Current problems of modern prose for young people. International Federation of Russian-Speaking Writers (IFRP)

Modern children's literature is in a rather critical state, since every year the number of authors wishing to work in this field decreases, the circulation of publications for children decreases, and the demand for publishers' products decreases. This is largely due to the development of information technology, the rapid maturation of children, who are often more interested in surfing the Internet and browsing the pages of Internet sites than reading prose and poetry on “children’s” topics.

Despite the fact that the Internet is indeed a real storehouse of a wide variety of information, it cannot fully replace a child’s reading of books, during which the child learns to understand the feelings and motives of other people, empathize, rejoice, and develops his fantasy, imagination, and spatial thinking. Few people whose childhood passed in a time when there was no Internet can imagine those happy years without interesting and fascinating books. That is why we should not deprive modern children of the pleasure of reading and plunging into the fictional world of the author.

The main problem of children's literature today is its lack of demand, which manifests itself at almost all levels. Young authors complain that they have nowhere to publish their works; publishing houses are experiencing large financial losses due to the low level of sales of books for children. Literature that tells how to properly run a business and pay off interest on deposits is more successful than bright, beautiful books for children.

The high cost of publications for children is also a significant problem. Due to the fact that printing is one of the most expensive areas and at the same time has many possibilities, the cost of one children's book is so high that not all parents can afford to constantly purchase publications for their child. On the one hand, modern books have become brighter, more colorful, and more attractive to children, but on the other hand, all this has led to a significant increase in their cost and a decrease in the number of copies sold.

A rather serious factor is that editors and publishers, trying their best to attract the attention of readers to children's books, succumb to the influence of commercialization, when the ability to sell a book becomes more important than the quality of the publication. Behind last years The topics of children's publications have expanded significantly, while such literature does not always meet quality standards and moral requirements. Children are attracted to various stories and themes, but they do not realize how negative the influence of low-quality mass literature for teenagers about modern life schoolchildren and their adventures. The function of selecting worthy works should be carried out by a publishing house headed by an editor, but today raising profits is more important than providing children with good, kind books.

Taking into account many factors, modern publishers argue that the crisis in children's literature will only worsen until books are finally forced out of the market or undergo significant changes.

Introduction

Chapter 1. Actual problems modern children's literature, periodicals, criticism

The crisis of children's literature in the 80s
Specifics of modern children's reading
The problem of the creative fate of a beginner children's writer

1.4. Children's poets turn to prose

1.5. Low level of quality of modern books and periodicals for children

1.6. Commercialization of the book market

1.7. The problem of stocking libraries with children's literature

Chapter 2. Prospects for the development of children's literature and periodicals

Conclusion

Literature.

Introduction

Today there are about 40 million children under the age of 18 living in Russia, which is almost 27% of the total population. To some extent, they are hostages of ongoing socio-economic reforms and especially suffer in the transition period, since they belong to the most socially vulnerable segments of the population.

The UN Convention on the Rights of the Child (1989) talks about the right of children to cultural development, obtaining education and information.

The moral, intellectual, aesthetic development of children and adolescents is directly related to the spiritual food they receive. Means play a huge role in the socialization of the individual. mass media and a book. A child’s entry into the book universe occurs primarily with the help of literature specially created for children. It is children's literature that nourishes the child's mind and imagination, opening up new worlds, images and patterns of behavior to him, being a powerful means of spiritual development of the individual.

Literature for children is a relatively late phenomenon in our national culture and the culture of humanity as a whole. It is known that phenomena of a later order are of a relatively mature nature, since they are created as a result of the organic assimilation of the previous tradition. In the case of children's literature, things are much more complicated. It took a long and difficult time to separate itself from “big” (“general”) literature, as well as from educational literature. The very fact of its isolation into a certain independent area has caused and still causes negative assessments, and, as a result, discussions still take place in connection with the problem of the so-called “specifics”. There are discrepancies even in what it should be called: “children’s literature” or “literature for children.” For example, Polozova T.D., who has been fruitfully dealing with the problems of children’s literature and children’s reading for many years, distinguishes between the concepts of “children’s literature” and “literature for children”: by “children’s literature” she means the actual creativity of children, and by “literature for children” everything that is addressed to children.

Over the past fifteen years, there has been a significant movement associated with adjusting the range of children's reading: works focused on Soviet ideology have been excluded, the undeservedly “forgotten” Nikolai Wagner, Dmitry Minaev, Sasha Cherny, Osip Mandelstam, and “Oberiuts” have been returned; attempts are being made to modernly read the works of children's writers of the Soviet period, very contradictory and not at all indisputable; some aspects of the history of Russian children's history are clarified literature of the 19th century and 20th centuries

But, unfortunately, the main thing has not changed: children's literature has remained a peripheral phenomenon, there is no attention to its problems, there are no attempts at a modern interpretation of its phenomenon. The question of the specifics of literature for children still comes down to repeating the truths about a dynamic plot, accessibility, clarity.

In this work, topical problems of modern children's literature, periodicals and criticism; prospects for the development of literature for children are considered through the study and analysis of specialized literature, critical articles by literary scholars A. Ananichev, E. Datnova, L. Zvonareva; the results of the study of the Russian State Children's Library “Children and periodicals at the beginning of the 21st century”; analytical article by V. Chudinova, presented at the exhibition “PRESS-2006” based on the results round table"Children's press: public policy, realities, prospects."

Chapter 1. Current problems of modern children's literature, periodicals and criticism

The crisis of children's literature in the 80s

In Soviet society, children's reading took place in conditions of a general shortage, including for children's literature (the demand for it in the 80s was satisfied by an average of 30-35%). This speaks of the process of “social deprivation” of children in the 60-80s when they mastered literary culture. By the period of “stagnation” (70-80s), many problems had accumulated in the field of publishing children's literature. The general trend was towards a decrease in the number of titles, while maintaining an annual increase in the average volume of books and a relatively constant circulation. Thus, in the mid-80s, the indicator of diversity of children's books in the USSR was 3 times lower than in Germany, 6 times lower than in France, and approximately 10 times lower than in Spain. Entire types and genres are in chronic shortage: scientific literature, action-packed literature (especially fantasy and adventure), encyclopedias and reference books, manuals and guides for leisure activities.

The lack of scientific, educational, reference and encyclopedic literature is fraught with the fact that from childhood the child does not develop the need to work with a book as one of the main sources of information in various fields of knowledge. To the list of problems we can add the insufficient publication of the best modern children's foreign literature, the shortage of children's periodicals, etc.

In the eighties, children's literature experienced a serious crisis, the consequences of which were reflected in the work of children's writers in subsequent years.

Swollen by modern “wandering” living conditions, children's literature inexorably pushes out those who create this literature. Galina Shcherbakova, whose stories for teenagers and about teenagers (“Desperate Autumn”, “You Never Even Dreamed of...”, “The Door to Someone Else’s Life”, etc.) were popular in the eighties (according to the story “You never dreamed of...” even a film of the same name was made), published in a hundred thousand copies under the auspices of the publishing house “Young Guard”, in the nineties and early two thousand switched to “adult” literature. Her new, ironic and sarcastic, far from childish works have firmly entered the printing conveyor of the Vagrius publishing house.

Tatyana Ponomareva began to write less often for children, Boris Minaev is the author of the book for teenagers “Leva’s Childhood” with a foreword by Lev Anninsky. Dina Rubina and Anatoly Aleksin emigrated to Israel, the author of children's books about art, Vladimir Porudominsky, and the critic and translator Pavel Frenkel, to Germany. Former children's poet Vladimir Druk, who wrote in the Oberiut tradition, organized a computer magazine for adults in New York. Sergei Georgiev published a non-children’s book “The Smells of Almonds”, Alan Milne “A Table at the Orchestra”. Famous Moscow poet Roman Sef, leading the seminar “Literature for Children” for students of the Literary Institute. A.M. Gorky, also switched to “adult” poetry, meaning his book “Tours on Wheels.” Children's writer Igor Tsesarsky publishes the newspapers Continent USA, Obzor, and Russian Accent in the United States. Critic Vladimir Alexandrov, writers Yuri Koval, Valentin Berestov, Sergei Ivanov, poet and translator Vladimir Prikhodko died.

1.2. Specifics of modern children's reading

Specialists of the Russian State Children's Library have been conducting research on children's reading for a number of years. Thus, the study “Children and Periodicals at the Beginning of the 21st Century” analyzed a wide range of problems associated with children’s reading of periodicals.

Let us present some data from this study.

Reading among children and adolescents today is undergoing significant changes. Today, among the reading public, there is a growing number of groups of children, teenagers, and young people, among whom magazines are becoming increasingly popular. However, despite the apparent diversity of book and magazine products aimed at this audience, not all is well here.

Disney magazines and comics are popular among children 910 years old, and they are more popular among boys than among girls, as well as various magazines for children. Girls have been interested in various publications aimed at a female audience since 1011 years. Moreover, by the seventh grade, girls are three times more likely than boys to read youth, women's, and various entertainment publications, while for boys, these are primarily publications related to sports, automotive, technical, educational, and computer magazines. Thus, boys' reading of magazines is much wider and more varied than that of girls.

The problem of the creative fate of a beginning children's writer

The article by E. Datnova “Return to the Kitchen” is devoted to this problem. General Director of the publishing house “Kolobok and Two Giraffes” Vladimir Venkin at the Second Forum of Young Writers of Russia, organized by the Sergei Filatov Foundation for Socio-Economic and Intellectual Programs, at the seminar “Literature for Children” noted: “Previously, good writers from the regions were forced to move to Moscow for career. Now there is no such pronounced centripetal force, but it is even more difficult for regional writers than before.”

The problem is that it is difficult for a fringe author to become known and famous. At its best

2. Gasparov, B.M. Language, memory, image. Linguistics of linguistic existence / B.M. Gasparov. - M., 1996.

3. Karaulov, Yu.N. Russian language and linguistic personality/ Yu.N. Karaulov. - M., 2003.

4. Kostomarov, V.G. Old wineskins and new wine: From observations of Russian word usage at the end of the 20th century / V.G. Kostomarov, N.D. Burvikova. - St. Petersburg, 2001.

5. Miloslavsky, I.G. Russian language as a cultural and intellectual value and as a school subject / I.G. Miloslavsky // Banner. - 2006. - No. 3. - P. 151 - 164.

6. Slyshkin, G.G. From text to symbol: linguistic and cultural concepts of precedent texts in consciousness and discourse / G. G. Slyshkin. - M., 2000.

7. Suprun, A.E. Text reminiscences as a linguistic phenomenon / A.E. Suprun // Questions of linguistics. - 1995.

- No. 6. - P. 17 - 28.

8. Frumkina, R.M. Reflections on the “canon” / R. Frumkina // R. Frumkina. Inside the story. - M., 2002. - P. 133 -142.

9. Shulezhkova, S.G. The problem of the death of the author in the conditions of “total quotation” / S.G. Shulezhkova // Intertext in artistic and journalistic discourse: Sat. report Intl. scientific conf. (Magnitogorsk, November 12 - 14, 2003). - Magnitogorsk, 2003. - P. 38 - 45.

10. Epshtein, M. Postmodern in Russia / M. Epshtein.

M.A. Chernyak

LITERATURE FOR TEENAGERS IN THE CONTEXT OF EXPERIMENTS IN THE NEWEST PROSE OF THE XXI CENTURY

The article discusses current problems modern prose. Literature for teenagers as a social phenomenon turns out to be the center of intersection of important themes in literature for adults.

Literature for teenagers, school story, infantility, sociology of literature.

The article deals with the actual problems of the modem prose. Literature for teenagers as a social phenomenon is the point of intersection of the important themes of the literature for adults.

Literature for teenagers, school story, infantilism, sociology of literature.

The “Potterization of the entire country” that occurred several years ago did not cancel the desire of Russian teenagers to read not only about Harry Potter, but also about heroes that are closer and more understandable. It should be noted that many themes and genres of teenage literature that were popular in Soviet times were transformed or disappeared altogether. The current problem of authenticity and historical memory has become aggravated in the era of mass absorption of information with an insufficient level of understanding, increasing the interest of modern writers, writing for both children and adults, in memory as a unique way of establishing reality. The radical changes of the last 15-20 years in the political, social and cultural life of our country have led to the disappearance without a trace of many realities of the Soviet era. No longer only in the imagination of children born after the collapse Soviet Union, but also in the memory of adults, both this state and this life have become a myth. Assessing the “nostalgia for the Soviet”, manifested in various sociological surveys, sociologist B. Dubin notes: “This cultural building being erected is actually a metaphor for the modern (pre-crisis), present, everything that is associated with the good and trustworthy, with the order accepted today by the majority. “Soviet” was constructed anew and as a result became a mirror in which reflections of us today are visible. Two pictures support each other - the past in the present and the present in the past. And this new design was reproduced in culture."

These two pictures also determine the plot frame of the story “Time is Always Good” by Belarusian writers Andrei Zhvalevsky and Evgenia Pasternak. The hero of the story, sixth-grader pioneer Vitya, from his 1980 year, finds himself in our near future - 2018. And the girl Olya, a computerized teenager from 2018, finds herself in the Soviet past. Having swapped places, the heroes have to solve each other's problems. In 1980, they tried to expel Vitya’s best friend from the pioneers and from school, and in Olya’s world, where people practically no longer communicate in “real life” and even mothers invite their children to the kitchen for dinner using electronic means of communication, oral exams are suddenly introduced instead of the usual ones computer tests. The topic of ideas about the past in the mass consciousness is included in the problem field of cultural studies, literary studies, and social psychology. Modern literature is engaged in a kind of “formation of memory”, within the framework of which national histories are integrated into “global” history, and myths, legends, and fantastic assumptions become the main source of ideas about the past. There is a strong feeling that modern authors perceive history as a kind of mystical conspiracy, which makes it possible to translate reality into fantasy and imagine the life of entire generations using a fantastic code.

A. Zhvalevsky and E. Pasternak, defending the point of view expressed in the title, nevertheless, are quite critical of both the past and the future. Vitya sincerely does not understand where his book is.

a closet with encyclopedias, why there are no queues in stores, what kind of thing this Internet is, and why it is so difficult for children at school to answer orally at the blackboard. Vitya perceives his new position as a special task; he gradually begins to teach his classmates to communicate: he plays “city” with them, gathers a kind of “Circle of Speaking Lovers,” uniting the separated virtual world and guys who don’t know how to communicate in reality. “We don’t talk, we write,” admits one of the students in the class. And yet, being blinkered by Soviet ideological stereotypes often prevents Vita from perceiving the new world. “There were a lot of people in the grocery store, as big as a stadium, but there were still no queues. I looked more calmly at the passers-by and noticed that many of them were also conducting dialogues with invisible interlocutors. Some, like my mother, used a large earring on their ear, others used devices like mine. Only they pressed it to their ear like a telephone receiver. I suddenly realized that this was the phone! Only very small and convenient, you can carry it with you. Americans definitely don’t have those! How good it is to live in the most advanced country in the world!” (emphasis added by me. - M. Ch.) . Olya, on the contrary, is absolutely free from ideological cliches: she does not understand the absurd, in her opinion, text of the oath of the Soviet pioneers, does not understand why there is one party, defends the boy who brought Easter cake to class, etc. But at the same time, she is free from any cultural associations, from books, from cultural codes: “I honestly tried to concentrate, but the meaning of what the Russian girl was saying eluded me. Why should I memorize poems if I can find them on Google in three seconds? Why come up with all these beautiful words yourself if they have all been written and laid out a long time ago, decorated with different fonts?” .

Literary sociologists and librarians have documented major changes in the reading strategy of modern teenagers. “Teenagers can mainly benefit from the achievements of book culture that adults provide them with. At the same time, teenagers create their own subculture, different from the culture of the older generation. Not taking seriously the instructions of adults, considering them largely outdated, teenagers are ahead of parents, librarians and teachers in mastering new information technologies, foreign languages, western musical culture, the foundations of market culture. The social upheavals of recent decades have led to a weakening of intergenerational ties and a breakdown in cultural tradition. For a modern teenager, there is not an axis of time, but a specific segment of it - a discrete worldview and a narrowed identity have manifested themselves as character traits modern young man,” believe V. Askarova and N. Safonova.

The story of Zhvalevsky and Pasternak “Time is Always Good” brings to the urgent problem of the bidirectionality of a children's book. This story, published in the series “Time is Childhood” by the publishing house “Vremya”,

immediately began to be actively discussed by readers of completely different ages. The comment on the website of this publishing house is indicative: “My daughter, she is 11 years old, read it and advised me (emphasis added. - M. Ch.). Wonderful book. Kind and good. I read it in one sitting, in two hours without stopping. And my daughter said: “I thought there was nothing left to read, I read everything, but here is such a miracle.” One cannot but agree with modern children's writers I. Volynskaya and K. Kashcheev, who prove that literature for teenagers “has the most multifaceted reader, and therefore a universal reader (emphasis added - M. Ch.). Murakami or Ulitskaya will be read exclusively by the person who bought it, and at least half of the family will read the book for the child, at least to understand why the child likes it! And every reader, regardless of age, should find something there! This is a litmus test for any teenage book - if it is suitable for readers from 8 to 80, then readers from 12 to 17 will also find what they are looking for.” Children's literature generally performs in relation to general literature the special function of the duplicating system: in addition to solving specific educational tasks in each era, it ensures the preservation of the most important artistic discoveries made in the literary process and transmits them to further phases of the development of general literature. In this regard, it is necessary to emphasize that infantilism is one of the striking features of the modern sociocultural situation.

The rudiments of a child's consciousness become a protective reflex of the modern reader. We can agree with M. Kormilova, who explains the phenomenon of infantility modern society by the fact that " post-industrial society deprived of ideas for which it would be worth growing up, mass culture imposes children's books and T-shirts, constant anxiety makes you want to hide behind the back of someone grown up and strong. IN new Russia post-industrial society and Hollywood standards triumphed simultaneously, overlapping with internal changes in the country, during which growing up is both tempting and scary, because it is very difficult to get on your feet when everything is shaking around you. In the end, infantility is a mask that is needed to hide one’s fears and ask for love and indulgence through body language. And as a literary device, it beckons with at least some hope of building a harmonious, livable art world» .

The infantilism of human consciousness in the 21st century is interpreted in a unique way by U. Eco. In "Speak

“you” to me, I’m only fifty!” he writes about the shift in age limits and boundaries of maturity in connection with the successes of medicine: “Let us now imagine that humanity, on average, lives to be 150 years old. Then initiation shifts to fifty years.<...>In a society in which teenagers in their thirties and forties start having children, the state will again have to intervene, taking control of the offspring and placing them in institutions.” An infantile hero, dependent on his own

childhood memories and complexes (heroes of the play by E. Grishkovets “How I Ate the Dog”, the story by P. Sa-naev “Bury Me Behind the Baseboard”, the work of D. Gutsko “Pokemon Day”, etc.) - a typical hero of the literature of the “zero” , and, what is important, in demand by a wide and varied readership. Critics have long noted the sharp “rejuvenation” of the hero of modern prose that has occurred in the past decade. This is due to the increasing attention to the topic of childhood and adolescence as certain existential themes and to the emergence of special “youth” prose of “twenties” writing about teenagers, i.e. about their recent classmates (prose by S. Shargunov, I. Abuzarov, I. Denezhkina, S. Cherednichenko, M. Koshkina, etc.). Both children and adults today read with interest the same fairy tales and comics, fantasy and adventure novels. Modern writers respond extremely sensitively to these requests; it is no coincidence that the fairy tale becomes one of the most representative genres of modern literature.

“We ourselves are probably to blame for what is happening to the fledgling young part of society.<...>You cannot be complacent, hoping that nothing terrible is happening: now they are cruel, heartless, arrogant, but when they grow up, they will correct themselves, we will correct them. We won't fix it. It's hard to fix." , - wrote Ch. Aitmatov 20 years ago. During this time, a whole generation grew up, and the pain of these words is still felt by many today. The actualization of the theme of tolerance in modern literature for teenagers can explain the appearance of a number of works in recent years, the heroes of which are children with disabilities. disabilities. In the same row, of course, is Ekaterina Murasheva’s story “Correction Class,” which caused a lot of discussions and controversy even in the manuscript and received the prestigious “Treasured Dream” prize in children’s literature, a book that amazes with its ruthless truth and amazing sincerity.

The school as a macrocosm is shown by E. Murasheva, a practicing family and school psychologist, with the utmost frankness. The world of adults becomes scary and sick, not the world of truly sick children. Klavdia Nikolaevna, the class teacher of 7 “E”, inspires the young geography teacher, the only one who took the side of the children: “The school is just a cast of society as a whole. Don’t you see the division “into classes” of our entire world? Poor and rich. Lucky and unlucky. Smart and stupid... School cannot change the world that exists outside of it... We have developed special programs for the correction class, teachers teach there in conditions close to combat. We taught them to read, write and count, but understand, we cannot change their fate!” . This story is about what is silent in schools, what you will never read about in the reports of methodological associations and pedagogical councils, this story is about the truth of modern times. school life, cruel and hopeless, where the word “mercy” is not included in the active vocabulary, where

children are forced to invent for themselves another bright, kind and fair world and live in it, which means they die in this world. The children themselves have to change their destiny. A real moral test for the correction class, where children of alcoholics, sick, neglected, disfigured by family quarrels, and simply difficult to educate, gathered, was the arrival (or rather, the arrival in a wheelchair) of a new boy, a boy diagnosed with cerebral palsy. A boy from an intelligent and loving family (which for many children turns out to be an unprecedented miracle), smart and ironic, all the time making fun of himself and his illness. Yura not only unites the 7 “Es” - he, like a litmus test, unexpectedly shows in the guys something hitherto unclaimed: the ability to endure and protect, care and empathize, think and dream. Yura has a special gift - to escape from suffering and hopelessness into a parallel world where all wishes come true. This story is an optimistic work, optimistic despite everything. The correction class exists in spite of everything - school rules, cruelty, illness, poverty. The children themselves learn the meaning of the words “mercy”, “kindness”, “friendship”. The conclusion from this bright story with a sad ending is the need for correction of the entire modern society.

The urgency of raising questions about the reduction of humanity and the atrophy of the ability to compassion in the adult world brings E. Murashova’s book closer to Mariam Petrosyan’s debut novel “The House in Which..”, which caused a wide resonance. A home is much more than just a boarding school in which teenagers with serious illnesses live: disabled people, blind, armless, cancer patients, Siamese twins. The heroes hate him, bow him down, curse him, but are still afraid of being thrown out of the House into the big world, which is unknown to them. And the more they hate their Home, the more they love it and are afraid of losing it, because it is the only thing they have in the present. The population of the House is divided into “flocks” - Birds, Pheasants, Banderlogs. Each pack has its own leaders, its own traditions, and codes of conduct. It is obvious to the heroes that only in a pack can they survive. None of them even remembers their former life and parents, since only in the House do the children have a real family, they feel a family connection not only with each other, but also with the walls of the house.

The main character of the novel, the Smoker, ends up in the House at the age of seventeen, shortly before graduation. And he is also happy to find a Home, to become part of the pack, to feel like part of a single organism. The Smoker sees that the warmth that binds the inhabitants of the House is, in fact, mutual understanding between the “white crows”. The exact tragic note of the novel by M. Petrosyan is connected with the fact that the world invented by the Smoker, the Sphinx, the Blind, Tobacco, the Lord, the Grasshopper (the heroes have no names, only nicknames that they receive upon crossing the threshold of the House) is infinitely far from the real world, in which one way or another, everyone will have to find themselves after graduation.

ka. A merciless reality intrudes into this bizarre and incredibly complex world. Someone is destined to die, someone is destined to disappear, someone will be taken with them by strange intoxicating substances. Only gradually does it become clear that the world of the House is an expanded metaphor of childhood, parting with which is inevitable. M. Foucault’s book “Supervise and Punish” uses broad historical and sociocultural material to show that at the dawn of modern times, “inferior” groups of the population - children, old people, disabled people - were actually forced out into a kind of ghetto. They were not restricted in their movement or forced to wear special clothing, but were in every sense relegated to the periphery of social and public life. During the twentieth century, society slowly realized this injustice and learned to fight it, however, as M. Petrosyan’s book shows, this problem remained relevant for the 21st century.

The posing of a painful and very personal (in many ways, again, autobiographical) question about the tragedy of growing up became the impetus for the creation of Yegor Moldanov’s surprisingly reverent and poignant story “Difficult Age,” which received the “Courage in Literature” nomination of the independent literary award “Debut.” In one of the interviews, the young writer, who tragically passed away in December 2009 at the age of 22, spoke about his plan as follows: ““Difficult Age” is not my personal story, it is the story of my childhood. Sometimes I want to shout loudly to all parents, teachers, even passersby: “Lord, what are you doing to your children, why are you so inattentive to their problems, which seem petty and insignificant to you?! I don’t want some teenager to repeat the phrase of my main character: “I’m not difficult - I’m hard to get.” Most likely, the main task when writing a book was for a child or teenager to realize: he is not alone in this world, his problems can be solved, that real friendship and bright love exists, that there are People around him and that he is a MAN.”

The plot develops as a chain of transitions of the hero from one closed space to another. First it is a cage house and a Pentagon school, then an orphanage, nicknamed the Stick for the shape of the building, then the Bastille - a general regime colony for minors, from which the story begins. Describing the horror of bullying by peers, the cruelty of the “adult world”, the dramatic, but fundamental for the heroes, resistance to the gray mass, reproducing the unsightly model of relations between teachers and students, students among themselves, Moldanov comes to an artistic generalization: family, school are what society is like. The traditions of “The Teenager” by F. Dostoevsky and “The Republic of Shkid” by G. Belykh and L. Panteleev are clearly discernible in Moldanov’s story, main character which he says: “I learned not to be afraid and not to tremble in the cold, because we lived in the zone of permafrost.”

Critics, responding to the unsightly image

reflection of the modern school, they considered that in the mirror of modern prose, the post-totalitarian and post-Soviet school turned out to be worse than the totalitarian and Soviet school, and the teacher turned from a mentor into an outcast. School is almost the most widespread social institution. Therefore, it is quite natural that all the features of our society and our “copier of culture” (as defined by J. Baudillard) can be scanned through the image of the School and the image of the Teacher, and scanned through the widespread use of modern culture tools. School is a living social institution in which human characters are concentrated and various stereotypes come to life. For the heroes of the above-mentioned works, school is a platform on which experiments are carried out, hypotheses are tested, answers to pressing questions are sought, these are stages and forms life path, self-determination, knowledge of oneself and the world.

The works of A. Zhvalevsky, E. Pasternak, E. Murasheva, M. Petrosyan and E. Moldanov are absolutely devoid of pedagogical moralizing, largely because the stories are told in the first person, from the perspective of a teenager. This is the reason for the popularity of these texts among different readerships: both teenagers and adults. It is obvious that literature for teenagers today is changing, transforming, and appealing to a much wider circle of readers than before. The interest of writers in the problems of modern teenagers is obvious. Evidence of this is that the winners of the Yuri Kazakov Literary Prize were the stories of Zakhar Prilepin “Sin” and Lev Usyskin “A Long Day After Childhood”, in which the spiritual world of a young man, cognizing the surrounding reality, experiencing first love, is subtly and psychologically accurately recreated. receiving real life lessons from his teachers. This choice of the jury is an assessment not only of high-quality prose, but also of the relevance of the topic, helping the reader navigate the “wild jungle of high school” (this is the ironic title of one of G. Oster’s works).

“What is required from books for teenagers, from our books, is geometric clarity, Shakespearean passions, Hollywood action and the moral message of Christmas stories, presented with the delicacy of a diplomat and the invisibility of a spy, so that the teenager does not even understand that he is being lectured!<. >And if, having combined all these practically impossible requirements, crammed everything under one cover for any reader, jumped over the fence of vigilant parents, with a pencil in their hands, tracking the specific place where you teach children good things, you will also be able to write a book that If they read it of their own free will and want more, it means that you are a genius and managed to accomplish the impossible. And if you can’t do the impossible, write for adults, it’s easier,” young children’s writers proclaim their credo. Whether these words will remain just a declaration will be shown by new works of the 21st century, addressed to “adult children” and “infantile adults.”

Literature

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Alexander Valentinovich Chernov is 50 years old!

November 4, 2011 marked the fiftieth anniversary of the director of the Humanitarian Institute of ChSU, Doctor of Philology, Professor Alexander Valentinovich Chernov.

A.V. Chernov graduated with honors Faculty of Philology Cherepovets State Pedagogical Institute. He worked as a teacher of Russian language and literature at secondary school No. 30 in Cherepovets.

Graduated from graduate school at the Institute of Russian Literature (Pushkin House) of the USSR Academy of Sciences. In 1988 he defended his PhD thesis on the topic “A.F. Veltman-novelist, 30-60s. XIX century."

He worked as an assistant, then as a senior teacher and associate professor at ChSPI.

In 1997 he defended his doctoral dissertation on the topic “Russian fiction of the 20s - 40s. XIX century: questions of genesis, aesthetics, poetics,” and in 1998 he was awarded the academic title of professor.

Since the creation of the Humanitarian Institute of ChSU, Alexander Valentinovich has been its permanent director.

In this position, he proved himself to be a talented manager and organizer. The unifying principle of the work of the Humanitarian Institute was maximum interdisciplinarity, early inclusion of students in professional activity, complete openness to cooperation both with Russian colleagues in the humanities and with foreign universities, foundations, research centers working in related areas, as well as with institutions, enterprises, organizations of the city, region and country that understand the promise and principle of humanitarian technologies and humanitarian knowledge in general in post-industrial society.

Under the leadership and with the direct participation of Alexander Valentinovich, university specialties were opened in Cherepovets: “history”, “sociology”, “public relations”, “art history”. Attention to new educational models and practices allowed Alexander Valentinovich to actively participate in the scientific leadership of the master’s program “Social Communications”.

A.V. Chernov is the author of 5 books and more than 160 scientific articles, a member of several public academies and professional Russian associations, public and scientific-methodological councils of the city and region. He is a board member of the National Association of Mass Media Researchers. Awarded the badge “Honorary Worker of Higher Education” vocational education RF".

Specifics of modern children's reading

Let us present some data from this study.

Disney magazines and comics are popular among children 9-10 years old, and they are more popular among boys than among girls, as well as various magazines for children. Girls from the age of 10-11 have been interested in various publications aimed at a female audience. Moreover, by the seventh grade, girls are three times more likely than boys to read youth, women's, and various entertainment publications, while for boys, these are primarily publications related to sports, automotive, technical, educational, and computer magazines. Thus, boys' reading of magazines is much wider and more varied than that of girls.

The problem of the creative fate of a beginning children's writer

The problem is that it is difficult for a fringe author to become known and famous. At best, he will gain recognition, but his books will not satisfy even the small part of the population hungry for good reading. In addition, regional publishing houses publish books in small editions, which in principle cannot cover the whole of Russia. Moscow still remains the all-Russian publishing center.

Children's poets turn to prose

Another trend in modern children's literature is that children's poets are increasingly turning to prose: Tim Sobakin, Lev Yakovlev, Elena Grigorieva, Marina Bogoroditskaya switched to prose creativity. Perhaps it has to do with the commercial-publishing side of things. “At the very end of the 90s. the most progressive publishers finally turned a favorable gaze to modern children's poets - the long-awaited two-volume work of Valentin Berestov was published, which became posthumous, selected poems by Viktor Lunin were published, numerous books by Andrei Usachev were published in the Samovar publishing house, children's poems by Roman Sefa were republished in the Murzilka magazine, The Kaliningrad publishing house “Yantarny Skaz” has published two collections of poems by the Moscow poet Lev Yakovlev. For a short time, the Moscow publishing house “White City”, headed by the poet Lev Yakovlev, managed to publish poems by Leningrader Oleg Grigoriev, Muscovites Georgy Yudin, Valentin Berestov, Igor Irtenev,” notes L. Zvonareva in the article “Feeling the Nerve of Time.” But if the masters of children's poetry are re-published with difficulty, then newcomers simply cannot get through here. Ekaterina Matyushkina, a young children's writer from St. Petersburg, one of the authors of the popular book “Paws Up!” (St. Petersburg, “Azbuka”, 2004) (the second author is Ekaterina Okovitaya) also started out as a poet. But, having been rejected by publishing houses, she switched to children’s detective prose. Azbuka became interested in the book with illustrations made by the author and published it in a circulation of seven thousand copies. And after commercial success, they offered an additional circulation - an illustrative example of how much more financially profitable it has become to write prose.

It's no secret that the commercial success of a book directly depends on reader demand. This immediately begs the question: why is poetry not in honor today? Not only authors writing for children are thinking about this now. Time is largely to blame here; it has become too unpoetic. And what are the times, so are the morals. Or vice versa. If we recall the words of Zinaida Gippius, written in her diary back in 1904, it becomes clear that the human, reader-writer, factor is no less important than the temporal one. They are interconnected and flow into each other. Zinaida Gippius wrote: “... modern collections of poetry by both talented poets and mediocre poets turned out to be of no use to anyone. The reason, therefore, lies not only in the authors, but also in the readers. The reason is the time to which both of them belong - all our contemporaries in general ... "

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Introduction

Chapter 1. Current problems of modern children's literature, periodicals, criticism

1.1.

1.2. Specifics of modern children's reading

1.3. The problem of the creative fate of a beginning children's writer

1.4. Children's poets turn to prose

1.5. Low level of quality of modern books and periodicals for children

1.6. Commercialization of the book market

1.7. The problem of stocking libraries with children's literature

Chapter 2. Prospects for the development of children's literature and periodicals

Conclusion

Literature.

Introduction

The UN Convention on the Rights of the Child (1989) talks about the right of children to cultural development, education and information.

The moral, intellectual, aesthetic development of children and adolescents is directly related to the spiritual food they receive. The media and books play a huge role in the socialization of the individual. A child’s entry into the book universe occurs primarily with the help of literature specially created for children. It is children's literature that nourishes the child's mind and imagination, opening up new worlds, images and patterns of behavior to him, being a powerful means of spiritual development of the individual.

Literature for children is a relatively late phenomenon in our domestic culture and the culture of humanity as a whole. It is known that phenomena of a later order are of a relatively mature nature, since they are created as a result of the organic assimilation of the previous tradition. In the case of children's literature, things are much more complicated. It took a long and difficult time to separate itself from “big” (“general”) literature, as well as from educational literature. The very fact of its isolation into a certain independent area has caused and still causes negative assessments, and, as a result, discussions still take place in connection with the problem of the so-called “specifics”. There are discrepancies even in what it should be called: “children’s literature” or “literature for children.” For example, Polozova T.D., who has been fruitfully dealing with the problems of children’s literature and children’s reading for many years, distinguishes between the concepts of “children’s literature” and “literature for children”: by “children’s literature” she means the actual creativity of children, and by “literature for children” - everything that is addressed to children.

Over the past fifteen years, there has been a significant movement associated with adjusting the range of children's reading: works focused on Soviet ideology have been excluded, the undeservedly “forgotten” Nikolai Wagner, Dmitry Minaev, Sasha Cherny, Osip Mandelstam, and “Oberiuts” have been returned; attempts are being made to modernly read the works of children's writers of the Soviet period, very contradictory and not at all indisputable; some aspects of the history of Russian children's literature of the 19th and 20th centuries are clarified.

In this work, topical problems of modern children's literature, periodicals and criticism; prospects for the development of literature for children are considered through the study and analysis of specialized literature, critical articles by literary scholars A. Ananichev, E. Datnova, L. Zvonareva; the results of the study of the Russian State Children's Library “Children and periodicals at the beginning of the 21st century”; analytical article by V. Chudinova, presented at the exhibition "PRESS-2006" following the results of the round table "Children's press: public policy, realities, prospects."

Chapter 1. Current problems of modern children's literature, periodicals and criticism

1.1. The crisis of children's literature in the 80s

In Soviet society, children's reading took place under conditions of a general shortage, including for children's literature (the demand for it in the 80s was satisfied by an average of 30-35%). This speaks of the process of “social deprivation” of children in the 60-80s when they mastered literary culture. By the period of “stagnation” (70-80s), many problems had accumulated in the field of publishing children's literature. The general trend was towards a decrease in the number of titles, while maintaining an annual increase in the average volume of books and a relatively constant circulation. Thus, in the mid-80s, the indicator of diversity of children's books in the USSR was 3 times lower than in Germany, 6 times lower than in France, and approximately 10 times lower than in Spain. Entire types and genres are in chronic shortage: scientific literature, action-packed literature (especially fantasy and adventure), encyclopedias and reference books, manuals and guides for leisure activities.

In the eighties, children's literature experienced a serious crisis, the consequences of which were reflected in the work of children's writers in subsequent years.

Tatyana Ponomareva began to write less often for children, Boris Minaev is the author of the book for teenagers “Leva’s Childhood” with a foreword by Lev Anninsky. Dina Rubina and Anatoly Aleksin emigrated to Israel, and the author of children's books about art, Vladimir Porudominsky, and critic and translator Pavel Frenkel, to Germany. A former children's poet who wrote in the Oberiut tradition, Vladimir Druk, organized a computer magazine for adults in New York. Sergei Georgiev published a non-children’s book “The Smells of Almonds”, Alan Milne - “A Table at the Orchestra”. Famous Moscow poet Roman Sef, leading the seminar “Literature for Children” for students of the Literary Institute. A.M. Gorky, also switched to “adult” poetry, meaning his book “Tours on Wheels.” Children's writer Igor Tsesarsky publishes the newspapers Continent USA, Obzor, and Russian Accent in the United States. Critic Vladimir Alexandrov, writers Yuri Koval, Valentin Berestov, Sergei Ivanov, poet and translator Vladimir Prikhodko died.

1.2. Specifics of modern children's reading

Let us present some data from this study.

1.3. The problem of the creative fate of a beginning children's writer

1.4. Children's poets turn to prose

1.5. Low level of quality of modern books and periodicals for children

In the preface to the literary almanac “In the Room Behind the Stage,” Alexander Toroptsev writes the following words: “It is much more difficult to write well for children and about children, but to write poorly is a sin.”

The quality of modern children's literature, literature of the 21st century, for the most part leaves much to be desired. It is not surprising that modern publishing houses prefer to republish works of “past years.” Everything more or less acceptable and long known - from the Russians - was put into the printing house and onto the bookshelves folk tales and fairy tales by Pushkin, Perrault, the Brothers Grimm to those written in Soviet times. This return to the classics reveals another problem in children's literature today: the problem of writing a modern children's book worthy of reading by a child. The one that is “much more difficult” and not “sinful” to write (A. Toroptsev). There are undoubtedly many advantages to re-releasing a classic: you need to bring it back to people best works the past, the names of talented writers who, for one reason or another, were half-forgotten, whose works were long ago or were not republished at all - this is required by the literary taste of the modern reader, moreover, justice demands this. Many grew up on this literature; from the poems of Tokmakova, Barto, Blaginina, Moritz, and the stories of Dragunsky, we learned to live, think, and fantasize. And the reserves for further re-release of classics are far from exhausted: there are, for example, national literature USSR (Nodar Dumbadze, Fazil Iskander, Anver Bikchentaev, Nelli Mathanova, etc.) and foreign literature (Baum, Dickens, Lewis, etc.).

However, many texts are factually outdated: the names of cities, streets, nature, technology, prices have changed, and the ideology itself has changed.

In children's periodicals there are now a lot of magazines that disappear as quickly as they appear. This is primarily due to the commercial aspect of publishing. For authors, getting involved with such fly-by-night magazines, of which there are now many, is dangerous and unprofitable - there is a risk of seeing their creations under the names of completely unknown people.

At the end of the 90s, quite worthy periodicals ceased to exist: “Tram”, “Together”, “Ochag”, “Strigunok”, etc. The quality of what was left to the share modern child, is often doubtful. Research results show that today children and adolescents are not focused on the best, but “fashionable” products in their environment; The orientation of children and adolescents to periodicals with a large number of pictures that carry information that is easy to perceive is increasing: not so much educational as entertaining.

And high-quality magazines in the selection of psychological, pedagogical, literary, visual and other material (“Family and School”, “Children’s Literature”, “Literature at School”, “First of September”, “Anthill”, “Once Upon a Time”, etc. .) come out insignificant for such a huge country as Russia with a circulation of one or two thousand copies. For example, the circulation of Children's Literature has fallen from eighty thousand to three thousand over the past 10-15 years. Some publications have undergone a serious transformation, succumbing to modern trends. For example, the magazine “Rural Youth”, which was once created as a rural version of the urban “Youth”, has now radically changed its direction and themes, publishes interviews with pop stars, notes about youth parties, posters, and simple advice in personal life. From the once widely known magazine in Russia, only the name has survived.

1.6. The commercialization of the book market has had different effects on the production of children's literature and the picture of children's reading. The beginning of the development of market relations led to a number of crisis processes, in particular to a sharp decline in the publication of children's literature. In recent years, its output has increased noticeably, and the quality of children's books has improved. Their subject matter is expanding, and their design is becoming attractive. The market is becoming saturated with children's literature, the demand for which is gradually being satisfied. At the same time, publishing a children's book requires greater costs compared to many other types of literature, and children's books become more expensive and become inaccessible to the population. Economic difficulties and a sharp decline in the standard of living of most of the population have caused a reduction in opportunities to fulfill consumer needs for books. According to survey data, part of the population refrains from buying books, including children's books.

1.7. The problem of stocking libraries with children's literature

Today, the only free source for introducing children to reading is the library. With the rise in price of books and periodicals, with changes in school programs, due to education reform, as well as the growing needs of children for a variety of children's literature and school textbooks, the number of young readers in libraries is growing every year. In the context of a constant decrease in funding and the destruction of the old book supply system (and the absence of a number of links in the emerging new system), the supply of children's literature to libraries has deteriorated. Thus, the situation of “book hunger” still persists for many children who are deprived of the opportunity to realize their right to read.

Chapter 2. Prospects for the development of children's literature and periodicals

At the round table meeting "Children's Press: State Policy, Realities, Prospects", organized by the Executive Committee of the exhibition "PRESS-2006", the goal was set - to develop specific effective steps to attract the attention of the state and society to the problems of children's publications that instill in children a love for reading and forming the moral foundations of the individual.

Specific proposals were made to support children's literature that promotes high ethical and moral principles:

· abolition of VAT on children's periodicals;

· ensuring legal protection of domestic children's publications;

· entry of children's literature into kiosk networks is free;

· carrying out an analysis of the state of the funds of school and children's libraries and developing a program for their replenishment;

· providing subsidies to libraries for subscription to socially significant publications;

· carrying out All-Russian festival school libraries;

· holding conferences and seminars on children's reading problems in the regions;

· resumption of the annual All-Russian Children's and Youth Book Week;

· establishment of insignia for socially significant publications, which will be awarded at the PRESS exhibition based on the results of the work of independent public expert councils. This idea was developed in a number of proposals for holding creative competitions within the framework of the PRESS-2006 exhibition. The participants of the round table were offered the concept of a competition with various nominations in the field of children's literature - the "Little Prince" competition - within the framework of "PRESS 2006" by Oleg Zhdanov, development director of the publishing house "Veselye Kartinki";

· significant addition to the list of children's publications;

· popularization best books and magazines for both children and parents.

· reviving the state order for the production of children's literature and increasing the status of competitions among children's writers to select the best works.

· make the publication of books for children a priority in book publishing.

Conclusion

Literature develops many abilities of children: it teaches them to search, understand, love - all those qualities that a person should have. It is books that shape inner world child. Largely thanks to them, children dream, fantasize and invent.
It is impossible to imagine real childhood without interesting and fascinating books. However, today the problems of children's reading, publishing books and periodicals for children and adolescents have become even more acute.

Summarizing what has been said, let us formulate conclusions that are in many ways as disappointing and serious as the problems modern literature for children:

· Aspiring writers complain about the inability to get published because publishing houses are not interested in them. As a result, a gap of almost fifteen years was created in literature for children.

· Children's poets switch to prose or begin to create in a variety of genres. The polyphony of creativity is also a kind of sign of excessive saturation of time.

· Circulations of children's periodicals are falling at an incredible rate. And to avoid this, editors often resort to information “churn”, succumbing to the “news of the day” in the worst sense of this expression.

· The commercialization of the book market has had a negative impact on the production of children's literature and the picture of children's reading: there has been a sharp decline in the publication of children's literature; With the expansion of the subject matter of children's books and the improvement of their quality, prices for children's books have increased significantly, which turn out to be inaccessible to the population.

· The quality of modern children's literature, literature of the 21st century, for the most part leaves much to be desired. This reveals another problem of children's literature: the problem of writing a modern children's book worthy of reading by a child.

· School and children's libraries contain mainly literature published in Soviet times. What was acquired after the 90s is kept in libraries in small editions and is issued for reading only in reading rooms.

To turn a blind eye to the current state of children's literature means to deprive children of an important part of their lives, to condone bad taste, the development of indifference and lack of spirituality among young people.

It turns out that children's literature now has far from children's problems.

Literature:

1. Ananichev A., Zvonareva L. ...And we have a master class. What about you?.. //Children's literature. 2003, no. 3, p. 28

2. In the room behind the stage. Literary almanac. M., 2003. - 224 p. - P.4

3. Gippius Z. Diaries. Book 1, M., 1999. - P.239

4. Datnova E. Return to the kitchen... // Prologue. - M.: “Vagrius”, 2002, 432 p. - P. 336

5. Children's literature and education // Sat. tr. international scientific conference. - Tver: TvGU, 2004

6. Children's literature and education // Collection of scientific papers of the International Scientific Conference. Vol. 2. - Tver: Tver State University, 2005

7. Zvonareva L. Fundamental change moral guidelines: notes on modern children's literature and periodicals. //Polish-Russian literary seminar, Warsaw - Chlewiska, March 13-16, 2002. - “Grant”, Warszawa, 2002, p.92

8. Zvonareva L. Feel the nerve of time: Notes on modern children's literature and periodicals // Children's literature. - 2002. - N 3. - p. 10-14

9. Zvonareva L. Feel the nerve of time: Notes on modern children's literature and periodicals: Part II // Children's literature. - 2002. - N 4. - p. 16-21

10. Kuteinikova N.E. “On the issue of modern books for children”, “Russian Literature”, 2001, No. 4

11. Polozova T.D. Russian literature for children: Textbook. Manual.-M.: Academia, 1997. P.23--38

12. Contemporary issues children's reading and book publishing for children: our view. - Book Chamber, 2003

13. Collection of materials from the Second Forum of Young Writers of Russia. - Book Chamber, 2002

14. Chudinova V.P. Results of the round table "Children's press: state policy, realities, prospects" at the exhibition "PRESS - 2006"

15. Chudinova V.P. Children, adults and periodicals: a view from the library // Print media portal Witrina.Ru, 2005

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