on a folk basis . They manifested themselves in the following indicators: a feeling of joy in the process of perception, manifested in facial expressions, gestures, exclamations of approval, replicas, questions,
attentive listening to a folklore work, interest in it, which was expressed in questions, the desire to hear it again, tell it to a peer or an adult; retention in memory of the content of the work, figurative expressions, means of artistic expression of various folklore genres; the desire and ability to characterize the heroes and characters of folklore works; the desire, the desire to reflect the content of the work of folk poetry or part of it in various types of artistic and creative activities (graphic, gaming, artistic and speech); the desire to use in everyday speech communication apt expressions, bright turns of the language of folklore works; the ability to convey the content of the work expressively.
Bibliography:
1. Anikin V.P. A step to wisdom. M-1988.
2. Krugloye Yu.G., Anikin V.P. Russian folk poetry. (Textbook for pedagogical institutes) - L: Education, 1987.
3. Apollonov N. Introduction of preschoolers to the Russian national culture. Preschool education, 1992.
4. Arnovskaya-Dubovis D.M. Fairy tale understanding for preschoolers. Preschool education. 1955.-№10.
"Folk art as a means of introducing children of middle preschool age to the origins of Russian folk culture"
Call" href="/text/category/koll/" rel="bookmark"> to work collectively. Raise interest in the history and culture of the Russian people.
5. Develop communication skills, the desire to use folk toys in joint and independent activities;
6. Learn to receive joy from what you see, hear, do with your own hands
Hypothesis:
If a child is not introduced to folk arts and crafts in preschool childhood, then full familiarization with the history and culture of his people will not be achieved, which in the future will lead to the impoverishment of his moral and patriotic feelings.
Relevance of the topic:
Russian folk art never ceases to amaze and amaze with its deep content and perfect form. It is constantly being studied, and the eyes of historians, art historians, and teachers are turned to it. Childhood is the time when a genuine, sincere immersion in the origins of national culture is possible. The culture of the Russian people contributes to a deep impact on the world of the child, has moral, aesthetic, cognitive value, embodies the historical experience of many generations and is considered as part of material culture. That is why we pay great attention to introducing children to the origins of Russian folk culture: ancient holidays, traditions, folklore, art crafts, arts and crafts and creativity.
Expected result:
Education of love for the folk art of Russia. A child is a creator, a master, a creator of a folk toy. The child is able to cooperate in a pair, a team. Parents are actively involved in joint cognitive and creative activities with children; family ties are strengthened.
Integration of educational areas:"Artistic and aesthetic development", "Speech development", "Cognitive development", "Social and communicative development".
Stages of project implementation:
Preparatory
Basic
Final
Stage 1 is preparatory.
1. Study, analysis, selection and acquisition of pedagogical, methodological literature;
2. Determination of the system, directions, goals, tasks for introducing children to the origins of Russian folk culture in kindergarten;
3. Formation and creation of conditions for work on introducing children to the origins of Russian folk culture
4. Development of thematic classes to familiarize children with the origins of Russian culture.
Stage 2 - Main.
Carrying out a set of events on the topic: "Introduction of children of middle preschool age to folk arts and crafts"
Includes:
1. Work with children.
2. Work with parents.
We carry out all the work on the development of a preschooler together with parents: we inform them about the achievements and problems of children, we consult with them about the individual characteristics of each child. Parents are given recommendations for elaboration, for reading a specific fairy tale. Together with their child, they draw illustrations for a given fairy tale, teach the child to retell the fairy tale, discussing the meaning of the fairy tale and the emotions it evokes, etc. We involve them in organizing and participating in joint events. All this taken together makes it possible to expand the horizons of children, to cultivate respect and love for the Russian folk toy and native culture in general.
4. Acquaintance with the main elements of murals: Gzhel, Khokhloma, haze, Filimonovo (drawing).
5. Coloring by theme
6. Making d / and "The fourth extra", "Make a pattern"
7. Making "Dymkovskaya toys" together with parents.
8. NOD Modeling from salt dough "Pendants for mothers", for Mother's Day.
9. Origami "Filimonovsky cockerel".
Working with parents:
1. Consultations: "Dymkovo toy"; "Types of folk arts and crafts"; "Decorative and applied art in kindergarten and at home"; "Introducing children to the works of folk arts and crafts"
2. Exhibition "We are masters of our craft"
