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DOI: https://doi.org/10.34069/AI/2024.75.03.9
How to Cite:
Kitsanu, M.I., Kupriyanova, T.G., Shurygina, I.L., & Solovey, L.B. (2024). The role of fairy tale publications in children's reading
circle. Amazonia Investiga, 13(75), 106-112. https://doi.org/10.34069/AI/2024.75.03.9
The role of fairy tale publications in children's reading circle
РОЛЬ ИЗДАНИЙ СКАЗОК В КРУГЕ ЧТЕНИЯ ДЕТЕЙ
Received: January 11, 2024 Accepted: February 29, 2024
Written by:
Kitsanu Maria Ivanovna1
https://orcid.org/0009-0006-5675-0080
Kupriyanova Tatyana Georgievna2
https://orcid.org/0009-0002-8937-5118
Shurygina Irina Lvovna3
https://orcid.org/0009-0002-3911-0066
Solovey Larisa Boleslavovna4
https://orcid.org/0000-0001-7973-4696
Abstract
In the article, using the example of editions of
Ch. Perrault examines the peculiarities of
publishing fairy tales for children as an indicator
of the refraction of the traditional concept of
children's books in tsarist Russia and changes in
publishing policy in connection with the
formation of new pedagogical and literary and
artistic trends. The study is based on scientific
methods, such as observation, bibliographic
heuristics, historiographic, comparative-
historical analysis. Editions of fairy tales by Sh.
Perrault, as an object of research, is considered in
the historical development of Soviet book
publishing, which acted under the influence of
ideological factors and social conditions that
determined the subject matter, types of
publications, their translations and design. The
features of the stages of development of
children's book publishing are characterized
from the point of view of pedagogical and
publishing priorities, the competencies of
translators and artists, indirectly influencing
printing resources. The subject area of the study
includes modern editions of fairy tales by
1
Teacher, postgraduate student of the "Publishing and Bibliology" department at the Moscow Polytechnic University, Russian
Federation.
2
Doctor of Historical Sciences, Professor, Professor of the "Publishing and Bibliology" department at the Moscow Polytechnic
University; Chief Researcher of the FGBU science Scientific and Publishing Center "Science" of the Russian Academy of Sciences,
Russian Federation.
3
Candidate of Philological Sciences, Associate Professor, Head of the "Publishing and Bibliology" department at the Moscow
Polytechnic University, Russian Federation.
4
Candidate of Psychological Sciences, Associate Professor of the Project Activity Center of Moscow Polytechnic University, Russian
Federation.
Kitsanu, M.I., Kupriyanova, T.G., Shurygina, I.L., Solovey, L.B. / Volume 13 - Issue 75: 106-112 / March, 2024
Volume 13 - Issue 75
/ March 2024
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Sh. Perrault in the form of separate and special
issues addressed to children with different
reading abilities and aesthetic perception. The
history of the publication of Charles Perrault's
fairy tales is analyzed as a new type of
publication that correspond to general political
attitudes that make them legitimate for the
perception of a children's reader. The article
highlights the publications characteristic of each
stage, which have developed under the influence
of discussions about the combination of
traditional and innovative views on the functions
of a children's book: from edifying and
moralizing to soviet propaganda and modern
cultural and educational.
Keywords: fairy tales, publications, publishing
houses, libraries, children, reading, culture,
translations, tactile books.
Introduction
The importance of a fairy tale in the upbringing
of a child is great, so a fairy tale will always be
present in the repertoire of publishing houses. In
2017, a Concept of a program to support
children's and youth reading was developed and
approved by the Government of the Russian
Federation, and based on it, a project of the
Program of events to support children's and youth
reading in the Russian Federation was formed,
according to which programs are being
implemented to involve children in events related
to books and reading. On July 11, 2020, the
Government of the Russian Federation published
a plan of events for the development of the
children's goods industry for 2020-2024, where
the emphasis is placed on "increasing the share
of children's books and periodicals... animated
products and children's and youth mass media"
(Order No. 1813-r, 2020).
Reading fairy tales is a significant step towards
the child's development of social experience
through the behavioral models of characters and
knowledge of the objective world. Historical
review of the editions of the tales of Sh. Perrault
forms an objective view of the relationship
between publishing policy and ideological and
literary and artistic trends. The cultural and
educational component of modern children's
book publishing is again, as in the 1920s and 30s,
aimed at activating reading in the youth
environment, with the difference that the goal
today is to deepen the analytical reading of
children, and not just to introduce them to
reading.
The fairy tale, as the main genre of folklore, as a
work of magical, adventurous or everyday
nature, attracted publishers. Back in the
nineteenth century, M.O. Wolf introduced
children's readers to fairy tales, and since then
they have always been included in the core of
children's book publishing. Modern philologists
and cultural scientists in the aspect of dialogue
with the modern reader are once again beginning
to pay attention to a variety of fairy-tale material,
both in Russian (Dudareva, 2017), and in
English (Dudareva et аl., 2019).
The process of formation of Soviet children's
literature and the development of book
publishing followed complex, contradictory
paths. The denial of fairy tales, fiction and
adventures in children's reading, as distracting
from reality, occurred in parallel with the search
for new forms and new types of children's books.
In the prevailing historical conditions of the
socialist social system, the concept of children's
book publishing was based on a materialistic
worldview that denied the fairy tale as a way of
escaping from reality. During the NEP period, a
large proportion of fairy tales were published by
private publishers. They accounted for 40% of
the output of children's books, which fell to 17%
by the early 1930s, when the NEP was collapsed.
(Shomrakova, 1986). The consequence of social
changes in society was a children's book, which
was entrusted with the function of educating a
socially active personality, the builder of a new
society. In the literary processes of this period,
the ideological principle dominates, which
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influenced the critical attitude towards
translations of fairy tales by Sh. Perrault, which
in the 1950s spread to the artistic design of
publications. At the same time, the enrichment of
children's reading circle was due to popular
science publications on natural science topics.
Subsequently, the Soviet model of publishing
fairy tales was formed, which were produced in
mass editions, but against the general
background of the growth of publications of
fairy-tale literature, not all works of Sh. Perrault
was very popular. Most often they were included
in collections along with fairy tales by other
authors. Publishing collections of children's
literature has been a common practice as a way
to expand the reading circle of children.
Currently, the reader also prefers collections of
fairy tales, which include works by several
authors. In addition to collections, author's and
collective, the tales of Sh. Perrault is published
separately in the form of separate edition, where
the name of the fairy tale comes to the fore,
which has become easily recognizable to readers,
and the author's name fades into the background.
Also, at the present stage of book publishing, the
authors' appeal to the use of characters from fairy
tales is traced. Perrault, as the heroes of his
works. For example, the children's book
"Learning to tell Time with Little Red Riding
Hood" was published by Timoshka Publishing
house в 2006. Today, Charles Perrault's fairy
tales are presented not only in print, but also on
various platforms: in animation, digital products,
in theatrical and cinematic productions, as well
as in the form of tactile books for visually
impaired children.
Material and methods
Philologists, linguists, and bibliographers devote
a significant place to the study of fairy tales in
Russian science. The study of fairy tales as a
publishing product is typical for specialists in the
field of publishing, but their research focuses
mostly on historical material. Among the few
works on the history of children's book
publishing, two monographs can be
distinguished. One of them is devoted directly to
the editions of fairy tales in the XVII-XIX
centuries. (Timanova, 2011). The publishing
aspect consists in a bibliographic collection of
publications, which includes more than 300
titles, among them only three editions of the tales
of Sh. Perrault from the XVIII century and not a
single name of the XIX century. The value of this
monograph is the fairy tale is considered as a
phenomenon of literary creativity and as a result
of material production. Another monograph
(Karaichentseva, 2006) presents a study of the
formation and development of the Soviet system
of publishing children's literature in the context
of transformations in the field of education and
upbringing, as well as the polemics of the 20-30s
on theoretical issues, what a children's book
should be, and whether children need a fairy tale
in the book repertoire of proletarian culture. The
author identifies and analyzes the stages of book
publishing, the activities of publishing houses
and the repertoire of children's books. In
O. I. Timanova's monograph, despite the "book
business" stated in the title, the emphasis is
shifted to the disclosure of the concept of a
"fabulous book". On the contrary, in
S. A. Karaichentseva's monograph, the title is
dominated by "book", and the research includes
book business. In the science of the book
(Belovitskaya, 2006), this approach does not
contradict, since the book exists in the book
business system. Outside the system, the book
becomes an object of reader's study (Melentyeva,
2022). The fundamental monographs for this
article, with their built-up retrospective of the
book publishing of children's literature, are
supplemented by a few publications that were
involved in substantiating the importance of fairy
tale publications in the reading circle of children.
To study editions of fairy tales by Sh. Perrault
needed to refer to the sites containing their
descriptions.
To complete the study, it is methodologically
justified to study the catalogues of a several of
city libraries in order to identify modern editions
of fairy tales in their collections. Perrault, which
gave consistent results given in the article.
Modern editions of fairy tales by Sh. Perrault can
be identified in the National Electronic catalog
(NEB). It was used to install publications that
differ in characteristics: cut-down editions,
panorama books, with game components. Such
publications may be intended for children,
regardless of their state of health.
The solution of the research problem using the
method of historical criticism based on
bibliographic sources gives a reliable idea of the
editions of the fairy tales of Sh. Perrot, since the
bibliographic description of "de-visu" ensures
the reliability of the information. Legislative
documents that influenced the development of
children's literature and book publishing in the
period under review were used as sources. The
information resources of specialized libraries for
the blind and visually impaired in the Central,
Ural, and Far Eastern Federal Districts, which
made up the corpus of sources for the study of
tactile books, showed that the fairy tales of
Sh. Perrault’s are present in small quantities.
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Tactile editions of Sh. Perrault fairy tales served
as a kind of source, issued by the charity
foundation "Children's books for small blind
children" (The Fund "Illustrated books for small
blind children.", (s.f)). They were published both
for reading by adults and with a dubbing effect
for children's reading. These publications have
attracted attention because they differ little from
children's books for 3-7 years of age, produced
by modern publishers. They have a regular font
and illustrations, some of which are voluminous,
or made of a variety of materials. Reading tactile
books, accessible to children with visual
disabilities, complements the material of the
article and works to uncover the topic.
In Soviet times, the publication of fairy tales was uneven,
there were periods when the fairy tale left publishing
houses or appeared extremely rarely. Starting from
1922, the monopoly on the publication of fairy tales
belongs to state publishers. It is precisely in this period
that a revision of views on children's literature takes
place, and it began to be perceived as a subject of high
art (Kiryushchenko, 2002). During this time, such
talented children's writers as S. Marshak, K. Chukovsky,
A. Barto, S. Mikhalkov, V. Bianki appeared, and the
creation of a fundamentally new Soviet literature took
place, forming authors and artists who determined the
main features of children's books.
In September 1933, the Central Committee of the Party
adopted a resolution on the organization of Detgiz - a
specialized children's literature publishing house for the
purpose of uniting the forces of writers, artists, educators,
improving and expanding the activities of children's
book publishers. At this stage, a new ideology of
children's literature begins to be instilled, in which there
is no place for a magical fairy tale. Fairy tales with
romantic plots completely disappear from the
publishing repertoire. The book of the new time should
help to educate children in the spirit of proletarian
ideology, should draw content for children's literature
from real life, not creative imagination.
The exception was the publication of the fairy tales of
Charles Perrault. In 1936, a collection of Charles
Perrault's fairy tales was published by Detgiz with a
fundamentally new translation, significantly different
from the earlier translation by Ivan Turgenev, released
by M. O. Wolf's publishing house. In the preface, the
publisher emphasized that the tales are "fun, entertaining,
relaxed, not burdened with either excessive morality or
the author's pretension" (Perrault, 1867, p. 6).
The new translation, owned by M.A. Bulatov, was
harshly criticized. In a review of the publication of
Perrault's fairy tales by "Detgiz", A. Babushkina made a
comment that it was not at all worth "adapting a fairy
tale for children that was written for children"
(Babushkina, 1936, p. 8). According to her,
M. A. Bulatov completely removed all the emotionality
from the fairy tale, it became dry, many of the
characters' actions are difficult to explain. Despite the
criticism, "Detgiz" continued to release Perrault's fairy
tales in the translation of M. A. Bulatov, expanding the
boundaries of the addressee of this work at the expense
of the adult reader. The translator cannot be denied
humanity, as he changed the ending of the fairy tale. In
Perrault's version, Little Red Riding Hood was eaten by
the wolf, but the translator used the more positive ending
of the Brothers Grimm, where Little Red Riding Hood
was saved by woodcutters. To this day, this ending
prevails in editions of this fairy tale. In 1936, the fairy
tales of Ch. Perrault were published in the State
Publishing House of Artistic Literature (GIHL)
translated by A.V. Fedorov and L. K. Uspensky. The
small volume of 68x100 cm 1/32 sheet with illustrations
by V. Tauber in a fabric binding had a circulation of
15,300 copies, which is quite a bit if you consider that
the 1944 edition of the fairy tale "Little Red Riding
Hood" was issued with a circulation of 100,000 copies.
This is a third of the circulation of all fairy tales released
that year.
In the post-war years, fairy tales began to be included in
collections. From 1947, the fairy tale "Cinderella"
regularly began to be included in the collections, and in
1950, "Detgiz" published it separately with illustrations
by B. A. Dehterev.
Dehterev's illustrations are now considered classic and
are often published in editions of Charles Perrault's fairy
tales. The illustrator presents to the young reader a
refined, exquisite world of baroque, where the
characters are gallant, friendly, and "Little Red Riding
Hood” appears as a righteous child. In the fairy tale
"Puss in Boots," according to the researcher, "even the
reapers in his picture seem to dance" (Gankina, 1963,
p. 160), and only the Ogre is endowed with terrifying
features.
From 1918 to 1991, 254 editions of Charles Perrault's
fairy tales were published, of which 174 are separate
editions. Not all fairy tales have gained as much
popularity as "Little Red Riding Hood," which was
published 54 times, or "Puss in Boots," published 46
times (Perrault, 1984, p. 4-10). Fairy tales like "Donkey
Skin," "Ricky with the Tuft," and "Fairy Gifts" are
rarely published as separate editions. Publishers include
less popular fairy tales in collective compilations. It is
worth noting that Charles Perrault's fairy tales began to
be featured in compilations alongside works by such
storytellers as the Grimm brothers and Hans Christian
Andersen only relatively recently, in the 1970s. Prior to
that, Charles Perrault's fairy tales were published with
other French fairy tale writers, or in collections that
included several fairy tale authors at once. The analysis
of the selected publications revealed the intensity of
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output in the post-Soviet period, when "the ideological
preferences of publishers were very quickly replaced by
considerations of short-term market benefits"
(Lebedeva, (Comp.). 1993, p. 5).
Results
Review of editions of fairy tales by Sh. Perrault
in the context of historical transformations that
have affected the development of children's
literature, it can be concluded that the reader's
interest in the fairy tale remains unchanged. The
publisher, guided by the trends of his time,
remains a faithful supporter of the fairy tale, as
necessary in the circle of children's reading for
the moral and aesthetic maturation of a person.
"Little Red Riding Hood" is one of the most
frequently published fairy tales by Charles
Perrault by modern publishing houses. It was
released in the series "Books are my friends" by
the publishing house "Exmodetstvo" (Perrault,
2014a). In 2016, the publisher "Umka" (Perrault,
2016) released a fairy tale in the series "Book
with large letters" The following year, the
publisher "Iskatel" (Perrault, 2017) also
released "Little Red Riding Hood" in the series "I
read by myself word-by-word". In 2021, the
publishing house "Rosman" (Perrault, 2021)
released the book "Little Red Riding Hood" with
voluminous images placed on five spreads. The
fairy tale editions also differ in design:
panoramic books in "Exmo" (Perrault, 2014b),
books made of thick cardboard with die-cut in
"Rosman". To develop creative skills, the fairy
tale was released in the form of a book with
puzzles, a book with stickers, a coloring book.
The fairy tale "Sleeping Beauty" has been
published more than 20 times in different forms
by different publishers in the last 10 years and
has been included in series. The publishing house
"Rosman" has repeatedly released this fairy tale:
as a separate edition, also in the collection" 3
favorite fairy tales", and in the series: "Rosman
Children's Library", "Masters of Illustration",
"Book-Toy". Major publishing houses such as
"AST Press" in the series "Classics for Little
Ones" (2018), "Exmo" in the series "The Best
Fairy Tales" (2017), "Drofa" (2019) and
"Mahaon" in the series "Read me a book" (2019)
have included "Sleeping Beauty" in their
children's book repertoire. The latest serial
edition of the fairy tale was released in 2021 by
the publishing house "Onix-Lend". Charles
Perrault's fairy tale "Sleeping Beauty" was
released in gift and collector's editions.
The fairy tale "Puss in Boots" was published in
different editions and forms. In 2011, the
publishing house "Azbookvarik Group" released
this fairy tale as a toy-book, in which the child
could voice the characters' voices using buttons.
The "Rosman" publishing house has repeatedly
published the fairy tale "Puss in Boots",
separately and in a collection, and once in large
print. The "Dragonfly" publishing house in 2020
released a panorama book with volumetric
constructions, and the publishing houses "Vako"
and "Rusich" in the same year included this work
in the series "Fairy Tale after Fairy Tale" and
"We read ourselves", respectively. In addition to
separate publications, the publishers "Makhaon"
in 2010 and Exmo-Children in 2018 included
"Puss in Boots" in collections.
The fairy tale "Gifts of the Fairy" was published
11 times during 1936-2018, including 5 times
during the Soviet era. The fairy tale was called
differently: Sorceress (1936, 1977, 1986), Fairy
(1984), Magic (1993). Since the beginning of the
2000s, the name "Gifts of the Fairy" has been
established. Modern publishers prefer to include
this work in collections: in 2011, a collection
included 7 of the most famous fairy tales by
C. Perrault, including the fairy tale "Gifts of the
Fairy". This edition is distinguished by a large
format. In 2012, the publishing house "Speech"
(St. Petersburg) published an author's collection,
which included the fairy tale "Gifts of the Fairy"
in the translation of T. G. Gabbe. The translators
at different times were L. Head in 2006,
A. V. Ganzen in 2010, M. Melnichenko in 2012
and B. Prozorovskaya in 2018. In 2009, this fairy
tale was published in the translation of
I. S. Turgenev from 1885.
Modern publishers pay attention to young
readers with visual impairments. Reading for a
child with disabilities is arguably the only key to
intellectual development. In 2022, during the
XXXV Moscow International Book Fair,
projects of tactile books for children with visual
impairments were presented. The creation of
tactile books is quite a labor-intensive process,
and library workers, students of creative
educational institutions, volunteers are involved
in it. Sometimes in the creation of tactile books,
you can meet unexpected participants. In 2023,
in the Khanty-Mansi Autonomous Okrug, the
Ministry of Emergency Situations took part in the
regional contest for the creation of tactile books
in the nomination "Best implementation of a
creative idea on a fire safety theme" (Ministry of
emergency situations of Russia, 2023)
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Tactile books present a secondary text that differs
from the original. The information is provided in
a concise form that conveys key plot points and
characterizes the characters from the point of
view of their tactile perception. The contact
method of obtaining information, in which the
child feels the weight, size, contour outlines, hot-
cold, soft-elastic, and other qualities of the
object, predominates in working with the book.
From this, a representation of reality begins to
form. A blind child's touch sensations are quite
limited due to a lack of life experience, and the
tactile book aims to develop a culture of
perception so that the sensory perception of non-
verbal text is adequate to verbal, or as close to it
as possible.
Tactile books are created by hand using various
materials: fabrics, dense cardboard, wood, wool,
fur, etc. The child reads by feeling the objects and
gets a primary idea of things, materials,
characters, natural phenomena, and then
associatively connects them with real objects.
Some of them can make sounds: rustle, ring,
rustle. The sound that an object makes when
pressed, like in healthy children, levels the
difference between healthy children and those
with visual impairments. The purpose of tactile
books is to enrich sensory experience and master
the material world, as well as to develop fine
motor skills. The feature of the tactile book is that
the information is only consolidated in the mind,
unlike a printed book, where language not only
consolidates information but also conveys it.
Conclusion
Fairy tales of Sh. Perrault was invariably present
in publishing, but the intensity of the release
fluctuated. Some fairy tales were popular, and
some rarely got to the reader. The research of
children's literature, on which this article is
based, suggests that in a number of fairy tales the
content did not meet the tasks of raising children
in Soviet society. The publication of fairy tales
has a high communicative potential. Modern
publishers focus their publishing house on classic
works of fairy-tale literature. The "golden" fund
traditionally includes fairy tales by Sh. Perrault.
The study of the publishing repertoire made it
possible to identify their place and role among
other publications of the author's fairy tale in
Russia. The method of bibliographic heuristics
used in the article allowed to conclude that the
output of fairy tales is uneven. Perrault and
objectively evaluate the most intense periods of
their publication. In the 1930s, in connection
with the organization of the state children's
publishing house, circulation increased, in the
second half of the century the emphasis shifted
towards improving the quality of artistic and
printing design. In the 1990s, the change in the
economic model of the book publishing industry
affected the publication of fairy tales. They were
constantly present in the publishing house of the
fairy tale Sh. Perrault up to 2020. It was in this
year that the government's program to support
children's and youth reading in the country
ended, coincided with the peak of the pandemic.
The reading circle of preschool children is
replenished with publications with colorful
illustrations aimed at developing the child's
imagination. Tactile books are being prepared for
children with visual impairment, with the help of
which the child learns about the objective world.
Inclusive publishing projects offset the
difference in the cognitive process between
healthy children and those with developmental
disabilities, primarily those with visual
impairment. Fairy tales of Sh. Perrault was
invariably present in publishing, but the intensity
of the release fluctuated. Some fairy tales were
popular, and some rarely got to the reader. The
research of children's literature, on which this
article is based, suggests that in a number of fairy
tales the content did not meet the tasks of raising
children in Soviet society.
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URL: https://www.liveinternet.ru/users/veta
chka/post447598026/
Perrault, Sh. (2014a). Litlle Red Riding Hood.
Moscow: Exmodestvo. URL:
https://eksmo.ru/book/krasnaya-shapochka-
i-drugie-skazki-ITD329731/
Perrault, Sh. (2014b). Little Red Riding Hood.
Moscow: Publishing house Exmo. URL:
https://acortar.link/jcmUrw
Perrault, Sh. (2016). Little Red Riding Hood.
Moscow: Umka. URL:
https://acortar.link/J43ztK
Perrault, Sh. (2017). Little Red Riding Hood.
Moscow: Iskatel. ISBN: 978-5-699-92714-2
(In Russian)
Perrault, Sh. (2021). Little Red Riding Hood
Fairy Tale Carousel (cut out, with ties), 7Bts,
p. 12. Moscow: Rosman. ISBN:
9785353095590 (access date: 10/22/2023) (In
Russian)
Shomrakova, I. A. (1986). Children's book in
Gosizdat. Research and materials. B.m. State
Public Historical Library (GPIB) URL:
https://rusneb.ru/catalog/000202_000006_89
3618/?ysclid=lt38fqpk47566667829
Timanova, O. I. (2011). "Fairy tale book" in the
book business of Russia XVII-XIX centuries:
a monograph. SPb.: SPGUTD, 176 p. URL:
https://search.rsl.ru/ru/record/01005369008?
ysclid=lt38v38qvn970565115
The Fund "Illustrated books for small blind
children." (s.f). We produce unique tactile
books that are understandable for children
with visual impairments and other
disabilities. URL:
https://www.fond.org.ru/?ysclid=lt1e24oxl0
58570988