"PROFESSIONAL LIBRARY OF THE SCHOOL LIBRARY" APPENDIX TO THE MAGAZINE "SCHOOL LIBRARY" Series 1 Issue 3 G.M. Palguev READING...»

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SCHOOL LIBRARY PROFESSIONAL LIBRARY

APPENDIX TO THE MAGAZINE "SCHOOL LIBRARY"

G.M. Palgueva

READING GIVING

Pre-reading lessons:

on the stairs near the bookshelves

Russian School Library Association

Palgueva, G.M.

Reading donation. Lessons of "pre-reading": on the stairs near the bookshelves / G.M. Palguev. – M.: Russian School Library Association, 2011. – 224 p. - (Professional library of the school librarian. Ser. 1. Issue 3). - Supplement to the magazine "School Library". – ISBN Dear friends and colleagues! We bring to your attention the book of Galina Mikhailovna Palgueva "Reading the gift". These are original scenarios of lessons of "meetings" of a librarian with his readers at the "book ladder". The author calls such classes the term "pre-reading".

“My idea is that you need to try again to see the “whole elephant”. It seems to me that teachers who teach children the technique of reading, using excerpts from works of art, show only "part of the elephant." And librarians, who mostly do reading quizzes (hence working for “afterreading”), are also focused on the “elephant piece”. Is it possible to combine this: both touch on the reading technique and see the book as a whole. I developed several "meetings" for grades 3-4 - 11 "meetings" so far, in which I tried to focus on "prereading", to combine school and library methods of working with a book. The content range of “meetings” is from classical to modern works,” writes the author, chief librarian of the Moscow Central Library Service of the Kanavinsky district of Moscow. Nizhny Novgorod.

“Korney Ivanovich dreamed of building a staircase that would lead a growing person to “Eugene Onegin”. What and in what order should a growing person read, from which to which step should he move (on his own and with the help of adults), so that, say, by the age of fourteen, fifteen, sixteen, the Onegin stanza does not complicate, does not frighten, but captivates him?

"Meetings" have been tested by practice and received excellent reviews from both children and teachers. Enjoy your reading, dear colleagues, and the successful implementation of the "meetings" offered to you today!

Us. 1 region: Readers high school No. 11, Sarov, Nizhny Novgorod region

© Russian School Library Association, 2011 © G.M. Palgueva, 2011 ISBN 978 5 91540 043 5 CONTENTS Instead of a preface (A.G. Sinitsyna)

Part I. Ladder for my colleagues

Step 3. On what basis did you select the literature?.................15 Step 4. In what ways was the task accomplished?

Step 6. Summary

Part II. Reading donation

Hi all!

I read - I grow

Encounter I. Fairy tale - a firefly at bedtime in the cradle

Meeting II. Chur I - Baba Yaga!

Meeting III. Looking for treasure

Meeting IV. About old times

Meeting V. Translated from a dog

Meeting VI. What is happiness?

Meeting VIII. What is a character?

Meeting IX. Captains. Knights. Sails and Wings

Meeting X. "Halle ap - look into the box!"

Meeting XI. Who's in the bag?

What happened as a result?

Part III. Give yourself the talent of a reader

Discussion as a way of reflection of readers aged 12–14 ..........173 Discussion as a form of reader activity

If I'm only for myself - why me? Guidelines on work with the book of Natalia Solomko. 6-9 grades.

How much does it take to be loved? Guidelines for working with the book G. Demykina. 8th-9th grades.

–  –  –

Sinitsyna Alevtina Gennadievna, classroom teacher 4 "b" class, MOU secondary school No. 73, Nizhny Novgorod, 2010/2011 academic year I, the class teacher of the 4th "b" class of the MOU secondary school No. 73, often brought my fourth-graders to the children's library named after. A.M. Peshkov. Both the children and I liked the comfortable atmosphere, which was conducive to work and creative recreation for the children.

We are grateful to all library staff for informative library lessons, quizzes, and intellectual games.

I would especially like to say thanks to Galina Mikhailovna Palgueva. Over the course of several months, she hosted memorable library meetings, which she called "Reading for the Gift." These meetings are unusual both in structure and content.

The "hero" of each meeting was one book. But the conversation about her was comprehensive. Galina Mikhailovna, together with the children, examined the external design and structure of the book: cover, title page, content, illustrations, book ciphers and bibliographic description. With the help of new game techniques each time, she suggested that the children find a book in the fund, arrange a bookshelf.

Then they delved into the content of the book. First they looked for unfamiliar words and explained their meaning with the help of dictionaries and reference books. Along the way, it was explained what metaphors, associations, definitions, literary genres. The illustrations of different artists were compared. Then it was about the heroes of the books: their characters, thoughts, emotions. From the heroes of the books, the conversation turned to the life experience of the students.

At each lesson, Galina Mikhailovna gave the children the opportunity to speak about the book they read or an excerpt from the work they were getting to know. At the same time, she encouraged free independent assessments of the children.

The presentations that were prepared for each class helped to keep my students thinking.

Most importantly, the children listened very attentively and with sympathy to Galina Mikhailovna's expressive reading of poems and excerpts from her works. At each meeting, the children received positive emotions, they had a desire to take a book from the library and read it on their own. They discussed for a long time everything they had heard in Galina Mikhailovna's classes. It was noticeable that new words, heard in the library, appeared in their conversations. They hurried to each new meeting with pleasure.

IN readers' diaries, which the guys led during the year, many reviews were written about the books read aloud to them by Galina Mikhailovna.

I think that this form of work literary reading important and acceptable to both the library and the school.

–  –  –

How is the relationship between a child and an adult, a librarian and a reader built in the process of reading? The options are innumerable.

The most effective, in my opinion, is the one that can be represented in the form of a diagram:

The librarian leads They go together The reader goes on their own It is on this principle that the materials offered to colleagues are built.

The first part includes reflections on the intermediary role of the librarian between the child and reading, as well as the rationale for a synergistic model of working with works of art, which I called “Reading Giving”.

In the second part - practical examples joint actions of the librarian and the reader younger age: reading aloud, explanations and discussions, linguistic and bibliographic games, dialogues with the text.

The third part is work with teenagers, based largely on independent reading and reading comprehension, as well as the ability to synthesize and express one's own opinion during the discussion of the book.

PART I. LADDER FOR MY COLLEAGUES

Dear Colleagues!

I appeal primarily to those who work directly with children: at the subscription, in the reading room, conduct individual conversations and public events. I appeal to those who believe that the children's library is not only a center of information, but more of a territory for creative reading. I appeal to those who are taking real steps to mediate between the child and reading.

“Korney Ivanovich dreamed of building a staircase that would lead a growing person to “Eugene Onegin”. What and in what order should a growing person read, from which to which step should he move (on his own and with the help of adults), so that, say, by the age of fourteen, fifteen, sixteen, the Onegin stanza does not complicate, does not scare, but captivates him? What and in what form and in what sequence should be given to a growing person in childhood in order to protect him from vulgarity, which always, at all times, inevitably and indestructibly rushes from all cracks? What to give so that a growing person freely and joyfully climbs the ladder of literary culture, without which there is no spiritual culture? This staircase has no end, but what should be the beginning and what is the sequence of steps?”1 This image of K.I. Chukovsky can be regarded as a guideline in the formation of the emotional personal responsiveness of children and adolescents to works of art.

The author of creative reading technology V.A. Borodina argues: the reader Chukovskaya L.K. Childhood memories. My father is Korney Chukovsky / L.K. Chukovskaya // Bibliogide: The essence of the matter.

personality orientation expressed in need, motive, interest, attitude. At the same time, a change in the system of conscious reading attitudes occurs in the reading activity itself2.

The creation and functioning of conscious attitudes is unlikely to be successful without the personal responsiveness of the one who undertook the difficult and often thankless task of accompanying a growing person up the ladder of literary culture.

Librarians, and if desired, parents, have ample opportunity to help in shaping the reading orientation of children. But in the presence of a variety of types and genres of literature, as well as technologies and methods of reading, they need guidance in choosing the appropriate options.

The most effective approach seems to be what psychologists call the “I concept”. In turn, S.L. Waldgard, who created the concept of “I am a reader”, aims at developing in everyone the ability to “emotionally respond, understand, agree, argue, strain attention, participate and empathize”3.

I construct it, relying on the one that my teachers at school, at the institute, friends and colleagues - children's librarians built in my time. This program, based on my understanding of the thesis “I am a reader”, is an example of the practical implementation of Waldgard's concept.

Structurally, the program is a cycle of meetings united by the idea of ​​K.I. Chukovsky. In my opinion, the "ladder" is akin to the "golden shelf", which everyone has their own. Climbing steps along it, in another way - Borodina V.A., Borodin S.M. Technologies of reader development.

Summer Reading School / V.A. Borodina, S.M. Borodin // School Library. - 2010. - No. 3–4. – S. 105.

There. - S. 106.

the stages of compiling the “golden shelf” can be similar or different, just as the predisposition and level of reading development can be similar and different.

Each “Meeting”, like a step, helps to “reach out”

to the next bookshelf with different books: funny, smart, sincere, strict.

Librarians of practice have the opportunity to build their own ladder, taking as a basis the organizational, content, methodological forms that formed the structure of each meeting.

First, a few explanations about the "steps" that I went through when preparing the program and which may be useful to colleagues.

Step 1. Why did I do this?

During my professional life, I have gone from an ordinary employee of the service department, a methodologist to the deputy director of the regional children's library. Along the way, I had the opportunity to host events, write scripts, and give recommendations on how best to do both.

I think that the time has finally come to translate everything thought out and worked out into a practical product.

In the proposed "Meetings" one can find observations, reflections and answers to questions caused by these reflections. They can be represented as follows.

1. When talking about reading, librarians usually mean the post-phase of working with a work. For this, quizzes and games with questions that require only the mechanical reproduction of plot details are most often used. How many legs does an octopus have? What is the name of the heroine in Ilyina's story "The Fourth Height"?

Sometimes quizzes and games are held on books, not only not read, but also on those that most of those present at the event simply have not heard of. The Artistic Word, as a rule, does not take up much space in library events.

2. At school, even the best of teachers use literary texts as an aid in the technique of "analysis of the work" that they are "going through". Sometimes, using the example of excerpts from works of art, grammar is studied, means of expression language: metaphor, epithet, comparison, etc. Reading as a concept “I am a reader”, as a free immersion in the emotional sphere of a book, most often remains outside the school lesson.

3. In both cases, a vision arises of the same elephant, whose legs, ears, and trunk are studied separately, but the whole elephant is never seen4.

I think that a good book deserves to be considered as something integral: the subject and object of human thoughts and emotions, the art of the Word and the Image, the product of printing, the object of bibliographic description and search.

I think that a child deserves that READING ORIGINALLY be an adventure, a discovery, a game for him. “The child feels himself the creator of his play world: its conditional realities, its heroes, its rules and laws.

The child's play experience makes it easier for him to enter the space of art, because the child already knows what "conventionality" is, knows some tricks and methods of artistic transformation of reality"5.

But adventures and discoveries do not come by themselves, sometimes it is worth suggesting the direction in which they can be found. Sometimes you need a kind of stalker into the world of Words, Books, Reading.

An adult reading can become such a guide. In the current situation of the reading crisis, a parent, teacher, librarian, according to N.K. Safonova, simply obliged

Palgueva G.M. Information center or creative area

th reading? On eternal values ​​and new realities / G.M. Palgueva // Library business. - 2010. - No. 16. - P. 8–12.

Safonova N.K. Games in the children's library: Theory, methodology, library practice / N.K. Safonov. - Chelyabinsk: ChGAKI, 2006. - P. 1.

"Win the reader" by playing book and library games with him.

True, there is a danger of “playing” and “losing” if the game is an end in itself. Valentina Aleksandrovna Borodina insists that reading is an emotional, intellectual and objectively active game. It is based on the actualization of the reader's experience and culture, on work with the Word6.

I think that the Artistic Word deserves to be treated as a way to excite thoughts and feelings. The Word does not always reveal its secrets to everyone. Penetration into them is possible through creative game tasks related to word creation and verbal image creation.

All this taken together and prompted me to take up the work, the fruits of which I present to your attention.

I would like the "Meetings" to serve as a starting point for your own creative methods, to bring pleasure to you and your readers.

The most important. I had the opportunity of synergy between library and school methods of literary reading. I tried to find new accents to develop the need, motivation, interest, reading attitude. I hope meetings like this help you move from UNREADING to READING.

Step 2. How did I do it?

In the proposed "Meetings" I tried to go the natural way. Let's remember how we choose an unfamiliar book in a store, in a library. We will turn it in our hands, look at the pictures on the cover and inside. Let's read the annotations. Find out if there is information about the author, artist.

Let's stick to some page, look at the end: we have the right according to Pennak! We perceive the book first externally, visually. Having received at this level some

Borodina V.A., Borodin S.M. Game in acme reading. For Business, Leisure,

Souls / V.A. Borodin // Librarianship. - 2011. - No. 5. - P. 2–9.

signal, sometimes unconscious, we decide whether to read it.

Of course, we are not talking about books chosen purposefully: this particular author, this particular topic. We make this choice most often on the recommendations of friends and acquaintances. But in this case, we first see the book, and if it is outwardly unpresentable, this may devalue friendly advice. For a long time I could not force myself to read V. Pietsukh's book "Me and Others" because of the "ugly" cover, although it was recommended to me by people whom I trusted. Only much later Pietsukh became my favorite writer.

How do we read? Sometimes - in one breath. But I remember that at school I was taught to read thoughtfully. STOP HANGING and think about what you read, try to understand what you don't understand. My son and I chose and read books this way, and I myself still read this way.

It turns out that our personal “relationship” with books is both diverse and synergistic. When we act as a teacher or a librarian, we begin to dissect the book. On library lessons we talk about its structure, at school - about positive and negative characters. In life, as I have already noted, we ignore something, we unconsciously combine something.

I suggested the possibility of COMBINATORY in the use of different techniques. Of the existing set of approaches to solving the problem of developmental reading, none of the methods can be said with absolute certainty that this is the only effective way.

Therefore, I adopted everything that in one way or another contributes to the disclosure of the book as an integrated phenomenon: reading aloud with stops and comments (according to O.K. Gromova), creative reading (according to V.A. Borodina), a journey into the depths lines (according to I.I. Tikhomirova).

In addition, each meeting uses methods for introducing library and bibliographic literacy.

In each encounter of the child with the Book that I propose, different elements of these methods are used, reinforced by their own reflections and techniques.

We often say that the reader should be interested. How? Daniel Pennack provided a great tip in his essay “Like a Novel”: READING SHOULD BE GIVED. Korney Chukovsky spoke about the same.

But do not bestow from above, but give as an equal to an equal, give what is interesting to you, brings pleasure, what is dear to you. Therefore, I offered to read with the children works that caused a storm of emotions and reflections in myself. This does not mean that I impose my tastes and preferences on others or that my reading ladder is the best. I'm just SHOWING what pleasure I myself managed to derive precisely from these works, i.e. I show my gift and give my reading without asking for anything in return.

Reflecting on what is the main thing in my program, I settled on the phrase “reading giving”.

This is mostly discontinuous reading - with stops, explanations and discussion, as well as games, riddles, bibliographic searches, creative tasks. “Reading Giving” is seen by me as an invitation to reader activity.

During the meetings, I encountered disagreement on the question of when to read the work in full: before or after explanations of unfamiliar words and concepts. I suppose both are possible. Books also need an individual approach: one can be interrupted, the other is not worth it, so as not to destroy the holistic impression. It is probably better to read poetry first, then “work” with them, then read it again.

At the same time, it should be taken into account that the abundance of unfamiliar words in the text causes inhibition of perception, rejection and even distortion of what is read. Natalya Grigorievna Malakhova, head of the department of psychological support at the Russian Children's Children's Hospital, told how young readers were asked to draw a broken trough, which left a greedy old woman. Children drew something similar to coffins7. And what can you draw if you have not seen this trough with your eyes? The question is, what will be the impression of Pushkin if there are coffins in the eyes (imagination)?

Perhaps stopping reading and explaining unfamiliar words and situations that have no analogues in life experience modern children, on the contrary, they will work on the impression for which the work is designed. Therefore, I reread the poems or the story after explanations and reasoning.

And I came to the conclusion that the impression remains quite deep and holistic.

Discussion during a reading stop for today's schoolchildren with their clip perception is also more good than harm. After reading the work to the end, they forget what they read at the beginning, they cannot answer the question. And so, in the course of reading and discussion, they will think about something.

I think there are different paths to creative reading.

My path is to focus on the PRE READING phase, on the fact that, according to V.A. Borodina, it is delicate to draw attention to the book.

Work in the pre-reading phase enables the child to feel that he is not being examined, that he is free to choose, that he has the right NOT to READ, but he clearly sees that READING is not harmful, but on the contrary, it is interesting.

In itself, the variety of methods for presenting a book and working with text shows that when reading, you can seriously think, have fun playing, learn something new, and remember the familiar.

Step 3. On what basis did you select literature?

According to personal preferences and childhood memories.

To the supporters of the view that the librarian's professional activity is guided by professional principles and not by personal views, I can answer that free expression of opinion is required for conversations and discussions of works of art. In this case, the librarian can and does act as a leader in reading, setting an example in reading and discussing the book on an equal footing, for which he just needs to have his own opinion based on personal preferences. This is the professional principle of the children's librarian.

Of course, I do not claim that the entire list of similar wounds is impeccable. In addition to a few of the most modern, it includes works that have stood the test of time. Anyone who is interested in this way of talking to children about reading can use their own “golden shelf” for this.

To some, perhaps, the selected books will seem widely known. Sadly, I can state that they are practically unfamiliar to modern schoolchildren and, perhaps, will be rediscovered for them. Perhaps they "passed" the works at school ... as usual - by. But repetition is the mother of learning. Looking at something familiar from a different angle never hurts.

Of course, many more books are read in childhood.

In addition, the list does not include works by foreign authors. They will appear in the next cycles.

For "Meetings" the main principle of selection of literature was that the work should show to the greatest extent any moment of choice, internal moral movement, moment of overcoming oneself or unfavorable internal and external circumstances.

Palgueva G.M. “I would be glad to serve, sickening to serve”: O inside

early freedom, equality of relations and professional duty / G.M. Palgueva // Library business. - 2010. - No. 20. - P. 4–8.

Step 4. In what ways was the task accomplished?

Since the task was to combine school and extracurricular methods of working with literature, the meetings are arranged chronologically in accordance with the school curriculum: from folklore to the present day. Moments of explanation are taken from the school curriculum on literary reading artistic means language: similes, metaphors, images, genres, etc.

In accordance with library technologies, at each meeting there is not only a book exhibition, but also an active work, the elements of library and bibliographic knowledge are voiced and consolidated.

The main symbol of each meeting is an ordinary stepladder. It is used both independently and as an element of the exhibition. On it are books or subject accessories.

In most meetings, an eye stopper (eystoper) is used, a catchy look. This is some kind of detail, object, drawing, which sometimes sharply dissonate with the theme of the meeting and the design of the exhibition. But this is exactly what eye-stoppers attract attention. They encoded the main idea of ​​the meeting.

Not all librarians and parents can and therefore not all dare to read aloud. Much depends on what the reader himself experiences aloud. If he is not indifferent, his feelings and emotions will sound when reading and will be heard. However, you should pay attention to the fact that there are many techniques for working with text to prepare it for reading aloud. Most of all, you need to learn how to make pauses, highlight the main semantic, stressed word with your voice, enliven the text with the help of lowering and raising intonations.

In the first two entries of the cycle, the necessary graphic hints of the technique of working with text are given. Pause signs: one on "oblique" (/) means a short pause, two "oblique" (//) - a long pause. The semantic and stressed word is underlined. This // intonationally semantic / preparation of the text // can be done by everyone // "for themselves".// Eight meetings of the cycle is a presentation of one book and one author. Three meetings devoted to classical literature, literature for children about the Great Patriotic war and modern children's literature, these are different forms of reviews: a detective review, a classic review and a review - a “bag of surprises”.

The meetings do not provide exhaustive knowledge of bibliography, literary criticism, or the Russian language. Information of this kind is voiced in the course of a conversation in minimal quantities - only to show their "presence" in each book, to prove the practical necessity, methods and ability to "see" them.

In connection with the presence of diversified deviations from the text, I would especially like to draw attention to the need to observe the tempo of the rhythm of each meeting. In those moments where any actions are planned, the physical movements of children, the performance of written exercises, you should not insist on the punctuality of their implementation and the achievement of final results, so as not to distract from the main thing. The main thing is to SHOW HOW the text is read with stops, but the stops cannot be long. More than once I myself had to deviate from homework and shorten explanations, depending on the reaction of the children.

“It is very important not to fall into the division of a literary text, not to deviate into everyday or natural scientific interpretations. Otherwise, it may turn out as in the story of V. Dragunsky, where a geography teacher teaches Deniska Korablev to understand Pushkin: “The sky is transparent” Pushkin told us that the amount of precipitation in this area is very insignificant”9.

Malakhova N.G. About a shower jacket, kitsch and ... a broken trough /

N.G. Malakhov // Library business. - 2010. - No. 2. - P. 40–44.

Step 5. What are the advantages of the "meeting" form?

The child is not required to read the works beforehand, he gets acquainted with them during the meetings.

Reading aloud shows the beauty, musicality, imagery, expressiveness of the literary word. In some cases, audio recordings of works are used.

All those present become participants in the action:

games, reflections, discussions, bibliographic search, creative response.

The tasks proposed during the meeting can be carried out according to the principle of case technology, i.e. using various auxiliary materials. In the course of work, participants can independently and freely unite in any mini-groups: pairs, triplets, etc.

Prolonged (homework) tasks are not obligatory, but stimulate the opportunity to express yourself after the meeting.

Discussion during acquaintance with the text contributes to the activation of emotional perception, stimulation of speech activity, the development of analytical thinking, observation, the birth of fantasy.

Step 6. Summary good books, and to use your instructions as you wish and choose from them, according to your own understanding, the most interesting for them - the young reader himself will be able to do this ”(N.A. Rubakin).

–  –  –

Do you love gifts? Present? Or receive? Sometimes giving is even better than receiving. What gifts do you like best? As a child, I liked those that you can play with, disassemble into its component parts and see "what's inside."

I really liked the gift of books. You can do the same thing with them: play around, take it apart and see what's inside. Only to “take it apart” means to read the book in such a way as to understand and feel everything that its author wanted to talk to me about. Seeing "what's inside" means being able to communicate with literary characters or imagine yourself in their place.

When do you like to receive gifts the most: New Year's Eve? For a birthday? What if for no reason?

Just?!

Just like that, not counting the grains.

Just so that the soul laughs, So that joy, a capricious bird, Surprised - how good life is.

Once I wanted to please myself by giving joy to everyone. And my gift is not just a book, but READING. That's right - all capital letters. Because READING is JOY.

Perhaps someone will disagree with me, because different people are happy with different gifts. Well, no big deal. You can talk about it, express your opinion and your own point of view.

But first, take a look at my gifts.

Yes, more! To present a gift, I invited you to the children's library. Because there are many books here that can give you real joy to read.

And I will also be glad if you have a desire, when you return home, to read to the end the book that you and I began to read in the library. Read on your own or with all your family: parents, brothers and sisters. Or talk about it with friends.

Even if you do not have such a desire - it's okay. The book will wait in the wings, and someday you will still remember and read it. Believe me - it happens.

I read - I grow Does anyone remember that if you fly in a dream - it means you are growing? I remember my parents made notches on the door - marks how many centimeters I grew in a year.

I did the same when my son was little. But not only the body grows in a person, but also the soul, and the heart, and the mind.

This happens when a person thinks, performs an “adult” act, sometimes makes a difficult choice. A person grows when he admires something, pities someone, overcomes himself in something. There is an expression: a man with a big heart. This means that a person’s heart responds to the joy and sorrow of another person, is ready to understand, help, accept him as he is.

This is the spiritual, moral growth of a person. It doesn't come out right away. But as? And when? Reading often helps to understand these questions. Not any, but only when the book resonates in the soul and heart.

Wonderful children's poet Korney Ivanovich Chukovsky dreamed of erecting a staircase that would lead a growing person to "Eugene Onegin", i.e. to the best book, the best literature. What does it mean?

Many books are read aloud to you by adults when you are very young. You yourself read many books at five, at seven, you will read at ten, fifteen. Years will pass, you will remember what you once read.

And remember just a few books. Only those that have sunk into the soul. These five, six, ten, twenty, thirty or fifty most beloved books are the ladder that the writer Chukovsky dreamed of. You will read them and you will understand something very important about yourself, about your friends, about all people.

The best thing that can be remembered about these books is that they were read freely and joyfully and imperceptibly for you helped to climb the ladder of literary culture, without which there is no spiritual culture.

This staircase has no end, and everyone has their own. At first, it is better if it is a slightly familiar ladder, reminiscent of a ladder of friends, because it is always more fun to walk with friends.

Therefore, remembering my book ladder, which I enjoyed climbing between the ages of five and twelve, I want to give you this joyful reading. I remember that in my childhood I read somewhere, or heard from someone, the rule that you should read slowly, stop and think about what you read. I honestly tried to do it, but I didn’t know: how to think and about what? It turns out that this can be done in a fun and interesting way. Shall we try?

I offer you some unusual encounters with interesting books.

This stepladder will be the symbol of our meetings. in libraries with big amount tall bookcases such ladders are used to get books from the upper shelves. The higher the shelf, the more serious and interesting, the more “adult” the books are on it. In order to reach them, you have to stand first on one, then on the second, then on the next step of the ladder. The heroes of our meetings will be different books, but I hope they are all interesting. And such a ladder will be with us every our meeting.

Now at the very first step - a fairy tale. Start with her.

–  –  –

Exhibition Title. "A fairy tale is a firefly at bedtime in the cradle."

Target. Immersion in the atmosphere of a fairy tale, a reminder of the origin, purpose, genre diversity, the meaning of a fairy tale in literature and in human life.

Form. Installation: a "nursery" corner for a child whose parents are already reading books. There should be a feeling that the child will soon appear here and they will read to him before going to bed. And they didn’t have time to put away toys and books.

Decor. The name of the exhibition is placed on the wall above the cradle, or on the side wall of the cradle. Dolls, bunnies, bears and other toys are located on the children's table, chair, ladder, stepladder, along which the child himself climbs into the crib. They can "hold" point "flyers" with quotes, pop-up books in the paws of foxes. Fairy tales of different genres and books about fairy tales are located in the cradle itself, on the table and on the ladder. Toys: rattles, dolls, soft toys, big ball, create the illusion of a child's presence.

Hey stopper. Baby crib cradle (or stroller).

Exhibition work. Find among the books about fairy tales a collection of poems by Ivan Surikov.

BBZ The concept of a book cover, its design, imprint. Find the desired work by "Content".

Dialogues with text The concept of narrative, intonation. Lyric hero. Mental representation of pictures of what was read, search for words that characterize the actions, feelings of the characters, describing the situation of the plot. Discuss questions as you read the text.

Musical accompaniment by P.I. Tchaikovsky "The Seasons", A. Vivaldi "Winter", Russian folk song "In a low room".

Electronic accompaniment Footage of a winter village, rolling down a hill, a peasant's hut, a wonderful garden, the fire of a bird.

Literature Magic fairy tales Magic country of fairy tales: Visiting a fairy tale. - Rostov n / a: Vladis, 2008. - 272 p.: ill.

The best fairy tales: Tales from around the world. - Rostov n / D: Vladis, 2007. - 272 p.: ill.

Wonderful Russian fairy tales / comp. I.I. Komarov. - M.: RIPOL classic, 2007. - 512 p.

Tales about animals Russian fairy tales about animals: magical Russian fairy tales about animals. - Rostov n / a: Vladis, 2007. - 208 p.: ill.

Household fairy tales Hen Ryaba: Russian folk tale/ ed. M. Pogarsky; hu doge. I. Solovyov. - M .: Baby. - 1995. - 7 p.: ill.

ed. text, foreword and note. V.P. Anikina; rice. L. Nepomniachtchi. - M.: Det. lit., 1987. - 239 p. - (School library).

Ulupov M.B. Ivanovo kingdom: tales and tales / M.B. Ulupov; hu doge. N. Logvanova. - Nizhny Novgorod: Publisher Minakov, 2004. - 160 p.: ill.

Schwartz E.L. The Tale of Lost Time / ill. O. Nezvetskaya. - M.: Eksmo, 2005. - 400 p.: ill. - (World children's classic).

*** Hello, friends! Perhaps you were surprised that I invited you here, to this corner of the library, where you see a real baby's cradle. She stands against the wall for a reason. Let's take a closer look at this composition. What do we see?

There is a title on the wall, inside the cradle, next to it on the children's table and high chair there are toys and books - fairy tales about animals, magical and everyday. Here you can also see books about fairy tales.

And also the necessary explanations, saying modern language, - flyers:

A fairy tale was born with a man - a man lives, a fairy tale will live.

A fairy tale is a joy: for the little one who listens, and for the old one who speaks.

As a librarian, I can tell you that all this is a book exhibition, and it is called "I listen to a fairy tale, my heart is dying." But tell me, please, why I arranged all these books in such a strange way, what does the cradle have to do with it?

(Answers.) In this case, the cradle is an eye stopper. It's such an English word. You probably know him, or will soon. This is what draws attention. I saw that you immediately drew attention to the cradle, but for some reason you were embarrassed to come up and look at everything. Do it right now.

You can pick up any book, flip through and remember that fairy tales are a kind of folklore, folk tale. They come from myth, there are folk and literary tales, as well as magical, everyday, heroic ones. You can see all these fairy tales at the exhibition.

The fact is that, just as one person begins his life from the cradle, so in a fairy tale, as in the cradle, humanity reflected and predicted its development. Imagine that there were times when in our lives there were not only computers, iPhones, TVs, but even paper books and writing itself.

And in fairy tales there was already a lot:

an airplane carpet is a future airliner and a spaceship, boots are fast walkers - future cars, trains, ships. Remember: in the fairy tale "The Scarlet Flower" - the inscriptions on the wall that appear on their own, the voice that sounds from nowhere - these are modern digital technologies.

If you and I remember our early childhood and our first book, it will surely be a fairy tale! From a fairy tale, as from a cradle, literature begins. In a great variety of literary works the spiritual life of all mankind is imprinted. And in a separate work you can see everything that develops in the soul of an individual person. How does this happen? Differently.

For example, as in the poem by Ivan Surikov.

Has anyone seen a book by this author at the exhibition? Let me take her in my arms.

It is worth taking a close look at its cover, because the cover is the clothes of the book. And you know the proverb: they meet according to their clothes, they see them off according to their mind. The cover is the first thing our eyes see when we look at a book. This is a paper illustrated or text cover of the edition. A publication in a printing house is any book that is printed or published there. What is the cover for? It protects the pages from being destroyed and soiled. It also contains a number of output information and serves as an element of external design.

We will talk about the output information a little later, but now let's look at the design. What do you think we can learn about a book by looking at the cover?

The cover of the edition I am holding reads:

Ivan Surikov. Poems. This is the most important and most necessary thing that it is important for us to know first of all: the name and surname of the author. By this we immediately distinguish one typographical publication from another. There are other differences, but more on that another time.

Surikov I.Z. Poems / comp. and enter. article by Yu. Belyaev. - M: Sovremennik, 1982. - 199 p., ill.

Now it is clear that in the book that I am holding in my hands, we will find poems by the wonderful Russian poet Yves na Zakharovich Surikov. Can anyone tell me how to find big book one little poem? You can, of course, flip through each page, or you can do everything much faster: look at the page, sometimes at the end, sometimes at the beginning of the book, which says: Contents.

In this case, we need to find the poem "Childhood".

Which one of you will do it quickly?

As a child, I loved this poem very much, because everything in it is about me. Today I want to give you a reading of this poem.

It is called symbolically - "CHILDHOOD". Who among you was born in the village, who rested with his grandmother - he will understand me. And whoever has never been there, let him make a small virtual journey with us and the poet Ivan Surikov.

So, the poem begins with the line: Here is my village. A very simple start. The author seemed to raise his hand and show something. Where does it show? Here is where? (From the answer.) I can also show: here, in the painting by N. Smirnov “Remembrance” is a village. It is very similar to my village. Therefore, it seems to me that Ivan Surikov is talking not just about some village, some guys, but about me!

But most likely he told about himself, about his childhood.

The poet himself main character poems. You probably remember from literature lessons, and if you don’t remember, I’ll tell you what in this case it is called - lyrical hero.

Consequently, the poet, who is also a lyrical hero, shows us the village that he keeps in his memory. And now we can close our eyes, hide and imagine ourselves as this lyrical hero. And remember ... even what was not with us, but with that very lyrical hero.

Our memory, like a computer, can simultaneously see, voice something and show different pictures. She shows. Close your eyes. Listen to your memory, imagine and see!

First, a wide panorama: Here // is my village. Then the panorama decreases, but everything is seen in a fairly close-up: here is my home, and then a smaller one - here I am. And immediately I want to imagine: what is he himself, the author in childhood? Does he look like me or not? Let's try to mentally see this country boy.

I think we didn't do very well because we don't know much about the hero we're talking about yet. But here artists and new technologies can help us.

Let's look at the slides and continue reading.

I just want to say that, unlike a computer, memory still retains our feelings, sounds, smells, moods, so we hear different intonations in poetic lines.

At first, the verses are read slowly, remembering:

Here // is my village; // Here / is my home / native; // Here I am rolling in a sled / On a steep mountain;

You yourself have ridden down the hill many times and you know what a mess and what mood it can be.

–  –  –

The action is accelerating. In what words did Surikov convey this acceleration? (I roll, curl up, head over heels.) And from what words you read can you understand that the hero could only roll head over heels? (The mountain is steep.) By the way, how is it - cube rem?

–  –  –

That's so wow! What kind of friends are they if they laugh.

And how does the lyrical hero feel? What are the relations between them? Do you think the hero of the poem was offended by his friends? (We are discussing.) But meanwhile // the village of the Sun has long been; // A blizzard has risen, // It's dark in the sky.

Probably, they are still good friends, because they are a little fun and they all rolled on the hill together to the very dark note.

You / will be cold all over, / You won’t / bend your arms / / And / go home / quietly, / Reluctantly // wander.

Why reluctantly? I wonder what a person feels at such moments? Have you ever experienced this? How would you call this state?.. (We are discussing it.) I called it joyful fatigue... But finally, at home!

Throw off your shabby fur coat / off your shoulders / off; // Climb onto the stove // ​​To your grandmother / gray-haired.

(Here, perhaps, some words should be explained for modern children.) Dilapidated - how is it? (Old, worn out, with patches.) And what is an oven? (A building made of bricks with a pipe. Firewood is piled into the space inside and set on fire, they burn, heat the bricks, and the air in the hut heats up from them, it becomes warm.) There is such a bench on the stove. It is warm and cozy… It is so good to warm up on it, having come running from the cold after skiing down the hill.

(Answers.) Consider that in those days there was neither a TV nor a computer. You can imagine, there was not even electric lighting. Or maybe the music will tell us? Or a song? (The beginning of the Russian folk song “A light burns in a low room ...” is turned on. Against the background of a fading song, a poem is read.) And you sit, / not a word ... // Quiet // everything / all around; // Only // you hear / - the Blizzard howls outside the window. // In the corner, // bent over, grandfather weaves bast shoes;

Mother // at the spinning wheel // Silently / flax is spinning. // The hut is illuminated by the Light of the Light; // Winter evening / lasts, Lasts // endlessly... // Here, probably, explanations are also needed. Do you know the words: bast shoes, spinning wheel, svetets, flax? There are dictionaries on the table in front of you, find the meanings of these words in them and write them down in a notebook... Why do you think the author needed such a long description of the painting? winter evening in a peasant's hut?

(We are discussing.) I think in order to create a mood of mystery, because further ... and then sitting on the stove is just so boring ...

–  –  –

You and I can use our technical capabilities and imagine how a grandmother tells her fairy tale.

(We turn on the audio or video recording of the fairy tale about Ivan Tsarevich, after a minute the sound decreases.) I listen to the fairy tale - // The heart // is dying; // And in the pipe // angrily // The wind / angry / sings.

How does this heart die? How does the boy feel about it?

And you? Was it like that with you?

I'll stick with the old lady. // Quietly // speech / murmurs, And my eyes // hard // Sweet dream // closes. // Oh, really, how you walk up, you get cold - it's so great to fall asleep in the warmth! Have you ever had a sweet dream? What is it, according to you?

And in a dream // I dream of Wonderful lands. // And Ivan Tsarevich - / It's like // me.

The boy has a good imagination. Surely, he is very mobile, mischievous and, probably, brave. After all, Ivan Tsarevich faces many trials. Let's think about what words of definitions reflected the heard fairy tale in the boy's sweet dream?

Here // in front of me // A wonderful garden blooms; // In that garden // a big Tree grows. // Golden cage Hanging on a bough; // In this cage, // a bird, / Like a fever, / burns. // Jumps in that cage, / Sings merrily; // With a bright, wonderful light, the whole // Garden is bathed.

Can you name a few words that describe the strangeness of the picture that the boy had dreamed of? (Garden - what? Cage - what? Bird - what, Light - what?) Here / I / crept up to it // And for the cage // - grab it!

And I wanted to run away from the garden with a bird. // I remember when I read these poems as a child, I was so worried about him, I was afraid that he would be caught.

–  –  –

Of course, it's scary ... Or do you think that he was scared? Would you like to have such a friend? But after all, he rescued a friend and still rescued him. But how will our story end in Surikov's poem? (We are discussing.) After all, this poem is a memory of childhood, and it ends with praise for this wonderful time in the life of every person.

Already in the hut, // in the window, / The sun // looks; // In front of the icon // grandmother / Praying, standing. // You flowed merrily, // Children's years! // You // were not darkened // Woe and misfortune.

But grief and trouble, probably, were there? How do you remember your childhood? Do you remember fairy tales from that time? Or some other book?

Let's now read the poem again, this time without interruptions, and mentally imagine everything that Ivan Surikov remembered about. Let's enjoy every word and all this cute and already a little unreal picture...

(The whole poem is read.) You and I read only one poem about how a fairy tale, composed in time immemorial, occupied the imagination of a person in childhood in the nineteenth century far from us.

And how do we, living in the 21st century, relate to a fairy tale, how do we read and perceive it?

This is what we will devote our next meeting to. It will be much more interesting if you read one of the fairy tales from the collection of A.N. Afanasiev "Russian children's fairy tales".

–  –  –

Form. The installation is the same: a “nursery” corner for a child whose parents are already reading books. In the center: Afanasiev's open book of fairy tales. A place to play Geese Swans.

Decor. The same as in the previous lesson.

Hey stopper. A basket or a basket with which they go mushrooming (or a "fabulous" box). Inside - a ribbon and a handkerchief of several colors, pieces of bread, butter and meat, a scallop, a towel.

Exhibition work. Find among the books a collection of fairy tales by A. Afanasyev, a book about Afanasyev himself.

BBZ Reminder of the book cover and its elements: title, author. Introduction to the bibliographic description.

Dialogues with text Characteristics of heroes, feelings of heroes, motives for their actions. Explanation of unfamiliar words. Discussing questions as you read the text.

Action The old game "Geese Swans". Game representation of pictures in the course of reading the text.

Musical accompaniment by P.I. Tchaikovsky "The Seasons": "Summer".

Electronic accompaniment Frames - loom, children's old games, Baba Yaga.

Literature Tales of Baba Yaga Geese Swans: Sat. Russian nar. fairy tales, songs, riddles and short rock / processed. M. Bulatov; artistic Yu.A. Vasnetsov, K. Kuznetsov.

Det. lit., 1986. - 216 p.: ill.

Golden pages of favorite fairy tales. - M.: ONYX 21st century, 2004. - 320 p.: ill.

On the sea, on the ocean, on the island of Buyan: Rus. fairy tales and fables / comp. L.N. Eliseeva. - M.: Malysh, 1983. - 96 p.: ill.

Preusler O. Little water and other tales / O. Preusler;

per. with him. Y. Korinets; artistic M. Moskalenko. - Riga: Association 21, 1992. - 192 p.: ill.

Russian fairy tales for kids / ed. T. Rashina. - Rostov n / a: Prof Press, 2009. - 142 p.: ill. - (Favorite fairy tales for kids).

Tale of Baba Yaga: Russian. fairy tale in processing M. Bulatova / artist. V. Kanevsky. - M.: Soviet Russia, 1989.

- 16 s.:

*** Today I will give you a reading of a fairy tale about Baba Yaga. Look at our exhibition "A Fairy Tale - A Firefly Before Sleeping in the Cradle" and look for a book that may contain a fairy tale about Baba Yaga. (The guys find the book.) Why did you think that it was in this book that we would find what we needed? What testifies to this? Name?

Cover art? Your memory? (Perhaps you remember this book from childhood?) I myself visually remember this book, which I take from our ladder of the exhibition. My old friend is Afanasiev's collection "Russian Children's Tales". Let me introduce you to him.

Any acquaintance always begins with a greeting, or with an introduction. For example: “Hello. I am Sasha from Nizhny Novgorod. The book can also be presented briefly. But each book has its own passport: a bibliographic description. It indicates the author, title, place and year of publication of the book. Here, look ... (Read the highlighted elements of the description.) Afanasiev A.N. Russian children's tales / A.N. Afanasiev;

scientific ed. text, foreword and note. V.P. Anikina; rice.

L. Nepomniachtchi. - M.: Det. lit., 1987. - 239 p. - (School library).

This is how the book presented itself. Look at her carefully, she is already quite shabby. This suggests that it was often picked up and read. A sure sign: for chitana - it means interesting. We take? Reading?

But first I want to say a few words about the author, without whom it would not exist.

Alexander Nikolaevich Afanasiev studied fairy tales for scientific purposes. He compared them, found out when they were created, how they are built, what they talk about, what they are: magical, about animals, household, etc. The scientist published all his conclusions in scientific collections. Soon his friends and acquaintances began to ask him to publish separately the fairy tales themselves for children. Almost one hundred and fifty years ago they were published, and since then the tales from Afanasyev's collection have been published and republished, they are read by children and adults.

In ancient times, fairy tales were told by adults and for adults. In them, as in today's Wikipedia, everyone who retells a fairy tale added something of his own about what he sees around, expressing his opinion and judgment. Therefore, although good wins in fairy tales, evil in them is exactly the same as it occurs in life.

I learned all this much later, when I was in high school, at the institute, and as a child I just loved to read fairy tales, because the brave and kind won in them. And also because it was possible to play fairy tales.

There was a game of hide and seek in our time. In it, it was necessary to run to a certain place before the driver with the call "Keep away from me, stay away from me." When they chose roles in the game, they said “be careful not to be a monk in blue pants” or “be careful not to be Baba Yaga”. By the way, the word "chur" comes from the word "ancestor"

(ancestor), and the invocation means: ancestors, help me.

We will now read together and play one fairy tale from Afanasyev's collection.

To make the game interesting, we need something that we can put the fabulous items we need into. What do you think it could be? Our exhibition can help your memory. Did you notice that there was a new item there? (Basket basket.) Since my friends and I often played this fairy tale in childhood, I took ... an ordinary basket. However, it is not quite ordinary, because they are in it ... but we will learn about this a little later.

Now we will do so. I will read a fairy tale, and you will play it, act it out.

Each of us can play any role, and even several roles, and even several people - the same role. The main thing is to say "mind I'll be ..." who? Then imagine yourself in the place of these heroes, listen to what I read, and do or say instead of the heroes.

The story usually begins with a beginning. The beginning in many fairy tales is repeated: “There once were ...”, “In a certain kingdom, in a certain state ...”, etc.

There lived // a husband and wife, // and they had a // daughter.

Probably, she lived well with her mother and father?

I wonder what kind of girl it was? How old was she?

How did she look? What did she do, what did she do? (We are discussing.) Probably, she ran on the street all day, played with her girlfriends? For example, in "Geese Swans". A very old game. Let's try to play it to imagine how the girl lived with her family.

A GAME. On one side of the site, a line is drawn separating the “goose”, and on the other side, a line beyond which there is a “pasture”. "Shepherd" and "wolf" are chosen from the players using the "counter".

“On the golden porch sat:

king, prince, king, prince, shoemaker, tailor. Who will you be - speak quickly, do not detain good and honest people. Who will fall on the last word counting rhymes, chooses the role of "shepherd". Once again they say the rhyme and choose the "wolf". The rest are "geese swans".

"Shepherd" is located on the side of the "geese", and "wolf" - in the middle of the site. The "shepherd" says: "Geese geese..." The "geese" answer: "Ga ha ha!" "Shepherd": "Do you want to eat?" "Geese": "Yes, yes, yes!" "Shepherd": "So fly home!" "Geese": "The gray wolf under the mountain." "Shepherd": "Well, fly as you like, just take care of your wings." All the "geese" run from the "pasture" to the "goose house", trying to dodge the "wolf". "Wolf" catches "geese". Whom he catches - he becomes a "wolf", and "wolf" - "shepherd", the shepherd becomes a goose. And the game starts again. So until everyone has been a "wolf" and a "shepherd", or the time agreed in advance does not come out. In this case, 3-5 minutes is enough.

Soon / the wife, / the girl's mother, fell ill // and / died. // The man mourned, mourned, // and he married // another. // The evil woman / the girl did not like, // she beat her, / scolded, / only thought, // how to completely lime, to destroy.

It's just hard to imagine what kind of life began for the girl. But here, everything is like in life. Sometimes life is cruel. But if there were no evil, there would be no good. And also this story.

Once / the father left / somewhere, / and the stepmother // and says to the girl: // - Go to my sister, // your aunt //, ask her / for a needle and thread // - to sew a shirt for you. // There seems to be nothing wrong with this request. I just have the feeling that something is about to begin. Any fairy tale is a story about the relationship between people, evil and good. There are already several people in our fairy tale. Father left, we don't count him. Remain (to list) a girl, a stepmother, an aunt. What do you think, which of them will be the villain in the fairy tale? Who has what characters? (We discuss.) A girl? Most likely good. Why? She is still small, did not have time to do any evil, loved her mother and father, was friends with other children, played interestingly.

Stepmother? Most likely evil? In fairy tales, all stepmothers are evil. And in life? Have you met real stepmothers? Maybe it's not true that they are evil?

Aunt, stepmother's sister? So far, nothing is known about her.

And this aunt // was Baba Yaga, / a bone leg. // The girl did not dare / refuse, // she went, // yes, before // she went to her own aunt.

Another character. Is this lady evil or good? Since she is dear, then for sure she is kind, in any case, she does not wish evil to the girl.

Hello / auntie! // - Hello, dear! // Why did you come?/ - My stepmother sent me to her sister / to ask for a needle and thread // - wants me / to sew a shirt. // - Well, niece, // why did you come to me before, // - says the aunt. // - Here's a ribbon for you, / butter /, a loaf / and a piece of meat. // This is where our fairy basket comes in handy. Everything that my aunt gave the girl, I already hid in her. And why did she give all this to the girl? (We are discussing.) There will be a birch / in your eyes to quilt // - you will // bandage it with a ribbon; // the gates will // creak and clap, // hold you back // - you / pour them / under the heels // oil; // dogs will tear you // - you throw them some bread; // the cat will tear your eyes // - you give him // meat.

// The girl thanked her aunt // and went. // She walked, / walked and came // into the forest. // Stands in the forest // behind a high fence // a hut // on chicken legs, / on ram horns, // and in the hut // sits // Baba Yaga, a bone leg // - canvas / weaves. // This is where the actions we can play already begin. Which of you will be a girl, who will be Baba Yaga? Say only “Chur I will…”, and everyone will receive a copy of the fairy tale. (You can copy.) (The players are determined.) Now let's play out what happens in the fairy tale.

Baba Yaga sits down here, the canvas is weaving. By the way, what is it?

Baba Yaga sits at the camp or loom. This is a structure made of wooden frames, one is located vertically, the other is horizontal or at a certain angle, threads are stretched over them. Baba Yaga has a shuttle in her hands, threads are also wound on it. The shuttle is pulled between the threads on the camp, they are intertwined, compacted with a special device and a canvas is obtained - a fabric, a canvas from which shirts and other clothes are then sewn.

So the girl comes up and says:

Hello // auntie! // - says the girl. // What should the one who plays Baba Yaga answer?

Hello / niece! // - says Baba Yaga. // - What do you want / need?

Do you remember why the stepmother sent the girl to her sister?

Whoever remembers, he can also play the role of a girl.

My stepmother / sent me // to ask you for a needle and thread // - to sew a shirt for me. // Baba Yaga, of course, immediately understood what gift her sister sent her, and says ... (Playing Baba Yaga answers and shows.) - All right, niece, // I'll give you a needle and thread, // and you / / sit down for a while // work!

Here the girl sat / by the window // and began // to weave.

(We show how a girl weaves a canvas.)

And Baba Yaga came out of the hut // and said to her worker:

Need another worker. Who will say "Chur I will be a worker"?

Baba Yaga says… - I / will go to sleep / now, // and you / go, heat the bath // and you are my niece. // Yes, look, // wash it well: / wake up // - eat it! // The worker needs to be shown how she heats the bathhouse. It is necessary to show how to put firewood in the stove and set it on fire so that the boiler with water is heated.

The girl / heard these words // - sits // neither alive nor dead.

// How Baba Yaga left, / she began to ask the worker:

My dear! // You / do not set fire to firewood in the oven, // how much / fill it with water, // but carry water with a sieve! // - and / gave her // a handkerchief. // That's where my gift basket came in handy. You just need to decide which handkerchief is suitable for the worker. He must match her character. Do you think the worker who serves at Baba Yaga looks like Baba Yaga herself? If she does, I would give her a black, gloomy handkerchief. Isn't it similar? What is she? What handkerchief should I give her?

The worker heats the bath (we show), // and Baba Yaga / woke up, // went to the window / (We show) and asks: // - Do you weave, // niece, / do you weave, dear? // - Weaving, / aunt, / weaving, dear!

Baba Yaga / again / went to bed, // and the girl / gave the cat // meat.

Remember what the girl's own aunt said? What should the cat do with it?

Who among us will say: "Chur I'll be a cat"? Well, the cat must be feisty? Or what? Who is going to play the cat, can you describe to me what you think he looks like? What habits does he have, where does he like to sit most of all?

Here the girl gave meat to the cat (we show) and asks:

Brother cat, / teach // how to // run away from here.

The cat / says: // - There / on the table / lies (takes from the table and gives to the girl) a loten and a scallop, / take them / and run as soon as possible: // not that / Ba ba yaga will eat! / Will chase you / Baba Yaga - / you / put your ear // to the ground. // As soon as you hear // that it is near, // throw the comb / - a dense, dense forest will grow. // As long as it will make its way through the forest, // you will run far // away. / And again you hear the chase // - throw a towel: // it will overflow // a wide and deep river.

What should the girl say here?

Thank you, / cat brother! // - says the girl. // She thanked / the cat, / took a towel and a comb // and / ran. // Do you remember who else, according to your own aunt, should detain the girl? Dogs. How many dogs do you think Baba Yaga had? Everyone who wants to portray dogs come out here and start grabbing the girl. What is the girl doing at this time?

Dogs rushed at her, // wanted to tear her, / bite // - she gave them / bread /. // The dogs let her through.

Further, on the way there are gates. They can be portrayed by two, and four, and six people. Depending on how they appear to you. They creak, try to slam shut. What is the girl doing? (Depicting.) The gate // creaked, / wanted to slam shut // - and the girl // poured oil on them / under their heels. // They missed it. // Behind the gate is a tree. Which? Birch, and maybe not one. Those depicting a birch raise their hands up, sway and try to detain the girl.

The birch made a noise, // wanted to // quilt her eyes / // - the girl / bandaged her with a ribbon ... // It seems to me that not every ribbon will suit a birch either.

It really depends on how we ourselves treat the birch.

What ribbon can indicate the attitude of a Russian person to a birch?

Birch // and // missed her. A girl ran out / and // ran as fast as she could. // Runs / and doesn't look back. //

And what happens in Baba Yaga's hut?

And the cat // in the meantime // sat down by the window / and / began to weave. // Not so much weaving // as confusing! // (We show.) Baba Yaga woke up // and / asks: // - Do you weave, // niece, // do you weave, / dear? // And the cat / answered her: // - Weave, aunt, // weave, dear! . (We show.) Baba Yaga began / beat and scolded the cat: // - Oh, you, // old rogue! // Oh, you, / villain! // Why // released the girl? // Why didn't / her eyes // rip out? / Why didn’t you scratch your face?..

And // the cat / in response to her ... // Now it's time for us to guess what the cat answered her. And most importantly, why did he say that, how did he feel?

I have been serving you / for so many years, // you have / not thrown a gnawed bone /, / but she / gave me meat! // Is it clear from these words how the cat relates to the girl and how to Baba Yaga?

Baba Yaga ran out of the hut, // pounced // on the dogs: // - Why / didn’t they tear the girl, // why didn’t they bite? .. // In fairy tales there is such a technique - chanting - repeated repetition of words or actions. So you can easily guess what the dog, the gate, the birch, the worker answered Baba Yaga. These are the episodes we are going to play now.

The dogs / say to her: // - We // have been serving you for so many years, you didn’t throw us a burnt crust, // and she // gave us a loaf of bread! //

Baba Yaga ran up // to the gate:

Why didn't they creak, // why didn't they clap? // Why did they let the girl out of the yard?..

The gates / say: // - We // have been serving you for so many years, // you didn’t add water to us under the heels, // but she / didn’t spare us oil!

She jumped // Baba Yaga to the birch: // - Why didn't / the girl // quilt her eyes? // Birch // answers her: // - I / have been serving you / for so many years, // you // didn't tie me up with a thread, / but she // gave me a ribbon! // Baba Yaga began to scold the worker: // - What are you, / such and such, // didn’t wake me up, / didn’t call me? / Why did you let her out?.. // The worker says: // - I have been // serving you for so many years // - I have never / heard a kind word // from you, / but she // gave me a handkerchief, / it’s good and kind / was talking to me! // Baba Yaga shouted, // made a noise, // then // sat down in a mortar and // rushed / in pursuit. He drives with a pestle, / with a broom // sweeps the trail ... Before showing, tell me, who knows what a mortar, pestle and broom are? Now let's picture. (They depict Baba Yaga.) Further, the girl and Baba Yaga will participate in the action, so I will read, and the girl (or different girls for each action) will depict what I read.

And the girl // ran ran, // stopped, // put her ear to the ground and // hears: the earth is trembling, / shaking // - Baba Yaga is chasing, // and very close. // The girl took out a comb // and // threw it over her right shoulder. // (We show.) A forest has grown here, // dense and tall: // the roots of the trees // go three fathoms underground, // the tops // of the clouds prop up. // (We show.) Baba Yaga rushed in, // began to gnaw and break the forest. // (We show.) She gnaws and breaks, // and the girl / runs further. // How much, how little time has passed, // the girl put her ear to the ground // and hears: // the earth is trembling, shaking // - Baba Yaga is moving, // very close.

// The girl took / a towel and threw it over her right shoulder. // (We show.) At the same moment / the river overflowed - // wide / very wide, / deep / deep! // Baba Yaga jumped up to the river, / from anger / her teeth // gritted // - she cannot / cross the river. // She returned home, / gathered her bulls / and drove to the river: // - Drink, / my bulls! / Drink the whole river / to the bottom! // The bulls began to drink, // but the water in the river // does not decrease. // Baba Yaga got angry, / (we show) lay down on the shore, // herself / began to drink water. // Saw, saw, saw, saw, // drank until then, / until it burst.

Meanwhile, the girl / know / runs and runs. // In the evening father returned home // and / asks his wife: // - Where is my daughter? // Baba says: // - She went to her aunt / - to ask for a needle and thread, / yes, something was delayed. // The father got worried, // he wanted to go look for his daughter, // but the daughter / ran home, out of breath, / can't catch her breath. // - Where have you been, // daughter? // - asks the father. // - Oh, / father! // - the girl answers. // - My stepmother sent me to her sister, // and her sister // Baba Yaga, bone leg. // She / wanted to eat me. // I ran away from her by force! // As the father found out all this, / he got angry / at the evil woman // and drove her out of the house with a dirty broom. // And he began to live alone with his daughter, // friendly and good. //

–  –  –

Form. Review detective.

Decor. At the beginning - an exhibition stand without books.

Only a poster, lined with 10 squares.

In the upper left corner of each square is a book cipher:

The title of the exhibition is put in the course of work. Cards with a copy of the cipher of the books with which we will deal are with the librarian.

Hey stopper. Necklace (jewellery). Hanging on an empty wall de.

Exhibition work. Arrangement of books on the stand. Design of the exhibition.

BBZ What is a review? Acquaintance with words: fund, cards, catalogs, file cabinets, (SBA), book cipher, copyright mark. Reminder of the bibliographic description.

Dialogues with text Etymology of the word "review". Associative series to the word "treasure".

Activity Searching the fund for books of Russian classics using cards with bibliographic descriptions, arranging these books at the exhibition. Reading excerpts from found books, listening to audio fragments from the works of the classics.

Electronic accompaniment Frames - portraits of classics, covers of their books. Necessarily large: bibliographic description.

Exemplary literature for the exhibition Works of the classics (XIX century) about children.

Chekhov "Kashtanka", "Vanka Zhukov"; Pogorelsky "Black Hen".

"Adult" works included in the reading circle of children.

Pushkin "Tales"; Lermontov "Borodino".

*** I climb in my reading memories one more rung of the literary ladder. And the higher you climb this ladder, the farther and deeper you can see around. Here I have another present for you.

What do we usually do with gifts? With some, we immediately begin to play, use. About some we think that we can do without them and politely remove them out of sight. But sometimes the extraordinary happens. Once hidden and forgotten gifts are suddenly discovered and we sincerely rejoice at them. No wonder they say: a gift is not expensive, but love is expensive. In every gift there is a particle of love of the one who gave us the gift, and we rejoice in this love.

The same happens with books. Each book is a gift from the writer to us, the readers. Sometimes we feel great without these gifts. I can agree that it is impossible and unnecessary to read many books. Especially books written two hundred, one hundred, fifty years ago. There are many of them and they are written about something completely unknown to us. But suddenly it turns out that the distant past is in some ways very similar to our present. And then we understand that good books never get old. This means you can enjoy them anytime. And give yourself and others to read them.

Today Reading as a Gift I will start with book fair.

Probably, you still do not understand why you see empty shelves and a poster with a field lined with 10 squares.

The image of this exhibition presented itself to me in the form of a playing field of a children's game of hopscotch.

According to the rules of the children's game, we must jump on one leg over each of these squares. But I'm changing the game a bit. Pay attention: on the lined field, it is not clear why, a necklace hangs. Classic squares and a necklace?! The necklace is a treasure. Classics and treasures?! Hidden treasures! Classics! What would that mean? What kind of puzzle do you think I suggest you solve? (We are discussing.) Actually, everything is very simple: this is how I propose to name our exhibition: “In Search of Treasures”! In each cell of this field, we will place the treasures of the classics of Russian literature of the 19th century. However, you must first find them. After all, it happens like this with treasure troves: they lie in plain sight, but we do not see them. But it is worth making some effort, and then ... We will review the detective at our exhibition. What is a "review"? Let's work on this word. Can it be divided into component parts? OB and ZOR. Which of these parts is the main one? ZOR. Does it remind you of any other words? What words can you think of that have these three letters in them? … LOOK. True, the letter "O" can run away.

SEE, VIEW. In other words, it means "to see something". What can you do with OB? CIRCLE. Take a look around. Look around. Explore, find out. So, REVIEW is a relative of the word "review". So, a review is an opportunity to cover some space with your eyes. And talk about what you saw. But very briefly. Librarians call a review a short post about several books. How this works out, we will see a little later.

I think you have already met the word "detective", you know what it is.

Now we turn into detectives for a while. But not simple, but bibliographic. In the upper right corner of each cell, you see numbers and letters written in two lines. Any of you can guess what it is. (We are discussing.) I repeat, this is undoubtedly a cipher. Look carefully, maybe you will find some pattern here? (We are discussing.) The upper lines of the cipher in each cell are almost the same, the lower ones are different everywhere. Since we are in the library, the key to the cipher must also be looked for here. Take a look around, examine every centimeter of the library space. Here are the shelves with books - this is our library fund. Here are the card cabinets. Catalogs and card indexes are a reference bibliographic apparatus (SBA). Both in the foundation and in the SBA, you will surely come across this cipher again. (Time is given for inspection and reflection.) The cipher must be written in the passport of the book - its bibliographic description, so that each of you can be a detective and quickly find a book in the library, in the store. And on the Internet too.

Compare the cipher in the cells of the playing field, on the SBA cards (you can copy several cards in advance and hand them out to everyone) and on the books. You may well guess, but I will tell you that the numbers and letters 84 (2Rus=Rus)1 designate the section of the fund where the works of Russian writers of the 19th century are collected. Those whom we call classics. And what do the lower, everywhere different lines of the cipher say?

Ten volunteers learn about it after careful searches. You can team up in pairs or threes, discuss the problem and how to solve it. You can work overnight, whichever is more convenient for you. Here are cards with a copy of the cipher (books that we will deal with during this meeting) and I suggest that you go to the appropriate section of the fund. I hope you find similar combinations and try to understand what the second part of the entries means.

And at this time we will listen to an audio recording of poems and excerpts from the works of Russian classics.

By the way, this is also the key to unraveling the cipher.

Attention! Our bibliographic detectives solved the cipher and achieved the result. They are holding books. Which of the detectives will report to us the results of the search?

So, let's repeat: our cipher is the author's sign, under which the works of each author are stored on the bookshelf. I will ask everyone who completed the task to explain the course of their thoughts: how did you guess, how did you find the necessary books, and put the books themselves on the exhibition.

Whoever did not manage to complete the task, please find those books encrypted on your card in the fund, and put them on the exhibition in the same way. Thus, thanks to our detectives, we found the "classics". Now let's look for their treasures.

Volunteers, step forward! You are given the same cards with a cipher, only an entry has been added here: there is a letter “C” and numbers. This is the page number. Your task: on your own or in mini-teams, find the desired book at the exhibition by code, open the indicated page, read it and then read aloud again for everyone the passage that you liked best or that is marked there. While this task is being carried out, we will also listen to the actors' performance of the classics.

Before the volunteers read the passages to us, let's take a closer look at the classics we have transcribed.

First, help the books introduce themselves. Remember, at the last meeting we said that the passport of a book is a bibliographic description. We usually find it on the back title page. This is the sheet before the beginning of the text.

On it, as well as on the cover, all the most important information about the book is placed. Sometimes the bibliographic description is placed at the end of the book, after the "Contents".

Let me first look for such a description, and after me you will find it. (Books already found by detectives are distributed to other readers.) Mamin Sibiryak D. Alyonushkiny tales / D. Mamin Sibiryak. - St. Petersburg: ABC Classics, 2008. - 224 p.: ill. - (Childhood friends).

Tolstoy L.N. For children: stories, fables, poems, epics / L.N. Tolstoy; artistic M. Fedorovskaya. - M.: Astrel: AST, 2004. - 184 p.: ill. - (Chrestomathy of a schoolboy).

Turgenev I.S. Mu Mu. Notes of a hunter: stories / I.S. Turgenev; ed. intro. Art. V. Sakharov; artistic A. Milovanov. - M.: Det. lit., 2002. - 239 p. - (School library).

Chekhov A.P. Kashtanka and other stories: for ml. school

age / A.P. Chekhov; artistic V.Yu. Chernoglazov. - M.: Samovar, 2008. - 96 p.: ill.

And now the word to the volunteer decryptors.

I think that we should not be too embarrassed that our brave men did not read their passages as beautifully as we heard in the audio recording. It's just that the actors had time to prepare well, to feel everything that writers and poets put into their stories and poems. But it is in our power to do the same: to feel the soul and heart of the authors.

Pushkin, Lermontov, Turgenev, Chekhov, Gogol, Tolstoy... Everyone has their own treasures, and all together - this is our rich spiritual necklace. After all, what is treasure? Have you ever wondered what this word means, where did it come from? (We are discussing.) In my opinion, it comes from the word “secret”, “hidden” ... Ripened in your thoughts and in your soul, something that you will not entrust to everyone, but you will gladly share with friends.

The classics wrote stories, novellas, novels, putting their innermost thoughts and feelings into them, about human affairs, characters, relationships and shared them with us. You have the right to partake of them, to read them when your time comes to comprehend and meditate on them.

And I would like to give you one jewel from the necklace that we see at the exhibition - a reading of a short poem by one of the greatest classics - Alexander Sergeevich Pushkin. This is the topic of our next meeting.

Encounter IV About ancient antiquity Exhibition Title. "About the ancient times."

Target. Immersion in the theme of ancient Russian statehood, life and life of the Russians of the era of the Prophetic Oleg.

Flyers:

Oleg would have listened - another shield would have been nailed to the gates of Tsaregrad (V. Vysotsky).

Form. Exhibition darts Decoration. Stylization of the title and quotes as birch bark scrolls.

Hey stopper. A circle for playing darts (the ancient words from the “Song of the Prophetic Oleg” are written on its sectors), darts, a prince’s cloak or helmet, and a magician’s staff.

Exhibition work. Search and arrangement of illustrations by different artists for the "Song of the Prophetic Oleg".

BBZ (literary criticism) Illustrations. Artists illustrators. A reminder of the bibliographic description. The concept of association.

Dialogues with the text Meaning and image (associations) of ancient and incomprehensible words. Alternate reading by the librarian and children of the text.

Mental representation of pictures of what was read, search for words that characterize the actions, feelings of the characters, describing the situation of the plot. Discussion of questions in the course of reading the text.

Action Throwing darts, working with a dictionary, illustrations and a "birch" scroll.

Electronic support Table of meanings and images of words. Illustrations from the book being read.

Literature Pushkin A.S. Song about the prophetic Oleg / A.S. Pushkin; artistic V. Losin.

M.: Malysh, 1978. - 12 p.: ill.

Ballads and songs / comp. N.N. Svetlovskaya, T.S. Piche ool; artistic

N.N. Orekhov. - M.: [b. and.], 1997. - 16 p.: ill. - (Library of the magazine la " Primary School»; issue 2).

Great children's encyclopedia. History of Russia: from ancient times to the nineteenth century: an encyclopedia. - M.: AST: ASTREL, 1999. - 927 p.: ill.

Degtyarev A.Ya. The beginning of the fatherland / A. Degtyarev, I. Dubov; artistic

V. Beskaravayny. - M.: Det. lit., 1983. - 184 p.: ill.

Kalashnikov V.I. Rus' Legendary: ancient history Russian people, unknown pages of the great past, myths and legends of the “hoary antiquity” / V.I. Kalashnikov. - M.: White City, 2007.

- (Atlas of secrets and mysteries).

Book 1: Legendary Rus'. - 2007. - 233 p.: ill.

Leikin A.L. Journey to Gardariki: stories of legend from the history of Russian cities / ed. foreword IN AND. Buganov; artistic M. Samo Rezov. - 2nd ed., corrected. and additional - M.: Det. lit., 1988. - 206 p.: ill.

- (Library series).

Chlenov A.M. In the footsteps of Dobrynya / A. Chlenov; foreword F.P. Shevchenko. - M.: Physical culture and sport, 1986. - 287 p.: ill. - (Unusual travels).

*** Thank God, it is still difficult to find a person in our country who does not know who Pushkin is. Pushkin lived and wrote two hundred years ago, in the 19th century. So is it worth reading today?

Many do not read and ... nothing. But then a boy from the city of Sarov suddenly "saw" that Alexei Berestov from Pushkin's "Belkin's Tales" is very similar to ... a Goth, a representative of modern youth. I was interested in this guy, I wanted to argue with him. But how did he manage to see a modern informal in a work of two hundred years ago? So, in our days it is possible not to be excommunicated from the classics and look at it with completely different eyes?

Pushkin knew the history of the Russian state well. He read chronicles, studied archives, wrote historical works himself. I once looked at his works as a bridge connecting "traditions of antiquity deep"

with our time.

This is a bridge in the form of fairy tales, songs, legends and legends, which often served as the basis for the poet's own writings. He retold something in his own way, he took a plot or form from others, he simply mentioned some in his works.

The poet knew folk art well, and Russian epics were well known to him. In the native name of the epic - old man, old woman, old woman.

So we will go today together with Pushkin to travel to the old days.

Today we are reading the "Song of the Prophetic Oleg", which is very similar to the folk epic.

Here is this wonderful book in front of you, with everything that it should have: a cover, on the cover is the author's name, title, year of publication. All this is recorded in the passport - a bibliographic description. Which of you will find and read us the bibliographic description of the book?

Pushkin A.S. Song about the prophetic Oleg / A.S. Pushkin. - M.:

Kid, 1978.

We will make a journey with the help of the most powerful time machine - the Word.

When it comes to the affairs of bygone days, there is a danger of getting lost. To prevent this from happening, we need to prepare. You know that in the old days the bow and arrows were the main weapons. They will come in handy for us today. True, I propose to replace the bow and arrows with kami darts. Have you already noticed that this uncomplicated object hangs at the exhibition “Into the Old Ages”?

The target for darts is not quite ordinary. Various incomprehensible old words are written in its sectors. Game task: each of you will throw a dart, remove a piece of paper from it incomprehensible word, will find an explanation for the word in the dictionary, write it down in a “birch bark scroll” (“I will distribute scrolls” to you).

Our ancestors wrote on similar scrolls made of birch bark in the old days. Today we will take pity on the birch, and our scroll will not be made of bark, but of a piece of paper folded into a tube.

Everyone can find an explanation for one word that he "shot" with a dart. For those who help the neighbor and find more explanations, I have prepared a small surprise prize. So, I'm handing out scrolls with a table. Please note that there are three columns in them. Each of you will write an explanation of “his” word in the “Dictionary Meaning” column.

And then we will create the image of the word. Or, in other words, associations. An association is a connection between several phenomena or objects, sometimes very distant, when something else is remembered at the mention of one, an image of something else arises.

For such an association to arise, imagination is needed. This is the ability to recreate the IMAGE. To IMAGINE means to see in the letters and hear the picture in the sound of the word. In this case, we need to imagine, to see pictures of Ancient Rus' behind the word: what different objects served for, how they dressed, talked, what people did.

For example, the definition of THINGS - from the word to know. The following associations arise: to know, to understand, to see into the distance, to foresee. But what do you think, at a time when not only computers, but even books did not exist, how long did a person need to live in order to know a lot?

Probably so much that during this time a large gray beard will have time to grow? Or maybe PROPHETIC is from the word "broadcast" - to speak, to predict. But even in this case, I personally see a prophetic person as a deep old man with a long beard. That's what I wrote in the first line of the game table.

And now we will return to Pushkin and the old days.

From the annals it is known that at the beginning of the 10th century, and this is 1100 years ago, our ancient state was called Kievan Rus. Prince Oleg then ruled. He made successful campaigns in response to the raids of nomadic tribes from the east. The most famous was the long campaign towards the Caspian Sea.

In those places, in the lower reaches of the Volga, as well as where the Republic of Dagestan is now located, the warlike tribes of the Khazars lived. The Song of the Prophetic Oleg tells about the victory over them.

The people folded legends, epics, fairy tales, songs about military campaigns and Oleg himself. In them, Oleg was called prophetic because he knew a lot, was a wise prince, and knew how to predict the future. At the same time, he himself was young ... So it is perhaps difficult to imagine the prince as a deep old man with a gray beard. The prince is a warrior. Strong, powerful, in armor. But he still had a beard, according to the customs of that time. He is a military commander, so he must know a lot, so his eyes are smart, slightly cunning, his face is friendly. This is how I imagined Prophetic Oleg. But for some reason it was the beard that became the image of the word “prophetic” for me.

And now each of you will try to create an image of the word that he shot at the darts. We think for one minute and fill in the third column of the "scroll" - "the image of the word."

So, what images did you see each behind your word entered in the table? (We discuss 3-4 words.) Today we do not have much time, and we are unlikely to have time to discuss the images of all the words from the Song. But we can mentally imagine images of words while reading. And it will be great if you finish this work at home. Everyone can get a tablet that is different from the others, because the imagination that creates the image of the word is different for all of us. Your entries on a birch bark scroll will adorn our exhibition.

And I will show my sign on the screen. We will all look at it together while reading, and everyone will create their own images of these words.

–  –  –

So, "The Song of the Prophetic Oleg." Let's finally pick up the book. Let's leaf through it, look at the illustrations, compare them with the images that we had when we were looking for the meaning of ancient words. Most likely, they will not match, because the illustrations are images that were seen by a completely different person - the artist. I saw them in my own way. The name of the illustrator must be indicated in the book's passport - the bibliographic description. In this case, the artist Veniamin Nikolaevich Losin helped us travel in time together with Pushkin.

"The Song of the Prophetic Oleg" was published many times, and various artists illustrated it. Other artists simply created paintings on the theme of Prophetic Oleg and his campaigns.

Now we will do so. On a separate stand you can see several illustrations relating to different situations of the Song. They are located chaotically, in disorder. As we read the book, we will find illustrations that correspond to different episodes and place them in the exhibition in the order in which the action takes place.

And with your drawings that you make at home, you can later supplement the exhibition.

Every epic, like a fairy tale, begins with a verse, a beginning ... How the prophetic Oleg gathers now ... This, perhaps, is the key to all our reading. You and I are reading poetry now, today, today, today, but as if we remember what happened to us a thousand years ago. To really feel that era, we need ... a princely helmet or cloak, as well as a magician's staff. Here they are at our exhibition. On whom I put on a princely cloak (helmet), he will read the words of the prince, to whom I will hand over the staff, he will be a magician. Don't be embarrassed if your reading is less than perfect. Just a word, read aloud, sounds completely different. It takes courage to say unfamiliar words out loud. Bolder!

(The librarian begins.) How the prophetic Oleg is now going

Take revenge on the unreasonable Khazars:

Their villages and fields for a violent raid Doomed him to swords and fires;

With his retinue, in Constantinople armor, the Prince rides across the field on a faithful horse.

From the dark forest, an inspired magician is walking towards him, Submissive to Perun an old man alone, a messenger of the future, Who spent the whole century in prayers and fortune-telling.

And Oleg drove up to the wise old man.

(A student in a princely helmet reads.) “Tell me, sorcerer, favorite of the gods, What will come true in my life?

And soon, to the delight of the neighbors of enemies, Will I cover the grave with earth?

Tell me the whole truth, don't be afraid of me:

You will take a horse as a reward for anyone.

I wonder why the prince says in advance, they say, do not be afraid of me? (We are discussing.) I think the point is not only that you could predict an unpleasant future and be punished for it. However, maybe the wise men, fearing punishment, were sometimes cunning, did not say everything that they could predict?

The words “tell me the whole truth” are worth paying attention to and remembering.

And we'll see if there is an illustration for this episode?

Move it from one stand to another, to where the books are.

(A student with a magician's staff reads.) “Magi are not afraid of mighty lords, And they do not need a princely gift;

Truthful and free is their prophetic language And friendly with the will of heaven.

Not only soothsayers and sorcerers refer to the will of the gods, but also poets. What word of definition did Pushkin use to show the magician as a poet? (Inspirational. The gods inspire poets and soothsayers.) I will say more, Pushkin wanted to say with these words that a real poet always tells the truth and is not afraid of earthly rulers.

(A student with a magician's staff reads.) “The coming years lurk in the mist;

But I see your lot on a bright forehead.

Now remember my word:

Glory to the Warrior is a joy;

Your name is glorified by victory;

Your shield on the gates of Tsaregrad:

And the waves and the land are submissive to you;

The enemy is jealous of such a wondrous fate.

What do you think is the main word in this passage? (We are discussing.) It seems to me that this word is “lot”. Why? A lot is an object, often completely random, according to which they give or make a choice. Sometimes it happens that a person's life can change from a trifling event. In this fragment, the magician says that everything in Oleg's life will be fine, but the word "lot" is alarming, makes you wonder if some kind of accident will happen. Remember it for him.

(The staff is passed to another, and he reads.) “And the deceptive shaft of the blue sea In the hours of fatal bad weather, And the sling, and the arrow, and the crafty dagger The years spare the winner ... Under the formidable armor you do not know wounds;

An invisible guardian is given to the mighty."

By the way, pay attention to one more definition:

mighty. To whom does it apply? Pushkin could have written - to the mighty, because these words are similar. Nevertheless, Pushkin chose the word for the mighty - why? What features, shades, features in the character of Oleg did Pushkin emphasize with the word "powerful"? How does Oleg appear to us thanks to this definition? (He CAN do anything.) (The staff is passed to the next.) “Your horse is not afraid of dangerous labors;

He, sensing the master's will, Now meek stands under the arrows of enemies, Now he rushes across the battlefield.

And the cold and cutting him nothing ... But you will accept death from your horse.

Here is the draw. Here it is - an accident that can change your whole life.

(The librarian reads.) Oleg chuckled - but his forehead and eyes were clouded with thought.

I would be very scared in this place. What do you think, what does the prince think about and what does he feel at this time? And what does it mean: clouded by thought? Imagine that you are playing in a movie.

What facial expression would you have in this episode?

What decision will the prince make? (We are discussing.) In silence, leaning his hand on the saddle, He gets off his horse, gloomy;

And a faithful friend with a farewell hand And strokes and pats a steep neck.

(Another student with a princely helmet reads.) “Farewell, my comrade, my faithful servant, The time has come for us to part;

Now rest! The foot will not set foot In your gilded stirrup.

Farewell, be comforted - but remember me.

Still, he didn't get mad. Has his relationship with the horse changed? What word in the text confirms this? What other trait can be added to the character of the prince from this episode?

(We are discussing.) And how is this episode reflected in the illustrations?

What is the next illustration we will move to the book fair?

(Another student with a helmet reads.) “You, other youths, take a horse!

Cover with a blanket, shaggy carpet;

Take me to my meadow by the bridle;

Bathe; feed with selected grain;

Drink spring water."

And the youths immediately departed with the horse, And the prince brought another horse.

(The librarian reads.) The prophetic Oleg feasts with his retinue At the ringing of a cheerful glass.

And their curls are as white as morning snow Over the glorious head of the barrow... They commemorate days gone by And the battles where they fought together.

How much time do you think has passed since Oleg said goodbye to the horse? What words support this?

(“And their curls are white...”) This means that they have already turned gray, i.e.

a lot of time has passed.

(A student with a helmet reads.) And where is my comrade? - said Oleg. - Tell me, where is my zealous horse?

Are you healthy? Still, is his run easy?

Is he still the same stormy, playful?

And he listens to the answer: on a steep hill He has long since rested in a sound sleep.

(Another student with a helmet reads.) Mighty Oleg drooped his head And thought: “What is fortune-telling?

Magician, you deceitful, mad old man!

I would despise your prediction!

Yes ... to despise, not to believe. Could the prince not believe the magician? It seems to me that at the moment of that prediction, the prince was faced with a choice. What? (We discuss.) Own life or death and betrayal of a friend? How difficult it is to choose from.

(The librarian reads.) "My horse would still carry me."

And he wants to see the bones of the horse.

Here comes the mighty Oleg from the yard, Igor and the old guests are with him, And they see - on the hill, near the banks of the Dnieper, Noble bones lie;

The rains wash them, their dust falls asleep, And the wind excites the feather grass above them.

What illustration would fit here?

(A student with a princely helmet reads.) The prince quietly stepped on the horse's skull And said: “Sleep, lonely friend!

Your old master has outlived you:

At the funeral feast, already not far away, It’s not you who will stain the feather grass under the ax And drink my ashes with hot blood!

Nobody wants to ask me, or Pushkin, a question about these last lines? (What ancient custom is described in these lines?

Why do they say: faithful to the grave? Why does the prince regret that it was not this horse that would stain the feather grass on the feast of the prince himself?) (The librarian reads.) “So this is where my death lurked!

The bone threatened me with death!”

From dead head the grave snake, hissing, meanwhile crawled out;

Like a black ribbon wrapped around his legs, And suddenly the stung prince cried out.

Ladles are circular, foaming, hissing On Oleg's deplorable funeral feast;

Prince Igor and Olga are sitting on a hill;

The squad is feasting at the shore;

The fighters commemorate the past days And the battles where they fought together.

What picture will illustrate this episode? Let's put it on display.

Usually at a feast at some point they all speak at once, sometimes in turn, that's how we are with you now. After all, we are also at a feast - a literary one - and each of us has tasted a little of the feast of Pushkin's word and thought. Now is the time to ask questions to the librarian, i.e. to me. Have any words, thoughts and expressions of the author remained incomprehensible to you?

In turn, I would like to clarify whether everything is clear to us in this poem? What impressions and what the main idea will we remember? Let's discuss?

But here comes the moment when everyone listens to one thing: a singer, a storyteller, a poet, a reader - they seem to sum up all the statements. Let's listen and we now have the whole poem in full. From the beginning to the end. And once again enjoy Pushkin's line. And may this pleasure and these thoughts remain with you forever.

–  –  –

And the dog loves you because you just exist in this world ... Form. Exhibition search.

Decor. At first, the booth contains only photographs (or drawings) of the paws of various animals or birds.

Hey stopper. Unbuttoned dog collar. This means that the dog is set free. Friendship can only be free.

Exhibition work. Installation of books on the exhibition stand. Decor.

BBZ (literary criticism) Appearance books. Alias ​​concept. The genre of the story. Series. A reminder of the shelf index, copyright, bibliographic description. Continued work with illustrations.

Dialogues with the text Determine the mood of the story. By illustrations.

Search for metaphors and comparisons in the text. Discuss questions as you read the text.

Homework Flyers with "Mickey the Fox Questions" and mood indicators.

Action The work of the search teams. Search in the fund of books about animals. Comic drawing.

Electronic accompaniment Illustrations from the book you read.

Literature Big Book about nature: poems and stories of Russian poets and writers / artist. V. Dugin. - M.: Bustard, 2006. - 208 p.: ill.

Dinets V.L. Pets / V.L. Dinets, E.V. Rothschild.

M.: ABF, 1998. - 512 p.: ill. - (Encyclopedia of the nature of Russia).

Dolgova T.V. Mysterious Beasts / T.V. Dolgov. - M.: ROSMEN, 2003. - 334 p.: ill. - (I wonder about the unknown).

Zhitkov B.S. Stories about animals / art. V. Chelak. - M.: Maha on, 2004. - 127 p.: ill. (native nature).

Cat Thief: poems, stories, tales about animals / art. V. Bastrykin [i dr.]. - M.: ROSMEN PRESS, 2004. - 109 p.: ill.

Lavrova S.A. Riddles and secrets of pets: entertaining zoology / S.A. Lavrov. - M.: White City, 2007. - 48 p. - (Encyclopedia of secrets and riddles).

The world of animals: mammals / comp. E.N. Sinkevich, L.V. Sin kevich. - Minsk: Mirinda: Rhodiola plus, 2000. - 415 p.: ill. - (Children's encyclopedia in questions and answers).

Seton Thompson E. Stories about animals / E. Seton Thompson; per. from English. N. Chukovsky. - Minsk: Mastatskaya Litaratura, 1980.

- 347 p.:

Chaplina V.V. From the life of the zoo / V.V. Chaplin; comp. N.N. Svetlovskaya, T.S. Piche ool; artistic N.N. Orekhov. - M.: [b.i.], 1996. - 32 p.: ill. - (Library of the journal "Primary School"; issue 8).

Charushin E.I. Oleshki: stories / E.I. Charushin. - L .: Det. lit., 1976. - 32 p.: ill. - (We read for ourselves).

*** Let me move to the next rung of my reading ladder. Not all of us remember the titles of the books we read, and even less do we remember the authors. So I can’t remember the name and author of the book I read in early childhood, but I see the picture very clearly. Not an illustration for a book, but a picture that popped into my head while reading that book. This is a corner of some kind of gloomy forest. Some sort of ferns. The sun's rays barely breaking through the thick branches of trees.

And the feeling that I can smell the mushrooms. This image of a mushroom forest is something eternal that can be found in the books of writers who lived two hundred, one hundred, and fifty years ago, and those who write today. Love for nature and animals brings us closer. Books about animals were written and read at all times - this also erases the distance between centuries.

Today I want to give you the reading of a book that I myself read quite recently, already an adult, but admired it, as in childhood. The book itself was written a long time ago. At the time that is called paradise silver age Russian literature. This late XIX- the beginning of the XX century. It was written by Sasha Cherny - Russian poet, prose writer, translator, children's writer.

Sasha Cherny is, of course, literary name, pseudo him. Sometimes writers sign their works not with their real name, but with an invented name instead of ... i.e. pseudo before him. The reasons for this are different. It so happened that in the family of the pharmacist Glikberg there were two sons of Alexander.

One is blonde, the other is brunette. Accordingly, the family called one White, the other Black. The lot of this family, as well as the lot of people who lived in those years, fell on difficult trials: revolution, civil war, life in a foreign land - in emigration. In the last years of his life, Sasha Cherny lived in Paris. He wrote many good books there, including for children.

I will talk about one of them. Here she is in my hands.

We read her passport:

Sasha Black. Fox Mickey's diary: a story. Shmelev I.

My Mars: short story / art. V. Bastrykin. - M.: Bustard Plus, 2004. - 128 p.: ill. - (Stories about animals).

You have probably noticed that every time I present the passport of the book, I introduce you to some additional information. In this passport we see the word "story". This is the genre of this book. A genre is a historically established type (way of writing) of a work of art. There is an epic genre (telling, narrating), lyrical (poetic) and dramatic (plays for theatrical productions).

The book in question, like any other, does not live by itself. She likes to live among other books, likes to compare herself with them. Let's try to help her.

Let's find it in the fund first. Remember how we can find it in the library? To do this, you need to consider the cipher, which is also listed in the bibliographic description.

Here he is:

84(2Ros=Rus) 6 H - 49 So, it can be found in the section of the fund "Fiction of Russian Russian writers of the XX century." And today we will see her also at the book exhibition "I have never seen such a paw."

This is an exhibition search. You see: here are photographs of the paws of various animals, and on each - a cipher (by local index and copyright). According to it, you will find information about the book in the catalog: the author's surname, title, and in the fund the book itself about this animal. Moreover, these are works of art about animals.

So, I need as many search commands as there are paws. Teams can consist of two three four people. Each team receives a code, searches for the required book in the fund and places it at the exhibition next to the paw of the animal the book tells about. Then we will put a title and flyers on the exhibition, or, as librarians say, quotes from the exhibition.

And now, when our exhibition is framed, let's take a closer look at the book - the heroine of today's meeting. In 2004, it was republished by the Drofa Plus publishing house.

See how modern it looks: good paper, large print, colorful illustrations. And the dog on the spoon is so expressive! But what does he express? Is it possible to say something about his character? (We are discussing.) Sasha Cherny's story "The Diary of Mickey the Fox" is quite long; in the audio recording, it sounds for almost two and a half hours. Therefore, we will not read the whole story today.

But let's try to guess from the illustrations of the artist Viktor Bastrykin WHAT kind of story this is. Not ABOUT ANYTHING, because from the title and the picture on the cover it is clear that it is about a dog. What mood is it and what mood will we get from reading it. I have converted all illustrations to electronic format. Let's look at them all in a row and try to express in words the mood of the story, which the artist has depicted with paints. But let your words be not random, but, for example, comparisons or metaphors. You probably remember from school lessons, what it is.

If you don't remember, don't worry. I will pick up a book and remember. Metaphor is the use of a word or expression in a figurative sense based on the similarity of two objects or phenomena.

So, what comparisons or metaphors will help us guess what mood we will be reading?

To be sure, let's try to put these words in the table:

Basis Direct comparison An illustration for comparison or a metaphor (why did you decide so (hidden comparison)) And now I'm wondering: is it possible to assume from the illustrations what Fox Mickey will do in the story, is there something in him that makes him different from everyone dogs you know? (We are discussing.) Having studied the illustrations, let's return to the beginning, i.e. to the title.

A diary is a daily record of what happened during the day: events, thoughts, plans for tomorrow. But judging by the title, the diary in the story is kept by a dog? Can this be? What would that mean, do you think? (We are discussing.) Well, we will have to read the story to prove that this cannot be. Dogs can't write! But maybe the point is not who writes, but what and how is written?

I have a suggestion for you: in order to understand all this, let's draw comics right while reading - such a chain of drawings. Well, maybe not draw, but make sketches, explain in words what can be depicted in a comic book picture. I will stop reading and give you time to do so.

So, the title on the first page of the diary: About Zina, about food, about a cow! It's funny. And who eats whom here: Zina cow, or Zina cow? Well, let's read!

MY mistress Zina looks more like a fox than a girl:

she squeals, jumps, catches the ball with her hands (she doesn't know how to use her mouth) and gnaws sugar, just like a little dog.

I don’t know about you, but it immediately seemed to me that if a girl looks like a fox, why shouldn’t a dog look like a girl, or rather, in this case, a boy? How would you portray this in a comic book? (We discuss.) I keep thinking - does she have a tail? She always walks in her girl's caps; but he won't let me into the bathroom - I would have peeped.

Typical boyish antics. Or not?

Yesterday she boasted: you see, Mickey, how many aunts I have. Arithmetic - dictation - compositions ... But you, unfortunate tsutsik, can neither speak, nor read, nor write.

Woof! I can think - and this is the most important thing. Which is better: a thinking fox or a talking parrot? Aha!

The thinking fox is interesting. How would you portray him? (We discuss, draw.) I can read a little - children's books with the largest letters.

Write... Laugh, laugh (I can't stand it when people laugh)! I also learned to write. True, my toes do not bend, because I'm not a man and not a monkey. But I take a pencil in my mouth, step on the notebook with my paw so that it does not fidget, and write.

There is an illustration for this episode in the book. By the way, what did you think when at the beginning you were just looking at Viktor Bastrykin's drawings and saw a dog with a pencil in its teeth? (We discuss.) At first, the letters looked like crushed earthworms. But foxes are much more diligent than girls. Now I write no worse than Zina. I just can't sharpen pencils. When mine is exhausted, I run quietly into the office and drag the stubs honed by people from the table.

*** I put three stars. I saw in children's books: when a person makes a leap to a new thought, he puts three stars... What is the most important thing in life? Food. Nothing to pretend! We have a full house of people. They talk, read, cry, laugh - and then sit down to eat. Eat in the morning, eat at noon, eat in the evening. And Zina eats even at night - she hides biscuits and chocolate ki under the pillow and slowly champs.

How much they eat! How long do they eat! How often do they eat. And they also say that I am a glutton ... They put a bone from a veal cutlet (they will eat the cutlet themselves!), They pour half a saucer of milk - and that's it.

Do I pester, do I ask for more, like Zina and other children?

Do I eat sweets: a paste called jelly, or a liquid muck of prunes and raisins, or a cold horror, which they call ice cream? I am more delicate than all dogs, because I am a thoroughbred fox. I'll gnaw on a bone, eat it, carefully taking a biscuit from Zina's hands, and that's it.

But they... Why these soups? Isn't pure water tastier?

Why these peas, carrots, celery and other nasty things with which they spoil the roast?

Why boil and fry at all?

I recently tried a piece of raw meat (fell on the floor in the kitchen - I had every right to eat it!) ... I assure you, it was much tastier than all those sizzling cutlets in a frying pan ... And how nice it would be if it were not boiled and fried ! There would be no cooks: they do not know how to treat decent dogs at all. If everyone ate on the floor, without dishes, it would be more fun for me.

And then you always sit under the table, among other people's legs. They push, they blunt us on their paws. Think how fun it is!

Or better yet, eat on the grass in front of the house. A raw cutlet for each. And after dinner, everyone would flounder and squeal, like Zina with me ... Woof woof!

They call me a glutton (I drank a sip of milk from a cat's saucer, think about it) ... And themselves ... After soup, after roast, after compote, after cheese - they also drink colorful things: red - wine, yellow - beer, black - coffee ... Why? I yawn under the table to tears, I'm used to hanging around people, and they all sit, sit, sit ... Woof! And everyone is talking, talking, talking, as if everyone had a gramophone in their stomach.

In my opinion, excellent episodes for a comic! Sasha Cherny remarked very subtly. People do eat and talk a lot. But after all, Mickey himself in the book is very similar to people, although he is offended that he is called a glutton.

Remember, put three stars and said that they mean a jump to a new thought. So Mickey thinks my most important thing in life is food? And do you agree with him? And how can you express your agreement or disagreement, but it is better to say your own thought, what is the most important thing in life for you personally? (We discuss, draw.) *** Three stars.

New thought. Our cow is stupid.

Well, that's right, the boy is rude!

Why is she giving so much milk? She has one son - a calf, and she feeds the whole house. And in order to give so much milk, she eats all day, eats her grass, it’s even a pity to look. I wouldn't have survived. Why doesn't a horse give so much milk? Why does a cat feed her kittens and take care of no one else?

Would a talking parrot come up with such an idea?

And here Mickey is also a bouncer!

And further. Why do chickens lay so many eggs? It's horrible. They never have fun, they walk like sleepy flies, they have completely forgotten how to fly, they do not sing like other birds ... It's all because of these unfortunate eggs.

I can't stand eggs. Zina too. If I could explain myself to the chickens, I would advise them not to carry so many eggs.

New thought and new plots for comics. Before drawing them, perhaps, it is necessary to answer Fox's questions? But let's try to do the opposite. It seems to me that the writer did not accidentally describe this whole episode with the help of questions. He, of course, wanted us to think about them, but in fact, we can ask completely different questions here. Let's try to unravel the author's idea and make up one or two questions for this episode. (We think. We discuss.) I would ask this question: why do a cow and a chicken give more milk and eggs than they themselves need? Are they friends with the person? And why does a cat, a horse, and even dogs, which produce nothing, also live together with a person and a person considers them friends?

It’s good to be a fox all the same: I don’t eat soup, I don’t play this damned music that Zina runs her fingers over, I don’t give milk and “the like,” as Zina’s dad says.

Fuck! The pencil broke. You have to write more carefully - the cabin is not locked, and there are all the pencils.

Next time I will compose dog poems - this interests me very much.

Yes, but ... Dog poems are cool! I wonder if you will like his poems?

Fox Mickey, the first dog to write.

What language do you think Fox Mickey writes his diary in? We discuss and draw a picture of the co-mix for this episode and continue to read and translate from the dog language ... But on our own. Agreed! You come to the next meeting with comics based on Sasha Cherny's story "The Diary of Fox Mickey". Whoever thinks that he cannot draw on paper, try to draw your comic in your mind in your imagination, and then tell it in words.

And I also think that since Mickey is so smart that he can read, write and ask questions, he probably could ask you a few questions too.

These are:

When do I act like a boy and when do I act like a dog?

If the author still portrays a boy under the guise of a dog, make a verbal portrait of the boy (how old is he, how he looks, dresses, walks, talks with friends and different people), describe its character (its advantages and disadvantages).

Did I have a situation of choice, do you approve of my choice? Or would you do it differently?

How do I really feel about my mistress Zina and in general to all people and to life?

Fox Mickey's diary is published in the series "Stories about animals". Remember, in the bibliographic description - the passport - these words are written in brackets? This means that the publishing house has printed many books about animals and all these books have similar covers and on the cover of all the books it says: "Stories about animals."

The authors of such books, as a rule, want us to know as much as possible about animals and nature. But there are books that we read not because they give new knowledge, but because they cheer us up, encourage us to think, to create images of what we have read in our imagination.

Probably, you will agree that our mood is colored. I will now hand out flyers to you. On one side are multi-colored circles. When you have read the whole book, please mark the circle that corresponds to your mood from what you read. Remember the beginning of our meeting, when I asked you WHAT kind of book is this, what is its mood. Has your opinion about it changed now? (We discuss.) And on this flyer you will see poetry. They were written by Fox Mickey, under the pseudonym Sasha Cherny. I think you will like them.

THE WOLF The whole village sleeps in the snow, No gugu.

The moon has disappeared for the night, Snow is falling.

The kids are all on ice, on the pond.

The sleigh squeals together - Let's go in a row!

Who is in harness, who is a rider, Wind to the side.

Our convoy stretched to the birches.

Suddenly the leader shouts:

"Damn, stop!"

The sledges began, the laughter fell silent, - “Brothers, the wolf! ..”

Wow, how they splashed back!

Like a city

Loose everything from the pond - Who goes where.

Where is the wolf? Yes, this is a dog - Our Watchdog!

Laughter, roar, laughter and talk: “Ah yes wolf!” Sasha Black

And on the other side of the leaflet of the flyer are the questions of Fox Mickey.

If you want, you can answer his questions verbally, if you don't want, don't answer at all. But I think that some of you are so fond of Mickey that he will want to answer questions even in writing. Then our exhibition will be enriched by your reflections. Let others compare different, including their own, answers to these questions. And Mickey will be happy and happy.

–  –  –

He composed his stories like an endless game.

Form. Exhibition search.

Decor. Posters from the Civil War. Image of bourgeois bourgeois.

Hey stopper. Paper four-pointed origami pinwheel. Each end of it has its own color and the inscription: “Fifteen-year-old commander of the regiment”, “Cunning man - writer”, “Timur and others”, “And again into battle ...”.

Exhibition work. With the help of a turntable, find books with bookmarks and quotes about Gaidar, his work, books, heroes. Use the annotation to find the desired book at the exhibition.

BBZ (literary criticism) Annotation. Associations. Difference between short story and novel.

Dialogues with the text Reconstruction of the event by the word (“with annoyance”, “bourgeois in”, etc.). Verbal characteristics of heroes, search for synonyms. Answer questions as you read.

Action Draw an association tree. Two teams (2 3 4 people) look up the meaning of the word "abstract" in a dictionary and on the Internet. Who will quickly find and give a more complete definition.

Musical accompaniment Song of the Civil War "There, in the distance, beyond the river" (arr.

A.V. Alexandrova, sl. N. Koolya).

Electronic accompaniment Illustrations from the book being read. Episodes of the Civil War.

Literature Alekseev S.P. A book for reading on the history of our Motherland: (from 1670 to 1945): a guide for students of grade 5. / S.P. Alekseev. - 2nd ed., to work. - M.: Enlightenment, 1991. - 206 p.: ill.

Alekseev S.P. On that distant, on the civil one: the history of the Fatherland: stories for children / S.P. Alekseev. - M.: Pedagogy, 1988. - 256 p.: ill.

Kamov B.N. Ordinary biography (Arkady Gaidar) / B.N. Kamov. - M.: Young Guard, 1971. - 415 p.: ill. - (The life of remarkable people. A series of biographies; issue 4 (493)).

Kotov M.I. Gaidar at war / M.I. Kotov, V.G. Lyaskovskiy; ed.

foreword N. Tikhonov. - 2nd ed. - M.: Young Guard, 1984.

Morozov E.I. Stories about Kotovtsy / E.I. Morozov. - 2nd ed., add. - M.: Young Guard, 1981. - 192 p.: ill.

Suslov V.N. There was a civil war: dokum. stories and poems / V.N. Suslov. - L .: Det. lit., 1987. - 239 p.: ill.

*** Today on my reader's ladder is a book about happiness.

"What happiness is - everyone understood it in their own way, but all together people knew and understood that one must live honestly, work hard and love and protect this huge happy land, which is called the Soviet country."

It is these words that are carved on a marble slab at the grave of the Russian writer Arkady Petrovich Gaidar. He had an extraordinary biography. True, the time for such a biography was the most unusual: the Civil War in Russia. A civil war is when the majority of the country's population understands differently what is good for the country and what is bad. And everyone defends his understanding with weapons in his hands. And everyone considers it a happiness to defend their truth. Almost 90 years ago, our entire country was divided into two camps, into two armies: the Red and the White.

At our previous meeting, we talked about the writer Sasha Cherny. He himself and his associates fought in the White Army. They lost civil war, and Sasha Cherny ended up in exile, in exile, in Paris.

Arkady Petrovich Gaidar fought on the side of the Red Army. At the age of seventeen, he became a regiment commander and thought of staying in the army, which he loved very much all his life. But old wounds began to make themselves felt, and I had to leave the army. Then he became a writer.

He wrote wonderful stories and novels for children. In the story "Chuk and Gek" he found a very precise word for happiness, I read it to you, and you see these words at the exhibition. He saw happiness in not speaking his country, and in encouraging his readers to do so.

Every person wants happiness. Various writers write about it in their works. But really everyone understands it in their own way. And you can't define it in one word. You can type a whole tree of such words. Tree in associations. We have already talked about what associations are. Remember when you read "The Song of the Prophetic Oleg"

A.S. Pushkin. At that time we selected associations for many words.

202-60-03 fax 219-64-93 Pedagogical project "Integration of older children preschool age With handicapped health into a group of children with a "conditional rate of development ..." 2016 Problem A. Leap years Input file name: standard input Output file name: standard output Time limit: 1 second Limit ... "hours per year / 1 hour per year ...” marks the sixtieth birthday of Ilya Mikhailovich Frank, a scientist widely known for his outstanding research ...”

"1. The purpose of discipline. Studying the course Age anatomy and physiology aims to give the teacher the necessary amount of knowledge about the patterns of growth and development of the child's body, age-related morpho-functional features of its activity, about the requirements for the organization of educational and upbringing ... "

“AGE CHARACTERISTICS OF THE DEVELOPMENT OF CHILDREN 5-6 YEARS SOCIO-EMOTIONAL DEVELOPMENT: A child of 5-6 years old seeks to know himself and another person as a representative of society, gradually begins to realize the connections and dependencies in social behavior and relationships..."

“Subjects of seminars for the course "Psychology and Pedagogy" Workshop on psychological diagnostics 1. G. Eysenck's personal questionnaire; 2. Diagnosis of personality accentuation types according to K. Leonhard (G. Shmishek's test); 3. Self-assessment of character traits (N.M. Peisakhov); 4. Systems Research...»

"Generalization of pedagogical experience

6 N.I. GENDINA, E.V. KOSOLAPOVA BASICS INFORMATIONAL CULTURES SCHOOLCHILD Educational and methodological complex for students of 3-4th grades of general education educational organizations Moscow 2014 UDC 027.8 LBC 78.39+73 G34 Scientific editor Dr. pedagogical sciences, Professor, Honored Worker of Science of the Russian Federation N.I.<...> « Basics informational culture schoolchild”: an educational and methodological complex for students of grades 3-4 of general education educational organizations [Text] / N.I. Gendina, E.V. Kosolapova - M.<...>The educational and methodological complex included learning programs discipline “ Basics informational culture schoolchild" for grades 3-4, methodological developments 22 lessons in the 3rd grade and 27 lessons in the 4th grade, control measuring materials, terminological dictionary, a systematic index of terms by sections of the discipline “ Basics informational culture student", electronic presentations at the rate " Basics informational culture schoolboy."<...>THIRD CLASS Fundamentals of information culture of a schoolchild: curriculum for the discipline "Fundamentals of information culture of a schoolchild" for students third classes educational organizations Methodological developments lessons for students third classes . <...> Address search And algorithm his fulfillment . <...>133 Testing and measuring materials for the course "Basics of schoolchildren's information culture" for students third classes. <...> 137 Terminological dictionary on the course "Fundamentals of information culture of the schoolchild" for students third classes. <...> 145 Electronic presentations on the course "Basics of information culture of a schoolchild" 3 PART 2.<...> Secondary documentation How result analyticsynthetic processing information.<...> Address search And algorithm his fulfillment . <...> Thematic search and the algorithm for its implementation.<...>Reference search apparatus books as a source of basic information about the document when information is collapsed.<...> 316 Terminological dictionary on the course "Fundamentals of information<...>

Professional_library_of_a_school_librarian._Series_1_№6_2014.pdf

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PROFESSIONAL LIBRARY OF THE SCHOOL LIBRARY APPENDIX TO THE JOURNAL "SCHOOL LIBRARY" Series 1 Issue. 6 N.I. GENDINA, E.V. KOSOLAPOVA THE BASIS OF SCHOOLCHILDREN'S INFORMATION CULTURE Educational and methodological complex for students of grades 3-4 of general educational institutions Moscow 2014

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UDC 027.8 LBC 78.39+73 G34 Scientific Editor Doctor of Pedagogical Sciences, Professor, Honored Worker of Science of the Russian Federation N.I. Gendina Reviewers: Head of the Department of Reading Problems, Scientific Center for Research on the History of Book Culture Russian Academy sciences, deputy Chairman of the Scientific Council on Reading Problems of the Russian Academy of Education (RAO), Member of the Standing Committee of IFLA “Literacy and Reading”, Vice President of the Russian Reading Association, Doctor of Pedagogy, Professor, Honored Worker of Culture of the Russian Federation Yu.P. Melentyeva Rector of Kuzbass regional institute advanced training and retraining of educators, doctor of pedagogical sciences, professor O.G. Krasnoshlykova G34 Gendina N.I., Kosolapova E.V. “Fundamentals of Schoolchildren’s Information Culture”: an educational and methodological complex for students of grades 3-4 of general educational organizations [Text] / N.I. Gendina, E.V. Kosolapova - M.: RSHBA, 2014. - 344 p. Target this manual- to promote the development of universal educational activities of schoolchildren, including, first of all, the ability to search, analyze, transform information using ICT technologies, ensure information security of the individual, and develop critical thinking of students. The educational and methodological complex included curricula on the discipline “Fundamentals of Schoolchildren’s Information Culture” for grades 3–4, methodological developments of 22 lessons in the 3rd grade and 27 lessons in the 4th grade, control and measurement materials, a terminological dictionary, a systematic index of terms for sections of the discipline “Fundamentals of information culture of a schoolchild”, electronic presentations on the course “Fundamentals of information culture of a schoolchild”. In addition to the verbal description, each of the lessons was reflected in the form electronic presentation provided on the CD-ROM. All materials of the complex are adapted to the age-related psychophysiological characteristics of younger schoolchildren. It is recommended for librarians of children's, school, youth and public libraries, teachers of general educational organizations, specialists of the system of additional professional education. UDC 027.8 LBC 78.39+73 Cover design - A.V. Sergeyev © Gendina N.I., Kosolapova E.V., 2014 © Russian School Library Association, 2014 ISBN 9785915401173

New professional literature - 2016

Dear Colleagues!

I apologize that due to the workload I postponed the post about the new products of 2016 for so long that they smoothly flowed into 2017.

One of the most respected librarians of our time, the developer of the Library and Bibliographic Classification (LBC) - Eduard Rubenovich Sukiasyan somehow remarked: "It is impossible to become a good professional librarian without reading special literature, books and periodicals!" I bring to your attention literature for librarians published mainly in 2016. The authors of the manuals touch upon various aspects of library activity, so everyone can find up-to-date professional information here. It is especially important to note that the presented publications are not theoretical materials, but represent a set of analysis of the experience of the regions of our country with a practical solution to the problem areas of library and information services. There are also educational literature. I hope that this information will be useful and useful in your work.

Library and information services: textbook / Yu. F. Andreeva, O. F. Boikova, V. A. Borodina and others; under scientific ed. M. Ya. Dvorkina. - St. Petersburg: Profession, 2016. - 240 p. – (Bachelor of Library and Information Activities).

The textbook highlights the theoretical, methodological and organizational aspects of library and information services. The types of service, its regulatory framework are described in detail. The types of library and information services, the technology of their provision are considered. Methods for assessing the quality of library and information services and library and information services are given.

The publication is addressed to undergraduate students studying in the direction of preparation "Library and information activities", teachers of library and information disciplines. The textbook can also be used in the system of secondary professional library education and in the system of advanced training and retraining of personnel for libraries.

Introduction

Chapter 1. Theoretical and methodological foundations of library and information services

§ 1. Library and information services as a system of access to information resources and cultural values

§ 2. Evolution of terminology and principles of library and information services

Chapter 2. Librarian and User

§ 1. The system of professional requirements for a librarian

§ 2. Users of libraries and their typology

§ 3. Dialogic of library and information services

Chapter 3. Types of library and information services and forms of its organization

§ 1. Characteristics of the main types of library and information services

§ 2. Forms of organization of stationary, out-of-stationary and remote services

Chapter 4. Legal regulation of library and information services

§ 1. Basic normative legal acts defining the order of library and information services

§ 2. Legal regulation of legal relations between the library and the user

§ 3. Protection of personal data of users

§ 4. Legal regulation of library and information services for users in the field of intellectual property

§ 5. Legal regulation of library and information services for children

§ 6. Legal regulation of the work of libraries with extremist materials

Chapter 5. Library and Information Services: Concept and Classification

§ 1. The concept of library and information service

§ 2. Classification of library and information services

Chapter 6. Technology for providing library and information services in traditional and electronic environment

§ 1. The structure of the technological description of library and information services

§ 2. Technology for the provision of individual library and information services

Chapter 7. Assessment of the quality of library and information services and the effectiveness of library and information services

§ 1. Characteristics of basic concepts

§ 2. Indicators and methods for assessing the quality of library information services

§ 3. Methods for assessing the quality of library and information services

§ 4. Evaluation of the effectiveness of library and information services

Conclusion

Applications

Appendix 1. Flowchart for fulfilling a request for the provision of documents from the main library fund

Annex 2. Flowchart of the public service "Provision of information from public library collections to the extent not related to copyright"

Annex 3. Operogram of the preparation of the electronic library exhibition (fragment)

Annex 4. Model of the technological process of collecting material for carrying out training session on the basics of information culture

Appendix 5. Operational time limits for the process of preparing a book exhibition (fragment)

List of used abbreviations

Subject index

Zakharchuk, T. V. Patriotic education in a public library / T. V. Zakharchuk, Yu. A. Frolova. - St. Petersburg: Profession, 2016. - 176 p. - (ABC of the library profession).

The manual considers one of the most urgent problems of library work - the problem of patriotic education in a public library. The main emphasis is placed on the patriotic education of children and youth in the municipal libraries of small towns and rural libraries.

The book discusses the normative base and main directions of patriotic education, presents the author's methodology for holding events for patriotic education in public libraries. A significant part of the manual is made up of scenarios for various events aimed at fostering patriotism among children and youth.

The publication is intended for librarians, students of the advanced training system, as well as for students and teachers of library and information faculties of universities and colleges of culture

Foreword

1. The phenomenon of patriotic education

1.1. The essence of the concept of "patriotism"

2. Regulatory framework for patriotic education

3. Patriotic education of children and youth in a public library

3.1. Methods and forms of patriotic education

3.2. Methodology for organizing events for patriotic education

Conclusion

APPS

Attachment 1

Appendix 2. A set of events for the 50th anniversary of the first manned flight into space

Appendix 3. A set of events dedicated to the 300th anniversary of Mikhail Vasilyevich Lomonosov

Appendix 4

Annex 5. Scenario of a literature lesson in the library “Women. Memory. War"

Annex 6. Meeting with schoolchildren dedicated to the day of Slavic writing and culture "Message of the Solunsky brothers"

Kabachek, O. L. Subjectivity of literary and artistic activity / O. L. Kabachek. - Moscow: RSHBA, 2016. - 304 p. - (Professional library of the school librarian: Appendix to the magazine "School Library":Series 1; issue 2). - (To help the teacher-librarian).

For the librarian, this edition will be interesting in that it deals with modern problem situation with reading, opportunities fiction in the development of the personality of the child, and experimental psychological studies are presentedthe last years of the author himself. The final section of the book describes research on the "special" reader and issues of bibliotherapy. The author draws attention to the fact that a whole generation is growing up in our country, which is not able to think critically, analyze the situation, not to mention the fact that reading is not even an obligatory life process. In the work of librarians with readers will always come in handy Interesting Facts and the specialist's conclusions about reading. The sections “Library therapy as an opportunity for happiness”, “Reading as an everyday activity”, “Reading and creativity” or “Children and adolescents” will be clear and useful.XXI century: who are they?". The publication is recommended to teachers, librarians, students.

Kultau, K. S. Managed design and research activities in the school of the XXI century / Carol S. Kultau, Leslie K. Maniotes, Ann K. Kaspari; ed. V. V. Zverevich; per. from English. V. V. Zverevich, T. O. Zverevich. - Moscow: RSHBA, 2016. - 288 p. : ill. – (Professional library of the school librarian:Supplement to the magazine "School Library": Series 1; issue 3).

"Start and keep moving"! Perhaps these words could become the motto of a book by remarkable authors from the United States, who outlined on its pages the processes familiar to each of us. The authors consider managed project and search activity as an opportunity to improve many educational and information processes in lifemodern young man, where the main role is played bylibraries. Many associate the library for the most part with books, of course, this is true. But if we perceive the library also as an environment where learning takes place, obtaining extensive knowledge, obtaining large volume information, it makes more sense to think of it as a projectlaboratories. Actually, our libraries are moving towards this now, making them the “third place” after study and family.

Managed project-research activity requires the efforts of everyone who wants to change the student, reader, teenager, deepening his basic knowledge; go with him from the ability to read to reading for learning, find a reasonable balancebetween learning and creativity. This book will teach you how to professionally design your library activities in order to stimulate the creative initiative of your readers for their future career And Everyday life. The publication will be interesting and useful for librarians, teachers, students.

Ladozhina, T. N. Information culture: content and methods of development: a practical guide / T. N. Ladozhina. - Moscow: Liber-Dom, 2016. - 112 p.

Rapid growth in the amount of information consumed modern society, gives particular relevance to the formationinformation culture of readers and students. The publication includes sections on compiling a bibliographic description of documents; strategies for independent and most effective searchinformation in electronic and printed resources; technologies for the preparation and presentation of the results of self-study and research work: abstracts, abstracts, reports. The relevance of the publication lies in the fact that all of theinformation is of practical importance, so the theoretical material is successfully combined with practical recommendations.

Benefit It is intended for students, teachers of universities and colleges, as well as for practicing librarians. It can be seen as a tool for practical training, necessary for the successful acquisition of modern information.

The program "Reading as a way of life" (Photochronicle of the events of 2015) / Committee for Culture of St. Petersburg, TsGPB im. V. V. Mayakovsky, Department of Scientific and Organizational Work and Networking; resp. Editor Akhti E. G. - St. Petersburg, 2016. - 67 p.
In order to create the necessary conditions for the formation of the need for reading of the inhabitants of St. Petersburg by librarians of the Central City Public Library. V. V. Mayakovsky in 2006 was developedReading as a way of life program. Achieving the goal of the program is ensured by regular, detailed, targeted activities to promote reading, information support for reading processes necessary for various categories of users.

In the manual in the form of a photo chronicle, the main events that took place in the library in 2015 as part of the Program are recorded: “Library Night”, “Mayakovsky-fest”, “Intellectual Amusement Park”, actions and projects to promote reading, which were both traditional for libraries and and innovative character.

Psychology and literature in the dialogue about a person / ed. N. A. Borisenko, N. L. Karpova, S. F. Dmitrienko. - Moscow: Association of School Librarians of the Russian World (RSBA), 2016. - 368 p. - (Professional library of the school librarian: Supplement to the journal "School Library": Series 1; issue 1). - (To help the teacher-librarian).

The presented collective monograph was prepared on the basis of materials of the International scientific conference, dedicated to the Year Literature in Russia (2015), and for the first time combines science articles And works of art contemporary scientists, poets and writers under one cover.

The first three parts of the book contain scientific articles on topical issues: the relationship between psychology and literature, the psychological foundations of school literary education, theory and practice reading activity. Section "Bibliopsychology, Bibliopedagogy, Family Reading and Bibliotherapy" introduces readers to the features of the work of a teacher-librarian and school psychologist in introducing students to books and reading.

In chapter "Scientists write Poems and Prose"– presented literary creativity domestic and foreign scientists, and in the final part of the book - "Writers visiting psychologists and teachers"- Poems, stories, chapters from novels, essays by professional writers are printed.

Savkina, S. V. Electronic exhibitions of libraries: technology of preparation and quality assessment: educational and practical guide / S. V. Savkina. - Moscow: Litera, 2016. - 120 p.

This allowance willgood practical help in the technology of preparation and methodology for evaluating the quality of electronic library exhibitions. Competently and understandably, information is given on its pages, starting with a description of the interactive capabilities of EBV and providing their multi-aspect classification, to the implementation of information, cultural,educational functions of libraries.

The manual is intended for practicing librarians, students of universities and colleges of culture, relevant for professional training and practice of library services.

Sokolov, A. V. Bibliosphere and infosphere in the cultural space of Russia. Professional and ideological manual / Arkady Vasilyevich Sokolov. - Moscow: Association of School Librarians of the Russian World (RShBA), 2016. - 384 p. - (Professional library of the school librarian: Supplement to the magazine "School Library": Series 1; issue 6). - (To help the teacher-librarian).

The main contradiction of technogenic civilization lies in the rapid growth of technical power and the spiritual impoverishment of the culture of the information society. In order for scientific and technical power to serve for the good, and not to the detriment of Russia, it is necessary to demand the knowledge and wisdom of the Russian intelligentsia, concentrated in the library and information resources of the bibliosphere. The key role here belongs to the professionals of the book, library and bibliographic business.

However, curricula of library and editorial and publishing educational institutions priority focused on mastering technological competencies, and not on the formation of a professional worldview. Therefore, young specialists do not represent the evolution of the Russian bibliosphere and the direction of development of the infosphere, they cannot appreciate the instructive experience of their interaction in the cultural space. They are not able to judge the prospects of books, libraries, bibliography in a post-industrial society, where they will live and work.

The peculiarity of this manual lies in the integration of related issues of library science, bibliography, computer science, book science, cultural studies and some others. scientific disciplines to ensure the integrity and versatility of the professional worldview. It is addressed not only to teachers and students of library and information and book educational institutions, but also to practitioners of book and library and bibliography who are concerned about the future of their profession. Tutorial professional-ideological orientation and integral-interdisciplinary genre is created for the first time in our country.

Tikhomirova, I. I. Originally from a military childhood: a school of developmental reading (we read, we reflect, we express in a word): method.-bibliogr. manual for leaders of children's reading, equipped with texts literary works for discussion with teenagers / I. I. Tikhomirova. - Moscow: RSHBA, 2015. - 336 p. - (To help the teacher-librarian).

The book of one of the best reading specialists in our country I. I. Tikhomirovadedicated to the 70th anniversary of the Victory in the Great Patriotic War.Purpose of the grant– in the Year of Literature to introduce adults and adolescents to the best works of fiction about the participation of children in the Great Patriotic War, created in the period from June 1941 to May 1945, to promote the formation of the historical and patriotic consciousness of today's schoolchildren, to instill in them a respectful attitude to the military and labor traditions of bygone generations.

Shelamova, G. N. The library enters the streets of the city: innovative forms of mass actions / G. N. Shelamova, B. N. Kovalskaya. - Moscow: Liber-Dom, 2014. - 192 p. -(Librarian and time. XXI century; issue 157).

Maintain and develop interest in the library, and therefore in the book, in Lately library promotions help. The manual offers to get acquainted with the experience of holding open-air actions in the CLS of the cities of Yelets and Vorkuta. We draw your attention touseful information material, starting from the history of the emergence of shares, to the methodological foundations of planning and holding shares different levels in library. The author examines and describes in detail all the stages of their preparation, supplementing them practical advice and examples given in the appendices. Taking into account the experience ofalready well-known library promotions, the manual provides new information that can serve as an impetus for your own creative development, for the birth of ideas, plans, including new promotions. Useful information complements a detailed list of publications on the topic, including the author himself, as well as a list of Internet resources. The publication will be useful and interesting for librarians, methodologists, teachers.

FOREWORD

PART I

G.N. SHELAMOVA. IN CENTRAL RUSSIA

Introduction

1st chapter. Action in the system of library activities

1.1.What is a library action

1.2. Where did the action come from

1.3. Exit beyond the walls of libraries

2nd chapter. Methodological foundations: the ability to create a share

2.1.From idea to implementation

2.2. Preparatory stage. Where does the action start?

2.3. Active period of the preparatory stage

2.4. The main stage - holding the action

2.5. The final stage. Summarizing

2.6. Types of shares

2.7.Social action

3rd chapter. Features of planning and conducting shares of different levels

3.1. One daisy, two benches... Promotions in one library

3.2. In a single formation. General library promotions

3.3.From Moscow to the very outskirts. All-Russian promotions

Conclusion

APPS

Annex 3. Librarians of Russia offer, advise, tell

(list of Internet resources)

PART II N.B. KOVALSKAYA. IN NORTHERN LATITUDES

Library street action: from theory to practice

APPS

Annex 1. Regulations on the library campaign “Book. Summer. Youth" - 2014, dedicated to the Day youth Russian Federation

Annex 2. Results of the express survey “What do you associate withword "culture"?

Appendix 6

Annex 7. Program of sociological research "What does a shift worker read?"

Annex 8

Appendix 9. Analysis of the sociological study "What does a shift worker read?"

Posters of library events in the regions of the Russian Federation

Campaign "Library Night"

Mass street actions

Shipilova, I. Z. Family reading library: traditions and innovations: a guide for specialists and parents / I. Z. Shirilova. - Moscow: Liber-Dom, 2016. - 144 p. – (Librarian and time. XXI century; issue 158)

In our modern life We often encounter indifferent attitudes towards family reading: non-reading parents bring up non-reading children. Therefore, there was a need for a theoretical understanding of the problems of reading in the family and jointactivities of schools, libraries and parents to introduce the book. The proposed edition summarizes and develops ideas about the family reading library from the point of view of systems approach in work with the family; various directions and effective forms of work of libraries with families are offered. The appendices of the publication are very interesting, which will help in solving almost any issue related to family reading: from recommendatory lists of literature for joint reading of children and parents, library research programs, the implementation of pilot projects "Reading Together" - to family games, quizzes and the organization of the Parents Club.

The activities of the Association are aimed at supporting and developing the library of a general education institution as an important space for the development of innovations for teachers, project activities and creativity of students, places additional education and formation spiritual world reader.

Protecting the interests of school librarians, the Association, first of all, protects the interests of Russian children, strengthening an important space for their development - the school library.

Today, in a crisis, the social and professional support of a specialist - a school librarian, who, in the context of the transition to new system wages has become one of the lowest paid categories of education workers.

Our Association aims to support a specialist librarian professionally and methodically through specialized reading magazines: "School Library", "Professional Library of the School Librarian Series 1, 2.", "Chitayka", "Wings", "Family Reading", "Young local historian”, “Local history almanac”.

Actions and events held by the association over the past 2 years, such as the 1st Congress of School Librarians of the Russian Federation, the International and All-Russian Forums of School Librarians "Mikhailovskoe 2008" and "Mikhailovskoe 2009", interregional congresses of school librarians in 4 federal districts - Southern, Privolzhsky , Central and Ural, the month of school libraries "School libraries are on the agenda!", were able to attract the attention of the first persons of the state to solving the problems of school libraries that have accumulated over many decades in this area.

Our Association managed to initiate a number of events at the state level, in particular, in 2009, Parliamentary hearings were held on the topic “Legislative support for the activities of libraries of educational institutions in the field of spiritual and moral education of children”. These hearings took place on 1 June 2009 and were prepared by the Committee State Duma on issues of the family, women and children, together with the Committee on Culture and the Committee on Education with the participation of our Association.

An important step in the implementation of the recommendations of the Parliamentary hearings was the development by the Ministry of Education and Science of the Russian Federation of the Action Plan for the improvement of librarianship in general educational institutions and improving the practice of information and library services for students, which includes the whole range of issues related to the development of school libraries.

All these events have made it possible to professionally support school librarians in Russia, as well as to strengthen an important space for the development of our children - school libraries in Russia, which is especially important in times of crisis.

But today, it is becoming difficult to implement socially oriented publishing projects that allow the best Russian and foreign library experience, experience in supporting and developing reading to be widely broadcast in a professional environment, since subscriptions to periodicals are sharply reduced due to the crisis. Low circulation is the inaccessibility of professional information for school librarians and children's reading specialists, a decrease in the level vocational training and qualifications, the loss of the most important communication channel, which allows to reduce the cultural and information gap,

To solve the problems of school libraries, to provide social and professional support to their specialists, the Association today needs strong partners in the regions.

In connection with the above, we ask you to support the autumn subscription campaign of the RSBA for 2010 by including the following publications of the RSBA in the list of periodicals recommended for departmental subscription in educational institutions: “School Library”, “Professional Library of the School Librarian”, Series 1,2 , "Family Reading", "Chitayka", "Wings", "Young Local Historian", "Local History Almanac", as well as to take additional measures to increase the subscription to these publications in the 2nd half of 2009.

We also inform you that it is possible to supply the Association's publications under direct contracts, with discounts, including on the terms of sale through bookselling networks.

President of the Association T.D. Zhukov

Subscription publications, periodicity, parameters and selling prices of publications for the 1st half of 2010

According to the Rospechat catalog	Name of publication	Release frequency	Edition numbers	Selling price per issue, rub.	Selling price of the publication for the subscription period, rub.
	96 p. Professional information and methodological magazine for specialists organizing library services for children and youth. Main headings: ^We read official documents”, “Improve our skills”, “Through the lens - the region”, “Reading culture.”, “Scenarios”, etc.	(cr. june)
	Journal "School Library", 96 p. (annual subscription)	(cr. June, July)
	Series 1, 220 p. NEW In the library world, find new forms and methods of work, combining theory, methodology, practical developments, event scenarios.	3 in pg (every 2 months)
	School librarian professional library. Episode 2: "School Library Exhibition" (Supplement to the School Library magazine) The exhibitions are dedicated to significant dates; anniversaries of wonderful people and events. Designed in the form of folders with color illustrations (A4) for exhibiting at the exhibition, and a methodological part (biography, review of creativity, scripts, questions for quizzes, competitions). By the end of 2009 the following will be published: N. Sladkoe, A. Suvorov, B. Pasternak.	(cr. june)
	Professional library of the school librarian. Series 2: "School Library Exhibition" (annual subscription)	10 per year (cr, june, july)

Method. manual for leaders of children's reading, supplied with texts of literary works for discussion with adolescents / I.I. Tikhomirov. – M.: RSHBA, 2015. – 344 p. (Appendix ek magazine "School Library" .Series 1 .Issue .3)

The book of one the best specialists for reading in the country I.I. Tikhomirova reveals a new aspect of the topic of reading. The publication is a kind of training course on the moral education of adolescents based on reading and discussing literary works. Created within the framework of the RSBA project "Reading Mother - Reading Russia", the manual is intended mainly for parents of teenagers for family readings.

The manual can also be used by librarians and teachers of primary and secondary schools for extracurricular reading lessons on moral topics. The goal is to humanize the consciousness of children, based on the analysis of the behavior of literary characters and empathy with them. The genre of the story, which is close to the experience of a teenager, is taken as a basis for influencing the reader. life situation and her permission. The best stories of Russian authors selected for discussion are grouped into thematic cycles: “Responsible for those whom I have tamed”, “Conscience, or Judgment on oneself”, “Seriously about a joke”, “On the strength of will and strength of spirit”, etc. Each the cycle contains an introduction to the topic, methodological annotations on the stories contained in the cycle, questions for discussion and a list of additional literature on the topic under discussion. The book is designed to help librarians, teachers, parents develop in children the ability to observe, compare, evaluate the behavior of characters, their relationships, think about the complexity of human characters and circumstances, include what is read in context. own life. Moral education in the manual is combined with the formation of a culture of reading and literary-critical thinking. The texts of the discussed stories are attached to the manual.